Meanwhile the britzka turned into more deserted streets; Soon there were only long wooden fences, foreshadowing the end of the city. Now the pavement is over, and the barrier, and the city is behind, and there is nothing, and again on the road. And again, on both sides of the main path, they began to write miles again, station wardens, wells, carts, gray villages with samovars, women and a lively bearded owner running from an inn with oats in his hand, a pedestrian in frayed bast shoes trudged eight hundred miles, small towns , built alive, with wooden shops, flour barrels, bast shoes, rolls and other small fry, pockmarked barriers, bridges being repaired, endless fields on both sides, landowners' weeping, a soldier on horseback, carrying a green box with lead peas and a signature : such and such an artillery battery, green, yellow and freshly dug black stripes flashing across the steppes, a song drawn out in the distance, pine tops in the fog, bell ringing disappearing in the distance, crows like flies and an endless horizon... Rus'! Rus! I see you, from my wonderful, beautiful distance I see you: poor, scattered and uncomfortable in you; the daring divas of nature, crowned by the daring divas of art, cities with many-windowed high palaces grown into the cliffs, picture trees and ivy grown into houses, in the noise and eternal dust of waterfalls will not amuse or frighten the eyes; her head will not fall back to look at the boulders of stone endlessly piled up above her and in the heights; the dark arches thrown one upon the other, entangled with grape branches, ivy and countless millions of wild roses, will not flash through them; the eternal lines of shining mountains, rushing into the silver clear skies, will not flash through them in the distance. Everything about you is open, deserted and even; like dots, like icons, your low cities stick out inconspicuously among the plains; nothing will seduce or enchant the eye. But what incomprehensible, secret force attracts you? Why is your melancholy song, rushing along your entire length and width, from sea to sea, heard and heard incessantly in your ears? What's in it, in this song? What calls and cries and grabs your heart? What sounds painfully kiss and strive into the soul and curl around my heart? Rus! what do you want from me? what incomprehensible connection lies between us? Why are you looking like that, and why has everything that is in you turned its eyes full of expectation on me?.. And yet, full of bewilderment, I stand motionless, and a menacing cloud has already overshadowed my head, heavy with the coming rains, and my thoughts are numb before yours. space. What does this vast expanse prophesy? Is it here, in you, that a boundless thought will not be born, when you yourself are without end? Shouldn't a hero be here when there is room for him to turn around and walk? And a mighty space envelops me menacingly, reflecting with terrible force in my depths; My eyes lit up with unnatural power: oh! what a sparkling, wonderful, unknown distance to the earth! Rus!..
Hold it, hold it, you fool! - Chichikov shouted to Selifan.
Here I am with a broadsword! - shouted a courier with a mustache as long as he was galloping towards. - Don’t you see, damn your soul: it’s a government carriage! - And, like a ghost, the troika disappeared with thunder and dust.
How strange, and alluring, and carrying, and wonderful is the word: road! and how wonderful it is, this road: a clear day, autumn leaves, cold air... tighter in our travel overcoat, a hat over our ears, let’s press closer and more comfortably to the corner! For the last time, a shudder ran through the limbs, and was already replaced by a pleasant warmth. The horses are racing... how seductively drowsiness creeps in and your eyes close, and already through your sleep you can hear “The snow is not white,” and the sound of horses, and the noise of wheels, and you are already snoring, pressing your neighbor to the corner. Woke up: five stations ran back; the moon, an unknown city, churches with ancient wooden domes and blackened peaks, dark log and white stone houses. The radiance of the month here and there: as if white linen scarves were hung on the walls, along the pavement, along the streets; shoals of coal-black shadows cross them; The wooden roofs, illuminated at random, shine like sparkling metal, and there is not a soul anywhere - everything is asleep. Alone, is there a light shining somewhere in the window: is it a city tradesman sewing his pair of boots, or a baker tinkering in his stove - what about them? And the night! heavenly powers! what a night is taking place on high! And the air, and the sky, distant, high, there, in its inaccessible depths, so immensely, sonorously and clearly spread out!.. But the cold night breath breathes fresh into your very eyes and lulls you to sleep, and now you doze and forget yourself, and snore, and the poor neighbor, squeezed in the corner, tosses and turns angrily, feeling the weight on himself. You woke up - and again there are fields and steppes in front of you, nothing anywhere - wasteland everywhere, everything is open. A mile with a number flies into your eyes; is engaged in the morning; on the whitened cold sky there is a pale golden stripe; The wind becomes fresher and harsher: wear your warm overcoat tighter!.. what a glorious cold! what a wonderful dream that embraces you again! A jolt - and he woke up again. The sun is at the top of the sky. “Easy! easier!" - a voice is heard, the cart descends from the steep slope: below there is a wide dam and a wide clear pond, shining like a copper bottom in front of the sun; village, huts scattered on the slope; like a star, the cross of a rural church shines to the side; the chatter of men and the unbearable appetite in the stomach... God! how beautiful you are sometimes, long, long way! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt!.. But our friend Chichikov also felt at that time dreams that were not entirely prosaic. Let's see how he felt. At first he did not feel anything and only looked back, wanting to make sure that he had definitely left the city; but when he saw that the city had long disappeared, neither the forges, nor the mills, nor anything that was located around the cities was visible, and even the white tops of the stone churches had long gone into the ground, he took up only one road, looking only to the right and left , and the city of N. seemed to have never been in his memory, as if he had passed it a long time ago, in childhood. Finally, the road ceased to occupy him, and he began to slightly close his eyes and bow his head to the pillow. The author admits that he is even glad about this, thus finding an opportunity to talk about his hero; for hitherto, as the reader saw, he was constantly disturbed by Nozdryov, then balls, then ladies, then city gossip, then, finally, thousands of those little things that seem like little things only when they are included in a book, but while they are circulating in the world, are revered as very important matters. But now let’s put everything completely aside and get down to business.
Class: 9
View: lesson-research.
Lesson structure.
1. Organizational moment.
2. Repetition of what has been covered.
Oral analytical work with text;
3. Learning new things. Research activities:
Work in groups;
Analytical work with texts;
Digital dictation.
4. Generalization of what has been learned.
5. Summing up.
6. Homework.
Equipment: multimedia installation, cards with texts for teams.
Educational:
Consolidate knowledge on the topic “Complex sentences”;
Introduce non-union complex sentences (BSP);
Learn to construct an answer based on theoretical knowledge;
Practice correct punctuation skills.
Educational:
Promote the development of the student’s oral and written speech;
Learn to apply acquired knowledge in practice;
To promote the development of students’ creative abilities and their cognitive activity;
To teach attentive attitude and love of words, to awaken interest in fiction.
Educational:
Contribute to the aesthetic and moral education of students;
Develop the ability to set a goal, highlight what is essential, plan work, exercise self-control, sum up, and work at an optimal pace.
I. Organizational moment.
I suggest you guys, today in class, act as linguistic researchers and, in continuing to get acquainted with complex sentences, get acquainted with a new group of sentences - non-union complex syntactic constructions. Therefore, we were divided into 2 groups, each of which will not only try to answer the question posed, but will also earn points for correct answers. (When answering, listen carefully to each other in order to successfully complete the tasks). This is how our lesson - the tournament - will go. You will be able not only to get acquainted with a new topic, but to demonstrate your knowledge, which will bring you victory.
II. Repetition of what has been covered. (Slide 3)
Divide the notebook sheet into 2 columns, one of which is called complex sentences (CCS), the other - complex sentences (CCS). Read these sentences. Among them, find and write the numbers of those that are SSP and SPP.
1. Where there used to be a river mouth, the trail climbs up the mountain.
2. The sun illuminated the tops of the linden trees, which had already turned yellow under the fresh breath of autumn.
3. The train went out into the meadows and a quiet sunset became visible in full width.
4. When we reached the top of the mountain the sun had already begun to rise.
5. The wind was already breathing rain moisture, and a minute later it began to rain sparingly and sparingly.
6. White clouds swirled and glittered with snow, but the black peak was menacing with its heavy immobility.
7. She dreams that she is singing.
(SSP - 3, 5, 6 sentences; SPP - 1,2, 4, 7 sentences)
Tell us, on what basis did you identify the BSC? SPP?
Remember what types of SPPs do you know? ( Definitive, explanatory, adverbial).
By what criteria are NGNs divided into these groups? ( By question and defined word)
How do you think the SSP and SPP will differ from the BSP? (Simple sentences as part of a complex one will have a non-union connection.)
What punctuation marks will separate simple sentences within a complex sentence? (Commas).
Is this true? Let's check what has been said by conducting several studies.
Let's write down the topic of the lesson: Unconjunct complex sentences.
III. Learning new things. (Work in groups).
I suggest conducting research in groups. The team that answers the question correctly receives a bonus point. All points received are summed up at the end and allow the teacher to evaluate the students’ work.
Study No. 1. (Slide 4)
Here are the proposals. Find BSP among them. What are the numbers of these proposals?
1. My vision grew dark and my head began to spin.
2. The day before, the streams swelled so much that the horses walked along their bellies.
3. The birds were not heard: they do not sing during the hot hours.
4. The storm subsided, but severe frost set in.
5. Emerald frogs jump under your feet; between the roots, having raised its golden head, it lies and guards them.
6. It was a warm summer rain all night, and by morning the air was fresh.
7. There was a scream - he started running.
What sentence numbers did group 1 write down? Group 2?
(Unionless complex sentences - 1, 3, 5, 7)
What can you now say about punctuation marks in the BSP? (Simple sentences within the BSP can be separated not only by commas, but also by semicolons, colons, and dashes).(Slide 5)
Study No. 2.
Group 1 must think about the meaning of simple sentences in the BSP and determine when to put comma. (Slide 6)
The snowstorm did not subside, the sky did not clear.
The doors and windows are wide open, not a leaf stirs in the garden. (I.A. Goncharov)
semicolon.
The pale gray sky became lighter and bluer; the stars blinked with faint light and then disappeared; the earth is damp; the leaves are fogged up; Here and there living sounds and voices began to be heard. (I.S. Turgenev)
Let's check your findings. (Slides 7, 8)
Study No. 3.
Use the printouts on your desks.
Group 1 must think about the meaning of simple sentences in the BSP and determine when to put dash. (Slide 9)
1. Measure seven times and cut once. (Proverb)
2. The cheese fell out - there was a trick with it. (I.A. Krylov)
3. Light rain starts falling in the morning - it’s impossible to go out. (I.S. Turgenev)
4. If you see Gorky, talk to him. (A.P. Chekhov)
5. If he looks, he will give you a ruble. (N.A.Nekrasov)
Group 2 must think about the meaning of simple sentences in the BSP and determine when to put colon.
1. I am unhappy: there are guests every day. (A.P. Chekhov)
2. I came to my senses, Tatyana looked: there was no bear. (A.S. Pushkin)
3. During the story, Nastya remembered: she had a whole untouched pot of boiled potatoes left from yesterday. (M. Prishvin)
Let's check your findings. (Slides 10, 11)
IV. Generalization of what has been learned.
Study No. 4.
What sentences will we call non-union complex? (Such complex sentences in which simple ones are combined with each other only in meaning and intonation (without the help of conjunctions and allied words).
Try to create a table on your own (group 1 and 2) about the rules for placing punctuation marks between simple sentences in the BSP.
Punctuation marks in BSP
Sequence, simultaneity, enumeration.
Semicolon:
- sentences are less connected in meaning and more common and have commas inside them.
Colon:
The second part has the meaning of reason (= because, since);
The second part has the meaning of explanation (= namely);
- second part has the meaning of explanation (= I see and hear how).
Opposition (= a, but);
Comparison (= as if, as if)
Rapid change of events; (= and suddenly, and at once)
The first part has the meaning of time or condition (= when, if);
The second part has the meaning of consequence, conclusion, result (= therefore, therefore);
Let's check your reminder tables, which will be useful for further work on this topic. (Slide 12). Transfer them to a notebook (you can hand out pre-printed tables).
Study No. 5. (Digital dictation). (Slide 13).
The final study will help you and I draw a conclusion about how well you have mastered the new topic. Divide the notebook into 4 columns, name the columns: period, semicolon, dash, colon. In them you will write down the numbers of those sentences in which you will put the corresponding signs.
1. Far beyond the Don, heavy clouds piled up, lightning cut the sky, thunder rumbled barely audibly.
2. The time is even earlier; golden morning fog curls over the country road, barely allowing the sun to appear; the grass shines.
3. There is a crane cry above: the birds are flying south.
4. The steppe is cheerfully replete with flowers: the gorse is bright, the bells are modestly blue, the fragrant chamomile is white.
5. Woke up - five stations ran back.
6. The forest is being cut down - the chips are flying.
7. The smoky sun rises - it will be a hot day.
(Period - 1; semicolon - 2; dash - 5, 6, 7; colon - 3, 4 sentences)
V. Summing up. (Slide 14).
What topic did we meet today?
What new things have you learned about complex sentences?
(Slide 15). (In addition to SSP and SPP sentences, there is BSP, where parts of simple sentences can be separated by various punctuation marks: comma, semicolon, colon, dash, depending on the semantic relationships that are established between them ).
Lesson grades for research teams.
VI. Homework. (Slide 16).
Paragraph 31-33, complete exercise 191. Your feedback on the research lesson (orally).
457. Find out the semantic relationships between parts of non-union complex sentences (enumerative, explanatory, comparative, temporal, explanatory, cause-and-effect, conditional-effect). Explain punctuation marks. Read with correct intonation. 1. And he thought: from here we will threaten the Swede, here the city will be laid down in spite of the arrogant neighbor (P.). 2. It was scary to touch cloth, canvas and household materials: they turned to dust (G.). 3. Here are my conditions: you will now publicly renounce your slander and ask me for an apology (L.), 4. One day he woke up and saw: a cancer was standing right opposite his hole (S.-Shch.). 5. I tried to run - my legs didn’t move from fear (L. T.). 6. Varvara listened: the noise of the evening train could be heard (Ch.). 7. The dark forest is good on a bright sunny day: there is coolness and miracles of light (Prishv.). 8. He is a guest - I am the host (Bagr.). 9. If you disappear completely, we won’t cry for you (?.). 10. He was possessed by one desire: at any cost, now, to find Magda (Nab.). 11. The elder walked ahead, giving the command with a careful movement of his hand: raise his hand above his head - everyone immediately stopped and froze; stretches his arm to the side with an inclination towards the ground - everyone at the same second quickly and silently lay down; waves his hand forward - everyone moved forward; will show back - everyone slowly backed away (Cat.). 12. In general, Yegor did not complain or be offended: everything was done according to the law (B.V.). 13. Arguing with your wife is a stupid person (B.V.). 14. It was uncomfortable to crawl: out of habit, my knees and elbows hurt (Nekr.). For information. Between sentences combined into one non-union complex sentence, the following punctuation marks are placed: comma, semicolon, colon and dash. Punctuation mark Example Semantic relations between sentences Comma The sky cleared, the stars flickered, it was already becoming light (Ax.). Listing facts or phenomena. Semicolon Gerasim grabbed Mumu and squeezed her in his arms; in an instant she licked his nose, eyes, mustache and beard (G.). The same thing, but for more common sentences (especially when there are already commas inside the sentences). Colon Doubt gnaws at me: maybe I really should have waited until evening? (Bakl.). Just tell her: Ganin is leaving and asks not to remember him ill (Nab.). The second sentence explains the first, reveals its content (you can insert words namely). The second sentence complements the meaning of the first (you can insert the conjunction that). Punctuation mark Example Semantic relations between sentences I looked around: The same thing (you can stand up solemnly and say the words and see that the night stood royally (T.). that). All the way to the farm - The second sentence of the attack was silent: he says the reason for that, shaking interfered with the driving - what is said in the first sentence (Ch.). (you can insert a conjunction because). Dash Suddenly the men with the - Second sentence - appeared with their heads - calling for a quick change, the forest rang, groaned, crackled (N.). events. They mowed down a mile - The contents of the second mowed down a penny of the proposal contradictory - (M.G.). reads the content of the first (you can insert an adversative conjunction). The forest is being cut down - the chips of the first sentence will fly away (last). calls for the time of the action mentioned in the second sentence (you can insert the conjunction when). Do you like to ride - The first sentence of the pointer - love and sleigh - calls for the condition of perfection to carry (last). solving the action referred to in the second sentence (you can insert a conjunction if). Praise is a lure - The second sentence of the owl - how can they not be kept within themselves by the investigation, to wish? (Kr.). a conclusion from what is said in the first sentence (you can insert the word therefore). Punctuation mark Example Semantic relations between sentences If he looks, he will give him a ruble (N.). The content of the first sentence is compared with the content of the second (you can insert conjunctions as if, as if).
Road
“How strange, and alluring, and carrying, and wonderful in the word: road! and how wonderful it is, this road: a clear day, autumn leaves, cold air... tighter in our travel overcoat, a hat over our ears, let’s snuggle closer and more comfortably into the corner! For the last time, a shudder ran through the limbs, and was already replaced by a pleasant warmth. The horses are racing... how seductively drowsiness creeps in and your eyes close, and already through your sleep you can hear “The snow is not white,” and the sound of horses, and the noise of wheels, and you are already snoring, pressing your neighbor to the corner. Woke up: five stations ran back; the moon, an unknown city, churches with ancient wooden domes and blackened peaks, dark log and white stone houses. The radiance of the month here and there: as if white linen scarves were hung on the walls, along the pavement, along the streets; shoals of coal-black shadows cross them; The wooden roofs, illuminated at random, shine like sparkling metal, and there is not a soul anywhere - everything is asleep. Alone, is there a light shining somewhere in the window: is it a city tradesman sewing his pair of boots, or a baker tinkering in his stove - what about them? And the night! Heavenly powers! what a night is taking place on high! , distant, high, there, in its inaccessible depths, so immensely, sonorously and clearly spread out!.. But the cold night breath breathes fresh into your very eyes and lulls you, and now you doze and forget yourself, and snore, and toss and turn angrily, having felt the burden is on you, the poor neighbor squeezed into the corner. You woke up - and again there are fields and steppes in front of you, nothing anywhere - wasteland everywhere, everything is open. A mile with a number flies into your eyes; is engaged in the morning; on the whitened cold sky there is a pale golden stripe; The wind becomes fresher and harsher: wear your warm overcoat tighter!.. what a glorious cold! what a wonderful dream that embraces you again! A jolt - and he woke up again. The sun is at the top of the sky. “Easy! easier!" - a voice is heard, the cart descends from the steep slope: below there is a wide dam and a wide clear pond, shining like a copper bottom in front of the sun; village, huts scattered on the slope; like a star, the cross of a rural church shines to the side; the chatter of men and the unbearable appetite in the stomach... God! how beautiful you are sometimes, long, long way! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt!..” (“Dead Souls.” Chapter 11)
