Accuracy, clarity and simplicity of speech. Speak in such a way that you cannot be misunderstood Work on the text

ACCURACY AND BRIEF - HERE ARE THE FIRST ADVANTAGES OF PROSE WHAT IS IT - ACCURACY? For each word, the history of the language has assigned a particular meaning or set of meanings. So, the word newspaper means ‘a periodical, usually in the form of several sheets of large format,

WHAT IS ACCURACY? For each word, the history of the language has assigned a particular meaning or set of meanings. Thus, the word newspaper means ‘a periodical, usually in the form of several sheets of large format, informing readers about current events in various

shop.

Hello, - said the father to the saleswoman. - We have something for a living corner.
- The cactus is best, - the saleswoman advised. - The most unpretentious flower. Can go a long time without moisture. You can also ficus, but it is very expensive.

I didn't want dad to look poor, so I hurriedly said:

I've got that red one...

The pot was the smallest, the flower the simplest, like a drop of fire, and probably the cheapest.

This is a geranium. Eight hundred rubles, - the saleswoman put the pot in front of us.

The leaves were large, suede, and the flower was quite simple, with four petals. I walked down the street and did not take my eyes off him. And dad said:

Look under your feet...

At home, I put the pot on the windowsill, towards the sun. Then she poured water into a jar and began to water.

You can’t do much, ”grandmother warned. - He'll choke.

I was frightened, and even at night I jumped up and checked whether my flower was alive. And in the morning I saw that the light was even brighter, the leaves were even more velvety, and the smell was more distinct. It was an unobtrusive, sharp, like a draft, an incomparable smell. At fifteen minutes to nine I went to school. Our school is in the yard, and they don't see me off.

I walked and looked at my feet so as not to stumble and fall on a flower. The boys crowded in front of the school. When they saw me with a flower pressed to their chest, they parted and straightened up. They waited in silence for me to come. I did not like it.

I did step by step. The last step is left - and I'm out the door. The last step ... And at that moment Borka Karpov makes two movements: one - up - brings the briefcase over his head, the other - down - on my flower. The pot jumped out of my hands, fell to the ground and broke. The earth crumbled, and the red head of the flower flew off in a crumpled clot. I looked at the ground and did not understand anything. For what? For others to have fun? But no one laughed. The second bell rang. Everyone ran to school. And I turned around and rushed to my house.

Soon Borka's parents bought themselves an apartment in another district, and Borka left our school forever. The killed flower remained unavenged. Evil went unpunished.

Five years have passed. I graduated from high school and went to university. On New Year's Eve, I bought one rose at a flower market near the metro and got on the bus. At one of the stops, a soldier came in with a strange nose: he did not stand in the middle of his face, but, as it were, lay down on his cheeks. They must have broken their nose.

The soldier sat down, breathed a hole in the glass and began to look into the darkness. From time to time he blew into his fingers. I looked at him without stopping, something subtly familiar in my hands, tilting my head... Borka! Borka Karpov! He, of course, graduated from high school, then the army. Someone beat him instead of me.

All five years I dreamed of meeting this man and telling him strong and harsh words of reproach. I even prepared these words. But they were intended for another Borka - handsome and arrogant, the master of life. And not this, in a government overcoat. An emptiness grew in me, leaning towards compassion. I went up to him and said:

Hello!

Borka turned his face to me, saw in front of him beautiful girl With beautiful flower. Like on a calendar. He became embarrassed and became red as a beetroot.

You will not know? I asked. “You broke another flower for me,” I reminded him.
- What flower?

He did not remember that morning and the pot of geraniums. And what became an event in my life for me did not exist at all. That day, at the first lesson, there was a test in geometry and all his brain energy was spent on proving the theorem, and an hour later, at the next lesson, he no longer remembered either the control or me. So what do I want in five years?

Are you Borka Karpov?
“Yes,” he said.
- And what?
- Nothing. Happy New Year!

I handed him a rose. For what? Don't know. Stretched everything. Borka did not take. Numb with surprise. Then I put her on his lap. Like a monument. The bus stopped. This was my stop. I calmly got off. Didn't run, didn't jump. Just got off.

WHAT DOES THIS TEXT MAKE YOU THINK ABOUT?
WRITE ABOUT YOUR ATTITUDE TO THE WORDS OF THE MAIN HEROINE:<ВО МНЕ РАЗРАСТАЛАСЬ ПУСТОТА,КЛОНЯЩАЯСЯ К СОСТРАДАНИЮ>

animals. (2) When trying to get a live reed cat, I was stubbornly pursued by bad luck. (3) Either the animal did not fall into the trap, or it was not possible to keep the captured animal alive and healthy. (4) One early February morning, my friends, the village guys, woke me up. (5) Interrupting each other, they hurried to announce important news: “Uncle Prokhor has a wild cat! Caught in a trap!" (6) A few minutes later I was at Uncle Prokhor's. (7) There was a crowd watching a large reed cat lying on the ground. (8) The paw of the predator was tightly clamped by the trap. (9) As soon as someone from the crowd tried to approach him, the cat ruffled his fur, hissed and jumped towards him. (10) But a short chain of a trap attached to a stake driven into the ground brought the cat to the ground. (11) Realizing that with such jumps a valuable animal could break its paw, I threw off my jacket and, covering my face with it, approached the animal. (12) He repeated his maneuver and again fell helplessly to the ground. (13) Then I instantly threw my jacket over the cat and fell on top of it with my weight. (14) The beast was bound. (15) I carefully removed the trap from his leg, smeared it with iodine and bandaged the wound on his leg. (16) Then they put the cat in a cage. (17) He behaved strangely. (18) He did not try to free himself, he lay motionless in the corner of the cage, not touching the food offered to him, and pretended not to notice the people around him. (19) So three days passed. (20) Fearing for the cat's life, I let a live chicken into its cage, the cat's favorite food in the wild. (21) At first, the hen, afraid of a dangerous neighbor, rushed around the cage, but then calmed down and even began to impudently walk on the back of a lying cat. (22) The predator paid no attention to her. (23) After living for two more days, the reed cat died, and the hen, doomed to be eaten, remained unharmed and was released into the wild. (24) It was a pity to lose such prey, but what to do! (25) Apparently, the cat was too old to come to terms with the loss of freedom! (According to E. Spangerberg)

popularity? Maybe birch is a very expensive tree? What berries are (n..) on it. Rubber from birch is also (n..) who (not) produces. So, then (not) what to say about birch? (N..) true! She is good. everything. In the world .. there are giant .. trees ... I, which (n ..) (c) with something to infuse, there are h .. gum trees .. I: and coffee, and bread, and wine. But no white in the light of a tree .., like a summer .. region .. in the blue .. sky .., like snow, when it just fell to the ground and another (n ..) who (n ..) passed ..l on it. We pr .. got used to our .. birches .., but if you think, look, then (n ..) (c) how to compare it in the whole green world .., because there is only one such tree. (A .Ivanov.)

1. Determine the topic of the text, the type of speech style.

HOW MANY QUESTION SENTENCES IN THIS TEXT? For what purpose are they used?

2. Underline the pronouns as a member of the sentence. Indicate their category.

Mark with an X the words to which the pronouns refer.

Municipal budgetary educational institution

"Pokrovskaya middle comprehensive school»

Public lesson in Russian in the 7th grade

"Generalization and consolidation of knowledge

on the topic "Adverb"

Golubeva E.V., teacher

Russian language and literature

Lesson topic: generalization and consolidation on the topic "Adverb"

The purpose of the lesson: consolidating the acquired skills, expanding and deepening knowledge about the adverb, expanding horizons, developing skills in working with text, developing skills in using adverbs to create an emotional, vivid text

Lesson design

Colored chalk, colored magnets, presentation of the painting by A. Deineka "Defense of Sevastopol", the text of the story "Recipe" on each desk.

During the classes.

1. Vocabulary work with words within the framework on the topic "Adverb".

Dictation on "1"

What speech errors are possible when using adverbs?

(Orthoepic, lexical)

Work on pronunciation(words written on the board)

Put emphasis, read correctly.

Write more beautifully, sit down more comfortably, wipe it clean ... forgot to clean it ..., do it differently ..., left for a long time ..., ......

Identify errors in the use of adverbs, explain the meaning of sentences (sentences are written on the board).

Back pouring rain has gone again)

sword back fell to the ground and buried his face in his hands prone)

Complicating the task.

Choose an adverb - explain the meaning of the sentence

Split the apple in half, in half, equally)

Work on the text. Text analysis

You have a text in front of you, by the title, determine the topic of the text without reading it (allegory, forecast ...) Replace with correct usage adverbs.

What creates a comic situation? (misuse of adverbs is an oxymoron: terribly friendly, terribly fun, to the nines praises; figurative meaning - sick tongue, orthoepic - "in 6 Would».

Replace idiom with adverb

a) blush to the roots of the hair

How the dead sleep

Have at one's fingertips

Even if you gouge out your eye - it's dark

A little light, neither light nor dawn

Out of hand - bad, no good

In all throat, in all Ivanovo

b) write sentences, replace phraseological phrases with adverbs

Deciding to leave at all costs, she felt out of danger.

Lagutin scolded Petr Shmakov for nothing.

He will not molest Lagutin for no reason.

6.Group work (weak students work together with the teacher at

boards)

Form adverbs from different parts speeches

winter comrade

New left

Start new

Buddy

Cossack

The remaining students of the class are divided into 4 groups and under the guidance

strong student perform tasks on cards

7.Guess the meaning of the adverb, determine its historical meaning, from

what happened

By chance- own, Russian. The root is the same as at one o'clock

despair - despair - lose hope . From chayati - wait

Unbearable - own, rus . Union not in power. Mogota - strength, ability,

opportunity . Word related grandee - vel - big. Mozha - a strong man, a rich man

On the alert - own Russian preposition fusion on and prepositional forms. noun . check - guard, waiting, now lost . Existing . check - check - wait. Literally to be alert - to be on guard

Out- own. Russian merger on and v.p. unit noun . gun - appearance, view 8. Work on the painting by A. Deineka "Defense of Sevastopol".

Brief information about the artist, the history of the painting

Conversation with the class on the following questions:

What impression did the picture make?

What caused it?

What is another name for the picture?

Class task:

Write as many adverb phrases as you can

for a more complete and emotional description of what is depicted in the picture.

Especially the heroes of the picture (for example: on the left we see, steadfastly

fight, fight to the death, etc.)

Homework

Finish work on the words in the picture

The third sign of Mechik's inferiority is even more dangerous for the cause of the proletariat. It consists in the fact that the Mechik sympathizes with the grief of others and does not know how to reconcile with cruelty. Pity breaks his heart.

A shaking gray-haired Korean, in a sagging wire hat, from the very first words begged that the pigs would not touch him. Levinson, feeling 150 hungry mouths behind him and feeling sorry for the Korean, tried to prove to him that he could not do otherwise. The Korean, not understanding, continued to fold his hands pleadingly and repeated:

No need for kushi-kushi... No need...

Shoot, it doesn't matter, - Levinson waved and grimaced, as if they were supposed to shoot at him.

The Korean also grimaced and cried. Suddenly he fell to his knees and, fidgeting on the grass with his beard, began to kiss Levinson's feet, but he did not even raise him - he was afraid that, having done this, he would not stand it and cancel his order.

The swordsman saw all this, and his heart sank. He ran behind the fanza and buried his face in the straw, but even here stood before him a tear-stained, old face, a small figure in white, crouched at Levinson's feet. “Is it really impossible without this?” - Sword thought feverishly, and in front of him the submissive and as if falling faces of the peasants, from whom the last was also taken away, floated in a long line. No, no, this is cruel, this is too cruel, he thought again and buried himself deeper in the straw.

Mechik knew that he would never have done this to a Korean himself, but he ate the pig along with everyone because he was hungry.

The contemptuous attitude of the author to Mechik's intellectual weakness was most clearly expressed in the last phrase. But not only in it. It is shaded by Levinson's behavior. After all, Levinson is also an intellectual. He, too, is not alien to this intellectual weakness. He, too, is unbearably sorry for the Korean. But he knows how to stifle this pity in himself, to curb it. He knows how to keep his heart on a chain. Unlike Swordsman, he knows what revolutionary necessity is.

The episode with the Korean and his pig is far from the last test of "strength" that Mechik was never able to withstand. This episode is a stepping stone to the next, even more eloquent episode.

Revolutionary necessity compels Levinson to make an even more terrible decision. This time it is no longer about a pig, but about a man. To save the squad, it is necessary to kill a wounded comrade. The wounded man is hopeless, he will die anyway.

There is, however, another way out.

Of course, I can stay with him, - Stashinsky said muffledly after a pause. Basically, it's my job...

Nonsense, - Levinson waved his hand. - No later than tomorrow, by lunchtime, the Japanese will come here on fresh tracks ... Or is it your duty to be killed?

The last argument seems irrefutable to both interlocutors (and, of course, to the author). What is the point of a doctor staying with a obviously hopeless patient: only one will die this way, and two will die this way. Pure arithmetic.

If Janusz Korczak wanted to resort to this arithmetic, he would not have gone with the children to the gas chamber. The kids were doomed anyway.

Korczak's act shows that intellectual consciousness does not necessarily become a source of weakness. It can equally be a source of strength.

I remembered Korczak not in order to humiliate the doctor Stashinsky, who accepted Levinson's argument and agreed with him. It is assumed that Stashinsky did this not because he clung to life and seized on Levinson's arguments to justify his weakness. Let's assume that it would be much easier for Stashinsky to stay with the wounded and die. Let us assume that he refused to perform his medical duty not from the instinct of self-preservation. That he sacrificed this debt to some other, immeasurably higher debt. Let us even admit that, neglecting his duties as a doctor, he committed self-sacrifice.

Fadeev is trying to inspire us with just that. With all his might, he tries to prove that people like Stashinsky and Levinson are infinitely higher than respectable intellectuals, who in any circumstances strive to fulfill their simple human duty. They are higher because they know how to keep their heart on a leash, they know how to make all their feelings recede into the background before the greatness of the cause they serve.

Korczak, going with his pupils to the gas chamber, pursued a very simple and clear goal. He wanted the children, who were destined to die anyway, not to be alone at their last minute.

Whatever descendants may say about the senselessness, about the inexpediency of the decision taken by Korczak, he achieved this goal of his.

Can people like Levinson and Stashinsky boast of the same? The happiest of them sleep peacefully in their graves, never knowing what has become of the cause in the name of which they ruined their lives and their immortal souls. And outside the triumph of this cause, their feat had no value even in their own eyes.

Korczak was a free man. He was in charge of his own life. Himself, single-handedly held an answer to God for himself and his soul. Therefore, only he alone had the right to judge the correctness or fallacy of his act. And the lives of Levinson and Stashinsky belonged to the cause. They have condemned themselves to the fact that we judge them depending on whether it turned out to be right or wrong in the end it was their business.

However, we completely forgot about our hero - Pavel Mechik. By chance (or rather, by the will of the author) he overheard the conversation between Levinson and Stashinsky.

We'll have to do it today... Just make sure no one guesses, and most importantly, he himself... can you do that?

He won't guess ... soon he will be given bromine, instead of bromine ... Or maybe we'll put it off until tomorrow? A?

Why pull ... anyway ... - Levinson hid the map and stood up. - There's nothing you can do about it...

“Will they really do it?..” The sword fell backward on the ground and buried his face in his palm ... Then he got up and, clinging to the bushes, staggering like a wounded man, wandered after Stashinsky and Levinson ...

He arrived on time. Stashinsky, standing with his back to Frolov, holding out his trembling hands to the light, poured something into a beaker.

Wait! .. What are you doing? .. - Sword shouted, rushing towards him with dilated pupils from horror. - Wait! I heard everything!

Stashinsky, startled, turned his head, his hands trembled even more... Suddenly he took a step towards Mechik, and a terrible crimson vein swelled on his forehead.

Get out! .. - he said in an ominous, strangled whisper. - I'll kill you!

The sword squealed and, beside himself, jumped out of the barracks.

The terrible crimson vein swelled on Stashinsky’s forehead not at all because Mechik accidentally caught him “at the scene of the crime”, became an involuntary witness to something that he (and indeed no one) was supposed to see. Stashinsky experienced this sudden rage, hatred and contempt for Mechik for a completely different reason. An acute desire to immediately kill - no, not even kill, but crush Mechik, like some last evil spirit, trash, spider or cockroach - Stashinsky felt because in the instinctive horror of Mechik before what he, Stashinsky, had to do, he saw the desire to stay clean. Stashinsky knows that in these circumstances to remain clean means to shift his responsibility onto someone else's shoulders. He is not going to do this. He is ready to bear his terrible burden. But that doesn't mean it's easy for him.

The sword is not even able to understand all the greatness of Stashinsky's soul - such is the subtext of this scene. Next to Stashinsky, he is not a person. Rather, some kind of rat, causing involuntary disgust: “The sword squealed and, not remembering himself, jumped out of the barracks ...”

The last phrase leaves no doubt: Mechik's behavior evokes approximately the same feelings in the author of the novel as in Stashinsky.

The same dramatic collision was considered in another book by another Soviet writer. A book written around the same time as Fadeev's "Rout".

Introduction ................................................ ..............

Page 3

Chapter 1

speech ................................. p. 5

(1. Accuracy, clarity and simplicity

speech ...............................................p. 5

(2. Relevance

(3. Purity

speech .................................................................. .......................

Page 9

(4. Correctness

speech .................................................................. ......................With

Chapter 2 Weak spots V

speech .................................................................. ..........page 13

(1. Logic

speech .................................................................. .......................

(2. Information richness

speech ........................................p. 15

(3. Speech

redundancy ................................................................ ...............

Pleonasm................................................. ...................

Page 16

Tautology................................................. .................

Page 17

item 3. Repetition

words................................................. .............

(4. Difficulties

pronunciation ................................................. ...........p.

item 1. Why do we

orthoepy?................................................ .......page 20

item 2. Styles

pronunciation ................................................. .......page

item 3. How to pronounce unstressed vowels

sounds?.................p. 22

item 4. How to pronounce consonants correctly

sounds?...................p. 23

item 5. How to pronounce foreign

words?..............page 24

Chapter 3

speech .................................................................. ...........p. 25

(1. Wealth

speech .................................................................. .......................

Page 25

item 1. Intonation enriches

speech ................................. page 27

item 2. And the syntax (also

enriches ........................................p. 28

item 3. well-aimed

word................................................. ....................st

(2. Imagery

speech .................................................................. .......................

(3. Liveliness, emotionality and expressiveness

speech.................p. 33

Conclusion................................................. ...........

Page 36

Footnotes................................................. ................

Page 38

Bibliography................................................. ..........

Page 39

Introduction.

The importance of speech culture in the life of society cannot be overestimated. In our

time we cannot remain indifferent to the threat of impoverishment of the Russian

language, loss of figurativeness, emotionality, euphony.

The following words of I. S. Turgenev came to my mind: “You are my only support and

support, O great, mighty, truthful and free Russian language. But we ourselves

but we ruthlessly spoil it, thoughtlessly distort it, mutilate it ... How can we help our

language? How to save it from clogging? Everyone should think about this.

What does language mean for a person? Mother tongue (this is the world of words, which

reveals to us the surrounding life in all its diversity. Everyone

must love their language, respect it. The fate of the native word should not be

we are indifferent. After all, language (it is a means of communication between people in society,

in their work activities. So I believe if a person says

uncivilized, poorly expressed, then first of all does not respect the listener

his person. In order to be able to speak beautifully, you need to know the basic

principles of speech culture.

There are enough colors in the Russian language to vividly depict any

picture, his huge vocabulary, allows you to convey the most complex

thought. But the question is, do we know how to use it correctly?

Even if a person is absolutely literate and freely expresses his thoughts in

correct literary language, he must self-critically admit that his

speech could be brighter, richer, if he knew all the secrets of a truly good

syllable. After all, speak and write correctly and speak and write well (not

same.

There are many requirements for good speech, in addition to correctness.

This is a requirement of simplicity and clarity, consistency and accuracy, informativeness and

conciseness... You can't list them all. Every person must be aware that

all that he needs. He must improve his style, fight

for the purity of their language.

Cultural speech in its oral and written form must meet

currently existing standards of orthoepy, in its written form (

spelling and punctuation standards.

N. M. Karamzin, who did a lot for the development and enrichment of Russian

literary language, wrote: “At six years old, you can learn all the main

languages, but you have to learn your natural language all your life. We Russians still

more difficult than others."

I chose this topic because it interests me. By opening it, I can

improve your language, and there will be one more cultured person in the world.

Chapter 1. The main criteria for correct speech.

(1. Accuracy, clarity and simplicity of speech.

Speak in a way that you can't

was not to be understood.

Quintilian Roman orator

Accuracy has long been recognized as one of the main virtues of speech. Already in

ancient manuals on eloquence, the first and main requirement,

presented to the speech was the requirement of clarity. The content that

invested by ancient theorists in this concept, in many respects similar to

modern concepts of precision. Aristotle believed that if speech is unclear,

she doesn't reach her goal. "Dignity of style (to be clear and not low."

Speech accuracy and clarity are interrelated: speech accuracy tends to

gives it clarity, the clarity of speech follows from its accuracy. However, about the accuracy

statements should be taken care of by the speaker (writer), but how clear

the thought is stated, the listener (reader) evaluates. We clothe our thoughts in

words. As V. T. Belinsky noted, “The word reflects the thought: the thought is incomprehensible

(The word is also incomprehensible. ” And at the same time, “he who thinks clearly, he clearly states.”

To be accurate, words should be used in full.

in accordance with the meanings that are assigned to them in the language: the word

should be adequate to the concept expressed by him. With a clear expression of thought

words fully correspond to their subject-logical meaning, and

wrong choice of word distorts the meaning of the statement. Masters

artistic word persistently achieve the accuracy of word usage.

However, we are not always able to avoid lexical errors that deprive

our speech accuracy. Even experienced writers are not immune from this.

So in the first editions of the novel by A.A. Fadeev (until 1949) was the phrase:

"The sword fell backwards to the ground and buried its face in his hands." In that

the sentence uses the word backwards inaccurately: you can’t “bury your face in

palms”, if you fall backward, that is, on your back. In the 1949 edition Author

made a correction: "The sword fell to the ground and buried his face in his hands."

You can usually find many stylistic options for expressing

thoughts, but for some reason many prefer not the simplest and clearest ... why do we

jars when we hear: A famous poet lives with me in this house; IN

I am currently preparing for my exams. Because the highlighted words are not

suitable for a colloquial style of speech, they give it a clerical touch,

depriving her of natural simplicity.

Stylistically, the use of bookish words is not justified in such

for example, replicas during oral communication: “Igor told me that after him in

grandmother will come to kindergarten; the clockwork monkey is out of order."

Predilection for clericalism and book vocabulary leads to verbosity, to

confused and complex transmission of the simplest thoughts.

N.G. Chernyshevsky wrote: "What you do not clearly imagine, it is not clear

you will express; inaccuracy and confusion of expressions testifies only to

confusion of thought." This is often the fault of new writers.

The reason for the ambiguity of the statement may be the wrong word order.

in the sentence: “Seven operating platforms serve several hundred

Human." Of course, such sentences can be corrected if they are used.

in speech. It is enough to change the word order: “Several hundred people

serve seven active platforms, "but if you hear the phrase with

wrong word order, possibly its incorrect interpretation on this

built, a joke by A.P. Chekhov: “I wish you all kinds of troubles, sorrows and

misfortunes to avoid."

Unfortunately, carelessness in the placement of words in a sentence (not

rarity: Bicycle crashed a tram; They fed him the meat of their dogs and

etc., the meaning of which eventually becomes clear, but with some effort, that

does not meet the requirement of clarity of expression.

Semantic ambiguity sometimes arises in unprepositional combinations

type: a letter to the mother (written by her or addressed to her), a portrait of Repin and

(2. Appropriateness of speech.

In speech, as well as in life,

must always bear in mind that

In the typology of the qualities of good speech, there is one that occupies a special place.

place in its significance, (this is relevance.

Relevance of speech (this is such an organization of language means that

most suitable for the situation of utterance, meets the objectives and goals

communication, helps to establish contact between the speaker (writer) and

listening (reading).

Speech (this is a coherent whole, and every word in it, any construction

should be purposeful, stylistically appropriate. "Each of the speakers, (

noted V.T. Belinsky, (he speaks in accordance with the subject of his speech, with

character of the crowd listening to him, with the circumstances of the present moment.

Relevance as a necessary quality of good speech was given more

time in the oratory of the ancient Greeks and Romans, in theory and practice

judicial and political eloquence, propriety is one of

central concepts in modern functional style.

Aristotle in "Rhetoric", speaking about the qualities of the style of public

speech, persistently draws the reader's attention to what is inappropriate in

Oratorical speech, he considers "the use of epithets or long, or

inappropriate or too large numbers", inappropriate use

poetic turns.

Aristotle showed the difference between written and oral speech ("... for each

kind of speech, a special style is suitable, because speech does not have the same style

written and in speech during a dispute, in political speech and in judicial speech").

from the point of view of the appropriateness of the organic use of certain

expressiveness, combinations of words.

Mark Tullius Cicero wrote: “As in life, so in speech there is nothing

harder how to see what is appropriate. Not for every social position

not for every degree of human influence, not for every age, just as

not for every place and moment and listener, the same style is suitable,

but in every part of speech, as in life, one must always bear in mind that

appropriate, it depends both on the merits of the matter in question and on the persons and

speaking and listening."

The relevance of speech (a special quality in a number of such as accuracy, purity,

expressiveness, etc. Without taking into account the specific conditions of communication, our

knowledge of the richness and expressiveness of speech. Moreover, one or the other

communicative quality of speech, e.g. accuracy, expressiveness, can

to lose its necessity without reliance on oral language. The concept itself

good speech is relatively, is functional in nature and depends, in

in particular, on the relevance of certain language units, their methods

organization, features of use in this particular act of communication or

typical language situation (style.

Compliance with the appropriateness of speech involves knowledge of the styles of literary

language, patterns of word usage inherent in them, knowledge

stylistic system of the language. Relevance requires flexibility in definition

acceptability of certain qualities of speech, language means, speech act in

in general. Probably for the first time a functional understanding of the relevance of speech was

formulated by Pushkin: “True taste does not consist in an unconscious rejection

such and such a word, such and such a turnover, but in a sense of proportionality and

conformity."

The relevance of speech captures different levels of language and is formulated

the use of words, phrases, grammatical categories and forms,

syntactic constructions, and finally, entire compositional-speech systems. Their

relevance can be considered and evaluated with different points vision. And in

In this regard, it would be advisable to distinguish between the following aspects of the appropriateness of speech:

1) Relevance style

2) Contextual relevance

3) Relevance is situational

4) Relevance is personal - psychological.

(3. Purity of speech.

We will keep you Russian speech,

great Russian word.

Anna Akhmatova

Turgenev called the Russian language "great, powerful, truthful and

free." But language (this is a harmonious system of means of communication; given in

dynamics, it becomes speech, and speech is subject to various influences, in

in particular impoverishment, clogging.

Various "weeds" clog our speech. It can also be dialect

words, and vulgarisms, and speech stamps, and extra unnecessary words.

Many writers have warned against drinking unnecessarily.

foreign words. The choice of words in such sentences is clearly unfortunate: Among

the audience was dominated by representatives of the youth; unions make strong

emphasis on cultural work.

V. Belinsky wrote: “Of necessity, many

foreign words, because many concepts and ideas have entered Russian life.

Such a phenomenon is not new ... Inventing your own terms to express other people's

concepts is difficult, and in general this work is rarely successful. Therefore, with the new concept

which one takes from another, he takes the very word expressing it

concept."

He also noted that "an unsuccessfully invented Russian word for

expressions of someone else's concept are not only better, but also decidedly worse than foreign

On the other hand, Belinsky points out that “Use foreign

word, when there is a Russian word equivalent to it, it means to insult and

common sense and good taste. For example, nothing could be less

as the use of the word exaggerate instead of exaggerate.

Indicative in this respect are the corrections that writers make to

their works when they are republished. For example, in different stories by A.P.

Chekhov, we find such substitutions: something specific (something special;

ordinary (ordinary; nothing extraordinary (nothing special;

convention (condition, etc.)

The question of the use of dialectisms in fiction Not

simple. We must not forget that with their help that local flavor is created,

without which the work can be out of time and space.

The source of clogging the literary language often becomes

unjustified individual word-creation, the appearance of "poorly invented

words." About sixty years ago, stylists hated such words, for example:

snarled, grunted. In times of cruel bureaucratization of all our lives

neologisms were often born as the fruit of "clerical eloquence":

bookworm, under-rest, convert (letter), etc.

Clogging the tongue is often associated with the inappropriate use of so

called clericalisms and speech stamps, depriving speech of simplicity,

liveliness, emotion.

(4. Correctness of speech.

Incorrect speech used

words are leading

errors in the field of thought and then

in the practice of life.

Dm. Pisarev.

The requirement for the correctness of speech applies not only to vocabulary (it

extends to grammar, word formation, pronunciation, stress,

and in writing on spelling and punctuation, Compliance with the norm (the main

condition of speech culture.

The norm is called language variants, the most common of

the number of existing, entrenched in the practice of exemplary use and

best performing their function. Norma (historical category.

Being stable to a certain extent, which is the basis of its

functioning, the norm is at the same time subject to change, which follows from

the nature of language as a social phenomenon in constant development

together with the creator and native speaker (society.

Known Mobility language norm sometimes leads to

the same linguistic phenomenon exists in certain time periods

not one single regulated way of expression, but more: the former

the norm has not yet been lost, but along with it a new one arises (cf. Equally

admissible pronunciation of adjectives in -giy, -kiy, -hiy type strict,

short, quiet or verbs -give, -nod, -hive, such as stretching,

repel, swing with both hard and soft sounds g, x, k;

double stress in words otherwise, cottage cheese, and other doublet forms such as many

people (a lot of people, a cup of tea (a cup of tea, etc.). The existence of double

forms of the literary language that arose during its historical development, Not

excludes the parallel existence of language variants associated with

the presence in a complex system of language and its individual varieties (

functional styles, in which variant

forms. The resulting diversity in unity does not destroy

the norm itself, but makes it a more subtle instrument of figurative means in

stylistic point of view.

Chapter 2. Weaknesses in speech.

(1. Logic of speech.

Speech must comply with the laws

Aristotle

Twice two (stearin candle

I.S. Turgenev

Incorrect word usage can cause alogism (

comparisons of disparate concepts, for example: "Syntax

encyclopedia articles is different from other scientific articles. It turns out that

the syntax of encyclopedia articles is different from the syntax of others

encyclopedia articles.

In an article dedicated to the work of the playwright A.N. Ostrovsky, there

such a phrase: “The complex and original internal appearance of Katerina found its

reflection in her language, the brightest among all the characters in The Thunderstorm.

(language turned out to be an active person).

To eliminate alogisms in speech, it is sometimes necessary to

modify proposals. For example: Our knowledge about the wealth of the bowels of the earth

are only a small part of the hidden, even greater wealth. Can

suggest such a variant of the stylistic correction of this phrase: Our knowledge of

minerals are not yet so full.

The reason for the illogicality of the statement may be the substitution of the concept,

which often arises as a result of incorrect word usage:

It's bad when all the cinemas in the city show the same thing

movie title. Of course, the film is being shown, not its title. Can

was to write: It's bad when all the cinemas in the city show one

and the same movie. Such errors in speech occur subsequently insufficiently.

clear differentiation of concepts, for example: Approximation of the premiere collective

the theater is waiting with special excitement (they are not waiting for the approach of the premiere, but when

will premiere).

Unjustified expansion or narrowing of the concept makes speech illogical.

We were told about the great writer and read excerpts from his work

(should have written: from his works) An example of a narrowing of the concept: Edge

rich in architectural monuments, interesting for foreign tourists.

(why only foreign ones?)

Especially often the generic name is used instead of the specific one, and this

not only deprives speech of accuracy, leads to the loss of those specific information,

which make up the living fabric of the narrative, but give style

original, sometimes clerical coloring.

The reason for the inaccuracy of the statement, the distortion of its meaning sometimes lies in

in a fuzzy distinction between concrete and abstract concepts, for example:

think about fodder for the winter for animal husbandry (meaning, of course, fodder

for animals, livestock).

Some requirements of logical speech are violated in sentences with

simultaneous names and a generalizing word (a combination of a generic concept with

view) for example: There were tables, chairs, furniture made of red

mahogany, but still this combination is not acceptable).

Writers often parody human speech, and then such

violations of the logic of the statement are used as a stylistic device

creating a comic effect.

The combination of individual sentences into a complex syntactic whole should

correctly reflect the train of thought. The connection of a number of sentences and complex

syntactic integers, their sequence must be logically

justified, only in this case our speech will be correct.

(2. Informative saturation of speech.

This book of many volumes

Every speech has a certain content, since there are no words devoid of

values. However, the informative saturation of speech can be different: some

statements are significant, others are of no interest.

is a variety of forms of presentation of material.

extra words even short phrase. For example: There is illegal

dispersal of state property. (can the pulling be

legal?)

Extra words in oral speech testify not only to the stylistic

negligence, they also indicate fuzziness, indefiniteness of representations

the main idea of ​​the utterance.

Verbosity often borders on idle talk. For example: Our commander is still

was alive 25 minutes before his death. This is a phrase from a song written by

soldiers of the French Marshal Marquis La Palis, who died in 1525. From him

name, the term "Lapalissiada" is formed, which defines similar

statements. They are characterized not only by comic absurdity and

expression of self-evident truth, but also their inherent verbosity. For example:

He died on Wednesday; had he lived one more day, he would have died on Thursday. ABOUT

creators of such truths, Pushkin wrote: “Our critics usually say: this

good because it's beautiful; and this is bad, because it is bad!”

Lapalissiades are played by writers. So, the character of A. Chekhov declares:

"It can't be, because it can never be!"

However, sometimes we involuntarily utter such sacramental phrases.

At a meeting of the editorial board, it will suddenly sound: “Since the editor-in-chief

collection has died, it is necessary to introduce a new editor from

now living." Or in the protocol, a police officer will write down: Dead corpse

lay motionless and showed no signs of life.

(3. Speech redundancy.

item 1. Pleonasm.

Verbosity can take the form of pleonasm. Pleonasm (from gr.

Pleonasmos (excess) is the use in speech of people close in meaning and

therefore unnecessary words (the main essence, everyday routine, valuable

treasures, dark darkness, etc.). Often pleonasms appear when connecting

synonyms: kissed and kissed; only; courageous and bold.

Pleonasms usually arise from a stylistic need

taiga, but they also do not allow the richest gifts to be wasted in vain

nature. Words highlighted by detente can be excluded without damage.

However, this manifestation of speech redundancy should be distinguished from

superfluous pleonasm, which writers consciously refer to as

means of enhancing the expressiveness of speech. For example, F. Tyutchev:

The vault of heaven, burning with star glory.

Mysteriously looks from the depths,

And we swim in the burning abyss

Surrounded on all sides!

In this case, pleonasm (a stylistic device of artistic speech. In

oral art traditionally used pleonastic combinations:

sadness-longing, sea-okiya, path-path and the like, which are quite

item 2. Tautology.

A variation of pleonasm is tautology (from the Greek. Tauto (“the same

most” and logos (“word”) (re-designation in other words already

named concept (multiply many times; ask a question; resume

again; unusual phenomenon; driving theme). A tautology may arise

when repeating single-root words (tell a story), as well as when

combination of foreign and Russian words that duplicate each other (memorable

souvenirs; first debuted), the so-called hidden tautology.

The use of single-root words in one phrase, sentence

stylistically justified if they are the only

carriers of relevant knowledge and cannot be replaced by synonyms. How

avoid repeating words with the same root when you need to say: On the bushes

white bushes blossomed; Mother makes jam; cover the bucket with a lid.

There are many tautological combinations in the language, the use of which

inevitably: a dictionary of foreign words; make a bed; close the lid and

Tautology arising from the combination of words that match in

meaning, usually indicates that the speaker does not understand the exact

the meaning of the borrowed word. This is how the combination appears: young child prodigy;

small things; interior; leading leader, etc.

Tautological combinations sometimes pass into the category of permissible and

are fixed in speech, which is associated with a change in the meanings of words. an example of loss

tautology can be a combination of time period. Fixed in speech

also combinations: monumental monument, reality,

exhibits of the exhibition and some others, because they contain definitions

ceased to be a simple repetition of a simple feature already completed in

a certain word.

Tautology, like pleonasm, can be a stylistic device,

enhancing the power of speech. In colloquial speech, such

expressive tautological combinations, how to serve, any

stuff, bitter grief, shaking, crowded and others.

In artistic speech, mainly in poetry, there are

tautological combinations of several types: combinations with tautological

epithet (And again she was not old, but new and not poor. (B. Slutsky),

with a tautological instrumental case (And suddenly the birch is white in

gloomy spruce forest alone. (Vl. Soloukhin) and others. Such combinations stand out on

against the background of other words, this makes it possible, resorting to tautology, to turn

attention to especially important concepts: the green shield asks for protection; So,

lawlessness was legalized. Tautology plays an important semantic function in

headlines of newspaper articles: "Extremes of the Far North", "Is it accidental

an accident?”, “Is the old bike obsolete?”.

As a source of expressiveness of speech, tautology is especially effective if

words with the same root are compared as synonyms (as if they had not seen two

years, their kiss was long, long. (A. Chekhov), antonyms (when we

learned to be strangers? When did we learn to speak? (E. Evtushenko),

paronyms (in the headlines of newspaper articles: "Allies and allies", "not

position, but duty "and the like).

The possibility of a punning collision of homogeneous words allows

use tautology as a means of creating comedy. By this technique

brilliantly owns Gogol, Saltykov-Shchedrin (Let you not allow this;

The writer pees and the reader reads. As a means of comedy

feuilletons, jokes (Efficiency: do not do, but don’t do all the things

redo).

item 3. Repetition of words.

The repetition of words also damages the informative richness of speech.

Lexical repetitions are often combined with tautology, pleonasms, and usually

For example: A hostel in which students live for five long years of their

student life. What will this life be like (depends on the residents themselves

hostels. But it can also become a stylistic device that enhances

expressiveness of speech. Lexical repetitions help to highlight the important in the text

concept (Live a century, learn a century; They pay good for good. (sayings).

To the repetition of words as a means of logical selection of concepts

publicists apply. Interesting, for example, the headlines of newspaper articles:

"Be human, human!"

The repetition of words is usually characteristic of emotionally colored speech.

Therefore, lexical repetitions are often found in poetry. For example: Roman

classic, old, superbly long, long, long... (A.S.

By stringing identical words, one can reflect the nature of visual

impressions (But the infantry goes, the infantry goes past the pines, pines, pines without end. (Vl.

Lugovskoy).

Lexical repetitions can also be used as a means of humor. IN

in a parody text, a pile of identical words and expressions reflects the comic

describes situations: It is very important to be able to behave in society. If,

when you asked a lady to dance, you stepped on her foot and she pretended not to

noticed this, then you must pretend that you did not notice how she

noticed, but pretended. that I didn't notice. (literary newspaper).

Thus, verbal repetitions in speech can perform a variety of

stylistic features. This must be taken into account when giving a stylistic

assessment of word usage.

(4. Difficulties in pronunciation.

item 1. Why do we need orthoepy?

The normativity of speech is the most important condition for its effectiveness.

Any deviation from literary norm, whether in the selection of lexico-

phraseological means or the choice of grammatical forms and constructions,

interferes with the direct and accurate perception of the content of written and

oral speech.

Expressiveness is essential for the success of a speech.

speech, which is achieved by a clear, clear pronunciation, correct

intonation, skillfully spaced pauses. Due attention should be given

oratory: posture, gestures, facial expressions.

An important role is given to normative pronunciation and stress. Deviation

from orthoepic norms becomes an obstacle in communicating with the audience: it distracts

attention from the content side of the speech, direct the thought to

secondary details.

Russian orthoepy includes the rules for pronunciation of unstressed

vowels, voiced and voiceless consonants, rules for pronunciation of individual

grammatical forms, features of the pronunciation of foreign words

origin.

In general, modern orthoepic norms are

consistent system, evolving and improving. IN

The theater plays a huge role in the formation of literary pronunciation,

broadcasting, television, sound films, which serve as a powerful means of

spreading orthoepic norms and maintaining their unity.

item 2. Pronunciation styles.

Depending on the tempo of speech, styles are distinguished full and incomplete.

Full style (at a slow pace of speech) is distinguished by a distinct pronunciation

sounds, thoroughness of articulation, and in an incomplete style (at a fast tempo

speech) differs less distinct pronunciation of sounds, strong

reduction (reduction).

The difference between these styles is manifested, firstly, in

correlation of their norms with the corresponding lexical layers: words

neutral style in their sound are made according to the norms of neutral

pronunciation style, words of high style (according to the norms of high style

pronunciation, colloquial words (according to the norms of colloquial style

pronunciation. So, related to high vocabulary words daring, accomplishment

pronounced with the sound [ee] in the first pre-stressed syllable (compare:

the currently prevailing pronunciation [ie] is not in a high style). On the contrary, words

conversational style in the presence of pronunciation options are drawn up according to

colloquial style of pronunciation. So, in words, get involved, numb, in

the first pre-stressed syllable is usually pronounced with the vowel [and]. Secondly,

differences between pronunciation styles may result in some

neutral style norms have their counterparts in high or colloquial

style. Compare the pronunciation of the words [so] no, [pho]netics (in high style and

[sa]net and [fa]netics (in a neutral style.

item 3. How to pronounce unstressed vowel sounds.

In unstressed syllables, vowels undergo reduction (qualitative and

quantitative changes as a result of the weakening of articulation. quality

reduction (this is a change in the sound of a vowel with the loss of some features

its timbre, but quantitative (it is a decrease in its longitude and strength. To a lesser extent

degrees, the vowels that are in the first pre-stressed syllable are reduced, in

greater degree (vowels of other unstressed words.

In the first pre-stressed syllable In place of the letters a and o, the sound [a] from

struck [a] it is shorter and more posterior

education. For example: tr [a] va, s [a] sleep.

In the remaining unstressed syllables, in place of the letters a and o, a short

a sound intermediate between [s] and [a], denoted in transcription by the sign [b].

For example: tr [b] vyany, z [b] lot, school [b], call [b] to.

At the beginning of a word, unstressed [a] and [o] are pronounced like [a]. For example:

[a]zot, [a]bladat.

After hard sibilant [zh] and [w], the vowel [a] in the first prepositional syllable

pronounced like [a], for example: w[a] rgon, w[a] gat. But before soft

consonants pronounce the middle sound between [s] and [e], for example: f [ye] fly,

losh [ye] dey.

After soft consonants in the first pre-stressed syllable in place of the letters e and i

a middle sound is pronounced between [and] and [e], for example: in [ie] sleep, h [ie] sy.

In the remaining unstressed syllables, in place of the letters e and i, it is pronounced very

short [and], in transcription denoted by the sign [b], for example: v [b] lykan,

take out [b] sti, p [b] push, pull out [b] pull out.

In place of combinations of letters aa, oo, ao, oa in prestressed syllables

vowels [aa] are pronounced, for example: s[aa] falter, s[aa] bottom,

n[aa] in English, in [aa] in Brazilian.

item 4. Pronounce consonant sounds correctly.

At the end of words and in their middle before voiceless consonants, voiced

consonants are stunned, for example: yastre [n], baga [w], break [k], zapa [t],

baga [w], co[w] raw materials, tra[f] ka.

In the place of deaf consonants before voiced ones, except in, are pronounced

the corresponding voiced ones, for example: [z] run, o [d] quit, into [g] the hall.

In some cases, so-called assimilation softening is observed, then

there are consonants before soft consonants are pronounced softly. This

refers primarily to combinations of dental consonants, for example:

[z'd'] is, gvo [z'd'] di, e[s'l'] whether, ka[z'n'], ku[z'n']ets, ne[n's'] and I.

There are two pronunciation options, for example: [z’l ’] it, and [zl’] it,

after [s’l’] e and after [sled’] e.

Double pronunciation is observed in combinations with labial consonants,

for example: [d’v’] er and [dv’] er, [z’v’] er and [zv’] er. In general, regressive

assimilation by softness in the present time is running on the wane.

Double consonants are long consonants, usually when

the stress falls on the previous syllable, for example: gr[p]a, ma[s]a,

program[m]a. If the stress falls on the next syllable, then double consonants

are pronounced without longitude, for example: a[k]ord, ba[s]ein, gram[m]atika.

item 5. How foreign words are pronounced.

In words of foreign origin, not completely acquired by Russian

language, in place of the letters o, in contrast to the Russian orthoepic norm, in

unstressed position is pronounced [o], that is, without reduction: b [o] o,

[o]tel, kaka[o], radio[o]. Double pronunciation is allowed: p[o]et and

n[a]et, s[o]no and s[a]no, etc.

Before vowels, denoted by the letter e, in many foreign words

consonants are pronounced firmly: at [e] lie, code [e] ks, cafe [e], Shop [e] n.

Chapter 3. Variety in speech.

(1. Richness of speech.

Let there be honor and glory

our language, which

his native wealth...

flows like proud

majestic river.

N. M. Karamzin.

The very first criterion for the wealth and poverty of speech (this is the number of words,

which we use. Pushkin, for example, had more than twenty

thousand words. For comparison: good educated person our time

uses 3000-6000 different words. Comparison of these two figures allows

see the main source of speech wealth: the more words are in

individual person, the richer his speech, the freer and

the more fully he expresses his thoughts, feelings, moods, and desires, the less often (in

average) he repeats the same words, the more accurately he expresses complex and

subtle nuances of thought.

But the point, of course, is not only in the words themselves, but also in their

meanings, and in the forms of morphology and syntax, and in intonation. The better everything

this is known to the speaker and writer, the more different language units and

phenomena introduced into speech, the richer and more diverse it is.

So one cannot achieve speech wealth without learning an amazing language.

people (in its literary and colloquial forms, in all its diversity

styles and socio-professional varieties, in all their abundance and

variety of its vocabulary and phraseology, word formation and grammar.

The words of our language are characterized by polysemy, which means the ability of a word

be used in different meanings. And in order for these meanings to appear,

you need to use the word in speech.

The development of meanings helps to form in the language very important for speech

lexical groups: synonyms, antonyms, homonyms.

Synonyms (Greek Synonymus (of the same name) are words that have

the same meaning and often differing in additional semantic

shades or stylistic coloring. But there are synonyms

actively influence the quality of our speech. From knowledge of synonyms and skill

freely dispose of them depends on the accuracy and brightness of our statements:

because synonyms are very close in meaning, and the correct introduction of a synonym in

utterance ensures the correct transmission of subtle shades of thought.

If synonyms arise as a result of close convergence of meanings

different words, then homonyms (these are words that are the same in form, but different in

products.

Antonyms (these are words with directly opposite meanings: top and bottom,

back and forth, good and evil.

Lexical groups, or "rows", of various origins, compositions and

volume (this is an inexhaustible source of clarification, enrichment, decoration of speech

each person. Skillful or inept use of words found in

these groups or "ranks", significantly affects the quality of speech, its culture.

It is impossible not to take a closer look at Russian phraseology (

proverbs, sayings, "winged" statements of writers, poets,

public figures who entered the language of the people to stable turns of speech and

phrases.

Phraseology is diverse in its sources, construction

phraseological units ( sustainable turnover speech), as expressed by these

units meanings, according to the stylistic role in speech.

There is no way to give even the most general idea of ​​the Russians

proverbs and sayings, these clots of folk wisdom: they must be studied.

And all this very fluently outlined vocabulary wealth can

to lie under a bushel for other people, not to enter into their speech. And if he enters

then only as a pale and distorted reflection of what the Russian is so famous for

language. Why? Yes, simply because it is poorly known or negligent

used.

item 1. Intonation enriches speech.

Literary Russian speech is characterized by a variety of intonations, taken

from the spoken language and enriched and polished by the literary language.

Intonation (after all, this is not only an increase and decrease in tone, it is also

changes in timbre, these are breaks in the speech stream, or pauses. Intonation,

participating in the construction of the statement and "layering" on the syntax and vocabulary,

creates magnificent possibilities of expression of the most various shades

meaning. Intonation enhances the expressiveness of speech.

Each writer, creating a text, hears the intonation of his speech. Not

accidentally V. V. Mayakovsky changed, it would seem, such a stable form

poetic line (introduced a "ladder." This helped more fully and more noticeably for

the reader to convey intonation.

Unfortunately, many high school graduates do not acquire a real taste for

artistic word (and one of the reasons for this is intonation

monotony and inflexibility of the teacher's speech. Monotony of intonation does not allow

to express the complex play of thoughts, feelings and moods inherent in

literary text, (the text becomes poor, inexpressive.

Yes and everyday life people are not indifferent to the intonation of their speech. After all

intonation primarily expresses the mood of a person.

Let us also remember how often one hears a rude, insulting

intonation in a store, on a tram, in a hospital ...

Overcoming negative intonations in his speech, a person not only

does good for people (he educates, makes himself better.

item 2. And the syntax (also enriches.

It is customary to say that the grammar of the language (i.e., ways and means

building and changing words and building sentences) is not mobile enough

and is active in creating speech diversity. Russian syntax

literary language has an enviable variety of means, methods,

types of construction, very dissimilar sentences. Can

use simple sentences in speech, or you can (complex; you can enter into

speech coordinating conjunctions, or you can not enter ... Of course, in order to

use the flexible system of syntactic means of our language, it must be

it is good to know (and not only in theory, but in practice, in its speech existence.

Pushkin's poetry for the first time in the history of Russian literature showed flexibility

and the beauty of Russian syntax, Russian intonation. How well it conveys

Pushkin syntax rhythm and waltz melody:

Monotonous and insane

Like a whirlwind of young life,

The whirlwind of the waltz is spinning noisily;

The couple flashes by the couple.

How better familiar writing and speaking with the intonational resources of our

language and the practice of their speech use, the freer and more diverse

his speech.

item 3. Sharp word.

Good Russian speech is famous for its apt and figurative word. Not by chance

verbal folk art created in such an abundance of proverbs and sayings.

After all, the language itself, its role in human life, received a well-aimed and bright

display in proverbs and sayings.

The speech creativity of the people never stops. spokesmen for this

national talent becomes and national writers. Many "winged"

statements of Russian writers and poets were included in mutual language people.

Apt sayings can enrich our speech if each of them is

place and time used.

(2. Imagery of speech.

By wondrous connection he (the people) is captivated

invisible network of the Russian language:

bright as a rainbow

spring shower, apt as

arrows, heartfelt like a song

over the cradle, melodious and

rich.

A. N. Tolstoy.

What is figurative speech?

Nikolai Vasilievich Gogol wrote: “There is no word that would be so

sweepingly, briskly, so escaped from under the very heart, it would have boiled and

trembled like a well-spoken Russian word. The writer admires METKO

The SPOKEN word, that is, the word is figurative, living, emotional. That's it

does not leave indifferent the listener, the reader.

Writers and poets teach us the art of figurative speech. What is

feature of the use of linguistic means by word artists. How do they

manages to achieve the colorfulness of the description?

meaning.

The picturesqueness of descriptions creates TRAPS (from the Greek. Tropos. (image) (

words used in a figurative, figurative sense. Paths need an artist

words for the clarity of the image of objects, phenomena, pictures of nature, those

or other events.

Sometimes it is incorrectly believed that the paths are addressed only when

depicting unusual, exceptional paintings. Paths can be bright

means of realistic writing, devoid of a realistic halo. IN

In such cases, the most ordinary words acquire great expressive power.

Many examples can be given of how, with the help of tropes,

phenomena devoid of a sublime, romantic halo; items

unaesthetic, causing us a negative assessment. Let's refer to

famous lines of O. Mandelstam: “I returned to my city, familiar to

tears… Petersburg, I still have addresses where I WILL FIND DEAD VOICES.

I live on a black staircase and a torn-out call strikes me at the temple. And all

all night long I wait for dear guests, MOVING THE DOOR CHAINS WITH SNACKS.

Such examples convince us that paths can also depict phenomena.

unaesthetic, which nevertheless excite us. For stylistic evaluation

tropes, it is not their conditional beauty that is important, but their organicity in the text,

conditionality of their content.

At the same time, it is important to note that artistic speech uses

a kind of stylistic device, when the writer deliberately refuses to

tropov and uses all words only in their exact meanings. For example:

We'll sit in the kitchen with you

White kerosene smells sweet.

A sharp knife and a loaf of bread ...

If you want, pump up the primus tightly,

Otherwise, collect the ropes

Tie up the basket before dawn

For us to go to the station,

Where no one can find us.

(O. Mandelstam)

Such artistic speech, in which all words are used directly

meaning, is called autological, in contrast to the metalogical,

equipped with trails. As can be seen from the example, the absence of tropes in speech is not yet

testifies to her poverty, inexpressiveness. It all depends on the skill

writer, poet. However, if he does not use tropes, the condition

artistry of speech is the author's observation, his ability

emphasize characteristic details, accuracy of word usage, etc. In speech

but saturated with paths, the skill of the writer is manifested in the skillful

metaphorization, in attracting a variety of stylistic devices for

creating vivid artistic images.

The style of figurative speech is complex and multifaceted, its study requires

a detailed description of all the tropes with which our language is so rich, and

creative development of their masters of the artistic word. After all, the same

writers depict objects and phenomena in different ways, they have artistic

images are always original, unique.

original images, but in the work of each artist the same

the subject can be embodied in completely different paths. So,

Yesenin, who compared the sky with a bell, writes in another case: On the heavenly

blue dish of yellow clouds honey smoke men: The chintz of the sky is so blue, etc.

Colors for figurative speech are inexhaustible, as is the creative imagination of poets.

If the figurative word usage begins to repeat one or another

paths become habitual, they can be fixed in the language like new ones

word meanings (time flies, a whirlwind of events) or become phraseological units

(conscience spoke like two drops of water). Such paths are called

general language. In this case, the direct meaning of the word is erased, and sometimes

is completely lost. Therefore, the use of language tropes does not give rise to

our representation of artistic images, from which they are of little interest in

stylistic attitude.

And there are also such paths, the use of which is undesirable, because

they not only do not create an image, but also discolor the syllable, make the language

expressionless. And then they are no longer talking about paths, but about speech stamps.

A stamp appeared, and now such “finds” are already perceived as a manifestation of

bad taste.

(3. Liveliness, emotionality, expressiveness of speech.

marvel at the jewels of our

language: whatever sound, then

present; everything is grainy, large,

like the pearl itself, and, right, different

the name is even more precious than the most

N. V. Gogol.

Learn to speak in your own words...

What is the secret of words that create an atmosphere of ease,

affect the feelings of the interlocutors, give special expressiveness to their

speech? And on the other hand, what words deprive speech of living, emotional

The first condition for liveliness of speech (the use of words that are stylistically

justified in a given situation. On the podium, the speaker addresses

journalistic, book vocabulary, and in a conversation with a friend prefers

colloquial words.

Revitalizes speech using words with a bright emotionally expressive

coloring. Such words not only name concepts, but also reflect the attitude towards

speaking to him. For example, admiring the beauty of a white flower, one can call

its snow-white, white, lily. These adjectives are emotional

painted: in them a positive assessment distinguishes them from stylistically

neutral word white. The emotional coloring of a word can express and

a negative assessment of the concept called (blond talk about ugly

a person with blond hair, whose appearance is unpleasant to us). That's why

emotional vocabulary is called evaluative.

The image of feeling for speech also requires special expressive colors.

Expressiveness (from Latin expressio (expression) (meaning

expressive, expressive (expressive. In this case, to the nominative

special stylistic assessments are added to the meaning of the word, reinforcing it

expressiveness. So, instead of the word good, we use more

expressive (beautiful, wonderful, delightful, etc.; you can

I don’t like to say, but sometimes we find even stronger words: I hate,

I despise, I abhor. In such cases, the lexical meaning of the word

complicated by expression. Often one neutral word has several

expressive synonyms that differ in the degree of expressive tension

(cf: misfortune - grief - disaster - catastrophe; violent - unrestrained -

indomitable - furious - furious).

Vivid expression highlights the words solemn, rhetorical,

poetic. A special expression distinguishes the words playful, ironic,

familiar. Expressive shades delimit disapproving words,

scornful, contemptuous, humiliating, vulgar, abusive.

The expressive coloring in the word is superimposed on its emotional-evaluative

meaning, and in some words expression predominates, in other words

expression prevails, in others (emotional coloring. It is not difficult

determine, trusting your linguistic instinct.

Expressive vocabulary can be classified by highlighting: 1) words,

expressing a positive assessment of the named concepts, and 2) words expressing

their negative evaluation. The first group will include words high,

affectionate, desperate (jokingly; in the second ironic,

disapproving, abusive, etc.

We select words in speech, consciously or unconsciously obeying

conditions of communication and trying to influence the interlocutor, taking into account his

social position, the nature of our relations with him, the content of the conversation and

tells us what words to use (high or low,

solemn or playful. And our speech, accordingly, receives this or that

different stylistic coloring.

In certain cases, the connection in speech may also be justified.

stylistically heterogeneous, even contrasting in their emotional

expressive coloring of language means. A mixture of styles, as they say

linguists, usually creates a comic effect, which humorists and

satirists.

What deprives our speech of liveliness? What makes it colorless

unemotional? First of all (the inability to find words that are exactly

would convey our feelings, words that would touch a nerve? This

inability, or rather, helplessness in dealing with the richest resources

native language was formed, unfortunately, even at school, where they teach

bad recipes to write essays, to repeat memorized phrases, to answer

textbook...

The language of any composition can become expressive and emotional only

provided that the writer does not repeat memorized phrases that are well known

book formulations, but will try to find his own words to express thoughts and

expressive vocabulary, which gives the language liveliness.

Conclusion.

The development of world culture has developed the main communicative qualities

good speech. Of course, these qualities change, develop, therefore

concepts of good speech do not coincide in everything in different eras and among

representatives of different classes and worldviews.

I studied this topic and realized for myself that every person should

to express his thoughts in such a way that it was impossible not to understand, namely (exactly,

clear and simple. If the speech is not clear, then it does not reach the goal.

For speech to be accurate, words should be used in gender correspondence.

with the meanings assigned to them.

The most important condition for good speech (logicality. We must take care of

that our speech does not violate the laws of logic.

Speech (this is a connected whole, and every word in it, any construction

should be purposeful, stylistically appropriate.

Not suitable for every social position, not suitable for every place

the same style, but in every part of speech, as well as in life, one must

always keep in mind what is appropriate. Relevance presupposes knowledge

styles of the literary language.

speech stamps, clericalism, then this indicates the poverty of the vocabulary

reserve, about the helplessness of the speaker.

The requirements for the correctness of speech apply not only to vocabulary (it

extends to grammar, word formation, pronunciation, and in

writing (for spelling and punctuation. Compliance with the norm (the main

condition of speech culture. Any deviation from the literary norm prevents

direct and accurate perception of the content of written and oral speech.

Every speech has a certain content. Content of speech

depends on many conditions that entail a variety of forms of filing

material.

Verbosity or speech redundancy may manifest itself in the use of

extra words in a short sentence. Extra words in oral speech indicate

fuzziness, indefinability of the author's ideas about the subject of speech.

To achieve speech wealth, you need to learn the language (in its

literary and colloquial forms, his style, vocabulary, phraseology,

word formation and grammar.

The figurativeness of speech is created through the use of words in a figurative

meaning.

The expressiveness of speech, which is achieved

clear pronunciation, correct intonation, skillfully spaced

pauses. Due attention should be paid to the tempo of speech, the strength of the voice,

persuasive tone, as well as the peculiarities of oratory: posture,

gestures, facial expressions.

Good speech is not possible without the appropriate knowledge, skills and abilities.

It all comes as a result of labor.

Study (and be demanding not only to the speech of others, but also to your own

own first of all.

1. Golub I.B., Rosenthal D.E. "Secrets of good speech", - M., 1993, p.3.

2. //–//–//, p.107.

3. //–//–//, p.100.

4. //–//–//, p.99.

5. //–//–//, p.197.

6. //–//–//, p.199.

7. //–//–//, p.199.

8. Golovin B.N. "On the culture of Russian speech", - Vologda, 1982, p.227.

9. //–//–//, p.228.

10. //–//–//, p.228.

11. Golub I.B., Rosenthal D.E. "The Book of Good Speech" - M., 1997, p.54.

12. //–//–//, p.21.

13. //–//–//, p.23.

14. //–//–//, p.10.

15. //–//–//, p.8.

16. //–//–//, p.22.

17. //–//–//, p.11.

18. //–//–//, p.12.

19. //–//–//, p.26.

20. //–//–//, p.10.

21. //–//–//, p.29.

22. //–//–//, p.27.

23. //–//–//, p.10.

24. Skvortsov L.I. “Do we speak Russian correctly?”, reference

manual on pronunciation, stress and word usage, - M., 1995,

Bibliography.

1. Blinov I.Ya. "About the culture of speech". M., 1988

2. Golovin B.N. "On the culture of Russian speech". Vologda, 1986

3. Golub I.B., Rozental D.E. "Secrets of good speech". M., 1993

4. Golub I.B., Rosenthal D.E., “The Book of Good Speech”. M., 1997.

5. Kostomarov V.G. "Culture of speech and style". M., 1960

6. Rosenthal D.E. "A culture of speech". M., 1964

7. Skvortsov L.I. “Do we speak Russian correctly?”, Reference

a guide to pronunciation, stress and word usage. M., 1983