Then after them put a colon, open it, and write direct speech with a capital letter. When direct speech ends with a question or exclamation mark, quotation marks are placed after it, and in declarative speech, quotation marks are closed and a period is placed.

Examples: Andrey said: “I will play now.”

He exclaimed: “Like the view from the window!”

If direct speech precedes the author's words, enclose it in quotation marks, start with a capital letter, put a dash, and write the author's words with a dot at the end of the sentence. Always place exclamation and question marks after direct speech inside quotation marks; for direct speech without emotional connotation, place a comma after the quotation marks and before the dash.

Examples: “I’ll play now,” Andrey said.

"What are you doing?" - he asked.

“What a beautiful view from the window!” - he exclaimed.

Direct speech may be interrupted by the author's words. In this case, open and close the quotation marks once, write direct speech with a capital letter, put a comma and a dash at the end of its first part, write the author’s words with a lowercase letter, after them again put a comma and a dash:

Example. He muttered: “I’m very sleepy,” and immediately fell asleep.

Example. The captain said: “The breeze would blow now...” and fixed his gaze on the sea.

The dialogue can be formatted in one of the following ways: All lines with no original words between them are written on one line. A dash is used to separate each statement enclosed in quotation marks.

Example. They walked in silence for several minutes. Elizabeth asked, “How long will you be gone?” - "Two month". - “Will you call or write me?” - "Yes, sure!"
Each subsequent line is written on a new line, preceded by a dash. Quotes are not used in this case.

Are you cold, Ekaterina? - asked Ivan Petrovich.

Let's go to the cafe.

Formatting quotes:

The quotation is written using one of the methods of formatting direct speech.

Example. Belinsky believed: “Literature is the consciousness of the people, the flower and fruit of their spiritual life.”

Part of the quotation is not given, and its omission is indicated by an ellipsis.

Example. Goncharov wrote: “All Chatsky’s words will spread... and create a storm.”

Example. Belinsky notes that Pushkin has an amazing ability to “make the most prosaic objects poetic.”

The poetic text should be quoted without quotation marks, observing the lines and stanzas.

Hello! Competent writing of direct speech (DS) and dialogues allows you to increase the visibility of information and better convey the general meaning of what is written. In addition, basic adherence to the rules of the Russian language can be appreciated by the target audience.

The question of correct formatting in the text (TP) will not cause difficulties if you understand a number of important points in time. First of all, it is worth understanding that there is a difference between the concepts of direct and indirect speech (KS). The first one repeats verbatim the original statements introduced into the story or narration of the author without changing the individual character and style (dialectal features, repetitions and pauses).

PR is introduced into the text without the use of conjunctions or pronouns, which greatly simplifies the use of KS.

ETC: The teacher suddenly remarked: “Time is up.”

KS: The teacher noticed that time had expired.

In the PR text most often:

• written in quotation marks;
• stands out as a separate paragraph, starting with a dash.

Questions regarding how to correctly write direct speech in a text arise when its structure becomes more complex. For example, interruptions with the words of the author.

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PR begins or ends a sentence

Direct speech at the beginning of a sentence must be enclosed in quotation marks, including question marks, exclamation marks and ellipses. The period is moved outside the quotation marks. A dash highlights the author's words and stands in front of them.

“The train has left, now I’ll definitely be late!” - the girl exclaimed with disappointment.

PR at the end of a sentence is highlighted with a colon instead of a comma and a dash, while the words of the author are written with a capital letter.

The girl said with disappointment: “I came too late - the train has left, and I need to run to the bus!”

Let's finish with the examples for now. Schematically, the rules can be depicted as follows:

“PR (!?)” - a. “PR” - a.

A: “PR(!?..).” A: “PR.”

The author's words are included in the PR

“The train has left,” the girl thought sadly, “now I’ll definitely be late!”

If the beginning of the PR is a logically complete sentence, the author’s words should be limited to a period, and the final part should begin with a dash.

“Well, the train managed to leave,” the student thought sadly. “Now I definitely won’t make it to college!”

The conditional diagrams are:

“PR, - a, - pr.”

“PR, - ah. - ETC".

PR is included in the author’s narrative

The man sadly thought: “The train has left, now I’ll definitely be late,” and quickly ran to the bus stop.

If the PR is at the beginning of the sentence, it is followed by a dash:

“The train has left, now I’ll definitely be late!” - thought the man, and hurried to the bus stop.

Conditional design schemes:

A: “PR,” - a.

A: “PR (?! ...)” - a.

Rules for writing dialogues

In dialogues:

• quotes are not included;
• Each of the lines is moved to a new line and begins with a dash.

Dialogue example:

- Father has arrived!

“And now for a long time,” Yuri answered joyfully. - The expedition is over.

Often in one sentence the PR with a certain verb is used twice. This means that there must be a colon before the end of the PR.

“Father has arrived,” Vova said slowly, and suddenly cried out loudly: “Dad, how long will you stay?”

If the remarks are short, they can be written on one line using a dash as a separator:

- Son? - Mom shouted. - It's you?

Having the knowledge described above, I think it will not be difficult to correctly write direct speech in texts in accordance with the rules of the Russian language. A schematic representation of the rules can be rewritten on a piece of paper and the information can be used as needed until it is firmly fixed in memory.

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Introduction

The problem of the “alien word” as a special category of novel stylistics was posed in the works of M.M. Bakhtin. Pointing out that the poetic word tends towards monologism, M.M. Bakhtin defines the essence of the word in a novel as its fundamental orientation towards someone else's speech.

“The dialogical orientation of the word among other people’s words (all degrees and qualities of foreignness) creates new and significant artistic possibilities in the word, its special prosaic artistry, which has found its most complete and profound expression in the novel.” And further: “The subject for a prose writer is a concentration of disparate voices, among which his voice should sound; these voices create the necessary background for his voice, outside of which his artistic and prosaic shades are elusive, “do not sound”” Bakhtin M. The Word in Poetry and Prose // Questions of Literature, 1972. No. 6;

Deep thought M.M. Bakhtin is essential for understanding the artistic nature of someone else’s speech, although it allows for slightly different interpretations.

The focus on monologue speech and polylogue, which complexly combines various gradations of “someone else’s word” with the narrator’s text, is clearly visible in the age-old fate of verbal storytelling.

Their connection with the opposition “poetry / prose” is historically very significant, but is not the only possible one.

So, for example, “multilingualism” (M. M. Bakhtin’s term) is characteristic of all forms of Baroque narrative, and monologue is characteristic of both poetic and prose narrative of Romanticism (it is interesting that, in this case, Baroque is structurally closer to realism, despite its typical typological association with romanticism).

The concept of “other people's speech” is defined in the textbook as “what others said or wrote.” Students become familiar with different ways of conveying someone else's speech in Russian (direct speech, indirect speech, sentences with introductory words indicating someone else's speech, thematic speech

It is necessary to draw students' attention to the conventions of the term “alien speech”. Although someone else's speech is traditionally defined as what others say (said), the speech of the speaker himself can be framed as someone else's.

Someone else's speech is the statements of other persons included by the speaker (writer) in his own (author's) speech.

Someone else's speech can also be statements by the author himself, which he said in the past or expects to say in the future, as well as thoughts not spoken out loud (“inner speech”):

"You think?- Berlioz whispered alarmedly, and he himself thought: But he’s right!» (M. Bulgakov).

In some cases, it is important for us to convey not only the content, but also the form of someone else’s speech (its exact lexical composition and grammatical organization), and in others - only the content.

In accordance with these tasks, the language has developed special ways of transmitting someone else's speech:

1) forms of direct transmission (direct speech),

2) forms of indirect transmission (indirect speech).

Sentences with direct speech are specifically designed to accurately (literally) reproduce someone else's speech (its content and form), and sentences with indirect speech are only intended to convey the content of someone else's speech.

Purpose This course work is the study of author's words that introduce someone else's speech.

To achieve this goal, we set the following tasks:

Expand the concept of someone else's speech;

Describe methods of transmitting someone else's speech in Russian;

Structure work. The course work consists of an introduction, three chapters, a conclusion and a list of references.

1. The concept of someone else's speech

In fiction, language is the main means by which the writer creates artistic images, pictures of life, and characters. Language is the main material of the artist of words, and without language the form of an artistic literary work is impossible.

The writer carefully selects for his author’s speech the words necessary for his graphic purposes from the living speech of the people, discards everything accidental, temporary, local, that does not coincide with the general structure of the national language; for the speech of the characters in his work, he chooses words and phrases that most clearly express the individual characteristics of the people he depicts and at the same time the typical character traits that are reflected in these individual characteristics.

Achieving the greatest expressiveness of the language of a work of art, the writer uses a variety of means to deepen the content of words and expressions, clarify the shades of their meaning he needs and enhance its emotional impact on the reader.

Drawing from the living source of the modern language of the people, the writer consolidates in fiction everything valuable, old and new, that the people have created and are creating in their language, and in turn develops and enriches the national language with their creativity.

“All material, and especially language,” wrote A.M. Gorky, “requires a careful selection of all the best that is in him - clear, precise, colorful, sonorous and - further loving development of this best” Lopukhin M. S. Methods of teaching the Russian language. - M., 1960., - p. 19, 20. .

Progressive Russian writers have always fought for the purity of the national language in literature, against mechanical copying of colloquial speech and clogging the language with rude, incorrect expressions and local words and expressions incomprehensible to the whole people. “The struggle for purity, for semantic precision, for the sharpness of language is a struggle for an instrument of culture. The sharper this instrument of culture, the more accurately it is aimed, the more victorious it is,” wrote A.M. Bitter.

From a compositional point of view, the language of fiction is divided into the speech of the characters in the work (own, direct speech) and the author’s speech about them, about the events of the work, etc.

In addition, there are frequent cases of improperly direct speech, when the author’s speech is intertwined with the language of the character and the author, talking about him, at the same time seems to reproduce the structure of his own speech.

For example, in the novel “The Noble Nest” by I.S. Turgenev describes Lavretsky’s return home on a summer night:

“The stars disappeared into some kind of light smoke; less than a month shone with a solid shine… the freshness of the air brought a slight dampness to the eyes, gently enveloped all the limbs, and flowed freely into the chest. Lavretsky enjoyed and rejoiced at his pleasure, “Well, we’ll still live,- he thought- we haven't quite been taken in yet… “But I didn’t say who and what… Then he began to think about Liza, that it was unlikely that she loved Panshin; that he would meet her under different circumstances,- God knows what could have come of it; that she understands Lemma, although she does not have “her own” words. And this is not true: she has her own words… “Don’t talk about this frivolously,” Lavretsky remembered.

In the language of any stylistically designed text, there is a whole system of ways to convey someone else’s speech: the main ones are direct and indirect speech; It is not direct speech itself that is widely used.

Someone else's speech is a new speech layer in the narration of the author, the narrator he introduced, the hero of the narration, or in the everyday speech of any speaker.

When applied to someone else's speech, the use of the terms “author” and “speaker” needs clarification. The author is the person who conveys someone else's speech, and the speaker is the person whose speech is transmitted. Thus, in a newspaper text, the author conveying someone else’s speech can be both the author of the text and the narrator on whose behalf the narration is being conducted, and some kind of narration, for example: “I taught Dima history- Svetlana Ivanovna Krotova told.- I didn’t have any bad students, but Dima was my favorite.”

It is advisable to base the characterization of methods of transmitting someone else’s speech from the point of view of a systematic approach to the objects under study on the criterion of correlation in the text of “two quantities - the transmitted (“alien”) speech and the transmitting (“author’s”) speech”

In the form of direct speech, someone else’s speech is conveyed from the speaker’s point of view while preserving the features of the transmitted speech: "I'm in trouble… » - thought Igor.

In the form of indirect speech, someone else's speech is conveyed from the point of view of the hero and from the point of view of the author, which does not allow preserving all the features of the transmitted speech without exception. Comparison: Ivanov said that he would arrive today, and Ivanov said « - I’ll fly today.”

In the form of indirect speech, someone else’s speech is conveyed both from the point of view of the hero and from the point of view of the author, which makes it possible to preserve the features of the transmitted speech: With great fear, he looked around and thought: had no one heard him.

In the most typical cases, indirect speech is a purely “business” - informational form of conveying content: it expresses only the rational content of someone else’s speech, and, unlike direct speech, it is free from all the living colors of a real statement. In “business” indirect speech, all “picturesque” elements of the original remarks are replaced by neutral ones or omitted - a kind of rationalistic translation, recoding of speech occurs. The following are replaced: emotionally charged words, word forms, syntactic constructions, extra-literary elements (colloquial, dialect) and foreign language ones. Interjections and other components that do not have rational content are completely omitted. L.N. Tolstoy uses indirect speech, skillfully emphasizing the drama of the moment with rationality and limited tools.

Neutralization of emotional and generally “depictive” elements when translating direct speech into indirect speech affects not only the other person’s speech itself, but also the author’s introducing words, in particular introducing verbs. It is significant that when the emotional content is predominant in a remark or the statement is generally logically and grammatically undifferentiated, it is almost impossible to replace direct speech with indirect speech. So, in “Cossacks” L.N. Tolstoy’s entire depth of emotional state is conveyed through direct speech. Direct speech is an important element in complementing a portrait, for example, of the holy fool Grishka in “Childhood.”

Cases when the content of direct speech cannot be conveyed in the rational form of indirect speech are by no means rare, however, L. Tolstoy still quite often uses the technique of using indirect speech in order to emphasize the depth of the emotional coloring of the plot in a dry, rational form.

In addition to the sharply opposing forms of direct and indirect speech, other, seemingly intermediate forms are used to convey someone else’s speech: pictorial, or otherwise artistic, indirect speech; semi-straight; free straight; improperly direct speech.

Picturesque indirect speech is grammatically similar to the usual (“business”) form of indirect speech: it is formed as a subordinate explanatory sentence; facial shapes are transformed in it according to the usual rules for constructing indirect speech. At the same time, it does not “bleach” the original statements and, to one degree or another, preserves their color.

Semi-direct speech combines the grammatical features of direct and indirect speech. Like indirect speech, it is formalized as a subordinate clause. The shapes of the face are preserved in their original form, without being transformed - as in direct speech. Moreover, in some cases, the use of semi-direct speech does not contradict the norms of the literary language (in its colloquial variety). This is observed when particles say, de-, say, oral gur"t are introduced into the subordinate clause, additionally indicating the transmission of someone else's speech.

In turn, description as a functional-semantic type of monologue speech, as defined by O.A. Nechaeva, means in a general sense, logical sense, the synchronicity of the characteristics of an object. In language, the descriptive type of speech is expressed by a corresponding stable linguistic structure. The stability of the linguistic structure is manifested, first of all, in the structure of the statements that make up the descriptive fragment. The general meaning of a descriptive text is the static nature of the characteristics of a typical situation as an object of thought and speech. Due to staticity, expressed in the language “in the appropriate correlation of types of tense meanings, in direct modality, enumerative structure of homogeneous components and enumerative intonation,” the description consists, for the most part, of statements, the structure of which includes the components “subject” and “predicate” Barkhudarov S. G., Kryuchkov. S.E. Russian language textbook. - M., 1961, - part I.

As is known, descriptive context can be classified as static and dynamic.

As a result of the combination of the descriptive type of speech with certain objective objects of the statement, descriptive genres or varieties of description were formed: landscape, description of an outdoor situation, portrait (by the nature of the listed features, this also includes a description of the appearance of some other animate or inanimate object, i.e. description of an animal, plant, building, household items, etc.), characteristics of the interior.

2. Methods of transmitting someone else’s speech in Russian

foreign russian speech transmission

As we noted in the previous chapter, the statement of another person, included in the author’s narrative, forms someone else’s speech.

Someone else's speech, reproduced verbatim, preserving not only its content, but also its form, is called direct speech.

Someone else's speech, reproduced not verbatim, but only with its content preserved, is called indirect.

Direct and indirect speech differ not only in the literal or non-verbal transmission of someone else's speech. The main difference between direct speech and indirect speech lies in the way they are included in the author’s speech. and indirect speech is formalized in the form of a subordinate clause as part of a complex sentence, in which the main part is the words of the author. Wed, for example: The silence lasted a long time. Davydov turned his eyes to me and said dully: “I was not the only one who gave his life to the desert” (Paust.).- Davydov turned his eyes to me and said dully that he was not the only one who gave his life to the desert. When translating direct speech into indirect speech, if necessary, the forms of pronouns change (I - he).

With the convergence of forms of transmission of someone else's speech, i.e. direct and indirect, a special form is formed - improperly direct speech. For example: A gloomy day without sun, without frost. The snow on the ground had melted overnight and lay only on the roofs in a thin layer. Grey sky. Puddles. What kind of sleds are there: it’s disgusting to even go out into the yard (Pan.). Here someone else's speech is given verbatim, but there are no words introducing it; it is not formally highlighted as part of the author's speech.

Direct speech

In direct speech, the statements of other persons cited by the author are preserved in full, without undergoing any processing; it not only accurately conveys the content of these statements, but also reproduces all the features of their linguistic expression, in particular, direct speech is conducted not on behalf of the author, but on behalf of the person to whom the transmitted statement belongs. Direct speech is clearly distinguished from the author's speech.

The authenticity and accuracy of other people's statements acquire special significance in scientific speech. This poses a number of citation requirements. First of all, it is necessary that the quotation does not distort the thoughts of the quoted work. Such distortions may arise due to the fact that a single sentence (or part of it), taken out of context, may acquire a different meaning than it has in the work from which the quotation is given. Therefore, when quoting, it is necessary to carefully ensure that the quote taken accurately reproduces the views of the quoted author.

On the external side, the accuracy of citation requires compliance with a number of generally accepted techniques in the press, so that the reader can easily see what the author is citing from the cited work. These techniques include: 1) enclosing the quoted text in quotation marks, 2) a completely accurate reproduction of this text, preserving punctuation, 3) indicating omissions made with ellipses, 4) comments on the use of special fonts (discharge, italics) in the form of indications whether it belongs such a font for the cited work or citing author, 5) links with the exact indication of the author, title, edition, year and place of publication, page, etc.

In works of art, direct speech reproduces all the features of the character’s speech manner. First of all, the features of a dialect or jargon are preserved, for example: in the speech of a specialist, the use of terminology and phraseology typical for a given social group, the use of dialectisms in the speech of residents of different localities. Then all the features of speech are preserved in connection with different attitudes towards interlocutors and other persons (respect, business relations, ridicule, neglect), with different attitudes towards the subject of speech (seriousness, conversational style, playfulness, etc.). In this regard, direct speech widely uses means of emotionality and expressiveness: interjections, emotionally charged vocabulary, suffixes of subjective assessment, syntactic means of colloquial speech and vernacular.

Here is an example of direct speech, in which the characteristics of the characters’ speech manner are expressed relatively weakly:

The manager told me:« DI keep you here only out of respect for your venerable father, otherwise you would have left me long ago. I answered him:« INYou flatter me too much, Your Excellency, by believing that I can fly» . And then I heard him say:« Utake this gentleman, he spoils my nerves» (Chekhov, My Life).

Here, the attitude of a subordinate employee to a manager in pre-revolutionary times explains your Excellency’s address; at the same time, the irony of the hero of the story is reflected in his rethinking of the word fly; in the speech of the manager, the respect for the hero's father, the architect, is due to his designation father; on the contrary, the emphasized harshness comes through in the statement: otherwise you would have flown away from me long ago instead of I would have fired you.

In the following remarks of the grandfather from the story by A.M. Gorky’s “In People,” the character’s speech manner is conveyed exceptionally vividly:

I entered the room, looked at my grandfather and could hardly restrain myself from laughing. - Hehe really was as happy as a child, he was beaming, kicking his legs and pounding his red furred paws on the table.

-What, goat? Have you come to fight again? Oh, you robber! Just like my father! Formazon, entered the house- I didn’t cross myself, now I’m smoking tobacco, oh, you, Bonaparte, the price is a penny!

The syntax of emotional speech with interjections, appeals, incomplete sentences and unique vocabulary and phraseology is widely represented here.

Direct speech conveys:

1) a statement by another person, for example: Amazed, he asked: “But why do you come to my lectures?” (M. Bitter.);

3) an unspoken thought, for example: Only then did I straighten up and think: “Why is father walking around the garden at night?”(Turgenev).

In the author's speech there are usually words that introduce direct speech. These are, first of all, verbs of speech, thoughts: say, speak, ask, ask, answer, think, notice (in the meaning of “say”), speak, object, shout, address, exclaim, whisper, interrupt, insert, etc. Introduce direct speech Verbs that characterize the target orientation of the statement can also be used, for example: reproach, decide, confirm, agree, assent, advise, etc. In addition, sometimes verbs are used that denote actions and emotions accompanying the statement, for example: smile, be upset, be surprised, sigh, to be offended, indignant, etc. In such cases, direct speech has a pronounced emotional connotation, for example: "Wherewhat about you?- Startsev was horrified (Chekhov.).

Some nouns are sometimes used as introductory words. Like verbs introducing direct speech, they have the meaning of statements, thoughts: words, exclamation, question, exclamation, whisper and others, for example: “Did the boy lie down?”- was heardin a minute the whisper of Pantelei (Chekhov).

Direct speech can be located in relation to the author's in preposition, in postposition and in interposition, for example : "Talk to me about the future"- she asked him (M. Bitter); And when he extended his hand to her, she kissed her with hot lips and said: “Forgive me, I am guilty before you” (M. Bitter); And only when he whispered: “Mom! Mother!"- he seemed to feel better… (Chekhov). In addition, direct speech can be broken by the author’s words, for example: "Signorina- my constant opponent,- he said,- Doesn’t she think that it would be better in the interests of the matter if we got to know each other better?” (M. Bitter).

Depending on the location of direct speech, the order of arrangement of the main members of the sentence in the author’s speech usually changes. Words that introduce direct speech are always next to her. So, in the author’s speech preceding the direct one, the predicate verb is placed after the subject, for example:... Kermani said cheerfully: “The mountain becomes a valley when you love!”(M. Bitter). If the author’s words are located after direct speech, the predicate verb precedes the subject, for example: “You will be an architect, right?”- she suggested and asked(M. Bitter).

Indirect speech

Indirect speech is someone else's speech, conveyed by the author in the form of a subordinate part of a sentence while preserving its content.

Unlike direct speech, indirect speech is always located after the author’s words, formatted as the main part of a complex sentence.

Wed: "Now everything will change" - said the lady (Paustovsky). - The lady said that now everything will change.

To introduce indirect speech, various conjunctions and allied words are used, the choice of which is related to the purposefulness of someone else’s speech. If someone else's speech is a declarative sentence, then when formatting it as an indirect sentence, the conjunction that is used, for example: After some silence, the lady said that in this part of Italy it is better to drive at night without lights.

If someone else’s speech is an incentive sentence, then when forming indirect speech, a conjunction is used so that, for example: The guys are shouting for me to help them tie down the grass (Sholokhov).

If someone else's speech is an interrogative sentence, which contains interrogative-relative pronominal words, then when forming indirect speech these pronominal words are preserved, and no additional conjunctions are required. For example: I asked where this train was going.

If in someone else’s speech, framed as an interrogative sentence, there are no pronominal words, then the indirect question is expressed using the conjunction whether. For example: I asked him if he would be busy.

In indirect speech, personal and possessive pronouns, as well as forms of personal verbs, are used from the point of view of the author, and not from the speaker. Wed: "You speak sadly"- interrupts the stove man (M. Bitter). - The stove maker notices that I speak sadly.

Improperly direct speech

There is a special way of transmitting someone else’s speech, which contains the features of both direct speech and partly indirect speech. This is improperly direct speech, its specificity lies in the following: like direct speech, it retains the features of the speaker’s speech - lexical-phraseological, emotional-evaluative; on the other hand, as in indirect speech, it follows the rules for replacing personal pronouns and personal forms of verbs. A syntactic feature of improperly direct speech is that it is not distinguished within the author’s speech.

Improperly direct speech is not formalized as a subordinate clause (unlike indirect speech) and is not introduced with special introductory words (unlike direct speech). It does not have a typed syntactic form. This is someone else's speech, directly included in the author's narrative, merging with it and not delimited from it. Inappropriate direct speech is conducted not on behalf of the person, but on behalf of the author, the narrator; someone else's speech is reproduced in the author's speech with its inherent features, but at the same time does not stand out against the background of the author's speech.

Wed: Friends visited the theater and unanimously declared: “We really liked this performance!”(direct speech). - Friends visited the theater and unanimously declared that they really liked this performance (indirect speech). - Friends visited the theater. They really liked this performance! (improper direct speech).

Improperly direct speech is a stylistic figure of expressive syntax. It is widely used in fiction as a method of bringing the author’s narrative closer to the speech of the characters. This method of presenting someone else’s speech allows one to preserve the natural intonations and nuances of direct speech and at the same time makes it possible not to sharply distinguish this speech from the author’s narrative. For example:

Only he went out into the garden. The sun was shining on the high ridges covered with snow. The sky turned blue carefree. The sparrow sat down on the fence, jumped up, turned to the right and left, the sparrow's tail provocatively stuck up, the round brown eye looked at Tolka in surprise and fun,- what's going on? What does it smell like? After all, spring is still far away! (Pan.);

In fiction, improperly direct speech is often used in the form of the second part of a non-union complex sentence and reflects the reaction of the character to the phenomenon he perceives.

For example: Oh, how good it was for district police officer Aniskin! Looked at the chintz curtains- oh, how funny! I touched the rug with my foot- oh, how important! Inhaled the smells of the room- well, like being under a blanket as a child! (Lip.).

Thus, we can say that free direct speech is an adapted presentation, and not a literal transmission of someone else's speech. In a written text, in contrast to direct speech itself, free direct speech is not highlighted by quotation marks, and short authorial introductions such as: the speaker said further, he wrote, he thought, most often used in interposition, are highlighted only by commas and play the role of introductory sentences.

Improper direct speech does not represent any specific syntactic structure. Without any direct signals, it is woven into the author’s narrative, and the “voice of the character,” and not the narrator, is recognized only by the nature of the assessments of the situation, sometimes by the presence of interrogative or exclamatory sentences associated with the character’s reasoning, by the peculiarities of word usage that reflect his individuality and etc. Most often, improperly direct speech is used to imitate the character’s internal speech and thoughts.

Different forms of transmitting someone else's speech constantly interact with each other. This is especially typical for the works of L.N. Tolstoy. Thus, improperly direct speech with its characteristic “indirect” use of facial forms can be accompanied by the author’s input, characteristic of free direct speech; can, as it were, imperceptibly turn into direct speech; may be a continuation of indirect speech, etc.

In almost any text, one can distinguish between the author's and non-author's speech - the speech of characters in fiction, quotes in scientific and business prose. The term “other people's speech”, which has long been rooted in grammar, refers to the statements of other persons included in the author’s presentation or the narrator’s own statements, which he recalls and recalls.

Someone else's speech is contrasted with the author's, i.e. “their own”, belonging to the narrator, the speaker. According to the method, nature of transmission, design of someone else’s speech, direct, indirect and improperly direct speech are distinguished. All these types of someone else's speech stand out against the background of the author's, into which they are woven, performing diverse stylistic functions.

Of course, the main role in any style belongs to the author’s speech, which makes up the main body of texts and solves the main informative, communicative, and aesthetic problems. Elements of someone else’s speech have the character of a kind of inlay, which diversifies the author’s speech and gives it unique stylistic shades.

Teaching practice shows that when constructing sentences with direct speech, i.e. When introducing someone else's speech into a text, students, as a rule, limit themselves to using only a few stylistically neutral verbs (such as talk, say, etc.), although when reading fiction they encounter a wide variety of cases of using verbs that introduce direct speech. It seems that work on studying the peculiarities of the use of verbs that introduce direct speech should contribute to the development of schoolchildren’s speech skills.

It is known that sentences with direct speech (as opposed to sentences including indirect and improperly direct speech) consist of two parts, “in one of which - the author’s words - the very fact of someone else’s speech is established and its source is called, and in the other - direct speech - someone else’s speech itself is reproduced” Kryuchkov S. E. and Maksimov L. K. Syntax of a complex sentence. Modern Russian language. M, 1977, p. 163. . If the structure and semantics of the so-called words of the author have been sufficiently studied in the linguistic literature, then this cannot be said about the functions of their structural-semantic center - verbs, which mainly convey the method and nature of the speech action of the author of someone else's speech.

As you know, verbs introduce direct and indirect speech. However, “the circle of words introducing indirect speech is significantly narrower than the circle of words introducing direct speech: indirect speech is introduced only by words that directly indicate speech or thought (says, said, thought, asked, asked, ordered, etc.), and cannot be introduced, as direct speech, by words denoting actions accompanying the utterance of speech or the emergence of a thought (smiled, squinted, became wary, etc.)” Kryuchkov S. E. and Maksimov L. K. Syntax of a complex sentence. Modern Russian language. M, 1977, p. .

What functions are inherent in verbs that introduce direct speech into the text of a work of art?

1. First of all, this is a direct designation of the process of speaking or thought of the one to whom direct speech belongs. Verbs performing this function are often devoid of expressive coloring and stylistically neutral. For example:

I was notified of your arrival, - said Peter. (A.S. Pushkin); - A real face, - continued Nozdrev. (N.V. Gogol); - Yeah, - thought I, - you are seriously angry, dear princess. (M.Yu. Lermontov). (Compare with the case when the verb introducing direct speech denotes the action of another person who does not produce, but perceives someone else’s speech: - Push him from below, - hears shepherd voice of Lyubim.-A.P. Chekhov).

It is with these verbs in artistic speech that most often there are circumstances that introduce an evaluative moment into the author’s words, characterizing the process of speaking or thinking and thereby also participating in the input of direct speech. This is an explicit expressive-emotional characteristic of the processes of speaking or thinking. Wed:

Really, I don’t know - said mistress with arrangement... - how I am dead ... (N.V. Gogol); - What are you talking about, Ilya Ilyich! - spoke with amazement Volkov. (I.A. Goncharov); - Do not sleep! - happily picked up Mitya. (F.M. Dostoevsky); - From the governor, - said in a sleepy voice Lavrushka, - the courier has arrived... (L.N. Tolstoy).

Of particular note is such an artistic device as repetition of the verb said, which combines the functions of entering someone else's speech and an introductory word. Using this technique, a colloquial coloring of the narrator’s speech is created. See, for example, many stories by M. Zoshchenko. Wed. also from Chekhov:

Be, speaks, an ordinary person, eat, drink, dress and pray like everyone else, and what is beyond the ordinary is from the demon. Chains, speaks, yours are from the demon, your fasting is from the demon, your prayer is from the demon; everything, he says, is pride. (A.P. Chekhov).

2. The expressive-evaluative characteristics of speaking processes can also be expressed implicitly, in the verbs of speech or thought themselves. By introducing direct speech, they simultaneously name these processes and figuratively characterize them. Wed:

What should I ask you about, - cackled suddenly Porfiry Petrovich, immediately changing both tone and appearance. (F.M. Dostoevsky); - Why are you doing this? - jumped up Fedor Pavlovich. (He is the same); “At least keep quiet,” with angry annoyance snapped back Grushenka looks at him. (He is the same); - Fish... we're catching fish... - babbles Yefim, without raising his head. (A.P. Chekhov); - What then? - got angry- Shlepkin. - What do you think is a bad egg? (He is the same); - Yes, sir! - publishes suddenly Yashkin... (He).

This includes mainly colloquial verbal vocabulary ( squeal, scream, emit, snap, snap, assent, mumble, giggle b and so on), as well as outdated book ( cry out, proclaim, utter, add, answer and etc.)

It is clear that the use of such verbs is determined by aesthetic goals and is of a subjective authorial nature. At the same time, verbs can become a vivid means of authorial individualization of a character’s speech manner. Thus, the replicas of Gogol’s Manilov are introduced with words like added, added, added(here expressive increments of meaning are created by a word-forming device - the prefix at-); the remarks of Oblomov's servant Zakhara are often accompanied by the verb wheezed(lexical repetition), and Mitya Karamazov’s remarks are usually introduced with brightly colored verbs of intense action: roared, roared, screamed, flared up, jumped up and under. As we see, with the help of these verbs the author of a work of art emphasizes one or another character trait of his hero.

Also very expressive:

a) verbal phraseological units:

What are you afraid of? - Mitya measured him with his gaze. (F.M. Dostoevsky); - Yes, - filtered through his teeth Nikolai Petrovich. (I.S. Turgenev);

b) comparative turnover:

Will everything be the same? - So! - like a nail punched in Pokenov. (S. Voronin);

c) ellipsis of the input verb:

What a betrayal! - with arrangement, clearly. - What baseness! (S. Voron I.N);

d) transferring the input verb from the author’s words to direct speech:

And he: “I won’t go,” there, speaks, pop gambler." (A.P. Chekhov);

e) the use of verbs - input, as part of a negative-antonymic construction:

Do you hear - already doesn't speak, but screams he - turn back! (M. Sholokhov);

f) expressive remark - plug-in construction:

You're lying! ( fury sparkled in Dunya's eyes), you lie, slanderer! (F.M. Dostoevsky).

Finally, let us note the use of verbs introducing direct speech in which the designation of the action accompanying the speech is complicated by the compositional function. Let us highlight several cases of such use:

I consider it my duty to preface you, although... He faltered for a moment and continued already in French: - A strict moralist will find my frankness inappropriate. (I.S. Turgenev).

2. In the compositional-characterological function, a kind of contrastive repetition of verbs that introduce someone else’s speech can be used. So, in “Dead Souls” N.V. Gogol about the scene of the “game” of checkers, Nozdrev’s remarks are introduced by the verb said(the meaning of the perfect form emphasizes the hero’s activity, assertiveness), while Chichikov’s remarks are a verb said(the meaning of the imperfect form corresponds; on the contrary, to passive resistance, expectancy):

We know you, how bad you play! - said Nozdryov, speaking with his saber. - I haven’t picked up checkers for a long time! - Chichikov said, also moving his saber. - We know you, how bad you play! - said Nozdryov, speaking with his saber. - I haven’t picked up checkers for a long time! - Chichikov said, moving his saber. - We know you, how bad you play! - said Nozdryov, moving the saber, and at the same time he moved the other saber with the cuff of his sleeve. - I haven’t picked it up for a long time! Eh, eh! What is this, brother? put her back! - said Chichikov. - Whom? - Yes, a saber, - said Chichikov...

It is noteworthy that this “duel” of verbs introducing the characters’ remarks acquires compositional completeness thanks to the use of the verb said, which introduces Chichikov’s remark and marks the transition of this hero to active action.

3. The repetition of stylistically neutral verbs introducing lines in the dialogue organizes the dialogue in a unique way. Such repetition creates monotony, shows the lack of movement in the dialogue and emphasizes its emptiness, meaninglessness, cf.

Do me a favor, don’t worry so much about me... - said Manilov. “Don’t make it difficult, please...” said Chichikov...etc. (N.V. Gogol).

4. In other cases, on the contrary, the use of verbs of speech can become one of the important means of creating tension in a dialogue - an argument. Thus, in the scene of the last conversation between Porfirit Petrovich and Raskolnikov (in F. M. Dostoevsky’s novel “Crime and Punishment”), in accordance with the general plan for the development of the action, as the internal spring of the psychological duel between the accuser and the accused “unwinds,” the verbal vocabulary that introduces the participants’ remarks changes sharply dialogue and giving it dynamism. We see here an interesting Nagol “duel”, reflecting the transition of activity in the dialogue from one Participant in the dialogue to another:

Porfiry Raskolnikov

Petrovich

cried and seated the guest

spoke up thought

kept asking "(himself")

continued muttering

Whispered

cried out

asked

Added

Pronounced

The comparison shows how the development of the action is expressed in the verbs of the cue input. At the beginning of the dialogue, the investigator is active, while Raskolnikov is trying to collect his thoughts and gradually begins to come to his senses.

Thus, verbs that introduce direct speech are involved in solving both communicative and expressive-stylistic tasks, as well as in the compositional organization of the text. Thus, these verbs contribute to the disclosure of the ideological and artistic intent of the literary work Burov A.A. Verbs for entering direct speech in a literary text / Russian language at school 1983/ No. 2.

Conclusion

Thus, in conclusion of this course work, I would like to highlight the following main points:

Direct speech is one of the ways of transmitting someone else's speech, in which the speaker (writer) completely preserves its lexical and syntactic features without adapting them to his speech. Thus, direct speech and the speech of the speaker are clearly distinguished, for example: Alexei Tolstoy subtly noted: “The Russian people created the Russian language, bright, like a rainbow after a spring shower...”

Direct speech is always presented by the speaker (writer) as an accurate, verbatim speech. Direct speech can reproduce not only someone else’s speech, but also some past or future statements of the speaker himself, for example: I told you yesterday: “I won’t be able to speak.”

Some unspoken thoughts can be framed as direct speech: “What a great way he talks,” many of us thought.

Direct speech conveys not only the vocabulary and syntax of someone else’s speech, but also preserves someone else’s style and even someone else’s intonation, for example: “You are our father,” Yegorovna said in a squeaky voice, “you will ruin your little head! Kirilla Petrovich will eat us” (Pushkin).

A sentence with direct speech consists of two parts: the speech of someone else and the words of the author that accompany the direct speech. These parts are connected without union, united by intonation and meaning.

The author’s words indicate who the direct speech belongs to, most often it is a construction with a verb of speech (say, speak, utter, ask, answer, etc.). In the author’s words there may not be a verb of speech if there is a verb that can accompany the verb of speech: remember, be surprised, sigh, etc., for example: “I am your doctor,” the young woman smiled. The author's words can come before and after direct speech, and also interrupt direct speech.

Someone else's speech can also be transmitted using indirect speech, i.e. one of the ways in which this speech is grammatically adapted by the speaker to his own speech: someone else's speech in indirect form is formalized as a subordinate clause with a verb of speech located in the main part of a complex sentence, for example: The person who came in quickly asked if the doctor was at home.

When replacing direct speech with indirect speech, the following changes occur:

1) the narrative sentence becomes a subordinate clause with the conjunction that, for example: “A very beautiful picture,” those present noted. - Those present noticed that the picture was very beautiful;

2) the incentive sentence becomes a subordinate clause with the conjunction so that, for example: The teacher said: “Listen carefully.” - The teacher told us to listen carefully;

3) an interrogative sentence with a question word becomes a subordinate clause with the corresponding connective word, for example: “Who do you want to invite?” - asked the director. - The director asked who we want to invite;

4) an interrogative sentence without a question word becomes a subordinate part with a function word, for example: “Is the audience assembled?” - the speaker asked the administrator. - The speaker asked the administrator if the audience was assembled.

Personal and possessive pronouns of the 1st and 2nd persons are put in the form of the 3rd person singular and plural.

Bibliography

1. Barkhudarov S.G., Kryuchkov. S.E. Russian language textbook. - M., 1961, - part I.

2. Bakhtin M. The Word in Poetry and Prose // Questions of Literature, 1972. No. 6;

3. Burov A.A. Verbs of direct speech input in literary text / Russian language at school 1983/ No. 2

4. Great Encyclopedia of Cyril and Methodius - 98 (Multimedia edition)

5. Vinogradov V.V. Russian language: Grammatical doctrine of the word. 1972. P. 17

6. Voloshinov V.N. “Marxism and philosophy of language” L., 1930. P. 117

7. Grammar of the Russian language, vol. 2, part 1, M., 1954.

8. Kryuchkov S.E. and Maksimov L.K. Syntax of a complex sentence. Modern Russian language. M, 1977, p.

9. Linguistic encyclopedic dictionary. M., 1990. P. 404

10. Lopukhin M.S. Methods of teaching the Russian language. - M., 1960., - p. 19, 20.

11. Russian language. Encyclopedia. M., 1979. P. 196

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Speech as a type of human activity and as its product is carried out on the basis of the use of language (words, their combinations, sentences, etc.) and emotional expression. Functions and types of speech. Etiquette of speech communication and etiquette formulas of speech.

WHY ARE REPEATS NEEDED IN LITERARY SPEECH?

In works of art, especially in lyric poetry, a stylistic figure is often used - anaphora, the role of which is to repeat the same elements at the beginning of each verse, sentence, paragraph. Anaphora serves to express speech. Repetition of the same sounds, morphemes, words or syntactic structures - everything is subject to the author’s idea, the writer’s plan.

In A. Pristavkin’s text, in sentences 8, 9, 10 and 11, the word “we” is repeated at the beginning of each sentence. It unites the characters, talks about how much they saw, found, and met together while searching for the book. The author deliberately repeats the word “we”, speaking about common interests and the desire to find a favorite book. The sentence “they stepped over...an unusual sight” is repeated three times. In the first paragraph (sentence 6) this phrase sounds as if “to oneself”, not out loud. In the fourth paragraph (13) this phrase sounds more emotional. The hero pronounces it under the impression of what he saw. In the eighth paragraph (21), Vaska repeats the phrase, being mesmerized by the “absolutely extraordinary sight” that opened up to him in the forest.

Anna Sergeevna is right, repeat, repeat, discord. Some repetitions make the text discordant and clumsy, while others reveal the author’s intent and add expression.

OPTION 4.

Why do they come up with new words?

New words, or neologisms, appear in the language mainly to designate new phenomena, concepts in science and technology, politics and sports and other areas of human relations. In order to understand each other in a normal conversation, 4-5 thousand words are enough, although this is not enough for expressive speech. So why do they come up with new words?

In sentence (?), the author talks about people who care only about their own well-being. He calls them “selfish people,” and this could not be more accurately said about people who live for the sake of their own “I.” There are neologisms created by writers, so-called author's neologisms. They give speech solemnity, brightness, unusualness and expressiveness. But they can also indicate a new phenomenon in human society. This neologism is discussed in the sentence (?). It seems to me that the word “man-gun” means something ugly, thinking, threatening all life on earth. The word actively participates in the construction of the image - the image of rabid people.

Consequently, new words are invented in order to more accurately and clearly characterize a new phenomenon or concept.

OPTION 5.

THE ROLE OF LEXICAL REPEATS IN BOOK SPEECH.

Lexical repetitions usually indicate an inability to clearly and concisely formulate a thought. In book speech, lexical repetitions perform certain functions. When selecting words and constructions, the writer takes care to provide feedback and evoke in the reader the desired reaction to the message - intellectual, emotional, volitional. A writer, having mastery of a variety of language means, can influence the positive reaction of the reader. In this case, we can talk about the expressiveness of speech.

In sentences 1 and 2 of the text, V. Peskov repeats the word “gray”. The author wants to convey with the help of this word both the state of the environment and his internal state. He is trying to awaken in us the same feeling that he himself experiences. Lexical repetition expresses expression and serves as a means of expressive speech. In sentences 15, 16 and 17, the role of connecting words is played by the demonstrative pronouns “this”, “this”, and in sentences 18 and 19 the conjunction “or”. In these examples, lexical repetitions strengthen the connection of sentences in the text. In other cases, lexical repetitions help highlight an important concept in the text. An example of this is the word “life” from sentences 21, 22, 23, 24.

All of the above means that in book speech, lexical repetitions perform different functions that serve the expressiveness of speech.

OPTION 6.

The richness of speech can be judged by how we use synonyms in our native language. Synonyms have great semantic expressiveness and serve as an important means of enriching the language. They can be semantic and stylistic. Semantic ones differ from each other only in shades of meaning and serve as a means of detailing, highlighting one or another feature of a certain concept. Most of the synonyms are stylistic. They perform an expressive function. They are used in various styles of speech and are an indicator of a rise or fall in style.

Synonyms help avoid repetition of the same words, enliven and diversify speech, and help convey the subtlest shades of meaning. But writers do not mechanically replace a repeated word with its synonym, but take into account the semantic and expressive nuances of the words used.

In addition to lexical and verbal synonyms, the language has phraseological ( to kick the bucket - to mess around). Syntactic constructions (participial phrase and subordinate part of the attributive clause) can also be synonymous.

ROLE OF SYNONYMS IN LITERARY TEXT

The Russian language is rich in synonyms. In any synonymous dictionary you can see two, three, or even ten synonymous words, which determines the great expressive capabilities of Russian vocabulary. Moreover, the synonymous riches of the Russian language do not make writing easier, but rather complicate it, because the more words that are similar in meaning, the more difficult it is in each specific case to choose the only, most accurate one that will be the best in the context. There are few completely unambiguous words in the Russian language: linguistics - linguistics, here - here, during - in continuation, etc. Synonyms that have different semantic and stylistic shades are more common. Synonyms can be used in speech primarily to replace some words with others, as well as for the purpose of clarifying a thought, expressing it more clearly, strengthening and highlighting, or conveying various qualitative shades of an action, a sign (the sun was shining, the grass was shining, the river was sparkling). Synonyms are also used as a means of various assessments (face - physiognomy).

In the text by A. Pristavkin, examples of qualitative shades of the attribute are the synonyms “meek, tired” (5), “strong, shameful” (3). Synonyms link parts of the text and avoid unnecessary repetitions of the same word. An example of this is the words “people” and “they” (13). There are contextual synonyms, which are not actually synonyms, but serve as a means of replacing repeated cognate words. Contextual synonyms help eliminate unnecessary repetitions of words: “horse” - “she” - “animal” - “horse” (19-22).

Often several synonyms are used simultaneously in a literary text. Let's look at sentences 22-25. “Started to beat” and “beat” are syntactic synonyms, “knocked”, “threshed”, “beat” are lexical. In this case, they receive a certain stylistic load. By stringing together synonyms, the author achieves strengthening and emphasizing the main meaning of the word.

Thus, the use of synonyms makes our speech more accurate, vivid and expressive. Synonyms help avoid monotony of presentation. The skillful use of synonyms is one of the signs of precise and expressive speech.

OPTION 7

ROLE OF DASHES IN SENTENCES

Punctuation marks help establish semantic relationships between words in a sentence and help clarify the structure of the sentence.

Many signs perform an exclusively semantic role, and often with emotional overtones. A large semantic role is assigned, for example, to the dash.

A dash, first of all, means all kinds of omissions - omission of a connective in the predicate, omission of a clause in incomplete and elliptical sentences, omission of adversative conjunctions. The dash, as it were, compensates for these missing words and preserves their place.

Let's try to determine the role of the dash in the proposed text by V. Sukhomlinsky. In sentences 1 and 3, a dash indicates the omission of a connective. This is the use of a dash between the subject and the predicate. In sentences 18, 27, 32, the dash performs another function: omitting the predicate in elliptical sentences. A dash can also act as a kind of delimiter. An example would be sentences 31 – 33. The dash here signals the boundary between the author’s words and direct speech and when dialogue lines are arranged in paragraphs.

It's safe to say that Igor is right. The dash is a very powerful, meaningful punctuation mark that performs both structural and semantic functions in a sentence.

OPTION 8

Direct speech is the transmission of someone else's speech, preserving the content and form. With its help, it creates the impression of a similar exact reproduction of someone else's speech. Then it becomes clear to whom the speech is addressed and under what circumstances it is pronounced.

Dialogue, of course, also carries a certain significance. We can find out how many people are participating in the conversation, who is saying what to whom, what is the situation, and the intonation of words.

Direct speech can convey the statement of another person, the words of the speaker himself, or someone else’s thoughts. A special role is given to the words of the author, which indicate to whom they belong, to whom they are addressed, and under what circumstances they were uttered.

Dialogue and direct speech. Their role in language.

Direct speech is someone else's speech, accurately reproduced and conveyed on behalf of the person who spoke (wrote) it.

Sentences with direct speech include two components: direct speech, where someone else’s speech is reproduced, and introducing words, which indicate who this speech was said, and the circumstances of the speech can also be revealed (when, where, why, etc. ). Introductory words are connected with direct speech in meaning and intonation and can follow it, precede it and tear it apart.

Direct speech may include one or more sentences, different in structure, intonation, and modal-temporal plans. Functioning to accurately convey someone else's utterance, direct speech can include personal pronouns indicating the person speaking, as well as corresponding possessive pronouns, interjections, addresses, introductory constructions, and incomplete sentences. In addition, it can include words and phraseological combinations that are more stylistically diverse, which makes it possible to convey in fiction the features of the characters’ speech manner.

Due to its expressiveness, direct speech is used in literature as a means of characterizing characters. Let us recall the expressive speeches of Prostakova, Khlestakov and other heroes of Russian literature.

Leading words can be nouns: words, question, voice, whisper, exclamation and verbs with the meaning of speech or thought: say, ask, order, answer, shout,think, decide, remember etc.

Introductory words may take the form of incomplete sentences.

Dialogue is direct speech, which is a conversation between two or more persons. The sentences spoken by the participants in the dialogue are called replicas. Each replica starts on a new line. A dash is placed before the remark. Quotes are not saved. Dialogue cues may be accompanied by introductory words, forming typical constructions with direct speech, or may not have them.

Dialogue responses are often incomplete sentences that contain only “new.” Each replica should be semantically meaningful, but brief. The act of communication determines the laconicism of remarks and their semantic richness. Therefore, in replicas, only “new” is usually heard, “given” is either not repeated, or is pronounced tongue twister.

In the proposed text by Yu. Tynyanov in sentence 8, the remark is framed in the form of a dialogue without introducing words. Sentences 32-36 represent a dialogue consisting of several remarks belonging to one person. Dialogue conveys the peculiarities of colloquial speech: emotionality, expressiveness. Participants in communication use both verbal and non-verbal means of communication. In dialogue, as in direct speech, appeals, definitely personal sentences, incomplete sentences, and introductory words are widely used (32, 33, 34, 35).

OPTION 9

WHY ARE NOT COMAS ALWAYS PUT BEFORE CONJUNCTING WORDS?

The rule requires that in a complex sentence the main clause and subordinate clause be separated by a comma or commas. Does this rule always work? Are there any notes to this rule? It turns out that the well-known rule about separating subordinate clauses with commas is complicated by a number of cases when the signs are removed.

Consider sentence 40. The sentence is framed in the form of direct speech, broken by the words of the author. Direct speech is a complex sentence with different types of connections: union and non-union, combined into two semantic parts. The first part is a compound sentence with an adversative conjunction. The second part is a complex sentence with an attributive clause. The subordinate clause is attached to the main one using the conjunctive word “whom” and is separated by a comma. Everything is correct here.

Another example. Proposition 30 is a complex sentence with a union and a non-union connection. A complex sentence with homogeneous subordinate clauses and a complex sentence with a subordinate clause form two semantic parts. The connection between them is non-union. In both semantic parts, there is no comma between the main and subordinate parts.

This case is governed by the following rule. A comma is not placed between the main and subordinate clauses if there is a coordinating conjunction before the subordinating conjunction or allied word. If the coordinating conjunction is repeated, a comma is not placed only before the first subordinate clause.

OPTION 10

DISCHARGES AND FUNCTIONS OF PARTICLES IN THE RUSSIAN LANGUAGE

A particle is an auxiliary part of speech that serves to express various semantic shades of any member of a sentence or a sentence as a whole, as well as to form moods. The particle introduces additional semantic shades into the sentence and serves to form word forms. The meaning of particles is very rich and varied. With the help of particles in a statement, something is clarified, highlighted, denied, doubt about something is expressed, admiration and much more.

All categories of particles are present in the proposed text. In sentence 10 particle would– formative, it forms the form of the conditional mood. In sentences 10, 11, 14 there is a negative particle Not. Modal particles occur in sentences 1, 15, 18, 17. Particle only And only excretory-restrictive, even And or- amplifiers.

A sentence or word used with particles receives additional shades of meaning. Speech becomes brighter, more precise, more specific. By giving different shades of meaning to sentence members and entire sentences, particles enrich our speech and make it more emotional.

OPTION 11.

COMMA IN SENTENCES WITH HOMOGENEOUS AND HETEROGENEOUS DEFINITIONS (use and non-use).

In writing, you cannot do without commas, since they not only place emotional accents, but also help convey the meaning of the sentence. Thus, punctuation marks are placed in definitions if they act as homogeneous members, indicating simultaneity, alternation of events. In another case, they carry an emotional load, being epithets ( "subtle, unique atmosphere..."). However, a comma may not be used in definitions if they characterize the object from different sides: place and material (“bottom silt deposits”).

Thus, commas in sentences with definitions are placed under certain conditions.

OPTION 12

FUNCTIONS OF DASHES IN A SENTENCE

The dash is a multifunctional sign. It performs purely structural, semantic, and expressive functions.

What functions does a dash perform in text taken from periodicals? Let's try to figure it out. In sentences 7, 15, 17, 18, 19, the dash performs a structural function: skipping a connective in a predicate, skipping a predicate in elliptical sentences. Here it means not just the omission of words in general, but words as members of a sentence, as structural elements of a sentence. The dash performs another function - an expressive function - in sentence 27. It breaks the intonational smoothness of the phrase and thereby creates emotional tension and poignancy. The emotional side of speech, highlighted with a dash, its tension and dynamism are subordinated to the manner of presentation.

So, the dash is one of the most meaningful punctuation marks, the range of which is really wide.

OPTION 13

ROLE OF DASHES IN TEXT

No one doubts the functional ambiguity of such a punctuation mark as a dash. The dash has a simply amazing feature. It turns out that “this black stripe of ink” (as the dash was called at the end of the 18th century) is capable of playing contrasting roles and performing polar functions. Let's make sure of this.

It is known that one of the main meanings of a dash is opposition, more or less sharp. It is in this meaning that it is used in sentence 7 of the text read. In this context, the dash contrasts what was in this place before and now: “there were swamps, now there are asphalt streets.” Another example. In sentence 1, a dash is used between the subject and the predicate. According to the rule - if the subject is expressed by a personal pronoun - there should not be a dash here, but with logical underlining this sign is allowed. In sentence 11, the use of a dash is regulated by the rule: a dash when isolating applications if “namely” can be inserted before the last one. In sentence 19, the dash acts as a sign of intonation “surprise”.

From all that has been said, we can conclude that the importance of punctuation marks, especially the dash, in modern texts is very great, and their functions are becoming more complex. Sometimes they act not only as distinguishers of meaning, but also serve as speech economy. This means that the use of this sign must be motivated.

OPTION 14

ROLE OF QUOTES IN THE TEXT

One of the ways to convey someone else's speech is quotes. The purpose of quotes and the way they are included in the author’s speech are determined by the styles and forms of speech (oral and written), and the degree of importance of the accurate transmission of someone else’s statement. Quotes are verbatim (exact) excerpts from the statements and writings of someone, given to confirm or explain one’s thoughts. Quotes are highlighted with quotation marks. Quotes are usually documented, i.e. indicate their sources. Quoting other people's statements can be presented with varying degrees of completeness, accuracy, etc. They can be large passages of text, or individual sentences or parts thereof.

Most often, quotes are presented in the form of direct speech and are accompanied by the words of the author. An example of such design is sentences 7 and 23. When quoting a poetic text with exact adherence to the lines and stanzas of the original, quotation marks are usually not used. An example of such citation in the text is sentences 1 and 2.

Quotes are often used in colloquial speech. Often, the speaker cites lines from works of art (especially poetic ones), statements of writers and public figures, not only in order to confirm or clarify his thought, but also in order to express it more clearly. Quotes can also act as an epigraph. In this case, the text is usually not highlighted in quotation marks, and a link to the source is given on the next line.

Quotes included in the text are always interesting. They give weight to the arguments and add credibility to the entire work.

OPTION 15

ROLE OF ARCHAIC WORDS IN SPEECH

The reason for the appearance of archaisms is in the development of the language, in the updating of its vocabulary: some words are replaced by others, filled with new content.

Words forced out of use do not disappear without a trace: they are preserved in the literature of the past, they are necessary in historical novels and essays - to recreate the life and linguistic flavor of the era. Archaisms are used primarily in the style of fiction to create convincing pictures of a historical era, for authenticity in conveying the peculiarities of the speech of characters and the language of that time.

What role do archaisms play in M. Lermontov’s text? Obviously, when speaking about the greatness of Moscow, animating this city, it does not seem possible for Lermontov to use stylistically neutral vocabulary. It is difficult to imagine in place of the words “looks”, “written”, “on the forehead” (sentence 4) the commonly used “looks” or “looks”, “written”, “on the forehead”. The text will not only become neutral in mood, but will also “acquire” a shade of everyday life, even everyday life. To describe the splendor of Moscow and its environs, the author selects the most expressive lexical means. In this text, to give the speech an excited, solemn character, the poet resorts to outdated words.

Archaisms have synonyms in modern language. But what happens if you replace the phrase “a sovereign crown on the brow of a formidable ruler” (sentence 9) with modern vocabulary? The phrase will become prickly, lose the ability to convey the author’s thought without distortion, and make it difficult for the reader to perceive it.

The Kremlin has absorbed the entire history of the country from antiquity to the present day, therefore the use of outdated words in Lermontov’s text is appropriate, due to the writer’s intention. The solemnity and sublimity of the narrative in the text is supported not only by archaisms, but also by the syntactic structure of sentences. The beginning of the text is a complex sentence with a conjunction and a non-conjunction. The first semantic part is a SPP with combined subordination: homogeneous subordination (the first three simple sentences), parallel (expository clauses and subordinate clauses), sequential (clause attributive after the clause of cause). The beginning of a sentence is characterized by an intonation increase, intonational gradation, which are supported by the outdated conjunction “for”. To express the main idea, M. Lermontov uses both syntactic expressive means and lexical ones, including archaic words and expressions.

Thus, the use of outdated vocabulary in texts telling about historical monuments that convey the flavor of the era to express a feeling of admiration is not only justified, but also necessary. Thanks to archaic words, we hear the passionate, excited, pathos-filled voice of a patriot, a son of the Fatherland.

OPTION 16

ROLE OF HOMOGENEOUS MEMBERS IN SPEECH.

The role of homogeneous members in a sentence is different. They can indicate an enumeration, an alternation of actions, objects, their signs, any phenomena, events occurring in people’s lives, or the uncertainty of impressions of what is happening around.

Homogeneous members of a sentence also act as a means of expressiveness of our speech. They make it bright and rich. This is the case when they characterize the object on one side (“heavy, cold”...). Or they can also indicate the simultaneity of what is happening, the opposition.

In the proposed text by P. Tchaikovsky, homogeneous members perform the following function: homogeneous predicates “let”, “shown”, “let” emphasize the sequence of action (2). In this sentence there is not one, but three rows of homogeneous terms: “with force and speed”, “let”, “shows”, “let”, “stem, leaves, twigs and flowers”. Rows of homogeneous members carry a special semantic load, contribute to the disclosure of the content of the work, and the creation of a specific artistic image.

The conjunction “and” used before the last of the homogeneous members indicates completeness and gives completeness to the statement.

Another example. In sentence 9, the homogeneous definitions “cold, rational, technical” are connected only by intonation. This makes the sentence stylistically neutral. By choosing a construction with homogeneous members without conjunctions, the author tries to show the most complex creative process occurring inside a person.

Document

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Meeting

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