TEXTS FOR SYNTAX CLASSES
AND PUNCTUATIONS IN THE EIGHTH CLASS

Arrange the missing punctuation marks, insert the missing letters. Correct spelling mistakes.
Find predicates of different types, write down one example of each type (together with the subject, if the example is taken from a two-part sentence).

To my greatest surprise, I turned out to be musical, at least as Marya Gavrilovna stated. Learning went with unexpected speed. We didn’t have an instrument yet, but Varya Solovyova, who took the march over me, didn’t let me “turn to the stable” as Korney Chukovsky later determined this inclination of mine many years later. She caught me on the street once she took me off the fence over which I climbed running away from her and with a stubborn, motionless face led me to the piano.
Grandfather's apartment was liquidated after the death of grandmother. And they sent us a grand piano, the same grand piano I played with matchboxes when I was six years old. Now I start playing exercises and scales at home. Dad is pleased that I have found some kind of t_lants.

(E. Schwartz)

Find a sentence with homogeneous predicates and draw a connection diagram of homogeneous members. Frame an introductory phrase.
Write out the corrected words, mark the parts of speech.

Underline the main terms in the highlighted sentences and indicate which parts of speech they are expressed. Indicate the type of predicate.

One morning when Pierre Gassendi, the famous philosopher rhetorician and astronomer, who was not afraid to argue even with the great Descartes himself, read
a very_rednuyu lecture downstairs in the hallway suddenly there was a noise that made_to interrupt the lesson. Gassendi and his students went out to find out what was the matter. They saw a young dweller pounding a servant with anything. The whole appearance of the stranger was remarkable, but the first thing that caught my eye was his huge nose. What do you call yourself the philosopher asked sternly and heard in response I want to listen to the lectures of the great Gassendi and this whip stuck out on my way. But, I swear with my nose, I will listen to this smartest man even if I should just pierce this fool or someone else with a sword! Gassendi's voice noticeably warmed up. Well, maybe I can help you. What's your name young man? Savignen de Cyrano de Bergerac poet proudly answered the guest.

(A. Tsukanov)

Circle (box) the introductory word.

Is there a narration, description, reasoning here? In what ways are sentences in the text related?

Insert the missing letters, place the missing punctuation marks.
Underline the grammatical foundations, indicate the type of each predicate.

One young Athenian went to court. He claimed that his frail father was out of his mind and therefore could not dispose of the family's property. The old man did not make excuses - he only read to the judges the just finished tragedy. After that, the dispute was immediately resolved in his favor and the son was recognized as an unscrupulous liar. The tragedy was called "Oedipus in Colon" and the old man's name was Sophocles.

(O. Levinskaya)

Select only those roots in which the missing vowel is checked by stress.

Arrange the missing punctuation marks, insert the missing letters.
Underline the predicates, indicate their type.

Teddy bear was quite tall with intelligent eyes with a black muzzle and he lived in a booth in the lyceum yard. It belonged to General Zakharzhevsky, the manager of the Tsarskoye Selo palace and the palace garden. Every morning, the lyceum students saw how, about to go around, the general patted the bear on the head, and he tried to break loose from the chain and go after him.
And then one day, in front of the lyceum students, an event took place that brought the bear into the political history of the lyceum.
General Zakharzhevsky, passing by the booth one day, to his horror, discovered that the booth was empty: the bear had fallen off the chain. They started looking - unsuccessfully: n_ in the yard n_ in the garden there was no bear. The general lost his head: two steps away was the palace garden ...

(Yu.Tynyanov)

Write down: 1) predicate, expressed by a phraseological combination; 2) a predicate with a linking verb to be in the desired form.
Mark with a "+" the predicates expressed by the verb to be in the desired form.
Mark with "++" the predicates in one-part sentences (in which there is no subject). Emphasize pronouns. Specify the category of pronouns.
Label any morphemes that have missing letters.

Arrange the missing punctuation marks, insert the missing letters.
Indicate the grammatical bases, indicate the type of predicates.
Emphasize adverbs.

At the halt, we slept wrapped in blankets. I still could not wrap myself up and the Soloviev girls carefully helped me. I chatted made everyone laugh. My face was warming, I was intoxicated and still didn’t allow to sleep n_ to whom and n_to and did not want to sleep. From the outside, we probably would have seemed crazy, which is why I was so condescending to the campaigns of our peers (peers - our age at that time) who walk so noisily, arm in arm, along Komarovski streets or laughingly taking benches opposite each other in the train. Laughs at all costs.

(E. Schwartz)

Come up with and write down a sentence with a highlighted turnover.
Write down words with unpronounceable consonants.

Insert the missing letters.
Underline the main terms in all sentences and indicate which parts of speech they are expressed. Indicate the type of predicate. (Note that in this text, all punctuation marks except three commas separate simple sentences within complex sentences.)

According to the myth, the Theban king Lai and his wife Jocasta received a terrible prophecy: their son will kill his father and marry his mother. The king and the queen decided to avert trouble: the servant had to carry the child with the legs pierced with a needle to Mount Citheron and leave there. But the slave was unable to carry out the cruel order; he met a shepherd from Corinth and gave the baby to him. So the boy ended up in Corinth, in the home of the childless king Polybus and his wife Merope. He became their son, and received the name Oedipus, which means "with swollen legs." Once at a feast, one of the guests told us Oedipus that he was adopted. Oedipus went to Delphi to the oracle for the truth, and there he learned that he was destined to kill his father and marry his mother. He hastened to get away from Corinth so as not to destroy Polybus and Merope, whose son he considered himself.

(O. Levinskaya)

Put emphasis on the highlighted words.
Minor members of the proposal

Insert the missing letters, place the missing punctuation marks. Underline all indefinite verbs as members of a sentence.
Disassemble the highlighted sentences by members.

From childhood, Robert Louis Stevenson suffered from illness, he almost did not go to school and did not play with his peers. However, lying in bed surrounded by toys, he never felt bored because he knew how to fantasize. The beloved nanny read aloud to him and told him stories. It is to her that he will devote the first book of poems addressed to children in the history of literature. It was written in a new way. The author did not teach readers to behave well and obey their mother, but portrayed the child's world as red and mysterious.
But Stevenson began with prose. At the age of fifteen, he wrote and published an essay on the fight against the British. He was ready to devote his life to literature, but he had to give in to his father and study at the University of Edinburgh at the department of law. After graduating from Stevenson University, I devote myself to my favorite work with a new passion.
Disease drives him to warm regions. He travels with a friend in the south of France, where he writes a series of essays. The reader immediately sensed in the author an intelligent and observant person who could talk interestingly and with humor even about empty things.
Stevenson retained the ability to be happy under any circumstances for life. It was especially useful in the fight against his worst enemy - tuberculosis. In search of a climate suitable for health, he had to travel a lot. The writer was treated in a winter sanatorium_ in the state of New York, sailed on a yacht in the Pacific Ocean but did not stop working. When the doctors forbade him to move, he dictated works to his wife.
Stevenson spent his last years on the island of Samoa in the Pacific Ocean. He made friends with the Samoans, learned their language and sent articles about their life to London newspapers to draw attention to the problems of the small people. When a civil war was brewing in Samoa, he rode from one camp to another, trying to win sides to peace.
After the death of the writer, sixty Samoans carried the coffin with his body to the top of the mountain. Stevenson's poem Requiem, which begins with words, was engraved on the gravestone

Under the starry sky, in the wind
The place is the last choice.
I lived joyfully, I'll die easily
And I'm ready to go to the grave.

(O. Sventsitskaya)

In the text, two words are written with a hyphen. Find them and explain their spelling.
Write an answer to one of the questions: “What do you find unusual in Stevenson's life? What properties of the personality of the English writer are mentioned in the text? "

Insert the missing letters, place the missing punctuation marks. Correct spelling mistakes.
Underline the participial phrases and label the words to be defined.
What is the name of the comma-separated term in the first sentence?

The legend tells how the young Grigor Narekatsi, the future great Armenian poet and theologian, fulfilling his vow for seven years shepherded a village herd not far from the village and never hit one animal. When, after the expiration of the term, he, as a sign of fulfillment of his vow, stuck a still unused twig into the ground, then a green bush grew from the twig.
The enemies decided to accuse Grigor of heresy. They even wanted to summon him to ecclesiastical and secular courts, but this was prevented by another miracle. The guards sent for Narekatsi came to him on a fast day. He invited them to dine with him and they were given hot pigeons. The guards were very happy with the violation of the church charter and reproached Grigor. He was embarrassed and said that he had simply forgotten what day it was and slammed into l_doshi. The pigeons suddenly came to life and flew away. When the news of the miracle spread throughout the district, the trial of Narekatsi, of course, became impossible.

(A. Tsukanov)

What is a vow, heresy, secular, lean?
Circle (box) the introductory words. Parse the highlighted sentences.
List all parts of speech in the first sentence.
Put stress on the highlighted word.

Insert the missing letters, place the missing punctuation marks. Correct spelling mistakes.
Underline all indefinite verbs as members of a sentence.
Underline the application.

The Russian empress constantly corresponded with the great French philosopher Denis Diderot and took into account his opinion. In the early 70s of the XVIII century. He received an invitation from his powerful correspondent to go to Russia and gladly accepted it. This journey was very important for Diderot. After all, here the opportunity opened up to influence the "philosopher on the throne" and thereby contribute to the well-being of her subjects. Alas, Catherine could not share the radical views of Diderot, and to all his calls to not slowly carry out reforms in the country and free the peasants, she answered rather cautiously, drawing his mind to the unpreparedness and education of the Russian people. However, these divergences did not prevent the philosopher and the queen from talking for hours. Catherine, with some cunning, told the courtiers that Diderot, carried away by his thoughts, forgot about the cuff, grabbed her hands and squeezed them so hard that bruises remained. The philosopher reproached Catherine that she did not fulfill many of the communications given by her at the beginning of the reign, strongly condemned her for an excessively bloody foreign policy - in a word, openly and not hypocritically expressed his opinion about the rule of empresses.
Diderot paid for his desire to bring good to Russia, if not with his life, then at least with his health. On the way back, his koreta broke the ice on the river and the philosopher did not recover from the illness that began upon his return to France.

(T. Eidelman)

Label any morphemes that have missing letters.
Parse the highlighted sentences and retell them.
What is _tiket, k_respondent, radical?
As Catherine is named in the text (continue from memory, then check with the text): Russian Empress, .... Can these names be reversed?
Introductory words and sentences

Insert into the text, where necessary, introductory words, choosing the appropriate ones from the list: therefore, fortunately, firstly, however, in other words, for example, say, on the contrary, on the contrary.
Insert the missing letters.

The word can expand its meaning. Roof etymologically means "roof", but in combinations such as hospitable shelter or sharing bread and shelter, this word has a broader meaning - "home". This kind of change is often based on the custom of naming a part instead of a whole in speech.
In other cases, the meaning of the word may be narrowed. The more ancient meaning of the word gunpowder was "dust", powder is a diminutive of gunpowder. But in modern Russian, not every powder is gunpowder, but only that which is a special explosive substance. The word gunpowder has narrowed its meaning.

(According to Yu. Otkupshchikov)

Highlight the grammatical foundations in the sentences of the second paragraph.
Find and underline an indefinite verb that is used as a secondary member of a sentence.
Find theses and proofs in the text. Compose and write your text in the same way and with the same introductory words.

Insert the missing letters, place the missing punctuation marks. Circle (box) the introductory words. Pay special attention to the sentence in which the introductory word follows the conjunction a.

In ancient Greece, it was believed that the Trojan War began either because the almighty god Zeus wished to reduce the number of people on earth, or because he decided to give the heroes an opportunity to become famous, or maybe his beautiful daughter Elena. The reason for the war was the following. Once the goddess Eris threw three inhabitants of Olympus - Hera Athena and Aphrodite - an apple with the inscription: "The most beautiful." Each goddess of course hoped that the apple was for her. Zeus ordered Paris to judge the dispute.
By birth, Paris was a Trojan prince, but he lived not in a palace but among shepherds. The fact is that his parents Priam and Hecuba, even before the birth of their son, received a terrible prophecy: because of the boy, Troy will die. The baby was carried to Mount Ida and thrown there. Paris was found and raised by the shepherds. Here, on Ida, Paris judged the three goddesses. He recognized Aphrodite as the winner, but not unselfishly: she promised the young man the love of the most beautiful woman in the world.
When Paris returned to Troy as a royal son, he decided to visit Greece. In Sparta, he was received by King Menelaus with his wife Elena. Aphrodite convinced the beautiful Elena to succumb to the persuasion of Paris and flee with him to Troy. The deceived Menelaus gathered a large army, appointed his brother Agamemnon commander-in-chief, and marched on Troy.

Over time, the fame of the Narek monk spread everywhere, and it is believed that even during his lifetime legends were composed about him, which came down to us partly by word of mouth, partly through written sources.
It is noteworthy that in the numerous legends and legends that have evolved over the centuries, the people simplified and thereby brought Narekatsi closer to themselves, investing in his personality, life behavior, actions their dreams and aspirations, their ideal of a truly folk person, the only meaning of life and activities of which is to care about those bypassed by fate, about the suffering and disadvantaged. If we add to this the reverence with which they treated the word or prayer of Grigor, numbered among the saints, or the miraculous properties of his grave, then we get a more or less complete image of the poet in the popular imagination. In legends and traditions, the famous monk acts in the noble role of the protector of the unfortunate, their guardian and comforter. Whoever does not come to the aid of his saving right hand: the widow and orphans of a deceased shepherd, the parents and grieving bride of an untimely deceased young man, hungry helpers, the helpless cripple I ... and the kindness of the monk Grigor Narekatsi, the following legend can serve: “Saint Grigor came to the village of Kharzit. And he sees the villagers fighting among themselves. He asked about the reason for the fight, he was answered: "The shepherd of our village has died, we are fighting, because we no longer have a shepherd." The saint asks: "Doesn't he have someone at home who could feed the sheep?" They say: "No, there is only a wife and seven orphans." The saint says: “Do you want me? I will tend the sheep, and you will give the orphans the bribe. " They happily agreed. The saint drove the sheep to the pasture above the village, the sheep climbed up the mountain to graze every day, and he himself prayed under the apple tree. All wolves and other animals scattered at the sight of these sheep. And when the time came to milk them, the sheep themselves came under the tree to St. Gregory. And one day: the peasants saw how the light descended on the saint. Grigor tended the sheep until autumn, and in the fall, having received four jugs of grain, he gave it to the orphans, who ate these four jugs of bread for seven years. "
There are many legends and traditions in which the believing people with reverence talk about the miraculous power of the words and prayers of the holy Narek monk. Here, for example: “After visiting the monastery of St. Karapet, Grigor Narekatsi comes to the city of Mush and meets a funeral procession on the street - an old man, an old woman and a young woman, heartbroken, are walking in front, and with them a great many people. Narekatsi asks - who, they say, is buried, who is the deceased? He is told that the dead man got married only seven days ago, the young woman in black is his wife. Grigor will join the procession, come with everyone to the cemetery and there, approaching the coffin, overshadows the deceased to grow and pronounces the name of God. The deceased immediately comes to life. Seeing this miracle, everyone rushes to the feet of Grigor and praises God. " Another legend of similar content: “Grigor Narekatsi secretly left his house at night from his uncle, went to the village of Artonk, in the province of Mush” and hired there as a shepherd. For two years in a row, he gave everything that he earned to the poor. Once the devil, wanting to annoy Grigora, killed the master's ox. The owner, having learned about this, became very angry, but Narekatsi promised to drive the ox in the evening, safe and sound - and if he does not, then let the owner not pay him a salary for a whole year. Returning to the field, Grigor began to pray to God and asked him to revive the fallen ox, and the Lord heeded Narekali's words. In the evening the owner went out to meet the flock and saw his ox alive. "
According to popular belief, the power of the word and prayer of Narekatsi not only does not disappear, but also does not weaken even after his death, she goes to the grave of the saint, continuing to save the suffering souls.
“By order of the local Kurdish bek, an Armenian peasant woman from the village of Narek put a hen on eggs. Soon, the brood hen brought out the chickens and began to roam with her brood around the village. Suddenly a downpour began. To protect her chickens, the mother hen hid with them behind a millstone that was leaned against the wall, but a stone fell and crushed her along with the chickens. In fear of the anger of the Kurdish Bek, the peasant woman turned with a prayer to God and Grigor Narekatsi. She put the crushed hen with the brood in a sieve and took them to Narekatsi's grave, while she herself returned home. A little time passed, and the chicken and chickens came to life. The peasant woman was delighted and, raising her hands to the sky, she glorified God and Saint Grigor, who had resurrected her chickens.
In their legends, the people represent Narekatsi as a poor peasant, a shepherd, or the son of a poor man (“Narekatsi was the son of poor parents; for seven years he walked in shepherds ...”), in a word, a man from the crowd.
It is also interesting that Narekatsi, appearing in folk legends, is alien to religious intolerance, and for him the measure of a person's virtue is not his belonging to one faith or another, but above all the social usefulness of his labor. This idea is peculiarly refracted in the following legend: “Crossing the Tigris on the wonderful Bavtu bridge, Grigor Narekatsi learned that the builder of the bridge was a pagan and therefore after his death he went to hell. Narekatsi came to the master's grave, made the sign of the cross over it and began to pray that he would be admitted to heaven. At the behest of the Lord, the master was resurrected and Narekatsi began to convince him to repent and ask God for absolution. The master obeyed, was baptized by the hand of Narekatsi and, turning to dust again, settled in paradise. " Such is the genius poet, the famous monk Grigor Narekatsi, the great humanist and thinker in the minds of the people. Narekatsi is truly eternally alive, not only in his works, but also in the imagination of the people, and in numerous wonderful legends, which in their own way make up for the lack of biographical facts and complete his image. We add that one of the legends about Narekatsi was processed by the famous poet of the Middle Ages Hovhannes Tlkurantsi.
Despite his pious lifestyle, honor and high authority, Narekatsi, apparently, was persecuted, had enemies who tried to harm him in every possible way. Shamelessly slandered, he was summoned to the spiritual court, which is described in "Aisma Vurka": "Since he (Grigor) with great diligence tried to correct the upset church rite, several envious people slandered him before the bishops by the princes and this vardapet of truth was called a heretic and little faith. And those, having gathered, decided to arrange a trial over Narekatsi and sent their people after him. ”Further, there is a wonderful legend about roasted pigeons:“ Narekatsi received the messengers courteously and, before setting off, invited them to the table, placing two roasted pigeons in front of them. ... And it was Friday the day of fasting, and the messengers reminded Narekatsi of this. He asked for forgiveness, - he forgot, they say, about the post, said to the guests: "Tell these birds to come to life and fly." The guests, of course, could not do this. Then Narekatsi himself ordered the birds to come to life and fly, and the revived pigeons flew away. The newcomers, seeing with their own eyes the holiness of Narekatsi, were horrified, and the conspiracy fell apart. "
This, of course, is a very common legend for the Middle Ages, the likes of which are often found in manuscripts. However, there is no doubt that they were not created from scratch, they were often based on real events and facts. The above legend is interesting because we learn from it: Grigor Narekatsi was persecuted and summoned to court, he was threatened with exile. Unfortunately, the sources do not report anything definite, do not explain what kind of “upset church rite” Narekatsi “tried to correct” with great zeal, which is why he was persecuted and was called a “heretic and little faith”. It is also unclear who these "envious" persecutors are. In a word, there is much hidden under the veil of obscurity.
In this regard, let us note that Narekatsi hints at the troubles caused by his enemies in certain parts of the Book of Sorrowful Chants, at the same time asking God not to be angry with them. Here is one example: The frontier of gentleness, remember with good those of the human race, Who are my enemies, those about whom the words of repentance in the book of sorrowful hymns.
Improve them, forgive their sins, have mercy on them. For my sake, Lord, do not be angry with them, As saints who slander because of your great love for me, [treat them] as blasphemers of evil, who justly accuse me, forgive their crimes!

TEXTS FOR SYNTAX CLASSES
AND PUNCTUATIONS IN THE EIGHTH CLASS

N. SHAPIRO

The existing Russian language textbooks for the 8th grade have different advantages and disadvantages. But one feature has in common both what has been published for the third decade and what has been created recently: the exercises in these manuals are very boring in content. These are most often either scattered sentences from the classics, mainly about nature, or proverbs of unknown peoples ("The industrious one reaps the fruits of his labor, and the lazy one reaps the fruits of his laziness," "Ignorance is worse than a dark night"), or sentences invented for educational purposes by the authors of the manual ( “On the square, builders are erecting a building of a new theater”, “Because of rainy weather, the pace of the harvest has slowed down”), or instructions, once uttered or written by famous people and apparently called upon to play an educational role: “You have to travel a lot”, “Man should remember from childhood, from school, what land he was born on "," A person who loves and knows how to read is a happy person "," I consider the protection of nature a sacred deed "," After all, it is only the consumer who gives bread easily "," I love my profession "," The main motive of my life is to do something useful for people ... "," Politeness, as a rule, will give birth to reciprocal politeness. " The mind is asleep, the student gets used to dealing with words, sentences, texts that do not offend him and do not mean anything to him - an unforgivable and inexplicable pedagogical wastefulness!

However, there is an explanation: it is believed that nothing should distract the student from the educational spelling, punctuation or grammatical task - even the content. This is certainly true at the initial stages of mastering the topic. But later you need a text - popular science or fiction. And not only because it may contain interesting and useful information or unexpected language discovery. A well-chosen text helps to solve many problems: 1) to practice skills on a specific topic; 2) systematically repeat the learned spelling and punctuation rules - after all, a rare text does without isolated members, complex sentences, participles and adjectives with difficult suffixes, particles and prefixes not with different parts of speech, etc .; 3) constantly enrich the vocabulary of schoolchildren and teach them to use dictionaries; 4) make your observations and research how the text works; 5) control reading comprehension ... The list goes on.

Of course, using the proposed texts in the lesson or as homework, you will have to abandon the traditional first part of the assignment: "Write off ...". First, a more or less complete informative text is usually too large for cheating. Secondly, this so unloved type of student activity requires significant physical effort, in which mental efforts fade into the background or are completely canceled. And upon completion of cheating, the student often has the feeling that the main task has already been done, and the rest of the tasks are optional trifles. A copier or a printer provides an opportunity for many teachers - unfortunately, not for all! - to make the process of teaching the Russian language more lively and efficient. Each student receives a one-time piece of paper and directly on it inserts letters, underlines, places signs, corrects mistakes.

Is there a danger that children will forget how to write? It is unlikely, because neither the traditional exercises of the textbook, nor the dictations with compositions and expositions are canceled. And besides, tasks for texts also require work in a notebook: you need to write out sentences for parsing, write down the meanings of words, draw up a thesis plan, answer a question in writing, edit part of the text.

Some teachers are very disapproving of the "Correct Spelling Errors" assignment. In the methodology, the opinion that it is impossible to destroy the correct visual image of the word is ingrained. The unsatisfactory level of spelling literacy of students with the widespread observance of this methodological rule should make us think about how fair it is. Why do children who have seen a correctly spelled word many times write it wrong themselves? Maybe you should include other mechanisms besides analysis and visual memory? And if children still make mistakes, is it not obvious that they need to be taught to check what they have written and to find and correct these mistakes? Perhaps, the alarmed methodologists will be reassured by the fact that in the proposed texts the same type of mistakes were made - in the continuous, separate and hyphenated spelling of words. A separate spelling is given - it is sometimes correct, so that the visual image suffers minimally. Another thing is that exercises with errors require special attention, discussion, commentary, elaboration, and at least mandatory verification.

The proposed texts are distributed according to the main topics studied in the lessons of the Russian language in the 8th grade. Most of them are taken from the volumes "Art", "Linguistics. Russian language "," World literature "" Encyclopedias for children "by the publishing house" Avanta + ". The author of the only unsigned text, by the way, which received the lowest mark of a seventh-grader expert, is the author of this material.

The main members of the proposal. Types of predicate

Find predicates of different types, write down one example of each type (together with the subject, if the example is taken from a two-part sentence).

To my greatest surprise, I turned out to be musical, at least Marya Gavrilovna said. The learning proceeded with unexpected speed. We didn’t have an instrument yet, but Varya Solovyova, who took the march over me, didn’t let me “turn to the stable” as Korney Chukovsky later determined this inclination of mine many years later. She caught me on the street once she took me off the fence over which I climbed running away from her and with a stubborn, motionless face led to the piano.
The grandfather's apartment was liquidated after the death of the grandmother. And they sent us a grand piano, the same grand piano I played with matchboxes when I was six years old. Now I start playing exercises and scales at home. Dad is pleased that I have found some kind of t_lants.

(E. Schwartz)

Find a sentence with homogeneous predicates and draw a connection diagram of homogeneous members. Box the introductory phrase.
Write out the corrected words, mark the parts of speech.

Correct spelling mistakes.
Underline the main terms in the highlighted sentences and indicate which parts of speech they are expressed. Indicate the type of predicate.

One morning when Pierre Gassendi, the famous philosopher rhetorician and astronomer, who was not afraid to argue even with the great Descartes himself, read
a very_rednuyu lecture downstairs in the hallway suddenly there was a noise that made_to interrupt the lesson. Gassendi and his students went out to find out what was the matter. They saw a young dwarf beating a servant with anything. The whole appearance of the stranger was remarkable, but the first thing that caught my eye was his huge nose. What do you call yourself the philosopher asked sternly and heard in response I want to listen to the lectures of the great Gassendi, and this whip was bulging in my way. But, I swear with my nose, I will listen to this smartest man even if I should just pierce this fool or anyone else with my sword! Gassendi's voice noticeably warmed Well maybe I can help you... What's your name young man? Savignen de Cyrano de Bergerac poet proudly answered the guest.

(A. Tsukanov)

Circle (box) the introductory word.
Is there a narration, description, reasoning here? In what ways are sentences in the text related?

Insert the missing letters, place the missing punctuation marks.
Underline the grammatical foundations, indicate the type of each predicate.

One young Athenian went to court. He claimed that his decrepit father was out of his mind and therefore could not dispose of the family's property. The old man did not make excuses - he just read to the judges the just finished tragedy. After that, the dispute was immediately resolved in his favor and the son was recognized as an unscrupulous liar. The tragedy was called "Oedipus in Colon" and the old man's name was Sophocles.

(O. Levinskaya)

Select only those roots in which the missing vowel is checked by stress.

Arrange the missing punctuation marks, insert the missing letters.
Underline the predicates, indicate their type.

Teddy bear was quite tall with intelligent eyes with a black muzzle and he lived in a booth in the lyceum courtyard. It belonged to General Zakharzhevsky, the manager of the Tsarskoye Selo palace and the palace garden. Every morning, the lyceum students saw how, about to go around, the general patted the bear on the head, and the latter tried to break loose from the chain and follow him.
And then one day, in front of the lyceum students, an event took place that brought the bear into the political history of the lyceum.
General Zakharzhevsky, passing by the booth one day, to his horror, discovered that the booth was empty: the bear had fallen off the chain. We began to search - unsuccessfully: n_ in the yard n_ in the garden there was no bear. The general lost his head: two steps away was the palace garden ...

(Yu.Tynyanov)

Write down: 1) predicate, expressed by a phraseological combination; 2) predicate with a linking verb be in the desired form.
Mark the verb predicates with a "+" be in the desired form.
Mark with "++" the predicates in one-part sentences (in which there is no subject). Emphasize pronouns. Specify the category of pronouns.
Label all morphemes that have missing letters.

Arrange the missing punctuation marks, insert the missing letters.
Indicate the grammatical foundations, indicate the type of predicates.
Emphasize adverbs.

At the halt, we slept wrapped in blankets. I still could not wrap myself up and the Solovyov girls carefully helped me. I chatted made everyone laugh. My face was warming, I was intoxicated and still didn’t allow to sleep n_ to whom and n_to and did not want to sleep. From the outside, we probably would have seemed crazy, which is why I was so condescending to the campaigns of our peers (peers - our age at that time) who walk so noisily, arm in arm, along Komarovski streets or laughingly taking benches opposite each other in the train. Laughing at any rate.

(E. Schwartz)

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According to the myth, the Theban king Lai and his wife Jocasta received a terrible prophecy: their son will kill his father and marry his mother. The tsar and tsarina decided to avert trouble: a child with pierced With a knitting needle, the servant was supposed to carry it to Mount Kiferon and leave it there. But the slave was unable to carry out the cruel order; he met a shepherd from Corinth and gave baby to him. So the boy ended up in Corinth, in the house of the childless king Polybus and his wife Merope. He became their son, and he received the name Oedipus, which means "with swollen legs." Once at a feast, one of the guests told us Oedipus that he was adopted. Oedipus went to Delphi to the oracle for the truth and there he learned that he was destined to kill his father and marry his mother. He hastened to get away from Corinth so as not to destroy Polybus and Merope, whose son he considered himself.

(O. Levinskaya)

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From childhood, Robert Louis Stevenson suffered from illness, he almost did not go to school and did not play with his peers. However, lying in bed surrounded by toys, he never felt bored because he knew how to fantasize. His beloved nanny read aloud to him and told him stories. It is to her that he will devote the first book of poems addressed to children in the history of literature. It was written in a new way. The author did not teach readers to behave well and obey their mother, but portrayed the child's world as red and mysterious.
But Stevenson began with prose. At the age of fifteen, he wrote and published an essay on the fight against the British. He was ready to devote his life to literature, but he had to give in to his father and study at the University of Edinburgh at the department of law. After graduating from Stevenson University, I devote myself to my favorite work with a new passion.
Disease drives him to warm regions. He travels with a friend in the south of France, where he writes a series of essays. The reader immediately sensed in the author an intelligent and observant person who could talk interestingly and humorously even about empty things.
Stevenson retained the ability to be happy under any circumstances for life. It was especially useful in the fight against his worst enemy - tuberculosis. In search of a climate suitable for health, he had to travel a lot. The writer was treated in a winter sanatorium_ in the state of New York, sailed on a yacht in the Pacific Ocean but did not stop working. When the doctors forbade him to move, he dictated works to his wife.
Stevenson spent his last years on the island of Samoa in the Pacific Ocean ... He made friends with the Samoans, learned their language and sent articles about their life to London newspapers to draw attention to the problems of the small people. When a civil war was brewing in Samoa, he rode from one camp to another, trying to win sides to peace.
After the death of the writer, sixty Samoans carried the coffin with his body to the top of the mountain. Stevenson's poem Requiem, which begins with the words, was carved on the gravestone

Under the starry sky, in the wind
The place is the last choice.
I lived joyfully, I will die easily
And I'm ready to go to the grave.

(O. Sventsitskaya)

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The legend tells how the young Grigor Narekatsi, the future great Armenian poet and theologian, fulfilling his vow for seven years, shepherded a village herd not far from the village and never hit one animal. When, after the expiration of the term, he, as a sign of the fulfillment of his vow, stuck a still unused twig into the ground, a green bush grew from the twig.
The enemies decided to accuse Grigor of heresy. They even wanted to summon him to ecclesiastical and secular courts, but this was prevented by another miracle. The guards sent for Narekatsi came to him on a fast day. He invited them to dine with him and they were served hot pigeons. The guards were very happy with the violation of the church charter and reproached Grigor. He was embarrassed and said that he had simply forgotten what day it was and slammed into l_doshi. Doves suddenly come to life and flew away. When the news of the miracle spread throughout the district, the trial of Narekatsi, of course, became impossible.

(A. Tsukanov)

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The Russian empress constantly corresponded with the great French philosopher Denis Diderot and took into account his opinion. In the early 70s of the 18th century. he received an invitation from his powerful correspondent to go to Russia and gladly accepted it. This journey was very important for Diderot. After all, here the opportunity opened up to influence the "philosopher on the throne" and thereby contribute to the well-being of her subjects. Alas, Catherine could not share the radical views of Diderot, and to all his calls for not slowly carrying out reforms in the country and freeing the peasants, she answered rather cautiously, drawing his mind to the unpreparedness and education of the Russian people. However, these divergences did not prevent the philosopher and the queen from talking for hours.... Catherine, with a certain amount of cuddling, told the courtiers that Diderot, carried away by his thoughts, forgot about the cuff, grabbed her hands and squeezed them so hard that bruises remained. The philosopher reproached Catherine that she did not fulfill many of the communications given by her at the beginning of the reign, strongly condemned her for an excessively bloody foreign policy - in a word, openly and not hypocritically expressed his opinion about the rule of empresses.
Diderot paid for his desire to bring good to Russia, if not with his life, then at least with his health. On the way back, his koreta broke the ice on the river and the philosopher never recovered from the illness that began upon his return to France.

(T. Eidelman)

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The word can expand its meaning. Shelteretymologically means « roof ", but in combinations like hospitable shelteror share bread and shelterthis word has a broader meaning - "home". This kind of change is often based on the custom of calling a part instead of a whole in speech.
In other cases, the meaning of the word may be narrowed. Older meaning of the word powder there was "dust" powder -diminutive of powder.But in modern Russian, not every powder is gunpowder, but only that which is a special explosive substance. Word powdernarrowed down its meaning.

(According to Y. Otkupshchikov)

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In ancient Greece, it was believed that the Trojan War started either because the almighty god Zeus wished to reduce the number of people on earth, or because he decided to give the heroes the opportunity to become famous, or maybe his beautiful daughter Elena. The reason for the war was the following. Once the goddess Eris threw three inhabitants of Olympus - Hera Athena and Aphrodite - an apple with the inscription: "The most beautiful." Of course, every goddess hoped that the apple was meant for her. Zeus ordered Paris to judge the dispute.
By birth, Paris was a Trojan prince, but he did not live in a palace but among shepherds. The fact is that his parents Priam and Hecuba received a terrible prophecy even before the birth of their son: because of the boy, Troy will die. The baby was carried to Mount Ida and thrown there. Paris was found and raised by the shepherds. Here, on Ida, Paris judged the three goddesses. He recognized Aphrodite as the winner, but not disinterestedly: she promised the young man the love of the most beautiful woman in the world.
When Paris returned to Troy as a royal son, he decided to visit Greece. In Sparta, he was received by King Menelaus with his wife Elena. Aphrodite convinced the beautiful Elena to succumb to the persuasion of Paris and flee with him to Troy. The deceived Menelaus gathered a large army, appointed his brother Agamemnon commander-in-chief, and moved to Troy.

(O. Levinskaya)

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Continued in room 36/2001

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Grigor Narekatsi

Book of Sorrowful Chants

(translated by Margarita Darbinyan-Melikyan and Lena Khanlaryan)

5 ...

The luxury of the pattern and the depth of the heart:
poetry by Grigor Narekatsi

From the editor:
This introductory article to the book of the great Armenian monk - "the singer of repentance" Grigor Narekatsi was written by the non-Orthodox unbelieving scientist S. Averintsev, who calls the Orthodox believers "Chalcedonites" and "Dyophysites". Nevertheless, we are citing this article for the proof contained in it that the Monk Grigor Narekatsi did not follow the heretical ruin of Monophysitism, but remained in the purity of the Orthodox faith.

Do not be afraid of my golden vestments, do not be afraid of the sparkle of my candles,
For they are only a cover over my love, only sparing hands over my secret.
I grew up by the tree of shame, I am drunk with the strong wine of tears,
I am life from torment, I am strength from torment, I am glory from torment,
Come to my soul and know that you have come to yourself.
G. von le Fort, Passion, 1

The place of the "Book of Mournful Chants" by Grigor from Narek not only in traditional Armenian culture, but also in the entire traditional Armenian life cannot be compared with anything. The "book" was copied from century to century, they tried to have it in almost every home. The whole nation took Narekatsi's poetry to heart. Its beneficent action appeared in the minds of ordinary people as spreading from the spiritual to the material realm; if the texts were expected to heal the human soul, then in the materiality of the manuscript they were looking for healing for the sick human body - it could be placed under the patient's head.

Able to understand, regret and help in everyday trouble, completely “their own” - this is how Narekatsi seemed to the Armenian people from century to century. Genius is seldom a saint either (the most unmistakable example is Augustine); but a genius and a saint in one person, whose intercession would be told among the people by such soft timbre legends, which the Armenian hagiography associates with the name of Grigor - this seems to be a unique case.

And in folklore, there is a story about how Narekatsi - in fact, a learned monk, vardapet, scribe and the son of a scribe - for seven years carried out the humble service of a shepherd, never being angry with the cattle, without whipping it or offending it with an evil word. "Blessed is the husband, who has mercy on the cattle." Having withstood the test, he stuck the rod, which has never hit any living creature, into the ground in the middle of the village, and the rod turned into a bush, reminding people of the beauty of mercy and the glory of Narekatsi. Folk Italian legends about Francis of Assisi are called "flowers". Around the name of the vardapet Grigor from Narek, their Fioretti also grew.

We see the image of the poet primarily in the mirror of the legend. And what does history know about him?

The life of Grigor Narekatsi falls on the second half of the X - the first years of the XI century. This is the era of the Bagratids - the epilogue of the "golden age" of Armenia. After the death in 928 of Ashot II Iron, who defended the independence of Armenia in the wars with the Arabs, a time of peace began, which gave a lot to cultural development. A lover of Armenian art will remember that during the life of Narekatsi, the royal luxury of miniatures of the Echmiadzin Gospel of 989 was born. The architect Trdat, who built the Cathedral and the Gagikashen Church in the city of Ani, the capital of the Bagratids, is also a contemporary of the poet. As is usual for the Middle Ages, the deepening of spiritual culture, the self-awareness of the individual, the increased sensitivity of the soul to itself are channeled into an ascetic channel. People are no longer satisfied with the outer side of religion. Some break with the church and go into heresy: the background of the era is the strong anti-church movement of the Tondrakites. Others are looking for a more inner and spiritual side of the Christian ideal, striving to build a different, righteous life outside the walls of monasteries: monasteries grow in large numbers on the Armenian land, this is also a feature of the time. Both Sanahin and Haghpat, and among the less famous - Narek, where the poet spent his life, arose precisely in the 10th century. The air of the era is saturated with theological disputes: the Monophysites, zealots of the local Armenian tradition, conduct a sharp polemic against the Dyophysites who share the doctrine of Byzantine Orthodoxy, both anathematize the Tondrakite popular heresy, and doctrinal disagreements, as always, are intertwined with political and social conflicts.

The poet's biography has developed in such a way that he had to know much more about these disputes than he would like. His father was the theologian Khosrov Andzevatsi, who interpreted liturgical symbolism; later, having become a widow or separated from his wife, Khosrov became a bishop, but in his old age he was accused of heresy and excommunicated from the church. To the same circle belonged the teacher of Grigor and the abbot of the Narek monastery Anania Narekatsi, who was connected with Khosrov by the bonds of nepotism, Anania Narekatsi, the famous vardapet, the author of ascetic teachings, the very themes of which - a tearful gift, detachment of thoughts from everything earthly - are characteristic of the new spirituality of the era. Perhaps he, too, was suspected of lack of faith; there is a deaf message that he did not want to curse the Tondrakits (against whom, however, he wrote a polemical treatise), but did it before his death, obeying the direct command of the Catholicos. Finally, suspicion did not spare Narekatsi himself. The hagiographic tradition tells that he was already summoned to the church court and only a miracle protected him: he called those sent for him to the table and, in spite of all his ascetic customs, served roasted pigeons, and when the guests reminded that the day was fast, he resurrected in front of them pigeons and sent back to the flock.

What is behind such a story? The opinion that the poet was a secret tondrakit, which has been repeatedly expressed, is hardly sufficiently substantiated. Sources give no less, but perhaps more reason to consider the most prominent Byzantine theologian of the XIV century. Gregory Palamu as a secret bogomil, but no Byzantinist will do this. First, the swear words cited by the tradition that were spoken by the prosecutors to Narekatsi suggest suspicion not of Tondrakism, but of Diophysitism, or at least of tolerance of Diophysites. For example, he was called "Rome and apostate," that is, a fellow believer in the Byzantine church. The author of the life emphasizes Grigor's conciliatory position in confessional strife. “... Between the bishops and the vardapets, there was a strife on various issues in the affairs of the Chalcedonites (that is, the Dyophysites). And Blessed Grigor, having correctly understood that this was a useless and pernicious ecclesiastical turmoil, in which the soundness of doctrine was damaged by differences of opinion, exhorted everyone to be meek in spirit and peaceable, to be in love and unanimity. " Secondly, it is known that Narekatsi, following the example of his teacher Ananias, wrote a polemical essay against the Tondrakits. To imagine that both of them did this in an effort to deflect a dangerous accusation from themselves is to suspect them of double-mindedness, of abandoning their true views, that is, in such a course of action that cruel circumstances can make understandable, but nothing can make it commendable. By all that we know about Narekatsi, it is unlike him. His poetry cannot be based on the spiritual duality of an apostate saving his life. The Thondrakite hypothesis is best put off until very strong arguments are found in its favor.

Nevertheless, information about libel against the church reputation of the vardapet Grigor is important. First, we learn that Narekatsi, being a monk and a believing church member, was not a spiritual conformist. The enthusiasm of the ascetic who inspired him (and, apparently, his teacher Ananias), aimed at reviving the Christian ideal, in the real situation of his time opposed the inertia of spiritless ritual and mechanical worship of authority. As the Menaion note says, "the order of the holy church, distorted and forgotten because of the lazy and carnal shepherds of the spiritual, he wanted to establish and restore"; immediately after this, there is an understandable discontent of the "lazy and carnal", which almost led to reprisals against the poet. If Narekatsi was not a Tondrakite, but was, on the contrary, an opponent of the Tondrakite doctrine, he should have understood well the feelings of people who were looking for truth in hereticalism. The attitude of Narekatsi to the tondrakits is typologically comparable to that. Francis to the Waldensians, Gregory Palamas to the Bogomils or Nil Sorsky to the shearers.

Secondly, we learn that Narekatsi, being a zealous ascetic and mystic, was not a fanatic and did not share the passions of his contemporaries for reprisals against dissidents, but called for reconciliation, knowing full well that he was putting himself in jeopardy. It seems that he also inherited peacefulness from his learned mentor; Perhaps Ananias' reluctance to curse the Tondrakites testifies to the principled position on the issue of the attitude towards heretics, similar to the position of the Russian non-possessors in their dispute with the Josephites.

We know that in the Middle Ages not everyone who was not attracted to the occupation of a heretic hunter was certainly a heretic himself, or at least sympathized with the heretical doctrine; met, at least in a minority, people who sincerely accepted the dogmas of the church as truth, but did not accept violence as a method of fighting for this truth and advised to leave controversial issues pending the judgment of God. Even Isaac of Nineveh, a Syrian hermit of the 7th century, taught to have a “merciful heart” that “cannot bear or see any harm or little sorrow endured by the creature”, and therefore prays with tears, among other things, “for the enemies of truth ”, That is, about infidels and heretics; such a disposition of the heart, which, according to Isaac, brings closer to God, clearly prevents them from cursing dissidents with a light feeling. And later, some church teachers believed that cursing the deluded was not entirely Christian ("... no one deserves to hate or condemn, below the unfaithful, below the heretic"); others emphasized that this is, in any case, not a monastic matter (“... even if it befits to judge and condemn heretics and apostates, but as a king, and a prince, and a saint, and judges of Zem, and not a monk, who denied the world and all even in the world, and it befits them to pay attention to yourself, and do not condemn anyone ... "Such people were, of course, in Armenia. Why should not both monks from Narek be among them? It looks like we we know about the favorite themes of Ananias, who wrote so much about the gift of tears. This is even more similar to what we know about the soul of Grigor from his poems. It is not necessary to remind that elementary historicism prevents us from interpreting such a position in the spirit of the new European ideals of tolerance or free thought. Rather, it is - as in the cases of Francis of Assisi, or Nil Sorsky, or the work of Andrei Rublev - about the noblest version of medieval spirituality.

We have already mentioned the addiction of the lives of Narekatsi to the episode of the summons to the church court and the miraculous resurrection of pigeons; the rest of the biographical tradition is not rich in details. Apparently, the life of the vardapet Grigor passed quite quietly amid the usual monastic pursuits and literary works. In 977 he wrote a commentary on the biblical Song of Songs, as Origen and Gregory of Nyssa did before him and Bernard of Clairvaux and his followers after him; the theme is very typical for medieval mystics, who shifted the emphasis from the religion of fear to the religion of love. According to legend, this pile was made in response to the request of Gurgen, the sovereign of Vaspurakan. Narekatsi also owns words of praise to the Cross, the Virgin Mary, saints, as well as hymnographic compositions in various genres. All of these are venerable examples of medieval Armenian literature. But the "Book of Sorrowful Chants", completed around 1002, the poet wrote for all people and for all times. It is she who has lived for centuries in the memory of the people and will live in the world memory of culture.

The masterpiece of Narekatsi is the most perfect expression in the word of the spirit that inspired the ancient Armenian architects, stone cutters, miniaturists. Behind him stands a special, unlike anything else world. The maturity of the artistic will, which determined the appearance of the "Book of Sorrowful Chants", was being prepared for a long time. Three and a half centuries before the poetic laments of Narekatsi, Zvartnots was conceived and built, striking our imagination even in ruins. Nowhere can one find such a weighty, heavy, almost frightening redundancy of forms and images as the one that marks the capitals of Zvartnots; but when Narekatsi begins to unfold his metaphors, which do not foresee the end and which take breath away, the power is no less and the logic of the plan has a lot in common.

The poetry of Narekatsi confirms both the originality of the ancient Armenian culture and the originality of the poetic genius of Grigor himself. But historicism requires us to try to see both in a universal, "universal" perspective - a joke of that whole, which is called the literature of the Christian Middle Ages.

Songs of Narekatsi are “sorrowful” songs, literally “crying songs”. What does the poet grieve, what does the poet cry? About his imperfection, about his spiritual relaxation, weakness, powerlessness next to the vanity of the world, about the lost primogeniture of man. Self-reproaches are constantly ready to be transformed into complaints about sinful humanity in general, with which Narekatsi feels closely bound by the mutual guarantee of guilt and conscience. He asks God for forgiveness not for himself alone, but together with himself - for all people:

Counting myself as deserving of punishment
Together I pray for mercy:
Together with the humiliated - and with the timid ...
Together with the fallen - and with the despicable,
Together with the expelled - and with those who have returned to You,
Together with the doubters - and with the faithful,
Together with the cast down - and with the resurrected ...
(chap. 32, § 1)

Confessional self-denunciations and lamentations about their sins are a very productive genre of medieval literature; creativity in this vein came from an attitude very far from romantic or post-romantic ideas about self-expressing individuality. When an author tells us: “I” suffer and grieve, “I” is guilty and reproaches myself, his “I” must appear in such a way that any reader or listener of the same faith can repeat each complaint in his own name, identifying his “I” with the author's "I" entirely and without reservations. Let us repeat once more - completely and without reservations; for the way of perception, for which the so-called confessional lyricism has usually been calculated since the time of romanticism, includes a well-known measure of self-identification according to the formula “here I am - this is how I am”, but in conjunction with the pathos of distance “and I” already means “not he” "Such" already means "not the same." The personality of the poet from Byron and Lermontov to Tsvetaeva and Lorka is thought of as exceptional; contemplating it in the imagination, the reader correlates his personality with it according to the same criterion of exclusivity (“... like he, a wanderer driven by the world”), but a personal relationship cannot be an identity relationship (“no, I’m not Byron, I’m different. .. "). When Pushkin talks about the very feelings that were the subject of Narekatsi's poetry:

And, reading my life with disgust,
I tremble and curse
And I complain bitterly, and shed bitter tears,
But I don’t wash away the sad lines,

the described experience appears as the experience of a poet, or, what is the same, a “lyrical hero” 6; the experiences of the reader may be in tune with him, but the distance of the web remains the same. Precisely because the poet is expected to speak about himself, and only indirectly, through his own individuality, - a word about everyone and for everyone, biographical details are allowed, even welcomed.

The merging of the feelings of the poet and the reader for prayers and crying of repentance is not a paradoxical and unexpected result of the confrontation between two individuals, their dialectical contrast, but a self-evident task. Here no one will be surprised how the poet managed to say this about everyone and for everyone; nothing else was already assumed a priori. And here's another important difference: identifying his “I” with the “I” of the poet, the modern reader, as it were, splits internally into an absolute “I” suitable for such identification, and an empirical “I”, obviously different from the lyrical hero (and the latter does not coincide also with the empirical "I" of the poet, so that the split also penetrates into the face of the latter); such a play attitude is incompatible with the spirit of medieval asceticism. Splitting and acting are not allowed here.

This means that all the signs of an individual biography must either be eliminated or generalized to a pan-human paradigm in which every detail is completely processed into a symbol. Otherwise, the procedure for the assimilation of the text by the community for the everyday life of which it was created could not have taken place. This procedure assumed that all members of the community could “with one mouth and one heart,” as one liturgical formula says, pronounce the text as their authentic collective utterance, that is, that each member of the community applies every word to himself, and, moreover, without any metaphors and bifurcations, perhaps more literally; the more literal the better. When, for example, a Byzantine was present at Lenten service during the recitative reading of the "Great Canon" by Andrew of Crete, he could have some idea of \u200b\u200bthe biography of this hymnographer - more or less real, gleaned from hagiographic literature, or fantastic, gleaned from folklore tradition, where the saint is presented as a kind of new Oedipus, but with each exclamation of this penitential hymn he was asked to think not about Andrey's sins, but about his own. Therefore, Andrei did not speak about any special features of individual sinfulness, but about the sinfulness, so to speak, of “a person in general”; and Narekatsi did the same.

Pushkin could have given in his poems the Petersburg night as a setting for the penitential insomnia of his lyrical hero, but for Narekatsi it was impossible to make him feel behind his poems any characteristic landscape, different from any other real landscape, for example, the landscape of the Narek monastery on the shore of Lake Van, where his life passed. The metaphor of the "sea of \u200b\u200blife" from Greek rhetoric (where it was really determined by the experience of the people of seafarers) fell into the "commonplaces" of the international Christian literary tradition, and already in patristic times became an indispensable component of the latter "; by the way, it is popular in Russian folklore, although a resident of Central Russia did not often observe the banks at the sea or even on a sufficiently large lake.As for Narekatsi, it is not even important that his "sea" metaphor is conditional through and through and does not reveal a single specific feature, but that according to its For example, we could identify his penitential outpourings as pronounced precisely on the shores of Lake Van; this would mean that a fellow believer who by chance finds himself far from Lake Van has already been excommunicated from his identity with the penitent lyric hero.

Let us allow ourselves a historically justified analogy. A modern interpreter of the Byzantine-Russian icon explains why a linear perspective and volumetric corporeality would destroy the meaning of the icon: the depicted object would thereby receive an unambiguous fixation in physical space in front of the viewer, and its three-dimensionality seemed to push the viewer out according to those laws, according to which two physical bodies do not can occupy the same place at the same time - and meanwhile, for the super-task of the icon, it is necessary that this object appear not only in front of the viewer, but simultaneously inside him and around him, as a volumetric and encompassing, and therefore allowing one to enter within itself, allowing one into itself8 ... The same requirements are imposed on the author's "I" for penitential genres: it must be inclusive, which means that it should not be too voluminous.

So, the genre as a whole is prescribed a supra-personal character. "Superpersonal" for poets with weak individuality means "impersonal." And we know that in the sacred literature of the Middle Ages there are many such "nobody's" texts, living not by individual inspiration, but by the suggestions of the genre canon itself, by the energy of the genre norm as such. It. by no means always identical with aesthetic weakness; sometimes we have before us just perfection - but impersonal perfection. Narekatsi is not at all like that. His individuality is strong enough to preserve himself, renouncing himself and giving himself to the end, in order to appear resurrected and transformed, descending into the tomb of super-personal spiritual discipline. As it is said, “he who hates his soul will keep it,” and this promise justifies itself in the historical and literary phenomenon of Grigor from Narek: the poet-monk treats the individual “soul” of his work very abruptly, denies it any biographical identity, completely erases everything portrait, constrains her spontaneous self-expression - but the very life of this soul is really saved. Each reader can be sure of its safety. If reading Narekatsi prompts each of us to think once again about how difficult the dialectic of the personal element is, it will be good.

And here's what is important: from a simple given, imposed by the religious worldview and the religious everyday life of the era, that is, from outside literature as such, from an obligation that one simply has to accept, Grigor turns the supra-personal direction of his poetry into a special poetic theme. If he sacrifices, “crucifies” his individuality, this act has the pathos of a monumental gesture in him. He breaks the mediastinum between "I" and "not-I" as if with a wide wave of his hand, so that the prayer for himself and the prayer for everyone could not be discerned. In our century, poets so often looked for a path "from the horizon of one to the horizon of all." The horizon of Narekatsi's poetry is at every moment the horizon of everyone - of course, seen as a man of that time could see; and this is specially expressed, expressed in the word. “Together I pray for mercy; together with the humiliated and timid, together with the fallen and despicable ... ”Above we broke off the quote so that it would not be too long. But Narekatsi was not afraid to violate the measure in this long list of categories of people with whom he unites himself in the most final, very last instance of his being - before the throne of God. The list goes on and on:

Together with the reckless - and with the sober,
Together with the dissolute - and with the temperate,
Together with those who have departed - and with those who have approached,
Together with the rejected - and with the beloved,
Together with the fearful - and with the daring,
Together with the ashamed - and with the jubilant
(Ch. 32, § 1).

We seem to see two crowded crowds, two hosts, two choirs - some stand upright and cheerfully, having risen after all the falls, and rejoice in firm faith and confident knowledge of their chosenness, others hesitate, stagger, fall and do not know how to rise, amazed by doubt , feel rejected, rejected, almost predestined for destruction. If the poet thought only of his own salvation, he could concentrate on supplication; may God grant him to be with the first, and not with the second. If the poet was anxious to show his humility, he could unequivocally identify himself with the latter: I am a sinner, and therefore separated from the righteous. At the very beginning of his list, he seems to embark on this path, uniting himself with the "humiliated and timid", "fallen and despised." But the next moment the obstacles are removed. Yes, the poet is sinful, and therefore - is it only because or according to the law of pity? - first of all, puts himself in the ranks of the most lost and hopeless; however, he does not separate himself from the righteous, if only because he does not separate himself from anyone. It would seem that the two hosts are so different from each other - they are collected according to opposite signs, there is nothing in common between them; however, the elect and the cheerful continuously intercede for the outcast and the relaxed, and they ask for help, communication takes place between the two hosts. For the tradition to which Narekatsi belonged, it is an integral part of the accepted doctrine; but for Narekatsi's poetry it is a theme articulated with unusual acuteness. Particularly interesting is the role that is assigned to the figure of the poet himself; since it is "together" with those and others at the same time, the reunification of those and others occurs! in her and through her; it is revealed "as a sign" of reunification. And the gods should be in tune, because the poet is already in tune with everyone.

Narekatsi does not get tired of repeating that he speaks for everyone, for everyone - but “everything” is too abstract for him, he needs to concretize, sort out the possible variants of human existence. The poetics of the list, the "catalog" are very traditional; Grigor perceives it both in fidelity to tradition, in obedience to tradition common to the entire Middle Ages, and in the pristine immediacy that characterizes him. Here is to whom he offers his book as an admonition and a "mirror":

And by the fact that they entered the first stage of life,
And those who are in the second, replaced by maturity,
And the weak old men, whose days are drawing to a close,
Sinners and righteous
To the proud who are self-righteous and those who reproach themselves for their sins,
Good and bad
Fearful and brave
To slaves and slaves
Noble and noble,
Average and noblemen,
To peasants and masters,
For men and women
Overlords and subjects,
Ascended and humiliated
Great and small
Nobles and commoners,
Equestrian and foot,
Citizens and villagers,
To the haughty kings, whom the terrible reins hold,
To the hermits, talking with the inhabitants of heaven,
To well-behaved deacons,
To the pious priests,
To the vigilant and guardian bishops,
To the viceroys [of God] on the throne the patriarch,
Koi give gifts of grace and ordain
(Ch. 3, Section 2).

The wide breath of such passages, which unwind like a thread, unfold like a racing fabric, flow like a river, is characteristic of a certain type of verbal creativity, which is a constant of all medieval literature as a whole - from the Atlantic to Mesopotamia and from Augustine to Villon. As regards Villon especially, it is difficult not to recall the list from his "Great Testament", which is very close to the quoted lines of Grigor Narekatsi also in the topic. Here is the list in literal translation: “I know that the poor and the rich, the wise and the mad, the priests and the laity, the noble and the mean, the generous and the stingy, the small and the great, the beautiful and the ugly, and the ladies with high collars, of any class, with their hair as a lady or as a bourgeois woman, she will take death without any exception. " Villon cannot say "all people in general" - he must figure out the scope of this concept through a long chain of antitheses.

But we are now more interested not in the motive of calculating humanity by means of "binary oppositions", which has numerous precedents already in the Old Testament - "one fate is for the righteous and the wicked, the good and the evil, the pure and the unclean, making sacrifices and not making sacrifices, as one who swears, so and one who fears an oath ”(Ecclesiastes 9: 2) - but the intonation as such: the uncontrollable pressure of the verbal flow, when each word now varies in a number of synonyms, each metaphor in a sequence of additional metaphors. Here is an example taken at random from Augustine's Meditations: “What evil have you done, sweet youth, that you are judged by such a judgment? What evil have you done, beloved youth, that you have been treated so severely? What is your crime, what is your sin, what is your fault, how did you deserve death, how did you bring execution upon yourself? " (8, 1). In ancient Russian literature, such an intonation is especially characteristic of Epiphanius the Wise and the authors of his circle: “... Yes, and I am sinful and unreasonable, following your word of praise, the word weaving and the word fruitful, and honor the word, and from the word, the praise of the gathering, and gaining , and add, packs of the verb: what else is there for the name, the leader of the lost, the finder of the lost, the mentor deceived, the leader with the blinded mind, the purifier of the defiled, the extortionist wasted, the guardian of the war, the sad comforter, the hungry feeder, the giver demanding, the punisher of the senseless, the helper of the obsessive warmth, an intercessor is faithful, to a filthy savior, a damnation devil, an idol of a consumer, an idol of a trampler, a servant God, the wisdom of a diligent, the philosophy of an amateur, the doer's chastity, the truth of the creator, the books of the storyteller, the literacy of the writer's feathers, ”Epiphanius addresses his hero.

It is in the application to Russian material that such poetics of pathetic "stringing", ie, the emotional-suggestive use of synonyms, is very clearly described by D. S. Likhachev: “Here synonyms are usually placed side by side, they are not merged and not separated. The author, as it were, hesitates to choose one, the final word for the definition of this or that phenomenon and puts two or more synonyms side by side, equivalent to each other. As a result, the reader's attention is attracted not by shades and differences in meanings, but by the most common thing between them ... ”. The role of "synonymous" comparisons is similar to that of lexical synonyms; their combination "does not allow the reader's attention to linger on their tangible side, erases all species differences, preserving only the most general and abstract and leaving the reader with a sense of the significance of what is being discussed." The ancient Russian authors themselves called the goal of their aspirations "verbal satiety."

There is little to add to this characteristic, except for one very important point. We are talking about a stylistic tradition in which principles that seem incompatible to us are indistinguishably close - noisy flowery and quiet meditation, playing with words and understanding the meaning behind words. In this sense, the historical and cultural incident of Augustine is characteristic, who could, on the threshold of the Middle Ages, move from the role of a rhetorician to the role of a meditator, having changed so little in the purely stylistic devices of his prose. For medieval meditative literature, the technique of rhetorical "amplification" - the art of making speech lengthy and thus increasing its inspiring power - gave especially a lot. A rhetorician who possesses such a technique will select ever new words for the same subject, striving to enhance the brilliance of the verbal feast he is preparing, the verbal fireworks; but for a person who performs an act of meditation, the same procedure is needed in order to go deeper and deeper into the object, to the limit reaching a level at which words no longer exist. So, the pseudo-Dionysius the Areopagite, an unknown Greek-speaking author of the 5th century, generously poured out streams of synonyms and parallel metaphors in his three treatises, declares at the end of his corpus, in the last, "apophatic" treatise: “Here we no longer acquire short talk , but complete wordlessness. " He needed a lot of words to go beyond the word. ”His example clarifies a lot in the practice of Narekatsi.

Let's pay attention to the semantic structure of the appeal to God in paragraph 2 of the same thirty-second chapter, which opens with the above grandiose list of sinners and righteous people with whom Grigor from Narek unites himself. First, there are very rich paraphrases of an abstract philosophical concept of the highest good, summum bonum, skillfully interspersed with biblical metaphors of "heritage" and "lot", but generally adhering to the lines of ancient idealism, and at a purely literary level, striking in their inexhaustibility - what Florensky called in relation to analogous to the phenomena of Byzantine poetry "seething wit":

Incomprehensible essence, inscrutable truth.
Power is omnipotent, mercy is omnipotent,
Boundless perfection, unspeakable heritage
Worthy lot, abundant endowment,
Undeterred wisdom, longed-for charity,
Desired giving, sought-after joy,
Carefree peace, undoubted gain,
Being is inalienable, unbending acquisition,
The height is incomparable ...

This part of the row is the most "mental"; and in it God is not "you", but "it", not a person, but an entity considered in itself, ontologically ("being", "truth", "strength", "wisdom", "height"), but in relation to a person - only as the goal of his aspirations and acquisition (“joy”, “peace”, “acquisition”, “lot”). One involuntarily recalls the motionless prime mover of Aristotle, forcing everything that exists to love itself and in a love impulse to reach for it, thus setting in motion the colossus of the world (Metaphysics, XII, 7), but himself loving only his self-sufficient, resting perfection, nowhere and to no one rushing.

But now the middle part of the row begins, where God is no longer an entity, but an agent, a "living God", manifesting himself in acts of love, mercy, pity:

The most skillful healer, the unshakable stronghold,
Retoucher of the lost, retriever of the lost,
The hope of the hopeful, the enlightenment of the darkened,
Purifier of sinners, You are ... a refuge for fugitives,
Calmer of the rebellious, You are the salvation of the lost,
You are the bond resolver, the liberator of those who have been betrayed
You are the protection of those who have stumbled, You are the compassionate of the tempted
The Patience of the Doubters ...

And this is not the last word. God as the protector of man is still a force external to man; and its operation is described more for reason than for feeling. In the last part of the series, the megaphors take on a more heartfelt and more mysterious character. We are no longer talking about a self-sufficient essence and not about the ultimate goal of a person lying above and in front of him, and also not about a powerful patron of a person, on whose help one can count on, but about the innermost focus of the human soul and human life itself, about strength acting "from within" a person and closer to him than himself. It is hardly prudent to speak in this connection about pantheism: a term that is absolutely clear when applied to the philosophy of Spinoza, but causes slight doubts even when it comes to the sermons of Meister Eckharg, is very controversial in this case. When the Gospel of Luke says: “The kingdom of God is within us” (17:21), this, of course, is not pantheism. When Augustine speaks of God as the core of his own “I”: “I would not, I absolutely could not be, if you did not abide in me” (Confessions, 1 - 3), this is also not pantheism. And yet, the accentuation of the inner presence of God in man, in human body movements, in human speech, undoubtedly introduces a new semantic moment, and, moreover, a very significant one. It is easy to see that the theme of intimacy between God and man, the mystery that brings God and man closer, especially excites Narekatsi and makes him more eloquent than both previous themes:

An image of light, a vision of joy, a shower of grace,
Breath of life, power of appearance, cover over the head,
The mover of the mouth, the mover of speech, the driver of the body,
The reaper of the hand, the stretcher of the pastern, the bridle of the heart,
Native name, kindred voice,
Sincere unity, father's care,
A confessed name, an honored face, an incomprehensible image,
God-worshiped power, praised memory,
The entrance of exultation, the faithful path, the enemy of glory,
The path of truth, the ladder of heaven ...

In the Gospel saying, Christ is called "the way" and "the truth"; if it were only “truth,” this would once again underscore the inaccessibility of God for the human soul, which is outside of truth, but the “path” to truth, giving itself to human feet, is a completely different matter. If the divine principle is not only in transcendent immobility, in sacred statics, but in the dynamics of human effort, then a person has something to hope for. The accessibility of the path is expressed in the word more strongly than the unapproachable height of the goal; paternal, "native" and "kindred" to a person is stronger than royal. Without modernizing the ancient Armenian poet, without insisting on either his freethinking, or his pantheism, or his fighting against God, we have every right to assess his position as deeply human. Humanity is given the last word in the passage we have analyzed; but she always has the last word with Narekatsi.

Having reached this conclusion, the pressure of ornateness decreases in a significant way. “Innumerable ranks, innumerable stanzas” are just a means to reach the last penetration and fall silent. The luxury of comparisons serves to reveal the silent depth of the heart, and the heart of the suffering, wounded, defenseless, at the limit of the possibilities of poetry. The decoration of the metaphors must be very heavy and dense to hide such insecurity.

And now a few words about the nature of this publication. Until now, Narekatsi was known to the Russian reader in the translations of N.I. Grebnev. These excellent Russian poems would be better called the old word "transcriptions"; so during it Lomonosov, Derzhavin and Yazykov transformed psalms, so Pushkin himself wrote "From Anacreon" or "Imitation of the Koran" and reforged Horace's Alkeyian stanza into tetrametric iambics: "Which of the Gods returned to me? .." Find a place among the heirs like this tradition is not only not shameful - it is a great honor. The strength of Naum Grebnev lies in his convinced and felt fidelity to the everyday life of Russian poetry from Pushkin to Pasternak. But the reader has the right to ask again: "But what about Narekatsi?"

This question needs an answer. This is partly done in interlinear translations, which were published fragmentarily together with the translations of N. Grebnev. Now we need to bring the reader as close as possible to the original - so close that he would have to go beyond all the usual associations prompted by Russian poetic culture, so that the mediating work of the translator would become more humble, and his presence almost imperceptible, so that through the thin veil of Russians words could touch the Armenian text as if with a hand.

This is the purpose of the translation of Margarita Darbinyan-Melikyan and Lena Khanlaryan. Already from the quotes given in our article, it is clear to the reader that this is not a trivial word-for-word translation.

S. S. Averintsev

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