A talented reader is not someone who reads a lot. And not even the one who prefers scientific literature popular. A talented reader is a person who knows how to appreciate fiction and poetry.

Formation of literary preferences

In Gogol's famous poem there is a character who shows an extraordinary love for books. But the author notes that he loves to read not because he appreciates literary works, but out of love for putting letters into words, and words into sentences. The author described the passion of this hero not without sarcasm. IN real life If such individuals occur, it is very rare.

A talented reader is a person who enjoys reading a book, but does not forget its content immediately after reading it. Literature is a source of spiritual, moral and intellectual enrichment. You need to be able to read. And those who have mastered this art will not be carried away by works of art haphazardly. Consequently, a talented reader is a lover of prose and poetry who has formed his own literary preferences.

The phrase, the meaning of which is revealed in this article, can be used in relation to a person who has studied more than one work by a Russian or foreign writer. But, unlike Gogol’s hero, he learned to analyze what he read.

Love of books

The character discussed above is Petrushka, the lackey of the scoundrel Chichikov. The phrase “talented reader” does not apply to this. A synonym for this concept is a thoughtful person. Parsley does not find it difficult to understand the contents of books. He takes up reading a primer, a prayer book and a French novel with equal zeal. But who is a talented reader? A synonym for this concept is a person who knows a lot about literature. Someone who does not read indiscriminately, but knows how to choose from the diverse book world what is really interesting and necessary for him.

Must-read books

IN school curriculum It’s not for nothing that the works of Russian and foreign classics are included. To develop a literary taste, you should read more than one book. Only after studying a certain number of works does one become able to evaluate the quality of a particular work.

How to learn to read?

Literary taste can be compared to an ear for music. One reader derives pleasure exclusively from reading quality literature. Others are only interested in an exciting plot. A mediocre reader is unable to appreciate artistic media which the author uses. inaccessible to him main idea works. It can be compared to a person who has “a bear stepped on his ear.” With someone who does not distinguish harmony from disharmony. But unlike an ear for music, literary taste is not innate. It can be purchased.

So, what is the meaning of the phrase “talented reader”? Who is this? A person who has read the novels of Tolstoy, Dostoevsky, Bunin's stories and Pushkin's stories? The school minimum involves studying the books of the great classics. For a successful passing the Unified State Exam Students read works that are included in the list of required literature. The Zetas are analyzed, essays are written on them. However, after graduating from school, not everyone enjoys reading. Consequently, the concept of “talented reader” is not applicable to every person who has studied the school minimum.

Sentence by sentence, page by page... And in the reader’s imagination is born the whole world artistic images. He immerses himself in it, living the lives of the heroes and empathizing with them. This state is familiar to a person who can be given such a title as “talented reader.” The meaning of this concept is more complex than it might seem at first glance. A reader can be called talented if he has a rich imagination, has more than a dozen books read behind him, and knows how to distinguish classics from “reading material.” The ability to understand and analyze the great comes with experience. Let's consider the abilities of a thoughtful reader using the example of a well-known novel.

Example: “The Master and Margarita”

The novel won the love of millions of readers. What is unique about this work? Why does it interest people? of various ages and level of education? IN adolescence the reader gets acquainted with Bulgakov’s creation, and is fascinated by the mysticism of the plot. With the acquisition of life experience, he is able to appreciate Bulgakov’s sparkling humor. But only a truly talented reader can access the deep philosophical idea of ​​this work.

The idea of ​​the novel is based on biblical story. Only a deep, thinking person can appreciate the wisdom of Yeshua’s words. Bulgakov's hero speaks of cowardice as the most terrible vice. He hints at the unreliability of Matvey's notes. The use of gospel motifs allows the author to express his moral position and original views on the history of Christianity. The reader for whom this book was one of the first cannot understand the idea of ​​the novel. To analyze the work, you should read a lot of critical articles and biographical works about the writer. Therefore, reading books does not mean understanding their content. To understand the term “talented reader,” one more example from the literature should be given.

"Crime and Punishment"

Dostoevsky's book is called an example of a crime novel. This work truly has all the hallmarks detective genre. But the word “punishment” here does not have a legal connotation. More like Christian. Raskolnikov breaks one of the commandments. He operates according to the anti-human theory. And this almost leads him to moral death. His faith saves him.

It is difficult to understand the depth of Dostoevsky's novel as a teenager. A talented reader can perhaps be called a person who, after graduating from school, returns to his works. classical literature, among which one of the most important is “Crime and Punishment”, in order to look at the experiences of the heroes from the height of life and reading experience.

Critic or reader?

Is there a difference between these concepts? A critic is more than a talented reader. The use of this concept in speech is quite common. A critic is a specialist who analyzes works of art and does it professionally. The reader is the one who enjoys getting to know artistic world writer. The assessment of professional critics is more objective. Their articles are published in literature textbooks. The names of the best of them go down in the history of literature. But it is worth remembering that neither prose nor poetry can exist without a grateful reader. The writer does not create his books for famous critics. Its audience is talented readers.

Samuel Marshak(1887 - 1964) - author of famous children's books and equally famous translations. His first teacher was archivist and art historian Vladimir Stasov, to whom Marshak addressed “Dear Grandfather” in his early letters. The young poet was patronized by and, and he himself youth helped children: participated in organizing assistance to young orphans and refugees - victims of the First World War; in 1917 he organized and headed the "Children's Town" - a complex of children's institutions (library, school and creative workshops), which included one of the first Soviet theaters young viewer.

Marshak was not only a practitioner, but also a theorist. He spoke a lot about the importance of poetry, the theory of translation and his own observations of the literary process. He combined most of his articles and notes on literature into the collection “Education with Words,” published in 1961.

We selected 10 quotes from it:

As a spectator who has not seen the first act, Children are lost in conjecture. And yet they manage somehow Understand what is going on in the world.

Of all the arts, poetry is the most popular, widespread, one might say, free material. Music needs instruments - from an organ to a simple pipe, painting is unthinkable without paints, and poetic art deals with words - with those ordinary, familiar words that serve us for everyday conversation.

Literature needs talented readers as well as talented writers. It is on them, on these talented, sensitive readers with a creative imagination, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word.

We can say with complete confidence that in our fairy tales Andersen told more and more truthfully about the real world than many novelists who claim to be writers of everyday life.

The shortest epigram - just like a large epic poem - can pass from generation to generation, conquering space and time.

A writer must feel the age of every word. He can freely use words and phrases that have recently and briefly entered our oral speech, if he knows how to distinguish this small bargaining chip from the words and figures of speech included in the main - golden - fund of the language.

Literature without criticism is like a street without streetlights.

The dictionary reflects all the changes taking place in the world. He captured the experience and wisdom of centuries and, keeping pace, accompanies life, the development of technology, science, and art.

Leaders of literary circles usually consider musicality, imagery, and other easily measurable properties to be the formal merits of poetry. They count the number of metaphors, comparisons, images, evaluate the richness of rhyme and in this way very easily decide which poems are better and which are worse. It's a seductively easy approach to poetry, but is it sustainable? Indeed, given such criteria, Balmont will certainly turn out to be “more poetic” than Pushkin, and Severyanin, of course, will defeat Lermontov.

Time is precious. There is a lot and little time. For a long time- not the time, If it has passed.

How to become a good READER

Book exhibition-advice for teenagers

"LiteratureSosameneededtalented readers,

HowAndtalentedwriters."

SamuelYakovlevich Marshak

The book is one of the greatest wonders of the world, an amazing invention of mankind.

It turns out that reading also needs to be learned, then it is both joy and benefit.

1. Commit journey V history of the book .

It is forbidden become good reader without knowledge stories books . Explore her .

This is an ancient and young country at the same time. Young readers will be able to learn about the historical role of the book from antiquity to the present day, about its significance in the formation of human spiritual culture, get an idea of ​​the great books of antiquity and famous scribes, and visit different countries and eras that play an important role in the fate of the book. And be sure to “get acquainted” with the libraries of the past and modern temples of wisdom.

Literature:

1. E. L. Nemirovsky. Journey to the origins of Russian printing: A book for students. - M.: Education, 1991. - 224 p.: ill.

2. A. G. Glukhov. ...Only writing sounds: The fate of ancient libraries. - M.: Book, 1981.- 208 p., ill.

3. Golubeva O. D. In the world of book treasures. - L.: Lenizdat, 1988. -272 p.

4. E. Sturgeon. The Tale of Drukar Ivan and his books: For the younger school age. - M.: Malysh, 1983. - 95 p.: ill.

5. I. Pavlov. About your book. - L.: Children's literature, 1991. - 113 p.: ill. -(Know and be able)

6. Electronic presentation“Your fun book garden.” /Library of Municipal Educational Institution Secondary School No. 3, Shumerlya, 2010.

2. Learn culture reading . Culture reading — This

• skillon one's ownworkWithbook-goy;
• knowledgetechniquesrationalreading;
• carefulattitudeTobook;
• skillconcentrateonvolume,Whatyou read;
• the ability to quickly find the books you need in the library, etc.
• The ability to simultaneously: understand, imagine, experience what you read.

Mastereveryonethis.

Bookteaches,treatssoul,develops tasteformslooks...Reading talent— ThisNotJustnaturalgift,Are-resultstubbornlabor.

• How can one learn to enjoy the skill of a writer, the depth of his thoughts, and not just “swallow” books and perform a boring task?
• How does a true book differ from a fake one, or a talented book from a dull one?
• Where to start working on an essay?
• What are the techniques for speed reading?
• How to properly format a quotation, compile a bibliography, plan, outline?

Teenagers will be able to find answers to these and many other questions in the proposed publications, using the important advice of experts.

The talent of a reader is one of those rare talents that everyone can develop in themselves. And then a person will learn to apply the knowledge gained from books in life. In a word, the reader will gain talent.

Literature:

1. I. Ya. Linkova. You and your book: A book for reading. - M., Education, 1981. - 142 s.

2. I am friends with the book // Children's Encyclopedia, 2009, No. 3, 72 p.

3. Information and you. // Children's Encyclopedia, 2007, No. 3, 56 p.

4.Library tutor/Library of Municipal Educational Institution Secondary School No. 3.

5. Secrets successful work with printed materials: Library lesson for high school students. Electronic presentation. Library of Municipal Educational Institution Secondary School No. 3.

6. “Method of note-taking. Library lesson Electronic presentation. Library of Municipal Educational Institution Secondary School No. 3.

7. Journey through the children's Internet Library lesson Electronic presentation. Library of Municipal Educational Institution Secondary School No. 3.

3. Make friends With encyclopedias , reference books , dictionaries .

Get your bearings V stream information helps reference literature . This encyclopedias , dictionaries , reference books .

Contact us To him .

The proposed unique publications will become faithful companions on an exciting journey through the planet of knowledge. Concise text and illustrations will help you easily learn serious and useful information about man and the Universe, about disappeared civilizations and unusual phenomena nature, about animals and plants and much more. And, of course, they will be useful to the student for several years of study.

Interestpresentpublicationsfromseries"Allabouteveryone""Strokes"time","EncyclopediaForchildren","Whois there anyone in the world""100famous","100greats”, “Everything about everything”, “I explore the world”, “Encyclopedia for children”,

Encyclopedias"What is it, who is it", "Great Russian Encyclopedia", "Great Encyclopedia of Cyril and Methodius" (WithD), "Great Soviet Encyclopedia (CD) and others.

Useful information and reliable scientific facts will help a teenager broaden his horizons.

1. RGDL website on the Internet called “BiblioGid” (www.bibliogid.ru and www.biblioguide.ru).
2. Library of Maxim Moshkov,
3. Internet library of Alexey Komarov,
4. Website International Association Readings (www.reading.org
5. Electronic libraries "ImWerden" and "Bestseller" - this is an incomplete list electronic libraries, to which there is free access.

4. Read books , verified time .

Choosing books For reading , special preference give it back those , who used popularity at many generations readers .

Suggested here best books for children who have stood the test of time: they were read by mothers and fathers, grandparents... These publications truly constitute the “golden circle” of reading: A. Pushkin “Poems”, J. Berne “The Fifteen-Year-Old Captain”, A. . Green " Scarlet Sails", M. Reed "The Headless Horseman", N. Gogol "Evenings on a Farm near Dikanka", a miracle", W. Shakespeare "Twelfth Night", L. Tolstoy "Youth", G. Troepolsky "White Beam" Black Ear" and many others.

Literature:

1. One Hundred Favorite Books: The Golden List for children's reading// Children's Encyclopedia, 2008, No. 9, 88 p.
2. Anthology of world children's literature. /Multivolume edition - M., Avanta, 2003.
3. Books recommended by the Successful Reading Project
   1. “Treasured List” by M.N. Pryakhin [email protected]

The art of being a reader is an endless art; one masters this skill throughout one’s life. Useful tips books offered at the exhibition will help you become GOODBY THE READER.

How many books have been read does not matter, but for a very long time what matters is daily, nightly reading, nightly reading out the window with a lighted lamp. And while the circle from the lamp is on round table turns off only at late dawn, everything is in order on the round and bright Earth, the planet inhabited by readers.

Boris Slutsky

The exhibition was prepared by librarian Loskutova A.V.

Literature also needs talented readers, as well as talented writers. It is on them, on these talented, sensitive readers with a creative imagination, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word. The artist-author takes on only part of the work. The artist-reader must fill in the rest with his imagination. But not every book forces the reader, even the most talented one, to work - to think, feel, guess, imagine. A good reader: he always reads, every day and cannot do without it, reads various books (popular science, history, fiction and others) knows how to look for the book he needs, understands and understands what he read. A real reader loves a book not as a thing (sometimes quite expensive) and values ​​it not only for the information that can be gleaned from it. For a real reader, a book is a living being with whom you can communicate and to whom you can turn at any moment. A real reader knows how to use in life what he read about in books. It is necessary to read and understand, because the chosen literature gives the joy of discovery and helps to experience high feelings in the evaluation of a literary work. True, the assessment of a book, established for a certain period of time, changes very often. Some booth located nearby can obscure a tower standing in the distance. But sooner or later we realize this optical illusion and begin to imagine literary quantities on a more correct scale. Time passes, one generation replaces another, and each of them evaluates the literary heritage that has reached it in its own way. And if a prose writer or poet retains their significance and weight over the centuries, this is not explained by the fact that they were once included in the ranks of geniuses and classics or immortalized by monuments erected in their honor, but by the fact that new generations recognize them as valuable and necessary for life. And there are times when a book, lying peacefully on our shelf, gradually and imperceptibly loses its charm. She seems to be destroyed, merging with others similar to her. The fate of the book is decided by a living person, the reader. All the strings that the author has are in the hearts of the readers. The author has no other strings. And depending on the quality of playing on these strings, they resonate in the souls of people, sometimes dully, sometimes loudly, sometimes loudly, sometimes quietly. We must not forget about this when we talk about language, about the poet’s vocabulary. Remember how Lermontov brought Heine’s poems closer to the heart of the Russian reader by translating the German words into these Russian words: And she dozes, swaying, and is dressed in loose snow like a robe1. Tyutchev's translation of the same poem by Heine, very close to the original, did not, however, evoke such a deep response in us and therefore did not enter Russian poetry on a par with the original poems2. Words and combinations of words are connected in our minds with many, many of the most complex associations and are capable of raising from the bottom of our soul a whole world of memories, feelings, images, and ideas. And this depends on what is in the author’s heart and soul and how much he masters that powerful verbal keyboard that sets the strings of the reader’s hearts in motion. And that's it

About the talented reader

Let's talk about the reader. They talk about him rarely and little. Meanwhile, the reader is an irreplaceable person. Without it, not only our books, but also all the works of Homer, Dante, Shakespeare, Goethe, Pushkin are just a dumb and dead pile of paper.

Individual readers may sometimes make erroneous judgments about books, but the Reader, in the larger, collective sense of the word - and, moreover, over a more or less long period of time - always has the last word in assessing a literary work.

True, the assessment of a book, established for a certain period of time, changes very often. Some booth located nearby can obscure a tower standing in the distance. But sooner or later we realize this optical illusion and begin to imagine literary quantities on a more correct scale.

Time passes, one generation replaces another, and each of them evaluates the literary heritage that has reached it in its own way. And if a prose writer or poet retains their significance and weight over the centuries, this is not explained by the fact that they were once included in the ranks of geniuses and classics or immortalized by monuments erected in their honor, but by the fact that new generations recognize them as valuable and necessary for life.

And there are times when a book, lying peacefully on our shelf, gradually and imperceptibly loses its charm. She seems to be destroyed, merging with others similar to her.

The fate of the book is decided by a living person, the reader.

We must not forget about this when we talk about language, about the poet’s vocabulary.

Remember how Lermontov brought Heine’s poems closer to the heart of the Russian reader by translating German words into the following Russian:

And dozes, swaying, and snow falls
She is dressed like a robe.

Tyutchev's translation of the same poem by Heine, very close to the original, did not, however, evoke such a deep response in us and therefore did not enter Russian poetry on a par with the original poems.

Words and combinations of words are connected in our minds with many, many of the most complex associations and are capable of raising from the bottom of our soul a whole world of memories, feelings, images, and ideas.

And the point here is not only in the subtle and thorough knowledge of the language, which linguists have.

In search of the most expressive, unique, irreplaceable word, a poet or prose writer turns not only to memory, like a doctor recalling the Latin names of drugs.

Words are arranged in our minds differently than in dictionaries, not separately, not alphabetically or in order. grammatical categories. They are closely related to our diverse feelings and sensations. An angry, sharp, apt word will not come to mind until we are truly angry. We will not find warm, tender, affectionate words until we are imbued with genuine tenderness. That is why Mayakovsky speaks of extracting a precious word “from the artesian depths of humanity.”

This does not mean that the poet needs some unusual, sophisticated, pretentious words to express feelings.

Finding the simplest and at the same time the most apt word is sometimes much more difficult.

Remember the description winter evening in Chekhov's story "The Fit".

“Recently, the first snow fell, and everything in nature was under the power of this young snow. The air smelled of snow, snow crunched softly underfoot, the ground, roofs, trees, benches on the boulevards - everything was soft, white, young, and from this house looked different than yesterday, the lanterns burned brighter, the air was more transparent, the carriages knocked more muffledly, and a feeling similar to white, young, fluffy snow begged into the soul along with the fresh, light frosty air..."

These are the ordinary words known to everyone that Chekhov gives us the feeling of the first snow. Where are the verbal “artesian depths” mentioned above?

In lyrical concentration, in the sparse and strict selection of the finest details, in the rhythm that takes us into the atmosphere of a winter evening city.

In fact, the simplest words have the greatest power if the reader perceives them with that fresh spontaneity that is characteristic of poets and children.

Chekhov half-jokingly countered all the fanciful descriptions of the sea with its simplest definition:

And in folk epic"Kalevala" the hare, who brings the news of Aino's death, tells her family that the girl

Fell into the wet sea.

“Big sea”, “wet sea” - this is how any child could put it, perceiving the world for the first time - large, strong and simple.

An adult can find more complex epithets to describe the sea. But happy is the one who manages to combine mature experience with such a fresh and direct vision of the world.

In folk epic, in ancient Greek poetry, in Latin prose, in inscriptions on ancient monuments, simple verbs are full of movement and force:

I came, I saw, I conquered.

And what strength and weight is there in the line of Lermontov’s poem “Two Giants” - in the verb “fell”, placed at the end of the verse, as if over a steep cliff:

The daring one gasped and fell!

The poet, as it were, returns to the words their original freshness, energy, fullness - virtues that they did not possess, resting in inaction on the pages of dictionaries.

The verb "to laugh" contains peals of loud laughter - "ho-ho-tat".

We have long been accustomed to this laughing word and, pronouncing it quickly, we crumple it and hide unstressed vowels.

And how clearly and powerfully each of his syllables sounded in Pushkin’s poems:

He keeps walking, he walks around,
Talks loudly to himself -
And suddenly, hitting him on the forehead with his hand,
Laughed...

It seems that for the first time this word has been given the space necessary for its full sound. Poetic meter forces us to pronounce all vowels clearly and clearly. The inevitable pause after the previous verse creates that silence, after which the laughter contained in the word “laughed” rolls like thunder.

Our hasty, sometimes careless colloquial speech, which we use in everyday life for utilitarian purposes, often discolors and “dumbs down” words, turning them into service terms, into some kind of conventional code.

The writer uses the same generally accepted words (although his vocabulary should be much wider and richer than the colloquial vocabulary), but, a master of his craft, he knows how to place a word among others so that it plays with all its colors, sounds unexpected, weighty and new.

And he succeeds only if he himself treats words with care and unusualness, if he not only understands their meaning, but also imagines everything that was put into them by the “linguist” - the people.

Not afraid to break the rules of stylistics, Chekhov, in his description of the first snow, repeats the word “snow” more than once, which in itself - without epithets - can tell the reader a lot. The poet believes in the power of this simple word, as an adult or a child, inexperienced in the art of words, believes in it, for whom words are as tangible and significant as the objects themselves. But, of course, the power and charm of Chekhov’s lines is not in the word “snow” alone. They contain the smell of young snow, and the soft crunch of it underfoot, and the sound of carriages muffled by the snow, and the whiteness of the snow, and the transparency of the winter air, from which the lanterns burn brighter than usual.

Together with Chekhov, the reader not only sees this first “young” snow, but also hears its creaking, and inhales the fresh winter air that smells of snow, and, it seems, even feels the chill of a melting snowflake in the palm of his hand.

All five of our senses respond to those simple and at the same time magical words that Chekhov so carefully uses in this passage.

His winter evening landscape awakens in readers so many subtle, dear feelings that they themselves begin to remember something of their own - something that Chekhov did not name.

The reader ceases to be just a reader. He becomes a participant in everything that the poet has experienced and felt.

And, on the contrary, he remains indifferent if the author has done all the work for him and has chewed up his idea, theme, images so much that he has left no room for his imagination. The reader also needs and wants to work. He is also an artist - otherwise we could not talk to him in the language of images and colors.

Literature needs talented readers as well as talented writers. It is on them, on these talented, sensitive readers with a creative imagination, that the author counts when he strains all his mental strength in search of the right image, the right turn of action, the right word.

But not every book forces the reader, even the most talented one, to work - to think, feel, guess, imagine.

In life, for some reason, we are captivated by distant sounds that seem especially poetic to us - the distant crow of a rooster, the distant barking of dogs, by which we recognize that there is a village somewhere ahead, distant human talk on the road, or a fragment of a song coming to us from afar. We are interested in seeing unknown people in the forest around a fire, the flames of which snatch out their individual features from the semi-darkness. Walking down the street, we sometimes cannot resist the temptation to look into a lighted window, behind which goes some kind of life unknown to us.

We are interested in everything that awakens our poetic imagination, which is able to recreate the whole picture from a few details.

We re-read “Taman” countless times, written in such a laconic, simple and strict way, as only poets write in prose. But something in this story always remains mysterious, unseen, unheard for us.

I do not mean some sly omissions or purely subtle hints, which are often used by pretentious writers who want to impart, in some twilight, a mysterious significance to something that in bright light would seem primitive and even flat.

No, we're talking about about the complexity and depth of an image, thought, feeling in which getting to the bottom is not so easy.

What, it would seem, is tricky about the portrait of Katyusha Maslova, painted by the hand of Leo Tolstoy? But we endlessly re-read the pages dedicated to her in order to understand, to discern what it was in this image of a young girl with such happy, slightly slanted, “black as wet currant” eyes, and then a female prisoner with a pale, swollen face that was so striking and thrilled us for life. We are only guessing and therefore trying to read between the lines of Tolstoy’s novel what is happening in her soul after a difficult and painful turning point, how and when her first love, so cruelly trampled, awoke in her, whether she will accept Nekhlyudov’s atoning sacrifice or find some kind of love for herself. another path, more difficult and higher. All these questions do not cease to worry us until the last pages of the book. And even after we read it to the end, there is still a lot of work left for our imagination and thought.

And because the author makes us feel, think and imagine so much throughout the novel, we do not miss a single word in the text, we greedily catch every movement characters, trying to predict the turns of their destinies.

According to complex, internally logical, but at the same time laws that cannot be predicted by calculation, the destinies of the heroes develop in Chekhov’s stories “Duel”, “The Story of an Unknown Man”, “Three Years”.

Try to guess in advance how and where M. Gorky will take you in “The Hermit” or in “The Story of Unrequited Love.”

Yes and in ours contemporary art you can find many stories, poems, and films that give the reader and viewer the opportunity to be full participants in the reality that the artist creates.

The path of Grigory Melekhov is complex and contradictory. It is difficult to predetermine - despite all their regularity - the turns of fate of the heroes of "Walking Through Torment". Throughout the entire poetic story, from the first line to the last, Nikita Morgunok is looking for the “country of Ant,” and the reader wanders with him along “a thousand paths and roads,” sharing thoughts and anxieties with the hero of the poem.

However, even now, in our fiction and poetry, “route” cars have not yet disappeared, which take the reader not only to a predetermined goal, but also along a predetermined route that does not promise anything new, unexpected and unforeseen.

The reader and his imagination have nothing to do on such a well-trodden road.

And the author himself, in the process of such writing, can hardly find or discover anything valuable and significant for himself, for life, for art. Essentially speaking, such easy roads pass by life and art.

The reader receives only the capital that the author invested in the work. If during the work no real thoughts, no genuine feelings, no stock of living and accurate observations were expended, the reader’s imagination will not work. He will remain indifferent, and if he gets excited for one day, then tomorrow he will forget his short-term hobby.

When the curtain rises in the theater or the book opens, the viewer or reader is sincerely disposed to believe the author and actor. After all, that’s why he came to the theater or opened a book, to believe. And it is not his fault if he loses confidence in a play or book, but sometimes, through the fault of the play and book, in theater and literature.

The viewer is ready to indulge in skepticism and may lose confidence in glued-on beards and painted forests if, in a matter of minutes of the performance, he is not internally engaged, does not follow the development of the plot, the resolution of a life problem, if he is not excited and interested. Following the relationships between the characters, the viewer forgets that they are composed and fictitious. He's crying over tragic fate heroes he loves, he rejoices at the victory of goodness and justice. But the falseness, banality or inexpressiveness of what is happening on stage immediately makes him wary, turns the actors into pitiful comedians, and exposes all the cheap props of the stage environment.