Summary of pseudonym. Presentations with elements of an essay. See what “Pseudonym” is in other dictionaries

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How to learn to compress text? To begin with, let us recall that concise presentation is a test of text processing skills. A condensed presentation is a brief, generalized presentation of the content of the source text. The student needs to reflect the content of the original text as much as possible, using minimally speech means

. Let’s define the tasks facing us and choose a certain course of action. According to evaluation criteria concise presentation

, you need to complete a number of tasks.

Tasks:

1) Convey the main content of the listened text, without missing a single micro-topic.

2) Apply at least one text compression method.

3) Write a paper without logical errors and violations of paragraph division of the text (approximate volume 90-110 words).

Listening to the text

The original text is reproduced twice. Between the first and second reading you will have 10 minutes to comprehend the text.

When reading for the first time, try to understand the essence of the text, its main problem. Follow the development of micro-topics, remember their location and sequence. If you don’t have time, don’t try to write down the entire text. Write down keywords

and phrases that form the semantic basis of this text. Leave gaps between entries: this will give you the opportunity to insert words, phrases and even sentences during the second reading and editing. Try to make a plan, formulating each micro-topic in the form of a thesis.

On the second reading, check whether you correctly remember the sequence of the topic and the author’s reasoning. Complete your entries.

In the process of listening to the text, you need to mentally divide it into its component parts - microthemes. A microtheme is the content of several sentences united by one thought. The microtheme is part general theme

text and, as a rule, is a separate paragraph (or several). In the text of the condensed presentation, all micro-topics of the source text should be noted, otherwise the grade will be reduced.

Reading text 1

Having carefully read this text, we will highlight the following micro-topics in it:

1st paragraph: The algorithm of black ingratitude is the response to good with evil.

Paragraph 2 - Morality is a guide to life.

Paragraph 3 - The happiness of doing good is given only to sublime natures.

The point of compressing text is to leave the main information while reducing the secondary information. There are three language methods for text compression: exclusion, generalization and replacement.

When using an exception, it is necessary to determine the main information and secondary details (introductory structures, repetitions, homogeneous members, synonyms, nonessential fragments and whole sentences). By excluding these details, you will form a condensed text.

When generalizing, we isolate individual facts, select means of briefly conveying them, and compose a new text. Using this method, we can replace homogeneous members with a generalized name, direct speech with indirect speech, several simple sentences with complex ones.

Simplification (replacement) is a text compression technique based on simplifying syntactic structures:

- part replacement complex sentence involved or participial phrase;

- merging several sentences into one;

- replacing part of the text with one sentence;

- reducing the number of parts of a complex sentence;

- replacing a sentence fragment with a synonymous expression;

- replacing a sentence or part of it with a demonstrative pronoun.

Editing 1 paragraph:

One person was told that an acquaintance of his spoke about him in unflattering terms: “It can’t be! - the man exclaimed. “I didn’t do anything good for him...” Here it is, the algorithm of black ingratitude, when good is answered with evil. In life, one must assume, this man has more than once met people who have mixed up the guidelines on the moral compass.

We exclude direct speech, introductory phrases, and simplify the last 2 sentences of the paragraph:

The algorithm of black ingratitude is evil in response to good. This is what people do who have mixed up the guidelines on the moral compass.

Editing paragraph 2:

Morality is a guide to life. And if you deviate from the road, you may well wander into a windfall, thorny bushes, or even drown. That is, if you behave ungratefully towards others, then people have the right to behave the same towards you.

We use the method of replacement in sentence 2 and exclusion in sentence 3:

Morality is a guide to life, and if you deviate from the road, you can get lost or even die. If you behave ungratefully towards others, you may get the same in return.

Editing paragraph 3:

How should we approach this phenomenon? Be philosophical. Do good and know that it will surely pay off. I assure you that you yourself will receive pleasure from doing good. That is, you will be happy. And this is the goal in life - to live it happily. And remember: sublime natures do good.

We exclude interrogative sentence, we apply a simplification method, making up one complex sentence from several sentences with the first complicated part (homogeneous members, an isolated circumstance, expressed by an adverbial phrase):

One must approach the phenomenon of ingratitude philosophically: to do good, receiving pleasure from it, and therefore a feeling of happiness, which is the goal of life for an exalted nature. (71 words)

Reading text 2

We highlight microthemes:

1 paragraph - Cruel school of war.

Paragraph 2 - “Mental experience” of wartime childhood.

Paragraph 3 - The memory of the war must live on.

Editing 1 paragraph:

The war was a cruel and rough school for children. They sat not at desks, but in frozen trenches, and in front of them were not notebooks, but armor-piercing shells And machine gun belts. They did not yet have life experience and therefore did not understand the true value of simple things that you do not attach importance to in everyday peaceful life.

We exclude one of the adjectives in sentence 1. We exclude one of the homogeneous adverbs of place in the second sentence and generalize the homogeneous subjects. We simplify the third sentence and get:

Children went through the cruel school of war in frozen trenches with weapons in their hands instead of notebooks. They haven't had it yet life experience to truly appreciate what you don’t attach importance to in peaceful life.

Editing paragraph 2:

The war filled their spiritual experience to the limit. They could cry not from grief, but from hatred, they could childishly rejoice at the spring crane wedge, as they had never rejoiced either before or after the war, with tenderness they could keep in their souls the warmth of bygone youth. Those who survived returned from the war, having managed to preserve within themselves a pure, radiant peace, faith and hope, becoming more uncompromising to injustice, kinder to goodness.

We simplify: from three sentences we make one, complicated one isolated circumstance, expressed by the participial phrase. "Radiant and clean world"replaced with "purity of the world":

The war filled their spiritual experience, forcing them not only to cry with hatred, but also to rejoice at the crane’s wedge, to tenderly preserve the warmth of their passing youth, to preserve the purity of the world, faith and hope, to become kinder and at the same time more uncompromising to injustice.

Editing paragraph 3:

Although the war has already become history, the memory of it must live, because the main participants in history are People and Time. Not to forget Time means not to forget People, not to forget People means not to forget Time.

We exclude the last sentence of the paragraph as repeating the idea of ​​the first:

The war has become history, but we must remember it, because the main participants in history are People and Time. (87 words)

Reading text 3

Betrayed me dear person, betrayed me best friend. Unfortunately, we hear such statements quite often. Most often, those in whom we have invested our souls betray. The pattern here is this: the greater the benefit, the stronger the betrayal. In such situations, I remember Hugo’s statement: “I am indifferent to the knife blows of an enemy, but the pin prick of a friend is painful to me.”

Many endure bullying, hoping that the traitor’s conscience will awaken. But something that is not there cannot wake up. Conscience is a function of the soul, but a traitor does not have it. A traitor usually explains his action by the interests of the case, but in order to justify the first betrayal, he commits a second, third, and so on ad infinitum.

Betrayal completely destroys a person’s dignity, and as a result, traitors behave differently. Someone defends their behavior, trying to justify what they did, someone falls into a feeling of guilt and fear of impending retribution, and someone simply tries to forget everything, without burdening themselves with emotions or thoughts. In any case, the life of a traitor becomes empty, worthless and meaningless.

Exercise 1:

Identify the micro-topics of this text yourself and write them down in your notebook.

Task 2:

Read the text of the condensed presentation and indicate compression methods:

The pattern is that most often those close to us betray - those in whom we have invested our souls. In such situations, how can one not remember Victor Hugo’s statement that the enemy’s blows are endured more easily than the pin pricks of a friend.

The traitor explains his act by the interests of the cause, but in reality his mockery of others is explained by the absence of a soul, and therefore of conscience.

Betrayal destroys a person’s dignity, and then he tries to justify what he did, or falls into despair before inevitable retribution, or tries to forget everything, and his life becomes worthless. (84 words)

Task 3:

Edit the text, highlighting micro-topics and using compression methods you know:

The essence of the concept of “power” lies in the ability of one person to force another to do something that he would not do of his own free will. A tree, if not disturbed, grows straight up. But even if it does not manage to grow evenly, then it, bending under obstacles, tries to get out from under them and stretch upward again. So is man. Sooner or later he will want to disobey. Submissive people usually suffer, but if once they have managed to throw off their “burden,” they often turn into tyrants themselves.

If you command everywhere and everyone, then loneliness awaits a person as the end of life. Such a person will always be lonely. After all, he does not know how to communicate on equal terms. Inside he has a dull, sometimes unconscious anxiety. And he feels calm only when people unquestioningly carry out his orders. The commanders themselves are unhappy people, and they breed misfortune, even if they achieve good results.

Commanding and managing people are two different things. The one who manages knows how to take responsibility for actions. This approach preserves mental health both the person himself and those around him.

"Nickname"

I am often asked about the origin of my pseudonym.

Indeed - why suddenly "Taffy"? What's a dog's name? It is not for nothing that in Russia many of the readers of the "Russian Word" gave this name to their foxes and Italian greyhounds.

Why does a Russian woman sign her works with some anglicized word?

Even if she wanted to take a pseudonym, she could have chosen something more sonorous or, according to at least, with a touch of ideology, like Maxim Gorky, Demyan Bedny, Skitalets. These are all hints of some kind of poetic suffering and attract the reader.

In addition, female writers often choose a male pseudonym. This is very smart and careful. It is customary to treat ladies with a slight grin and even distrust.

And where did she get this?

This is probably her husband writing for her.

There was the writer Marko Vovchok, a talented novelist and public figure signed herself “Vergezhsky”, a talented poetess signed her critical articles “Anton Krainy”. All this, I repeat, has its own raison d'etre. Clever and beautiful. But - "Taffy" - what kind of nonsense?

So, I want to honestly explain how it all happened.

The origin of this wild name dates back to the first steps of my literary activity. At that time I had just published two or three poems signed with my real name, and wrote a one-act play, but I had absolutely no idea what to do to get this play on stage. Everyone around said that this was absolutely impossible, that you need to have connections in the theater world and you need to have a major literary name, otherwise the play will not only not be staged, but will never be read.

This is where I started thinking.

I didn’t want to hide behind a male pseudonym. Cowardly and cowardly. It’s better to choose something incomprehensible, neither this nor that.

We need a name that would bring happiness. The best name of some fool is - fools are always happy.

Of course, it was not a matter of fools. I knew them in large quantities. But if you have to choose, then something excellent. And then I remembered one fool, truly excellent and, in addition, one who was lucky, which means that fate itself recognized him as an ideal fool.

His name was Stepan, and his family called him Steffy. Out of delicacy, discarding the first letter (so that the fool would not become arrogant), I decided to sign my play “Taffy” and, come what may, sent it directly to the management of the Suvorinsky Theater. I didn’t tell anyone about anything because I was sure that my enterprise would fail.

Two months have passed. I almost forgot about my play and from everything I then drew only an edifying conclusion that fools do not always bring happiness.

And then I read “New Time” one day and see something.

“Teffi’s one-act play “The Women’s Question” has been accepted for production at the Maly Theater.

The first thing I experienced was insane fear.

The second is boundless despair.

I immediately suddenly realized that my play was impenetrable nonsense, that it was stupid, boring, that you couldn’t hide under a pseudonym for long, that the play, of course, would fail miserably and cover me with shame for the rest of my life. And I didn’t know what to do, and I couldn’t consult anyone.

And then I remembered with horror that, when sending the manuscript, I had noted the name and address of the sender. It’s good if they think that I sent the package at the request of the vile author, but if they guess, then what?

But I didn’t have to think long. The next day the mail brought me official letter, in which it was reported that my play would be staged on such and such a date, and rehearsals would begin on such and such a date, and I was invited to attend them.

So - everything is open. The escape routes are cut off. I fell to the very bottom, and since there was nothing worse in this matter, I could think about the situation.

Why, in fact, did I decide that the play was so bad! If she was bad, she would not be accepted. Here, of course, the happiness of my fool, whose name I took, played a big role. If I had signed Kant or Spinoza, the play would probably have been rejected.

I need to pull myself together and go to the rehearsal, otherwise they will demand me through the police.

It was directed by Evtikhy Karpov, a man of the old school who did not recognize any innovations.

A pavilion, three doors, the role memorized and the scalp facing the public.

He greeted me patronizingly.

Need I add that I sat quietly.

And there was a rehearsal on stage. A young actress, Grineva (I sometimes meet her now in Paris. She has changed so little that I look at her with bated breath, as then...), Grineva played main role. In her hands she had a handkerchief rolled into a ball, which she kept pressing to her mouth - this was the fashion of that season among young actresses.

Don't mutter under your breath! - Karpov shouted. - Facing the public! You don't know the role! You don't know the role!

I know the role! - Grineva said offendedly.

You know? OK. Prompter! Be silent! Let him fry without a prompter, in vegetable oil!

Karpov was a bad psychologist. No role can stay in your head after such a joke.

“What horror, what horror!” I thought. “Why did I write this terrible play! Why did I send it to the theater! They torture the actors, force them to learn by heart the nonsense I invented. And then the play fails and the newspapers write: “It’s a shame for a serious theater to do such a thing.” nonsense when people are starving." And then, when I go to my grandmother for breakfast on Sunday, she will look at me sternly and say: "We have heard rumors about your stories. I hope this is not true."

I still went to rehearsals. I was very surprised that the actors greeted me friendly - I thought that they should all hate and despise me.

"To go or not to go?"

I decided to go, but to climb somewhere in the last rows so that no one would see me. Karpov is so energetic. If the play fails, he can lean out from behind the scenes and directly shout at me: “Get out, you fool!”

My play was attached to some long and tedious four-act bore of a novice author.

The audience yawned, got bored, and whistled.

And so, after the final whistle and intermission, the curtain went up, as they say, and my characters started blaring.

"What a horror! What a shame!" - I thought.

But the audience laughed once, laughed twice, and went off to have fun. I quickly forgot that I was the author, and laughed along with everyone when the comic old woman Yablochkina, portraying a female general, marched across the stage in a uniform and played military signals on her lips. The actors were generally good and performed the play to perfection.

What should I do?

The curtain was raised. The actors bowed. They showed that they were looking for the author.

I jumped up from my seat and went into the corridor towards the backstage. At this time the curtain had already been lowered, and I turned back. But the audience again called for the author, and the curtain rose again, and the actors bowed, and someone shouted menacingly on stage: “Where is the author?”, and I again rushed to the wings, but the curtain was lowered again. This continued my running along the corridor until someone shaggy (later it turned out that it was A.R. Kugel) grabbed me by the hand and shouted:

Yes, here she is, damn it!

But at this time the curtain, raised for the sixth time, came down completely and the audience began to disperse.

The next day, for the first time in my life, I talked with a journalist who visited me. I was interviewed.

What are you working on now?

I'm sewing shoes for my niece's doll...

Hm... that's how it is! What does your nickname mean?

This is... the name of one fool..., that is, a surname.

And they told me it was from Kipling.

I'm saved! I'm saved! I'm saved! Indeed, Kipling has such a name. Yes, finally, in “Trilby” there is a song like this:

Taffy was a walesman,

Taffy was a thief...

I immediately remembered everything.

Well, yes, of course, from Kipling!

My portrait appeared in the newspapers with the caption "Taffy".

It's over. There was no retreat.

That's how Teffi remained.

(Nadezhda Aleksandrovna Lokhvitskaya) Teffi - Pseudonym, read the text

See also Teffi (Nadezhda Aleksandrovna Lokhvitskaya) - Prose (stories, poems, novels...):

Dog
(Stranger's story) - Remember this tragic death Edversa? Adventure...

Happy
Yes, I was happy once. I long ago defined what happiness is...

You need to write a summary. Please help!!! I am often asked about the origin of my pseudonym. Indeed - why suddenly “Taffy”? What's a dog's name? It is not for nothing that in Russia many of the readers of the Russian Word gave this name to their foxes and Italian greyhounds. Why does a Russian woman sign her works with some anglicized word? Even if she wanted to take a pseudonym, she could have chosen something more sonorous or, at least, with a touch of ideology, like Maxim Gorky, Demyan Bedny, Skitalets. These are all hints of some kind of poetic suffering and attract the reader. In addition, female writers often choose a male pseudonym. This is very smart and careful. It is customary to treat ladies with a slight grin and even distrust. - And where did she pick it up? - This is probably her husband writing for her. There was the writer Marko Vovchok, a talented novelist and public figure signed “Vergezhsky”, a talented poetess signed her critical articles “Anton Krainy”. All this, I repeat, has its own raison d'etre. Clever and beautiful. But - “Taffy” - what kind of nonsense? So, I want to honestly explain how it all happened. The origin of this wild name refers to the first steps of my literary activity. At that time I had just published two or three poems signed with my real name and wrote a one-act play, but I had absolutely no idea what to do to get this play on stage. Everyone around me said that it was absolutely impossible, that I needed to have connections. in the theater world you need to have a major literary name, otherwise the play will not only not be staged, but will never be read - Well, which theater director wants to read all sorts of rubbish when “Hamlet” and “The Inspector General” have already been written? ! This is where I started thinking. I didn’t want to hide behind a male pseudonym. It’s better to choose something incomprehensible, but what? Is it best to choose a name that would bring happiness? - fools are always happy. Of course, it was not a matter of fools. I knew a lot of them. But if you have to choose, then something excellent. And then I remembered one fool, truly excellent and, in addition, one who was lucky, which means that fate itself recognized him as an ideal fool. His name was Stepan, and his family called him Steffy. Out of delicacy, discarding the first letter (so that the fool would not become arrogant), I decided to sign my play “Taffy” and, come what may, sent it directly to the management of the Suvorinsky Theater. I didn’t tell anyone about anything because I was sure that my enterprise would fail. Two months have passed. I almost forgot about my play and from everything I then drew only an edifying conclusion that fools do not always bring happiness. And then I read “New Time” one day and saw something. “Teffi’s one-act play “The Women’s Question” has been accepted for production at the Maly Theater. The first thing I experienced was insane fear. The second is boundless despair. I immediately suddenly realized that my play was impenetrable nonsense, that it was stupid, boring, that you couldn’t hide under a pseudonym for long, that the play, of course, would fail miserably and cover me with shame for the rest of my life. The play was a success. The next day, for the first time in my life, I talked with a journalist who visited me. I was interviewed. - What are you working on now? - I'm sewing shoes for my niece's doll... - Hm... that's how it is! What does your nickname mean? - This is... the name of one fool..., that is, a surname. - And they told me that it was from Kipling. I'm saved! I'm saved! I'm saved! Indeed, Kipling has such a name. I immediately remembered everything. - Well, yes, of course, from Kipling! My portrait appeared in the newspapers with the caption “Taffy”. Of course, there was no introduction.

Igor Severyanin himself wrote his pseudonym with a hyphen: as a first and second name, and not a first and last name. Igor Severyanin defined his work as futuristic. Having already published 35 poetry brochures at his own expense by 1910, he needed a name. “Egofuturist” came in handy, which simply meant “I am in the future.” This is how the subtitle appeared for the poem “Ordinary People” in the collection “Streams in Lilies” (1911). By 1911, a certain literary association had already formed around Severyanin - “egofuturism”, which included young poets Ivan Ignatiev, Konstantin Olimpov (son of K. M. Fofanov), Grail Arelsky, Vasilisk Gnedov, Vadim Bayan... “Egofuturism” had essentially very little common with futurism.

This trend was some kind of mixture of the epigonism of early St. Petersburg decadence, bringing to limitless limits the “songability” and “musicality” of Balmont’s verse (as you know, Severyanin did not recite, but sang his poems at “poetry concerts”), some kind of salon-perfumery eroticism , turning into slight cynicism, and the assertion of extreme egocentrism. It was connected with glorification modern city, electricity, railway, airplanes, factories, cars (from Severyanin and especially from Shertenevich). The pop style of presenting poetry also affected the essence of early Northern poetry. The viewer was captivated, first of all, by the unusual: “dreamers” and “excesses”, “forest fairies” and “lake castles”, “viscountess” and “adjutants”... However, behind such tinsel one could discern not only the desire to write for the needs of an undemanding public, here There were also features of the poet’s individual style, prone to unusual words and phrases, which became a kind of reflection of the unusualness of his poetic world.

The Northerner sharply and unequivocally declared himself and his place in the literature of that period. His personal manifesto is an epilogue to the first book of his “poetry” “The Thundering Cup”:

I, the genius Igor the Severyanin... I thundered throughout Russia...

This line, perceived without the context of the poem and the whole book, largely determined the main tone of the general reader’s attitude towards Igor Severyanin - an ironic grin of superiority. “Northernerism” in our minds acts as a kind of apogee of conceit and self-praise - something that has never been famous in Russian everyday life.

But to reduce all his diverse creativity only to this pose of a self-proclaimed “genius” is an obvious injustice...

My ambiguous glory

And an unambiguous tshsht...

Igor Severyanin is known as the creator of neologisms and verbal wonders (“And every word is a surprise”), as the author of mannered “habanera”, “preludes”, “mignonettes”, “virele” and other exquisite poetic forms, as the inventor of “ garlands of triolets”, “square of squares”, “diesel”, “le”...

Already in the first poems of the poet, the contours of his “dream kingdom” appear: “I am the king of a non-existent country...”. Later this country acquired a poetic name - Mirrelia. The dreamy-farcical side of Severyanin’s work, testifying to the poet’s extraordinary virtuosity, can create the impression of complexity in his poems.

But this impression will be deceiving. In essence, the “futurist” Severyanin is very simple and even primitive. If you carefully read his “poets,” you will certainly discover features of original artistic simplicity. This can be seen in the titles - “Primitive Romance”, “Elementary Sonata”, “Clear Poetry”...

Speaking about the work of Igor Severyanin, I would like to use not the term “ego-futurism”, but “ego-severyanism”. Many critics agreed that there was quite a bit of futurism in Severyanin’s poetry. Within the framework of “ego-futurism,” Severyanin did not last long. By 1913, the original association had collapsed, and the poet renounced “ego-futurism” in print. The propaganda of “universal egoism” as “the only and true intuition of life” led Severyanin himself to a position of independence from any literary groups. They were surprised at the northerner and got used to him. He did not escape the fate of many contemporary poets - self-repetition. Moreover, he wrote quickly and a lot. Fame was already weighing heavily on him, and the indiscriminate tastes of the public, willy-nilly, began to penetrate his work...

In 1922, V. pronounced the “most severe sentence” on Severyanin: “Severyanin extremely quickly “wrapped up”, brought, constantly repeating, the originality of some of his techniques to a template, developed in later poems, the lack of his poetry to the extreme, having lost its merits, became cloying and cutesy and narrowed the themes of his “poets” to a small circle where ... salon eroticism and aestheticism alien to life dominated.”

HISTORY OF RUSSIAN FAMILIES AND

“We have forgotten that the surname is capital; it accumulates the moral and spiritual efforts of generations. Centuries later, grandfathers and great-grandfathers will hand over to their descendants the most valuable and most difficult thing - a name.”

Surname is an international word. IN Latin the word (Family) meant “a set of slaves belonging to one person,” and later acquired the meaning “household.” It came into the Russian language through German, where the surname is “family,” or through Polish - [surname * clan, family.” In Russian comes into use in early XVII 1st century, in the meaning of “family” is found in the works of Prokopovich and Shafirov in 1703. Gradually, the term surname replaced the nickname and nickname, which called an anthroponym, which were inherited.

Each surname is a cultural monument, evidence of a certain era. Surnames reflect the characteristics of the worldview, the surname names the family name, this is how it differs from the nickname. It is passed down from generation to generation. This is the third component in naming a Russian person. It is usually transmitted unchanged. The surname allows you to individually identify each person in society.

Reasons for the appearance of surnames. Until the 17th century, Russians did not have a single formula for officially naming people. In the XVI - XVII centuries, during the period of expanding economic ties between different territories of the Russian state, strengthening communication, appear settlements with a significant concentration of population. Naming people, consisting of one personal name (Ivanko, Pozdeyko), or a personal name and nickname (Fedor Kamenitsa, Ivanko Prikhodets, Ivashko Zaplata), or a personal name and patronymic (Borisko Ivanov son, Konyashka Osipov son), no longer meet the needs of communication. There is a need for a three-member naming model, the main component of which is the surname.

During the period of intensification of naming, consisting of a personal name and patronymic (Ivashko Dmitriev), many people appeared with the same personal name and patronymic. In order to distinguish between those named, they began to resort to the nicknames of their fathers, which were Russian in origin. In this regard, a transitional stage begins - the activation of the family nickname. It does not have the family suffixes ~ov, -ev, -in (-yn). Later, on the basis of the family nickname, a family nickname (with a family suffix) was formed: the son of Vologda resident Semyon Zhiryak in the second half of the 17th century began to be called Ivan Semenov son Zhiryak. The path to forming family nicknames looks like this: Semyon Zhiryak > Ivan Semenov.

In the 17th and 18th centuries, the surname did not yet have the properties that it possesses today. It may not have been passed on from father to son. Thus, it is correct to call her not by her surname, but by her family nickname. The earliest families are 14-16 centuries - princely and boyar, 15-17 - noble, 17-19 - merchant, 18-20 - peasant. Although in the Russian North state peasants had the surname already in the 16th century. In the English, all classes had surnames by the 16th century.

Often the time of appearance of surnames is considered to be the time of their legal consolidation in the official naming. However, an analysis of the system of Old Russian anthroponymy allows us to conclude that there was a huge gap, measured in centuries, between the emergence of surnames in living speech and the time of their legal consolidation in documents as a mandatory component of naming.

So, princely and boyar official surnames were formed in the XIV - XVI centuries. These are family nicknames derived from the names of appanage principalities: princes Mosalsky, Yeletsky, Vyazemsky. In the 16th century, 16 noble families emerged: the Cherkasy, Vorotynsky, Trubetskoy, Golitsyn, Morozov, Buinosov, etc. When noble families became related to each other, their descendants received double surnames: Musin-Pushkin, Bob "Rishchev-Pushkin, Bryukho-Morozov, Tuchko-Morozovs and others! for a long time were an indicator of the class affiliation of their bearers, marking representatives of the privileged part of society. Such double surnames were mixed with noble surnames of the 18th century, when Catherine 2 added another surname for merit - Rumyantsev - Zadunaisky.

Until the middle of the 18th century, clergymen did not yet have surnames; the function of surnames was performed by the name of the church or parish. Nikolsky priest Sidor (1576), Intercession priest Erofey (1579). Some princely surnames are based on Turkic words, the reason for the transition of the Tatars to serve the Tsar, the baptism of the Tatars, the Bulgakovs - bulgak (proud).

When the children of priests began to enter religious schools, the need for surnames arose. They are usually in Chinese for clergy.

In the 15th-15th centuries, surnames in -sky indicated aristocratic origin, as they were derived from toponyms - names of land holdings (Vyazemsky, Trubetskoy, etc.). From the second half XVII centuries, these surnames could indicate a person’s privileged position in society (Cossack Rozum - favorite of Catherine II > Count Razumovsky; the coachman, who received the nobility, became Vozhzhinsky), The surnames of Jews who came from the Polish-Lithuanian and Ukrainian-Belarusian lands are also in -sky ( Brodsky, Slutsky, etc.).

In the 18th century, immigrants from Southwestern Rus' took a leading position in the church. These surnames become active in the spiritual environment: seminarians were given surnames after the name of the church where their fathers served - Trinity, Blagoveshchensky, Rozhdestvensky, Resurrection, Jordan. Sometimes aliases were created artificially: Dobronravov, Dobrolyu-Smirennomudrensky, Ostro Myslensky.

In cities, townspeople's surnames were officially established at the end of the 17th - 18th centuries. In Vologda, the townspeople - at the beginning

XVII century (1629).

Russian serf peasants of the central and southern districts did not have surnames in the 18th - 19th centuries, since they were not legal entities. Only in the northern districts (Dvina, Vazhsky, Ustyug) the peasants were not serfs, but state-owned (chernososhnye), they were legal entities, drew up documents when entering into trade transactions, so already in the 16th century they had a surname.

The peasants of the central and southern counties, part of the northern ones, remained without surnames in the 19th and even 20th centuries. Some received a surname only after the revolution, when passportization of the urban and rural population began (in the 30s of the 20th century). The appearance of surnames was often random. In the central regions (Pskov, Novgorod, Tver, Moscow) the basis for the formation of surnames was usually the patronymic (Petr Maksimov > Pyotr Maksimovich Maksimov). Sometimes the surname is random: the nickname Bakhvalei - the sons of the Bakhvaleevs, the peasant Roma Ryzhiy lived across the pond - the surname Zaprudnye (village of Sutoki, Novgorod region).

New, so-called “street” surnames also appear in the 20th century, but unlike earlier eras, they are no longer fixed in the official naming, but are regarded as nicknames. In a closed community (village, village), official surnames were often not used; nicknames and household surnames were in use, and they were passed on from generation to generation (in the village of Dmitrievsky Vologda region the official surname of one of the families is the Tikhomirovs, the street name is the Kuznetsovs, etc.).

Residents rural areas Both family nicknames and family nicknames are noted, which suggests that ancient traditions continue to this day. The basis for unofficial surnames are given names and nicknames. - Osip.