Dialogue from Russian literature. Dialogue in fiction

What is the dialogue from? Who are its members?

1. “No, that’s enough, I’m not afraid of you!” -
I despise your threats
I curse your murder...
Die you too!
I'll die loving...
2. - Who are you? .. Alone, sometimes at night, -
Why are you here? .. - I went to you,
Save me; in my destiny
I have one hope...
I enjoyed happiness for a long time
It was more carefree day by day ...
And the shadow of bliss passed;
I'm dying. Listen to me.
3. - Tell me, my friend: you do not regret
About quitting forever?
What did I leave?
Do you understand:
People of the motherland, the city.
What to regret? When would you know
When would you imagine
Captivity stuffy cities!
there are people, in heaps behind the fence,
Don't breathe in the morning chill
Nor the spring smell of the meadows;
Love is ashamed, thoughts are driven,
Trade their will
Heads bow before idols
And they ask for money and chains.
4. "If I were a queen, -
One girl says
That is for the whole baptismal world
I would prepare a feast."
"If only I were a queen,"
Her sister says
That would be one for the whole
I wove canvases.
"If only I were a queen,"
The third sister said, -
I would be for the father-king
She gave birth to a hero."
5. - Oh, nanny, nanny, I yearn,
I'm sick, my dear
I'm crying, I'm ready to cry!..
My child, you are not well;
Lord have mercy and save!
What do you want, ask...
Let me sprinkle with holy water
You're on fire ... - I'm not sick:
I'm... you know, nanny... in love.
6. - So you're married! I didn't know before!
How long ago? - About two years. -
On whom?
7. - I am married, I have been married for the fourth year and I don’t know who my wife is, and where she is, and whether I should ever see her!
What do you say? How strange! Go on; I'll tell you later ... but go on, do me a favor.
8. - Where are you from?
From Priluchyn; I am the daughter of Vasily the blacksmith, I am going to pick mushrooms. And you, sir? Tugilovsky, right?
That's right, I'm the young gentleman's valet.
9. “Who am I, according to you?”
God knows you; but whoever you are, you are playing a dangerous joke.
But is there no luck for the daring? .. Serve me faithfully, and I will grant you the field marshals and the princes. How do you think?
No. I am a court gentleman; I swore allegiance to the empress: I can’t serve you.
10. "You're not from here, are you?"
Exactly like this, sir: I just arrived yesterday from the provinces.
Did you come with your family?
Not at all. I came alone.
One! But you are still so young.
I have neither father nor mother.
Are you here, of course, on some business? ..
“…I came to ask for mercy, not justice.
11. - You are free…
No. Too late - I'm married.
What do you say! No, you are not his wife, you were forced, you could never agree ...
I agreed, I swore an oath ... I did not deceive. I was waiting for you until the last minute ... But now, I tell you, now it's too late.
12. Let me visit today.
Please; And where to?
In Tugilovo, to the Berestovs. The cook's wife is their birthday girl, and yesterday they came to invite us to dine.
Here! the masters are in quarrel, and the servants treat each other.
13. Long time ago or recently, I don't know.
But wait, I only know the price
Instant life, only since then
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 will shut up; just don't drive away
the one to whom your appearance is one consolation.
I don't have high hopes
I don't demand anything but to see
I owe you when already for life
I am condemned.
Come on - this is not the place
Such speeches, such madness...

The “talking person” manifests itself in dialogic 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 link in verbal and artistic imagery 3 . They are a kind of link between the world of the work and its speech fabric. Considered as acts of behavior and as the focus of the character's thoughts, feelings, will, they belong to the subject layer of the work; taken from the side of the verbal fabric, they constitute the phenomenon of artistic speech.

Dialogues and monologues have a common property. These are speech formations that reveal and emphasize their subjective affiliation, their “authorship” (individual and collective), one way or another intoned, imprinting 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 the statements of different persons (usually two) and carries out two-way communication between people. Here, the participants in communication constantly change roles, becoming for some time (very short) either speaking (i.e. active), or listening (i.e. passive). In a situation of dialogue, individual utterances appear instantly. 4 . Each subsequent replica depends on the previous one, making up 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 grow, becoming like monologues) is characteristic of historically early societies and traditional folklore and literary genres. But the dialogic form of speech manifests itself most fully and vividly in an atmosphere of unconstrained contact of 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 certainly 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 concrete and vivid way.

In life, and therefore in literature, the monologue is also deeply rooted. This is a detailed, lengthy statement that marks the activity of one of the participants in communication or is not included in interpersonal communication. Distinguishable monologues converted and secluded 8 . The former are included in the communication of people, but in a different way than dialogues. Inverted monologues affect the addressee in a certain way, but in no way require an immediate, momentary speech response from him. Here one of the participants in communication is active (acts as a continuous speaker), all others are passive (remain listeners). At the same time, the addressee of the addressed monologue can be both an individual and an unlimited number of people (public speeches by politicians, preachers, court and rally speakers, lecturers). Inverted monologues (unlike dialogue replicas) are not limited in scope, 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. united monologues are statements made by a person either alone (literally) or in psychological isolation from others. Such are diary entries that are not oriented to 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. In the words of a modern scientist, “to think means, first of all, to talk with oneself.”

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

It is right to characterize a literary work as a monologue of the author addressed to the reader. This monologue is fundamentally different from oratorical speeches, journalistic articles, essays, philosophical treatises, where the direct author's word certainly and necessarily dominates. He is a kind of supra-verbal education is, as it were, a “super-monologue”, the components of which are the dialogues and monologues of the depicted persons.

Continuous dialogue should not be too long, otherwise it slows down the dynamics of the work. The conversation of the characters implies a real flow of time, while in general the plot develops much faster. If a long 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 carry useful information.

The girls said goodbye
- Goodbye!
- Best wishes!
- I was very glad to see you!
- Come to visit us!
- We'll definitely come. V last time we liked you very much.
- Well, really, it's not worth it. Well, goodbye!

It would be possible to confine ourselves to one phrase: "The girls said goodbye."

A similar problem - repetitions of the same thought:

Is that 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 do not believe. You must have confused something.

Exceptions to this rule, of course, can be, but still it should be remembered that empty dialogue is boring, and the reader skips boring.

Unnatural

Dialogue should sound natural. You should not use compound sentences for five lines or expressions that are not used in live speech in a conversation.

You need to water the sprouts regularly, 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. The sentence is better rephrased:

Do not forget to water the sprouts, otherwise they will dry out.

Exception to this rule: the hero deliberately tries to speak in a bookish way, and it is clear that this is not a stylistic mistake, but the author's idea.

Deprecated Expressions

Thousand devils! - exclaimed the office manager, turning off the computer. "Ah, I'll be damned if I don't get my revenge on those rascals!"

To check the dialogue for natural sounding, read it aloud. Extra words will cut the ear.

Inconsistency between the dialogue of the situation or the character of the characters

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

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

Did you get something connected? Taking off my hat.

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

Bust with attribution

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

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

It's not fair! the girl whimpered.

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

Stamps look even worse.

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

Same type attribution

- Do not forget to buy dryers, - said the grandmother, counting out the money to her.
- Candy for me! 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 precisely on these words. If it is difficult for you to choose an attributive verb, insert a phrase that will describe the action of the hero, and then - his remark.

I went to the store, - said Masha.
Grandmother counted her money.
- Don't forget to buy dryers.
- Candy for me! - I heard my father's voice from behind the door.

Speaking verbs and labels

If possible, try not to supply the characters' lines with excessively speaking attributive verbs. Emotions should be conveyed by the very essence of the scene, and not by glued labels.

An example of such "steroid-pumped" attributive verbs is given by Stephen King in How to Write a Book:

Drop the gun, Utterson! Jekyll rasped.

Kiss me, kiss me! Shaina 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 a handsome prince. When the scoundrels "grin maliciously" and the princes "raise their eyebrows contemptuously" - this is a sure sign that the author wrote, "arrogantly ignoring common sense." Characterize the hero should be his words and deeds.

Long dialogue in short sentences

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

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

Accent and speech distortion

With the transfer of accent and speech distortion, you must be very careful. If the reader can even for a moment have difficulty reading phrases like “evolution is cool”, then it’s better to just mention that the hero is burr.

Name use in dialogue

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

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

Retelling someone else's words

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

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 down five cities. And then King Sigismund the Fifteenth singled out three hundred thousand warriors on fighting dragons ...
- Yes, this battle entered the annals for a reason. Do you remember how they captured the Magic Stone of Omniscience?
- Of course I remember.

Incorrect use of foreign expressions

Foreigners in the novels of beginners often speak their own language. mother tongue with wild mistakes. If you are not sure how to spell a phrase correctly, consult a professional translator or native speaker.

Bust with slang and obscenities

If your hero "boats" exclusively "on the hair dryer", the reader may "not catch up" with him.

Mat in the literature is permissible only in small doses and only to the point. Exceptions are "avant-garde" novels, which are published in a circulation of 500 copies.

Remember that no one will judge us for the lack of profanity, but it is quite possible to lose 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, the development of the plot or the disclosure of the personality of a particular hero is impossible. An example is the conversation between Chichikov and Nozdrev (N. Gogol. "Dead Souls").

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

Nymph, swing her there, does it give goods? - vaguely said the coffin master. - Can she satisfy the buyer? The coffin - he needs as much as one forest ...
- What? asked Ippolit Matveyevich.

Yes, here is the "Nymph" ... Their three families live with one merchant. Already they have the wrong material, and the finish is worse, and the brush is liquid, there it swings. And I'm an old company. Founded in one thousand nine hundred and seven. I have a coffin - a cucumber, selected, amateur ...

I. Ilf and E. Petrov. "Twelve Chairs"

At the same time, it should be remembered that the heroes cannot behave the same way with everyone and talk in the same manner with both the queen and the port loader.

3. Heroes shouldn't talk in a vacuum. Create a living world around them - with smells, sounds, environments, weather, lighting, etc.

Evening at the end of June. The samovar has not yet been removed from the table on the terrace. The hostess cleans the berries for jam. A friend of her husband, who has come to visit the dacha for a few days, smokes and looks at her well-groomed naked to the elbows round hands. (A connoisseur and collector of ancient Russian icons, a graceful and dry-built man with a small trimmed mustache, with a lively look, dressed as for tennis.) Looks and says:

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

Hands in juice, - substitutes a shiny elbow.

Lightly touching his lips, he says with a stutter:
- Kuma...
- What, godfather?
- You know, what a story: one man's heart went out of hand, and he said to his mind: goodbye!
How did this heart get out of hand?
- 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, make faces, etc.

Oh no no no! - the artist exclaimed, - did they really think that these were real pieces of paper? I do not admit the thought that they did it consciously.
The barman looked around in a wry and wistful way, but said nothing.
- Are they scammers? - the magician asked the guest anxiously, - are there really swindlers among the Muscovites?
In response, the barman smiled so bitterly that all doubts disappeared: yes, there are swindlers 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 of the characters. If a person woke up with a hangover, he is unlikely to be able to joke with girls; if a sledgehammer fell on a lumberjack's leg, he would not exclaim: "Oh, how it hurts!"

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

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

Old Russian icons are very "canonical". This
traditional art. And the more valuable in them is everything that deviates from canonicity,
which gives an outlet to the human attitude of the artist to the depicted. In one icon
"Nativity of Christ", where the action takes place in a cave for animals, is depicted
a little sheep that licks the neck of another sheep - a bigger one. Maybe this
daughter caresses 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 nice detail ...

In the murals of the 17th century of the Moscow church in
Nikitniki, suddenly, among the stencil landscape, a young birch is depicted, yes
so "Russian", touching that you immediately believe that the artist knew how to appreciate
Russian nature. Preserved autobiographical works of Rilski monks
monastery in Bulgaria. One such 19th-century autobiography recounts the life
monk who collected donations for the monastery. And he was in very distress
positions: 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 (out of the money donated to the monastery, he
did not take), etc. And so he exclaims in one place of his notes: “Oh, the monastery
my monastery, how warm and satisfying it is!” This monk's story ends
a stereotyped curse to those who spoil the book, distort the text, and so on. But
he writes further: “If I am writing this, then do not think badly of me, that I am evil and
bad!" Really touching? Please note that these "curses"
slovenly reader and inattentive scribe were an ordinary stencil, so
many manuscripts were finished.

It was customary to think that Ancient Russia
allegedly poorly understood the beauty of nature. This opinion was based on the fact that
Old Russian works are rare detailed descriptions nature, no landscapes,
which are found in the new literature. But here is what Metropolitan Daniel writes in the 16th century:
“And if you want to cool down (that is, take a break from work. - D. L.) - go out to
the threshold of your temple (your house. - D. L.), and see the sky, the sun, the moon,
stars, clouds, Ovi lofty, Ovi lower, and cool yourself in these.

I do not give examples from works
well-known, recognized for highly artistic. How many of these touching
human episodes in "War and Peace", especially in everything related to
the Rostov family, or in " Captain's daughter» Pushkin and in any artistic
work. Isn't it for them that we love Dickens, Turgenev's "Notes of a Hunter",
wonderful "Grass-Ant" by Fyodor Abramov or "Master and Margarita" by Bulgakov.
Humanity has always been one of the most important phenomena of literature - a large 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
memoirs, documents. There are, for example, a number of documents showing
about how ordinary peasants evaded under various pretexts from participating in
the construction of a prison in Pustozersk, where Avvakum was supposed to be a prisoner. And this
resolutely all, unanimously! Their evasions are almost childish, they show in them
simple and kind people.

Perhaps the author's intention is most clearly expressed in the dialogue. The role of dialogue in the Russian novel of the 19th century has not been studied enough, the forms and means of revealing the author's point of view in the dialogue almost do not attract the attention of researchers. The most interesting theoretical issues were considered in the works of V. V. Vinogradov - “On Fiction” (1930), “On the Language of Fiction” (1959), “Stylistics.

Dialogue in Pushkin's prose was once considered by V. V. Vinogradov. In recent years, VV Odintsov has been engaged in the dialogues of Belkin's Tale. 2 There is no special study of the dialogue in the novel The Captain's Daughter. That is why it is necessary to dwell on this topic - however, mainly in terms of identifying the author's position in the dialogue.

Dialogue is an organic part of the narrative, it is connected with it and at the same time occupies a special place in it. This place was not always the same - dialogue as an element of artistic prose developed historically. The development went along the line of its complication, increasing the role in the deployment and disclosure of the ideological content and conflicts of a work of art as a whole.

Dialogue in a literary prose work has many functions, which were also formed historically. It can serve purely informative purposes - to find out the past of the hero, the background of the events that are being narrated, to characterize the characters, etc. Dialogue can contribute to the development of the plot, create and reveal the secrets and complexities of the characters' relationships. The dialogue, arising directly from the narration, at the initial stage had the simplest forms: exchange of remarks, questions and answers, autocharacteristics, a story about events interrupted by replicas-questions of another participant in the dialogue, etc.

The artistic improvement of prose manifested itself most clearly in the complication and improvement of the dialogue. He reached his highest level in realistic prose. Thus, Pushkin is at the beginning of a new stage in the development of dialogue. The realistic character of a person is a complex individuality, a personality with its own self-consciousness. Her relationship with others is not neutral. Plot vicissitudes often put her in conflict relations with other persons. A new type of it is being formed - a dialogue-dispute, a clash of ideas. It was in such a dialogue that the character was fully revealed, the convictions, goals, aspirations of the characters were revealed. The dialogue began to express the main ideological meaning of the work.

The complication of the structure of the dialogue, enriching it with new functions did not lead to the abandonment of the former, albeit primitive forms - they continued to be used and fulfill their role in the work (informativeness, ... a means of characterization, etc.). So a kind of hierarchy of dialogues was established. The central, leading place began to be occupied by a dialogue-argument, a dialogue in which two truths, two convictions collided. It was in these dialogues that the author's position manifested itself. The dialogue of Pushkin's prose - the complication of its structure and the form of revealing the author's intention - reached its full development in The Queen of Spades and The Captain's Daughter.

At the same time, it should be taken into account that the dialogue, like the content of the work itself - its plot, its ideological conception, its characters, is ultimately determined by reality itself, its contradictions, its conflicts, which it is realism that artistically explores and embodies by the entire internally connected system of aesthetic means. In the novel "The Captain's Daughter" this is especially clear.

M. Bakhtin saw, explored and described in Dostoevsky. But for the first time it was created by Pushkin in The Queen of Spades. The expressive dialogue between Hermann and the countess, which turned into a monologue (the countess answers all frantic questions and requests of Hermann with silence), is an action, an insane, almost delusional act, showing Hermann to us for the first time as he really is. It is well known how highly Dostoevsky appreciated and deeply understood this story of Pushkin.

What was revealed in The Queen of Spades was developed in The Captain's Daughter and most fully revealed in Grinev's dialogues with Pugachev. Grinev's refusal to recognize Pugachev as sovereign surprised the rebel. A situation was created that required action: “Pugachev looked at me quickly. “So you don’t believe,” he said, “that I was Tsar Pyotr Fedorovich? Well, good. Is there no luck to the remote? Didn't Grishka Otrepiev reign in the old days? Think what you want about me, but don't leave me behind. What do you care about anything else? Whoever is not a pop is a dad.”

The complexity of Pugachev's state of mind, his ability to quickly assess the situation that has arisen and immediately make a decision is superbly and Pushkin's accurately and capaciously conveyed by the colloquial expression - "Well, good." He boldly refuses to play the sovereign and takes the conversation to a different, serious level - the historical one. A new Pugachev was opening up - justifying his actions with the philosophy of history, the philosophy of Russian imposture. He names only Grishka Otrepiev, but this is a sign of a huge phenomenon. There were many impostors in Russia. After all, the game of Pyotr Fedorovich was due to political history Russia. He was killed, and the widow of the murdered man lawlessly sat on the throne, while according to the law, the heir, the son of Peter III, Pavel, was to reign. In fact, the impostor was Catherine II. This could not be said, but in Pugachev's philosophy of history and in his desire to "replace" Pyotr Fedorovich, this political phenomenon is present. Grinev's oath to Catherine II in the light of this philosophy is a fiction!

Pugachev's philosophy of history also includes a high appreciation of a person (“Is there no luck for the daring one?”). He himself appears before us as such a “remote” person. The remote, in his understanding, is a free person, alien to slavish obedience, a rebel who despises humility and fear of death, who knows how. boldly go towards the goal.

Dialogue in fiction