The verb is the basis of the language to find the correct one. During the classes

Many writers have paid attention to the amazing power of the verb. A. N. Tolstoy wrote: “Movement and its expression - the verb - are the basis of language. Finding the right verb for a phrase means giving movement to the phrase.” The writer believes: “In my deep conviction, all the strikingness of prose is in the verb, for the verb is the effectiveness of character.”

Conversation on repetition of grammatical features of a verb.

Exercise 1. Let's look at the thoughts contained in these statements using one example. We read a poem by D. Kedrin.

I keep imagining a field with buckwheat,

In a small house there are lilacs on the window,

Clear-clear, quiet-quiet

I imagine a summer morning.

It seems to me like a sad song

Above me, my mother sings, half asleep.

Narrow-narrow, far-far

In the field I see a road.

What can you say about the verb seems?

(Imagining is the key word that connects the pictures that are dear to the poet’s heart.)

Determine which dictionaries the dictionary entries are taken from.

To imagine - to appear, to appear in the imagination. (From the explanatory dictionary)

To imagine - to imagine, to flash in the eyes, from visions, from the same basis as to fade, to fool. (From the etymological dictionary)

What can you say about the grammatical meanings of this word?

What grammatical features are constant?

Which ones are fickle?

What verb forms are indicated by -tsya and -tsya?

(The verb has constant and inconstant features. Constant features: inconsistent aspect, 2nd conjugation. Inconstant features: indicative mood, singular, present tense. 3rd person. The verb ends in -tsya, because it is used in the 3rd person, verbs end in -tsya in an indefinite form.)

Task 2. Insert the words that are missing from the text. What part of speech do they belong to? Name their grammatical features.

All night Zhenya...a mosquito: he...the unfortunate boy in the nose, in the ear, in the left cheek, disgusting..., ...and.... Zhenya with his hands..., and legs... and...at the terrible mosquito, and even once into him... - that's all useless!

Task 3. What grammatical features of the verb are discussed in the following poem:

Once upon a time, guys

In time it

Second conjugation

Had a spy.

Here are his instructions.

They have spy functions.

Here they are, hurry to SEE:

Don’t DEPEND on the contact person,

HATE all “clients”

HURT them more.

To endure difficulties with steadfastness,

Twirl the lasso over yourself,

Through the crack under the door

WATCH your enemy.

DRIVE a car on the highway

And HOLD a dagger in your teeth,

Can't breathe at all.

Task 4 . Tell us which verbs belong to the 1st conjugation and which verbs belong to the 2nd conjugation.

Task: 5.Working with text

Read the text. Write down the verbs, highlight the endings, determine the conjugation of the verbs. How can we explain that among these words there are no verbs with zero endings? In what tense can a verb have a zero ending?

Monkeys are sometimes referred to as “four-armed.” For those who live all their lives high on the branches of trees, four tenacious paws are very useful: one paw holds on to a branch, the other carries prey, and the third and fourth already grab onto the branches. But the tail also helps monkeys. She clings to a branch with her tail, hangs upside down and picks tasty fruits from the trees.

Sample entry: speak (speak, 2 questions)

Hanging (hanging, 2 spr., excl.)

Watched (watch 2 references; zero ending – m.r. unit)

Using the table, talk about vowel alternation in the root.

Task 5 : Insert missing letters

Die, st...re, wipe, lock...lock, fuck, burn, burn.

Task 6 : Make up phrases with verbs, determine their type.

Clean up, clean up, collect.

Wipe, grind.

Light it up, light it up, light it up,

Take it off, take it off.

Start, start.

Task 7. Repetition of ways to form verbs:

How are words formed in Russian?

What are the features of word formation of verbs?

(The predominant way of forming verbs is prefixed, when

Task 8 : Determine the way verbs are formed.

Travel around, keep secrets, have breakfast

Municipal budgetary educational institution

secondary school "Eureka-Development"

Voroshilovsky district of Rostov-on-Don

__________________________________________________________________

All the power of the Russian verb

Research work on Russian language

teacher of Russian language

Rostov-on-Don


Introduction
Part 1. Verb Basics
Part 2. The use of verbs in fiction Chapter 1. The use of verbs in an epic work (using the example of the story “The Death of an Official”)
Chapter 2. The use of verbs in a dramatic work (using the example of AP. Chekhov’s play “The Seagull”)
Chapter 3. The use of verbs in lyrics
Part 3. Using verbs in creative works in Russian lessons
Conclusion
Bibliography

Introduction

Many linguists believe that the verb is the most complex and most capacious part of speech; In addition, it has wide possibilities for describing life in its development and movement. wrote: “Finding the right verb for a phrase means giving movement to the phrase.” In works of art, everything that the author talks about “comes to life” only when events, people, the motives of their actions, the properties of their characters are presented in dynamics, in action. This is the law of artistic representation of life, which ancient poets knew about. Aristotle stated: “Those expressions represent a thing visually which depict it in action.”

The verb plays a huge role in our speech. It’s not for nothing that great people talk about the verb:

“Movement and its expression – the verb – is the basis of language. Finding the right verb for a phrase means giving movement to the phrase.” ().

“In my deep conviction, all the strikingness of prose is in the verb, for the verb is the effectiveness of character.”(Yu. Bondarev).

I decided to devote my research work to the role of the verb in fiction, and also to prove that this particular part of speech is one of the most necessary and most expressive.

The relevance of the study lies in the fact that the topic “Verb”, which has a significant place in the curriculum, is a rather complex but entertaining topic studied at school. But, unfortunately, it does not arouse any interest among many students. But the verb is one of the most striking and necessary parts of speech.

The object of the study is the properties of the Russian verb; The subject of the research is literary texts (the story “The Death of an Official”; the play “Three Sisters”; poems by A. Pleshcheev, F. Tyutchev, A. Maykov, as well as texts compiled by school students).

To achieve this goal, it is necessary to solve the following tasks:

1. analyze literary texts (epic, lyrical and dramatic genres), identifying the peculiarities of the use of verbs in them.

2. analyze texts compiled by students of our school from the point of view of the use of verbs.

To solve these problems, I used the following research methods:

Studying literature about the verb;

Survey of students at our school;

Text analysis.

This work will help students become more familiar with such a part of speech as a verb, and teachers will use the work material (examples) in Russian language lessons.

My work consists of two parts:

Part 1 – analysis of the use of verbs in Russian literature. In my work, I decided to try to answer the question: what role does the verb play in Russian literature? For analysis, I chose texts representing three types of literature: epic, lyric and drama.

Part 2 – analysis of the use of verbs in texts compiled by school students in the classroom.

I. The use of verbs in fiction

Chapter 1. The use of verbs in an epic work

(using the example of the story “Death of an Official”)

In our school, for two years now, there has been a Chekhov Club “Classics” - a club that unites lovers of Anton Pavlovich’s work. In addition, I was lucky enough to play the role of Nina Zarechnaya in the play “Russian Tango”, staged by a literature teacher

That is why, to analyze the epic work, I chose the short humorous story “The Death of an Official,” published in Oskolki in 1883 with the subtitle “The Case.”

The plot of the story is simple: one evening, executor Ivan Dmitrievich Chervyakov went to the theater, where he accidentally sneezed on civil general Brizzhalov. After this incident, Chervyakov was very worried and went to apologize to the general many times, not realizing that he had long since forgiven him. In the end, Chervyakov became so worried that he died.

There are 129 nouns in the story, many of which are repeated several times. This is the surname of the main character - Chervyakov, the word “general”, “letter”, etc.; a total of 12 adjectives and 151 verbs and 18 verbal forms (participles and gerunds). Since we have a narrative in front of us, most of the verbs are in the past tense: sat, looked, muttered, leaned, etc.

Verbs are used in artistic speech primarily to convey movement that expresses the dynamics of the surrounding world and the spiritual life of a person. If a writer wants to display pictures in which objects cease to be motionless, to “breathe life” into the narrative, he turns to verbs. We illustrate the most important stylistic function of the verb in artistic speech - to give dynamism to descriptions - with an example:

But suddenly his face winced, eyes rolled up, breathing stopped… He took away from the eyes binoculars , bent over and... apchi!!!(there were 5 verbs in one sentence).

Of particular importance for characterizing the hero is the choice of the most expressive, “key” verbs. Moreover, often, instead of listing a number of actions that do not have fundamentally important artistic significance, one action is called, denoted by an unusual verb, reflecting, as if in focus, several movements of the hero, his reaction, impressions, etc., presented in a generalized form. For example, when conveying dialogue, writers often refuse to use “speaking” verbs ( said, answered, repeated, asked), and try to find words depicting actions that accompany speech:

“I came yesterday to bother you,” he muttered...

The writer in such a short story along with the verb said uses the following verbs: whispered, muttered, began to report, addressed, barked, repeated.

Such a replacement of some verb words with others is possible only in works of art.

The writer repeatedly uses lexical repetition in the story, expressed precisely by the verb. Lexical repetition – repetition of the same word or phrase. By repeating a word in the text, a key concept is highlighted:

Sneezed , as you can see. Sneeze no one is forbidden anywhere. Sneezing and men, and police chiefs, and sometimes even secret councilors. All sneeze.

I apologized for the fact that, while sneezing, I splashed... laugh I didn't think so. Do I dare laugh? If we will laugh, so then there will be no respect for persons...

When so I won't I have to apologize more to this fanfare! To hell with him! I'll write him a letter and go I won't! By God, I won't!

The repetition of these verbs in the story does not at all mean a mechanical duplication of the same concept or meaning. Basically, repetition conveys very complex, subtle semantic nuances.

The writer also uses antithesis, expressed by verbs, which also helps him highlight this particular action in the story:

No worms at all not embarrassed, wiped himself with a handkerchief and, like a polite person, looked around him: had he bothered anyone with his sneezing? But then I had to be embarrassed.

If we look closely at all the verbs used, we will see that throughout the entire work some verbs (their forms) are used several times.

Spring is coming, spring is coming,
We are messengers of young spring,
She sent us ahead!

Spring is coming, spring is coming,
And quiet, warm May days
Ruddy, bright round dance
The crowd is cheerfully following her!..”

The poet uses 14 verbs in the poem. All verbs can be classified by meaning:

Verb of movement
actions

Verb
sound

Verb
colors

Verb
state

Verb
feelings

run (2), sent (1)

coming (4), waking up (1)

crowded (1)

making noise (1), saying (2)

shine (1)

turns white (1)

As we can see from the table, most of the poems contain verbs of motion. But we not only see the arrival of spring, we hear it thanks to the verbs of sound: they make noise and shout. The function of color is usually conveyed by adjectives, but here Tyutchev masterfully uses verbs of color: shine, whitens.

Among the 14 verbs, only one verb is used in the past tense, the rest are present tense verbs.

In the first line, the static state of nature is expressed by the verb color turns white. Winter is still lingering in the fields, and an atmosphere of peace and quiet reigns. The following lines are dominated by verbs of motion, creating dynamics.

The second poem I turned to was the poem by A. Maykov:

Spring! the first frame is exposed -
And noise burst into the room,
And the good news of the nearby temple,
And the talk of the people, and the sound of the wheel.

Life and will breathed into my soul:
There you can see the blue distance...
And I want to go to the field, to the wide field,
Where, walking, spring showers flowers!

The poem has 5 verbs:

Verb of movement
actions

Verb
sound

Verb
colors

Verb
state

Verb
feelings

exposed, burst in,

pours, blows

Here, as in the previous poem, verbs of movement predominate, and even if there are not so many verbs, they still give special expressiveness to the poem

The poem glorifies the arrival of spring, that time when it is already warm (“the first frame is exposed”), the sun is shining brightly (“the blue distance is visible”) and “you want to be in the field,” where spring reigns, scattering its flowers. The feeling of the joy of life, freedom, the ebullience of vitality is conveyed so vividly that it seems as if you have experienced or are experiencing all this yourself.
Being a poetic masterpiece both in form and content, this poem is remarkable from a purely linguistic point of view, from the use of verb tenses in it. It begins with a line in which the verb is in the present tense, denoting an ordinary action that is repeated from year to year (the first frame is set). In the second line, the verb is given in the perfect past tense form (the noise burst in). But the most striking thing is that this past tense does not refer the action to the past, but designates it as occurring on the same temporal plane with the present tense verb (noise burst in at the moment when the first frame is exposed). It is also surprising that we can freely replace this form of the past tense with a verb of the present tense (noise bursts in at the moment when the frame is exposed).

This possibility of combining different tenses without violating the time perspective is one of the remarkable properties of the aspectual-temporal system of the Russian verb, which is actively used by word artists.

One more example of such use of tenses can be given from a poem by Alexei Pleshcheev

The grass is turning green

The sun is shining;

Swallow with spring

It flies towards us in the canopy.

With her the sun is more beautiful

And spring is sweeter...

Chirp out of the way

Greetings to us soon!

I'll give you grains

And you sing a song,

What from distant countries

I brought with me...

This poem contains verbs of all three tenses:

in the first stanza there are verbs of the present tense of the imperfect form: turns green, flies, shines;

in the second stanza there is only one verb of the imperative mood - the lyrical hero addresses the swallow: chirp;

in the third stanza the poet uses three verbs: future tense verb I'll give; imperative verb sing and past tense verb brought, which occurs in the last line of the poem, which, in fact, causes joy, because the swallow brought spring. The natural combination of different times creates one of the poetic effects of these poems.

Verb of movement actions	Verb sound	Verb colors	Verb state	Verb feelings
flies, brought	chatter, sing	turns green, shines

This poem is interesting because, along with verbs of movement, verbs of color and sound occupy a large place. The poet not only describes the arrival of spring, but also draws it and gives it music.

The expressive capabilities of the verb significantly increase its figurative rethinking. Many researchers emphasize that the aesthetic function of a verb is determined by the wide possibilities of its metaphorization. wrote that the verb, more than any other part of speech, is suitable for “animating” objects during personification: noise burst in, the waters speak, spring is coming, the round dance of days is crowded, etc.

Analyzing these poems, we can also highlight one of the most important verbal functions, which was found in both epic and dramatic works - giving dynamism to the descriptions:

Spring! exhibited first frame -
And there's noise in the room burst in…

Grass turns green,

Sun shines;

Swallow with spring

In the shadow of us flies.

Still in the fields turns white snow,
And the waters are already in the spring they make noise-
They're running And wake up sleepy breg,
They're running, And shine, And they say...

But it would be wrong to talk about the description of spring and the role of verbs in this description without mentioning that in poetry you can describe something without using verbs at all. Thus, lyrics are a type of literature that can do without verbs. A striking example is the poem by A. Maykov

Blue, clean
Snowdrop flower!
And next to it is a drafty one,
The last snowball...

Last tears
About the grief of the past
And the first dreams
About other happiness.

III. Using verbs in creative works

in Russian language lessons

There are different ways to report that it is raining outside. It's raining - a simple statement of fact. We learn nothing about rain except that it exists.

To better visualize the role of verbs in the Russian language, I decided to conduct a little research at school. Students had to describe rainy weather in five sentences.

Here's what they came up with:

Rain. When tiny drops gather in knee-deep puddles outside, everyone says it’s raining. But why exactly is he coming? It doesn’t fly, doesn’t run or pour, but just walks? Maybe people think that rain has a living soul? That's why he walks around the world...

Chekmareva Margarita, 9th grade

Heavy drops fall from the sky, which is covered with a gray veil... The street becomes dirty and mighty rivers form. Tears are flowing on the windows. Everything gets dark, and the morning becomes like night...

54 students in grades 7-10 took part in the study.

The study revealed that in all works, students use verbs when describing rain. The minimum number of verbs in the work is 1; maximum – 15.

One verb appears in 5 works. These are verbs: goes (in 2 works), hurts (head), gets in (in the face), is located.

In total, 272 verbs were encountered in the works (in terms of use in this task, verbs occupy second place after nouns - 533).

When describing the rain, students mainly used action verbs (248): walks, flies, runs, walks, etc.; in second place are verbs of state (24): I'm getting sleepy, I'm getting sleepy etc.

The average number of verbs used in the texts is 5.8; nouns – 11.

The use of verbs in creative works

Syntax" href="/text/category/sintaksis/" rel="bookmark">syntactic connections, with a variety of stylistic techniques of figurative use, is an inexhaustible source of expression.

A verb is an unusual part of speech. What is its strength?

An amazing property of the Russian verb is its ability not only to name an action, but also to show how it proceeds in time. And it proceeds in an unusually varied way: it can take a long time (jump, push, shout, think, listen), but it can happen at one moment (jump, push, shout, flash), it can indicate the beginning of an action (sing, scream, get sick, thunder). ) or, on the contrary, its end (to finish singing, to finish cooking, to finish, to finish writing, to finish reading), etc.

Analyzing the texts of literary works, we saw that the most important stylistic function of the verb in literary speech is to add dynamism to descriptions. The verb is used in artistic speech primarily to convey movement, expressing the dynamics of the surrounding world and the spiritual life of a person. If a writer wants to display pictures in which objects cease to be motionless, to “breathe life” into the narrative, he turns to verbs. Thanks to the verb, we treat the text as if it were alive, we clearly imagine what the hero is doing, what he feels, what is happening around him. The predominance of verbs contributes to the emotionality and brightness of the text.

I would like to finish the work with the words of K. G. Paustovsky: “You can create miracles with the Russian language. There is nothing in our lives and in our consciousness that cannot be conveyed in Russian words. The sound of music, the spectral brilliance of colors, the play of light, the noise and shadow of gardens, the vagueness of sleep, the heavy rumble of a thunderstorm, the whisper of children and the rustle of sea gravel. There are no sounds, images and thoughts - complex and simple - for which there would not be an exact expression in our language."

Bibliography

1. , Bulanin verb. – L., “Enlightenment”, 1967. – 123 p.

2. Gvozdev on the stylistics of the Russian language. – St. Petersburg: “KomKniga”, 2005. – 408 p.

3. Golub of the Russian language. – M.: Iris-Press, 1997. – 442 p.

4. Something about verbs. – St. Petersburg, 1998.

5. New reference book on the Russian language and practical stylistics / – M.: Eksmo, 2007. – 464 p.

6. Simply and entertainingly about the Russian language /, etc. - M.: Education, 2007. - 416 p.

7. Along the roads and paths of language. – M.: AST; Zebra E, 2008. – 464 p.

Zhmurina Ekaterina

The work is devoted to the role of the verb in the Russian language. The author examines the use of this part of speech in texts of three types of literature: epic, lyric and drama.

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Municipal budgetary educational institution

secondary school "Eureka-Development"

Voroshilovsky district of Rostov-on-Don

__________________________________________________________________

All the power of the Russian verb

Research work on Russian language

Zhmurina Ekaterina Sergeevna,

9th grade

Krasilnikova Natalya Valentinovna,

teacher of Russian language

Rostov-on-Don

2012

	p.
Introduction
Part 1. Verb Basics
Part 2. The use of verbs in fiction Chapter 1. The use of verbs in an epic work (using the example of A.P. Chekhov’s story “The Death of an Official”)	10-13
Chapter 2. The use of verbs in a dramatic work (using the example of A. Chekhov’s play “The Seagull”)	14-15
Chapter 3. The use of verbs in lyrics	16-20
Part 3. Using verbs in creative works in Russian lessons	21-22
Conclusion	23-24
Bibliography

Introduction

Many linguists believe thatverb is the most complex and most capacious part of speech; In addition, it has wide possibilities for describing life in its development and movement. A.N. Tolstoy wrote: “To find the right verb for a phrase means to give movement to the phrase.” In works of art, everything that the author talks about “comes to life” only when events, people, the motives of their actions, the properties of their characters are presented in dynamics, in action. This is the law of artistic representation of life, which ancient poets knew about. Aristotle stated: “Those expressions represent a thing visually which depict it in action.”

The verb plays a huge role in our speech. It’s not for nothing that great people talk about the verb:

“Movement and its expression – the verb – is the basis of language. Finding the right verb for a phrase means giving movement to the phrase.”(A.N. Tolstoy).

“In my deep conviction, all the strikingness of prose is in the verb, for the verb is the effectiveness of character.”(Yu. Bondarev).

I decided to devote my research work to the role of the verb in fiction, and also to prove that this particular part of speech is one of the most necessary and most expressive.

The object of the study is the properties of the Russian verb; The subject of the research is literary texts (A.P. Chekhov’s story “The Death of an Official”; A.P. Chekhov’s play “Three Sisters”; poems by A. Pleshcheev, F. Tyutchev, A. Maykov, as well as texts compiled by school students).

To achieve this goal, it is necessary to solve the following tasks:

1. analyze literary texts (epic, lyrical and dramatic genres), identifying the peculiarities of the use of verbs in them.

2. analyze texts compiled by students of our school from the point of view of the use of verbs.

To solve these problems, I used the following research methods:

Studying literature about the verb;

Survey of students at our school;

Text analysis.

This work will help students become more familiar with such a part of speech as a verb, and teachers will use the work material (examples) in Russian language lessons.

My work consists of two parts:

Part 2 – analysis of the use of verbs in texts compiled by school students in the classroom.

I. The use of verbs in fiction

Chapter 1. The use of verbs in an epic work

(using the example of A.P. Chekhov’s story “The Death of an Official”)

That is why I chose a small one to analyze the epic work. humorous A.P. Chekhov's story “The Death of an Official”,published in "Oskolki" in1883with the subtitle "Case".

But suddenly his face he winced, his eyes rolled up, his breathing stopped... he took the binoculars away from his eyes, bent down and... apchhi!!! (there were 5 verbs in one sentence).

Of particular importance for characterizing the hero is the choice of the most expressive, “key” verbs. Moreover, often, instead of listing a number of actions that do not have fundamentally important artistic significance, one action is called, denoted by an unusual verb, reflecting, as if in focus, several movements of the hero, his reaction, impressions, etc., presented in a generalized form. For example, when conveying dialogue, writers often refuse to use “speaking” verbs (said, answered, repeated, asked), and try to find words depicting actions that accompany speech:

“I came yesterday to bother you,” he muttered...

The writer in such a short story along with the verb said uses the following verbs:whispered, muttered, began to report, addressed, barked, repeated.

Such a replacement of some verb words with others is possible only in works of art.

The writer repeatedly uses lexical repetition in the story, expressed precisely by the verb.Lexical repetition – repetition of the same word or phrase. By repeating a word in the text, a key concept is highlighted:

He sneezed, as you can see. Sneeze no one is forbidden anywhere. Sneezing and men, and police chiefs, and sometimes even secret councilors. All sneeze

I apologized for the fact that, while sneezing, I splashed... laugh I didn't think so. Do I dare laugh ? If we laugh , so then there will be no respect for persons...

When it's like that, I won't I have to apologize more to this fanfare! To hell with him! I'll write him a letter and go I won't! By God, I won’t!

The repetition of these verbs in the story does not at all mean a mechanical duplication of the same concept or meaning. Basically, repetition conveys very complex, subtle semantic nuances.

The writer also uses antithesis, expressed by verbs, which also helps him highlight this particular action in the story:

No worms at all not embarrassed , wiped himself with a handkerchief and, like a polite person, looked around him: had he bothered anyone with his sneezing? But then I had to to be embarrassed

If we look closely at all the verbs used by A.P. Chekhov, we will see that throughout the entire work some verbs (their forms) are used several times.

Analyzing these verbs, we can conclude that they contain the main meaning of the story. We can retell the text using only these verbs, and the content will still be understandable:

The main character once sneezed on the general, spraying the general's bald head. Then he always thought about the incident and many times apologized in front of the general, and the general thought that Chervyakov is simply above him laughs.

Verbs also help the writer to build the temporal layer of the narrative. The story begins with the use of past tense verbs:

One fine evening, an equally wonderful executor, Ivan Dmitrich Chervyakov, sat in the second row of seats and looked through binoculars at The Bells of Corneville. He looked and felt yourself at the height of bliss. But suddenly…

Often in stories meets this is “but suddenly.” The authors are right: life is so full of surprises!

Chapter 2. The use of verbs in a dramatic work

(using the example of A. Chekhov’s play “The Seagull”)

To analyze the dramatic work, I turned to the famous play “The Seagull” by A.P. Chekhov.

“The Seagull” is a play about love, love of art, love of people, love of life. I analyzed the first act of the play, which contains 635 verbs.

As we know, the basis of drama is action. Unlike the epic, where the action is described as having happened in the past, the action in the drama unfolds in the present time, takes place directly before the eyes of the viewer, characterized by activity, continuity, purposefulness, and compactness. In other words, the drama reproduces the action itself performed by the heroes, and does not tell about this action. That is why there are so many present tense verbs in the play: walks, don’t understand, lives, receives, wears, etc.:

Treplev (tearing off the flower's petals). Loves - doesn't love, loves - doesn't love, loves - doesn't love. (Laughs.) You see, my mother doesn’t love me. Still would! To her I want to live, love, wearlight blouses, and I’m already twenty-five years old, and I’m constantly I remind you to her that she is no longer young.

Dialogue in drama is the main means of developing action and conflict and the main way of depicting characters (the most important functions of dramatic dialogue). It reveals the external and internal life of the characters: their views, interests, life position and feelings, experiences, moods. In other words, the word in drama, being capacious, precise, expressive, emotionally rich, a word-action, is capable of conveying the full characteristics of the characters.

In the play there are lines from the characters that consist only of verbs, i.e. One-part sentences are common in dramatic texts: I don’t want to, let’s go, I’m listening, I’m bored, I’m jealous, etc.

Since we are talking about the heroes’ conversations, a large place is given to verbs of the imperative mood (in epic works the indicative mood dominates): say, excuse me, put on, allow, let’s go, etc.

As in an epic work, here we can also highlight the followingthe function of the verb as giving dynamism to descriptions:

Treplev. I love my mother, I love her very much; but she leads stupid life, forever is worn with this fiction writer, her name is constantly prattle in the newspapers - and that's me tires .

“Verbs are words that give life to whatever they are applied to.”

A.M.Peshkovsky

Chapter 3. The use of verbs in lyrics

Analyzing the role of verbs in prose works, I began to think about what place is given to verbs in poetry? What tense and mood of verbs dominates in the lyrics? Does the verb follow the same rules as in prose?

In order to answer these questions, I decided to analyze poems on the same topic by different poets.

Since my favorite time of year is spring, and the premiere of our Chekhov play was in spring, I chose three poems dedicated to spring: Fyodor Tyutchev, Apollo Maykov and Alexei Pleshcheev.

The most revealing from the point of view of the use of verbs, in my opinion, is F. Tyutchev’s poem “Spring Waters”.

SPRING WATERS
The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...

They say all over:
"Spring is coming, spring is coming,
We are messengers of young spring,
She sent us ahead!

Spring is coming, spring is coming,
And quiet, warm May days
Ruddy, bright round dance
The crowd is cheerfully following her!..”

The poet uses 14 verbs in the poem. All verbs can be classified by meaning:

Among the 14 verbs, only one verb is used in the past tense, the rest are present tense verbs.

In the first line, the static state of nature is expressed by the verb color turns white . Winter is still lingering in the fields, and an atmosphere of peace and quiet reigns. The following lines are dominated by verbs of motion, creating dynamics.

The second poem I turned to was the poem by A. Maykov:

Spring! the first frame is exposed -
And noise burst into the room,
And the good news of the nearby temple,
And the talk of the people, and the sound of the wheel.

Life and will breathed into my soul:
There you can see the blue distance...
And I want to go to the field, to the wide field,
Where, walking, spring showers flowers!

The poem has 5 verbs:

Here, as in the previous poem, verbs of movement predominate, and even if there are not so many verbs, they still give special expressiveness to the poem

One more example of such use of tenses can be given from a poem by Alexei Pleshcheev

The grass is turning green

The sun is shining;

Swallow with spring

It flies towards us in the canopy.

With her the sun is more beautiful

And spring is sweeter...

Chirp out of the way

Greetings to us soon!

I'll give you grains

And you sing a song,

What from distant countries

I brought with me...

This poem contains verbs of all three tenses:

in the first stanza there are verbs of the present tense of the imperfect form: turns green, flies, shines;

In the second stanza there is only one verb of the imperative mood - the lyrical hero addresses the swallow: chirp;

in the third stanza the poet uses three verbs: future tense verb I'll give ; imperative verb sing and past tense verb brought , which occurs in the last line of the poem, which, in fact, causes joy, because the swallow brought spring. The natural combination of different times creates one of the poetic effects of these poems.

This poem is interesting because, along with verbs of movement, verbs of color and sound occupy a large place. The poet not only describes the arrival of spring, but also draws it and gives it music.

The expressive capabilities of the verb significantly increase its figurative rethinking. Many researchers emphasize that the aesthetic function of a verb is determined by the wide possibilities of its metaphorization. A.M. Peshkovsky wrote that the verb, more than any other part of speech, is suitable for “animating” objects during personification: noise burst in, the waters speak, spring is coming, the round dance of days is crowded, etc.

Analyzing these poems, we can also highlight one of the most important verbal functions, which was found in both epic and dramatic works - giving dynamism to the descriptions:

Spring! exhibited first frame -
And there's noise in the room burst in...

The grass is turning green

The sun is shining;

Swallow with spring

It flies towards us in the canopy.

The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...

Blue, clean
Snowdrop flower!
And next to it is a drafty one,
The last snowball...

Last tears
About the grief of the past
And the first dreams
About other happiness.

III. Using verbs in creative works

in Russian language lessons

There are different ways to report that it is raining outside. It's raining - a simple statement of fact. We learn nothing about rain except that it exists.

To better visualize the role of verbs in the Russian language, I decided to conduct a little research at school. Students had to describe rainy weather in five sentences.

Here's what they came up with:

Chekmareva Margarita, 9th grade

Bagdasaryan Narina, 7th grade

54 students in grades 7-10 took part in the study.

The study revealed that in all works, students use verbs when describing rain. The minimum number of verbs in the work is 1; maximum – 15.

One verb appears in 5 works. These are verbs: goes (in 2 works), hurts (head), gets in (in the face), is located.

In total, 272 verbs were encountered in the works (in terms of use in this task, verbs occupy second place after nouns - 533).

When describing the rain, students mainly used action verbs (248):walks, flies, runs, walks, etc.;in second place are verbs of state (24):I'm getting sleepy, I'm getting sleepy etc.

The average number of verbs used in the texts is 5.8; nouns – 11.

The use of verbs in creative works

Conclusion

Many linguists and writers have spoken about the expressive capabilities of the Russian verb. N. Grech also noted that the verb “gives life to speech”, “with its presence it gives life to individual words.” Modern researchers claim that the verb, figuratively speaking, contains the scarlet, most arterial blood of the Russian language. The verb in all the richness of its semantics, with its inherent meanings of grammatical forms and the possibilities of syntactic connections, with a variety of stylistic techniques of figurative use, is an inexhaustible source of expression.

A verb is an unusual part of speech. What is its strength?

An amazing property of the Russian verb is its ability not only to name an action, but also to show how it proceeds in time. And it proceeds in an unusually varied way: it can last for a long time(jump, push, shout, think, listen),but it can happen in a moment(jump, push, shout, flash),can indicate the beginning of an action (sing, scream, get sick, thunder)or, on the contrary, its end(finish singing, finish cooking, finish, finish writing, finish reading), etc.

Bibliography

1. Bondarko A.V., Bulanin L.L. Russian verb. – L., “Enlightenment”, 1967. – 123 p.

2. Gvozdev A.N. Essays on the stylistics of the Russian language. – St. Petersburg: “KomKniga”, 2005. – 408 p.

3. Golub I.B. Stylistics of the Russian language. – M.: Iris-Press, 1997. – 442 p.

4. Didenko S. Something about verbs. – St. Petersburg, 1998.

5. New reference book on the Russian language and practical stylistics / I.B. Golub - M.: Eksmo, 2007. - 464 p.

6. Simply and entertainingly about the Russian language / I.I. Postnikova, I.M. Podgaetskaya, M.N. Vezerova and others - M.: Education, 2007. - 416 p.

7. Uspensky L. Along the roads and paths of the language. – M.: AST; Zebra E, 2008. – 464 p.

“Movement and its expression – the verb – is the basis of language.” I would like to take these words of Alexei Tolstoy as an epigraph to our lesson, because today we will talk about the verb, its morphological features, and its role in the creation of texts.
We write down the date and topic of the lesson, epigraph.
– Tell me, don’t you think this statement is too categorical? Justify your point of view. (Students' answers.)
So we're going to have a deep conversation about one of the language basics– about the verb.
By the way, can a text consist only of verbs connected by auxiliary parts of speech?
Yes, and this is what a teacher’s internal monologue might be like after he asks the class a question: “They’ve quieted down. They are silent. Do they think or do they hesitate to say? I believe they know. I am waiting".
It's very nice to see your smiles. Try to express your state now using only verbs and function words. (Students' answers.)
The texts we have to work with are poems by poets of the 19th and 20th centuries. You already know that there are eternal themes for Russian literature, cross-cutting themes. Sometimes it seems that the poets of the 20th century pick up and continue the thoughts of the poets of the 19th century. And when you hear this conversation of centuries, it seems that you are touching eternity.
Listen, this is Lermontov.
(The teacher reads M.Yu. Lermontov’s poem “There are speeches that have meaning...” The students have texts on their tables.)

There are speeches - meaning
Dark or insignificant.
But they don't care
It's impossible to listen.

How full their sounds are
Madness of desire!
They contain tears of separation,
They have the thrill of a date.

Will not meet with an answer
Among the noise of the world
Of flame and light
Born word;

But in the temple, in the middle of the battle
And wherever I will be,
Having heard him I
I recognize it everywhere.

Without finishing the prayer,
I will answer that sound,
And I'll throw myself out of battle
I will meet him.

– Pay attention to the 1st line. In what meaning is the word used? speeches? There are speeches - meaning... (In the meaning of 'words'.)
– What is the peculiarity of mysterious words?
(It’s impossible to listen without anxiety; everything in them - and tears and the thrill of a date.)
– Obviously, Zinaida Gippius, the poetess of the Silver Age, also had a poetic feeling that such speeches, such words exist. We will talk about her work with you in 11th grade, but I wanted you to listen to the amazing melody of her lines now.
(The teacher reads the poem by Z. Gippius “There are speeches...”.)

— Greetings, dear students of Argemona!

Today we will deal with the magic of another part of speech, no less popular than a noun or adjective, but possessing a completely different magic. This magic, combined with the magic of nouns and adjectives, allows you to create unique pictures and, most importantly, bring them to life. I think you all guessed that we will talk about a verb that can convey the dynamics of life: various movements (went, ran away), specific actions (threw, bowed), speech and thoughts (said, remembered), feelings and perception (saw, felt ), state (waited, thought).

The verb is the most complex and most capacious, the most fiery and most living part of speech, with the help of the magic of which one can reproduce life in its development and movement.

The famous Russian writer Alexei Tolstoy said that “movement and its expression - the verb - are the basis of language. Finding the right verb for a phrase means giving movement to the phrase.” And according to the Russian literary critic Alexei Yugov, “the scarlet, freshest, arterial blood of the tongue flows in the verb.”

The role of verbs in creating personification is great. In one of the lessons dedicated to nouns, we already became acquainted with this phenomenon in language and found out its magic.

What are you howling about, night wind?
Why are you complaining so madly?
(A. Fet)

There are some sounds
And they cling to my headboard
(A. Fet)

The last ray of dawn on the tower is dying...
Everything is quiet, the groves are sleeping...
(V. Zhukovsky)

And blue, bottomless eyes
Blooming on the far shore
(A. Blok)

Phrases like “the moon has risen”, “the city is sleeping”, “the snow lies”, “spring has come” and others have become so firmly entrenched in our language that it is no longer possible to do without them. Their allegory is not even felt.

What else can a verb do?

With its help it is very convenient to draw an image, gradually strengthening its features or weakening it. The second happens less often. More often, semantically similar verbs are used, which, gradually reinforcing each other, create a single image. This technique is called gradation.

I came, I saw, I conquered! (Yu. Caesar)

I don’t regret, I don’t call, I don’t cry... (S. Yesenin)

And the thoughts in my head are agitated in courage,
And light rhymes run towards them,
And fingers ask for pen, pen for paper,
A minute - and the poems will flow freely.
(A.S. Pushkin)

Verbal forms have especially rich visual possibilities. Their secret is that one verb form can be used instead of another, in a figurative sense.

First, let's refresh our memory of verb tenses in Russian. There are three of them - past, present and future. Unlike, for example, the English language, where in each of these tenses there are 4 more verb forms that clarify at what point in time the action occurs, for example, for the present tense: in general (regularly at some time); precisely at the moment of speech; the action occurred in the past, but we observe the effect of it in the present; an action began in the past, occurs over a period of time, and continues in the present. And there are similar tense verb forms for the past and future tenses.

In Russian it seems to be simpler.

Verbs in the past tense answer questions what did you do?(-a, -o) and What did you do?(-a, -o)

Verbs in the present tense answer the question what is he doing?(-yu, -yu, eat, -eat, -eat)

In the future tense, verbs answer questions what will he do?(-yu, -yu, eat, -eat, -e) and what will it do?

Has everyone noticed that in the present tense there is only one type of question, and in the past and future there are two? This is because we have two types of verbs - perfect (which answer the question what to do? and mean a completed action (read) or an action that has reached a certain limit (lose weight)) and imperfect (answer the question what to do? and mean action in process). So, perfect verbs do not have the form of the present tense, only the past and future. But imperfective verbs form the future tense in a complex way, using the additional word “will”. There are several verbs that take on the meaning of aspect only in context, that is, they can be either perfect or imperfect: execute, marry, baptize, promise.

Let us now return to how verbs of one tense can replace verbs of another tense and why this is necessary.

For example, present tense verbs replace past tense forms when describing past events. This makes it possible to bring the events closer to the reader, to present them in close-up: the picture being described will unfold right before our eyes, becoming brighter and clearer.

Last night I went out into the courtyard of Argemona. The moon is shining brightly. The snow is glistening.

Why not write everything in the past tense, since events that happened yesterday were described?

Last night I went out into the courtyard of Argemona. The moon was shining brightly. The snow glistened.

Do you feel the difference? As if something had left the created picture, it became less clear and almost completely lifeless, because it was plunged into the past by the magic of past tense verbs.

Remember A.P. Chekhov’s story about Vanka, who wrote a letter to his grandfather in the village? How vividly the boy’s memories are conveyed in this letter and what a huge role the verbs of the present tense play here.

Not only the present, but also the future tense can depict the past.

“Almost no noise was heard all around... Only occasionally in a nearby river a large fish will splash with sudden sonority, and the coastal reeds will rustle faintly, barely shaken by the oncoming wave...”(I. S. Turgenev)

Likewise, the present tense can be used as the future, also bringing that future closer to the listener, making it almost happen.

“I have everything ready, I’m sending things out after lunch. The Baron and I are getting married tomorrow, leaving tomorrow... a new life begins.”(A.P. Chekhov)

The past tense can also be used to indicate action in the future: “If the detachment does not come tomorrow, we are lost.” The dependence of one action on another is expressed here more sharply, more categorically (as if the action had already occurred) than it would be if the verb “perish” were in the form of the future tense (we will perish).

The use of time in figurative meanings greatly enlivens the narrative, allows you to vividly imagine events, and gives them increased expressiveness and swiftness. All this is ensured by the flexibility of the language. And there is no confusion in the use of tense forms of the verb. Everything is logical and subordinated to the main thing - the transmission of the subtlest shades of thoughts and feelings, the revitalization of what is drawn with words.
Just as in a living organism the concepts of “yesterday”, “today”, “tomorrow” are inseparable, so in language history and modernity merge, complement and explain each other.

The use of verb types that convey different shades of action is also of great interest. Perfective verbs formed with the help of prefixes and suffixes are especially expressive. V.G. wrote about this with admiration. Belinsky: “The Russian language is unusually rich in expressing natural phenomena... Indeed, what wealth for depicting the phenomena of natural reality lies only in Russian verbs that have types! Swim, float, swim, swim, come, swim, sail, sail, swim, swim, float, float, float, float, float, float, float, float, float, swim. It’s all one verb to express twenty shades of the same action!”

We know that many words in Russian have several different meanings. In terms of development of polysemy, verbs hold primacy among all parts of speech. Whatever verb you take, there are sure to be several different meanings for it (even if sometimes not very different, but still different).

And the sun plays (with its rays on the river),
And the cat plays (with a ball on the porch),
And Zhenya plays (Zhenya has a doll),
And mom plays (in the theater on stage),
And dad plays (on a copper trumpet),
And grandfather (playing with his grandson in the hut).
And the grandmother washes her grandson’s diapers.
Grandma is probably playing with laundry?
(A. Shibaev)

The infinitive also has rich visual possibilities. Giving minimal grammatical information, it expresses the lexical meaning with the greatest completeness and names the action as an abstract concept. The infinitive has a timeless and impersonal character, and this gives the statement a touch of generality and all-encompassing time.

If you love, you're crazy
If you threaten, it’s not a joke,
If you scold, so rashly,
If you chop, it’s too bad!
If you argue, it’s too bold,
If you punish, that's the point,
If you forgive, then with all your heart,
If there is a feast, then there is a feast!
(A.N. Tolstoy)

It can be seen that the colorfulness, picturesqueness and accuracy of literary texts largely depend on the verb, the possibilities of which seem limitless, thanks to the universal organization.

One cannot help but recall the verb forms - participle and gerund. Both of these forms have enormous pictorial power. We already talked about the participle when studying adjectives, but there we considered it exclusively as a form of an adjective. The participle combines the energy of the verb and the descriptive capabilities of the adjective, so it not only figuratively describes an object or phenomenon, but also represents its characteristic in dynamics, in the process of formation, development, change. Due to the fact that the participle combines the characteristics of different parts of speech, it becomes richer in content and economical in reproduction.

This is how A.S. spoke about the sacrament. Pushkin: “Participations... are usually avoided in conversation. We don't say: a carriage galloping over a bridge; servant sweeping the room; we say: which gallops, which sweeps, etc., replacing the expressive brevity of the participle with a sluggish turn of phrase.”

And M.V. Lomonosov argued: “These verbal names serve to shorten the human word, containing the power of the name and the verb.”

Participles combine the meanings of a verb and an adverb. Participles decorate the verb, complementing it with other actions, creating a picturesque picture, as if completing the movement.

Here is an example from the memoirs of D. V. Grigorovich:

“He, Dostoevsky, apparently was pleased with my essay, he did not like only one expression... I wrote it like this: “When the organ grinder stops playing, the official throws a nickel from the window, which falls at the feet of the organ grinder.” “Not that, not that,” Dostoevsky suddenly spoke irritably, “not that at all!” You sound too dry: the nickel fell at your feet... You should have said: the nickel fell on the pavement, ringing and bouncing... “This remark - I remember very well - was a revelation for me. Yes, indeed, ringing and bouncing, it comes out much more picturesque, it completes the movement... These two words were enough for me to understand the difference between a dry expression and a living literary and artistic device.” (D.V. Grigorovich).

With this we will end our lecture and move on to homework (choose any three questions to your liking):

1. Take the texts from question 4a. Parse them to see if they contain verbs. What type of verbs predominate in each text? Draw the appropriate conclusion: what verbs are needed for the picture being described to be alive, and which ones are needed for a static picture?

1*. The task is the same, but you can choose the texts (excerpts thereof) yourself (from any works of other authors or your own).

2. Give 2-3 examples of gradations using verbs (from the works of other authors or your own).

3. Take any verb and write a short story in which try to use this verb in different meanings.

4. Take Blok’s poem “Turned everything into a joke at first” (or find another poem replete with verbs) and find out what type of verbs are used in the work and for what purpose.

Turned it all into a joke at first
I understood - I began to reproach,
She shook her beautiful head,
She began to wipe away her tears with a handkerchief.

And, teasing with her teeth, she laughed,
Suddenly I forgot everything.
Suddenly I remembered everything - I started sobbing,
Dropping ten hairpins on the table.

She turned ugly, walked away, turned around,
She turned back and waited for something,
She cursed, turned her back,
And she must be gone forever...

Well, it's time to get down to business
For my old business.
Has life really stopped making noise?
Did you make any noise, how was your dress?

5. I offer you a poem by V. Vysotsky. What words predominate here and what did the author manage to create and draw with their help?

In groves and thickets,
In the wilds and bushes
How many growling
How many roaring
How many grazing
How many swarming
Tossing, tearing,
viviparous,
Gray, ordinary,
In elegant feathers,
How many of them are there, predatory ones?
And herbivores,
Shedding wool,
Changing skins
Bleating, barking,
Mammals,
How many are flying?
Running, crawling,
How many non-drinkers
In groves and bushes
And non-smokers
In the wilds and thickets,
And reptiles
And soaring
And subordinates
And the leaders
Prophetic and prophetic,
Tearing and lying -
In groves and bushes,
In the wilds and thickets!

6. Tell us about the magic of gerunds using the example of excerpts from the works of any authors or your own.

7. Make a short prose or poetic sketch, where you try to apply all (or most) of the knowledge acquired in this lesson. Explain what you used and why.

Submit your work via PRIVATE BUSSINESS
Feel free to send your questions to Persephone