Russian language

SYNTAX

Ways of transmitting someone else's speech.

-- Direct speech.
- Punctuation marks in direct speech.
-- Indirect speech.
-- Quote.
-- Punctuation marks for quotes.

Direct speech.

Direct speech is exactly reproduced someone else's speech, transmitted on behalf of the one who spoke or wrote it. This way of transmitting someone else's speech preserves not only its content, but also its form, for example: And my mother threw up her hands and said: “Don't be upset, Denis, because of the mice. No and no need! Let's go buy you a fish! What do you want, huh?”(V. Dragunsky). Direct speech may include not one, but two or more sentences, different in structure. In direct speech, all the features of someone else's speech are preserved: it can contain interjections, particles, and modal words, appeals, incomplete sentences.

Direct speech is an independent sentence (or several sentences) and forms a special syntactic construction with the words of the author.

Punctuation marks in direct speech.

If direct speech is in a string, then it is enclosed in quotation marks, for example: “Do you remember their address well?” Sukhokhlebov interrupted me.(B. Field).

If direct speech begins with a paragraph, then a dash is placed before it, for example:

- Never sold a single flower in my life! - solemnly answered Nikolai Nikitich (K. Paustovsky).

The basic rules for punctuation in direct speech are most conveniently presented in the form of diagrams, so some notation should be introduced:

P, p - direct speech.

Punctuation marks in direct speech are set as follows:

Cases when direct speech comes before the words of the author
.	“We are researchers,” Roman Vladimirovich answers (Yu. Trifonov).
	Lev Tolstoy.
	“Come back! Shark!" - shouted the artilleryman (L. Tolstoy).
Cases when direct speech is after the words of the author
	Here Mishka says: “There is no need to argue. Now I will try” (V. Dragunsky).
	Pavel pretended to be surprised, then said: “Why should I should it be reasonable?" (V. Shukshin)
	Baba backed away, fell on the wall, and feignedly cried out: “Oh, killed, killed!” (M. Sholokhov)
Cases when direct speech is broken by the words of the author
“P, - a, - p.”	“You are my light,” the sun answered red, “I don’t see the princess- lo” (A. Pushkin).
“P, - ah, - p?(!)”	“Have mercy, father Pyotr Andreevich,” Savelich said, “why him your bunny sheepskin coat?” (A. Pushkin)
“P, - a. - P".	“Geese are flying,” Rostovtsev says with pleasure. - Now I saw a whole joint” (I. Bunin).
“P? (!) - a. - P?(!)"	“Stop! Gaidar suddenly said. - What is that over there? bush?” (K. Paustovsky)
“P? (!) - a. - P".	“Listen, Oleg! Valya said with a determined expression. organization” (A. Fadeev).

Dialogue punctuation marks:

1. if the replicas of the dialogue are given each from a new paragraph, then they are not enclosed in quotes, they are preceded by a dash, for example:

Can you keep a secret?

You ask.

Swear.

I swear!

(A. Fadeev);

2. in the case when the replicas go in one line without indicating who they belong to, each of them is enclosed in quotes and separated from the next one with a dash, for example: “So are you married? I didn't know before! How long ago? - "About two years". - "On whom?" - “On Larina”(A. Pushkin);
3. in the case when the words of the author follow the replica, the dash is omitted before the next replica, for example: “How are you doing? - asked Ekaterina Ivanovna. “Nothing, we live a little,” Startsev replied.(A. Chekhov).

Indirect speech.

Indirect speech is the transmission of someone else's speech on behalf of the speaker, and not the one who actually said it. Unlike sentences with direct speech, sentences with indirect speech convey only the content of someone else's speech, but cannot convey the features of its form, for example: We talked about how the birds I caught live(M. Gorky). In its form, a sentence with indirect speech is a complex sentence in which the main contains the words of the author, and the subordinate clause contains someone else's speech. These simple sentences as part of a complex one are joined by conjunctions what, as if to, or pronouns who, what, what, how, where, when, why etc., or a particle whether, for example: Scientists believe what rivers can be protected from pollution; The commissar slyly asked Meresyev, read whether he article(B. Field); Ivan Ilyich asked her where is the headquarters(A. Tolstoy).

The question that is transmitted in indirect speech is called the indirect question. It should be remembered that after an indirect question, a question mark is not put, for example: We asked the teacher when the abstract should be handed in.

Quote.

A quotation is a verbatim excerpt from a statement or composition of someone or exactly quoted someone's words that are used to confirm or clarify any thought.

Punctuation marks for quotes.

Quotations are formatted as follows:

2) if a quote is introduced into the author's speech as part of a sentence, then in this case it is highlighted with quotation marks, but it is written with a lowercase letter, for example: N. G. Chernyshevsky rightly believed that “the development of the language follows the development of the life of the people”;

3) if a quote is included in the author's proposal as its component, then it is highlighted with quotation marks, and punctuation marks are those that are dictated by the very structure of the sentence, for example: The thought of L. N. Tolstoy “time is the relation of the movement of one’s life to the movement of other beings”, expressed in his diaries, has a philosophical content;

4) if the quotation is given in part, then ellipsis is put in place of the missing words, for example: V. G. Belinsky wrote: “Pushkin’s verse is noble ... faithful to the spirit of the language”;

5) quotes from poems are not enclosed in quotation marks if the poetic line is observed, for example:

A. Blok has wonderful lines:

Like every year, sometimes at night,

Under autumn, in the splendor of beauty,

My star owns me -

So now You ascend to me.

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Context-variable text division

An essential feature of a literary text is the reflection in it of a plurality of points of view, which, in fact, corresponds to the plurality of voices, points of view in life itself. Indeed, in reality, the most diverse points of view coexist, while their overlap, coincidence, intersection, repulsion or attraction occurs.

If we generalize multiple points of view, then two of the most important ones stand out among them, generalizing all the rest in the text. These are the author's point of view and the character's point of view, which respectively form basic compositional and speech forms of presentation - the author's speech and the character's speech (someone else's speech).

Arranged linearly, horizontally throughout the text, the statements of the author and characters make up speech parties that express a certain attitude, position. In order to identify these speech parts, it is extremely important to carry out a vertical segmentation of the text in order to find the vertical context for each voice. Vertical contexts, representing various speech parties, permeate the horizontal, the structure of the text and reflect the plurality of points of view. Οʜᴎ appear in the text in various compositional and speech forms.

The system of using different points of view in literary works to express different subjective positions originates in Russian literature from the works of A.S. Pushkin - the novel ʼʼEugene Oneginʼʼ, ʼʼTales of Belkinʼʼ, etc.

Τᴀᴋᴎᴍ ᴏϬᴩᴀᴈᴏᴍ, the context-variative division of the text primarily distinguishes two speech streams in it - the speech of the author and the speech of the character.

but) Description by definition, it is directed to the material, objective world, the human world. In literary texts, this is primarily a description of the macrocosm surrounding a person - nature, place and terrain, space, objects and things that fill it. The microcosm of the person himself is also described - his appearance, physical and emotional condition. IN literary texts the usual is the pairing of descriptions of the macro- and microworld of a person: the description of the external world of reality correlates with the internal state of the character prose work or lyrical hero poetic text.

Consider the poem 3. Gippius ʼʼMomentʼʼ:

The sky shines through the window,

Evening sky, quiet, clear.

My lonely heart is crying with happiness,

I'm glad the sky is so beautiful.

Quiet, pre-night light burns,

My joy comes from the light.

And now there is no one in the world.

There is only God, heaven and me in the world.

In this poem, the universal features of the description are clearly expressed: static, the use of present tense verbs of an imperfect form, the expression of a typical logical relationship - existence<существования>, along with characterization (sky - high, quiet, clear; a heart - lonely; light - quiet, late night etc.). Usually, the description uses the verbs of being and state. Here are the verbs of manifestation of quality (shine), sound ( cry) and combustion (lit) under the influence of the logical-syntactic construction, del-exicalized and acquire existential semantics.

Descriptive texts are rare, mostly the description interacts in literary works with other context-variant speech forms.

b) Narration- the main driving mechanism of the plot; its universal attribute is dynamism. Most often in the narrative, actional verbs are used in the past tense, which convey the sequence of events, their dynamics and make up the narrative outline. The main logical-semantic relations in the narrative are temporal sequence, conditionality relations (causal, conditional, goals, etc.). In terms of formal grammatical, the use of composition and subordination is characteristic. You can consider as an example the narrative context from the story of V. Shukshin ʼʼCut offʼʼ: Last year, Gleb cut off the colonel ...

Usually, verbs of a specific physical action, activity, movement, speech activity, etc. are used in narrative contexts.

Narration, like description, can occur in its pure form when it is not complicated by other context-variant forms. Texts built only on narrative are folklore works (myths and fairy tales mainly), narrative stories, tales, lyric poems.

Many of Igor Irteniev's poems are plot-driven, dynamic, and predominantly verbal. For example, the poem ʼʼForest Schoolʼʼ:

A boy was walking through the forest

curly boy,

And stumbled on a stump

About the stump is clumsy.

And about this about the stump,

About the clumsy stump,

Everyone said he could

The boy is curly.

This boy used to

He spoke harshly.

Taught him a stump

Talk curly.

in) reasoning as a compositional-speech form is characterized by separation from the plot. Reasoning slows down the development of text events. In formal logic, reasoning is usually understood as a chain of reflections, inferences on a topic, presented in a certain rather rigid sequence. In this case, three parts are usually distinguished in the structure of reasoning: thesis, proof (argumentation) and conclusion in the form of a generalization or conclusion.

Let us cite as illustrations the aphorisms of Pyotr Yakovlevich Chaadaev:

They say about Russia that it does not belong to either Europe or Asia, that it is a separate world.
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So be it. But we still need to prove that humanity, in addition to its two sides, defined by the words - west and east, has a third side.

There are people who create their hearts with their minds, others create their minds with their hearts; the latter are more successful than the former, because there is much more reason in feeling than in the reason of feelings.

Reasoning is usually timeless, global, generalizing.
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Οʜᴎ is the mouthpiece of the author's ideas, expressing his worldview, embodied in the explanatory form of the author's speech. In a prose text, the author's reasoning is usually found in the author's digressions, remarks, comments on the events described, the actions of the characters, etc.

As you can already see, reasoning is a compositional-speech form, characteristic of both prose and poetic texts. Let's take another poetic example:

The moon rises in the night sky

And, bright, rests in love.

The evening wind roams the lake,

Kissing the happy water.

Oh what a divine connection

Eternally created for each other!

But people made for each other

Connect, alas, so rarely.

N. Gumilyov. Connection

In this poem, the description of the harmony of nature, the beauty of the night landscape served as the reason for the discussion about how rare the divine harmony of people is.

Airships fly across the sky

Trains run along the rails

Ships across the blue sea

They float to no one knows where.

Movement in nature plays

great value, friends,

Because it makes

The basis of all being.

And if in the process of movement

You will pass, comrade, for me,

That is your position

I will accept it with dignity.

And feeling depressed chest

The warmth of your heel

I will shout: ʼʼLong live people,

May their tread be light!ʼʼ

Reasoning calculated for comic effect is usually characterized by mundane, trivial and primitive judgments, in contrast to serious reasoning, which is characterized by originality and brightness of thought.

This type of speech is the main constructive component of the structure of the character's image. The forms of the speech embodiment of the characters are diverse, and their choice is determined both by the author's subjective and creative intent, and objectively - by the character of the character himself.

2.1) External speech character is a set of statements spoken aloud by the character, which function in the text as independent replicas that make up the speech part of the character and perform the function of his speech characterization. At the same time, the features of oral colloquial speech are preserved at the lexical, syntactic and intonational levels.

Given the dependence on the methods of inclusion in the text, the following constructive varieties of external speech: polylogue, dialogue, monologue, constructions with direct speech, constructions with indirect speech, improperly direct speech.

polylogue is a stream of replicas of various characters, and the persons uttering these replicas are not always indicated. In the text, polylogue remarks are usually made out as independent statements occupying separate lines, and an indicator of their oral pronunciation is a dash before the remark. This form of textual representation of someone else's speech actively manifested itself in Russian literature of the 1920s-1930s, which is explained by the desire to portray the people, mass consciousness, and dialogize the text. As an illustration, here is a text fragment from the novel by Artem Vesely ʼʼRussia washed with bloodʼʼ (the punctuation and graphics of the text are preserved by the authors):

A soldier's throat is a cannon mouth.

A thousand sips - a thousand guns.

From every throat - a howl and a roar:

Dug in...

Haba-ba...

Speak, speak more.

Exhausted, exhausted...

Fight, who needs to live.

Three hundred and seven years endured. - Down with the war!

Drop your weapons!

With such an image of oral speech, the content of statements (what is said) is highlighted and, accordingly, the participants in speech acts are not specified (who - to whom), their characterization is reduced and the process of speech activity itself is not characterized (as they say). The author draws speakers in an extremely generalized way with the help of figurative associations. (soldier's throat - cannon mouth etc.) and characterizes speech (howl, roars, screams, like bombs).

Dialog- a form of verbal communication between two characters. It can also be a collection of lines without specifying the characters who say them. Let's turn again to the fragment from the novel by Artem Vesely:

The words of the stanishnik seemed to me like a mockery, I ask:

Heard what they say about the Bolsheviks? Sold, do you hear?

The dog barks at the master.

What kind of Bolsheviks are they?

Party - down with the war, peace without any indemnities. The right party for us.

Is that right, mate?

Holy work is holy.

Are you a Bolshevik yourself?

So home?

Straight path, light breeze.

My heart ached...

In a prose text, the replicas of the characters in the dialogue may be accompanied by the author's commentary (see, for example, V. M. Shukshin's story ʼʼCut offʼʼ).

The main functions of dialogue and polylogue are the creation of a polyphonic work, the introduction of multiple worldview points of view, the expression of various evaluative positions, as well as the characterological function of creating a speech portrait of a character.

Monologue- this is such a form of textual representation of someone else's speech, which allows the author to more fully and openly express the character's point of view on a specific event, act, express his knowledge of the world, his beliefs. In this regard, the monologue is usually a reasoning on a specific issue. So, in the story of V. M. Shukshin ʼʼ Cut offʼʼ his main character Gleb Kapustin utters a monologue on the topic of candidacy (... Let me tell you, Mr. Candidate, that the candidacy is not a suit that you bought once and for all. But even a suit needs to be cleaned sometimes).

The monologic speech of a character in a prose text is a signal of textual tension, since it is initiated primarily by some kind of emotional experience, passions, and therefore, as a rule, is saturated with emotive, evaluative vocabulary, expressive syntactic constructions.

Polylogue, dialogue, monologue are typical compositional and speech forms of dramatic works, the main essential characteristics of the dramatic genre.

Constructions with direct speech most adequately reflect the structure of speech acts, since they also contain indications of the participants in speech activity (the speaker and the listener), reveal the content of speech and characterize the process of speaking, pronouncing. These constructions graphically interpret the replicas of the characters, which are given in quotation marks or are separated by a prepositive dash, and are also separated from the author's replicaty (in preposition) or by a colon (in postposition).

Such constructions are interesting in that they have unlimited potential for the author's interpretation in a remark to a character's speech. In this case, the position of the predicate ͵ that introduces a replica is especially significant, in which, of course, verbs of speech specialized for this function are used. This semantic class of verbs is very numerous in Russian. Verbs of speech mark various features of pronunciation: diction, clarity, loudness, tempo, intensity of speech, etc.
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(to lisp, to stammer, to exclaim, to chatter, to yell, to whisper etc.), they are able to denote verbal communication (negotiate, negotiate etc.), voice message (declare, declare, announce etc.), speech impact (praise, scold, insult etc.), verbal expression of emotions ( cry, beg, beg and etc.). But much more interesting and stylistically significant is the use of verbs of various semantic groups as speech predicates. This becomes possible due to the peculiarities of the construction itself with direct speech: the verb word, placed at the junction of the replica as part of the remark, begins to experience semantic buildup along with the main meaning, to convey the idea of ​​speaking. Here are examples from the story ʼʼCut offʼʼ:

(1) - Candidates? - surprised Gleb(Text meaning: said, surprised).

(2) - Kostya was actually good at math, - someone remembered ...

(3) He revived.

Here, as predicates introducing direct speech, the emotive verb is used (to be surprised) mental activity verb (recall) and emotional gesture verb (come to life). This is typical for artistic speech, since it is emotive vocabulary, the vocabulary of mental activity, gesture, movement, sound, etc., that are most often used as words that introduce speech.
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This allows the author to show the inseparable connection of the character's speech with his inner emotional and intellectual world, the unity of speech and gestural behavior, speech and movement of the character.

Constructions with direct speech allow the author to simultaneously convey the speech of the character, describe the features of this speech, evaluate it (in the author's remark) and directly reflect the features of the character's speech at the lexical and grammatical level as part of remarks.

Structures with indirect speech less expressive, their function is to display, first of all, the content of the character’s statement in a literary processed form, without deliberate underlining pronunciation features. Οʜᴎ is a complex sentence, where the main part is functionally similar to the author's remark, and the explanatory clause conveys the content of the statement. Here is a context containing such constructions from A. Platonov's story ʼʼThe Origin of the Masterʼʼ, which tells how ʼʼZakhar Pavlovich was looking for the most serious party in order to immediately enroll in itʼʼ:

Nowhere was he exactly told about the day when earthly bliss would come. Some answered that happiness is a complex product and the goal of a person is not in it, but in historical laws. And others said that happiness consists in a continuous struggle that will last forever.

In the next game, they said that man is such a magnificent and greedy creature that it is even strange to think about saturating him with happiness - it would be the end of the world.

Improperly direct speech. The term itself was proposed in the 1920s. V. V. Voloshinov. The peculiarity of this type of speech is the contamination of the voices of the author and the character, or, according to V. V. Vinogradov, ʼʼsliding of speech in different subjective spheresʼʼ. For instance:

The boy was lying on a sheepskin between the drivers. I stumbled near Kulubek and listened with all my ears to the conversation of adults. No one guessed that he was even glad that such a blizzard suddenly happened, forcing these people to seek refuge in their cordon. Secretly, he really wanted the storm not to subside for many days, at least three days. Let them live with them. So good with them! Interesting. Grandfather, it turns out, knows everything. Not themselves, so fathers and mothers (Ch. Aitmatov. White ship).

As you can see, contamination is found in the superimposition of signs of direct character and author's speech. Punctuationally, formally, the boundaries between these speech varieties are not marked in any way. In terms of expression, everything is drawn up in the same way, as one holistic author's description. The author's text usually dominates quantitatively. Character speech signals are a change in intonation (from narrative to motivating, emotionally expressive), the appearance of expressive syntactic constructions, incl. characteristic of oral speech: packaged, phraseologized. These constructions expose the inner experiences of the character, they are a way of depicting him from the inside, from the evaluative position of the character himself.

It is characteristic that improperly direct speech - the most complex way of organizing the speech parties of the author and the character - has become widespread in the literature of the 20th century. The voices of the author and the character in it are often so intertwined and merge that it is difficult to find the boundary between them.

2.2) Inner speech of the character. Along with the external, the character's speech part is also made up of his internal speech. Although it resembles external speech and is derived from it, it has its own characteristics, identified by psychologists (L. S. Vygotsky, A. A. Leontiev, N. I. Zhinkin and many others): associativity, truncation / deduction of structures, semantic curtailment, uncertainty, etc.
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This type of speech is used in literary work first of all, for the psychological analysis of the inner world of the character, for describing his intellectual and emotional world. There are different textual varieties of inner speech, distinguished taking into account its volume (length), nature and methods of inclusion in the text, taking into account its content and the lexical and grammatical means used in it.

V. A. Kukharenko proposed the following typology of inner speech: stream of consciousness, inner monologue, auto-dialogue, small inclusions of inner speech (Kukharenko V.A. Text interpretation. 1988).

Mindflow. The term itself expresses the essence of the textual phenomenon it denotes - a reflection of the character's inner speech in a form that is closest to the real work of consciousness. The author in this case stands, as it were, above the character, does not interfere directly in the description of his experiences. The term ʼʼstream of consciousnessʼʼ was recorded in 1890 ᴦ. in the work of W. James ʼʼPrinciples of Psychologyʼʼ, where it is used to denote the flow of human experiences, and in 1922 ᴦ. he was remembered in connection with the work of J. Joyce ʼʼUlyssesʼʼ. It is this work that is usually pointed out as the most striking example of the depiction in literature of the flow of human experiences.

This way of describing the consciousness and subconsciousness of a character is extremely difficult for the writer and difficult for the reader to understand. It is necessary to have a high level of literary and artistic competence in order to adequately comprehend the character’s stream of consciousness depicted in the text, which usually conveys the uncontrolled work of consciousness and subconsciousness, saturated with associations, convoluted images and devoid of clear logic.

internal monologue, just like an ordinary spoken monologue, contains reflections on some problems, most often difficult, insoluble. Its content should be addressed both to the past, ĸᴏᴛᴏᴩᴏᴇ evaluate, analyze, and to the future, to what they dream about, what they assume and plan. Signals of inner speech - the words of the author, indicating the thought process, usually these are verbs think, think thought and etc.
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For example, the story of V. M. Shukshin ʼʼThe suffering of young Vaganovʼʼ is saturated with various forms of inner speech. It also has an internal monologue:

But now, suddenly, it was clear and simply thought: ʼʼMaybe she is like that? Is she capable of loving like that?ʼʼ After all, if you think calmly and soberly, you need to calmly and soberly answer yourself: hardly. I didn’t grow up like that, I wasn’t brought up like that, I wasn’t used to such a life. In general, he can’t, and that’s all.

Autodialog signals discord in the inner world of the character, about the doubt that has settled there, about the struggle between good and evil, emotional and rational, mind and heart. The signal of disharmony of the inner world is ʼʼdialogization of consciousnessʼʼ (M. Bakhtin). This is also reflected in the lexico-grammatical level of auto-dialogue, in which evaluative vocabulary, interrogative, regulative syntactic constructions, and reduced statements are actively used.

This story by Shukshin also contains auto-dialogues, ᴛ.ᴇ. character talking to himself:

Well, all right, - Vaganov was completely angry with himself, - if you are already a coward, then tell yourself so - soberly. After all, this is what happened: this Popova in some incomprehensible way strengthened you in a secret thought that Maya is the same, in essence, a professional consumer, an egoist, only one acts stupidly, while the other knows how and has immeasurably more. But this is even worse - it will kill more painfully. After all, that's what you sensed here, what a danger. Then just say so directly: ʼʼThey are all the same!ʼʼ - and put an end to it without starting the letter. And cowardly, and argue further - it's safer that way. Office hook!

Plebeian, son of a plebeian! Well, make a mistake, break the wood ... If you really break through this thickness of life, then not on all fours! Do not deprive yourself of a sober understanding of everything, do not build illusions, but already delve into everything ... this is also a dirty trick, pettiness!

Along with expanded textual forms of inner speech, there are also laconic, non-expanded forms, or, as we have already mentioned, ʼʼsmall inclusions of inner speechʼʼ, according to V. A. Kukharenko. Their function is to record the instantaneous emotive reactions of the character to the events of the outside world. In the story by N. A. Teffi ʼʼVyvalovyʼʼ a number of similar inclusions of the inner speech of the boy Leshka, whom parents from the village identified as ʼʼboys for room servicesʼʼ, describe him emotional reaction on the events taking place in the master's house.

Lyoshka held his breath, pressed himself against the wall and stood quietly until an angry cook swam past him, angrily rattling starched skirts.

ʼʼNo, pipes, - Leshka thought, - I won't go to the village. I'm not a fool guy, I want to curry favor so quickly. You won’t thrash me, not like that ʼʼ.

And, having waited for the return of the cook, he with decisive steps went to the rooms ʼʼ "Be, grit, before your eyes." And what eyes will I see when no one is ever at home ...ʼʼ

The tenant was not alone. With him was a young lady in a jacket and under a veil. Both shuddered and straightened up when Lyoshka entered.

ʼʼI'm not a fool, - Leshka thought, poking the poker into the burning firewood. - I'll get those eyes wet. I’m not a parasite - I’m all in business, all in business! ..ʼʼ<...>

He found the tenant and guest silently bent over the table and immersed in the contemplation of the tablecloth.

ʼʼLook, they stared, - Leshka thought, - they must have noticed the spot. They think I don't understand! Found the fool! I understand everything. I work like a horse!ʼʼ<...>

The lodger bounced off his lady like a bullet.

ʼʼAn eccentric, - Leshka thought, leaving. - It's light in the room, and he gets scared!ʼʼ<...>

The tenant sat quietly next to the lady, but his tie was on his side, and he looked at Lyoshka with such a look that he only clicked his tongue:

ʼʼWhat are you looking at! I myself know that I am not a parasite, I do not sit idly by.<...>

This time the tenant did not hear Leshka's steps: he was kneeling in front of the lady and, bowing his head low to her legs, froze without moving. And the lady closed her eyes and her whole face cringed, as if looking at the sun ...

what is he doing there? Leshka was surprised. - Like a button on her shoe chews! Not ... apparently, he dropped something. I'll go look...ʼʼ

N. A. Teffi so insistently and consistently alternates narrative contexts and accompanying inclusions of the character’s inner speech, inadequately evaluating the actions of others, that this technique gives rise to a comic effect. In the text of the story, inclusions of inner speech are punctuated.

In conclusion, it should be noted that in a literary work, all the forms of context-variant division of the text discussed above interact, conjugate, and complement each other.

2. Connectivity of the text

This is the most important text category, it is its presence that raises the status of a certain set of statements, turning them into text. Now there is a firm belief that, along with lexical and grammatical syntagmatics, there is syntagmatics of the text, which is found in the laws of interphrase compatibility, in the presence of special intratextual connections.

The text is a very complex sign, in this regard, it has a flexible system of intratextual links: it is known that the lower the level of the language system, the more stringent the rules for the combination of its constituent units, and vice versa, the higher the level of the language system, the softer the rules for combining of its units.

The dominant feature of intratextual links is semantic agreement in a broad sense. All components of the text - from large (STS) to small (word) - must be semantically related to each other and correlated with the global content of the text. It is the semantic connection that is the foundation of the text, it determines its unity and integrity. All private lexical, formal-grammatical and other manifestations of coherence are due to the general semantic idea of ​​the text.

In our opinion, classification of intertext links should be based on the level representation of the text, since they are found at all its levels.

At the level of semantics, the existence of intratextual connections is due to the conceptual nature of the text and its correlation with a certain fragment of reality.

At the level of text grammar, they are determined by the laws of grammatical agreement and grammatical dependence, which are motivated by the laws of linguistic syntagmatics.

At the pragmatic level, these connections are due to the peculiarities of the individual author's style.

Taken all together, a variety of intratextual connections make up a set of specialized components that are means of text formation.

Consider types of intratext links according to the named levels of the text.

The statement of another person, included in the author's narration, forms someone else's speech. Someone else's speech, reproduced verbatim, with the preservation of not only its content, but also the form, is called direct speech. Someone else's speech, reproduced not verbatim, but only with the preservation of its content, is called indirect. Direct and indirect speech differ not only in verbatim or non-verbatim transmission of someone else's speech. The main difference between direct speech and indirect speech lies in the way in which both are included in the author's speech. Direct speech is an independent sentence (or a series of sentences), and indirect speech is formed as a subordinate part as part of a complex sentence, in which the main part is the words of the author. Wed, for example: The silence went on for a long time. Davydov turned his eyes to me and said muffledly: “I was not the only one who gave his life to the desert.”(Paust.). - Davydov turned his eyes to me and said muffledly 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). The lexical distinction between direct and indirect speech is by no means necessary. For example, direct speech can reproduce someone else's speech not verbatim, but necessarily with the preservation of its form (in the form of an independent sentence). This is evidenced by the words with the meaning of assumption, introduced into the author's speech: He said something like this... At the same time, indirect speech can literally reproduce someone else's speech, but it is not formed independently, cf .: He asked: “Will father come soon?”(direct speech). - He asked if his father would come soon(indirect speech).

With the convergence of the forms of transmission of someone else's speech, i.e. direct and indirect, a special form is formed - indirect speech. For example: A gloomy day without sun, without frost. The snow on the ground had melted during the night, lying only on the roofs in a thin layer. Grey sky. Puddles. What kind of sled is there: it’s disgusting even to 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 singled out as part of the author's speech.

Direct speech conveys: 1) the statement of another person, for example: Startled, he asked: “But why do you go to my lectures?”(M. G.); 2) the words of the author himself, for example: I say, "What does he want?"(T.); 3) an unspoken thought, for example: It was only then that I straightened up and thought: “Why is my father walking around the garden at night?”(T.).

In the author's speech, there are usually words that introduce direct speech. These are primarily verbs of speech, thoughts: say, say, ask, ask, answer, think, notice(meaning "say") to speak, to object, to shout, to address, to exclaim, to whisper, to interrupt, to insert etc. Direct speech can also be introduced by verbs that characterize the target orientation of the statement, for example: reproach, decide, confirm, agree, assent, advise and others. In addition, sometimes verbs are used that denote actions and emotions accompanying the statement, for example: smile, be upset, be surprised, sigh, take offense, be indignant etc. In such cases, direct speech has a pronounced emotional coloring, for example: "Where are you?" Startsev was horrified(Ch.); "Also, please tell me!" Dymov smiled.(Ch.); “Yes, where are we going?” Spouses giggled.(Pan.). In the role of introductory words, some nouns are sometimes used. Like verbs that introduce direct speech, they have the meaning of statements, thoughts: words, exclamation, question, exclamation, whisper and others, for example: "Did the boy lie down?" - Panteley's whisper was heard a minute later(Ch.). Direct speech can be located in relation to the author's in preposition, in postposition and in interposition, for example: "Tell me about the future," she asked him(M. G.); And when he held out his hand to her, she, kissing her with hot lips, said: “Forgive me, I am guilty before you.”(M. G.); And only when he whispered: “Mom! Mother!" He seemed to feel better...(Ch.). In addition, direct speech can be broken by author's words, for example: “The signorina is my constant opponent,” he said, “doesn’t she think that it would be better in the interests of the case if we get to know each other better?”(M. G.).

Depending on the location of direct speech, the order of the main members of the sentence in the author's speech usually changes. The words that introduce direct speech are always next to it. So, in the author's speech preceding the direct, the verb-predicate is placed after the subject, for example: ... Kermani cheerfully said: "A mountain becomes a valley when you love!"(M. G.). If the author's words are located after direct speech, the verb-predicate precedes the subject, for example: "You're going to be an architect, right?" she suggested and asked(M. G.). Author's words in interposition always have the order predicate - subject: "Okay! Izyumin says. - Business - time, fun - an hour! I'll go!"

Indirect speech is someone else's speech, transmitted by the author in the form of a subordinate part of a sentence with the preservation of its content. Unlike direct speech, indirect speech is always located after the author's words, designed as the main part of a complex sentence. Wed: "Now everything will change," said the lady(Paust.). - The lady said that everything will change now. To introduce indirect speech, various unions and allied words are used, the choice of which is associated with the purposefulness of someone else's speech. If someone else's speech is a declarative sentence, then when making it in the form of an indirect one, the union is used that, for example: After some silence, the lady said that in this part of Italy it is better to travel at night without light. Wed: After some silence, the lady said: “In this part of Italy it is better to drive at night without lights.”(Paust.).

If someone else's speech is an incentive sentence, then when making indirect speech, the union is used to, for example: The guys are screaming for me to help them tie the grass(Shol.). Wed: The guys shout: “Help us tie the grass!”. If someone else's speech is an interrogative sentence, which includes interrogative-relative pronominal words, then when making indirect speech, these pronominal words are preserved, and additional unions are not required. For example: I asked where this train goes. Wed: I asked, "Where is this train going?".

If in someone else's speech, designed as an interrogative sentence, there are no pronominal words, then the indirect question is expressed using the union whether. For example: I asked him if he would be busy. Wed: I asked him, "Will you be busy?". In those cases where an interrogative particle is present in someone else's speech, it turns into a union when making an indirect one, for example: “Should I put out the cinder?” Andersen asked(Paust.). Wed: Andersen asked if the cinder should be extinguished..

When making someone else's speech in the form of indirect, some lexical changes occur. So, for example, emotional lexical elements that are present in someone else's speech (interjections, particles) are omitted in indirect speech, and the meanings expressed by them are conveyed by other lexical means, and not always exactly, but approximately. Wed: Sometimes Chmyrev sighs, deeply and sadly; “Oh, if only I were literate and learned, I would have proved all the beginnings, she-bo-oh! ..”(M. G.). - Sometimes Chmyrev sighs, deeply and sadly, that if he were literate and scientific, he would prove everything he started.

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 the speaker's face. Wed: “You are sad,” the stove-maker interrupts.(M. G.). - The stove-maker notices that I speak sadly; He told me, "I'll help you write the report." - He said he would help me write the report.. Direct speech and indirect speech can sometimes be mixed. In this case, in the subordinate part (indirect speech), all the lexical features of direct speech are preserved up to expressive and stylistic features. Such a mixture of two forms of transmitting someone else's speech is characteristic of a colloquial style, such speech is called semidirect. For example: Stepan told me on my return that "Yakov Emelyanovich did not rest almost all night, everyone walked around the room"(Ax.); My father replied indifferently that he had something more important than concerts and all the visiting virtuosos, but, however, he would look, he would see, and if he had a free hour - why not? ever coming down(Ext.)

There is a special way of transmitting someone else's speech, which contains the features of both direct speech and partly indirect speech. This indirect speech, its specificity is as follows: 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. The syntactic feature of improperly direct speech is its non-selection in the composition of the author's speech.

Improperly direct speech is not formalized as a subordinate part (unlike indirect speech) and is not introduced by 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 narration, merging with it and not delimiting from it. An improperly direct speech is conducted not on behalf of the person, but on behalf of the author, 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 enjoyed this show!(inappropriately direct speech).

Improper direct speech is a stylistic figure of expressive syntax. It is widely used in fiction as a technique for bringing the author's narration closer to the characters' speech. This way of presenting someone else's speech allows you to preserve the natural intonations and nuances of direct speech and at the same time makes it possible not to sharply delimit this speech from the author's narration. For example: Just went out into the garden. On high ridges covered with snow, the sun was spreading. The sky was carefree. Sparrow sat down on the fence, jumped up, turned right and left, the sparrow's tail provocatively stuck up, his round brown eye looked at Tolka with surprise and merriment - what is happening? What does it smell like? After all, spring is still far away!(Pan.) She was ruthless, she forgave nothing to people. In her youthful enthusiasm, she did not understand how it was possible to stoop to nodding at the conveyor. What are you dreaming of, citizen? Go home to sleep, I can manage without you ... Sometimes she was also smeared with fatigue. Then she did not sing songs, as others did: singing distracted her from work. She preferred to quarrel with someone to cheer up - for example, to find fault with the controllers that they looked through the same fuse twice. Apparently, the two of them have nothing to do here; so let, which is superfluous, go to the conveyors. Let them cast lots - who should stay on the conveyor, who should carry the carts ... Otherwise, it was possible to raise a fuss on the whole workshop so that the trade union organizer, and the party organizer, and the Komsomol organizer, and the zhenorg, all the orgs, how many there are, and the chief comrade himself Grushevoy: what a disgrace, again the boxes are not served on time, she spent twelve minutes without capsules, they keep idlers when it's over! complain to the director(Pan.).

In fiction, improperly direct speech is often used in the form of the second part of the non-union complex sentence and reflects the reaction actor to the phenomenon they perceive. For example: Oh, how good it was for the district police officer Aniskin! He looked at the cotton curtains - oh, how funny! He touched the rug with his foot - oh, how important! I inhaled room smells - well, as in childhood under the covers!(Lip.).

someone else's speech are the statements of other persons included in the author's narrative.

There are three main ways to transmit someone else's speech:

• sentences with direct speech;
• sentences with indirect speech;
• quotes.

Direct speech sentences

Direct speech- this is a way of transmitting someone else's speech with the preservation of all its features: intonation, vocabulary, incompleteness of sentences, word order; the use of interjections, addresses, exclamations, particles, introductory words ...

Example:

Kazbich interrupted him impatiently: “Go away, mad boy! Where can you ride my horse! (M. Lermontov)

Sentences with direct speech include the words of the author (the commentary part, which indicates to whom this speech belongs, how, under what conditions it was said, to whom it is addressed ...) (A, a) and direct speech (P, p).

Options for writing direct speech in writing

1. If direct speech is in front of the words of the author, then it is enclosed in quotation marks, written with a capital letter, followed by a comma (after quotation marks) or an exclamation point, question mark or ellipsis (before quotation marks) and a dash.

Example:

"P" - a.

“We once lived here,” Ivan sighed.

"P!" - but.

“Why, this is our school!” Ilya exclaimed.

"P?" - but.

“What do you hear about Sidorov?” Oleg asked.

2. If direct speech is in a sentence after the words of the author, then it is enclosed in quotation marks and begins with a capital letter, and a colon is placed after the words of the author.

Example:

A: "P".

Looking up at the sky, Igor thoughtfully said: “The birds have already flown away.”

A: "P!"

Andrei exclaimed: “I have seen many such people!”

A: "P?"

The doctor asked: “What was your temperature?”

3. If direct speech is broken by the words of the author, then quotation marks are placed at the beginning and end of the sentence, and the words of the author are separated from direct speech by dashes on both sides.

Example:

"P, - a, - p (?!)".

“Still, it’s better, Maxim Maksimych,” he answered, “to have a clear conscience” (M. Lermontov).

“P(?!), - a. - P(?!)".

"What are you thinking about? Ira asked. “Maybe about the future?”

Dialog

Dialog- This is a type of direct speech, which is a conversation of two or more persons.

Example:

“Maybe we can leave today? the father asked.

Arkhip thought for a moment, then answered confidently:

“It’s early today, better tomorrow morning.”

Each replica is written on a new line, and a dash is placed before the replica. Quotation marks are not put. An important difference between dialogue and direct and indirect speech is that the dialogue may not contain the words of the author at all.

Example:

“Are you going to the skating rink?

- I can not today.

- And when?

- I do not know yet".

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LECTURE SUMMARY 9

1. Type of text according to the purpose of the statement.

3. Number of components (offers).

4. Connection between sentences: chain, parallel, mixed type.

5. Ways of expressing semantic relations: lexical, grammatical. name.

5. Paragraph (German indent) is a red line, an indent at the beginning of a line and a segment of written speech from one red line to another. It is used to separate replicas of a dialogue or compositional-semantic segments of a monologue text from each other in writing, which may include one or more complex syntactic wholes, may consist of parts of the STS or individual sentences (look: works of literature!)

3. Offers with indirect speech.

4. Constructions with improperly direct speech.

5. Transferring the content of someone else's speech in sentences ... (independently: R.N. Popov and others - P.448).

6. Principles of Russian punctuation. Punctuation marks and their main uses.

1. Beloshapkova V.A. etc. Modern Russian language. Proc. allowance for a philologist. specialist. un-v.-M.: Enlightenment, 1989. -800s.

2. Valgina N.S. etc. Modern Russian language. –M.: Higher. school, 1987. -480 p.

3. Vinogradov V.V. Modern Russian language. –M.: Higher. school, 1986. -640 p.

4. Galkina-Fedoruk E.M. Modern Russian language. - Part 1. - M.: MGU, 1962. - 344s.; Ch.2.–638s.

5. Graudina L.K. and others. Grammatical correctness of Russian speech. -M.: Russian language, 1976. -232 p.

6. Dudnikov A.V. Modern Russian language. - M .: Higher. school, 1990. -424p.

7. Kasatkin L.L. and others. Russian language. Proc. for stud. ped. in-comrade. - Part 2. -M.: Enlightenment, 1989. -287p.

8. Lekant P.A. Modern Russian language. –M.: Higher. school, 1982. -400s.

9. Modern Russian language. Proc. for universities / Under the editorship of D.E.Rosenthal.–M.: Higher. school, 1984. -736 p.

10. Shapiro A.B. Modern Russian language. -M.: Enlightenment, 1966. -156p.

1 . In the Russian language there are sentences in which, in addition to one's own, author's speech, the speech of another person is transmitted.

Alien speech- the statement of another person, transmitted in the author's narration, is called (an alien speech may be the statement of the author himself, if this statement is reproduced as a fact that has become extraneous for the moment of speech).

Someone else's speech can be transmitted in various ways. If it is necessary to accurately reproduce it, sentences with direct speech are used. If it is necessary to convey only the content of someone else's speech, sentences with indirect speech are used. In works fiction constructions with improperly direct speech are used, combining the signs of direct speech and indirect speech, when the author's statement and someone else's speech merge together. The content or general meaning of someone else's speech can be conveyed with the help of introductory words indicating the source of the message. The theme, the subject of someone else's speech, can only be named and expressed with the help of an addition.

(Attention! The author's narrative may include the speech of another person or the statements and thoughts of the author himself, expressed in a certain situation and transmitted verbatim or by content. The statement of other persons (less often - the author himself), included in the author's narration, forms someone else's speech. Depending on how such a statement is transmitted, direct speech and indirect speech are distinguished).

The main criterion for distinguishing between direct and indirect speech is, first of all, that the first, as a rule, literally conveys someone else's statement, preserving its lexical and phraseological composition, grammatical structure and stylistic features, while the second usually reproduces only the content of the statement, and the original words and expressions speaker, the nature of the construction of his speech change under the influence of the author's context.

From a syntactical point of view, direct speech retains considerable independence, being connected with the author's words only in meaning and intonation, and indirect speech acts as a subordinate clause in a complex sentence in which the author's words play the role of the main sentence. These are the most important differences between the two ways of transmitting someone else's speech. However, their clear distinction in a number of cases gives way to their convergence, close interaction and crossing.

So, direct speech may not literally convey someone else's statement. We sometimes find an indication of this in the author's words themselves: He said something like this...; He replied something like this... It is clear that in such cases, someone else's speech is reproduced with a greater or lesser approximation to accuracy, but not verbatim.

Naturally, we find not a literal transmission, but an exact translation in cases where the speaker speaks in foreign language, and the direct speech belonging to him is transmitted in Russian: - What? What are you talking about? - said Napoleon. - Yes, tell me to give me a horse.

On the other hand, indirect speech can literally convey other people's words, for example, in an indirect question corresponding to an interrogative sentence of direct speech .: He asked when the meeting would begin. - He asked: "When will the meeting start?"

Sometimes indirect speech differs lexically from direct speech only in the presence of a function word - a union that subordinates the subordinate clause to the main one: He said that the manuscript has already been edited. - He said: "The manuscript has already been edited"; He asked if everyone was ready to leave. He asked, "Are you all ready to leave?" ).

2. Direct speech - this is the transfer of someone else's statement, accompanied by the author's words. direct speech called someone else's speech, transmitted on behalf of the speaker (the person whose speech is reproduced).

Sentences with direct speech consist of two parts, united in meaning and structure, of which one (author's speech) contains a message about the fact of someone else's speech and its source, and the other - direct speech - reproduces someone else's speech without changing its content and linguistic form.

Direct speech can convey:

1) the statement of another person, i.e. in the literal sense, someone else's words: "Iran, you are crying again," Litvinov began with concern;

2) the words of the speaker himself, uttered by him earlier: “Why aren’t you going?” I asked the driver impatiently;

3) unexpressed thoughts: "It's good that I hid the revolver in the crow's nest," thought Pavel.

1) precede direct speech: The overjoyed mother answered confidently: “I’ll find something to say!” ;

2) follow direct speech: “I will, I will fly!” - rang and went in the head of Alexei, driving away sleep;

3) to be included in direct speech: “We will have to spend the night here,” said Maxim Maksimych, “you won’t move through the mountains in such a snowstorm”;

4) include direct speech: To my question: “Is the old caretaker alive?” - no one could give me a satisfactory answer.

Direct speech is most often associated with verbs of utterance or thought that are part of the author's words ( speak, say, ask, answer, exclaim, say, object, think, decide ...), less often - with verbs indicating the nature of speech, its connection with the previous statement ( to continue, to add, to conclude, to terminate ...), with verbs expressing the purpose of speech ( ask, order, explain, confirm, complain, agree ...), as well as with phrases with nouns that are close in meaning or formation to verbs of speech ( asked a question, an answer was heard, exclamations were heard, words were spoken, a whisper was heard, a cry was heard, a voice was heard ... ), or with nouns indicating the emergence of a thought ( a thought was born, flashed in the mind, appeared in the mind ... ). Author's words may contain verbs that indicate the action that accompanies the statement; verbs denoting movements, gestures, facial expressions ( run, jump up, shake your head, shrug your shoulders, spread your arms, make a face... ), expressing feelings, sensations, the internal state of the speaker ( rejoice, be upset, be offended, be indignant, be surprised, laugh, smile, sigh ... ).

The word order in direct speech does not depend on its place in relation to the author's words, and the word order in the author's remark is related to the place it occupies in relation to direct speech, namely:

1) if the author's words precede direct speech, then they usually have a direct order of the main members of the sentence (the subject precedes the predicate): Zhukhrai, standing on the platform of the training machine gun and raising his hand, said: “Comrades, we have collected you for a serious and responsible business”;

2) if the author's words come after direct speech or are included in it, then the order of the main members of the sentence in them is reversed (the predicate precedes the subject): “Fire! Fire" - resounded downstairs desperate cry ; “Collect, brothers, material for the fire, - I said , picking up some block of wood from the road. “We’ll have to spend the night in the steppe.”

3. Indirect speech - this is the transfer of someone else's speech in the form of a subordinate clause.

For example: Gurov said, what he is a Muscovite, a philologist by training, but works in a bank; once prepared to sing in a private opera, but gave up, has two houses in Moscow.

A subordinate clause containing indirect speech follows the main one and joins the predicate of the latter with the help of conjunctions and relative words characteristic of subordinate explanatory clauses: what, to, as if, as if, who, what, which, which, whose, how, where, where, from where, why, why …

Union what indicates the transmission of a real fact and is used when replacing a declarative sentence of direct speech: They said what Kuban is preparing an uprising against the Volunteer Army...

Unions as if And as if give indirect speech a shade of uncertainty, doubts about the truth of the transmitted content: ... Some said, as if he is the unfortunate son of wealthy parents... .

Union to used when replacing an incentive sentence in direct speech: ... Tell the groom, to did not give oats to his horses. Also, in some cases, with the negative predicate of the main sentence: No one could say to ever seen him at some party.

Relative words who, what, what, food, where ... are used when replacing an interrogative sentence in direct speech, i.e., interrogative pronominal words are preserved as interrogative-relative ones: Korchagin repeatedly asked me when he can check out. Such a subordinate clause is called an indirect question. An indirect question is expressed using a conjunction particle whether if the question in direct speech was expressed without pronominal words: Mother asked a worker who worked in the field, far whether to the tar plant.

In indirect speech, personal and possessive pronouns and persons of the verb are used from the point of view of the author (i.e., the person transmitting indirect speech), and not the person who owns direct speech. Appeals, interjections, emotional particles that are present in direct speech are omitted in indirect speech; the meanings they express and the expressive coloring of speech are transmitted only approximately by other lexical means. Introduction to Indirect Speech of Modal Particles say, de

they say... allows you to keep in it some shades of direct speech: The servant ... reported to his master that, say , Andrei Gavrilovich did not obey and did not want to return.

Sometimes verbatim expressions of someone else's speech are preserved in indirect speech (in writing this is shown with the help of quotation marks): From Petrushka they heard only the smell of residential peace, and from Selifan that "he performed the service of the state and served before at customs", and nothing more.

4. Improperly direct speech.

Someone else's speech can also be expressed in a special way, the so-called indirect speech .

Improperly direct speech - this is speech, the essence of which lies in the fact that it retains to one degree or another the lexical and syntactic features of someone else's statement, the manner of speech of the speaking person, the emotional coloring characteristic of direct speech, but it is transmitted not on behalf of the character, but on behalf of the author , narrator. The author in this case expresses the thoughts and feelings of his hero, merges his speech with his speech. As a result, a two-dimensional statement is created: the “inner” speech of the character, his thoughts, moods are conveyed (and in this sense he “speaks”), but the author speaks for him.

With indirect speech, the indirect speech is brought together by the fact that the faces of the verb and pronouns are also replaced in it, it can take the form of a subordinate clause.

The difference between direct, indirect and improperly direct speech is shown by the following comparison:

1) direct speech: Everyone remembered this evening, repeating: “How good and fun we had!”;

2) indirect speech: Everyone remembered this evening, repeating, what im having fun i am having fun;

3) improperly direct speech: Everyone remembered that evening: how good and fun it was for them!

From a syntactic point of view, improperly direct speech appears:

1) as part of a complex sentence: The fact that Lyubka remained in the city was especially pleasing to Seryozhka. Lyubka was a desperate girl, her own way.

2) as an independent, independent proposal: When the grandmother died, they put her in a long, narrow coffin and covered her eyes with two nickels, which did not want to close. Before her death, she was alive and wore soft bagels sprinkled with poppy seeds from the market, but now she sleeps, sleeps ... .

The most characteristic type of improperly direct speech is the form of interrogative and exclamatory sentences that stand out emotionally and intonation against the background of the author's narrative: She could not but confess that he liked her very much; probably, and he, with his mind and experience, could already notice that she distinguished him: how did she still not see him at her feet and still not hear his confession? What kept him? Timidity, pride or coquetry of cunning red tape? It was a mystery to her; Nikolai Rostov turned away and, as if looking for something, began to look at the distance, at the water of the Danube, at the sky, at the sun. How beautiful the sky looked, how blue, calm and deep! How gently and glossy the water shone in the distant Danube!

The interaction of individual ways of transmitting someone else's speech allows, for stylistic purposes, to combine them in one text: He [the provincial] is angrily silent at such comparisons, and sometimes he will venture to say that such and such matter or such and such wine can be obtained from them both better and cheaper, and what about overseas rarities of these large crayfish and shells, and red fish, there and they won’t look, and that it’s free, they say, for you to buy various materials and trinkets from foreigners. They rip you off, and you are glad to be boobies ... .

Attention! In sentences with improperly direct speech, someone else's speech is not distinguished from the author's speech, it is not introduced by special words warning about the fact of someone else's speech, and merges with the author's.

5. Transferring the content of someone else's speech in sentences ... (independently: R.N. Popov and others - P.448).

6. Punctuation (lat. - dot) - this is 1). A collection of punctuation rules. 2). Arrangement of punctuation marks in the text.

Punctuation marks called graphic signs used in writing to divide the semantic segments of the text, syntactic and intonational articulation of speech.

The Russian punctuation system is based on semantic, grammatical and intonation principles, being interconnected with each other.

For example, in a sentence: I did not want death for an eagle, Not for predators of the thicket - I fired an arrow at a friend Unjust malice ...- all punctuation marks delimit the semantic segments of the text: a comma separates the designations of homogeneous concepts from each other (bird of prey, beast of prey); the dash expresses the opposition of phenomena; the dot indicates the completeness of the thought. All punctuation marks also divide sentences into structural and grammatical segments: a comma separates homogeneous members, a dash - two parts of a non-union sentence, and a period completes a declarative sentence. Each of the signs carries a certain intonation: a comma conveys the same type of enumeration of homogeneous members of the sentence; the dash conveys the intonation of juxtaposition, the dot - the completeness of the utterance with a lowering of the voice (See: R.N. Popov et al. - P. 453-455).

Punctuation marks include: dot, exclamation mark, question mark, comma, semicolon, colon, dash, ellipsis, brackets, quotation marks.

According to the function that punctuation marks perform, they are divided into:

1. separating are punctuation marks that serve to separate one part of the text from another. These include single characters: dots, question and exclamation marks, commas, semicolons, colons, ellipsis, dashes.

2. Allocating - These are punctuation marks that serve to highlight parts of the text. These include paired characters: two commas, two dashes, brackets, quotes.

The norms for the use of punctuation marks were defined in a special code in 1956.

The point is put : at the end of a declarative and motivating non-exclamatory sentence; at the end of the headings.

The question mark is placed: at the end of an interrogative sentence: after separate homogeneous questions in order to separate them; inside or at the end of a quote to express bewilderment or doubt (put in brackets).

An exclamation mark is placed: at the end of an exclamatory sentence; if necessary, intonationally highlight each of the homogeneous members of the exclamatory sentence; inside or at the end of a quote to express attitude towards it (put in brackets).

A comma is placed : between parts of complex sentences; between homogeneous members of the proposal; to highlight isolated members of a sentence, introductory and plug-in constructions, appeals, interjections.

A semicolon is placed: between parts of a complex sentence, if the IFs are complicated and have punctuation marks; between IF groups in BSP and SSP; between common homogeneous members of the sentence; at the end of the enumeration rubrics, if the rubrics are common and have punctuation marks.

The colon is put : before listing homogeneous members of the proposal; in non-union complex sentences with explanatory relations.

A dash is put : between subject and predicate, expressed nouns or the infinitive of a verb; after homogeneous members of the sentence before the generalizing word; to highlight homogeneous members in the middle of a sentence; between predicates or IF of a complex sentence to express opposition, unexpected addition, result or conclusion from what has already been said; if necessary, highlight a common sentence; to separate the words of the author from direct speech; to indicate the omission of any member of the proposal; to highlight introductory and plug-in structures; to indicate spatial, temporal or quantitative limits; at the beginning of the dialogue.

An ellipsis is placed: to indicate the incompleteness of a statement, a break in speech; to indicate a gap in a quote.

Parentheses are put : to highlight introductory and plug-in structures; to highlight the name of the author and the work from which the quote is taken; to highlight remarks in dramatic works.

Quotes are put : when highlighting direct speech and quotations; to highlight words used ironically or in an unusual sense; to highlight titles of works, newspapers, magazines, businesses…