Artistic world in Gogol briefly. The peculiarity of Gogol's language

Gogol's verbal painting contributes to artistic clairvoyance, which reveals the inner image of a person and transforms him. Of course, the word has “incomplete clarity” (according to A.F. Losev), but it reveals what is hidden in the representation. Everything worthless and petty was deduced by N.V. Gogol "outside" and "felt" in fullness and unity. Note that only contemplative and creative reading reveals the significance of “little things” and “collectiveness” in the works of N.V. Gogol. A.S. Pushkin vigilantly noticed the innovative features of N.V. Gogol - humor, poetry, lyricism and imagery. N.V. Gogol was "captured by the power of the word", he showed special skill in what is called "accuracy". The descriptiveness of Gogol's style is the most important aesthetic principle, based not on a simple synthesis of the arts (poetry and painting); it is also a special syllable, a unique language that harbors a grain of picturesqueness. The roots of Gogol's language are in "contemplation", more precisely, in two opposite features of "vision". Andrei Bely noticed that N.V. Gogol does not have “normal” vision: his eye is either wide open, expanded, or squinted, narrowed.

“Gogol's images, the names of Gogol's types, Gogol's expressions have entered the national language. New words are derived from them, for example, manilovshchina, nozdrevshchina, tryapichkinstvo, in Sobakevichevsky way and so on. [...]

None of the others classical writers did not create such a number of types as Gogol, which would enter into literary and everyday life as common nouns.

During his lifetime, Belinsky called Gogol "a brilliant poet and the first writer modern Russia". Gogol laid the foundation for the use in Russian literature of the folk-everyday language and the reflection of the feelings of the whole people. Thanks to the genius of Gogol, the style of colloquial and everyday speech was freed from "conditional constraints and literary stamps.In Rus' appeared absolutely new language, distinguished by its simplicity and accuracy, strength and closeness to nature; turns of speech, invented by Gogol, quickly entered into general use. great writer enriched the Russian language with new phraseological turns and words. Gogol saw his main purpose in "the convergence of language fiction with live and label colloquial speech people"

One of characteristic features Gogol's style, which A. Bely points to, was Gogol's ability to skillfully mix Russian and Ukrainian speech, High style and jargon, clerical, landlord, hunting, lackey, gambling, philistine, the language of kitchen workers and artisans, interspersing archaisms and neologisms into speech as actors, as well as in the author's speech. Vinogradov notes that the genre of the most early prose Gogol has the character of the style of the Karamzin school and is distinguished by a high, serious, pathetic narrative style. Gogol, understanding the value Ukrainian folklore, really wanted to become a "genuine folk writer" and tried to involve a variety of oral folk speech into the Russian literary and artistic narrative system. The writer connected the reliability of the reality he conveyed with the degree of mastery of the class, estate, professional style of the language and dialect of the latter. As a result, the language of Gogol's narration acquires several stylistic and linguistic planes, becomes very heterogeneous. Vinogradov notes that in early editions " dead souls»Gogol's use of clerical vocabulary and phraseology was wider, freer and more natural. With a touch of irony, Gogol uses clerical and bureaucratic-official expressions when describing "non-official", everyday situations and the life of officials. Gogol's vernacular style is intertwined with clerical and business style. Gogol sought to introduce vernacular into the literary language different layers society (small and middle nobility, urban intelligentsia and officials) and by mixing them with the literary and bookish language to find a new Russian literary language. In Notes of a Madman and in The Nose, Gogol uses the clerical and official style much more than other styles of colloquial speech. Sometimes Gogol resorted to an ironic description of the content invested by society in a particular word. For example: “In a word, they were what is called happy”; “There was nothing else in this secluded or, as we say, beautiful square.”

Gogol believed that the literary and bookish language of the upper classes was painfully affected by borrowings from foreign, "foreign" languages, it is impossible to find foreign words, which could describe Russian life with the same accuracy as Russian words; as a result of which some foreign words were used in a distorted sense, some were assigned a different meaning, while some native Russian words irrevocably disappeared from use.

Gogol closely linking the secular narrative language with a Europeanized Russian-French salon language, not only denied and parodied it, but also openly opposed his style of narration to the language norms that corresponded to the salon-ladies' language. In addition, Gogol also struggled with the mixed half-French, half-common Russian language of romanticism. Gogol contrasts the romantic style with a realistic style that reflects reality more fully and believably.

As regards the national scientific language Gogol saw the peculiarity of the Russian scientific language in its adequacy, accuracy, brevity and objectivity, in the absence of the need to embellish it. Gogol saw the sources of the Russian scientific language in Church Slavonic, peasant and folk poetry.

Gogol strove to include in his language the professional speech of not only the nobility, but also the bourgeois class. Attaching great importance to the peasant language, Gogol replenishes his lexicon, writing down the names, terminology and phraseology of accessories and parts of a peasant costume, inventory and household utensils peasant hut, arable, laundry, beekeeping, forestry and gardening, weaving, fishing, traditional medicine, that is, everything connected with the peasant language and its dialects. The language of crafts and technical specialties was just as interesting to the writer as the language of noble life, hobbies and entertainment. Hunting, gambling, military dialects and jargon attracted Gogol's close attention.

Gogol sought to find ways to reform the relationship between his contemporary literary language and professional language of the church. He introduced church symbols and phraseology into literary speech,

Already in his first stories, Gogol, using the Ukrainian literary tradition, depicts the people through the realistic atmosphere of the folk language, Ukrainian rituals, beliefs, fairy tales, proverbs and songs,

Gogol contrasts not only the complex, artificially embellished language of Panich, far from living oral folk speech, with the simple, intelligible, folk-everyday language of Foma Grigorievich, but their images are also opposed to each other.

when comparing two editions of "Evenings" a rapid change in Gogol's style towards the use of an expressive variety of live colloquial speech. In the second edition, Gogol eliminates the standard, monotonous literary vocabulary and phraseological turns or replaces them with more synonymous, more expressive, dynamic expressions from live oral speech.

Important role played for Gogol the principle of metaphorical animation.

The author of "The Overcoat" is close to the environment in which his hero lives, Gukovsky writes, he understands the worries and problems, dreams and reality of Akaky Akakievich's life, he talks about everything firsthand, but as an acquaintance who knew Akaky Akakievich's relatives, and official. the narrator shares with the reader detailed description habits and individual moments the lives of the heroes and their relatives, thus acting as omniscient.

The author combines "a pure comic tale, built on a language game, puns, deliberate tongue-tied tongue" with a description in sublime, emphatically pathetic from the point of view of rhetoric tones when we are talking not really lofty concepts and phenomena, but, on the contrary, about something everyday and petty.

“I never created anything in my imagination and did not have this property. The only thing that came out well for me was what I took from reality, from the data known to me. I have never painted portraits in the sense of a mere copy. I created a portrait, but I created it as a result of consideration, not imagination "

Important point in the destruction of the forms of book syntax in Gogol was connected with the methods of including in the author's speech an improperly direct, "alien speech", with their constantly fluctuating ratio. The writer included "foreign speech" in the author's narrative, often contradicting the author's point of view, without any warnings or reservations. This led to a comic displacement of different semantic planes, to sharp "jumps" of expression, changes in narrative tone, at the same time, this ratio serves as Gogol's means of creating comic repetitions.

Gogol's text is characterized by an atmosphere of trifles, as an example, a description of Bashmachkin's reaction to Petrovich's barbarously calm statement about the cost of manufacturing a new overcoat: "One and a half hundred rubles for an overcoat!" exclaimed poor Akaki Akakievich, clasping his hands, screamed, perhaps for the first time in his life, for he was always distinguished by the quietness of his voice.

Gogol often describes the details of the narrative in great detail, while the writer shows the redundancy of any quality by the redundancy of the means of grammatical expression of this very quality, for example, the doctor’s voice is neither loud nor quiet, but extremely soft and magnetic (Nose).

in "The Overcoat" there are more detailed, specific, substantive descriptions of objects, things, people, etc. than in other works of Gogol. The writer gives a detailed portrait of the hero, his clothes and even food.

Gogol mixed the Ukrainian language with various dialects and styles of the Russian language. And the style Ukrainian language directly depended on the nature of the protagonist of the work. Gogol combined the Ukrainian vernacular with Russian through the vernacular "pea panich" from Evenings on a Farm near Dikanka.

You need to know that Akaky Akakievich spoke for the most part prepositions, adverbs and, finally, such particles that have absolutely no meaning. (Overcoat); “Still ... there is something like that ... some kind of that ...” (Dead Souls).

The originality of Gogol's language lies in the fact that he deliberately uses tautology, syntactic synonymy, unusual words and phrases, metaphorical and metonymic displacements and alogisms. The writer piles up verbs and nouns, lists completely incompatible things and objects in one row, and even resorts to grammatical inaccuracies of expressions.

Numerous features of Gogol's language are an explanation for the fact that the writer's language simply and naturally entered both literary and everyday Russian.

Similar information.

Gogol's language, the principles of his style, his satirical manner had an undeniable influence on the development of the Russian literary and artistic language from the mid-30s. Thanks to the genius of Gogol, the style of colloquial and everyday speech was freed from "conditional constraints and literary clichés," Vinogradov emphasizes.

Gogol's unusual, surprisingly natural language, his humor acted in an intoxicating way, Vinogradov notes. An absolutely new language appeared in Rus', distinguished by its simplicity and accuracy, strength and closeness to nature; turns of speech invented by Gogol quickly became commonplace, Vinogradov continues. The great writer enriched the Russian language with new phraseological phrases and words that originated from the names of Gogol's heroes.

Vinogradov claims that Gogol saw his main purpose in "bringing the language of fiction closer to the lively and apt colloquial speech of the people."

One of the characteristic features of Gogol's style was Gogol's ability to skillfully mix Russian and Ukrainian speech, high style and jargon, clerical, landlord, hunting, lackey, gambling, bourgeois, the language of kitchen workers and artisans, interspersing archaisms and neologisms into speech, as characters, as well as in the author's speech.

Vinogradov notes that the genre of Gogol's earliest prose is in the style of the Karamzin school and is distinguished by a high, serious, pathetic narrative style. Gogol, realizing the value of Ukrainian folklore, really wanted to become a "genuine folk writer" and tried to involve a variety of oral folk speech in the Russian literary and artistic narrative system.

The writer connected the reliability of the reality he conveyed with the degree of mastery of the class, estate, professional style of the language and dialect of the latter. As a result, the language of Gogol's narration acquires several stylistic and linguistic planes and becomes very heterogeneous. gogol literature speech

Russian reality is transmitted through the appropriate language environment. At the same time, all the existing semantic and expressive shades of the official business language are revealed, which, with an ironic description of the discrepancy between the conditional semantics of the public office language and the actual essence of phenomena, come out quite sharply.

Gogol's vernacular style is intertwined with clerical and business style. V. Vinogradov finds that Gogol sought to introduce into the literary language the vernacular of different strata of society (small and middle nobility, urban intelligentsia and bureaucracy) and, by mixing them with the literary and bookish language, find a new Russian literary language.

As a business state language in the works of Gogol, Vinogradov points to the interweaving of clerical and colloquial bureaucratic speech. In "Notes of a Madman" and in "The Nose" Gogol uses the clerical-business style and colloquial-bureaucratic speech much more than other styles of colloquial speech.

The official business language binds together the diverse dialects and styles of Gogol, who at the same time tries to expose and remove all unnecessary hypocritical and false forms of expression. Sometimes Gogol, in order to show the conventionality of a concept, resorted to an ironic description of the content that society puts into a particular word. For example: "In a word, they were what is called happy"; "There was nothing else in this secluded or, as we say, beautiful square."

Gogol believed that the literary and bookish language of the upper classes was painfully affected by borrowings from foreign, "foreign" languages, it is impossible to find foreign words that could describe Russian life with the same accuracy as Russian words; as a result of which some foreign words were used in a distorted sense, some were assigned a different meaning, while some native Russian words irrevocably disappeared from use.

Vinogradov points out that Gogol, closely linking the secular narrative language with the Europeanized Russian-French salon language, not only denied and parodied it, but also openly opposed his style of narration to the language norms that corresponded to the salon-ladies' language. In addition, Gogol also struggled with the mixed half-French, half-common Russian language of romanticism. Gogol contrasts the romantic style with a realistic style that reflects reality more fully and believably. According to Vinogradov, Gogol shows the confrontation between the style of romantic language and everyday life, which can only be described by naturalistic language. "A mixture of solemnly - bookish with colloquial, with vernacular is formed. The syntactic forms of the former romantic style are preserved, but the phraseology and the structure of symbols, comparisons sharply deviate from romantic semantics." romantic style narrative does not completely and completely disappear from Gogol's language, it is mixed with a new semantic system.

As for the national-scientific language - the language, which, according to Gogol, is intended to be universal, national-democratic, devoid of class limitations, the writer, as Vinogradov notes, was against the abuse philosophical language. Gogol saw the peculiarity of the Russian scientific language in its adequacy, accuracy, brevity and objectivity, in the absence of the need to embellish it. Gogol saw the significance and strength of the Russian scientific language in the uniqueness of the very nature of the Russian language, writes Vinogradov, the writer believed that there was no language like Russian. Gogol saw the sources of the Russian scientific language in Church Slavonic, peasant and folk poetry.

Gogol strove to include in his language the professional speech of not only the nobility, but also the bourgeois class. Attaching great importance to the peasant language, Gogol replenishes his vocabulary by writing down the names, terminology and phraseology of accessories and parts of a peasant costume, inventory and household utensils of a peasant hut, arable, laundry, beekeeping, forestry and gardening, weaving, fishing, folk medicine, then there is everything connected with the peasant language and its dialects. The language of crafts and technical specialties was also interesting to the writer, notes Vinogradov, as well as the language of noble life, hobbies and entertainment. Hunting, gambling, military dialects and jargon attracted Gogol's close attention.

Gogol especially closely watched the administrative language, its style and rhetoric, emphasizes Vinogradov.

In oral speech, Gogol was primarily interested in the vocabulary, phraseology and syntax of noble and peasant vernacular, colloquial urban intelligentsia and bureaucratic language, Vinogradov points out.

In the opinion of V. Vinogradov, Gogol's interest in the professional language and dialects of merchants is characteristic.

Gogol sought to find ways to reform the relationship between his contemporary literary language and the professional language of the church. He introduced church symbols and phraseology into literary speech, Vinogradov notes. Gogol believed that the introduction of elements of the church language into the literary language would bring life to the ossified and deceitful business and bureaucratic language. .

Gogol began his creative activity like a romantic. However, he turned to critical realism opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature.

The originality of Gogol was that he was the first to give the broadest image of the county landowner-bureaucratic Russia and the "little man", a resident of St. Petersburg corners.

Gogol was a brilliant satirist who scourged the "vulgarity of a vulgar person", exposing to the utmost the social contradictions of contemporary Russian reality.

The social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events public interest. At the same time, the plot serves only as an excuse for a broad depiction of everyday life and the disclosure of characters-types.

Deep insight into the essence of the main socio-economic phenomena of his contemporary life allowed Gogol, a brilliant artist of the word, to draw images of enormous generalizing power.

For the purposes of the bright satirical image Heroes are served by Gogol's careful selection of many details and their sharp exaggeration. So, for example, portraits of the heroes of "Dead Souls" were created. These details in Gogol are mostly everyday: things, clothes, housing of heroes. If in romantic stories Gogol are given underlined scenic landscapes, giving the work a certain elation of tone, then in his realistic works, especially in "Dead Souls", the landscape is one of the means of describing the types, characteristics of the heroes. literary speech Gogol. Two worlds depicted by the writer - folk group and "existents" - determined the main features of the writer's speech: his speech is enthusiastic, imbued with lyricism, when he talks about the people, about the homeland (in "Evenings ...", in "Taras Bulba", in digressions"Dead Souls"), then it becomes close to live colloquial (in everyday paintings and scenes of "Evenings ..." or in narratives about bureaucratic-landowner Russia).

The originality of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries.

Gogol loved and subtly felt folk colloquial speech, skillfully applied all its shades to characterize his heroes and phenomena of public life.

The character of a person, his social status, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.

The strength of Gogol the stylist is in his humor. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in opposition to the ideal of life with the reality of life." He wrote: "Humor is the most powerful tool of the spirit of negation, which destroys the old and prepares the new."

Will the time come (Come desired!). When will the people not Blucher And not my lord stupid, Belinsky and Gogol From the market will suffer? N. Nekrasov The work of Nikolai Vasilyevich Gogol goes far beyond national and historical framework. His works...

Gogol is a great realist writer, whose work has become firmly established in Russian classical literature. His originality lies in the fact that he was one of the first to give the broadest image of the county landowner-bureaucratic Russia. In his poem "The Dead...

Although the concept of a genre is constantly changing and becoming more complex, a genre can be understood as a historically developing type of literary work which has certain features. According to these features, the main idea of ​​​​the work becomes clear, and we are about ...

Feeding his chest with hatred, Arming his lips with satire, He passes thorny path With his punishing lyre. From all sides they curse him, And, only seeing his corpse, How much he did, they will understand, And how he loved - hating! ON THE....

My God, how sad is our Russia! A. S. Pushkin. There is no doubt that Gogol's laughter originated long before Gogol: in Fonvizin's comedy, in Krylov's fables, in Pushkin's epigrams, in representatives Famus Society at Griboyedov. What was Gogol laughing at?...

Indicate all the numbers in the place of which HH is written.

Enter the numbers in ascending order.

The originality of the art (1) world of the ra (2) of their stories N.V. Gogol connection(3)o using folk traditions: im(4)o in folk tales, semi-pagan legends and traditions, the writer found themes and plots for his works.

Explanation (see also Rule below).

Here is the correct spelling.

originality art world early stories N.V. Gogol is associated with the use of folklore traditions: it was in folk tales, semi-pagan legends and traditions that the writer found themes and plots for his works.

In this offer:

artistic - adjective formed with the suffix -ENN

rannih - the adjective is formed from the stem -ran- with the help of the suffix -Н-.

connected - in a short participle we write N.

name - the same number of H is written as in the word from which it is formed (nominal).

Answer: 124.

Answer: 124

Source: Demo version of the USE-2015 in the Russian language.

Rule: Writing H and HH in words different parts speech. Task 15.

SPELLING -Н-/-НН- IN VARIOUS PARTS OF SPEECH.

Traditionally, it is the most difficult topic for students, since a reasonable spelling of Н or НН is possible only with knowledge of morphological and word-formation laws. The material "Reference" summarizes and systematizes all the rules of the topic H and HH from school textbooks and gives Additional information from V.V. Lopatin and D.E. Rosenthal to the extent that is necessary to complete the tasks of the exam.

14.1 Н and НН in denominative adjectives (formed from nouns).

14.1.1 Two NNs in suffixes

The suffixes of adjectives are written HH, If:

1) the adjective is formed from a noun with a base on H using the suffix H: fogH + H → foggy; pocket+n → pocket, carton+n → carton

ancient (from old+N), picturesque (from picture+N), deep (from depth+N), outlandish (from outlandish+N), remarkable (from a dozen+N), true (from truth+N), corvée ( from barshchina + N), communal (from community + N), long (from length + N)

note: the word "weird" in terms of modern language does not contain the suffix H and is not related to the word "country". But it is possible to explain HH historically: a person from a foreign country was considered a dissident, a stranger, an outsider.

The spelling of the word "genuine" can also be explained etymologically: genuine in Ancient Rus' called the truth that the defendant spoke "under the longs" - special long sticks or whips.

2) the adjective is formed on behalf of the noun by adding the suffix -ENN-, -ONN: cranberry (cranberry), revolutionary (revolution), solemn (triumph).

Exception: windy (but: windless).

Note:

There are adjective words in which H is part of the root. These words must be remembered. They were not formed from nouns:

crimson, green, spicy, drunken, swine, red, ruddy, youthful.

14.1.2. The suffixes of adjectives are written N

The suffixes of adjectives are written N, If:

1) the adjective has the suffix -IN- ( dove, mouse, nightingale, tiger). Words with this suffix often have the meaning of "whose": dove, mouse, nightingale, tiger.

2) the adjective has suffixes -AN-, -YAN- ( sandy, leathery, oatmeal, earthy). Words with this suffix often mean "made of what": sand, leather, oats, earth.

Exceptions: glass, pewter, wood.

14.2. Н and НН in the suffixes of words formed from verbs. Complete forms.

As you know, both participles and adjectives (= verbal adjectives) can be formed from verbs. The rules for writing H and HH in these words are different.

14.2.1 HH in suffixes full participles and verbal adjectives

In the suffixes of full participles and verbal adjectives, HH is written if AT LEAST ONE of the conditions is met:

1) the word is formed from the verb perfect look, WITH OR WITHOUT A PREFACE, for example:

from the verbs to buy, redeem (what to do?, perfect form): bought, redeemed;

from verbs to throw, to throw (what to do?, perfect form): abandoned-abandoned.

The prefix NOT does not change the form of the participle and does not affect the spelling of the suffix. Any other prefix does makes the word perfect

2) the word has suffixes -OVA-, -EVA- even in words imperfect form (pickled, paved, automated).

3) with a word formed from a verb, there is a dependent word, that is, it forms a participle turnover, for example: ice cream in the refrigerator, boiled in broth).

NOTE: In cases where the full participle turns into an adjective in a specific sentence, the spelling does not change. For example: Excited With this message, the father spoke loudly and did not hold back his emotions. The highlighted word is participle in participial turnover, excited how? this message. Change the sentence: His face was excited, and there is no longer communion, there is no turnover, because the person cannot be “excited”, and this is an adjective. In such cases, they talk about the transition of participles into adjectives, but to write HH given fact does not affect in any way.

More examples: The girl was very organized And educated. Both words here are adjectives. The girl was not "educated", and she has always been educated, this permanent signs. Let's change the sentences: We were in a hurry to a meeting organized by partners. Mom, brought up in severity, and raised us just as strictly. And now the highlighted words are participles.

In such cases, in the explanation to the task, we write: participle adjective or adjective passed from the participle.

Exceptions: unexpected, unexpected, unseen, unheard of, unexpected, slow, desperate, sacred, desired..

note to the fact that from a number of exceptions the words counted (minutes), done (indifference). These words are written in general rule.

Add more words here:

forged, pecked, chewed eva / ova are part of the root, these are not suffixes to write HH. But when prefixes appear, they are written according to the general rule: chewed, shod, pecked.

the wounded is written one N. Compare: wounded in battle(two N, because the dependent word appeared); Wounded, the view is perfect, there is a prefix).

smart to define the type of word is difficult.

14.2. 2 One H in verbal adjectives

In the suffixes of verbal adjectives, N is written if:

the word is formed from an imperfective verb, that is, answers the question what did you do with the item? and the word in the sentence has no dependent words.

stew(it was stewed) meat,

shorn(their hair was cut)

boiled(it was boiled) potatoes,

brokenNaya(it was broken) line,

stained(it was stained) oak (dark as a result of special processing),

BUT: as soon as these adjective words have a dependent word, they immediately go into the category of participles and are written with two N.

stewed in the oven(it was stewed) meat,

recently cut(their hair was cut)

steamed(it was boiled) potatoes.

DISCOVER: participles (right) and adjectives (left) different meanings! capital letters stressed vowels are highlighted.

named brother, named sister- a person who is not biologically related to this person, but who agreed to fraternal (sisterly) relations voluntarily. - the address I gave;

planted father (acting the role of the parent of the bride or groom during wedding ceremony). - planted at the table;

dowry (property given to the bride by her family for life in marriage) - given a chic look;

narrowed (as the groom is called, from the word fate) - narrowed skirt, from the word narrow, make narrow)

Forgiveness Sunday (religious holiday) - forgiven by me;

written beauty(epithet, idiom) - oil painting.

14.2.3. Spelling Н and НН in compound adjectives

As part of compound word the spelling of the verbal adjective does not change:

A) the first part is formed from imperfective verbs, so we write N: plain-dyed (paint), hot-rolled, homespun, multi-colored, gold-woven (weave); whole-cut cut), gold-forged (forged), little-traveled (ride), little-walked (walk), little-carried (wear), slightly salted (salt), finely crushed (crush), freshly slaked (quench), freshly frozen (freeze) and others.

b) the second part of the compound word is formed from the prefixed verb of the perfect form, which means we write NN: smooth O dyed ( O paint), fresh behind ice cream ( behind freeze), etc.).

In the second part of complex formations, H is written, although there is a prefix PER-: Ironed-over-ironed, patched-re-patched, worn-carried, washed-washed, shot-re-shot, darned-redarned.

Thus, tasks can be performed according to the algorithm:

14.3. Н and НН in short adjectives and short participles

Both participles and adjectives have not only full, but also short forms.

Rule: In short participles, one N is always written.

Rule: In short adjectives, the same number of N is written as in the full form.

But in order to apply the rules, you need distinguish between adjectives and participles.

DISCOVER short adjectives and participles:

1) on the issue: short adjectives - what? what? what are what is it? what are?, short participles - what is done? what's done? what is done? what are done?

2) by value(a short participle is related to the action, can be replaced by a verb; a short adjective characterizes the word being defined, does not report the action);

3) by the presence of a dependent word(short adjectives do not and cannot have, short participles have).

14.4. One or two N can also be written in adverbs.

In adverbs in -O / -E, the same number of N is written as there are in the original word, For example: calmly with one H, since in the adjective calm suffix H; slowly with HH, as in the adjective slow NN; enthusiastically with HH, as in the sacrament HAPPY NN.

With the seeming simplicity of this rule, there is a problem of distinguishing between adverbs, short participles and short adjectives. For example, in the word focus (Н, НН) о it is impossible to choose one or another spelling WITHOUT knowing what this word is in a sentence or phrase.

DISCOVER short adjectives, short participles and adverbs.

1) on the issue: short adjectives - what? what? what are what is it? what are?, short participles - what is done? what's done? what is done? what are done? adverbs: how?

2) by value(a short participle is related to the action, can be replaced by a verb; a short adjective characterizes the word being defined, does not report the action); an adverb expresses an action, how it occurs)

3) by role in the sentence:(short adjectives and short participles are often predicates, while the adverb

refers to the verb and is a circumstance)

14.5. Н and НН in nouns

1.In nouns (as in short adjectives and adverbs), the same number of N is written as in the adjectives (participles) from which they are formed:

Words are formed from adjectives

related / ik from related, third-party / ik from third-party, like-minded / ik from like-minded, (malicious / ik, co-intentional / ik), set / ik from set, drowned / ik from drowned, numerical / ik from numerical, compatriot / ik from compatriot) and many others.

2. Nouns can also be formed from verbs and other nouns.

Table note: *Words that are written with H and are not formed from adjectives (participles) in the Russian language are rare. They need to be learned by heart.

HH is written and in words traveler(from traveling) predecessor(preceded)

Gogol began his creative activity as a romantic. However, he turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature.

The originality of Gogol was that he was the first to give the broadest image of the county landowner-bureaucratic Russia and the "little man", a resident of St. Petersburg corners.

Gogol was a brilliant satirist who scourged "the vulgarity of a vulgar man", exposing to the utmost the social contradictions of contemporary Russian reality.

The social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, the plot serves only as an excuse for a broad depiction of everyday life and the disclosure of characters-types.

Deep insight into the essence of the main socio-economic phenomena of his contemporary life allowed Gogol, a brilliant artist of the word, to draw images of a huge generalizing power.

The goals of a vivid satirical depiction of heroes in Gogol are a careful selection of many details and their sharp exaggeration. So, for example, portraits of the heroes of "Dead Souls" were created. These details in Gogol are mostly everyday: things, clothes, housing of heroes. If in Gogol's romantic stories emphatically picturesque landscapes are given, giving the work a certain elation of tone, then in his realistic works, especially in Dead Souls, the landscape is one of the means of depicting types, characterizing heroes.

The subject, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality of Gogol's literary speech. The two worlds depicted by the writer - the folk collective and the "existents" - determined the main features of the writer's speech: his speech is enthusiastic, imbued with lyricism when he talks about the people, about the homeland (in "Evenings ...", in "Taras Bulba ”, in the lyrical digressions of “Dead Souls”), then it becomes close to live colloquial (in everyday paintings and scenes of “Evenings ...” or in narratives about bureaucratic landowner Russia).

The originality of Gogol's language lies in the wider use of common language, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. material from the site

Gogol loved and subtly felt folk colloquial speech, skillfully applied all its shades to characterize his heroes and the phenomena of social life.

The character of a person, his social position, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.

The strength of Gogol the stylist is in his humor. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in opposition to the ideal of life with the reality of life." He wrote: "Humor is the most powerful tool of the spirit of negation, which destroys the old and prepares the new."