Leather briefcase, my briefcase, his briefcase, open briefcase, Vanya’s briefcase.

From the given excerpts from the poems of the poet Konstantin Skvortsov, write down phraseological units.

1) We are all in captivity, we are in prison from our own strife.

2) We have heard more than once: There is no trace of Rus'. But out of pitch darkness, Rus' came into the light.

3) There is no other place for me in the world.

Read a fragment of a letter from the artist A.A. Plastova to his son.

“Today, when I got up after working on a sketch and looked around at the most precious velvet and brocade of the earth, at the sky blazing with a ringing sunset, at the silhouettes of purple huts, at this entire shroud of the Universe, as if embroidered by the fingers of angels and seraphim, as again, in which once, I thought that our icon painters only in this feast drew all the imperishable and truly heavenly music of their creations, and we cannot do anything if we do not follow these only paths to the beautiful.”

What linguistic features of the text indicate that it was written by an artist? Define the problem of the statement.

Indicate in which row all words have more sounds than letters.

1) Christmas tree, celebrating, sparrow, took

2) goes down, came, shoot down, June

3) bends, appears, demonstration, phenomenon

4) ad, moved out, beating, cinema

In which row in all words are all consonants voiceless?

1) narrow, strip, sticky, night

2) paper, bread, disaster, evil

3) hut, object, away, hedgehog

4) sew, mow, congress, chic

Determine the morphemic composition of the word unblown

a) prefix - prefix - root - suffix - suffix - ending - postfix

b) prefix - root - suffix - suffix - ending - postfix

c) prefix - prefix - root - suffix - ending - postfix

d) prefix - prefix - prefix - root - suffix - suffix - ending - postfix

Replace borrowed words with Russian synonyms.

1) Current – ​​...; 2) intermission - ...; 3) situation – ...; 4) slogan – ...;

5) mission – ...; 6) final – ...; 7) epilogue-...; 8)imitation -…;

Replace phraseological phrases with synonyms

1) Notch on the nose,

2) An eyesore

3) Sharpen the laces,

4) Nod off.

From geographical names, form common nouns with the meaning - “resident of a given area.”

1) Baku - ...

2) Perm -...

4) Minsk -...

5) France -...

6) Hill -...

In which series are all verbs classified as 2nd conjugation?

1) make a mistake, break, thresh

2) breathe, rot, hear

3) scream, hiss, ring

4) listen, run, offend

12. What part of speech and what part of the sentence is the word stronger in a sentence. This word is stronger than an oath and vow:

1) adjective, predicate

3) adjective, definition

4) adverb, circumstance of manner of action

13. Indicate a word whose structure matches the diagram:

Prefix - root - suffix - suffix - ending - postfix.

1) written

2) boundless

3) surface

4) rushed by

5) running away

Sentences in Hebrew and their translations into Russian are given.

Khabahur rohe bakhura yafa - A young man sees a beautiful girl.

Hapara roa khatul lavan - A cow sees a white cat.

Habahura roa tik hum - The girl sees a brown bag.

Translate the sentence into Hebrew: The young man sees a white bag.

Place stress in the following words (highlight the stressed letter in bold)

1) apostrophe,

2) asymmetry,

3) play around,

4) religion,

5) wholesale,

6) intentions,

7) last supper,

8) dancer,

9) phenomenon,

10) they call

The red sun was setting. The snow turned scarlet, then turned purple - and for a long time turned into pink, soft, with a twilight influx. And the feeling that lurks for no reason and you can’t guess where passed away.

1) sound writing 2) color painting 3) epithets 4) metaphors

Set the type of the above text (question 16)

1) narration 2) description 3) reasoning 4) description with narrative elements

18. Select morphemes and name the way words are formed:

a) foothills, b) three of us, c) census d) greenery e) dry land

VORONINA N.V.,
EGOROVA T.V.,
Ulyanovsk

Preparation for the All-Russian Olympiad in Russian Language

From the experience of the Ulyanovsk regional jury

The first half of the year is the traditional time for holding school and municipal (district and city) Olympiads in the Russian language. These are the initial stages of the annual All-Russian Olympiad for schoolchildren, and their role is very significant: it is necessary to organize and conduct qualifying Olympiads so that the strongest wins, and the remaining participants do not lose interest in the science of the Russian language and the desire to participate in the Olympiad next year. From the winners of the municipal rounds, the participants of the next – regional (regional) stage are formed, based on the results of which – usually in a difficult competition of leaders – a team of students in grades 9–11 is formed, representing their region in the final, all-Russian competition of Russian language experts.

Each stage of the Olympiad has its own specifics, and the level of complexity of the tasks, naturally, should increase from round to round, which means that the tasks of the municipal Olympiads should be somewhat simpler and more accessible to the student than the tasks of the regional and all-Russian stages. At the beginning of the journey, it is especially important not to lose the mass character of the Olympiad, to give the opportunity to many children interested in the Russian language to try their hand and show their knowledge. Therefore, it is appropriate, in our opinion, at the school and district levels to include in the set of Olympiad tasks several questions and practical tasks of a traditional school nature, testing students’ spelling and punctuation literacy, knowledge of spelling, lexical and grammatical norms of the modern literary language, and the ability to logically present theoretical information , reveal any concept within the school curriculum. At the next stages - regional and especially final - tasks like Place the punctuation marks... Put the correct emphasis... Fill in the missing letters... and so on. seem to us inappropriate: it is enough to assess the overall literacy of written answers, deducting points for spelling, punctuation, stylistic and speech errors. The winners among philologically gifted high school students must be determined by tasks of an Olympiad nature - tasks that go beyond the scope of the school textbook, opening up new linguistic horizons for the student.

At any stage, the Olympiad is not a test on the material covered at school. In order to timely identify among the participants the most capable and interested children in linguistic science, it is necessary to offer several tasks already at regional and city Olympiads that require creativity, ingenuity, guesswork, linguistic flair, the ability to independently analyze, classify linguistic facts, make generalizations and conclusions. The leading role here is played by tasks of a historical nature and tasks related to text analysis.

Olympiad tasks of the municipal stage are compiled by members of the regional jury (subject commission) and presented to the regional organizing committee along with the correct answers, recommendations for completing the tasks, as well as a clearly developed evaluation system (in points) for each completed task.

Proposed below as an approximate example is the version of tasks for the municipal (district/city) stages of the Russian language Olympiad illustrates the general principles of compiling a set of tasks, which were determined by us as a result of many years of work as part of the regional jury of the Olympiad. These are differentiation of tasks according to age parallels, coverage of all sections of the subject, combination of theoretical issues with practical analysis of specific linguistic facts, inclusion of tasks of different levels of complexity, cultural orientation and regional specificity of the proposed materials. The assignments are designed for classroom work within four hours. In practice, participants in regional Olympiads who take prizes usually score from 60 to 80% of the maximum points - we consider this a very good result. At each stage, the winner must see the prospect of further work.

As part of this publication, we also provide answers to some of the tasks of increased complexity.

9th grade

1.

Above the horizon, the large circle of the full moon, still quite (not) bright (pinkish) ashy, was already (half) visible, ready every minute to become dark and draw long shadows of steppe grasses on the dusty path.

On the sandy (n, nn) ​​spit one could see complex (n, nn) ​​fish kurens made of mouse and large black solid tar (n, nn) ​​longboats with equally raised bow and stern lay (on) their sides, which made them look like Indian p_rogi. They had (no) anything in common with light clothed Scottish punts, but were real serious fishing vessels from the Danube Delta or, as they said, “from the arm of the Danube.”

Maybe on such vessels my Cossack ancestors, crossing the Black Sea, raided the Turkish shores and even reached Constantinople. (V. Kataev)

2. Find in each pair of sentences words that consist of the same sounds, differing only in their sequence.

1) You are as ruddy as a poppy, / I am like death, and skinny and pale. (A. Pushkin)“The prince then / built a crystal house for the squirrel, / assigned a guard to it / And, moreover, forced the clerk / to tell the nuts a strict count.” (A. Pushkin)

2) The bream was lying in the damp grass between the blackberry vines. (K. Paustovsky)– Awkward cage construction<…>they clung to the houses, their tiled roofs meeting so close at the top that only a narrow gap remained from the sky, and it was dark on the street even during the day. (D. Merezhkovsky)

3) And then the crab, with some imperceptible lateral, purely crab-like movement, swerved to the side, where a large flat green-white block lay. (Yu. Dombrovsky)“The office was huge, clean, bright, with high windows overlooking the children’s park. (Yu. Dombrovsky)

3. Which of these words can, in accordance with literary pronunciation, be written with the letter e ? What words have different pronunciations?

Life, scam, glider, edge, newborn, worthless, fable, eponymous, expired, faded, beet, driver, godfather.

4. Explain the spelling of the highlighted word with a lowercase (small) letter. Give your examples of words of this kind in modern language.

Occasionally stretched out Vanka on his skinny nag, looking out for a belated rider. (A. Pushkin)

5. What is the general feature of the use of highlighted words in the following fragments from A. Pushkin’s novel “Eugene Onegin”? What stylistic device is represented in these sentences?

1) Tatyana is barely alive. Triquet, / Turning to her with a piece of paper in his hand, / Sang out of tune. Splashes, screams / They greet him. She / The singer is forced to sit down; / The poet modest, though great, / He is the first to drink her health / And gives her the verse. 2) Unfortunately, Larina trudged along, / Fearing the expensive runs, / Not at the post office, on her own, / And our maiden enjoyed it / Full of road boredom: / They rode for seven days. 3) There was, however, color capitals, / And nobles, and models of fashion, / Faces encountered everywhere, / Necessary fools;<…>.

6. Graphically indicate the morphemic composition of the selected cognate words. Which of the suffixes you highlighted are formative?

Bluish the stars were shining. The sky in the east is slightly bluish. Her eyes still seemed blue. Xin skies and green trees. Mushroom turned blue on the cut.

7. A) Indicate the gender of these words and explain your answer.

Receptionist, cockatoo, miss, aloe, pony, chimpanzee, esperanto, lady, pari, attaché, puree, curé, tsetse, bra, iwasi.

b) What feature of the gender of indeclinable nouns denoting exotic animals is reflected in the above text? Indicate all the words in the text that reflect the gender of nouns kangaroo And dingo.

Let the kangaroo tell you
Like in the Australian heat
Chased his sister through the forests
Lean, skinny dingo.
<……………………………>
She is cunning - and I am not simple.
We ran all night to the stars,
And yet I caught her by the tail
The relentless dingo.

(S.Marshak)

8. What definitions are called inconsistent? How are they expressed morphologically? Give one example for each case.

9. How is the artistic expressiveness of these sayings and beliefs associated with the folk calendar achieved?

On Korney (September 26), the roots in the ground become chilly (all root crops must be harvested before this date). Naum will come and give some guidance (from December 1, the day of Naum the literate, the education of peasant children began). Prokop (March 12) will dig a road in the snow. On Olena (June 3) flax is sown. On Luka (August 12) onions are dried. On Tikhon (June 29) the birds become quiet and sit down to hatch their chicks. Proclus (July 25) is cursed by all evil spirits.

10. Write a miniature essay (volume - 1 page) about your personal name.

10th grade

1. Copy the text, opening brackets, inserting missing letters and adding punctuation marks.

The road along which they walked was once passed by a cart and had long been overgrown with grass. The elm and plane tree forests on both sides were so thick and overgrown that (no)thing could be seen through it. Almost every tree was entwined (from) top (to) bottom with wild vineyards (to) below dark thorns grew thickly. Every small clearing was filled with hedgehog bushes and reeds with gray swaying flaps. In some places, large animals (n, nn) ​​and small ones, such as (n, nn) ​​spruces, pheasant trails left the road into the thicket of the forest. The power of the vegetation of this forest (not) pierced by cattle struck Olenin at every step, who had never seen anything like it.<...>
Olenin was still behind when the old man stopped and began to look around the tree. Rooster tordoknul from a tree a dog barked at him and Olenin saw a pheasant. But at the same time a shot rang out like from a cannon from Eroshka’s hefty gun and the rooster jumped up, losing its feathers and fell (to) the ground. (L. Tolstoy)

2. Find and correct errors in the transcription of the words below.

Shel [sh’ol], wide [shir’], hedgehog, in the game [win’ uh], everything [fs’o], from a spark [from s hide], children's [d’ uh tsk’iy], shell [p A ntsyr’], to the club [vklup], mowing [kas’b A], you go [id’ O w'].

3. Determine the contextual lexical meaning of the highlighted words and indicate direct or portable it is. For words with a figurative meaning, indicate the method of transfer (metaphor, metonymy, synecdoche).

1) Everything is alive there: hills, forests, / Amber And yacht grapes, / The sheltering beauty of the valleys, / And the coolness of the streams and poplars. (A. Pushkin) 2) Giray sat with his eyes downcast, / Amber there was smoke in his mouth. (A. Pushkin) 3) The guest found herself in a dress of a fashionable cut and color and long tails on the neck; jasmines rushed across the room. (N. Gogol) 4) Sitting in the living room shawls And frock coats, sigh, sip tea and orange. (I. Shmelev) 5) And suddenly, as if breaking free from the chain, they danced both halls, and danced after them and veranda. (M. Bulgakov)

4. Determine the lexical meaning of the highlighted word. Does it apply to active or passive vocabulary? Why? Name the phraseological unit that includes this word, and indicate the meaning of this phraseological unit.

You're all lying! - Raskolnikov screamed, no longer holding back, - you’re lying, open damn! (F. Dostoevsky)

5. What are the people of Kursk called? Omsk? Arkhangelsk? Name at least five suffixes that are used to form the names of residents of Russian cities, giving one example each. Highlight the suffixes graphically.

6. Determine the lexical meaning of the highlighted word in each sentence. Which of them represents the original, original meaning of this archaic verb? Indicate the etymological composition of the morphemes of this verb and name the noun of the modern language, historically derived from it.

1) One hundred bright-eyed beauties / Presided over at the tournament. / All are wild flowers; / And mine alone is like a rose. ( V. Zhukovsky. Winner) 2) They said that every evening a carousing gang gathers at her place, who dine from midnight until the morning. What is Lyubinka presides in this company and, posing as a “gypsy”,<…>with her hair down and with a guitar in her hand, she sings. ( M. Saltykov-Shchedrin. Messrs. Golovlevs)

7. What prepositions are called derivatives? In sentences from “Readings and Stories on the History of Russia” by S.M. Solovyov, find derived prepositions and indicate on the basis of which parts of speech and in what way they were formed. Determine the part-speech affiliation of the highlighted word, select homonymous words for it and indicate the type of homonymy.

1) It was they [Kiy, Shchek and Khoriv] who built this city [Kyiv], but then they bent it. 2) When the Volokhs [Vlokhs, Vlachs, Magi] attacked the Danube Slavs, settled behind them and began to oppress them, the Slavs again began to move north. 3) Here the Russian land could more easily gather into one state and gathered near Moscow. 4) But a great danger now arose from the West, prudence demanded that we go to it towards. 5) Sweden aroused even greater irritation against itself in three other neighboring states - Denmark, Poland and Russia. 6) The matter is not limited to the movement within a certain people, it also embraces other peoples.

8. From the sentences below, write down the case forms of nouns that do not correspond to the literary norm. Determine the case and indicate the modern literary version of this case form. What grammatical gender and type of declension do these nouns belong to?

1) In the waters and in the flames he thinks: / Either he will die, or he will win. (G. Derzhavin) 2) My Sashka among his friends did not know another name. (M. Lermontov) 3) Will not meet with an answer / Among the noise of the world / From flame and light / The born word. (M. Lermontov) 4) Either he will press them to the crown, or he will string them onto his tail. (I. Krylov) 5) Believe that he has neither the time nor the desire / for this. (I. Krylov)

9. Among these proposals, indicate one-piece(write down their numbers). Determine the type of each one-part sentence.

1) Make way, O old man of the sea... (M. Lermontov) 2) Here is the front entrance. (N. Nekrasov) 3) Missyus, where are you? (A. Chekhov) 4) Sorin. Why is your sister in a bad mood? Treplev. Bored. Jealous. (A. Chekhov) 5) The bell rang at the hippodrome. (A. Kuprin) 6) In the villages they bake bread well. (I. Bunin) 7) Small forest. The steppe and the distance. (S. Yesenin) 8) Darling, let’s sit next to each other, / Let’s look into each other’s eyes. (S. Yesenin) 9) She accompanied her friend to the front hall, / She stood in the golden dust. (A. Akhmatova) 10) I feel warm in a cold dugout / From your unquenchable love . (K. Simonov) 11) Two steamships washed up on the rocks . (K. Paustovsky) 12) Fireweed is a very warm flower. (K. Paustovsky)

10. Write a miniature essay (no more than 1 page) on the topic “Thank you, music, for that...”.

11th grade

1. Insert the missing letters in these words and indicate which spelling principle governs the spelling of words in each group.

1) Affection, habits, stipend, k_silk, k_morka, k_valeria, d_l_tant.
2) And_spend, and_beat, ra_paint, ra_vest, sleepless, voiceless.
3) Bright fire, loud fire, barn on fire, barn on fire, sowing campaign, cheerful campaign.
4) Babies babble, branches sway, trains rumble.

2. What is the name of the branch of linguistics that deals with the study of normative pronunciation? Explain the origin of the term you named.

What sound is pronounced in place of the highlighted letters and why? Indicate the lexical meaning of any three words from this list.

ABOUT azis, b O ah, flamenque O, b O mond, water polo O, vet O.

3. What is the peculiarity of the use of highlighted words in these sentences? What are the relationships between these words outside of this context?

1) And mothers death - this is not death, but Dormition . (M. Prishvin) 2) And - the double who felt the double - through the lung face will appear - face. (M. Tsvetaeva) 3) Podtyagin, a neat, modest old man who ate A ate <….>, looked over the glasses of his pince-nez at Ganin. (V.Nabokov)

4. One of the chapters of the novel by I. Ilf and E. Petrov “The Twelve Chairs” is called “The Union of Sword and Ploughshare.” What does the word mean? plowshare and how is it formed? What is the meaning of the fixed expression beat swords into ploughshares ? Name the source of this phraseological unit.

5. Which dictionaries contain the following dictionary entries? Prove your answer.

1)Snide. Borrowing from Art.-Sl. language in which viper -“cunning, malicious” goes back to the Greek. echidna – “snake”.

2)VALOR,-And, and. (high). 1. Courage, bravery, bravery. Voinskaya village2. High dedication to work. Trudovaya d.

3) EYES, EYESraised,LEADERStraditional-poet., ZENITSI traditional-poet.,BURKALYdecomposition (especially about protruding large eyes),peepersspaciousness, contempt,FLASHING LIGHTSspaciousness, contempt,BELMArough-spacious,ZENKIrough-spacious

4) Peck on the tongue to whom. Razg. Unkind wishes to those who say the wrong thing. I dropped the letter onto my lap. Oleg asked: “Grandma died?” - Why do you think so? Peck your tongue! (O. Neklyudova. My home.)

[Tipun is a painful, cartilaginous growth on the tip of the tongue of birds.]

6. Determine the meaning of the prefix pro- in the words of a fragment of a poem Nikolai Rubtsov. What stylistic device is based on verbs with the prefix pro- in this text?

No, I won’t be happy - what are you doing!
Lonely wandering star.
My planes have flown by
My trains whistled

My steamships sounded their horns,
My carts creaked,
I came to you in days of bad weather,
So at least give me some water!

7. What word-formation method was used to form the toponym? Novgorod ? What ancient feature of the declension of this word is reflected in the above text and for what purpose did the author use this lexical-morphological archaism?

I looked at Rublev’s faces as if in a mirror,
The crafty Pechenegs were cut to the saddle,
In Novgorod tasted the tart honey,
Bells rang in shackles in the Urals.

(A. Dolsky)

8. What is special about the highlighted words in the following sentences from the novel? I. Turgenev “Fathers and Sons”? Give examples of similar words in modern literary language.

1) “A cigar with a cigar,” said Sitnikov, who had managed to fall apart in the chairs and lift your leg up - let us have breakfast, we are terribly hungry. 2) This fez and a casually tied tie hinted at the freedom of village life; but tight collars the shirts, though not white, but mottled, as it should be for morning dressing, rested with the usual inexorability on his shaved chin.

9. Read the quote from M. Bulgakov’s story “The Heart of a Dog” and explain what mistake in Shvonder’s speech causes the indignation of Professor Preobrazhensky.

“We, the management of the building,” Shvonder spoke with hatred, “came to you after a general meeting of the residents of our building, at which the issue of densifying the apartments of the building was raised...”
- Who stood on whom? - Philip Philipovich shouted. – Try to express your thoughts more clearly.

10. Describe the means of communication between sentences in this text. Write down incomplete sentences. What is the reason for their incompleteness?

Butterflies live only when life is good. As soon as they feel bad: cold, windy, damp - they die. They fall into a special sleep: they don’t see, don’t hear, don’t feel anything. And then everything bad and unpleasant passes by, as if it were not there at all. There are no hard and cloudy days in the life of butterflies - only bright, warm, sunny ones. That is why they flutter over the meadow so carefree and cheerfully. (N. Sladkov)

11. Read a fragment of the artist's letter A.A. Plastova(a native of the Ulyanovsk region) to his son.

Today, when I got up after working on a sketch and looked around at the most precious velvet and brocade of the earth, at the sky blazing with a ringing sunset, at the silhouettes of purple huts, at this entire shroud of the Universe, as if embroidered by the fingers of angels and seraphim, as again, once again , I thought that our icon painters only in this feast of nature drew all the imperishable and truly heavenly music of their creations, and we cannot do anything if we do not follow these only paths to the beautiful. (Prislonikha village, Karsun district, Ulyanovsk region)

What linguistic features of the text indicate that it was written by an artist? Do you agree with the main idea of ​​the letter writer? Give your answer in the form of a miniature essay.

ANSWERS

9th grade

2. 1) Tosh – count; 2) bream - gap; 3) crab - park.

4. There is a transition of a noun from the category of proper names to the category of common nouns. Vanka(obsolete, disdainful) - the name in everyday speech of a driver on an inferior horse with poor harness. Usually this was a peasant who came to the city to earn money.

5. Words modest, great, color, enjoy abstracted from the context they contain a positive assessment, but in the examples given they are used in directly opposite meanings and contain subtle ridicule. This stylistic device is called irony. Irony is one of A. Pushkin’s favorite techniques. Compare, for example, in Onegin’s description of surface formation: And there was deep economy

7. a) The neuter gender includes inanimate indeclinable nouns: aloe, pari, puree, sconce. The masculine gender includes nouns with the meaning of a male person: attaché, porter, curé, as well as the names of animals: cockatoo, chimpanzee, pony. The feminine gender includes nouns denoting a female person: miss, lady. For the rest of the words in this list, the gender is determined by the generic word: Esperanto– masculine (language); tsetse(fly) and Ivasi(fish, herring) – feminine.

b) Indeclinable nouns - the names of animals are masculine, but in a context that emphasizes the gender of the animal, they can also be used as feminine words if we are talking about a female. The grammatical gender of such words is revealed in the form of words consistent with them (definitions and predicates), as well as in correlative pronouns of the 3rd person ( He or she). In the above poem, the gender of the noun is dingo– male: lean, skinny, unforgiving(dingo), (I) not simple; chased, caught . This text talks about two kangaroo: 1) drove through the forests his sister- male genus; 2) word sister indicates the female gender of the second kangaroo, accordingly, feminine forms appear, cf. she's cunning, caught her .

9. These samples of oral folk art are based on the deliberate convergence of proper names with some other words on the basis of accidental phonetic similarity: Quiet He - quiet oh, oh linen A - linen etc. These are examples folk etymology, which consists in a deliberate or spontaneous desire to motivate the meaning of unmotivated words. In this case, folk etymology acts as a means of expression, a type of verbal play.

10th grade

2. Shel [shol], width [syr’], children’s [d’ ec k’ii], to the club [fclup], mowing [kaz’b A], you go [id’ O w].

4. Polichinelle- “a person who causes laughter by his behavior, a jester.” In the French folk theater - a comic character, a jester, a clown; corresponds to Russian parsley.

The word refers to passive vocabulary, because is archaic. Used as part of a phraseological unit open secret- “a secret known to everyone; imaginary secret."

6. Pre-sed– literally: “to sit in front, before anyone." This original meaning is represented in sentence 1: the beauties sat in the front row at the jousting tournament. The figurative meaning is “to play a leading role, to lead, to rule, to set the tone” (cf. sentence 2).

Word chairman directly derived from the stem of this verb using the suffix - tel.

9. 1 and 8 are definitely personal, 2 and 7 are nominal, 5 and 6 are indefinitely personal, 10 and 11 are impersonal.

The remaining sentences are two-part. Incomplete two-parts: second replica of sentence 4 (Missed. Jealous.) and sentence 9.

11th grade

1. The spelling of words in the 1st group is determined by the historical (traditional) principle. The choice of letters in these words is not motivated from a modern point of view (although in some cases they can be explained by the etymology of the word). Such spellings should be remembered.

The spelling of words in the 2nd group is regulated by the phonetic principle, which provides for the writing of morphemes (in this case, prefixes) in accordance with their sound.

Words of the 3rd group demonstrate a differentiating principle of writing. Differentiating spellings are used to distinguish between words and grammatical forms.

The spelling of words of the 4th group is subject to the morphological principle, which provides for the uniform spelling of morphemes - roots, prefixes, suffixes and, as in this case, endings (the personal ending of verbs of the 1st conjugation - ut).

2. The branch of linguistics that deals with the study of normative pronunciation is called orthoepy- from Greek. orthos "correct" and epos "speech". These words are foreign words, not fully mastered by the Russian language system. Their pronunciation does not yet “submit” to the pronunciation norms of the Russian literary language: in place of the highlighted vowels, which are in pre-stressed and post-stressed positions, the sound [o] is pronounced. For the meaning of words, see the dictionary.

3. Words death And Dormition, face And face, there is And eat These are linguistic synonyms. The stylistic shades by which they differ can, in a certain context, be specifically emphasized for artistic and expressive purposes, which leads to a contrast between words; thus the synonyms become contextual antonyms. Wed. Also: does not walk, but walks; she doesn't have eyes, but eyes and so on.

4. Plowshare- a device for plowing land, a plow (cf. also the folk form of this word - Ralo"plow") The word is formed from the Old Russian verb orati"to plow" using the instrumental suffix - l(o)(cf.: light¬ shine, soap¬ wash, bedspread¬ cover and etc.). Wed. in N. Nekrasov’s poem “Peddlers”: Titus - home. No fields O wounds.

Let's beat swords into plowshares- this is the slogan of the transition from war to a peaceful, creative life. An expression of biblical origin: the ancient call for the renunciation of strife and enmity in this verbal form is already contained in the Old Testament. Wed. transformation of this phraseological unit in the poem “Motherland” by E. Baratynsky:

The diligent peaceful plow, exploding the reins,

More honorable than the sword.

5. Dictionary entry– a brief linguistic description of the word. The word that opens a dictionary entry is usually called title or headword. The structure of a dictionary entry depends on the type of dictionary. For example, the main components of a dictionary entry sensible dictionary are the following: 1) headword; 2) accentological, grammatical and (if necessary) stylistic characteristics of the word; 3) interpretation of lexical meaning; 4) illustrative material as a means of revealing the meaning(s) of a word (see example under number 2). Required component etymological The dictionary contains a historical and etymological reference (see example 1). In dictionaries synonyms the entire synonymous series is given, headed by the dominant capital word, and the stylistic features of synonymous words are noted (see example 3). In phraseological in the dictionary, in the first place is a stable combination (phraseologism) or the key word of this phraseological unit, its main grammatical and stylistic features are noted, the lexical meaning is indicated, which is usually accompanied by a literary illustration; Some phraseological units are accompanied by historical and etymological information (see example 4).

7. Noun Novgorod was formed in the Old Russian language in the way fusions (lexico-syntactic way), i.e. merging elements of a generating phrase New city into one word without the participation of word-forming affixes (cf. modern words like evergreen, inconspicuous and etc.). The first part of the fusion is New- is a short adjective, which in ancient times was declined according to the model of a noun: new, new etc. Preservation of the independent declension of the two parts that make up the word ( Novgorod, Novugorod, in Novgorod etc.) quite often occurs as archaism in works on historical topics. In this poetic text, the archaic form is an element of stylization, which also performs the function of creating historical flavor and transferring it to Ancient Rus'.

8. Words armchairs And collars in these examples denote one object, i.e. correspond to modern words armchair And collar. In texts of the 18th–19th centuries. reflects their belonging to the category of nouns with one numerical form (plural only), like modern words trousers, scissors, glasses, sleigh and so on.

9. Professor Preobrazhensky is outraged by the linguistic ignorance of the newly-minted representative of the government. In Shvonder’s speech, the order of words is violated: according to the rule, a subordinate clause with a conjunctive word which(and which one, whose) must be in close proximity to the word that this sentence replaces (in this case, the word meeting, but not house).

10. Basic means of interphrase communication: lexical repetition (butterflies - butterflies; no - no), repetition of cognates (live - lives - in life), pronouns (they – to them – they), unions (just a little) adverbs indicating the sequence of events in time or cause-and-effect relationships (then, that's why). In this case, lexical antonyms also perform a text-forming function. (good - bad, live - die, hard days, cloudy - bright, sunny days).

The contextual incompleteness is represented in the third sentence: They fall into a special dream: they see nothing...(subject omitted) and in the second part of the fifth sentence: (is) only light, warm, sunny(days). The presence of incomplete sentences does not cause misunderstanding precisely because we are faced with not a set of sentences, but a coherent text.

For text features and means of interphrase communication, see: 1) Vlasenkov A.I., Rybchenkova L.M.. Russian language: Grammar. Text. Speech styles: Textbook for 10–11th grades of general education institutions. M.: Education, 2001. 2) Gorshkov A.I.. Russian literature. 10th–11th grades. M.: Bustard, 2002. (Chapter VII)

Tatyana Plastova

EVENT. YEAR OF RUSSIAN LITERATURE

Magazine number:

Exhibition of works by A.A. Plastov “Reading Tolstoy...” for the first time represents almost all the artist’s known addresses to the work and image of the great writer, located in the collections of the State Museum of L.N. Tolstoy, State Tretyakov Gallery, owned by the artist’s family.

Plastov read Tolstoy all my life, considering him an incomparable artist and a great teacher. The structure of the soul and the artist’s worldview were close to the free element of “Cossacks”, the poignancy of the story “Polikushka”, the stylistic freshness of “Morning of the Landowner”, the philosophy of history and “people's thought” of “War and Peace”, the authenticity of “ABC” and stories for the people, psychological and artistic perfection of "Kholstomer". Surprisingly, the descendant of priests and icon painters, former seminarian Arkady Plastov, was not rejected by Tolstoy’s religious philosophy.

“L. Tolstoy’s lemon-yellow alphabet, as if only an hour ago, revealed to me the miracle of sounding and speaking squiggles. The tiny blue volume of Pushkin’s “The Captain’s Daughter,” Tolstoy’s Zhilin and Kostylin, his short stories, Koltsov’s “Why are you sleeping, little man” - these things were the first of the literary illustrations that I tried to depict with a helpless pencil,” 1 the artist recalled in his autobiography. In the library of Plastov’s father, Alexander Grigorievich, a psalm-reader at a rural church and a “great lover of reading,” there were Tolstoy’s “Russian Books for Reading,” which were published during the writer’s lifetime in huge editions at that time. “We were all keen on Belinsky, Herzen, Dobrolyubov, Ch. Uspensky, Tolstoy. They didn’t interfere with us in this,” 2, Plastov recalled about the time spent at the Simbirsk seminary. During his youth, Tolstoy was truly a master of thoughts, a thinker and an artist, shaping the social consciousness of the nation, attracting the best minds of mankind. “Tolstoy will die and everything will go to hell,” said Chekhov. "Literature?" - asked I.A. Bunin - “And Literature” 3.

By the will of fate, Arkady Plastov realized the dream of Russian literature of the 19th century about an artist living the same life with his people. In the twenties, he becomes an artist and a farmer, but even then, decades later, having received titles and prizes, he does not lose this “noble,” in the words of Nekrasov, habit of simple work.

As if continuing the work of Tolstoy, during the years of the revolution he became the defender and intercessor of the Prislonishensky peasants.

In the 20s, having seen enough of the horrors of the civil war, the riots of the oppressed peasantry and their brutal suppression, Plastov conceived a canvas about the Pugachev uprising. Pictures of the “Russian rebellion, senseless and merciless” were embodied in sketches and compositions throughout his life. It was for this purpose that he painted a series of his famous portraits of men in the 1930-1950s.

Many of the artist’s works, such as “Bathing the Horses,” “Harvest,” “Haymaking,” “The Blind,” “The Death of a Tree,” are imbued with Tolstoy’s approach to depicting people, Tolstoy’s sense of existence. “..The same old man who appears in the painting “The Death of a Tree” has died,” the artist wrote, “he was a great friend to me... A true example of a real Russian peasant has passed away... one of those who will never appear on the holy day again Rus', a hero in body and a baby in soul, an uncomplaining worker until his last breath, a jack of all trades, and what else, a real peasant in all the charm of the peasantry, if anyone still understands anything in this matter or has ever wondered what it was like when he's a man" 4. Following L.N. Tolstoy, his great epic, Plastov showed the Great Patriotic War as a people's tragedy, a people's war and a people's victory.

The artist turned to Tolstoy's texts as an illustrator in the early 50s, when his creative maturity reached its peak, when many of his paintings had already been painted. At the same time, the post-war decade was a complex and dramatic period in the history of Russian art, a time of suffocating reaction and disastrous lack of freedom. It was then that Plastov turned to Russian literature. From 1946 to 1956 he made a series of illustrations for the works of N.A. Nekrasova, A.S. Pushkina, L.N. Tolstoy, A.P. Chekhov. “Through Chekhov, I am trying to fix on paper, without any voluntary or involuntary opportunism, openly, heart to heart, as they say, according to my conscience, without guile, everything that I saw, knew and loved from childhood and see, know and love to this day . For me, Chekhov is charming and inexhaustible, like life itself, and I was unable to resist the need to show with my own eyes, to the best of my ability, that absolute truth of life, that extraordinary holy power of sincerity with which Chekhov sought this truth all his life, and why he is so similar to Pushkin and Tolstoy" 5.

At the same time, the image of L.N. himself. Tolstoy appears for the first time in the master’s work. In 1953-1954 the artist made a large gouache “Meeting of L.N. Tolstoy with the blind." A landscape filled with the damp air of early spring, green winter fields, a black rutted road... Tolstoy, riding a black horse, meets the blind men with a guide boy... Holding his horse, he stopped and looked intently at them. And they walk past, not seeing either him or this bright, pearly day...

For Plastov, gifted with a special vision of the world, who could not imagine himself outside this world of colors, colors, shapes, blindness was an incomprehensible, almost otherworldly entity. (He will address this topic in the painting “The Blind,” where the symbolic antithesis of blindness is a falcon sitting on a pole - the standard of vigilance.) But, of course, in this painting, as in the work “Meeting of L.N. Tolstoy with the blind,” there is also another, metaphorical meaning, coming from “The Parable of the Blind” by P. Bruegel the Elder (1568, National Gallery and Museum of Capodimonte, Naples): “If a blind man leads a blind man, then both of them will fall into a pit.” The meaning of Plastov’s painting is the all-seeing Tolstoy and the blind people walking past him, who never knew the true meaning of existence.

In the story “Cossacks,” the artist was attracted primarily by the elements of folk life and the originality of the national character. Three illustrations were made for the story - “Uncle Eroshka”, “Olenin and Maryana”, “Maryana”. The illustration “Uncle Eroshka” is built according to the laws of a pictorial portrait. In a dark red beshmet with gazyrs, with a white thick beard, with a cleaver in his belt, with a glass of wine in a strong hand, he is taken at the moment of a lively conversation. It is clear that the artist was happy to find this image, so close to the heroes of his own paintings. “Mariana” is also a portrait. A black-haired girl in a pink shirt is shown at full height. This female type is also very close to the artist and is found in many of his works. “Maryana,” writes Tolstoy, “on the contrary, is by no means pretty, but a beauty. The features of her face could have seemed too masculine, almost rude, if not for this large slender height and powerful chest and shoulders, and, most importantly, if not for this stern and, at the same time, gentle expression of long black eyes, surrounded by a dark shadow under black eyebrows, and a gentle expression of the mouth and smile...” Olenin’s meeting with Maryana in a sunlit vineyard, one of the most poetic places in the story, is the plot of the third Plastov illustration.

The story “Kholstomer” - Tolstoy’s “story of a horse” - could not leave Plastov, a peasant and an artist, indifferent. From time immemorial, for a peasant, a horse has been a part of life, a nurse, a worker, the personification of wealth and happiness. “Our village,” the artist wrote in his autobiography, “lies on a large Moscow highway, and for as long as I can remember, endless carts stretched past our house, pairs and threes of horses with sung coachmen raced. The horses were well-fed, of all colors, with manes, in elegant harness with a copper set, with tassels, carts and sleighs with all sorts of turned and carved balusters, painted arches, like Surikov’s in “Boyaryna Morozova”. Since then, the smell of tar, the neighing of horses, the creaking of carts, and bearded men lead me into a kind of sweet stupor.” 6 The holidays of Frol and Laurus, the consecration of horses, racing, bathing, night - all these impressions were embodied in many drawings, sketches, compositions, and then in paintings - “Bathing Horses”, “Night”, “Holiday”...

The art of all times and peoples has turned to the image of the horse as a symbol of harmony, beauty, victory - these are Assyrian reliefs, ancient quadrigas, equestrian statues of Andrea Verrocchio and Donatello, Marcus Aurelius, who endlessly admired Plastov in the Capitoline Museum, and finally, “The Bronze Horseman” by M. Falcone and the Pushkin metaphor of Russia rearing up that arose after him...

Work on the sheets of illustrations for the story “Kholstomer” began in January 1953 and continued (apparently with interruptions) for more than a year.

At the same time, Plastov conceived one of his most beautiful paintings - “Holiday” (“Running”, 1954-1967) and immediately began work on it. The illustration “Kholstomer overtakes the Swan” is an almost exact fragment of this picture.

Plastic expressiveness and precision of drawing in depicting a horse in motion (dozens of albums of full-scale sketches have been preserved) made it possible to create images worthy of Tolstoy’s brilliant text. Plastov was close to the high philosophical meaning of Tolstoy's story. As in all his works, Tolstoy is surprisingly nuanced, expressive and demanding here. “...I couldn’t understand what it meant to be called a person’s property. The words: my horse, referring to me, a living horse, seemed as strange to me as the words: my earth, my air, my water... And the one who says mine about the largest number of things in this game agreed upon between them, is is considered the happiest among them. And people strive in life not to do what they consider good, but to call as many things as their own.”

“Kholstomer” is a hymn to the horse, a hymn to life. In the “ugly and majestic” illustrations, the old age of the horse is beautiful. After all, according to the laws of the picturesque language that Plastov speaks, it is harmoniously integrated into the surrounding world. Towards the end of the story - the death of Kholstomer, the master makes a poetic painting “The Wolf with her cubs”. Herbs, flowers, as if transported here from his “Hayfield”, powerful, expressively painted tree trunks - this is a calm triumph of nature, a world independent of man and beyond his control. Plastov ends his suite to the story “Kholstomer” in an enlightened and harmonious manner. Tolstoy - mercilessly and harshly: “Serpukhovsky’s dead body, which walked around the world, ate and drank, was put into the ground much later. Neither its skin, nor its meat, nor its bones were of any use...”

The late Tolstoy amazed Plastov with his absolute stylistic clarity, precision of language, and calm wisdom. Illustrating Tolstoy’s masterpieces: “Lozina”, “Prisoner of the Caucasus”, “How Much Land Does a Man Need”, he undoubtedly paid tribute of admiration not only to Tolstoy the artist, but also to that path of life (an honest, meaningful life, with conscience, with God ), which he urged to follow. Plastov makes three illustrations for Tolstoy’s tiny story, barely more than a page long, “Lozina”: “A Swarm of Bees”, “Reapers Under the Lozina”, “The Death of Lozina”. In a small story, the artist saw the history of the tree, felt the special passage of time: “The man who planted the vine died long ago, but it kept growing. The eldest son twice cut branches from it and drowned them with them. Lozina kept growing... And the eldest son stopped managing the house and the village was resettled, and Lozina kept growing in an open field.” This theme of the life and death of a tree will be echoed in Plastov’s famous painting “The Death of a Tree” (1962), written in line with these Tolstoy thoughts.

The question of land was one of the most important Russian issues both in the times of Tolstoy and in the times of Plastov. But the story-parable “Does a man need much land” translates this question into an eternal, philosophical context. The great writer gives an unambiguous and clear answer, like a sentence: “Three arshins.”

For Plastov, as for Tolstoy, human blindness to the true meaning of existence, neglect of the values ​​given to man by God, in favor of, as Plastov wrote, “diligence in the vanity of this world” was incredibly tragic.

Towards the end of the story, the artist makes two illustrations - “Pakhom runs up to Shikhan” and “The Death of Pakhom”, which he himself comments on in one of his letters to his wife: “The first is Pakhom in great exhaustion, closing his eyes, throwing his head back, almost dying, running out of breath at the viewer. With his left hand, frantically picking up his shirt on his chest, he runs through the evening steppe among grasses and flowers, and behind him, beyond the crimson distance, the fiery ball of the sun sets, touching the flaming horizon. The sky is filled with sun and cinnabar of a magnificent and solemn sunset. The impression, it must be said, is there and somehow even shocking, especially if you know that in another minute, and this person will die, and diligence in the vanity of this world will be imputed to him as nothing.

The second is the final. The foreground is in rare grasses, a narrow strip. To the viewer's left, Pakhom lies with his head buried in the grass, his arms thrown forward. He fell asleep forever, this restless, never-fed man. On the right, a worker is digging the ground. The bluish shadow is drawn towards the horizon. A chain of horsemen. These are the Kyrgyz going to their tents. And above this entire scene rises a majestic amber sky with swirling, tousled masses of gray-blue clouds with crimson bottoms above a scarlet stripe along the horizon. ... You cannot look at this watercolor without deep emotion. Even without knowing the text, when you fall under the influence of decorative effects, you are already imbued with some kind of gloomy and majestic expression of the concept” 7 .

Tolstoy's original text is much more restrained and conventional in its descriptions of nature. There is no steppe, no flowers, no blazing skies. There is a “big, red, bloody” sun, alarming and frightening with its imminent setting.

Plastov has a different task. “It is necessary,” the master believed, “for a person to feel the enduring, incredible beauty of the world every hour, every minute. And when he understands this amazingness, the thunderousness of existence, then he will be enough for everything: for feats in work, for the defense of the Fatherland, for love for children, for all of humanity. This is what painting is for." 8

Alas, people rarely heed warnings and prophecies.

“Only one thing is interesting,” Plastov wrote after the illustrations for Tolstoy’s story were exhibited in November 1952 in the halls of the Academy of Arts, “that such a popular, truly folk thing as this work of Tolstoy - “How much land does a man need” - to some , apparently, is unknown, or at best, sounds dull, not, of course, as the great Leo expected. Yes, and I, your humble servant. But whoever knows this amazing story will remain fascinated by my humble attempt to visually show the final moment of this magnificent drama” 9.

Reading Tolstoy, following his lofty spiritual precepts, Plastov captured in his work the last portrait of the Russian peasantry, the historical archetype of a class destroyed in the twentieth century, and preserved in art the disappearing images of Russian life.

1 . Plastov A.A. Autobiography. //Archive of the Plastov family, Moscow.
2 . Right there.
3 . A.P. Chekhov in the memoirs of his contemporaries. M., 1986. P. 490.
4 . Draft letter to N.I. Sokolova dated January 18, 1963. //Archive of the Plastov family, Moscow.
5 . Draft letter to N.I. Sokolova. 1950s. // Ibid.
6 . Plastov A.A. Autobiography. // Archive of the Plastov family, Moscow.
7 . Letter from A.A. Plastova N.A. Plastovoy dated November 10, 1952. // Ibid.
8 . Plastov A.A. Catalog of works. Leningrad. // Ibid. 1977. P. 21.
9 . Letter from A.A. Plastova N.A. Plastovoy dated November 22, 1952. // Archive of the Plastov family, Moscow.

1. The word “epidemic” contains the Greek element “EPI -”. Determine its meaning. In what linguistic and literary terms does this element exist?

Score – 3 points

2. In which words does the stress fall on the second syllable?

Cool, fragile and fragrant.

The forest languishes in early spring,

And all the happy melancholy, and all its fragrance

He gave it to the bitter flower.

Score – 10 points

8. Is there a contradiction in the phrase “MOWING HAY”? Justify your point of view.

Score – 2 points

9. Form the genitive plural form from the following nouns:

Turks, Kazakhs.

Fables, apples, grams.

Saucers, oranges, epaulets, candles, frosts.

Score - for each correct answer 0.5 points. Maximum score - 5 points.

10. Write down words that do not have the suffix - OT in modern Russian:

Care, orphan, hunting, Saturday, quota, benefit, literacy, lepota, infantry.

Score - 4 points.

2 round

Read a fragment of a letter from the artist A.A. Plastova to his son.

“Today, when I got up after working on a sketch and looked around at the most precious velvet and brocade of the earth, at the sky blazing with a ringing sunset, at the silhouettes of purple huts, at this entire shroud of the Universe, as if embroidered by the fingers of angels and seraphim, as again, in which once, I thought that our icon painters only in this feast drew all the imperishable and truly heavenly music of their creations, and we cannot do anything if we do not follow these only paths to the beautiful.”

What linguistic features of the text indicate that it was written by an artist?

Score – 20 points.

Arkady Aleksandrovich Plastov (19(31).01.1893, village of Prislonikha, now Ulyanovsk region, - 12.5.1972, ibid.) Soviet painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1947). After graduating from theological school and seminary, he studied at the Moscow Stroganov Central School of Art and Industry (1912-1914) and at the sculpture department of the Moscow School of Painting, Sculpture and Architecture (1914-17) with S. M. Volnukhin (he also attended classes by A. E. Arkhipova, A. M. Korina, A. S. Stepanova). Lived in his native village.

In the 1920s - early 1930s. he worked mainly on political posters and illustrations for the works of Russian writers. Since 1935, Plastov painted mainly genre paintings (as well as portraits), imbued with deep knowledge and poetic perception of nature, the life of the modern Russian village and its people. With great soulfulness, Plastov glorified the noble labor and spiritual beauty of the Soviet peasant. Having formed as an artist under the influence of the Itinerants and masters of the Union of Russian Artists, Plastov in his work continued and developed the traditions of Russian plein air genre painting of the late 19th and early 20th centuries. His works are characterized by a relaxed simplicity of composition with large figures usually in the foreground and a major brightness of warm colors.

“In January 1931, a collective farm was organized in our village. I took an active part in its organization.

That same year, on one July day, we had a fire.

The beautiful, all-consuming flame frolicked for an hour, and half the village went up in smoke into the sultry July sky.

My house and all my property burned down. “Everything that I have written and drawn so far has disappeared in the flames, become ashes,” Plastov sighed bitterly.

From that time on I stopped taking part in field work. I have one vegetable garden and a cow left.

It was necessary to restore what was lost, and at an extraordinary pace. It was a time when I was slowly approaching how to finally become an artist."

Arkady Aleksandrovich Plastov was about forty years old at that time. Another, perhaps, hesitated, turned away from the path planned in his youth, to create an epic out of peasant life,” and would have exchanged his talent for trifles.

But Plastov was not like that.

And with renewed vigor he collects sketches and materials for future paintings. All for future use... for future paintings.

The artist performs his first paintings “Collective Farm Holiday”, “The Herd” and “Bathing the Horses”. In these paintings he declared himself as an outstanding colorist.

Collective Farm Holiday (Harvest Festival)

And again, Arkady Aleksandrovich Plastov faces a dilemma: either continue the meticulous, outwardly unnoticeable, but arduous work of collecting etudes, sketches for the planned epic, which so far brings not so much laurels as troubles, or slip into the path of writing pompous compositions that were fashionable at that time.

Plastov chooses the first path. He stays true to himself.

Days, months, years pass in labor and quest.

His main theme - Man and Motherland - has not yet found its full plastic expression.

The thunder of the Great Patriotic War struck.

And Plastov’s civic lyre began to sound in full force.

“The fascist flew by”... 1942.

Autumn. Slope. Young thin birch trees in a golden headdress. The deep peace of a fine autumn day. Not a single blade of grass moves.

The sharp howl of a dog cut through the silence. Sheep are wandering lost. What is this?

The shepherd boy pressed his cheek to the dry, prickly grass. Fell awkwardly. The arm is twisted. The whip and hat flew far away. Scarlet blood on blond curls. He clung tightly to his native land. Don't get up for him

Far, far away in the clear sky above the emerald greens is a fascist plane. A moment ago, a leaden rain stopped life.

The dog howls, raising his furry muzzle to the sky. Cows moo pitifully and sheep bleat.

A whining, ominous sound fades away in the distance. Birch trees rustle.

“My father was bitter about the war,” Nikolai Arkadyevich, the artist’s son, told me. - Just holy anger was seething in his soul.

And these feelings of his resulted in the film “The Fascist Flew Over.”

One day my father was writing an autumn sketch. And this motive touched him so much that I saw tears in his eyes.

When we returned home from the sketch, my father immediately sketched a sketch of the future painting.

The painful collection of material began. The village boys helped him. But no one managed to fall into the grass, as my father wanted.
Finally, one kid stumbled and somehow awkwardly stretched out on the dry grass.

Stop, stop! - the father cried.

Seven days later the picture was painted.

It was based on that first autumn sketch that deeply touched my father.

Seven days. This is the deadline for creating a masterpiece.

How many times does the history of art teach us lessons about the victory of the will of the spirit, love for the Motherland, which lead the artist to the sparkling heights of art...

Young Plastov, an interesting artist himself, told many, many unique things.

Father and son.

Arkady Alexandrovich's letters to Nikolai are priceless.

Here are just two of this legacy:

“I read your letters with great attention and pleasure. Know, dear son, that my heart beats with joy and pride when I read that you write and draw and do not boast of what you have achieved, but are thoughtful and critical. This is very true, this That’s how it’s needed - this healthy look at things, at yourself, at your actions, at the movement of your thoughts, your heart.

Through this, that restlessness of the spirit, fruitful and creative, is achieved, without which no forward movement is conceivable. Always hold on to this trinity: faith that you are doing what you need to do, hope that you have enough strength to do it, and love for this work.

Of course, you should not force yourself to do anything, but the discipline of the spirit should always be at its best. After all, there are moments, especially for young people like you, when the careless thought that everything will be done in time takes possession of a person so strongly that a chaotic scattering of forces begins, here and there, and generally in vain.

This is where the core of behavior should be the idea that one must work systematically, never deviating from a systematic exercise in what one loves.

After all, it would never occur to you to stop breathing at some point, for example. There’s a lot of time ahead, they say, I’ll still breathe.
So is this work.

It should be rhythmic and tireless, like the beating of our heart. Sometimes weaker, sometimes more intense, but non-stop, vigilant - and then what a joy it will be to reap the fruits of your smart and wonderful labors.”

Harvest. 1945 State Tretyakov Gallery

It seems that these wise words are addressed not only to Nikolai. They contain a great rule, to put it in prose, a measure, a norm of existence for every true artist

Work, work and more work!

No less significant is the second letter, dated May 1947: “You write somewhat irritably about those who do not understand the lyrics of Chekhov or Levitan, etc.

Never mind that.

Our gate, cow, dog, etc. After all, they also don’t understand anything about this, and is it worth growling at them for it?

It’s not worth the hassle, especially since it’s unlikely that all the subjects you listed are personally to blame for this; you think that by snorting at them, you’ll prove something to them or yourself.

This is how their fate turned out.

A diamond, shining like a diamond in a ring, hardly has the right to spit on a diamond located somewhere in the depths of the earth. What is his fault that they didn’t drag him out into the light of day, didn’t cut him, didn’t put him in a ring?

The situation, living conditions are a terrible thing, son, and therefore we need to think more in life about how to justify the energy and resources, love and attention spent on us, constantly accelerating our step towards the truth revealed to your eyes.

These people, destitute and decimated by life, must be pitied and helped to the best of their ability to understand something of what they can barely comprehend.

Of course, all this is true that their imagination and understanding are often funny and absurd, but, my dear son, when you are much older and more experienced in life, you will see with bitterness that even with great data it is not easy to know the truth and see beauty , there is not much we can do for the glory of our art and knowledge.

Of course, it is very good that you understand the desert mother more clearly, with whom you have intimate conversations in private. This is happiness for life.

But at the same time, do not isolate yourself from a young age in a pose a la Pechorin or Bazarov.

There is nothing easier to harden your heart, to climb into the hard armor of aristocratic renegadeness and through this forever lose that subtle responsiveness of the heart to small people, which, like air, is necessary for a true artist and without which a person is simply unbearable.”

“It’s not easy to know the truth and see beauty,” writes Plastov to his son. And the artist’s deeply philosophical canvases-metaphors are addressed to those people who want to understand the lyrics of Chekhov or Levitan, giving abundant food to the mind and heart of the viewer.

"Spring"...

The wind rustles in the thick willows. Torn clouds are driving in the high sky. He tears his scarf, fluffs out his heavy braids, and rustles in the folds of the light cotton dress of the girl who came on the water. Drives ripples across the dark water.

The icy moisture runs like a silver ringing stream into the placed bucket. The sunbeams, having made their way through the willow thickets, sparkled at the mouth of the gutter, scattered like broken diamonds in the bucket and illuminated the slender figure of the girl.

Freshness. Cleanliness.

Victorious barefoot youth powerfully enchants us in this canvas. We involuntarily remember distant pages of our own life, and something bright, joyful, despite our will, visits our soul.

Such is the magic of Plastov painting.

"Youth" ...

With a swing, as if knocked down, the guy fell into the thick grass. Tired. Only a minute ago, like a madman, he was racing with a cheerful dog.

Hot. The young man pulled off his shirt and stretched out, crushing the meadow flowers. Covering his eyes with his hand, he looks at how a free bird flutters high in the sky.

Young grains of bread stand nearby like a green wall. A light summer breeze moves the ears of corn and bends them down. The lark sings.

Summer. Happy time. Carefree youth. It's time to mature, hope and dream. In this canvas, with some melancholy poignancy, you feel the irrevocability, the priceless fleetingness of this time.

"Haymaking"...

Just as in a morning drop of dew, the entire rainbow world is reflected, permeated with the singing of a horn, the hubbub of birds, the mooing of cows, the crowing of a rooster, the chirping of a far-reaching tractor and the voice of the wind dispersing ruddy clouds in the reddish sky, so this picture contains all the joy of our land. June.

Haymaking. We seem to hear how each flower from this thousand-colored bouquet sounds and how lilac, blue, azure, turquoise, yellow, saffron, crimson, purple and gold colors ring with delicate chords.

The trumpets of the white-trunked birch trees raised high sound powerfully, and, as an accompaniment to this polyphony of June, millions of leaves, swayed by the summer breeze, scatter in a silver trill.

And just as sometimes in a symphony after a tense crescendo, when each instrument of the orchestra, having invested all the strength, richness and originality of its voice in the general flow of sounds, rests in a measured, gentle adagio, so in the canvas “Haymaking” the wise artist, scattering a precious mosaic before the viewer flower-bearing June grass, gives a rest to the eye, spreading out in front of it a magical carpet of sunlit meadow...

And again, as in the music of a symphony, subject to the invisible law of counterpoint, where some rhythms replace others, so in the canvas we see a proportionate alternation of dark copses, emerald meadows, and oak groves blue in the distance.

And finally, as the finale in this jubilant hymn of joy, as the final chord, as the most solemn note in this consonance - the high sky stretched above all this splendor.

There was a moment of silence, and we heard the cuckoo and the hum of a shaggy bumblebee, the hardworking song of a bee and the measured steel sound of a scythe.

“Haymaking” is a symphonic poem, a hymn to the native land, to the victorious people who survived and won a cruel, bloody war.

The magic of this painting by Plastov lies in the highly metaphorical nature of the painter’s language. After all, how monumental and sublime must be the plastic vocabulary of the work in order to take, it seems, the most ancient plot from rural life - haymaking, to make the viewer feel the grandeur of this peaceful panorama, the greatness of this sounding silence. Indeed, behind all this seething joy of life, the viewer of those days could not help imagining the entire abyss of suffering and death that the people accepted in the recent terrible years.

Let us recall the date of creation of the canvas - 1945.

More precisely, the summer of 1945, and then the whole scale of citizenship of this Plastov masterpiece, the whole ringing truth of this amazing canvas will appear even more clearly and precisely before us.

The philosophy of the canvas becomes even more striking and convincing for us when we learn that the people depicted in the painting “Haymaking” are not just models depicting mowers, but Plastov’s close, relatives, comrades, his fellow villagers.

This canvas is a combination of the broadest generalization and monumentality, authenticity of the image.

After all, the young man in the foreground is the artist’s son Nikolai, the woman in a white headscarf looks like his wife Natalya Alekseevna, and the two elderly mowers are Arkady Alexandrovich’s fellow countrymen - Fyodor Sergeevich Tonshin and Pyotr Grigorievich Chernyaev.

This thoroughness and authenticity contains all the pathos of Plastov’s creative destiny.

Indeed, from the very first steps, the painter never changed his once established holy order: every year to paint from life the life of his native Prislonika, her people, their joys and worries.

And if even for a moment we imagine collected in one place, let it be a museum or an exhibition, the entire thousand-page album of drawings, the entire immense mass of canvases, then we will see an invaluable panorama of the life of one village, elevated to the sound of a chronicle, a country.

"Spring "...

A rare soft snow falls. Martovsky, the last one. Through the transparent veil of a gray day, before our eyes is the dressing room of a smoking village bathhouse.

A young woman lovingly dresses her daughter, a snub-nosed, charming little girl who touchingly bit her lower lip.

Red bangs stick out from under a warm scarf.

Mother is in a hurry. Golden straw rustles underfoot. Heavy drops fall loudly.

In this canvas, more than ever, Plastov’s mastery appears before us in all its splendor.

It is not for nothing that Tretyakov viewers call this painting “Northern Venus”; this canvas was painted with such virtuoso skill. At one time, this canvas sounded like a challenge to the public, who had become unaccustomed to paintings with nudes...

And experienced reinsurers called it a compromise "Spring. Old Village."

Nikolai Arkadyevich told how his father was indignant and how one day, having come to the Tretyakov Gallery, he angrily tore off the words “Old Village” from the label and left the word “Spring”.

Maybe today all this seems almost a humorous story, but then Plastov had no time for jokes. Here is a letter to art critic S, in which the author tries to explain some of the tasks of art that are not clear to everyone:

“What can I tell you about why I gave the title “Spring” to one of my works? If we take the audience’s questions, well, them with their questions, it’s difficult for me to answer these questions...

This is how you answered them, I would be interested to know. But if you yourself want to ask me such a question, then this is already much worse and sadder, for this means that even the most sensitive hearts have closed themselves to the most ordinary voices of art and we must forget the gospel command: “Press and it will be opened to you.” If art is in many ways, so to speak, an allegory, silent and most eloquent speech, then, apparently, this viewer himself needs some special ears in order to hear the intimate, passionate whisper of the artist’s soul, in order to suddenly feel the warmth of his lips, to wake up and, as it were, to be resurrected in another wonderful world, from which, having looked into it at least once, you will never want to return to the state that dictates such titles as “Cutting Wood” (instead of “Death of a Tree”) or “Boy on Vacation”, which I They advised me to give my painting “Youth”, etc. You write: “You come up with names that, in my opinion, are very meaningful and that correspond to your worldview. Please clarify this. Such a quote will not only help the viewer and each of us...”

My dear! I never came up with names... The name and idea of ​​the painting, the concept, its appearance are born simultaneously, inseparably from each other. But only on the canvas I write in color, etc., and on the piece of paper under the picture I write, as it were, an interlinear translation of something that appears to the viewer in one form or another before the eyes.

Everyone is free to find any word from our wretched vocabulary fund (compared to painting), which seems to him more according to his understanding, but, giving my interlinear translation, I secretly hoped that it would fall into place, and that it would fall into the hands of a poet or simply an intelligent person and this key would be enough open my casket with simple treasures for him. Alas, this is rare, it is rarely seen, and trying to explain to a blind person what color milk is is simply beyond my ability.”

Yes, sometimes it’s a little difficult for artists who use not only the alphabet, but leaf through volumes of Pushkin’s poems and Chekhov’s stories.

However, not everyone condemned “Spring” in those days; there were other opinions...

In summer. 1953-1954 Oil, Canvas. State Russian Museum

Plastov... Never forget his open face. Eyes, piercingly sharp, sometimes sly, sometimes angry.

The master’s smile, bright, almost childlike, a deep scar at the temple - a mark of the enemy’s hatred - and a gray strand on a high forehead, furrowed with worries, will not be erased from memory.

The master was simple and outwardly accessible.

But few people knew the entrance to the light of his soul, open to the sun and children, fellow countrymen and native side.

He was thorough and hard-working like a peasant, so he hated clickers and super-gazers.

He despised lies.

And therefore, like no one else in our painting, the truth looks out from his canvas at his contemporary. Bright, bitter, juicy and tart just the way it is.

His canvases are a world richly populated by people, his beloved contemporaries, children and ancient grandfathers, beautiful young women and strong guys. In his canvases the sun shines generously, it rains, the grain ripens, it snows, in a word, this is our very life, our people, our Motherland...

An enemy of idleness, he glorified the work of the peasant in his paintings. Hard work, from dawn to dusk, labor joyful with its fruits. Plowing, harvesting, threshing, harvesting potatoes, flowering fields and rich fields, fruitful gardens - in a word, the master unfolded a whole encyclopedia of rural everyday life before us.

Shepherd Vitaly

It is not smiling, light-eyed extras who populate his canvases, but tanned, wiry, sometimes unsightly in their everyday life, but even more so, the great people of the village stand up to their full height in dozens of his paintings - the heroes of our time!

Few in the history of painting can you find such a fusion of nature and man. A young mother with a baby, exhausted by the heat in a garden laden with fruits, a young man lying down on the border next to green bread, an old man looking through tears at a felled birch tree, children running out onto the porch, admiring the first snow - all these are canvases-symbols, wise, deep into that abyss sensations and associations that come not in an office or in the solitude of a studio, but are given by the experience of a whole life, life in the very thick of the people.

Arkady Aleksandrovich Plastov experienced all the hardships and joys. He knew the full extent of recognition.

As a spiritually rich and generous person, he forgot the annoyance of long ago and in his canvases reflected the joy of being, immeasurable joy.

Saturday

Plastov is a sorcerer.

After all, one touch of his brush made the flowers instantly open with a fragrant corolla, the cool streams of the spring ring, and the birch branches rustle.

In his canvases grass breathes, butterflies flutter, birds sing, grasshoppers chirp, people live, love and dream, ripe rye rustles.

The master dearly loved his homeland, and when did he ever leave its borders? he always took with him abroad a bunch of thyme and fragrant Bogorodsk grass. He missed there, in a foreign land, the aroma of the Pslonikhinsky meadows and fields.

Summer

The artist said:

“I love this life. And when you see it year after year... you think that you need to tell people about it...

Our life is full and rich, there is so much amazingly interesting in it that even the ordinary, everyday affairs of our people attract attention and shake the soul. You have to be able to see it, notice it...

Fu, damn it, tell yourself how much life there is!

She will not let you lose heart, succumb to hypochondria, or plunge into scholastic debates about pictorial manner and form.

Here we must not argue, we must write - and in such a way that it is similar!
It looks like life.

Here, at every step, living, touching, optimistic motifs are scattered right on the surface.

As if especially for the artist, for the artist’s joy!

I’m not ashamed to admit that I love everything that is brought to life by the sun, that is caressed by its warm light, and most of all I love people.”

Girl with a red ball

“Arkady Aleksandrovich Plastov opened our second congress. And today he is not among us,” said Geliy Korzhev from the rostrum of the Third Congress of Artists of the Russian Federation. Approaching Prislonikha in the mournful days of Plastov’s death, I suddenly realized that everything that surrounds me - the fields, the light birch forest, and the Russian people I met along the way - is not just nature and not only people, but content revived before my eyes paintings of a great artist who has just left us."

In one of his letters, the master says: “I have not painted a single picture without checking a thousand times what I am going to write, that it is the truth and only the truth and it cannot be otherwise.”

Naturally, a serious and deep conviction in the correctness of the chosen path in art could not but require from the artist a certain structure throughout his life. His hayfields and harvests, his threshing floor with bread, his flocks, shepherds, countless portraits of peasants glorify the work that filled his whole life, which he knew not from the outside, without separating himself in his unassuming life from that peasant world that is so convincing and powerfully recreated on his canvases.

Convinced and consistently for many decades, he lives not side by side, not side by side, but inside this world, following the desire of his heart and understanding of the role of the artist, sacrificing all the temptations of the capital's amenities for the sake of the truth of life, which was the basis, meaning and purpose of his work. Hence the conviction and passionate poetic authenticity of everything that came from his brush, hence the dozens of sketches and hundreds of studies for each of his works, hundreds of steps leading him from the truth of the fact, the truth of the accidental, to the lofty truth of poetic generalization, to the truth - the hymn of life .

Following Goya, he could write on his canvases: “I saw this.”

Applause covered these words of Korzhev...

Noon. 1961 State Russian Museum

...Plastov is great! His whole life is a feat. He managed to fulfill his promise in full - “to create an epic of peasant life.”

“We will unearth in ourselves all that goodness that often only sleeps at the bottom of our hearts, we will put into battle all the courage of which our souls are capable, all the audacity of our thoughts, all the passion of desires to see, know and love more and more, our reality more and more ardently and our contemporary... - the artist wrote. - ... In addition to the knowledge of life - with the head and the heart, which is obligatory for a realist artist - its completeness, diversity, complexity and poetry, sketches, that is, the constant exercise of the hand and eye on nature, provide in the end, the necessary sense of proportion and ease of execution, fidelity and strength of the blow of the brush, which leads to that wonderful contact between them when you can say: what I see, I can do.”

Reading these wise lines, I want to exclaim:

“Yes, truly Plastov saw and knew how!”

Portrait of Mani the tractor driver

I will never forget the posthumous exhibition of works by Apkady Aleksandrovich Plastov, held in the Central Exhibition Hall in Moscow.

The huge Manege was completely covered with hundreds of amazing paintings. They were infinitely different. Huge paintings in which life rejoiced, color was riotous, the master’s magnificent temperament was in full swing, and landscape small “quiet” sketches, intimate portraits of fellow countrymen, snub-nosed, freckled children in crumpled caps, sweet blue-eyed girls and gnarled ancient elders - all of this together sounded like symphony, epic of Prislonikha’s life. After all, all canvases are a reflection of the life of their native village.

This was a truly unique creative feat of the artist’s entire life, who reflected the difficult life of that time in the image of his village. And this unique work visibly confirms the omnipotence and great need for true easel painting, capable of so truthfully and convincingly reflecting time and people.

Tractor drivers

But it’s no secret that for many years. especially since the early twenties, there was an attack on easel painting in our country. It seems to have outlived its usefulness and is not capable of showing the times in which we live in a dynamic and modern way, like cinema or photography. “Easel painting is an additional way of plastic thinking,” these “experts” say.

Nobody argues that the movie is great. But even kilometers of color film are not capable of creating anything equal in artistry and primacy to the grandiose creation that Plastov’s Prisponikha revealed itself to be.