A short dialogue from fiction. Find out the work of A.S. Pushkin through the dialogue! Long dialogue of short sentences

« talking man"manifests itself in dialogical and monologue speech. Dialogues(from other-gr. dialogos - conversation, conversation) and monologues(from other -gr. monos - one and logos - word, speech) constitute the most specific element of verbal and artistic imagery 3 . They are a kind of connecting link between the world of the work and its speech fabric. Considered as acts of behavior and as the focus of a character’s thoughts, feelings, and will, they belong to the objective layer of the work; taken from the side of verbal fabric, they constitute the phenomenon of artistic speech.

Dialogues and monologues have common property. These are speech formations that reveal and emphasize their subjective affiliation, their “authorship” (individual and collective), one way or another intoned, capturing the human voice, which distinguishes them from documents, instructions, scientific formulas and other kinds of emotionally neutral, faceless speech units. Dialogue is made up of statements different persons(usually two) and carries out two-way communication between people. Here, communication participants constantly change roles, becoming for some time (very short) either speakers (i.e. active) or listeners (i.e. passive). In a dialogue situation, individual utterances appear instantly 4 . Each subsequent replica depends on the previous one, constituting a response to it. Dialogue, as a rule, is carried out by a chain of laconic statements called replicas.

Dialogues can be ritually strict and etiquette-ordered. The exchange of ceremonial remarks (which tend to expand, becoming like monologues) is characteristic of historically early societies and traditional folklore and literary genres. But the most complete and vivid dialogical form of speech manifests itself in an atmosphere of relaxed contact between a few people who feel themselves equal to each other. As linguists have repeatedly noted, dialogic speech is historically primary in relation to monologue and constitutes a kind of center of speech activity.

Hence the responsible role of dialogues in fiction. In dramatic works they undoubtedly dominate; in epic (narrative) works they are also very significant and sometimes occupy most of the text. The relationships of the characters outside of their dialogues cannot be revealed in any specific or vivid way.

Monologue is also deeply rooted in life, and therefore in literature. This is a detailed, lengthy statement that marks the activity of one of the participants in communication or is not included in interpersonal communication. Monologues are distinguishable converted and secluded 8 . The former are included in human communication, but differently from dialogues. Converted monologues in a certain way influence the addressee, but in no way require an immediate, momentary verbal response from him. Here one of the communication participants is active (acts as a continuous speaker), all others are passive (remain listeners). In this case, the addressee of the addressed monologue can be an individual person, and unlimited big number of people ( public performance politicians, preachers, court and rally speakers, lecturers). Addressed monologues (unlike dialogue lines) are not limited in volume, as a rule, they are thought out in advance and clearly structured. They can be reproduced repeatedly (with full preservation of meaning), in various life situations. For them, both oral and written forms of speech are equally acceptable and favorable. single monologues are statements made by a person either alone (literally) or in psychological isolation from others. These are diary entries that are not aimed at the reader, as well as “speaking” for oneself: either out loud, or, which is observed much more often, “to oneself.” Solitary monologues are an integral part of human life. According to a modern scientist, “to think means, first of all, to talk to oneself.”

Monologue speech forms an integral part of literary works. A statement in lyric poetry is a monologue of the lyrical hero from beginning to end. An epic work is organized by a monologue belonging to the narrator-storyteller, to which the dialogues of the depicted persons are “connected”. The “monologue layer” is also significant in the speech of characters in epic and dramatic genres. This includes internal speech in its specificity, which is quite accessible to stories and novels (remember the heroes of L.N. Tolstoy and F.M. Dostoevsky), and conventional “remarks to the side” in plays.

A literary work can rightfully be characterized as a monologue of the author addressed to the reader. This monologue is fundamentally different from oratorical speeches, journalistic articles, essays, and philosophical treatises, where the direct author’s word undoubtedly and necessarily dominates. He is a kind of supraverbal education is like a “super-monologue”, the components of which are dialogues and monologues of the persons depicted.

For linguists, dialogue in fiction is valuable primarily as excellent material for research. Linguists study the essence of artistic dialogue, the principles and patterns of its organization, the structure of replicas, their semantic connection in dialogic unity and the entire text. Based on these studies, four distinctive feature

artistic dialogue:

1) artistic dialogue must have a certain length, which is not at all necessary for dialogue in life;

2) it is thought out in advance by its creator, which is not the case in spontaneous natural speech;

3) artistic dialogue develops action, all its elements are closely related and interconnected, which is not necessary for dialogue in life;

4) dialogue in a literary text is subject to the rules of time, rhythm and tempo, outside of which a literary text does not exist. Artistic dialogue is most fully manifested in drama, since in this genre there is no speech by the narrator (the exception is the author's remarks). Dialogue in modern drama is as close as possible to oral colloquial speech

. When analyzing dramatic dialogue, it is necessary to take into account that in drama dialogue performs a textually constitutive function. IN AND. Lagutin notes that “the dialogue in drama always has a double burden: to characterize the characters, develop the action, inform about the external situation, motives and reasons for the behavior of the characters. The author creates a single and whole speech work, but he creates it from heterogeneous, seemingly alien utterances.”

In dramatic works there is a classification of dialogues:

1) by genre (comedy, tragedy, drama); 2) by role in plot development

artistic work (service, informational, explanatory).

R. Zimmer identified three types of dramatic dialogue:

1) disputable;

2) expressive;

In the discursive type of dialogue, “the message function dominates in communication, non-verbal means (facial expressions, gestures) are used insignificantly, there is no individualization of the characters’ speech, a refined style predominates, the whole drama appears as a mouthpiece of the author’s ideas.”

In an expressive type of dialogue, speech is emotionally charged, the nature of the characters’ actions is individual, the role of extra-speech context increases, and a larger number of author’s remarks appear, compared to the previous type of dialogue, that influence the meaning of the characters’ words and remarks.

The situational type of dialogue is characterized by a predominance spoken language, individually colored speech, which acts as “one of the components of the characters’ existence.” In the description of relatively unrelated situational pictures, the social relationships of the characters play a major role.

Please contact
attention to detail. Now I want to talk about those details that are especially
should, it seems to me, be valued in themselves. These are details, little things,
testifying to simple human feelings, about humanity. They can
to be without people - in the landscape, in the life of animals, but most often in the relationships between
people.

Old Russian icons are very “canonical”. This
traditional art. And the more valuable in them is everything that deviates from canonicity,
what gives a way out human attitude the artist to the depicted. In one icon
"The Nativity", where the action takes place in an animal cave, depicts
a small sheep that licks the neck of another larger sheep. Maybe this
daughter caressing her mother? This detail is not at all provided for by strict
iconographic norms of the “Nativity” composition, so it seems especially
touching. Among the very “official” - suddenly such a cute detail...

In the 17th century murals of the Moscow church in
Nikitniki suddenly shows a young birch tree among the stencil landscape, yes
so “Russian”, touching that you immediately believe that the artist knew how to appreciate
Russian nature. Autobiographical works of the Rila monks have been preserved
monastery in Bulgaria. One such 19th-century autobiography tells the life
a monk who collected donations for the monastery. And he was in very bad times
provisions: sometimes the doors of houses were closed in front of him, he was not allowed to spend the night,
often he had nothing to eat (of the money donated to the monastery, he gave himself nothing
didn’t take it), etc. And so he exclaims in one place in his notes: “Oh, the monastery
My monastery, how warm and satisfying it is!” This monk's story ends
a stencil curse to anyone who spoils the book, distorts the text, etc. But
further he writes: “If I write this, then do not think badly of me, that I am evil and
bad!" Isn't it touching? Please note that these “curses”
to the sloppy reader and inattentive copyist were an ordinary stencil, so
Many manuscripts were coming to an end.

It was common to think that in Ancient Rus'
allegedly poorly understood the beauty of nature. This opinion was based on the fact that
ancient Russian works are rare detailed descriptions nature, no landscapes,
which are in the new literature. But here is what Metropolitan Daniel writes in the 16th century:
“And if you want to cool off (that is, take a break from work. - D.L.) - go to
the threshold of your temple (your house. - D.L.), and see the sky, the sun, the moon,
stars, clouds, ohvi highest, ohvi lowest, and cool off in them.”

I do not give examples from works
well-known, recognized as highly artistic. How many of these touching
human episodes in War and Peace, especially in everything connected with
the Rostov family, or in Pushkin’s “The Captain’s Daughter” and in any artistic
work. Isn’t it for them that we love Dickens, Turgenev’s “Notes of a Hunter”,
the wonderful “Grass and Ant” by Fyodor Abramov or “The Master and Margarita” by Bulgakov.
Humanity has always been one of the most important phenomena of literature - great and
small. It is worth looking for these manifestations of simple human feelings and concerns. They
precious. And they are especially precious when you find them in correspondence, in
memories, in documents. There are, for example, a number of documents testifying
about how ordinary peasants avoided participating in
construction of a prison in Pustozersk, where Avvakum was to be a prisoner. And this
absolutely everything, unanimously! Their evasions are almost childish, they show
simple and kind people.

Continuous dialogue should not be too long, otherwise it slows down the dynamics of the work. The conversation of the characters implies a real passage of time, while in general the plot develops much faster. If a lengthy dialogue is still necessary, then it should be diluted - for example, with a description of the actions, emotions of the hero, etc.

Do not litter the dialogue with phrases that do not provide useful information.

The girls said goodbye:
- Goodbye!
- Best wishes!
- I was very glad to see you!
- Come to visit us!
- We'll definitely come. We really enjoyed your stay last time.
- Well, really, it’s not worth it. Well, goodbye!

One could limit ourselves to one phrase: “The girls said goodbye.”

A similar problem is repetitions of the same thought:

Is that really what she said: go away?
- Yes exactly.
- I can not believe.
- I swear! I gave you everything word for word. So she said: go away.
- I don't believe. You must have mixed something up.

Of course, there may be exceptions to this rule, but you should still remember that empty dialogue is boring, and the reader misses boring things.

Unnaturalness

Dialogue should sound natural. You should not use complex five-line sentences or expressions that are not used in real speech in conversation.

You need to regularly water the sprouts, because otherwise they will have nowhere to get the moisture that is so necessary for their nutrition and full development.

This is not the way to say it. It's better to rephrase the sentence:

Don't forget to water the sprouts, otherwise they will dry out.

Exception to this rule: the hero deliberately tries to speak like a book, and it is clear that this is not stylistic error, but the author's idea.

Obsolete expressions

Thousand devils! - exclaimed the office manager, turning off the computer. - Oh, I'll be damned if I don't take revenge on these scoundrels!

To check if the dialogue sounds natural, read it out loud. Extra words will hurt your ear.

Inconsistency of dialogue with the situation or character of the characters

In the novels of newcomers, there are often scenes in which villains, in the heat of battle, talk with heroes about Good and Evil - long sentences with adverbial phrases.

If you think this is normal, try beating a pillow for five minutes while retelling the story about Kolobok.

Did you get something coherent? Taking off my hat.

A runner immediately after a marathon cannot give lengthy interviews, a fireman in a burning building will not ask: “Please, Vasily Ivanovich, give me a fire hose!”

Overkill with attribution

Ivan looked into Masha’s face.
“What a fine fellow you are,” he said.
“If it weren’t for you, I wouldn’t have succeeded,” she responded.
“Come on, it’s not worth it,” said Ivan.

We remove “he said”, “she responded”, “Ivan said” - and the meaning is not lost. The reader is absolutely clear who said what.

Extra adverbs and other clarifications

This is unfair! - the girl sobbed tearfully.

In this case, the adverb duplicates the meaning of the verb. The word “sobbed” is quite enough.

Stamps look even worse.

Now I'll deal with you! - grinned sinisterly Emperor.
- I beg you, let me go! - screamed heartbreakingly girl wringing her hands.

Same type attribution

“Don’t forget to buy some sushi,” said the grandmother, counting out the money to her.
- And I’ll have some chocolates! - Dad said from behind the door.

You should not repeat the same attributive verbs over and over again, otherwise the reader’s attention will be fixed on these words. If it is difficult for you to choose an attributive verb, insert a phrase that will describe the hero’s action, and then his replica.

“I went to the store,” said Masha.
Grandmother counted out the money to her.
- Don't forget to buy dryers.
- And I’ll have some chocolates! - Dad’s voice was heard from behind the door.

Speaking verbs and shortcuts

If possible, try not to supply the characters’ lines with overly telling attributive verbs. Emotions should be conveyed by the essence of the scene, and not by pasted labels.

An example of such “steroid-pumped” attributive verbs is given by Stephen King in the manual “How to Write Books”:

Drop the gun, Utterson! - Jekyll rasped.

Kiss me, kiss me! - Shayna gasped.

You are teasing me! - Bill pulled back.

You should also not constantly remind the reader: this character is a scoundrel, but this one is Prince Charming. When scoundrels “grin gloatingly” and princes “raise their eyebrows contemptuously” - this is a sure sign that the author wrote “arrogantly ignoring common sense.” The hero must be characterized by his words and actions.

Long dialogue of short sentences

Where are you going?
- To the village.
- And what's in there?
- Nothing.
- What for?
- Tired of it.
- Why?
- You will not understand.

Such dialogue turns off imaginative thinking. The reader begins to see not a mental picture, but letters. If a monosyllabic exchange of words is absolutely necessary for the plot, then it must be diluted with descriptions.

Accent and speech distortion

You need to be very careful with the transfer of accent and speech distortions. If the reader may even for a moment have difficulty reading phrases like “evolution is funny,” then it is better to simply mention that the hero is burring.

Using a name in dialogue

Hello, Masha!
- Hello, Petya! I'm so glad to see you!

What is wrong? During a conversation, we rarely call people by name, especially if no one is nearby. Therefore, this dialogue sounds false.

Retelling other people's words

I met Masha. She said: “Petya, why don’t you come to visit me?” “Because I don’t have time,” I answered.

Try to avoid direct speech in direct speech or convey other people's words as they sound in everyday conversation.

Today I met Masha. She asked where I had gone, and I lied that I didn’t have time.

Retelling what the characters already know

You know, a couple of years ago orcs attacked our northern borders and burned five cities. And then King Sigismund the Fifteenth allocated three hundred thousand warriors on battle dragons...
- Yes, this battle was included in the chronicles for a reason. Remember how they captured the Magic Stone of Omniscience?
- Of course I remember.

Incorrect use of foreign expressions

Foreigners in novels by newcomers often speak their native language with wild errors. If you are not sure how to spell a phrase, consult a professional translator or native speaker.

Too much slang and obscenities

If your hero “talks” exclusively about the hair dryer, the reader may not “catch up” with him.

Swearing in literature is permissible only in small doses and only appropriately. Exceptions are “avant-garde” novels published in a circulation of 500 copies.

We remember that no one will judge us for the absence of profanity, but it is quite possible to confuse readers due to the abundance of obscenities.

What properties should a well-written dialogue have?

1. It must be absolutely necessary, that is, without it it is impossible to develop the plot or reveal the personality of a particular character. An example is the conversation between Chichikov and Nozdryov (N. Gogol. “Dead Souls”).

2. Each of the heroes must speak their own language own language. He needs to be given his favorite words, think in advance about how he will construct phrases, what his vocabulary is, what his level of literacy is, etc. This technique will allow you not only to convey the information necessary for the plot, but also to create a reliable image.

Nymph, put her in a swing, does she really give the goods? - the undertaker said vaguely. - How can she satisfy the buyer? The coffin - it takes a lot of wood...
- What? - asked Ippolit Matveevich.

Yes, here is “Nymph”... Three families of them live from one merchant. Already their material is not the same, and the finish is worse, and the brush is liquid, put it in a swing. And I am an old company. Founded in one thousand nine hundred and seven. My coffin is a cucumber, selected, amateur...

I. Ilf and E. Petrov. "The twelve Chairs"

It should be remembered that the heroes cannot behave the same way with everyone and speak in the same manner with both the queen and the longshoreman.

3. Characters should not talk in a vacuum. Create a living world around them - with smells, sounds, furnishings, weather, lighting, etc.

Evening at the end of June. The samovar has not yet been removed from the table on the terrace. The housewife peels berries for jam. Her husband's friend, who came to visit the dacha for a few days, smokes and looks at her sleek, round arms, bare to the elbows. (A connoisseur and collector of ancient Russian icons, an elegant and dry-built man with a small trimmed mustache, with a lively look, dressed as if for tennis.) He looks and says:

Kuma, can I kiss your hand? I can't watch calmly.

Hands are soaked in juice, he offers his shiny elbow.

Lightly touching his lips, he says hesitantly:
- Kuma...
- What, godfather?
- You know what the story is: one man’s heart left his hands, and he said to his mind: goodbye!
- How did this heart leave your hands?
- This is from Saadi, godfather. There was such a Persian poet.

I. Bunin. "Kuma"

4. Let the characters not only speak, but also gesticulate, move, grimace, etc.

Oh no no no! - exclaimed the artist, - did they really think that these were real pieces of paper? I don't think they did it consciously.
The barman looked around somehow wryly and sadly, but said nothing.
- Are they scammers? - the magician asked the guest anxiously, - are there really scammers among Muscovites?
In response, the barman smiled so bitterly that all doubts disappeared: yes, there are scammers among Muscovites.

M. Bulgakov. "Master and Margarita"

5. Make sure that the speech of the characters corresponds to the place, time, mood and individual characteristics heroes. If a person wakes up with a hangover, he is unlikely to be able to joke with girls; If a sledgehammer fell on a lumberjack prisoner’s leg, he would not exclaim: “Oh, how painful!”

6. The length of sentences in dialogues should be correlated with the speed of development of events. In crisis situations, a person speaks briefly; at home by the fireplace he can afford flowery phrases and poetic comparisons.

What work is the dialogue from? Who are its participants?

1. - No, that’s enough, I’m not afraid of you! –

I despise your threats

I curse your murder...

Die too!

I will die loving...

2. - Who are you?.. Alone, sometimes at night, -

Why are you here?.. - I was coming to you,

Save me; in my destiny

I have only one hope left...

I enjoyed happiness for a long time,

She was more carefree day by day...

And the shadow of bliss passed;

I'm dying. Listen to me.

3. - Tell me, my friend: you don’t regret

About quitting forever?

Why did I give up?

Do you mean:

People of the fatherland, the city.

What to regret? If only you knew

When would you imagine

The captivity of stuffy cities!

there are people in heaps behind the fence,

They don’t breathe the morning cool,

Not the spring smell of meadows;

They are ashamed of love, thoughts are driven away,

They trade according to their will,

They bow their heads before idols

And they ask for money and chains.

4. “If only I were a queen,”

One girl says,

Then for the whole Epiphany world

I would prepare a feast."

“If only I were a queen,” -

Her sister says,

Then there would be one for the whole

I wove fabrics.”

“If only I were a queen,” -

The third sister said,

I would for the father-king

She gave birth to a hero."

5. - Oh, nanny, nanny, I’m sad,

I'm sick, my dear:

I'm ready to cry, I'm ready to cry!..

My child, you are unwell;

Lord have mercy and save!

What do you want, ask...

Let me sprinkle you with holy water,

You're burning all over... - I'm not sick:

I... you know, nanny... is in love.

6. - So you're married! I didn’t know before!

How long ago? - About two years. –

On whom?

7. “I’m married, I’ve been married for four years now, and I don’t know who my wife is, and where she is, and whether I should ever meet her!”

What are you saying? How strange! Continue; I'll tell you later... but go ahead, do me a favor.

8. - Where are you from?

From Priluchin; I am the daughter of Vasily the blacksmith, I’m going mushroom hunting. And you, master? Tugilovsky, or what?

That's right, I'm the young master's valet.

9. -Who am I, in your opinion?

God knows you; but whoever you are, you are telling a dangerous joke.

Isn’t there good luck for the daring?.. Serve me faithfully and truthfully, and I will make you a field marshal and a prince. How do you think?

No. I am a court nobleman; I swore allegiance to the Empress: I cannot serve you.

10. -You're not from here, are you?

Exactly so, sir: I just arrived from the provinces yesterday.

Did you come with your family?

No way, sir. I came alone.

One! But you are still so young.

I have neither father nor mother.

You are here, of course, on some business?..

-...I came to ask for mercy, not justice.

11. - You are free…

No. It's too late - I'm married.

What are you saying! No, you are not his wife, you were forced, you could never agree...

I agreed, I swore an oath... I didn’t cheat. I was waiting for you before last minute… But now, I tell you, it’s too late now.

12. - Let me go visit today.

Please; And where to?

To Tugilovo, to the Berestovs. The cook's wife is their birthday girl, and yesterday they came to invite us to dinner.

Here! The masters are quarreling, and the servants are treating each other.

13. - For a long time or recently, I don’t know,

But wait, I just know the price

Instant life, only from then on

And I understood what the word happiness means.

Go away - you are a dangerous man!

Dangerous! how?

I'm afraid to listen to you.

I'll shut up; just don't drive away

the one to whom your appearance is one joy.

I don't have arrogant hopes

I don't demand anything but to see

I owe you when I'm already on life

I'm condemned.

Come on - this is not the place

Such speeches, such madness...