syllable

syllable, plural syllables, syllables, m. 1. A sound or combination of sounds in a word, pronounced with one exhalation (linguistic). Open syllable(ending in a vowel). Closed syllable(ending in a consonant). Divide words into syllables. 2 units only Style, manner of writing or speaking, expressing your thoughts. High-flown syllable. The article is written in an excellent style. - Allow me, Pyotr Ivanovich, I’ll tell you: - Eh, no, let me: you don’t even have such a style. Gogol. The verses are accompanied by a high syllable. Vyazemsky.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

syllable

Ah, plural -i, -ov, m. A sound or combination of sounds pronounced with one impulse of exhaled air. Divide words into syllables. Read syllable by syllable. Shock s. Open s. (ending in a vowel sound). Closed village (ending in a consonant).

adj. syllabic, -aya, -oe. Syllabic writing (in which syllables are represented by signs, not sounds). Syllabic sounds (syllable-forming).

syllable

A, m. Same as style (in 3 values). Write in a good style. High s.

New explanatory dictionary of the Russian language, T. F. Efremova.

syllable

m. A sound or combination of sounds in a word, pronounced with one impulse of exhaled air (in linguistics).

m. Method, manner of expressing thoughts; style.

Encyclopedic Dictionary, 1998

syllable

the minimum pronunciation unit of speech, consisting of one or more sounds that form a close phonetic unity. An open syllable ends with a vowel and a closed consonant with sounds.

Syllable

the minimum pronunciation (articulatory) unit of speech, consisting of one or more sounds that form a close phonetic unity based on a single expiratory impulse (or, according to representatives of some S. theories, on the basis of a single impulse of muscular tension, or modulation ≈ narrowing and expansion ≈ pharyngeal tube, degree of sonority and order of sounds). There are three components in S.'s composition: the beginning (attack), apex (core), and end (indentation). Simple vowels (“ma-ma”), in a number of languages ​​sonorant consonants (Czech, prst ≈ “finger”), and occasionally noisy consonants (French psst! ≈ “ts!”) form the top of the S. (see Diphthong). The beginning and end of S. are represented by one or a group of consonants; in some languages, S. may consist of one vertex (“o-ni”). A consonant is called closed when the final component is ≈ consonant; open ≈ with a final component ≈ vowel; undisguised ≈ with an initial vowel; covered ≈ with an initial consonant. The most common structure of a consonant is a consonant and a vowel (known to all languages ​​of the world). Syllable division often does not coincide with the division into morphemes, for example, in the word “handle” there are two S. (“ru-chka”), but three morphemes (“ru-k-a”). In some (so-called syllabic) languages, morphemes, as a rule, are monosyllabic and the boundaries of the syllable and the morpheme coincide (for example, in Chinese). In such languages, the positions of the beginning of the word and the end of the word are opposed in the structure of the word (the latter is distinguished by a limited set of sounds allowed in it).

V. A. Vinogradov.

Wikipedia

Syllable

Syllable- this is a minimal phonetic-phonological unit, characterized by the greatest acoustic-articulatory unity of its components, that is, the sounds included in it. The syllable has no connection with the formation and expression of semantic relations. This is a purely pronunciation unit. In a syllable, sounds of varying degrees of sonority are grouped, the most sonorous are syllabic, the rest are non-syllabic.

When defining the concept of a syllable from the point of view of the science of language, two approaches differ. From the educational point of view, or, otherwise, from a physiological point of view, a syllable is interpreted as a sound or a combination of sounds, when pronounced, the human speech apparatus generates one continuous push of exhaled air. In turn, in acoustic terms, or from the side of sonority, a syllable can be understood as such a segment of speech within which one sound stands out in comparison with others located in close proximity to it, with the greatest degree of sonority.

Examples of the use of the word syllable in literature.

This book, purportedly the autobiography of a gentleman who came to manhood in the reign of Queen Anne, is printed in an ancient type and written in an ancient style. syllable.

And the Aramean understood it very well, for he was the author of the document, which Starodrenov invariably kept on his desk and sometimes, in moments of doubt, re-read it, admiring both the style and beauty syllable.

Well,” said Athenodorus in the same gentle voice, “if you cannot think of anything else and are now blind to the beauties of Hesiod’s syllable, Hesiod can wait until tomorrow.

Livy in the pleasure I get from reading his books, which Athenodorus recommended to me as an example of excellent syllable.

This openness, by the way, is indicated by the fact that the poem is crowned with a female rhyme, that is, an unstressed syllable.

But in languages ​​that came out of Latin, the loss is too short words was the most common occurrence - unstressed syllables weakened so much that words became slurred.

As if everything is correct: each line has four stresses, and between the stresses there are as many unstressed ones as you like syllables.

In November 1986, in Delhi, Gorbachev and Gandhi signed a solemn agreement syllable Declaration on a nuclear-free and non-violent world, seriously believing that they were laying the first stone in its foundation, and not yet knowing that, contrary to their hopes, the club of nuclear powers would be replenished, including at the expense of India itself, and one of the authors of the declaration - Rajeev will become a victim of terrorist violence.

The captain, who kindly showed it to me, with the Gostiny Dvor glibness usual on the Volga, praised all sorts of amenities of his ship and, listing a number of upcoming pleasures, tried to make it clear that he knows how to speak to more or less high-ranking people on occasion. syllable.

That we really use metric language in order to calculate the cost of our cognitive abilities with the force expected syllables, - this is clear from the fact that bad versioning unpleasantly affects us.

The - symbol connecting chords indicates that these chords quickly replace each other - as a rule, when singing one syllable or adjacent syllables.

Like a Hevea tree exuding rubber, the ventricle continuously poured out phonemes and syllables, which then spread over the head.

And even Thomas Young, who achieved outstanding results in deciphering the demotic text precisely because he read it phonetically, contradicting himself, when deciphering the name of Ptolemy, again arbitrarily decomposed the signs into letters, syllables and double syllables.

Elocution (Latin elocutio – ‘expression’) is the section of rhetoric that examines the means and techniques of verbally expressing an idea.

Public speaking is intended for an audience that seeks to correctly understand the rhetorician and expects him to formulate his thoughts accurately and clearly. If the rhetorician limits himself to the task of being correctly understood by the audience, it is enough for him to comply with generally accepted norms of speech. But if the topic requires significant effort from the audience, then elementary speech culture is not enough: complex content cannot be expressed by simple means.

An utterance belongs to a certain type of literature, the norms of which determine the nature of the content and speech means. If the author does not comply with these standards, the work loses necessary qualities, on the basis of which the recipient uses the text in a certain way that is consistent with the intent. If, for example, the structure and language of a document does not comply with the norms of business speech, then the document loses legal force.

The author of an article or book deliberately creates a literary work intended for repeated reading. Text literary work requires serious work on the word, because the most important property of literature, in contrast to current verbal production, is style.

Style is the selection and coordinated combination of appropriate elements in a verbal work expressive means language, creating a stable image of speech, which serves as the basis for the aesthetic assessment of the work.

Style and style.

Stylistic assessment is a criterion for including a literary work in culture. A literary work is evaluated by the audience from the point of view of the productivity and novelty of the ideas that the author puts forward, but the literary fate of the work is determined mainly by the way these ideas are expressed in words, that is, by the quality of the style.

Example (1).
*“Aristotle spoke about the cognitive nature of art and rejected the point of view of Plato, who contrasted art and knowledge. He considered sensations to be the source of imagination (fantasy), as the ability to create images, and, unlike Plato, recognized the aesthetic significance of sensory perception of reality” (History of Philosophy. T. 1. M., 1957. P. 126).

In this excerpt from the academic “History of Philosophy” there is a noticeable professional work literary editor. The presentation is distinguished by correctness, purity, clarity, proportionality; all complied with literary norms; there are no emotionally charged, rare or in any way unexpected words; the content of the phrases seems clear; the text can be read silently and aloud smoothly; clarifying phrases are located in close proximity to the words whose meaning they explain. But the author’s thoughts are not visible because there is no style. The speech is so impersonal that it is difficult to even judge how distorted Aristotle’s actual views are. Not every particular manner of expression can be considered a style.

Example (2) (Writing of words and punctuation of the original).

*“Similarity in behavior may also be a continuation of morphological similarity. So, the similarity of facial expressions great apes and a person should be determined by at least the same facial muscles. A comparative study of behavior can only state external similarities in behavior. When trying to interpret it, the mental properties of a person cannot be projected onto an animal. And vice versa, when studying behavior in line with evolutionary theory a person is often “reduced” to the level of an animal. That is, a person, in principle, is considered to be on the same level as an animal.”

The given fragment of interlinear translation uniquely combines traces of the original language (German), features scientific speech And individual speech(idiolect) of the translator. But this confluence of speech elements is not a style, because the peculiarities of the translator’s speech (for example, the specific spelling of the verb “condition” as a derivative, apparently, from the noun “glory”, and not “condition”, the use of the word “continuation” in the meaning of a consequence etc.) form a kind of mosaic form, the elements of which do not carry any semantic load and appear to be the result of insufficiently careful editing of the text.

Example (3).

“Rejecting imitative artists for their “multi-doing” and “imitation of imitation,” Plato, apparently, simply excludes all art from his state as self-sufficient creativity. If he recognizes inimitable art, then this essentially means that he recognizes only a completely sincere and direct life attitude towards the world. So, for example, you can pray, give a speech, paint a picture, but all this has a purely vital meaning. In what sense can sincere and immediate prayer be called art (for there is, after all, an art to pray; one knows how to pray, another does not know how to pray), in this, and only in this sense, does Plato allow art. But this also means that: 1) Plato does not recognize art in our sense as acceptable creativity; 2) such self-sufficient creativity for him is “imitation,” that is, as if creativity is not taken seriously; and that 3) true creativity is the improvement of oneself, being the only permissible imitation - this time of an eternal model” (Losev A.F. Essays on ancient symbolism and mythology (1930). M., 1993. P. 720).

The idea is not formulated entirely clearly; some words are used in a meaning that is incomprehensible to the general reader; there are awkward and inaccurate expressions, so-called “stylistic errors”; book speech is interrupted by elements of colloquial speech; introductory words and clarifying phrases, conjunctions and prepositions are in unexpected places; the order of words reflects the development of the author's thoughts, who absolutely does not care about ease of reading. But there is style here. And this is the style of Alexei Fedorovich Losev, which cannot be confused with any other, because the style expresses the author’s thought, something fundamentally new and unique that A.F. Losev knows and can say about Plato.

I have two news for you: one is bad and the other is good.

Bad news: the magical literary style is developed over the years - tireless practice and endless editing .

Good news: There are several rules that will help you immediately improve your texts - here and now. The mistakes of all beginners are more or less the same, and if they are corrected, your books and articles will immediately move into another weight category.

1. Break long sentences into short or medium sentences

In schools we are taught to write in long, intricate phrases - so that we can deal with complex sentences, participles and gerunds.

Masha hung around the sideboard all evening, looking inside, mentally arranging the dishes on the shelves, of which there were a lot, sighing excitedly, counting the many drawers and compartments where she could put plates, sugar bowls, gravy boats, cups, and saucers, and even a huge tureen that her mother gave her for her last birthday.

So how? Is it easy to read?

Our brain perceives information in small blocks that are convenient for understanding and remembering, and if this is not taken into account, such monster sentences are born.

What to do?

Break it up complex sentence into a few simple ones. If a phrase is replete with unnecessary pretzels, think about it: do you need it?

I would write it like this:

Masha hung around the buffet all evening. She mentally laid out the dishes on numerous shelves and excitedly calculated where she could put the cups and where the huge tureen her mother had given her for her last birthday.

2. Break up paragraph bricks

You've probably come across articles many times that scare one away with their appearance. A bulky monolith stretching across the entire page is not a sight for the faint of heart.

The reason why we reject such texts in advance, without reading them carefully, lies in the following: our subconscious does not want to deal with indigestible information.

In what cases should you press the “Enter” button? And here are the ones:

• a new thought is given
• a new character appears
• direct speech is being made
• there is a change of scenery
• the hero mentally travels to the past or future
• The “camera” is directed to another object.

Ivan opened the safe and began to put money into his bag.

Anna silently looked at him and thought that everything was over between them: now her husband would leave forever.

Do you see? The “camera” seemed to move from Ivan to Anna, and therefore a new paragraph is needed here.

3. Do you know exactly what you want to tell the reader?

Read this phrase:

In art, everything is based on nerves, emotions, talent, and not only, but it also happens that the results please, caress the soul, please, and at these moments, costs and losses, of course, seem somehow strange misunderstandings, perhaps not at all necessary.

Often, a clumsy style is the absence of an idea as such. The author feels something, he wants to convey these feelings to the readers, but he has not thought through what exactly he needs to convey to others.

In this example, nothing can even be corrected, because it is not clear why this phrase was written.

4. Remove abstractions!

If there is no specific image behind the phrase, the reader’s imagination does not turn on, and he becomes bored in advance.

Report at a security conference information support caused a feeling of mistrust.

Only those texts that can be watched as an “inner movie” or that evoke clearly defined emotions are read with interest.

5. Your text should not contain phrases “about anything”

Save the reader’s time (and yours too)! If a sentence adds nothing to the text, it must be surgically removed.

The girl was beautiful. Everything about her was beautiful - her eyes, her hair, her figure. With all her appearance the young lady resembled a wonderful flower.

Sure candidates for relegation:

• duplicate sentences
• stamps
• platitudes
• common words
• overly detailed descriptions (see example with dishes above)

By the way, do you know where the habit of pouring “water” comes from? During our student years, we tried to increase the volume of reports and coursework on unloved subjects: if you screw it up, add some “smart words”, you’ll see, the professor will give you a “pass.”

The diploma was received, the subject was safely forgotten, but the vile habit remained... Probably this is the revenge of the goddess of knowledge, who never forgave the hack students.

Well, that’s okay - we’ll somehow agree with her about learning something else - more useful for writers.

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What is "Slog"? How to spell given word. Concept and interpretation.

Syllable The syllable SYLLABLE is one of the simplest, but scientifically most difficult to define phonetic concepts. Strange as it may seem at first glance, there is no doubt that the conscious isolation of S. preceded in the history of mankind the conscious isolation of a separate sound. This is clear from the fact that syllabic (syllabic) writing apparently always preceded phonetic (sound) writing - Graphics. There is no doubt in general that the auditory impression of speech disintegration in S. is caused by successive weakening and strengthening of the sound flow. The following simple experiment, proposed by Sievers (see), completely convinces of this: if you pull out any vowel, for example. “a”, and at the same time consistently close and open your mouth with your hand, then this “a” breaks down into syllables: “a-a-a”. Physiologically, this disintegration of the sound series is caused primarily by air shocks of individual exhalations. Therefore, some authors attribute the syllabic structure of speech exclusively to the division of exhalation; however, it is possible that the formation of S. in normal speech also occurs due to the differentiation of muscle tension during compression, primarily in the glottis, and with consonants - in other places of articulation. However, this explanation is by no means generally accepted. In general, there are many theories of S. Sivers analyzed the linguistic material related here most deeply, and the closest to the essence of the matter was, on the one hand, Abele (in his remaining unfinished article “On the Question of the Syllable”), and on the other hand, Saussure and Grammont. . All theories contain grains of truth, but none completely satisfies. As was shown above, each new intensification of the sound flow gives the impression of a new S., so the disintegration of the sound flow into S. can be represented by a curve //, where each the apex facing upward symbolizes the intensification of sound, and therefore S. But the typical syllabic curve of human speech should be recognized as /-/-, the horizontal segments of the cut symbolize the extension of the strong points of the sound flow. The sounds that form these even segments are called syllabic, or syllabic (the symbol is a circle under the corresponding letter: “l? = l” syllabic), and the sounds that form intensification and weakening are called non-syllabic, or non-syllabic (the symbol is a semicircle under the letter: “ and = and" non-syllabic, i.e. Russian "th"). In connection with the rhythmic intensification and weakening of tension in the glottis (completely independent of how this change in tension is caused - whether by the action of the muscles of the larynx or the differentiation of exhalation), which also determines the differentiation of vowels and consonants, a number of primitive S. is obtained. , representing an alternation of groups of consonant with a vowel: ay-ay-ay, sha-ra-da, where vowels are syllabic and consonants are non-syllabic elements C. In general, such syllabic structure prevails to one degree or another and in most modern languages . However, in connection with the differentiation of sounds according to tension in the glottis, which is also associated with their differentiation in loudness, as well as in connection with the differentiation of the ways of pronouncing each individual sound, syllabification can take on more complex and varied forms, which in one or another to another extent and are observed in various languages. Vowels are divided according to the tension of the glottis into more tense, louder “a, o, e” (of which the loudest is “a”) and less tense, less loud “i, u” ; consonants, which for the same reason are less tense than vowels, are divided into more tense, louder “l, r, m, n, y”, less tense, less loud voiced noisy “v, z, m”, as well as “ b, d, g", and completely relaxed voiceless noisy "f, s, w, x" and "p, t, k" ("b, d, g, p, t, k", as will be seen below, constitute also a special group). It must be borne in mind, however, that all these relationships can be changed in the flow of speech by weakening the tension in some sounds and increasing it in others, so that “a” or “o” can be made less tense, and therefore less loud, not only , than “l” or “r”, but even than “s” or “x”. On the other hand, it turns out that each sound can be pronounced in five ways: it can first be strengthened, then weakened (by changing the tension of the glottis for voiced ones and at the place of articulation - for voiceless ones), and its middle can vary in duration, provided that it is more or less even - the symbol /-; it can be simply even - symbol -; it can intensify from beginning to end - symbol /; it can be weakened from beginning to end - a symbol; it can first weaken, then strengthen - the symbol |. We usually perceive sounds pronounced in the latter way as two sounds: Italian “atto”, “anno” (Russian “double” consonants are pronounced differently), Russian “n--rmyachny”. It is also obvious that sounds pronounced in the first way form a ready-made syllable, having sequential intensification and weakening, and sounds pronounced in the third and fourth ways can independently form a syllable only under special conditions, and are normally non-syllabic. Finally, it is obvious that the stops “p, t, k” (and partly “b, d, g”) cannot be pronounced in the first way, since only the stop and explosion are audible, separated by a pause (cf. the name of these sounds - “mute”). It follows from this that independently and outside of special conditions they cannot form sound, at least in the middle of the sound stream. As for the sounds pronounced in the second way, it is obvious that they, while not yet forming complete syllables in themselves, are nevertheless normally syllabic-forming in the flow of speech. general provisions All possible syllabic forms are fully defined. Some of these forms are more natural and therefore more common, others present greater difficulties and are therefore less common. Finally, each language at any given moment in time uses its strictly defined syllabic forms and is completely unaware of others, which is why the experience of each individual person is extremely limited and that is why we often consider syllabic forms impossible, which in fact do not represent anything special. In order to give an idea of ​​​​the diversity of these forms, we will analyze a number of sound combinations. Let's start with the combination “a + and”. Since “and” is normally weaker than “a” in terms of glottal tension, the natural syllabic form of this sound combination will be the syllabic “a” and the non-syllabic weakened “and”: “and”, i.e. Russian "ay" (symbol /- or -). But because each vowel, pronounced separately, naturally forms an independent syllable, then the sound combination “a + i” can also easily be pronounced with the two-syllable “ai”, i.e. Russian "ai`" (symbol /-/- or -/-). Since “a”, as mentioned above, is normally stronger than “i”, then the pronunciation “ai”, i.e. a non-syllabic “a” with a syllabic “and” causes some difficulties: it is necessary to weaken the “a” in such a way that the form of a single S. /- is realized, where the horizontal segment must correspond to “and”; This is not impossible, but it is difficult to give examples of such pronunciation; however, the reverse combination is “ia”, i.e. a syllabic "and" with a non-syllabic "a" can be heard in the German dialectal pronunciation of the word "hier". Finally, it is possible to pronounce this combination without weakening the “a” and directly moving to the strengthened “i”, so that both sounds make up one long syllabic sound - “ay”. This is what the author of this article calls a true diphthong and what in German literature is perhaps called schwebende Dyphtong. This pronunciation is typical for the Lithuanian and Latvian languages. Let’s also look at the combination “asa”. Its normal pronunciation is disyllabic due to the obvious predominance of the sound “a” over the sound “s”, and the latter can be strongly finalized, and then the syllabic form of the word will be “a-sa” (Russian “dew?”, “wasp? da” , “race? yes” with a long “s”) - the most common type; “s” can be strongly initial, and then the syllabic form will be “as-a” (Russian “in ka?ssah” in case of undifferentiated pronunciation, also with a long “s”) - a specially German type (after short vowels: “ich fasse”) ; finally, “s” can be two-vertex with a weakening in the middle, then usually perceived as two sounds (cf. above) - a type unknown to Russian, but characteristic of Italian and known to French (cf. “il l’a vu”). However, this same combination of “asa” can also be pronounced in one syllable with extreme weakening and shortening of both “a” and with greater strengthening and lengthening of “s”: “as?s?a”. It is unlikely that such a pronunciation can be found in any particular language (some facts that expand our usual ideas in this area can be found in Latvian dialects), but it is not so difficult to learn. It is natural to pronounce the combination “krvi” in two syllables due to the greater tension of “r” compared to “v”: we find a similar pronunciation in Serbian, where this word is pronounced with a syllabic “r” (kr?va); but there is nothing simpler than to slightly weaken the “r” and pronounce the entire combination in one S., gradually strengthening the consonants, as is done in the Polish “krwi”. The syllabic pronunciation of some consonants is found in addition to Serbian in Czech, German, English and many other languages ​​(Czech “vl?ek - vl?ček”; English “little - little?”, etc.). This pronunciation is fundamentally alien to the Russian language, but in colloquial speech occurs: “Stepa?novna - Stepan?na.” It's also alien French. However, when pronouncing poetry, where the number S. is the main rhythmic factor, it is possible to restore what has been lost due to the disappearance of the so-called. "e muet" number S. by syllabic pronunciation of consonants. In Lamartine's verse "Et pres des flots cheris quelle devait revoir" the word elle has long ago lost its final "e"; however, S. is preserved due to the fact that it is pronounced “qu'e-ll'-de-vait”. A combination of two consonants can form S. without a syllabic, provided that the first of them is strong-final and the second is strong-initial (symbol / ). So eg. Russian “ko`pot” is often pronounced with the omission of the unstressed “o”, but maintaining disyllabicity. Finally, such sound combinations as the Russian “actor”, “castor” can have different syllabic forms: in Russian they are pronounced “a-kter” , "ka-stor", in French. "ac-teur", "cas-tor"; but according to the famous Latin law muta cum liquida (mute stop + smooth) nullam facit positionem (i.e. does not make the preceding syllable closed) and in French it is pronounced “pe-trir”, “peu-pler”. As for the functional use of syllabic construction our speech, then there is no doubt that the number S. is usually a characteristic individual feature of each word, and often of its individual forms; errors in this direction easily lead to misrecognition of the word. This is why it is so easy to teach children to find the number S in a word. But S. forms rarely play a semantic role, and this explains why we are so inattentive to them. However, in German the opposition of open and closed vowels plays no less a role than the opposition of longness and shortness of vowels: “schlafe” - “sleep” and “schlaffe” - “sluggish”. In Russian you can also indicate something like this: “dai-odu” (dai ode) and “da-yodu” (da yodu). As is known, syllable structure plays an extremely important role in versification (see). Bibliography: SieversE., Grundzuge der Phonetik, Lpz., 1901 (chapters 25-27); JespersenO., Lehrbuch der Phonetik, 2 Aufl., Lpz., 1913 (Chapter XIII); Grammont M., Traite de phonetique, P., 1933 (Premiere partie, XII); Abele A., On the question of the syllable, “Slavia”, III, 1, 1924; Saussure F., de, Course of General Linguistics, M., 1933 (French ed., 1916); Appendix to the introduction.

Excerpts from correspondence with Ivan Poloneichik ( [email protected] Center for Intelligent Technologies, Minsk pobeda.info). Ivan is the author of the newsletter (job.education.razvitie), excerpts from which I present today. By the way, residents of Belarus can order speed reading CDs from Ivan - he lives in Minsk. It will be faster and easier this way.

Ivan Poloneichik:

Writing literacy is one of the components of a well-developed intellect. Have you ever met a professor or academician who, say, writes “producer”? Of course, the reform of Nikita Sergeevich Khrushchev deserved attention. He proposed the principle “as it is heard, so it is written.” For example, not “hare”, but “hare”. True, I did not take into account that the same words are often pronounced differently in different regions. And they didn’t allow the language reformer to develop, there was a conspiracy and all that...

There is one the most effective way. Take a book published not in the perestroika era, but in “stagnant” times, when old-school proofreaders worked in publishing houses. Of course, take a book written by a good literary language. The best is the classics. Bunin, Tolstoy, Chekhov. And make it a rule to rewrite two or three pages from the book within two to three weeks. Naturally, rewrite carefully, observing all the rules of grammar, that is, “one to one.” I guarantee you no syntax errors. So that there are no false interpretations, I will add that one or two pages from a book, and not one or two pages in a notebook.

Sergey Mikhailov:

I think that over the last 100 years the language has changed somewhat. I tried to analyze Bunin or Tolstoy or Chekhov (I don’t remember who) in order to learn how to write. And I decided that their language was somewhat outdated.

I heard that one foreigner studied Russian from church books. You can imagine what kind of language he had, my son is a hedgehog.

True, I will begin to contradict myself, since I have experienced a similar method of enriching my vocabulary - I learned the first chapter of Eugene Onegin, I remember many poems by Mayakovsky and Vysotsky.

Ivan Poloneichik:

In general, you're right... But! The language is not outdated. It's just that modern people are impoverished. And the example of that gentleman who taught Russian from church books is not entirely appropriate. Church Slavonic language and secular Russian - different languages. And the language of Bunin, Chekhov, Gogol was very rich and expressive. Accordingly, a person who speaks this style of linguistic presentation is clearly intellectually stronger than a person who speaks the language of Dontsova or even Pelevin.

By personal example. I “mastered” the language of Saltykov-Shchedrin. At least, I use it to the extent of my “advancement” into such a language structure. I would like to note that, practically on a physiological level, I feel a certain positive impact of this on my brain, on my psyche, no matter how strange and arrogant it may sound.

Moreover. I teach classes in Minsk. And everyone notes my undoubted advantage as a teacher over many others teaching similar or even very distant courses. A rich language develops artistry and gives greater freedom of expression. In addition to everything, a certain floridity and courtliness in communication brings certain dividends in everyday life, of which many examples can also be given. Therefore, the positive impact of an “outdated” language outweighs all possible disadvantages.

Although regarding “Eugene Onegin” you somewhat contradict yourself. And the language of Mayakovsky and Vysotsky is quite rich. Note that Vysotsky was a brilliant actor, and this is simply impossible without a rich language. The examples that I gave were aimed not so much at the fact that it was these writers who should be learned from, but rather at the fact that, with a certain reverence for the classics in Soviet times, the quality of the work of proofreaders was a certain guarantee of compliance with the most important language norms and the most careful attitude to the output in publishing works.

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