Dialogue from "Brenda Starr" Long conversational passages without any description of the setting, physical conditions, or characters. Such dialogue, divorced from the scene of action, usually echoes in the reader’s ears, as if suspended in the air. Named after the same name

Dialogue Good dialogue is one of the main pleasures of reading, when we are offered a change of pace and a break from exposition and explanation - in short, from all this writing. Suddenly a conversation begins, and we can follow it without a twinge of conscience: the characters have no idea

DIALOGUE OF THE DEAD ** This man came from Southern England on a winter morning in 1877. Judging by his purple face, powerful build and towering figure, most took him for an Englishman; he truly seemed like the spitting image of John Bull. He wore a high-crowned hat and a strange woolen

Dialogue- predominantly oral speech, occurring in conditions of direct contact. It is made up of statements from several people (usually two). Statements are replicas. The utterance is instantaneous, momentary, the subsequent remark depends on the previous one (Schlegel). Replicas alternate freely and naturally. Dialogue speech in direct contact allows for lexical inaccuracies, confusion, and reduction of forms. Understanding in this case is not difficult (explanation between Kitty and Levin in the first letters). Official conversations are characterized by normalization (the meeting of the prince with the heroes in the epic “Dobrynya Nikitich and Vasily Kazimirovich”). One of the types of public dialogues is discussions and disputes (conversations between Bazarov and Pavel Petrovich and Nikolai Petrovich Kirsanov).
Facial expressions and gestures are the external, “visual” side of the conversation, the accompaniment of the dialogue. Gesticulation, as it were, says what is being kept silent.
Linguists have repeatedly spoken about the naturalness of dialogue as living speech, contrasting it with the artificiality and secondary nature of a monologue.
In ancient Greece, dialogical speech acquired a genre-forming role. The founders of the genre are ancient Greek philosophers. Disclosure of a philosophical topic in conversation (Socrates, Plato). In Russia, Herzen and Soloviev turned to dialogue as a philosophical and journalistic genre. In the field of literary criticism, P.A. Vyazemsky, V.G. Belinsky ("Russian Literature in 1841"), B.N. Almazov ("A Dream on the Occasion of a Comedy"), etc. often expressed their ideas in this form. . Types of dialogue: message, discussion, quarrel, conversation, unison, argument, etc.

Monologue
Forms of monologue: oral speech, inner speech and written speech. There is a distinction between solitary and addressed monologues. Solitary monologues - literally alone or in psychological isolation from others. Diary entries. Tends to reduce lexico-grammatical forms. Addressed monologues can be of unlimited length. Appeal to a group of listeners. Addressed monologues, like dialogue lines, have a certain impact on the addressee, but do not require an immediate response. The birthplace of the addressed monologue is the oratory art of ancient peoples. It often has a rhetorical character and this differs from casual conversational dialogues. The addressed monologue is orderliness and clear organization. Both dialogue and monologue have and emphasize authorship, manifested in intonation.

Dialogues and monologues in a literary text, their relationship and differences:
The bearers of dialogues and monologues in literary texts are narrators, lyrical heroes, characters in epic and dramatic works. In lyric poetry, monologues play an organizing role. In epic works, the narrator's monologue is the author's position, and dialogues and monologues of the characters are connected to it. Monologue statements may be interspersed into the dialogue, and dialogue between the voices of characters or when depicting duality may be interspersed into the monologue. Drama is organized by the speech of the characters, usually dialogical. But the monologue beginning of the speech can also be traced (the monologue of Chatsky, the mayor in “The Inspector General”). These are direct monologues addressed to the public.
At the historically early stages - monologue rhetoric and declamation (Homer, ancient lyrics). Relaxed conversational speech - only in low, non-canonical genres of laughter (Aristophanes, Rabelais, Shakespearean comedies). Over time, the spoken word became more and more firmly established.
The words dialogue and monologue also denote the qualities of consciousness of the authors and the persons they portray. Dialogue- statements are links in lively and fruitful communication between people and enrich their spiritual experience. There may not be two-way mutual communication. Appeal to writers of past centuries. Monologue- the sphere of non-humanitarian knowledge. Precision and completeness. Over time, dialogue became more and more active. The form of dialogue with predecessors is reminiscence (Belkin's Tale, a poem without a hero by Akhmatova).

Polylogue- conversation between several persons. What is common with dialogue is the alternation of speakers and listeners, connectedness of remarks, spontaneity, etc. But the formal and semantic connection of remarks in a polylogue is more complex and free: it ranges from the active participation of speakers in the general conversation to indifference (for example, eloquent silence). Polylogue is used in depicting crowd scenes to present the people not as a faceless mass, but as a collection of characters and types. The polyphony of the polylogue allows us to solve these problems (the final scene from “Boris Godunov”).

No. 35. The language of fiction. Dialectisms, synonyms, homonyms, euphemisms, archaisms and their functions in the work.

The language of fiction (poetic language), a supranational type of language, many of its characteristic features, however, are revealed only within the framework of the work of writers of a certain nation and only when compared with the norms and characteristics of the corresponding national language. Firstly, it is used when people communicate in everyday life - and in this case it turns out to be colloquial, “live” (that is, relatively free from many literary norms). Secondly, it is used in all types of written texts, and this application imposes a number of restrictions on the language, in other words, it normalizes it so that native speakers representing the population of different regions of the country, different social groups (including age and professional) , could understand each other. The basis of poetic language, as well as colloquial language, is made up of elements of literary language. But the language of fiction does not always oblige writers to follow the norms of literary style of speech. For example, each author is free to compile his own poetic dictionary, including not only literary, but also colloquial, foreign language, and other vocabulary. This is how the language of fiction differs from the language of literature.

At the same time, it is also different from the spoken language. Every true writer's own speech is literary. But, being the creator of an epic work, the author can endow his character with colloquial speech not only in order to complement his artistic image, but also in order to create an artistic image of the language used by that part of society of which this character is a typical representative.

Within the literary language, at each stage of its development, there are words that modern society recognizes as neologisms, but the author of works of art, describing the world of the future and “creating” objects not yet created by humanity, invents individual neologisms. Therefore, we can conclude that in fiction, along with the real, the potential vocabulary of the national language is also used.

Language: everyday and literary.
Everyday - accurate delivery of meaning in speech.
Literary - strict organization, orderliness, expressiveness:
-social dialects, Gallicisms;
- vernacular;
-cultural dialects;
-professional dialects.
The word in literature must carry a thought and an image. Words express an emotional attitude.
1) synonyms. Makes speech more flexible and fluent. Necessary for expressing subtle shades of meaning. Help create emotional characteristics.
Synonyms are relative and absolute.
2) homonyms. To make a pun.
3) neologisms. The main purpose of neologisms, for example Saltykov-Shchedrin, is to serve as an expressive means of satire: they dreamed of sneaking a man, spitting in the eyes, shaking the ankles, warping the lips, pounding water, crushing teeth, eavesdropping interest, dancing pastime.
Mayakovsky’s word creation was based on the search for an economical and capacious form of creating an image, a protest against the aestheticized “beauty” of the Symbolists’ language, and the desire to find new shades of meaning in words. Very expressive neologisms of Mayakovsky in such combinations as “all day long there is a ringing ring above the door”, “castanet shadow of crutches”, “tongueless street writhing”, “two-meter-high snake”, “thousand-sheeted book of time”. However, the semantic and stylistic inferiority and failure of neologisms was often noted.
4) archaisms. Used to create the historical flavor of the era. They are used to characterize the speech of characters, for example, when conveying the speech of clergy (Pimer’s remarks in Pushkin’s tragedy “Boris Godunov”). Archaisms can give speech a touch of solemnity and pathos; Church Slavonicisms ("The Prophet" by Pushkin). Often in artistic prose, archaisms are used as a means of creating irony, satire, and parody. Typically, a similar effect is achieved by using archaisms against the background of everyday or reduced vocabulary. For example, in the works of Saltykov-Shchedrin the following combinations are found: a host of ignorant and evil street loafers; the high priest of literary chatter; the order of service loudly cried out for soap and lye; a sanctuary of fun called a club. In the epistolary genre they impart a humorous character (in Chekhov’s letters he “became terribly impoverished”).
5) euphemisms

By transforming a word into an image object, literature comprehends a person as a bearer of speech. Characters invariably reveal themselves through words spoken out loud or to themselves.

In the early stages of literary art (including the Middle Ages), the forms of speech of characters were predetermined by the requirements of the genre. “The speech of the character,” writes D.S. Likhachev about ancient Russian literature—this is the author’s speech for him. The author is a kind of puppeteer. The doll is deprived of its own life and its own voice. The author speaks for her in his own voice, his own language and his usual style. The author seems to be restating what the character said or could have said. This achieves a peculiar effect of muteness of the characters, despite their external verbosity.”

From era to era, characters began to increasingly receive a speech characteristic: to speak out in their characteristic manner. This is either an endless stream of speech (remember the heroes of F.M. Dostoevsky with their “talkativeness of heart”, such as Makar Devushkin, or resourcefulness of the mind, such as Pyotr Verkhovensky), or, on the contrary, individual short remarks, or even complete silence, sometimes very significant : Tatyana is silent, listening to Onegin’s rebuke, Onegin is also silent during her monologue, which concludes Pushkin’s novel; The Prisoner responds with silence to the confession of the Grand Inquisitor in The Brothers Karamazov.

The speech of the persons depicted by writers can be orderly, meeting certain standards (Chatsky in A. S. Griboedov “speaks as he writes”) or confused, inept, chaotic (tongue-tied Bashmachkin in N.V. Gogol’s “The Overcoat”, Akim in “The Power of Darkness” "L.N. Tolstoy with his repeated “tae”).

The method, manner, and nature of “speaking” are often put forward at the center of the work and creativity of the writer. According to S.G. Bocharov, “the first internal problem” of A.P.’s prose. Platonov is “the very process of utterance, expression of life in words”: the “difficult expression” of consciousness in speech constitutes a kind of center of existence and appearance of Plato’s heroes - “tongue-tied and mute people”, whose emerging thought receives a “dark, rough, inarticulate expression”

Thus, the hero of Platonov’s story “Yamskaya Sloboda” (1927) Filat, destitute, having lived “thirty years of a dense life,” lonely, depressed by everyday village labor, “never had the need to talk to a person, but only answered,” although the need to speak out was in him lived: “he first felt something, and then his feeling climbed into his head” and “shaked the thought so roughly that it was born as a monster and could not be pronounced smoothly.” And again: “When Filat’s thought stirred, he heard its hum in his heart. Sometimes it seemed to Filat that if only he could think well and smoothly, how. Other people, it would be easier for him to overcome the oppression of his heart from an unclear, yearning call. This call turned into a clear voice that spoke obscure, muffled words. But the brain did not think, but gnashed.” Let us also remember “Cloud in Pants” by V.V. Mayakovsky

The street writhes, tongueless.

She has nothing to shout or talk about.

But in most cases, the persons depicted by writers realize their speech ability in one way or another. A “speaking person” manifests itself in dialogical and monological speech. Dialogues (from the gr. dialogos - conversation, conversation) and monologues (from the other gr. monos - one and logos - word, speech) constitute the most specific element of verbal and artistic imagery. They are a kind of connecting link between the world of the work and its speech fabric. Considered as acts of behavior and as the focus of a character’s thoughts, feelings, and will, they belong to the objective layer of the work; taken from the side of verbal fabric, they constitute the phenomenon of artistic speech.

Dialogues and monologues have a common property. These are speech formations that reveal and emphasize their subjective identity, their “authorship” (individual and collective), one way or another intoned, capturing the human voice, which distinguishes them from documents, instructions, scientific formulas and other kinds of emotionally neutral, faceless speech units.

Dialogue consists of the statements of different persons (usually two) and carries out two-way communication between people. Here, communication participants constantly change roles, becoming for some time (very short) either speakers (i.e. active) or listeners (i.e. passive). In a dialogue situation, individual utterances arise instantly. Each subsequent replica depends on the previous one, constituting a response to it. Dialogue, as a rule, is carried out in a chain of laconic statements called replicas.

The words of Socrates are significant: “If you want to talk with me, use brevity.” When the replicas grow very large, the dialogue as such ceases to exist, breaking up into a series of monologues. A dialogic replica has two types of activity. Firstly, she responds to the words that have just been spoken and, secondly, when addressing the interlocutor, she expects an immediate verbal response from him.

The replicas of the dialogue “know about each other and are built in this mutual knowledge.” They are significant primarily momentarily; the main thing in them lives only in the situation of the given moment. Through dialogues, people navigate their daily lives, establish and strengthen contacts with each other, and communicate intellectually and spiritually.

Dialogues can be ritually strict and etiquette-ordered. The exchange of ceremonial remarks (which tend to expand, becoming like monologues) is characteristic of historically early societies and traditional folklore and literary genres. Dialogues of this kind make up almost the majority of the text of Lermontov’s “Song about Tsar Ivan Vasilyevich, the young guardsman and the daring merchant Kalashnikov.” Here is one of Ivan the Terrible’s remarks in a conversation with Kalashnikov:

Answer me truthfully, according to your conscience,

Willingly or unwillingly

You killed Movo's faithful servant,

Movo of the best fighter Kiribeevich?

But the most complete and vivid dialogical form of speech manifests itself in an atmosphere of relaxed contact between a few people who feel themselves equal to each other. The hierarchical distance between communicating interferes with dialogue. There is a popular proverb about this: “Standing without a hat, you won’t be able to talk.”

Oral speech is most favorable for dialogue in the absence of spatial distance between speakers: replicas here are significant not only in their own logical meaning, but also in emotional shades reflected in the intonations, gestures and facial expressions that accompany speech. At the same time, statements as part of a dialogue often turn out to be confusing, grammatically incorrect and amorphous, and may look like “innuendos”, which, however, are quite understandable to the interlocutor. The listener often interrupts the speaker, interfering with the flow of his speech, and this strengthens the “cohesion” between the remarks: the dialogue appears as a continuous stream of speech of two, and sometimes more, persons (speech communication in which more than two or three people participate “equally” , called polylogue).

The ability to conduct a dialogue is a special area of ​​speech culture, where a person is “required” to be sensitive to the interlocutor, flexibility of thought, mental acuity) as well as a harmonious correspondence between the ability to speak (responding to the situation of the moment) and the ability to listen to the words of the person next to him.

As linguists have repeatedly noted, dialogic speech is historically primary in relation to monologue and constitutes a kind of center of speech activity: “We talk with interlocutors who answer us—this is human reality.”

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

Monologue is also deeply rooted in life, and therefore in literature. This is a detailed, lengthy statement that marks the activity of one of the participants in communication or is not included in interpersonal communication.

Conversational and solitary monologues are distinguishable. The former are included in human communication, but differently from dialogues. Addressed monologues have a certain impact on the addressee, but in no way require an immediate, momentary verbal response from him. Here one of the communication participants is active (acts as a continuous speaker), all others are passive (remain listeners).

In this case, the addressee of the addressed monologue can be an individual person or an unlimited number of people (public speeches of political figures, preachers, court and rally speakers, lecturers). In such cases, there is a hierarchical privilege of the speaker: “They listen to someone who has power or enjoys special authority, generally in an atmosphere of suggestive influence, implying a certain passivity of perception or a predominantly sympathetic reaction, when mainly “yes-yes” remarks break through.”

Addressed monologues (as opposed to dialogue lines) are not limited in volume, as a rule, they are thought out in advance and clearly structured. They can be reproduced repeatedly (with full preservation of meaning), in various life situations. For them, both oral and written forms of speech are equally acceptable and favorable.

A monologue, in other words, is much less limited than dialogical speech by the place and time of speaking; it easily spreads across the breadth of human existence. Therefore, monologue speech can act as a focus of extra-situational meanings, stable and deep. Here is its undoubted advantage over dialogue lines.

The addressed monologue, as can be seen, constitutes an integral part of the culture of mankind. Its origins lie in the statements of prophets and clergy, as well as the speeches of orators who, in particular, played such an important role in the life of the ancient Greeks and Romans. Addressed monologue speech, remembering its oratorical and preaching origins, willingly resorts to external effects, relies on the rules and norms of rhetoric, often acquires a pathetic character and inspiring, infectious force, causing enthusiasm and delight, anxiety and indignation of listeners. Nowadays, these possibilities of the addressed monologue are clearly reflected in rally speeches.

Solitary monologues are statements made by a person either alone (literally) or in psychological isolation from others. These are diary entries that are not aimed at the reader, as well as “speaking” for oneself: either out loud, or, which is observed much more often, “to oneself.” In internal speech, as shown by L.S. Vygotsky, linguistic forms are reduced as much as possible: “even if we could record it on a phonograph, it would turn out to be abbreviated, fragmentary, incoherent, unrecognizable and incomprehensible in comparison with external speech.”

But solitary monologues are not completely excluded from interpersonal communication. Often they are responses to someone’s words spoken earlier, and at the same time they are replicas of potential, imaginary dialogues. This kind of dialogized self-awareness is widely captured by F.M. Dostoevsky. “You will say,” the hero of “Notes from Underground” thinks privately about his own confession, “that it is vulgar and vile to bring all this to the market now, after so many raptures and tears to which I myself admitted. Why is it vile, sir? Do you really think that I am ashamed of all this?

Solitary monologues are an integral facet of human life. According to a modern scientist, “to think means, first of all, to talk to oneself.” These monologues are organically connected with the fact that Yu.M. Lotman called “autocommunication”, which is based on the situation “I - I”, and not “I - HE”. European culture, the scientist argued, is consciously and purposefully oriented towards the “I - HE” system, but there are cultures focused primarily on autocommunication (probably referring to the countries of the East): they “are capable of developing greater spiritual activity, but often turn out to be less dynamic, than the needs of human society require."

If you think about autocommunication broadly, in the spirit of Yu.M. Lotman, as the sphere of not only individual, but also social consciousness, then, apparently, the conclusion is legitimate that it is associated primarily with an orientation towards monologue speech: both solitary monologues (this is self-evident), and addressed ones that demand from the listener rather obedience than “counter” initiative. The “I - HE” system relies more actively on dialogue.

Monologue speech forms an integral part of literary works. A statement in lyrics is a monologue of the lyrical hero from beginning to end. An epic work is organized by a monologue belonging to the narrator-storyteller, to which the dialogues of the depicted persons are “connected”. The “monologue layer” is also significant in the speech of characters in epic and dramatic genres.

This includes internal speech in its specificity, which is quite accessible to stories and novels (remember the heroes of L.N. Tolstoy and F.M. Dostoevsky), and conventional “remarks to the side” in plays (“Let me ask this postmaster for a loan.” , - says Gogol’s Khlestakov, “looking into the eyes” of the postmaster, who, according to the laws of the stage, does not hear the spoken words). These are also lengthy statements out loud, to which, for example, Griboyedov’s Chatsky, Turgenev’s Rudin, and almost the majority of the characters in Dostoevsky’s novels are prone.

The forms of appearance in literature of the “speaking person” are, apparently, varied. But how and to what extent is the author’s own speech present in the works? Is it right to talk about him as a “carrier of speech”? MM. Bakhtin answers such questions as follows: “The primary author, if he speaks directly, cannot be simply a writer: nothing can be said on behalf of the writer (the writer turns into a publicist, moralist, scientist, etc.). Therefore, the primary author is clothed in silence.

But this silence can take different forms of expression.” Indeed: in some cases (narrative tale; role-playing lyrics; drama, where only the characters speak; works with “false” authorship, such as, for example, Pushkin’s “Belkin’s Tales”) the author’s position is expressed purely indirectly, not being realized in the direct word , in others (the speech of a non-personalized narrator, say, in the novels of L.N. Tolstoy; “autopsychological” lyrics, which are the poet’s self-disclosure) it is revealed in speech openly and directly. Often the author “instructs” the heroes of the work to express their attitude, views and assessments.

Thus, in the monologues of the Marquis Posa (“Don Carlos”) the voice of Schiller himself is clearly felt, and Chatsky is to a large extent the mouthpiece of the ideas of A.S. Griboedova. Position of F.M. Dostoevsky is revealed in a number of statements by Shatov, Myshkin, as well as Alyosha Karamazov, who, after listening to the “Grand Inquisitor” composed by his older brother, sadly exclaims: “And sticky leaves, and expensive graves, and blue skies, and a young woman! How will you live? With such hell in your chest and head, is this really possible? And we, the readers, have no doubt that it is the author who is painfully worried about the fate of Ivan Karamazov and spiritual wanderers like him.

The statements present in the literary text, consistent with the author’s position and expressing it, at the same time never exhaust what is embodied in the work. Addressing the reader, the writer expresses himself not in the language of direct verbal judgments, but in artistic images and, in particular, images of characters as speakers of speech.

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

V.E. Khalizev Theory of literature. 1999

What are monologue and dialogue? These are forms of utterance that are found in cinema, literature, and everyday speech. We participate in dialogues every day. Monologues are less common in colloquial speech. What is dialogue? How is it different from a monologue? What are the features of these forms of expression? What types of monologue and dialogue are there? The answers to these questions can be found in today's article.

Monologue

What is dialogue? This is a conversation between several people. Only one person takes part in the monologue. This is its main difference from conversation. A common feature of monologue and dialogue is that these forms of expression can be expressed both orally and in writing.

In works of fiction, characters share statements. One of the characters suddenly makes a long speech, while asking many rhetorical questions. In other words, he reasons without expecting to receive a response from his listeners. This is a monologue. Translated from ancient Greek, the term means “speech”.

Students are well aware of what a monologue is. They hear it in lectures almost every day. A schoolteacher also tends to reason, but his speech, as a rule, includes elements of conversation. Examples of monologue and dialogue can be heard on television. What form of speech is the president's New Year's speech? Of course, a monologue. But if the same president or any other public figure answers questions from journalists, this is already a dialogue.

In ancient literature

A monologue is a passage of a lyrical or epic nature. He interrupts, distracts the reader, switches him to thinking. The monologue appeared in Antiquity. It is not surprising, since the first dramatic authors were the ancient Greeks.

Often a monologue in ancient drama was a discussion on a topic that was not related to the main action. In the comedies of Aristophanes, for example, the chorus from time to time addresses the audience - talks about events that cannot otherwise be told on stage. Aristotle called monologue an important component of drama. However, among its other elements, he gave this form of utterance the last place.

Kinds

In the 16th-17th centuries, monologue in plays already played a more important role. He helped reveal the character of the hero, and sometimes brought some poignancy to the plot. The following types of monologues are found in works:

• Apart. The character says a few words to the side, thereby revealing his inner state.
• Stanzas. The hero makes a long poetic speech.
• Mindflow. This type of monologue represents the character's thoughts, which do not require obvious logic and do not have a clear literary structure.
• Author's word. The author's appeal to the reader through one of the characters.
• Dialogue in solitude. A character's reasoning with another character who cannot hear him.

Dialogue

Above we figured out what a monologue is. Dialogue is a form of utterance that is invariably present in dramatic and prose works, in addition, it is constantly used by people in everyday speech. The ancient Greek philosopher Plato was quite respectful of this type of speech. He systematically used dialogue as an independent literary form.

Monologue and dialogue have been used by poets and writers for more than two thousand years. Nevertheless, the second form of speech was very popular among ancient authors. After Plato, dialogue became the main literary genre in ancient Greek literature.

Types of dialogues:

• Versatile.
• Dialogue of questions.
• Structured.

The meanings of the words “dialogue” and “monologue” have hardly changed since ancient times. “Logos” is translated from Greek as “word”. “Mono” means “one”, “dia” means “two”. However, the term “dialogue” today refers to a conversation between two or more people. Although there is another, more suitable concept - “polylogue”.

It is worth saying a few words about Plato's most famous work. The Dialogues were created in the 3rd century BC. In this work, the ancient Greek author outlined the philosophical reasonings of famous sages. The title of each part of the book contains the name of the most significant character. Plato’s “Dialogues” include “Apology of Socrates”, “Phaedo, or On the Soul”, “Sophist, or On Being”, “The Feast, or On the Good”, etc.

Let's look at the most famous monologues and dialogues in Russian. Among the examples given below are descriptions of scenes from foreign literature.

"Hamlet"

Monologue, dialogue - types of speech that are components of any work of art. Those created by talented authors are scattered into quotes. The monologues spoken by Shakespearean characters are extremely famous. And above all, Hamlet. By the way, unlike dialogue, monologue is a form of speech that allows you to fully reveal the hero’s experiences.

Hamlet's thoughts about the meaning of life, his doubts about the correctness of the chosen actions - all this was reflected primarily in the monologues, especially in the speech, which begins with the words “To be or not to be?” In the answer to the eternal question, the essence of the tragedy of Shakespeare's character was revealed - the tragedy of a person who came into this world too early and saw all its imperfections.

Should we rise “on the sea of ​​turmoil” and defeat them or submit to “the slings and arrows of furious fate”? Hamlet must choose one of two possibilities. And at this moment the hero, as before, doubts: is it worth fighting for life, which “produces only evil”? Or give up the fight?

Hamlet understands that fate has destined him to restore justice in the Danish kingdom, but for a long time he does not dare to join the fight. He understands that the only way to defeat evil is to use the same evil. But this path can distort the most noble goal.

Shakespeare's hero does not want to live by the principle followed by the majority of ordinary people - “to achieve the goal, all means are good.” Therefore, he decides to “fall asleep and die - and that’s it...” Death is one of the possible consequences of the internal struggle, which is expressed in this expressive monologue.

Every actor dreams of playing Hamlet. This hero's monologue is invariably read by talented and untalented applicants during entrance exams to theater universities. In the list of the best performers of the role of the famous Shakespearean character, one of the first places is occupied by the Soviet actor Innokenty Smoktunovsky. In order to understand what a monologue is and appreciate its role in revealing the artistic image, it is worth watching the 1964 film.

Marmeladov's speech

Dostoevsky is a master of creating vivid monologues and dialogues. Unique, extremely deep in content speeches are delivered in his books by both main and secondary characters. One example is the monologue of the official Marmeladov - an unhappy, insignificant, degraded man. In the words that the character utters when addressing Raskolnikov, there is boundless pain, self-flagellation, a strange desire to humiliate you. Key words in Marmeladov’s monologue: “Poverty is not a vice, poverty is a vice.”

It is worth saying that the excerpt from “Crime and Punishment”, which shows the meeting of the main character with Sonya’s father, can also be called a dialogue. Raskolnikov talks with Marmeladov, learns about the details of his life. However, it is the drunken official who delivers a speech here that reveals not only his personal tragedy, but also the tragedy of an entire social stratum of St. Petersburg in the 19th century.

Conversation between the killer and the investigator

An interesting dialogue is present in one of the scenes with the participation of Rodion Romanovich and the investigative officer. Raskolnikov talks with Porfiry Petrovich three times. The last meeting takes place in the student's apartment. In this scene, the investigator displays subtle psychological abilities. He knows who committed the murder. But he has no evidence.

Porfiry Petrovich puts psychological pressure on Raskolnikov, forcing him to confess. This dialogue plays an important role in the plot. However, the key phrase in Dostoevsky's novel is the words of Raskolnikov, which he utters in a conversation with Sonya Marmeladova. Namely, “Am I a trembling creature or do I have the right?”

"Idiot"

Anastasia Filippovna is one of the most famous heroines in Russian literature. The monologue that she delivers at her last meeting with Menshikov is invariably popular among applicants to theater universities. Nastasya Filippovna’s speech is permeated with pain and despair. The main character proposes to her. She refuses him. The words spoken by Nastasya Filippovna are addressed to the prince. At the same time, this speech can be called a monologue in solitude. Nastasya Filippovna decided to leave with Rogozhin, understands that she is doomed, and makes a farewell speech.

"Garnet bracelet"

Kuprin's story contains many interesting dialogues. For example, General Anosov’s conversation with the main character. In one of the scenes, after Vera’s name day celebration, a conversation took place between them, which in some way influenced her attitude towards Zheltkov. The most striking monologue in “The Garnet Bracelet” is, of course, the telegraph operator’s suicide letter.

"Master and Margarita"

Bulgakov's book contains a huge number of unique dialogues and monologues. The heroes' statements have long turned into aphorisms. The first chapter is called “Never talk to strangers.” Berlioz and Bezdomny, knowing nothing about the author’s warnings, enter into a conversation with the foreigner. Here the characters' characters are revealed. The homeless man shows ignorance. Berlioz has a broad outlook, high intelligence, but at the same time cunning and caution.

Monologue of the Master

The most vivid, interesting dialogues in Bulgakov's novel are those with the participation of Woland's assistants. The most profound monologue belongs to the main character - the Master. At the clinic, he meets the former poet Bezdomny and tells him about his former life. The dialogue smoothly turns into a monologue of loneliness. Or perhaps this is the author’s word, that is, Bulgakov himself’s appeal to the reader through his hero? The author of “The Master and Margarita” is one of the most controversial writers of the 20th century. Literary scholars have been analyzing the monologues, dialogues and descriptions created by him for decades.

"Dog's heart"

There are some pretty interesting internal monologues in this piece. They belong to the main character. But, what is noteworthy, he reads them before and after the operation. That is, he thinks mentally, reflects on life, only as a dog. After Sharik transforms into Polygraph Poligrafovich, witty dialogues open before the reader, causing both a smile and sad thoughts. We are talking about Sharikov’s conversations with Professor Preobrazhensky and Bormental.

"Flying over Cuckoo's Nest"

In Ken Kesey's book, the narrative is built on a monologue. Although there are some memorable dialogues involving McMurphy. Yet the main character is Chief Bromden, who pretends to be deaf and mute. However, he perfectly hears and understands everything that happens around him. He acts as an outside observer, a narrator.