The use of insert constructions in literary texts has repeatedly attracted the attention of researchers (see, for example: Kovalev V. P. Insert constructions / / Russian Speech. 1971. N 5; Burov A. A. Vstavnye konstruktsii v proze F. M. Dostoevskogo [Insert constructions in the prose of F. M. Dostoevsky]. 1981. N 5). In Pushkin's novel Eugene Onegin, such constructions are much more numerous than in his other works of poetry. Here are their examples: "Onegin was in the opinion of many / (resolute and strict judges) I A small scholar, but a pedant... "(1, V; here and further, the Arabic numeral indicates the chapter, the Roman stanza); "...I must admit: there is very little taste / With us and in our names / {Not to mention the verses} "- 2, XXIV; " It sparkles with Hypocrite; / It is its play and foam / {Likeness of so-and-so) I was captivated by... "(4, XLV).
As a syntactic phenomenon and as an artistic and expressive means, insert constructions (hereinafter referred to in K) are still insufficiently studied. Questions about the essence of VC, their difference from introductory words, connecting constructions, etc. are still relevant. Apparently, it can be argued that plug-in structures are a unique phenomenon. Regardless of their form and volume, they are a statement within a statement, which often expresses the speaker's attitude to what is being reported. But VC's are not specialized means of subjective modality. In oral speech, they are distinguished by intonation, in written speech-using paired brackets or paired dashes, since they fall out of the general structure of the text, expressing additional messages.
In the eight chapters of "Eugene Onegin", according to our calculations, 46 inserted constructions are used, on average, one for every eight stanzas. But there are combinations of stanzas, each of which has one such construction, and there are stanzas that contain two at once. The sense of use of VK is also caused by a considerable number of author's digressions, which make up almost most of the novel. These digressions are close to the VC in relation to the main part and the nature of the content. Cf., for example: "And they bring tea. I love the hour / Between lunch, tea / And dinner. We know the time / In a village without big vanities: / The stomach is our faithful breget... "(5, XXXVI), where there is no VK, and
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Evening finds a haze... / (I love friendly lies / And a friendly glass of wine I Sometimes the one that is called 1 Sometimes between a wolf and a dog, 1 And why, I don't see.) / Now friends are talking..." (4, XL VII), where VK is. "I only notice in parentheses... (4, XIX), "And by the way I will notice in parentheses..." (5, XXXVI), - the poet continues the corresponding author's digressions, but does not put parentheses. It is probably acceptable to say that author's digressions are expanded inserts, although they are not graphically highlighted.
However, the main differences between the author's digressions and VK in Pushkin's novel are that the former are larger in volume, more diverse in content, and represent independent lyrical works, while inset constructions are usually several words, they are tied to the utterance that is usually broken, and have the character of passing by comments made by the speaker.
So inserts have certain functions in the novel:
they express the attitude to the statement, carry an additional message, and contain the author's assessment. On the other hand, they play a compositional and structural role. VC participate in the organization of rhythm, often begin lines, and in the eighth chapter of the novel even connect the XV and XVI stanzas, forming the end of the first and the beginning of the second (another example of the use of insertion between independent sentences).
Plug-in designs expand the author's presence. It is no coincidence that two-thirds of the VC is used in the plot part of the work. At the same time, they limit this presence, help the author in observing the necessary correlation between the two plans of the novel (lyrical and plot), and influence the character of speech. Cf.: "It's time for me to become smarter, / In business and style to get better, / And this fifth notebook / Clear any deviations" (5, XL). The vast majority of inserts are united by an emotional and evaluative attitude to the described realities. Joy, sadness, regret, approval, condemnation, humor, and irony are expressed directly or indirectly in this group of inserts. Here are some examples:
"Perhaps (a flattering hope!) / the future ignoramus will point out / my illustrious portrait... "(2, XL); " So people (I am the first to repent) / There is nothing to do from friends "(2, XIII); " ... and Tatiana / And there is no business (their gender is such)... "(8, XXXII);"...And stretch the person / He allowed it not in any way / But in strict rules of art, / According to all the traditions of antiquity / (What we should praise in him) "(6, XXVI); "His enemies, his friends / (Which may be the same thing) / honored him this way and that" (4, XVIII).
Together with lyrical digressions, VK creates a special emotional mood, a certain ease and ease of speech. This is also facilitated by the author's appeals to readers, which are available in the
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author's digressions on various occasions - about memories of something, about the nature of speech, composition, content, style, etc. A significant part of the" inserts " expresses just such content. For example: "Rousseau (I will note in passing)... "(1, XXIV); " ... Or (but this is no joke)... "(4, XXXV); "So he wrote darkly and sluggishly / (Which we call romanticism, / Although there was not much romanticism here / I don't see it;
what's in it for us?)... "(6, XXIII); "...Getting ready, for the sake of money, / For sighs, boredom and deception / (And so I began my novel)... "(1, LII); "(The reader is waiting for the rhyme of a rose; / Here, take it quickly.) / Neater than a fashionable parquet floor / The river shines, it is dressed with ice" (4, XLII); "(Shishkov, I'm sorry: I don't know how to translate.) "(8, XIV); "Let's congratulate / Each other on the shore. Hurray! / Long ago b (isn't it?) It's time! " (8, XL VIII).
Curiously, the appeal is "isn't it?" it also occurs three times in Tatiana's speech, and once as an insert. "Someone else's" speech is presented very rarely in the novel, but it contains 8 inserts (one of them conveys a non-direct speech), of which 5 are close in meaning to the quoted address: "isn't it true?", " who knows?", " what's the use of dissimulation?" (Tatiana's speech), " listen, am I right?" (Lensky's speech), "conscience is a guarantee" (Onegin's speech).
Let's note some features of the VC structure. Their average length is 7 words, including official ones. There are inserts that consist of a single word. The largest one consists of 35 words. Four inserts are used outside the sentence - as part of a complex syntactic whole. Two-thirds of VCS are predicative formations. With a few exceptions, these are simple sentences, including subordinate predicative parts and parts with compositional conjunctions. Incentive sentences and sentences with a predicate expressed in the first person form of the verb, subordinate relative clauses with the conjunctive word "what"are distinguished. Among non-predicative inserts, there are those that, if the parentheses were removed, would turn out to be semi-predicative appendices, or adjective definitions, or clarifying isolated members of the sentence.
As you can see, Pushkin's novel Eugene Onegin presents a large number of various insert constructions, and they are close to the author's digressions, they are distinguished by expressiveness and emotional-expressive saturation, they are one of the means of creating " colorful chapters, / Half-funny, half-sad, / Common People, ideal..."; expressions of "light inspirations", "mind of cold observations / And mark the hearts of the sorrowful."
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