Poems about winter by Pushkin A. “Winter Sorceress”, “Winter Morning”, “Excerpts from the poem “Eugene Onegin””, “Winter Road”, “Winter

The winter sorceress is coming,
She came and fell apart; shreds
Hanged on the branches of oak trees,
Lay down in wavy carpets
Among the fields around the hills.
Brega with a still river
She leveled it with a plump veil;
The frost has flashed, and we are glad
To the pranks of Mother Winter.

A. S. Pushkin “Winter morning”

Frost and sun; wonderful day!
You are still dozing, dear friend -
It's time, beauty, wake up:
Open your closed eyes
Towards northern Aurora,
Be the star of the north!

In the evening, do you remember, the blizzard was angry,
There was darkness in the cloudy sky;
The moon is like a pale spot
Through the dark clouds it turned yellow,
And you sat sad -
And now... look out the window:

Under blue skies
Magnificent carpets,
Glistening in the sun, the snow lies;
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river glitters under the ice.

The whole room has an amber shine
Illuminated. Cheerful crackling
The flooded stove crackles.
It's nice to think by the bed.
But you know: shouldn’t I tell you to get into the sleigh?
Ban the brown filly?

Sliding on the morning snow,
Dear friend, let's indulge in running
impatient horse
And we'll visit the empty fields,
The forests, recently so dense,
And the shore, dear to me.

A. S. Pushkin “Excerpts from the poem “Eugene Onegin”” Nature was waiting for winter. ,
Winter!.. Peasant, triumphant

That year the weather was autumn
I stood in the yard for a long time,
Winter was waiting, nature was waiting.
Snow only fell in January
On the third night. Waking up early
Tatiana saw through the window
In the morning the yard turned white,
Curtains, roofs and fences,
There are light patterns on the glass,
Trees in winter silver,
Forty merry ones in the yard
And softly carpeted mountains
Winter is a brilliant carpet.
Everything is bright, everything is white all around.

Winter!.. The peasant, triumphant,
On the firewood he renews the path;
His horse smells the snow,
Trotting along somehow;
Fluffy reins exploding,
The daring carriage flies;
The coachman sits on the beam
In a sheepskin coat and a red sash.
Here is a yard boy running,
Having planted a bug in the sled,
Transforming himself into a horse;
The naughty man has already frozen his finger:
It's both painful and funny to him,
And his mother threatens him through the window...

A. S. Pushkin “Winter Road”

Through the wavy mists
The moon creeps in
To the sad meadows
She sheds a sad light.

On the winter, boring road
Three greyhounds are running,
Single bell
It rattles tiresomely.

Something sounds familiar
In the coachman's long songs:
That reckless revelry
That's heartbreak...

No fire, no black house...
Wilderness and snow... Towards me
Only miles are striped
They come across one.

Bored, sad... Tomorrow, Nina,
Tomorrow, returning to my dear,
I'll forget myself by the fireplace,
I'll take a look without looking at it.

The hour hand sounds loud
He will make his measuring circle,
And, removing the annoying ones,
Midnight will not separate us.

It’s sad, Nina: my path is boring,
My driver fell silent from his doze,
The bell is monotonous,
The moon's face is clouded.

A. S. Pushkin “Winter. What should we do in the village? I meet"

Winter. What should we do in the village? I meet
The servant bringing me in the morning cup of tea,
Questions: is it warm? Has the snowstorm subsided?
Is there powder or not? and is it possible to have a bed?
Leave for the saddle, or better before lunch
Messing around with your neighbor's old magazines?
Powder. We get up and immediately get on horseback,
And trot across the field at first light of day;
Arapniks in hands, dogs following us;
We look at the pale snow with diligent eyes;
We circle, we scour, and sometimes it’s late,
Having poisoned two birds with one stone, we are heading home.
How much fun! Here is the evening: the blizzard howls;
The candle burns darkly; embarrassed, the heart aches;
Drop by drop, I slowly swallow the poison of boredom.
I want to read; eyes glide over the letters,
And my thoughts are far away... I close the book;
I take a pen and sit; I forcibly pull out
The slumbering muse has incoherent words.
The sound doesn’t match the sound... I’m losing all rights
Above the rhyme, above my strange servant:
The verse drags on sluggishly, cold and foggy.
Tired, I stop arguing with the lyre,
I go to the living room; I hear a conversation there
About the close elections, about the sugar factory;
The hostess frowns in the semblance of weather,
The steel knitting needles move nimbly,
Or the king is guessing about the red one.
Yearning! So day after day he goes into solitude!
But if in the evening in a sad village,
When I sit in the corner playing checkers,
Will come from afar in a wagon or cart
Unexpected family: old lady, two girls
(Two blond, two slender sisters) -
How the deaf side is brought to life!
How life, oh my God, becomes full!
First, indirectly attentive gazes,
Then a few words, then conversations,
And there is friendly laughter and songs in the evening,
And the waltzes are playful, and the whispers at the table,
And languid glances, and windy speeches,
There are slow meetings on the narrow staircase;
And the maiden goes out onto the porch at dusk:
The neck, chest are exposed, and the blizzard is in her face!
But the storms of the north are not harmful to the Russian rose.
How hot a kiss burns in the cold!
Like a Russian maiden fresh in the dust of snow!

Winter!.. The peasant, triumphant,
On the firewood he renews the path;
His horse smells the snow,
Trotting along somehow;
Fluffy reins exploding,
The daring carriage flies;
The coachman sits on the beam
In a sheepskin coat and a red sash.
Here is a yard boy running,
Having planted a bug in the sled,
Transforming himself into a horse;
The naughty man has already frozen his finger:
It's both painful and funny to him,
And his mother threatens him through the window...

All Russian people know this small excerpt from Eugene Onegin. But the further we move away from the era of A.S. Pushkin, the more difficult it is for young children to learn this poem by heart. Why? Because for 14 lines there are at least 8 outdated words, without understanding which the child will not draw in his imagination the picture captured by the poet. Will not feel the joy and freshness of the first frosty day, delight and unity of nature and man.

Children learn poetry easily when they understand it. Therefore everything unclear words needs to be explained.

Drovni- this is a sleigh on which they carried firewood. Reins- ruts, furrows, tracks from runners in the snow. Kibitka- covered wagon. What does covered mean? A leather or fabric top, a “hood,” was attached to the sleigh or summer carriage; this is the prototype of the modern convertible.

A man driving horses drawn to a carriage. The coachman drove postal or coachman (analogous to a taxi) carts. He was sitting on the driver's seat - the coachman's seat in front of the cart. A sheepskin coat is a fur coat, cut like a robe, hugging the whole body, as a rule, it was belted with a sash - a belt sewn, as a rule, from a wide braid or cloth, sometimes with velvet at the ends; the sash tied a person around the waist and was used with outerwear. The red sash was a sign of dandy; in addition, its color was easily recognizable from afar. A yard boy is a small servant in a manor's house. The sled is our ordinary, manual sled. And Zhuchka was the name of all black dogs. (What color should the dog be drawn for the fairy tale “Turnip”?)

Why does the wagon fly, the peasant triumphs, and the boy laughs? Because everyone is happy about the snow. Let's read the verses preceding "Winter..." and opening the fifth chapter of the poem:

That year the weather was autumn
I stood in the yard for a long time,
Winter was waiting, nature was waiting.
Snow only fell in January
On the third night.
Waking up early
Tatiana saw through the window
In the morning the yard turned white,
Curtains, roofs and fences,
There are light patterns on the glass,
Trees in winter silver,
Forty merry ones in the yard
And softly carpeted mountains
Winter is a brilliant carpet.
Everything is bright, everything is white all around.

That's why everyone is happy - the coachman, the peasant, the child, the mother: people were waiting for the snow and missed it.

Now that all unfamiliar words are understood, the child begins to develop images. In the background a fast carriage is rushing by, a fashionable coachman (with a red sash!) is driving the horses with daring. Snowflakes are flying around (like splashes flying in the wake of a boat). A skinny peasant horse is slowly trailing towards the wagon, or maybe behind it, she is taking the peasant into the forest. Why not from the forest? Because peasant horse renews the path, that is, it runs through the first snow, laying grooves, this is also an indication of part of the day. It's definitely early morning. Not everyone has even woken up yet.

The yard boy is not busy and can play. He rejoices at the first snow this winter, he tinkers with a black dog and a sled, and although he is cold, he does not want to part with the sparkles of sunshine on the snow. His mother threatens him through the window, but does not interfere; she herself is glad of the snow - for her snow means a break from field work and good winter crops, a cheerful mood. She probably looks at her son and admires him, she probably smiles...

Having well understood what the poem is about and having drawn a picture in his imagination, the child will gladly remember the peasant, the wagon, and the boy with the dog. The imagination will turn on, the feeling of frost will be remembered and winter sun. By the way, such descriptive poems provide unlimited scope for drawing.

In connection with this work, older children can read the story of A.P. Chekhov's "Out of spirit" (1884). Main character, police officer Prachkin, hears for the first time in his life Pushkin's lines and comments on them according to his own life experience And bad mood after a card loss (bailiff - a police position in which a person headed the investigation of police, executive and administrative matters):

"- "Winter... The peasant, triumphant... - the policeman's son, Vanya, crammed monotonously in the next room. - The peasant, triumphant... renews the path...

- “Triumphing...” - reflects the involuntarily listening bailiff. - “If they slapped him with a dozen hot ones, he wouldn’t be very triumphant. Rather than celebrate, it would be better to pay taxes regularly...

“His horse, sensing the snow... sensing the snow, trudges along at a trot somehow...” Prachkin hears further and cannot resist remarking:

"- If only she could take off at a gallop! What kind of trotter was found, pray tell! A nag is a nag...

- “Here is a yard boy running... a yard boy, putting a bug in a sled...”

- So, he’s full, if he’s running around and playing around... But the parents don’t have it in their heads to put the boy to work. Rather than carry a dog, it would be better to chop wood...

- “He’s both hurt and funny, and his mother is threatening... and his mother is threatening him out the window...”

- Threaten, threaten... Too lazy to go out into the yard and punish him... I would lift up his fur coat and chik-chik! chick-chick! It’s better than wagging a finger... Otherwise, look, he’ll turn out to be a drunkard... Who wrote this?” - in the end Prachkin can’t stand it.

"- Pushkin, dad.

- Pushkin? Hm!.. Must be some kind of eccentric. They write and write, but they don’t understand what they write! Just to write!"

However, here you need to act very delicately. Humor should be based on understanding the situation. It’s better not to rush, you shouldn’t read this story to children - younger schoolchildren until they are sure they understand why Apollo Grigoriev, a 19th century poet and literary critic, said: "Pushkin is our everything".

Tatiana Lavrenova

Comment on the article "Winter. The peasant triumphs"

I'm probably explaining it poorly. For example, I spent a long time explaining the meaning of the word train - these are carriages coupled to each other and a steam locomotive. I explained the day when we were traveling on the train (an example was in front of my eyes), but a day later I could not explain the differences between a steam locomotive and a train.

Discussion

You can (as a fellow colleague in the struggle for a cause and a sufferer) just wish with all my might that everything gets better faster!

I won’t give you any advice on the matter, but mine has some strange problem with memory (abstract?): I remember many things from deep childhood or just little things, and I can still stumble over the multiplication table: (Everyone has their own...

go to a psychoneurologist, ask for a referral to the center for speech pathology and neurorehabilitation, where specialists will tell you in which direction to work.

I don't understand anything. Assignment: explain the meaning of the words and the reason for their appearance in the text. This is the third time in all my studies that a child has asked me a question, and then I sat in a puddle; this is in no way the reason for their appearance. even if we consider the words morally outdated...

Discussion

I would like to answer in a dissident manner that the reason for their appearance is the inability of people to express thoughts mentally, and not in words
then words appropriate to the meaning of the plot are used
In general, I’m once again convinced that literature in school is evil
should be changed to the development of speech and rhetoric
and which character is positive and which is not and what the author wanted to say - everyone must determine this for themselves, and not according to the teacher’s standard

Simply darkness! Poor kids!!! Contemporary “art is in great debt,” how can one speak about modern education in terms acceptable to society - I don’t even know! I also don’t understand what they want from children! Reasons for the appearance of words! all traditions and legends were presented in accordance with the vocabulary of the corresponding time and historical period! and it’s not in the task there is talk about etymology, as I understand it, but they ask about the reasons for the appearance of words!?! well, it wasn't before words depicting and illustrating certain phenomena and objects - so they appeared! Game...

I'll explain why. The child likes to read about what interests him. How interesting could it be if after half an hour of puffing the child finally? It is difficult for a child who is just learning to read to read such a long word as transformers, with three consonants together.

Discussion

I saw interest in the signs. When I started trying to read them, I realized that my interest was awakened
She taught syllables and types of words. That is, short ones were read in words at once, long ones were read in chunks, but not exactly syllable by syllable, but convenient for reading, as if they were singing the word
I learned to read in a few months, at 5.5. But then there were problems when he had to read syllable by syllable at school, he needed to depict the division on a syllable.
Until the 4th grade I read better than anyone in the class.

Any advice for the future for everyone? DO NOT TEACH YOUR CHILDREN LETTERS until it’s time to pick up Zhukova’s Primer. And you will be happy.

About declinations, how to explain? School. Child from 7 to 10. About declensions, how to explain? We were assigned to learn the rule over the weekend. Why are declensions needed - to know from the word which endings will be in different cases.

Discussion

thank you very much everyone!

People have noticed that nouns change differently and have different endings when asked the same question. For example, why if we admire, then we admire the grass, the earth, the horse, the cloud, life? Why is there one question, but the endings of the nouns are so different? They began to observe and noticed that some nouns had such and such endings in different cases (and called these nouns nouns of the 1st type of declension), others had such and such endings, and still others had such and such endings. And what declension we assign a noun to depends only on its gender and ending in the initial form...

And here everything is simple:
if the endings are -а, -я (f. and m. gender) - 1st declension
if zero (m.genus) or -o, -e (n.genus) - 2nd declension
if zero, but genus - third.

Section: Adoption (how to explain to kindergarten parents that they need to wear Czech shoes at the festival). Of course, we don’t go to the garden that often, however, is it really difficult, if the music director knows this, to print out the words of a song for the child so that we can learn it at home?!

Discussion

Oh, try to organize a children's party yourself... or something like that. You will be surprised how difficult it is to do this.
It is so difficult to assign roles without offending anyone (I remember how once at a matinee we had 4 supermen who performed together. Otherwise it would not have been possible to assign roles, all the boys wanted to be supermen and no one wanted to be a prince :).
Lines with text....I don’t know. Most often, parents lose text in best case scenario. At worst, they remember that they were kind of given something the evening before the holiday. And they start calling on the phone, urgently, urgently, to find out what they were supposed to learn. Yeah, the night before...all at the same time.

For me, it’s hard to say your words: “The child has a problem with gender identity, they make him do an exercise in the role of a girl (I swore under my breath)!!!”

Didn't understand?! Who has cockroaches in his head, you or me? Does your child like to act as a girl? Maybe he asked for it himself? What's the problem? Or are you afraid to raise a homo? This is how it is...from birth. You won't improve. Do you want to educate him about his gender identity??!!

Poems by A.S. Pushkin about winter - an excellent way to look at snowy and cold weather with different eyes, to see in it the beauty that gray everyday life and dirty streets hide from us. It was not for nothing that they said that nature has no bad weather.

Painting by Viktor Grigorievich Tsyplakov “Frost and Sun”

WINTER MORNING

Frost and sun; wonderful day!
You are still dozing, dear friend -
It's time, beauty, wake up:
Open your closed eyes
Towards northern Aurora,
Be the star of the north!

In the evening, do you remember, the blizzard was angry,
There was darkness in the cloudy sky;
The moon is like a pale spot
Through the dark clouds it turned yellow,
And you sat sad -
And now... look out the window:

Under blue skies
Magnificent carpets,
Glistening in the sun, the snow lies;
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river glitters under the ice.

The whole room has an amber shine
Illuminated. Cheerful crackling
The flooded stove crackles.
It's nice to think by the bed.
But you know: shouldn’t I tell you to get into the sleigh?
Harness the brown filly?

Sliding on the morning snow,
Dear friend, let's indulge in running
impatient horse
And we'll visit the empty fields,
The forests, recently so dense,
And the shore, dear to me.

Painting by Alexey Savrasov "Courtyard. Winter"

WINTER EVENING

The storm covers the sky with darkness,
Whirling snow whirlwinds;
Then, like a beast, she will howl,
Then he will cry like a child,
Then on the dilapidated roof
Suddenly the straw will rustle,
The way a belated traveler
There will be a knock on our window.

Our dilapidated shack
And sad and dark.
What are you doing, my old lady?
Silent at the window?
Or howling storms
You, my friend, are tired,
Or dozing under the buzzing
Your spindle?

Let's have a drink, good friend
My poor youth
Let's drink from grief; where is the mug?
The heart will be more cheerful.
Sing me a song like a tit
She lived quietly across the sea;
Sing me a song like a maiden
I went to get water in the morning.

The storm covers the sky with darkness,
Whirling snow whirlwinds;
Then, like a beast, she will howl,
She will cry like a child.
Let's have a drink, good friend
My poor youth
Let's drink from grief: where is the mug?
The heart will be more cheerful.

Painting by Alexey Savrasov "Winter Road"

Here is the north, the clouds are catching up...

Here is the north, the clouds are catching up,
He breathed, howled - and here she is
The winter sorceress is coming,
She came and fell apart; shreds
Hanged on the branches of oak trees,
Lay down in wavy carpets
Among the fields around the hills.
Brega with a still river
She leveled it with a plump veil;
The frost has flashed, and we are glad
To the pranks of Mother Winter.

Painting by Gustav Courbet "The Outskirts of a Village in Winter"

WINTER!... PEASANT TRIUMPHANT... (Excerpt from the poem "Eugene Onegin")

Winter!.. The peasant, triumphant,
On the firewood he renews the path;
His horse smells the snow,
Trotting along somehow;
Fluffy reins exploding,
The daring carriage flies;
The coachman sits on the beam
In a sheepskin coat and a red sash.
Here is a yard boy running,
Having planted a bug in the sled,
Transforming himself into a horse;
The naughty man has already frozen his finger:
It's both painful and funny to him,
And his mother threatens him through the window.

Painting by Isaac Brodsky "Winter"

WINTER ROAD

Through the wavy mists
The moon creeps in
To the sad meadows
She sheds a sad light.

On the winter, boring road
Three greyhounds are running,
Single bell
It rattles tiresomely.

Something sounds familiar
In the coachman's long songs:
That reckless revelry
That's heartbreak...

Painting by Nikolai Krymov " Winter evening"

IT WAS AUTUMN WEATHER THAT YEAR

That year the weather was autumn
She stood in the yard for a long time.
Winter was waiting, nature was waiting,
Snow only fell in January
On the third night. Waking up early
Tatiana saw in the window
In the morning the yard turned white,
Curtains, roofs and fences,
There are light patterns on the glass,
Trees in winter silver,
Forty merry ones in the yard
And softly carpeted mountains
Winter is a brilliant carpet.
Everything is bright, everything sparkles all around.

See the magnificent… Synonym dictionary

BRILLIANT, brilliant, brilliant; (short masculine not used) brilliant, brilliant (obsolete). Lush, shiny. “Softly covered mountains of winter with a brilliant carpet.” Pushkin. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

brilliant- oh, oh. pathet. Exceptional, excellent, wonderful. ◘ Dmitry and Ivan Ostapenko accomplished their brilliant feat (Zakrutkin). MAS, vol. 1, 99. The authors dedicate the brilliant victories of Soviet science and technology next book. Rusk... Explanatory dictionary of the language of the Council of Deputies

I adj. Reflective light; shining, sparkling (usually in poetic speech). II adj. 1. Luxurious, magnificent. 2. Exceptional in its qualities; excellent. 3. Distinguished by outstanding merits, demonstrating exceptional abilities,... ... Modern Dictionary Russian language Efremova

Brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant, brilliant,... ... Forms of words

brilliant- brilliant; briefly linen shape, linen... Russian spelling dictionary

brilliant- cr.f. blista/telna, blista/telna, flax, flax; shinier/flatter... orthographic dictionary Russian language

Aya, oh; flax, flax, flax. Will strengthen. = Brilliant (2 digits). B. success. Second career. B. publicist. ◁ Brilliantly, adv. B. sing an aria. B. a won battle. Brilliance, and; and. B. careers... encyclopedic Dictionary

brilliant- brilliant, sparkling... Dictionary of archaisms of the Russian language

brilliant- oh, oh; flax, flax, flax., enhance. see also brilliantly, brilliance = brilliant 2) Brilliant success. Second career. Blist... Dictionary of many expressions

Books

• Brilliant St. Petersburg, . Historical and artistic gift edition for the 300th anniversary of St. Petersburg (1703 - 2003)…
• The Brilliant Napoleon (set of 3 books), . The collection of works in three volumes about Napoleon opens with the book of the modern Canadian writer Ben Weider, “The Brilliant Bonaparte.” This is not a biography, but a living portrait that draws...

The question of the minimum speech unit, on the basis of which speech and all its component structures, including text, are generated, remains problematic today, without a clear solution. This indicates not only its complexity, but also methodological shortcomings in the approach to its study. Naturally, objective results are possible only with an adequate approach and the use of appropriate principles, methods and solutions.

It seems that it is enough to understand how a sentence is composed as a speech structure expressing a complete thought in order to understand what the original speech unit is and how the process of speech generation as a whole proceeds.

A sentence is a speech structure that can be defined as a fragment of text, but it can also qualify as a minimal text of an extremely laconic genre (proverb, saying, paradox, aphorism, poem, epitaph, etc.). Let's assume that the following simplest sentence is minimal text:

The boy threw the ball.

In oral communication, thanks to specific intonation, its structure is quite definite - it will always reflect one particular content. Its intonation is the most important way of conveying specific content expressed by significant speech units. Thanks to it, it is perceived by listeners as the speaker imagines it: it is he who forms it from minimal speech units and their meanings and with his intonation shows how it should be understood. So intonation is a way of interpreting content.

In written form it is ambiguous - neither structurally nor in content. Its structure, intonation and content can only be established through context. So, in answer to the question “What happened?” , indicating complete ignorance of the questioner, it consists of one syntagma reflecting an unambiguous fact:

The boy threw the ball. (1)

One syntagma and one sentence. This is the minimum structure and minimum content that is completely relevant to the question. One might even say, minimal text conveying comprehensive information. All components in it must be explicitly expressed, which facilitates the transfer of content.

Answer to the question “Who / threw the ball?” has, like the question itself, a composite structure and a composite content. Outwardly, this seems to be the same sentence, but it already consists of two syntagmas with the meanings of the subject and his action in relation to the object:

Boy/ threw the ball. (2)

The content of the syntagma threw the ball is known to the questioner. He does not know the subject of the action. That is why the structure of the sentence consists of two syntagmas, with a mandatory pause between them. Situational known information, conveyed by the syntagma threw the ball, can be omitted. Its explicitness is not required. The answer must contain syntagma that conveys new information ( Boy ). However, both the questioner and the answerer, when comprehending the content, take into account both syntagmas - explicit and implicit.

Intonationally, these syntagmas are not only combined in speech, but are also opposed to one another on the basis of the known-unknown fragment of content.

In answer to the question “What / did the boy throw?” the syntagmatic structure is also two-component. But it differs from the previous one in the composition of syntagmas:

The boy threw / ball. (3)

In this case, the subject and his action are known ( The boy threw). Object unknown. The syntagma ball contains new information. The structure of this option may also be incomplete and consist only of the second syntagma. A meaningfully important syntagm cannot be omitted, regardless of its grammatical indicators and structural role. Grammatical indicators are the result of the organization of speech, and content indicators reflect its communicative purpose, i.e. what the speech was meant for.

In answer to the question “What / did the boy do?” The syntagmatic structure of the sentence is also two-component:

Boy / threw the ball. (4)

Externally, this version of the syntagmatic structure coincides with the second, but they differ intonationally and, therefore, in content. Different intonation - different meanings. In the second version the syntagmatic stress is on the first syntagma, and in the fourth - on the second. The emphasis is on that syntagma that cannot be omitted, since it carries new fragment content. If in the second option the answer may consist of a syntagma Boy , then in this case it can consist of the syntagma threw the ball . And each of them performs the function of an (incomplete) sentence in speech.

Since the ball can be bought, donated, punctured, lost, etc., another speech situation is possible. In answer to the question “What / did the boy / do with the ball?” There will be three syntagms in the sentence:

Boy / quit/ ball. (5)

In the answer, the syntagmatic emphasis is on the second syntagma - as it is meaningfully important. Its presence is mandatory, although the other two syntagmas can be omitted without any damage to the conveyed content. The structural obligatory nature of a syntagm is determined by its meaningful function.

Even with such a simple example, one can be convinced that the structure and content of the sentence are syntagmatic in nature. But since a sentence is already speech, the conclusion is obvious: the structure and content of speech have a syntagmatic basis. Based on the above options, you can see how the syntagmatic structure of speech (sentence) varies depending on the specific communicative goal.

It is appropriate to note that simultaneously with the generation and intonation of speech by its subject into syntagmas, it is adequately perceived by the listener. Before us is a completely obvious picture: from which units speech is composed by its subject, at the level of these same units it is perceived by the listener. And vice versa, at the level of what units speech is perceived, from the same units it is composed. In our opinion, this is the essence of the generation of speech and its perception. Moreover, any of its constituent units.

>Thus, the syntagmatic structure of speech is created by its subject. IN oral speech intonation reflects this structure, indicating the boundaries of syntagmas, the logical-semantic relationships between them, their specific communicative function, and thereby contributes to the unambiguous transmission of content. In written speech, based on the context, the reader must independently understand the syntagmatic structure of the text being read, and, by restoring the author’s intonation, achieve its exact understanding.

Since the proposal under consideration and its content are closely related to a specific situation and there is no need for special specification for its participants, its structure is extremely simple. In the variants of his syntagmatics, one-word syntagmas often appear. This creates the illusion that sentences are made up of words. Let's try to free ourselves from it. Consider the organization of the following sentence:

… Waking up early, //

Out the window saw Tatiana //

White in the morning yard, //

Curtains, / roofs/ And fence, //

Light on the glass patterns, //

Trees in winter silver, //

Fourty merry in the yard //

And softly carpeted mountains //

Winters are brilliant carpet .

This is also a simple proposal. It consists of 11 syntagmas. Bold font indicates grammatical keywords in each of them. In the last two, words that connect these syntagmas with an intersyntagmatic connection are underlined. These are the key words for these syntagmas; they contribute to the continuation of the structural and semantic connection in the sentence, providing the basis for building up the last syntagma.

The grammatical nature of syntagmas, as well as their intra-syntagmatic connections and relationships can be characterized as follows:

Waking up early- by keyword - verbal syntagma, its components are connected in meaning and by a subordinating syntactic connection (adjacency), with the transmission of adverbial temporal relations;

out the window saw Tatiana- also a verbal syntagma, its key component saw connected by a predicative connection with a word with the meaning of a subject and a subordinating (adjacent) connection with a word form out the window; united into one structural and semantic whole by the relations of the action, its subject and method of action; words Tatiana And out the window are not directly related to each other either syntactically or in meaning, but both of them are combined with the keyword saw , as a result of which an indirect semantic connection arises between them and the meaning of the action, its subject and method of action is conveyed;

white in the morning yard - nominal syntagma with subordinating connection ( whitened yard - coordination; white in the morning- adjacency), qualitative-circumstantial relations; between words in the morning And yard there is no semantic and grammatical connection, however, due to their connection with the word whitened all three words constitute a structural and semantic unity;

curtains, / roofs/ And fence - three one-component nominal syntagmas, which, in the opinion of the subject of speech, surrounded by other syntagmas are sufficient to convey specific situational meaning; these are not linguistic units (words with their generalized meaning), but speech ones, because they denote specific realities observed by the subject of action in their interrelation and coexistence with others in a specific situation;

light patterns on the glass patterns has two heterogeneous definitions lungs And on glass, agreed and inconsistent; consistent defines keyword ( lungs + patterns ), and inconsistent defines a phrase with a keyword ( on glass + lungs patterns ), defining relations; words on glass And lungs are combined into a single whole due to their connection with the keyword patterns , they are not directly related to each other; there is an indirect semantic connection between them;

trees in winter silver- nominal syntagma, keyword in it trees , it has a postpositive inconsistent definition, expressed by the combination in winter silver; defining relations; not connected by syntactic connection trees And winter; thanks to the component that unites them in silver an indirect semantic connection also arises between them;

fourty fun in the yard- nominal syntagma, keyword fourty , it has postpositive consistent ( cheerful) and inconsistent ( outside) definitions; defining relations; words cheerful And outside are connected to each other only by an indirect semantic connection;

and softly carpeted mountains - nominal syntagma, keyword mountains , having a prepositive agreed upon definition, expressed by a combination of participle covered and the adjacent adverb soft; determinative-circumstantial relations are conveyed; words are not grammatically related soft And mountains;

winter is brilliant carpet - nominal syntagma, keyword carpet , which has two prepositive definitions: agreed brilliant and inconsistent winter; defining relations; words are not syntactically related to each other winter And brilliant.

Considering intra-syntagmatic connections, one can see that in many syntagmas there are words that are not directly connected syntactically and in meaning, but thanks to their relationships and connection with the keyword of the syntagma, an indirect semantic connection arises between them, as a result of which the syntagma acts as a single structural-semantic speech unit.

The syntagmatic structure of a sentence, its intersyntagmatic connections at the level of keywords and the sequential linear increase of syntagmas can be represented in the form different schemes. For example, like this:

The numbers reflect the order of syntagmas in the sentence and their number. Arrows indicate intersyntagmatic subordination between syntagmas. The lines between syntagmas (from 3 to 10) indicate a coordinating intersyntagmatic connection.

All syntagms are presented as single independent minimal structural and semantic groups of words. As we see, it’s not at all phrases like finished units with the nominative, i.e. generalized meaning, and especially not individual words as “lexical distributors,” but syntagms as specific speech structural and semantic blocks with situational meaning constituted the structure and content of the sentence.

Keywords of syntagmas in sentence format represent important nodes of intersyntagmatic grammatical and semantic connections ( waking up - I saw - a yard - curtains - roofs - a fence - patterns - trees - forty - mountains ). Thanks to this chain of keywords, acting as a grammatical core - each in its own syntagm - a semantic connection is established not only between keywords, but between syntagmas as a whole. And in each syntagma, all its lexical components are united around a key word into one structural and meaningful speech unit, and through it an indirect semantic connection is established between words that do not have a syntactic connection with each other.

The second syntagma acts as a unifying one. Its keyword saw occupies the main speech-organizing position among the keywords of the first ten syntagmas. With the keyword of the first syntagma ( waking up ) it is connected by an intersyntagmatic subordination connection (adjacency); relations - circumstantial, time. It is connected with the key words of the next eight syntagmas by a subordinating relationship (control), giving them the meaning of observable direct objects. Its grammatical connections and relationships end at the tenth syntagm. But they don't break off. Because in the tenth syntagm, in addition to the keyword mountains , associated with the second and previous seven syntagmas through keywords yard, curtains, roofs, fence, patterns, trees, forty , there is a component that unites it with the eleventh syntagma. This word covered , which controls the keyword of the last syntagm ( carpet ). Thanks to this connection, object relations are established between syntagmas, developing an indirect semantic connection in the sentence.

Paying attention to the structure of a given sentence and the intended unit of its organization - a word, phrase or syntagm - you can once again be convinced that the sentence has a syntagmatic basis. It is not only composed of syntagmas, but is also perceived at the level of syntagmas as the main components of structure and content. Its formation is carried out through a linear increase in syntagmas.

Intersyntagmatic connections can be represented in the form of the following diagram:

It reflects all 11 syntagmas, the sequence of their linear progression, their intersyntagmatic subordinating and coordinating connections, as well as the key words of this connection. Vertical lines indicate the main syntagmas, oblique ones - those dependent on them. Thus, the second syntagma is grammatically main for the first and for the next eight syntagmas. The tenth is dependent in relation to the second, but the main one for the eleventh.

Thus, in each syntagma there is grammatically keyword, around which all its other lexical components are united into a single structural and semantic group. At the level of keywords, syntactic and semantic connections are established between syntagmas. Keywords are important for both intra-syntagmatic and inter-syntagmatic connections and relationships. They are often the main ones in terms of meaning, which, however, is not necessary. Any component can become meaningfully relevant, regardless of its structural role and specific grammatical indicators. The content importance of speech components is determined not by structural parameters, but by communicative goals.

As a result of the consistent increase in syntagmas, speech is formed: sentences, statements and texts. Thanks to the awareness of their syntagmatic structure, they are perceived by the reader.

A syntagma usually consists of two or more significant words, but may consist of one word if, in the opinion of the subject of speech, it is sufficient to reflect a particular piece of content. In our example, these are homogeneous syntagms curtains, / roofs/ And fence . When combined with other single-functional components of a sentence, they receive a specific speech meaning (coexistence of observable objects, combined the big picture exposure to the first snow). The volume of the syntagma is determined by the nature and volume of the fragment of content, which, in the author’s opinion, is very important for, in his opinion, a sufficient reflection of the observed picture.

Words in the syntagma, when organizing speech, can be connected by any type of syntactic connection. Syntagm keywords can also be connected by any type of connection.

The grammatical nature of a syntagm is determined by the part-speech nature of its keyword. They can be personalized, verbal or adverbial. In some languages, for example English, the part-speech affiliation of a word is determined not on the basis of indicators inherent in the word as a unit of the vocabulary system of the language or a unit of its grammatical system, and based on it speech function, taking into account its syntactic position. In English speech, a grammatical homonym can act as a noun, adjective or verb. The degree of generalization of a word in English is higher than in Russian or Ukrainian. In the subject position, the word qualifies as a noun, in the position before the noun it is often perceived as an adjective, and in the predicate position it is often perceived as a verb. In Russian, Ukrainian and other Slavic languages, due to their inflectional nature, the part-speech affiliation of a word is already defined in the dictionary system of the language and does not seem as hypothetical as in English. This provision is reflected in dictionaries in English, in which nouns, adjectives and verbs are usually presented not as separate clauses, but as different semantic and grammatical meanings the same word. The word and its potential meanings.

The grammatical indicators of a syntagma are reflected in its intra-syntagmatic and inter-syntagmatic connections and relationships. The organization of speech is carried out using intersyntagmatic connections between syntagmas as they increase. By its essence, we can distinguish grammatical, semantic and associative intersyntagmatic connections, and by its direction - vertical and horizontal connections. The grammatical and semantic connection manifests itself both horizontally and vertically, covering both directions. Associative connection - only horizontally. All types subordinating connection represent the vertical direction, reflecting the grammatical hierarchy of the syntagmas being combined. Predicative and coordinative conjunctions represent a horizontal connection.

An associative connection can be qualified as a type of semantic connection. Its isolation as a separate type is due to the fact that, unlike the semantic associative connection itself, the associative connection appears only horizontally - with analogies, correlation, comparison, juxtaposition, explanation. In general, the semantic connection appears in such variants as actually semantic(with syntactically related combining components), mediated(arising between syntactically unrelated components grouped around keywords based on the relationship between keywords) and associative. Types of communication are not realized separately from each other, but in unity: grammatical and semantic. The associative connection is presented, for example, in the following speech fragment:

A sentence is not built directly from words / or phrases, // it is an intermediate speech structure, // occupying a position between the minimal speech-organizing unit, / syntagma, / and the text / as an absolutely complete unit of speech. // Sentences structure the text / in order to facilitate its syntagmatic division and perception. /// Syntagmas form all speech units / and the text as a whole. /// Laying brick to brick, / the mason builds all the floors / and thereby the house, // in the same way, the subject of speech / with the help of syntagmas / gradually / one after another / forms all the sentences / and at the same time / the text / as a completed unit.

The last 11 syntagmas, marked in bold, are connected with the previous speech structure by an associative connection that correlates their content with what has already been expressed. Here, the associative connection provides a logical basis for including the marked fragment in coherent speech, and in a given place in the speech structure.

To make sure that it is not the sentence that is the unit organizing the text, but the syntagm, let us imagine this context without indicating the boundaries between sentences and without punctuation marks. We will only indicate the boundaries between syntagmas.

A sentence is not built directly from words / or phrases // it is an intermediate speech structure // occupying a position between the minimum speech-organizing unit / syntagma / and the text / as an absolutely complete unit of speech // sentences structure the text / in order to facilitate its syntagmatic division and perception / // syntagms form all speech units / and the text as a whole /// laying brick to brick / the mason builds all the floors / and thus the house // exactly the same way the subject of speech / with the help of syntagmas / gradually / one after another / forms all the sentences / and at the same time / text / as a completed unit.

Sentences and punctuation have disappeared from the text, but by indicating the boundaries between syntagmas with the quality of pauses (longer and shorter), it is unlikely that it has become more difficult to understand. Even despite the novelty of the design. It is obvious that it is formed not from sentences, but as a result of a consistent linear buildup of syntagmas, the perception of which allows one to accurately understand the content. It is obvious that sentences perform a structuring function in the text. Many people would define the boundaries between them in a given text in their own way, although they would perceive its content quite adequately. But any perception of the syntagmatic structure of the text “in its own way” leads to a distortion of its content.

It is very important to consider that not all syntactically related words are included in one syntagma. They may refer to different syntagmas. Thus, keywords are syntactically combined with each other, but are included in different syntagmas. Their connection is intersyntagmatic. By connecting keywords, it thereby unites groups of words as independent unities, composing sentences, statements and text from them, i.e. a single coherent speech.

The status of a syntagma is determined by its three main functions: 1) to be the material in the structural and semantic organization of all constituent speech units; 2) promote accurate understanding of speech and 3) bring clarity to the structure of the sentence, promoting adequate qualification of its components. For example, when figuring out how to convey the meaning of predicativeness - one-part or two-part. Wed: We need to quit smoking And I must / quit smoking . The pause in the second option indicates two syntagmas and indicates a two-part sentence. Sentences have different contents, determined in the first case by the impersonal structure, and in the second by the relationship of action as a fact ( quit smoking ) And highest degree its obligatory nature ( Necessary ).

Speech is composed of syntagmas, and it can be adequately understood only at the level of these same minimal unambiguous speech units. Usually a syntagma is smaller than a sentence, but often it can coincide with it or with a separate predicative unit in complex sentence. In some cases, depending on the communicative purpose and emotional state subject of speech, it may include several single-component predicative units of nominative or verbal type.

Academician L.V. Shcherba studied the problem of syntagma for about thirty years. He went from a phonetic understanding of it to a syntactic one. IN latest performances and recordings that, unfortunately, remained unpublished, he speaks of it as the main speech-generating unit, which fully corresponds to speech reality. But many modern linguists, speaking about syntagma, for some reason rely not on the latest conclusions of the scientist, but on his early views and thereby falsify his final qualification of this speech unit.

In oral communication, speech is divided into syntagms using pauses. There is no division into words and sentences. The boundaries between sentences are not recognized either by the subject of speech or by his listeners. Words are recognized at the level of syntagmas, and thereby the specific content of each syntagma is realized. As a result of sequential combination of syntagm values, a general content speech. The traditional division of speech in writing into sentences inevitably falls on one of the boundaries between syntagmas (usually with a long pause).

The words of a language with their general meaning can relate to any situation. In the language system, the word, reflecting the essential feature of reality (in in a broad sense), is general in nature and denotes a reality-type. For him, the essential features of realities are relevant here. But in speech it is necessary to reflect a specific reality, highlighting it from all the same ones. This is facilitated by pointing out those signs that are unique to her. And this is done on the basis of the actualization of its accidental properties and qualities, to reflect which the appropriate words are used. Uniting into a single structural and semantic group, such a group of words creates a syntagma as a minimal speech unit with a specific, situational meaning. Syntagmas, combining words grammatically and meaningfully, mark their transition to the sphere of speech. Thus, syntagma is a structure in which the transformation of generalized linguistic signs into a single minimal unambiguous speech unit occurs. The group of words presented in the syntagma, corresponding to a specific speech situation, acquires situational content. The relevance of situational meaning for speech is paramount. It is no coincidence that I.A. Baudouin de Courtenay distinguished between a word in language and a word in speech, using different terms to name them. Thus, he clearly distinguished the spheres of language and speech, linguistic and speech units as a whole.

Syntagms do not form new concepts; they concretize and clarify those concepts that words denote in the language system.

The study of syntagma and the syntagmatic structure of speech forces us to take a different look at the doctrine of the members of a sentence, as well as at a sentence as an implementation of a structural scheme with the help of lexical extenders (i.e., individual words).

The statement that sentences as speech units with specific content are formed in the native language as a result of the dissemination of structural schemes by so-called lexical distributors raises doubts about its relevance speech activity. It represents native speech in the form of some kind of simplified word game, while this is the most important tool of thinking, a way of conveying the most complex thoughts, their shades, feelings, and subtle movements of the soul. It is improved throughout the life of a person who uses it automatically, because all his knowledge about the world, concepts and ideas, which form the basis for thinking, speech and practical activities, are presented in each person’s native language. Any impulse that generates thinking automatically evokes in him the corresponding words of his native language. Native speech is a means of knowledge, communication, mutual understanding, a way of cultural and national self-identification of individuals and people. If everything is so simple in constructing sentences and speech in general, as supporters of structural schemes imagine, then it is not surprising that in post-Soviet times there were careless people trying to translate millions of fellow citizens from their native language into a language foreign to them. It's hard to distribute schemes in separate words!

It is naive and too simplistic to believe that native speech is generated on the basis of patterns of individual words. Based on the research of N. Chomsky, V.Z. Demyankov, speaking about the generation of speech, writes: “... It is absurd to believe that the skeleton of a sentence is first selected (i.e., a model, a structural diagram - E.F.), which is then filled with lexical content, etc. The way a sentence is generated in a grammar describes the general language competence(competence), and not “performance” of speech. Therefore, we can speak about the phases, or stages, of speech generation only conditionally, bearing in mind the possibility of their parallel implementation.” 1 The statement is quite categorical, but, in our opinion, quite convincing. The virtuality and unnaturalness of speech generation, explained on the basis of structural diagrams, are obvious to many people who are trying to understand the real processes of speech generation using the example of personal speech activity. It is not the construction of sentences that is a consequence of structural diagrams, but, on the contrary, structural diagrams are a consequence of the analysis and generalization of the structure of sentences, one of the ways to systematize sentences based on the features of their structure. It is not the structural diagrams that are primary, but the sentences as real speech structures.

At the same time, it also becomes obvious that the traditional teaching about the members of a sentence does not seem entirely convincing, but rather a milestone in the development of linguistic thought. If a sentence is formed not from words, but from syntagmas, then the allocation of units less than syntagmas in it cannot but raise doubts. After all, it is the syntagma that is his minimal integral component. Isolating individual words from the syntagma as members of a sentence destroys its unity. There is nothing in common between them and the members of the sentence (including in their modern interpretation). Traditional and modern concepts of sentence members conflict with the process of generating speech and forming sentences. It is not clear what real speech unit in the sentence structure they reflect. If a word is included in a sentence as a component of a syntagma, it cannot act as an independent member of the sentence, since it is an integral part of the syntagma. Wed:

In our old cherry orchard / every spring / during the wild flowering of the trees / it’s simply fabulous / from the whiteness and fragrance of the flowers.

There are five syntagmas in the sentence, all of them have an adverbial meaning (place - time - time - state of the situation - reason). The first syntagma is represented by the word form of a noun in an adverbial (adverbial) meaning and its three defining components, the second by a word that qualifies as an adverb that has a definition.

You need to be very creative to explain the presence of a definition in an adverb in the spring and argue for the status of “members of the proposal”, expressed in words each, our, old, cherry, lush, trees, whiteness, flowers . All such explanations will be very naive. Because this sentence is formed not from sentence members, but from five syntagmas as single minimal structural and semantic components. Individual words and word forms appear here as structural and semantic members of their syntagmas. In the structure of the sentence they are not independent.

The situation during the speech act, when a group of words that manifests syntagma and acts as a minimal component of a sentence, is an objective phenomenon. But in this group they begin to find independent members of the sentence and at the same time not only destroy those real structures from which the sentence is directly composed, but also combine words connected by both internal syntagmatic and intersyntagmatic connections, not paying attention to the fact that the latter unites not individual words, but entire groups of words. The semantic and syntactic relations that arise are relations between groups of words, and not between individual words. Such actions are perceived as a redevelopment of the existing structure of the proposal from the inside, when its real origin is completely ignored.

The theory of syntagma is very closely related to the pragmatics of speech. But there is no targeted study of the syntagmatic basis of speech either at school or at university. Knowledge about it is important when teaching students to express their thoughts in writing and read texts with adequate understanding. Even on initial stage learning to read and write, it becomes obvious that not all words in speech are combined with each other. Therefore, it is necessary to find interrelated lexemes in it and perceive them as a single structural and semantic whole. The content of a sentence and the text as a whole is not at all determined by the sum of the meanings of all words separately.

To correctly understand a speech, you need not just read it, you need to correlate and combine the words in it, correctly distinguish between their single minimal groups. It is obvious that in any speech words are not only combined, but also differentiated. The reader needs to correctly determine the syntagmas from which the author formed the text. This is realized in schools today spontaneously, intuitively, and not by all students. You can often witness a picture when a person reads a text, but does not understand it, because he is not aware of the syntagmatics of the text and its intonation as a way of presenting the content. But if syntagma is used as the basis for teaching reading, listening, speaking and writing, the learning process will become conscious for both the teacher and the students. It will receive a completely different quality, since the perception of speech will fully correspond to the nature of its generation. This is important when learning both your native language and a foreign language. For example, when realizing analytical grammatical forms systems of tenses, passive, possessive, various semantic constructions in English speech.

To adequately understand a written text, it is necessary to realize its rhythm, restore intonation, realize the pauses between syntagmas, determine the semantic and grammatical relationships between them, as a result of which it is necessary to establish its real syntagmatic structure - the structure that the author defined and which has become the only form of existence and transmission of strictly specific content. The reader’s task is not at all to search for expressive semantic options in the text, as some researchers believe (N.D. Svetozarova 2, E.A Bryzgunova 3, V.K. Kolobaev 4, etc.), but to understand the author’s content of the text. In this case, it is necessary to exclude any other options, since they all lead to a distortion of the content, which is unacceptable for, for example, texts such as educational, scientific, legislative, journalistic, etc.

Notes:

1. Demyankov V.Z. Production, or generation of speech.

2. Linguistic encyclopedic Dictionary. - M.: Sov. encyclopedia, 1990. - p. 447.3. Bryzgunova E.A. Practical phonetics and intonation of the Russian language. - M., 1963.

4. Kolobaev V.K. Mobility of the boundaries of syntagma: consequences for linguistic and methodological forecasting - St. Petersburg, .

Russian language, literature, culture at school and university - Kyiv, 2011, No. 2. - P. 17 - 26