Direct indirect speech in the work. Punctuation. Indirect and non-proprietary. direct speech. The concept of direct and indirect speech

Ministry of transportation Russian Federation

Federal Railway Agency

Omsk state University ways of communication

Department of Russian and foreign languages

(on examples from the works of I.A. Goncharov)

When the whole system is executed as a communicative event, we call it an act of complete speech. To clarify the concept, we refer to Van Dyck. Since for semantics we worked with a very useful abstract reconstruction of “reality” in order to know with the concept of “Possible worlds”, here we also want to present an abstraction for the term “communicative situation” the concept of context.

Summing up the context, this will be all that surrounds the situation as a fact of communication. Of all these terms, perhaps the one that interests us the most in our later laboratory workwill be one of the intentions, thanks to which we allow ourselves to make a number of necessary explanations.

student

column 49B Masson G.P.

Supervisor:

associate Professor, Department of RIA

Greku R.A.

Introduction

Direct and indirect speech

Direct and indirect speech in the work of Goncharov I.A. "Oblomov"

Conclusion

List of references

Introduction

Depending on the lexical and syntactic means and methods of transmitting someone else’s speech, direct speech and indirect speech are distinguished.

In general, speech acts attempt to produce an effect on the receptor that characterizes the genre of a speech act. When the intention is to communicate, affirm, testify something, both Searle and Van Dyck, define it as an act of illocutionary speech.

In these acts we include all peremptory acts, orders, sentences, the fundamental nature of which is the desire to produce a dynamic reaction in the listener. For example, “go out,” “write please,” “close the door,” or on signs that prohibit or order things, “do not smoke,” “women,” “men.” "Exit", etc.

From the lexical point of view, direct speech, as a rule, is a verbatim transmission of someone else’s utterance, whereas in indirect speech, usually reproducing only the contents of someone else’s utterance, genuine words and expressions talking face undergo these or other changes.

From the syntactic point of view, direct speech is an independent sentence (or a series of sentences) related to author’s words only in meaning and intonation, and indirect speech forms subordinate part as part of a complex sentence, in which the author’s words play the role of the main part. This syntactic difference is the main sign of the delimitation of indirect speech from direct speech. As for the lexical distinction, it is less necessary.

Here we can talk about indirect acts of speech, which are those expressions that in the first case appear as one genre, but actually relate to another. For example: Can you contact me in a magazine? “Would you like a little squeeze?” Or expressions that, speaking of one, ordered another. For example, someone enters the house, and the employee says: “I just cleaned the floor.”

It is important to note that the genre of a speech act is more than the nature of the implicit action that it takes: to inform, coordinate, organize, etc. It is fundamentally determined by intention, which, on the one hand, determines the genre of a speech act in the case of indirect speech acts, on the other hand, it completes the meaning of the text. From this summary of the Law on Speech, we want to highlight six principles that we sought to create areas of research for our theatrical interests, because we thought that each of them relates to aspects that are very relevant to the art of drama in its aspect of presentation as in its textual aspect .

1.Direct and indirect speech

During a conversation, we often pass on to the interlocutor the statements of other people, that is, not our speech, but someone else's. Foreign speech is usually transmitted in two ways: direct and indirect speech.

Direct speech ? this is one of the ways of transmitting someone else’s speech, in which the speaker (writer) fully preserves its lexical and semantic features, without adapting them to his speech. Thus, someone else’s speech and the speaker’s speech are clearly distinguished: He suddenly stopped, extended his hand forward and said: “This is where we are going” (I. Turgenev). Direct speech is always presented by the speaker (writer) as accurately, verbatim transmitted foreign speech. Features of the structure of sentences with direct speech ? copyright words and direct speech.

Interesting studies of these linguists are taken not so literally, but as inciting material for laboratory work, which can be used to systematize the training of an actor and playwright, they have guidelines in the analysis of educational and training exercises and, possibly, after a necessary and subsequent discussion as elements based on the analysis of plays.

In order to facilitate search work on the principles of a speech act in the interests of theatrical work, we propose to systematize exercises based on six principles. The principle of expressibility. The principle of value. The principle of intentionality. The principle of reference. The principle of community.

Copyright words ? it is a construction with a verb of speech (say, speak, say, ask, answer, etc.), which directly refers directly. Introductory words (author's) can characterize the character’s behavior during speech, his facial expressions, posture, stages of speech flow, for example: “Take them!” ? the old man barked, stamping his foot on the ground (M. Gorky).

We continue to explain the nature of each of these principles and their applicability in the task of reflecting a theatrical act. We do not consider here an isolated case of linguistic action, but complete system units of communication that considers the effect created in the listener, and its need for response. This need, even in cases of minimal activity, such as in courtesy formulas or in discourses of simple information sent to one or several listeners, leads to answers of a different nature, where languages \u200b\u200bother than verbal are often used, as in all small signs of expressive features of speech listeners, to demonstrate the fact that they are receiving a message.

Direct speech in terms of structure is a simple and complex sentence, one-part and two-part, complete and incomplete. Conversion, imperative, interjection, emotionally expressive particles, personal pronouns and first-person verb forms ? characteristics direct speech.

Learning a language is a study of its rules and in this teaching from the very beginning, the nature of the principle of cooperation works as a verifier and generator of alternating communication or dialogue. At the seminar on experimenting with this principle, several exercises were made, and some conclusions were drawn from them, in which we can highlight some types of relationships in linguistic interaction.

The concept of direct and indirect speech

Solidarity. These are those that occur when a dialogue between two or more people has the same direction, and opinions, statements, information have more or less same value. When a conflict arises between the opinions of two or more interlocators, which makes the dialogue acquire more or less intense dynamics depending on the degree of opposition of the points of view or the opinions of the characters.

Direct Speech Functions ? serve as a means speech characteristics character, reflect external reality.

Punctuation in direct speech:

A: "P". "P, ? and, ? n "A:" P? (!) "" P, ? and. ? P "." P ", ? a. "P, ? and. ? P? (!) "" P? (!) " ? a. "P? (!) ? and. ? P "." P? (!) ? and. ? P?(!)"

Divergent relationship. When the opinions of the interlocutors have different meaningsThere is no dynamic opposition, but there is a discrepancy in terms of points of view or information of various acts of speech that are interconnected. These will be three types of fundamental relationships. Other complementary ones could be considered, among which could be cited.

Variable relationships. They arise when one of the interlocutors, for various reasons, imposes his opinions or opinions on other or other interlocutors and, therefore, impedes the flow of dialogue. This type of relationship is considered under certain conditions, for example. e. meetings or public events in which the dialogue is expressed in alternative speeches of the participants, where each of them reveals his ideas, opinions, information, etc.

Direct speech, which is a conversation of two or more persons, is called dialogue. The words of each person participating in the conversation are called cues. The words of the author may accompany the remark or be absent. If dialogue replicas are given each with a new paragraph, then they are not enclosed in quotation marks, a dash is placed in front of them, but if dialogue replicas are written in a line and it is not indicated to whom they belong, then each of them is enclosed in quotation marks and will be separated from the adjacent dash.

Although his character is not specific to mutual interference, in the background he creates a connection between specific speech acts. That is why it can be said that in “certain circumstances” at a public meeting or a meeting there is a dialogue between the participants, without the need to have the character of a conversation.

Finally, it can be noted that the principle of cooperation is very closely related to the circumstances in which the dialogue takes place, regarding its nature of conversational conversation, dialogue, disputes, statements, etc. That is, to some extent, the context determines the nature of the connection of linguistic interaction. Various situations or communicative circumstances are those that determine the type of relationship between the interlocutors. We make this statement, but taking into account what determines communication relations, it is necessary that interlocutors transmit or exchange information, thoughts, feelings and that circumstances should take into account these basic needs.

Isn’t it a beautiful sunset?

Great!

Do you like it too?

Sentences with indirect speech serve to convey someone else's speech on behalf of the speaker, and not from the one who actually said it. Sentences with indirect speech convey only the content of someone else's speech, but cannot convey all the features of its form and intonation. it complex sentences, consisting of two parts (the author’s words representing the main sentence, and an indirect speech, framed as a subordinate clause): Pugachev said that Grinev was very guilty before him. The captain ordered the boats to be lowered.

From the language it is confirmed that "everything that is meant can be said." It is a statement that, referring to the language of tea drinking, an unexpected area of \u200b\u200bresearch opens up. Obviously, the whole verbal and non-verbal human language is closely connected with thought and this with the will, which must be found expressive meansto be able to say what that means. That is, all languages \u200b\u200bhave capabilities that infinitely exceed the current state of the language. If someone cannot say what he means, he has not sufficiently developed his language or this language has not developed so much that he could express what he wants.

The question conveyed in indirect speech is called indirect. The author’s words usually precede indirect speech and are separated by a comma. In addition to direct and indirect speech, someone else's speech can be framed as a quote. Quote ? verbatim excerpt from any oral or written statement cited to confirm or clarify one’s thoughts. Quotations are usually accompanied by indications of their source. Quotations are enclosed in quotation marks or in font. Quotations may be direct speech, accompanied by the words of the author. In this case, punctuation marks are placed in the same way as in sentences with a direct speech: "The language of the people, ? wrote V.I. Dahl ? undoubtedly our main spring or mine, the treasury of our language. "If the quote is part of a sentence, it is displayed in quotation marks and is written with a lowercase letter: VG Belinsky was struck by the" variety of paintings, images and feelings "in the poem" Mtsyri. " the sentence-quote is not completely given, an ellipsis is put in the place of the missing words: Chekhov rightly believed: "... for an intelligent person to speak badly should be considered as indecent as not to be able to read and write ..." If a poem is quoted or its part with the observance of the poem line, then the quotation marks are not put, for example: The poem by M. Tsvetaeva begins like this:

We can say that the impossibility of expression is not a mistake of the language itself, but of the speaker. And we can continue to assert that the speaker in the face of the impossibility of expression will find or the means necessary for this. In theatrical art, this statement, or calls it the Principle, is of great interest. In collective creativity, this principle of expressibility is of fundamental importance. In traditional assembly methods, a verbal theater begins, and little by little the text of the show is displayed, including a large number of texts, most of which are non-verbal: the text of plays, costumes, music, noise, makeup, etc.

Poet ? speech from afar.

The poet ? speech starts far away.

Foreign speech may be transmitted simple sentence, often only the topic of speech is indicated. The content of someone else’s speech is conveyed by the complement expressed by the noun in the prepositional case, indefinite form verb with direct addendum: I began to question about the way of life on the waters and about notable persons (M. Lermontov). I was here; there was a conversation about horses, and Pechorin began to praise Kazbich’s horse (M. Lermontov).

The main functions of punctuation marks

These texts usually, given the traditional superiority of the verbal text, obey it. But this dependence is not present in collective creativity, at least in most cases, or when it is performed as a method art creation in all its depth. In a collective creative process, the group’s initial concerns typically relate to finding images that express the possibilities of theatricalizing elements that will subsequently form the fable of the play. And these first images, the fruits of the group's collective research, express more; from nonverbal meansthan with the oral, which was originally implied.

Foreign speech can be conveyed by a simple sentence with introductory words (sentences). In this case, the content of someone else’s speech is reflected in the sentence itself, and the introductory words replace the author’s words: Roach took, as the fishermen say, almost a bare hook. (Yu. Nagibin).

When replacing direct speech, indirect conjunctions and conjunctive words are used depending on what the statements of direct speech are for the purpose of the utterance: a union that is used when replacing a narrative sentence, a union so that - when replacing an incentive sentence, a particle-union - when replacing an interrogative sentence. If in the interrogative sentence of direct speech there was an interrogative word, then this word is used to connect the relative clause of indirect speech with the words of the author. Emotionally expressive words and expressions that are inappropriate when transmitting the main content of a statement or those that cannot be conveyed through indirect speech, the use of which is associated with direct contact of participants in a communicative act (for example, appeal) are omitted when transmitting direct speech using indirect speech. Whether the person reported in the form of indirect speech is declared to the participants in the dialogue or not.

This statement is directly related to the collective experience of the group. After choosing the “image”, dialogs are developed, so that in general non-verbal elements constitute the expressive sex of collective creativity; and if it’s not as it should be. Consequently, the increasingly urgent interest of those who practice collective creativity is to deeply explore other expressive areas of the language that are not limited to spoken language. In this search and in the meetings of new expressive forms and in their almost endless possibilities, we offer a study of this principle of expressibility by theater researchers.

2.Direct and indirect speech in the work of Goncharov I.A. "Oblomov"

.The owner himself, however, looked at the decoration of his office so coldly and absent-mindedly, as if he had asked with his eyes: "Who brought here and instructed all this?"

.- Well, what am I really? he said aloud with annoyance. - We need to know our conscience: time for work! Give yourself free rein, and ...

As long as the theatrical text is not broadcast and perceived by the audience, this is not a theatrical fact. He must complete the cycle of communication in order to consider it a theatrical act. And just as in linguistics a speech act is proposed as a unit of communication, we offer an act of theatrical speech as the main unit of theatrical expression.

The exercises conducted at the seminar were aimed at exploring this landscape. In other words, the search for a unit similar to the act of linguistic speech, which in this case expresses, demonstrates how actors are placed in situations of “limits of expressiveness”, search for and find unpublished languages \u200b\u200bother than verbal in order to communicate what they want to communicate. Other exercises showed how the character, and not the actor, is the one who creates this fall-search.

.- Zahar! he cried.

.- Call? Why did I call it - I do not remember! - he answered stretching. “Go to your room while I remember.”

.- Which letter? I have not seen any letter, ”said Zakhar.

.Zakhar went to his house, but as soon as he rested his hands on the couch to jump on it, he again heard a hasty cry: "Zakhar, Zakhar!"

In art, that is, in contrast to science, in which it tends to be unambiguous, many possibilities open up; therefore it is said to be prone to polysemy. To the only requirement that linguistics requires in the theater, we propose the principle of significant ambiguity. A few readings from the receiver and several options provided by the artist. Thus, we understand the workability or function of meaning in the field of art.

The basics of Russian punctuation

Searle offers three characteristics with respect to the meaning that acts in speech. Find out what that means. It produces an effect of significance with which the effect of the listener is perceived or perceived in the listener. Value expands its meaningful character, creating various and varied effects for the listener.

.- You lose everything! he remarked, opening the door to the living room to see if there were any.

.- What is it to my fault that there are bugs in the world? he said with naive surprise. “Did I make them up?”

.- Uh! what an idea - women! Go ahead, ”said Ilya Ilyich.

.- Let them know! - resolutely said Oblomov. - We ourselves will move, as warmer it will be, in three weeks.

.- Where in three weeks! The manager says that in two weeks the workers will come: everyone will break ... "Move off, says tomorrow or the day after tomorrow ..."

.“Wait a minute,” Oblomov held back, “I wanted to talk to you about business.”

.“Yes, especially for me,” said Oblomov, “I read so little ...”

."And the letter of the headman, and the apartment?" he suddenly remembered and thought.

.He will meet a friend on the street: "Where?" - will ask.

.- What are you? - suddenly asked Alekseev Ilya Ilyich.

.“I don’t think so,” said Oblomov, “I don’t want to think about it.” Let Zakhar come up with something.

.“You have to think, Ilya Ilyich, you cannot suddenly decide,” said Alekseev.

.- And you start up before your Zahar, and bark then! - Zakhar spoke, entering the room and glancing viciously at Tarantyev. “They trampled over like a peddler!” he added.

.Moreover, yesterday he came to our department: "That's right, you, he says, received a salary, now you can pay."

.You see, after you tidied up, a word for the word: “Set up at the place of residence”.

.- And write to him, ask well: "Do, they say, this is a merit and will oblige me as a Christian, as a friend and as a neighbor."

.- Ah, if only Andrey would come soon! - said Oblomov. - He would have settled everything ...

.- But why don't you like father, for example? - Ilya Ilyich asked.

.- Study! Little else was taught him? What is this for? He lies, do not believe him: he deceives you in the eye, like a small child.

.- What teeth are grinning? Isn’t it true, I say? - said Tarantiev.

.“I won’t give a tailcoat,” Zakhar said decisively.

.“And you, Brutus, are against me!” he said with a sigh, tackling books.

.“When is it to live?” He asked himself again. “When, finally, is this knowledge capital to be put into circulation, most of which is still not needed in life? Political economy, for example, algebra, geometry - what will I to do with them in Oblomovka? "

."What was science to do here?" he reasoned in bewilderment.

.Or he will announce that his master is such a gambler and a drunkard, what kind of light he did not produce; that all night until the morning he beats cards and drinks the bitter.

.“Ah,” he will sometimes say to Oblomov in surprise. - Look, sir, what a wonder: he took only this little thing in his hands, and it fell apart!

.“Why are you lying again?” - he asked.

.- And when he managed to lie down again! grumbled Zakhar, jumping onto the stove. - Agile!

."No, first of all," he thought sternly, "and then ..."

."And the plan! And the elder, and the apartment?" - Suddenly came in his memory.

.“How can we be, Ilya Ilyich?” Zakhar asked in almost a whisper.

.“Last time, eight years ago, two hundred rubles became - as I remember now,” Zakhar confirmed.

.- Yet! - said Oblomov.

.Zahar did not answer; he seemed to think: "Well, what do you want? Another, or something, Zahara? After all, I'm standing here."

.“But how are you not a poisonous person?” - said Oblomov.

.“If only I could fall through the earth! Eh, death does not come!” - He thought, seeing that he could not escape the pathetic scene, no matter how you twist.

.Look, Lyagaev will take a ruler under his arm and two shirts in a handkerchief and go ... "Where, they say, are you?" “I'm moving,” he says.

."The troubles facing the headman are still a long way off," he thought, "until then much can change: perhaps the rains will correct the bread;

.“What is it? And the other would have done all this?” Flashed through his head. “Another, another ... What is this other?”

.- Ek is fanning him with kvass there! - Zakhar grumbled with his heart.

.The peasant joyfully greets the rain: "He will soak the rain, dry the sun!" - he says, substituting his face, shoulders and back with pleasure under the warm shower.

.“Are we, mommy, going for a walk today?” he suddenly asked in the midst of prayer.

.- Why is it, the nanny, it is dark here, and it is light there, and it will already be light there? - asked the child.

."Comes in, oh, look at that, this Yule will fit into the gallery," she thought almost through a dream, "or else ... as if into a ravine ..."

.- What are you, God bless you! Now for a walk, ”she replies,“ damp, you will catch cold legs; and scary: the goblin now walks in the forest, he carries away small children.

.When the nanny gloomily repeated the bear’s words: “Squeak, creak, the foot is lime; I walked through the villages, walked around the village, all the women sleep, one woman does not sleep, sits on my skin, cooks my meat, spins my wool,” etc. .

.Old man Oblomov, whenever he sees them from the window, he will be preoccupied with the thought of amendment: he will call on the carpenter, begin to confer, how best to do - whether to build a new gallery or break down the remains; then he will let him go home, saying: "Lift yourself, and I will think."

Yes, and then it staggered as it was made, ”someone remarked.

.“Yes,” someone will answer, “it's always dark about this time; long evenings are coming.

.- And when, you mean, she left us? - Ilya Ivanovich asked. - It seems, after ilyin day?

.- We will all die, to whom when - the will of God! - objects Pelageya Ignatievna with a sigh. - Who dies, but the Khlopovs do not keep up with the baptism: they say Anna Andreyevna gave birth again - this is the sixth.

.- The old is growing old, but the young is growing! someone said from a corner in a sleepy voice.

.- Yes, a socialite! - remarked one of the interlocutors. - In the third year, she also invented to ride from the mountains, here's how Luka Savich had her eyebrow bent ...

.“Shouldn't Antipka fast the mountain?” - Oblomov will suddenly say again. - Luka Savich, they say, a big hunter, can’t wait for him ...

.- Uh! Nine o'clock! - Ilya Ivanovich said with joyful amazement. - Look, perhaps, and not see how time has passed. Hey, Vaska! Roly, Motka!

.I asked what, they say, do to me with him, where to put it? So they ordered your mercy to be given.

.Or sometimes he suddenly announces to him: "Today is the parent week, - not to learning: we will bake pancakes."

.“Sit this week at home,” she will say, “and then - what God will give.”

.Whether he will run from the stairs or through the yard, suddenly after him there will be ten desperate voices: "Ah, ah! Support, stop! Fall, hurt ... wait, wait!"

.Will he think of jumping out into the canopy in the winter or opening the window - again shouting: “Ay, where? How can I?

.- What is yours? Did he leave the yard? - asked the janitor.

.Sometimes you sin, rightly, you will think: "Oh, you wretched one! Would you put a scarf on your head and go to a monastery, for a pilgrimage ..."

.- AND! Are you still talking? - answered the footman. “I'm running after you around the house, and you're here!”

.“Asleep,” he whispered, “we have to wake up: it’s half past four soon.”

.“That's right, they’re leading Andrei again,” the father says in cold blood.

.“Have mercy, Ivan Bogdanych,” she complained, “not a day goes by without him blue spots He turned back, and the other day he broke his nose to blood.

.“You will ride to the provincial city,” he said. - There you get from Kalinnikov three hundred and fifty rubles, and leave the horse with him.

.“Passions, passions justify everything,” they said around him, “and in your egoism you are only taking care of yourself: we'll see for whom.”

.He said that "the normal purpose of a person is to live four seasons, that is, four ages, without jumps and bring the vessel of life to last day"without spilling a single drop in vain, and that even and slow burning of fire is better than violent fires, no matter what poetry burns in them."

.In conclusion, he added that he "would be happy if he could manage to justify his conviction on himself, but that he does not hope to achieve this, because it is very difficult."

.- Have mercy! Listen to what he said here: "I live somewhere on a mountain, go to Egypt or America ..."

.- What a rogue this elder! - he said. - He dismissed the men, and he complains! It would be better to give them passports, and let them go on all four sides.

.- Give me some scrap! - molested Stolz.

.- What? asked Stolz, looking at the book. - "Travel to Africa." And the page you stopped on is moldy. You can’t see a newspaper ... Do you read newspapers?

.- What houses will we go to? - Oblomov exclaimed bitterly. - To strangers? What invented! I’ll go, better to Ivan Gerasimovich; three days was not.

.“This is all old, they have talked about it a thousand times,” said Stolz. - Is there anything newer?

.And the unfortunate imagines that they are still above the crowd: “We serve, where, except us, nobody serves; we are in the front row of chairs, we are at the ball at Prince N, where they only let us in” ...

.“I had such and such, and I had such and such,” they brag later ... What kind of life is this? I do not want her.

.“Ask Zakhar,” said Oblomov.

.- What do you want? Well, a handkerchief, perhaps. Well, would you like to live like that? asked Oblomov. - AND? Is this not life?

.You say the truth: "Now or never again."

.- And you would like "not to put off until tomorrow, what can be done today"? What agility! Late today, added Stolz, “but in two weeks we will be far away ...”

."A fly has bitten, but it is impossible with a sort of lip in the sea!" he said, and waited for another ship.

.“It would be nice to take off the gloves,” he thought, “because the room is warm. How I have lost touch with everything! ..”

."What are they saying about me?" he thought, squinting in concern at them.

.“Are you willing to ride?” she asked.

.“But you probably write a lot,” she said, “read.” - Have you read? ...

.- What? - Stolz interrupted. - He seemed offended! I recommend him as a decent person, and he is in a hurry to disappoint at his own expense!

.“Have mercy, Andrei,” Oblomov interrupted vividly, not letting him finish, “I shouldn’t say anything:“ Ah! I will be very glad, happy, of course, you sing very well ... ”he continued, addressing Olga,“ it will deliver to me ... "etc. Is it really necessary?

.“Are you satisfied with me today?” - suddenly asked Olga Stoltsa, ceasing to sing.

.“I have a business,” said Stolz, “and you will go to lie ... too early ...”

."She is an evil, mocking creature!" - thought Oblomov, admiring her will against her will with every movement.

.“There he is, the compliment I was waiting for!” - interrupted happily, she interrupted. “You know,” she continued vividly later, “if you had not said the third day of this“ ah ”after my singing, I would not have seemed to fall asleep the night, maybe I would have cried.

.- And here are the lilies of the valley! Wait, I am a narva, ”he said, bending down to the grass,“ they smell better: in the fields, in the grove; nature more. And lilac is growing near the houses, branches still climb out the windows, the smell is cloying. There is still dew on the lilies of the valley has not dried.

Conclusion

Direct speech is one of the ways of transmitting someone else’s speech, in which the speaker (writer) fully preserves its lexical and syntactic features, without adapting them to his speech. Thus, direct speech and the speaker’s speech are clearly delineated.

Direct speech is always presented by the speaker (writer) as accurately, verbatim transmitted speech. Direct speech can reproduce not only other people's speech, but also some past or future statements of the speaker himself.

Foreign speech can be transmitted using indirect speech, i.e. one of the ways in which this speech is grammatically adapted by the speaker to his speech: someone else’s speech in the indirect form is formed as a subordinate clause in the speech verb that is in the main part of the complex sentence.

List of references

.Vinogradov V.V. Russian language: Grammar doctrine of the word. - M., 2000.

.Goncharov A.I. Oblomov. - M., 2004

.Linguistic encyclopedic Dictionary. - M., 2004

.Handbook of spelling and style. -M .: Rus. Yaz., 2001.

Copyright Competition -K2
DIRECT SPEECH - a character’s statement, literally introduced into the author’s speech. Direct speech preserves the individual and stylistic features of the speech of the one whose statement is reproduced: dialect features, repetitions, pauses, introductory words, etc.

Sharikov shrugged.
- Yes, I do not agree.
- With whom? With Engels or with Kautsky?
“With both,” answered Sharikov.
- This is wonderful, I swear to God. “Everyone who says that the other ...” And what would you offer?
- What can I offer? .. And they write, they write ... Congress, some Germans ... My head swells. Take everything, and share ...
“That's what I thought,” exclaimed Filipp Filippovich, slapping his palm on the tablecloth, “I thought so.”
“Do you know the way?” Asked the interested Bormental.
“Yes, what is the way,” Sharikov explained, becoming talkative after vodka, “it's a simple matter.” And then what: one in seven rooms settled down, he has forty pairs of pants, and the other hangs around, looking for food in weedy boxes ... (Bulgakov. Dog’s heart)

Punctuation in direct speech and dialogue

Unlike direct, INDIRECT SPEECH transmits someone else's statement on behalf of the author and reproduces it not verbatim, but only with the preservation of the general content (although in some cases indirect speech may come closer to verbatim reproduction of someone else's speech).

In the house committee, he quarreled with chairman Shvonder to the point that he sat down to write a statement to the people's court of the Khamovnichesky district, shouting that he was not the guardian of the professor Preobrazhensky’s pet, especially since this pet Polygraph turned out to be a scoundrel no more than yesterday, taking in the house committee supposedly for the purchase of textbooks in a cooperative 7 rubles. (Bulgakov. Dog Heart)

In indirect speech, personal and possessive pronouns and faces of the verb are used from the point of view of the author, and not the person speaking, for example:

Direct Speech - He said, "I will do this work for you."
Indirect speech - He said that he would do this work for me.

Direct Speech - You ask: “When will you return my book to me?”
Indirect speech - You ask when I will return your book to you.

Sentences with indirect speech are complex sentences consisting of two parts (words of the author and indirect speech). The author's words represent the main sentences, indirect speech - subordinate. Subordinate clauses are added to the main ones with the help of conjunctions and allied words.

Narrative Suggestions

With the help of unions, it seems that the content of narrative sentences of someone else’s speech is indirectly transmitted, for example:
Vasya said: "I painted this picture."
Vasya said that he painted this picture.
Vasya said that he painted this picture.

With the help of the union, to convey the content of incentive sentences of someone else's speech:
Master said, "Hand over the notebooks."
Teacher told us to hand over the notebooks.

Interrogative sentences

When transmitting interrogative sentences of someone else’s speech to indirect sentences subordinate clauses are added by pronouns and adverbs that, who, what, how, where, when, why, etc. or using an interrogative particle LI, for example:
"Where have you been?" I asked a friend.
I asked a friend where he was.
"What time is it now?" - asked Vasily.
Vasily asked what time it is.
"Can you do this assignment?" - asked Alena.
Alena asked if I could complete this task.

In indirect sentences, when transferring a question called an indirect question, question mark not set.
"Masha, who broke the cup?" - asked the grandmother.
Grandma asked Masha who broke the cup.

IN colloquial style it is possible to mix direct and indirect speech in the form of the so-called SEMI-DIRECT SPEECH, for example: I didn’t even dare to ask for hunting with a gun, although I thought that why shouldn’t I hunt with Surka? (Aksakov)

OWN DIRECT SPEECH

Preserves lexical and syntactic features, emotional coloring, characteristic of the transmission of thoughts, feelings and moods of the character in direct speech. But there is an improperly direct speech not on behalf of actor, but on behalf of the author, which brings her closer to indirect speech.

Compare:

Direct speech:
By the end of the trip, the children were tired and honestly admitted: “We did not expect such difficulties!”

Indirect speech:
By the end of the trip, the children were tired and honestly admitted that they did not expect such difficulties.

Own direct speech:
By the end of the trip, the children were tired. They did not expect such difficulties!

In the first case, we have before us a construction in which the words of the children are framed as direct speech. Neither the content nor the form of their statement has changed: what is enclosed in quotation marks fully reproduces their speech.
The second line contains the construction with indirect speech. Someone else's speech is conveyed through the subordinate clause, which is joined by the union of the WHAT. The content of the statement has been preserved, but the exclamatory intonation has been lost.
The third option is very similar to the first, but it does not have a colon or quotation marks. In addition, the noun “children” has changed to the third-person pronoun THEI, as in indirect speech.

Own direct speech, as a rule, is resorted to to convey unspoken thoughts, an internal monologue. The bi-planarity of the statement is created: the internal speech of the hero is reproduced, but stands for him

Even in the morning today, she was delighted that everything was so well arranged, during the wedding, and now, in the carriage, she felt guilty, deceived. So she married a rich man, and yet she didn’t have any money, they sewed a wedding dress on loan, and when her father and brothers saw her off today, she saw by their faces that they didn’t have a dime. Will they have dinner tonight? And tomorrow? (Chekhov. Anna on the neck).

And mind you! All this we went to school ...
Try to shake antiquity - to make homework in Russian.

Task 61. Highlight direct speech. Place the missing punctuation marks and explain them. Replace where required lowercase letter uppercase.

1) A lot more Rooster ordered dishes. It only sounded yes, roast, and smoked, but let me cheer up well. Chichikov fell asleep already on some turkey (G.).
2) Why start these disputes? - Katya thinks with annoyance that she herself must find at least some punishment for the girl! (Os).
3) Nothing! - Shamet said in a whisper and pushed Suzanne in the shoulder, we are ordinary, we also do not choose our company commanders. Be patient, Susie, soldier! (Paust.).
4) ... Well, what am I, for example, as a madwoman flying home from service? And why are my children standing and roaring at the gate? All this is intelligentsia undressing, says Marina and, happily climbing into bed, animatedly adds in general, there are many impressions! Different! And most importantly, I somehow perked up (Os).
5) If the holy man shouts, throw away Russia, live in paradise! I will say no paradise, give my homeland (EU).
6) Well said Death, let there be a miracle! I let you live! Only I will be with you. I will forever be around love! (M. G.).
7) Psari shout so hot guys thief! And instantly the gate to constipation; in a minute the kennel became hell (Cr.).
8) Outside the window wheels rumbled over the cobblestones, the bell blinked and fell silent under the arc, and the horses snored; trampling the boots, the hotel servant rolled down the stairs, the acquaintance girl-beggar sang in her silver voice The beautiful lady, give a penny to the poor blind blind cavalier and the harmonica stumbled and fell silent (Paust.).
9) Neighbor, my light! Please eat. Neighbor, I'm fed up. - There is no need, still a plate; listen: ear, she’s the same, cooked to fame! I ate three plates (Cr.).
10) How, dear Cockerel, you sing loudly, it is important! And you, Kukushechka, my light, how you pull smoothly and lingeringly: in the whole forest we don’t have such a singer! I am ready to listen to you, my kumanek. And you, beauty, I swear, as soon as you shut up, then I wait, I won’t wait for you to start again ... (Cr.).