Semantic principle.
Grammar principle.
Punctuation marks are indicators of the syntactic and structural division of written speech. It is this principle that gives modern punctuation stability.
Based on the grammatical principle, the largest number of characters is used. Eg:
1) _______________________________________________________________________________
2) __________________________________________________________________________________
3) _______________________________________________________________________________
4) __________________________________________________________________________________
5) _________________________________________________________________________________
____________________________________________________________________________________
The grammatical principle determines the presence in the text of “obligatory”, structurally determined signs.
This principle contributes to the development of solid, commonly used rules for the placement of punctuation marks. Signs placed on this basis are not optional or proprietary. The grammatical principle is the foundation of modern Russian punctuation.
The syntactic division of speech ultimately reflects the division logical, semantic, because grammatically significant parts coincide with logically significant, semantic segments of speech. And the purpose of punctuation is to provide the reader with a correct understanding of the meaning of what is written.
Among the punctuation marks, we can distinguish those for the placement of which it is not grammatical, but semantic grounds that are significant. For example, punctuation marks in non-union complex sentences: they are the ones that convey the necessary meanings in written speech. Wed:
– _________________________________________________
The whistle blew () the train started moving – ___________________________________________________
Other punctuation marks also serve a semantic function:
1) ellipsis, ĸᴏᴛᴏᴩᴏᴇ helps to put logically and emotionally incompatible concepts at a distance. For example, in article headings: ʼʼOn skis… for berriesʼʼ, ʼʼHistory of the people… in dollsʼʼ.
2) a comma between definitions, which indicates their convergence in semantic terms. Eg: Thick, slow snow was flying(Paust.).
3) signs that clarify the meaning of a sentence. Eg:
Walks freely on the streets () to work(Levi). ____________________________________
____________________________________________________________________________________
Sometimes the semantic division of speech subordinates the grammatical, ᴛ.ᴇ. the specific meaning dictates the only possible structure. Eg: The hut is thatched, with a chimney– the presence of a comma is determined by the meaning: the correlation of the prepositional-case form with pipe with a noun hut, not with the word straw.
Russian punctuation is partly based on intonation: a dot at the site of a large deepening of the voice and a long pause; question and exclamation marks; intonation dash, ellipsis.
In some cases, the choice of sign depends on intonation. For example, in non-union complex sentences:
Morning will come () let's go into the forest. _________________________________________________
Morning will come () let's go into the forest. ________________________________________________
The intonation principle acts only as a secondary one, because intonation in most cases is itself a consequence of a given semantic and grammatical division of a sentence.
All three principles interact closely. And often the semantic division of speech corresponds to its grammatical division, and in oral speech its intonation design.
At the same time, there are cases when the three indicated grounds (grammatical, semantic, intonation) may not coincide. Let us note the most common cases.
1. The semantic and grammatical division of speech does not coincide with its intonational division:
a) the main and subordinate parts with the conjunction THAT are not divided intonationally: They say he will come soon.
b) a pause does not always correspond to the semantic and grammatical design of the sentence: Morozka lowered the bag and, cowardly burying his head in his shoulders, ran towards the horses.(Fad.) – a pause before the conjunction AND, and a comma is placed after the conjunction to highlight a separate circumstance expressed by the participial phrase.
c) sometimes sentences that are integral from semantic and grammatical points of view are divided into intonational terms: At six o'clock on a clear May morning // Maya went out into the garden.
2. Semantic division does not always find support in grammatical and intonation division. Sometimes semantic division becomes decisive and itself dictates the grammatical structure and intonation design. For example: in the segment he should be at school the semantic division is decisive:
He should be at school. - He should be at school.
3. Sometimes semantic and intonation divisions contradict grammatical ones. Eg: She reminded me to take a basin and a shaving brush. And shoe cream. And a brush(Panova) – from a grammatical point of view, the word forms both boot cream and brush are homogeneous additions, but the author distinguishes them in meaning and intonationally into independent sentences, which is reflected punctuationally.
Question 3. The modern system of punctuation marks, their main functions.
In modern Russian punctuation the following system of punctuation marks is presented:
________________________________________________________________________________________________________________________________________________________________________
The function of a punctuation mark also serves paragraph indentation(Red line).
Punctuation marks perform two main functions: departments And secretions.
Some signs serve only for department(separating punctuation marks; these are single characters): _______________________________________________________________________________
_________________________________________________________________________________
With the help of these signs, they are separated from each other _____________________________________
__________________________________________________________________________________
Other punctuation marks serve for highlighting only(emphasizing punctuation marks; these are double marks): ___________________________________________________________________
____________________________________________________________________________________
Third punctuation marks multifunctional, used as separating and highlighting signs. This ___________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
In some cases, as, for example, in sentences with direct speech, complex combinations of emphasizing and separating signs are used.
The indicated basic functions of punctuation marks are often complicated by more specific, meaning-distinguishing functions. Thus, sentence ending marks not only separate one sentence from another, but also express the characteristics of the sentence in terms of the purpose of the statement and emotional coloring. Eg: He didn't come. He didn't come? He didn't come!
Question 4. Regulated and unregulated punctuation.
Regulated punctuation – ______________________________________________
The basic rules of punctuation are normative in nature, they are relatively stable and the same for different types of written speech.
But a feature of Russian punctuation is that the same sign must be used with different meanings (multifunctionality of punctuation marks), and at the same time different signs can be used for the same purpose (synonymy of punctuation marks). These circumstances make it possible to choose punctuation marks, ᴛ.ᴇ, under the conditions of the context. create an opportunity optional their use.
General concept optionality in the use of punctuation marks, according to D.E. Rosenthal (Rozental D.E. Handbook of punctuation: Dictionary-reference book. - M., 1997. - P. 225), allows for the identification of three cases:
1) the sign itself is optional – according to the scheme “sign – zero sign” (put // do not put);
2) alternative sign - according to the scheme ʼʼor - orʼʼ (mutual exclusion of signs);
3) variable sign – according to the “sign of choice” scheme.
TO strictly optional can, for example, include:
1) punctuation marks for restrictive and emphatic constructions (their isolation is not necessary): Instead of this endlessly monotonous plain (,) I wanted to see something picturesque.
2) punctuation marks in clarifying circumstances: We'll meet tomorrow (,) at seven o'clock in the evening.
3) a dash for semantic division of syntagmas: I don’t even have time to rewrite it(a dash is not required, but is acceptable to highlight syntagmas).
TO alternative signs include, for example:
1) a comma for complex subordinating conjunctions (it can dissect a conjunction or stand before the entire conjunction based on intonation, lexical conditions, meaning):
I'm ready to meet you after I'm free.
2) a comma at the junction of two conjunctions in the SPP (it is placed or not placed depending on whether the second part of the conjunction TO, SO, BUT follows the subordinate clause):
We were informed that if the weather did not improve, the excursion would not take place. - We were informed that if the weather does not improve, the excursion will not take place.
Alternative punctuation marks are used for the so-called syntactic homonymy (coincidence of the lexical composition of two sentences, but with different semantic connections of individual words).
He read the letter and silently walked away to the window. “He read the letter and silently went to the window.
He stated that he handed over the book and was waiting for an answer. – He stated that he handed over the book and was waiting for an answer.
TO variable include punctuation marks that replace each other in the same constructions. So, before the connecting structure there can be a comma, a dash, a period, and an ellipsis.
There are different signs that are variable. Eg:
1) ____________________________________________________________________________
Everything is different there (?) language, way of life, circle of people ( Koch.).
2) __________________________________________________________________________
This testifies to his audacity (?) and nothing more.
3) ___________________________________________________________________________
The regiments are closed in their ranks (?) arrows are scattered in the bushes (?) cannonballs are rolling (?) bullets are whistling (?) cold bayonets are hanging(P.).
4) __________________________________________________________________________
One of the guests (?) No one knew his name (?) looked around those present with concern.
Unregulated punctuation – ____________________________________________
_____________________________________________________________________________________
In general, unregulated punctuation (of course, erroneous punctuation is not taken into account) combines different phenomena:
1) situational punctuation norms (such punctuation marks reflect the stylistic properties of scientific, official business, journalistic texts);
2) deviations from the rules, reflecting general modern trends (for example, recently a dash is often used in place of a colon); this kind of deviation from the rules gradually prepares the ground for changing and clarifying the rules themselves;
3) deviations under the influence of colloquial speech (use of ellipses to imitate intermittent conversational speech; use of dashes as an indicator of speech difficulty, etc.);
1) features of punctuation in texts that are individual in nature, inherent in a particular writer, and generally do not contradict the rules adopted in a given period;
In the first meaning, this term reflects general trends in the development of punctuation; only the specificity of the use of this or that sign by individual authors is noted.
So, M.E. Saltykov-Shchedrin (according to the observations of A.I. Efimov) widely used such a relatively rare sign as brackets. For a satirical writer, brackets were one of the most effective means of creating expressiveness: they were used to highlight synonyms, “Aesopian” words, professionalisms, to clarify outdated words, to comment on names and surnames, to include witticisms, anecdotes, etc. (according to Efimov’s calculations, Saltykov-Shchedrin’s brackets performed up to 40 functions, while only 4-5 are noted in punctuation reference books).
A conscious deviation from the current norms of punctuation reflects the individual author’s punctuation, while punctuation marks are not bound by strict placement rules and depend entirely on the will of the writer, acquiring stylistic significance. Such punctuation, in contrast to regulated punctuation, is more deeply and subtly connected with the meaning, with the style of a particular text.
1. Dash.
M. Gorky’s “predilection” for dashes is well known: he also encounters it in cases where this punctuation mark is not used at all or another sign is recommended. For example, between subject and predicate: People won(M.G.). I'm tired, I'll go to my place(M.G.). In these cases, the dash enhances the meaning of the main members. People are coming, - red flags, - a lot of people, - countless, - of different ranks(M.G.) – comma and dash to express gradation.
N.S. writes about the special significance of the author’s dash in the poetry of A. Blok and M. Tsvetaeva. Valgina (The stylistic role of punctuation marks in the poetry of M. Tsvetaeva // Russian speech. - 1978. - No. 6; “Neither the sea is deeper, nor the abyss darker... ʼʼ (about the punctuation of A. Blok) // Russian speech. - 1980. - No. 6).
A. Blok uses a dash for a concise, sharp and contrasting expression of thoughts:
And here - She, and to her - my Hosanna -
The crown of labor is above all awards(B.).
Or a dash as a reflection of hard pauses:
Bares his teeth - the wolf is hungry -
Tail tucked - not far behind -
A cold dog is a rootless dog... (B.).
M. Tsvetaeva uses a dash to semantically highlight the last word, to create a special rhythm and melody of the verse:
The July wind sweeps my way,
And somewhere there is music through the window - a little.
Ah, today the wind will blow until dawn.
Through the walls of thin breasts - into the chest.
There is a black poplar, and there is light in the window,
And the ringing on the tower, and the color in the hand,
And this step is given - to no one - after,
And there’s this shadow, but there’s no me.(Color).
According to N.S. Valgina, the possibilities of individual use of dashes are especially noticeable among authors who are prone to concise speech and stingy with verbal means of expression (M. Tsvetaeva, A. Blok, B. Pasternak). In many cases, dashes are a reflection of sharp pauses:
These are the squeezes of insomnia.
This is a candle with crooked soot.
These are hundreds of white belfries
First blow of the morning... (A. Akhmatova).
2. Dot.
The author's period is often used instead of a comma to divide the statement at the intra-phrase level. In this case, it acquires a distinctive and accentuating meaning. For example, the period that took the position of a comma (when listing homogeneous members) in A. Blok’s poem:
About the life that burned out in the choir
In your dark choir.
About the Virgin with a secret in her bright gaze
Above the illuminated altar.
About languid girls at the door,
Where is eternal darkness and praise.
About distant Mary, bright Mary,
In whose eyes there is light, in whose braids there is darkness.
3. Ellipsis.
In A. Blok, an ellipsis is placed instead of a dash between the subject and the predicate (it combines the function of a dividing dash and an ellipsis, conveying something unsaid, “thoughtful”):
Ah, rain and sun... strange brothers!
One with a seat, and the other without a seat...
1) complete or partial rejection of punctuation marks (as a special literary device):
huge orange ball
attracts with the power of its fire
hot and cold celestial bodies
doesn't let them fall on top of each other
and fly away...(V. Kupriyanov).
2) deliberate overloading of the text with punctuation marks:
I miss. Without. You. My. Expensive. (This is my new style - I like to chop up phrases, it’s fashionable and in the spirit of the times)(Yu. Semenov).
However, individuality in the use of punctuation marks does not lie in violating the punctuation system, not in neglecting the traditional meanings of signs, but in enhancing their significance as additional means of conveying thoughts and feelings in a written text, in expanding the boundaries of their use. A combination of signs or a deliberate repetition of one of the signs can manifest itself as an individual technique found by the author. If punctuation is included in the system of literary devices that help reveal the essence of poetic thought, it becomes a powerful stylistic tool.
Textbook “Modern Russian Language” (M., 2007) edited by Pavel Aleksandrovich Lekant.
Textbook ʼʼModern Russian language. At 3. Part 3. Syntax. Punctuation (Moscow, 1987). Authors: Babaytseva Vera Vasilievna, Maksimov Leonard Yurievich.
Textbook ʼʼModern Russian language. Syntax (M., 2003). Author - Valgina Nina Sergeevna.
Textbook “Modern Russian language” (Moscow, 1981). Author – Beloshapkova Vera Arsenyevna.
Textbook ʼʼModern Russian language. Theory. Analysis of linguistic units. In 2 hours. Part 2ʼʼ, edited by Elena Innokentievna Dibrova.
Section ʼʼPhraseʼʼ - Chirkina I.P.
Section ʼʼSimple sentenceʼʼ - V.V. Babaytseva.
Section “Complex sentence”, “Complex syntactic whole” - Nikolina N.A.
Section “Alien Speech” - Infantova G.G.
Valgina N.S., Svetlysheva V.N. Russian language. Spelling and punctuation. Rules and exercises. Tutorial.
Grammar of Russian language. In 2 vols. T. II. Part 2. (M., 1954) under the general reaction of Academician Viktor Vladimirovich Vinogradov.
The stability of the Russian punctuation system is explained primarily by the fact that the principles that define it make it possible to convey in writing the semantic, syntactic, and, to a large extent, intonation structure of speech. Punctuation marks in most cases divide the text into syntactic units that are related in meaning and intonationally designed.
No.: Terkin - who is he?
Let's be honest:
He's just an ordinary guy himself.
However, the guy is good.
There's always a guy like that in every company,
And in every platoon.
In this text, a question mark and dots indicate the boundaries of independent syntactic units - sentences expressing in each case a relatively complete thought. These punctuation marks also characterize the purpose and intonation of the statement and indicate long pauses at the end of the sentence. The dash in the first sentence connects the nominative topic (Terkin) with the second developing part of the sentence (who is he?) and indicates a warning intonation and a pause between parts of the sentence. A colon connects the second part of a complex non-union sentence with the first and indicates explanatory intonation and explanatory semantic relationships between the parts of the sentence. The comma highlights the introductory word and corresponds to the pause and intonation that accompanies the introductory words. The comma in the last sentence separates the connecting structure (and in each platoon) and also corresponds to a pause.
The principles on which the system of Russian punctuation rules is based were comprehended and formulated gradually.
- Thus, V.K. Trediakovsky believed that “punctuation is a division of words, members and entire speeches, depicted by certain signs, in reading to the concept of content and serving as a rest, and also indicating the order of composition.” In other words, V.K. Trediakovsky saw the purpose of punctuation (“punctuation”) in the semantic, intonation and syntactic division of speech.
- M.V. Lomonosov emphasized the semantic and syntactic functions of punctuation marks: “Lowcase marks are placed according to the strength of the mind and its location to conjunctions.”
- logical (semantic);
- syntactic;
- intonation.
F. I. Buslaev wrote about the use of punctuation marks: “Since through language one person conveys thoughts and feelings to another, then punctuation marks have a dual purpose: 1) contribute to clarity in the presentation of thoughts, separating one sentence from another or one part from another , and 2) express the sensations of the speaker’s face and his attitude towards the listener.”
We find a syntactic understanding of punctuation words in J.K. Grot and
S.K. Bulich, who believed that punctuation makes the syntactic structure of speech clear.
In the works of J.K. Grot, it is important to indicate the connection between the punctuation system and the general nature of the syntactic structure of sentences and written speech. He draws attention to a noticeable tendency in contemporary literature to abandon “overly complex or common sentences” and use more “short speech.” “An abrupt speech consists of expressing yourself in as short sentences as possible for greater simplicity and clarity of presentation and thus allowing the reader to pause more often. In relation to the use of punctuation marks, this means: between two points, do not accumulate too many sentences that are mutually dependent or closely connected with each other, and, moreover, arrange them so that they can be determined from one another, at least by a semicolon or colon. An excessive set of subordinate clauses between main clauses confuses and obscures speech.”
J.K. Grot outlined the punctuation rules with punctuation marks: for each sign all cases of its use are indicated; each rule is illustrated by one or more examples from the works of the late 18th century and the first half of the 19th century, but, due to J. K. Grot’s dislike of authors of a later period, some of his rules became outdated by the end of the 19th century.
And yet, the rules of punctuation that he formulated, together with his spelling rules, as mentioned above, entered the everyday life of the school, and through it into the practice of printing. For everyday use, they turned out to be quite clear and convenient, since they were based on the syntactic structure of sentences, which the writers learned in the school grammar course.
The transfer of the intonation side of speech seems to be the main task of punctuation to A. Kh. Vostkov, I. I. Davydov, A. M. Peshkovsky, L. V. Shcherba.
In cases where the choice of punctuation mark is determined by the differentiation of semantic connections between words or semantic relationships between parts of a complex sentence, there are punctuation options, which in oral speech correspond to various intonation features of the statement. In such situations, punctuation marks in written speech and intonation in oral speech are interconnected and have the same function - they perform a meaningful function.
However, the meaning of the statement is inextricably linked with the grammatical structure and intonation of the sentence. This explains the fact that the rules for placing punctuation marks in force in modern Russian writing cannot be reduced to any one of the listed principles, and individual punctuation marks in each specific case of use emphasize either the logical, or syntactic, or intonation structure of speech or are syntactic - at the same time they divide the text into semantic and syntactic segments, characterize its semantic and intonation structure, etc.
Returning to the historical aspects of this issue, we will consider the works of A. M. Peshkovsky and L. V. Shcherba, which are extremely valuable for the theory and practice of punctuation. Although these works are not scientific studies based on the analysis of a large number of literary texts of various genres and styles, they nevertheless represent interesting attempts to understand the punctuation norms existing in our writing and contain original thoughts regarding the construction of a new punctuation system for the Russian literary language.
A.M. Peshkovsky’s first speeches on punctuation issues, which determined his views in this area, as well as in a number of other areas related to the teaching of the Russian language, took place during the years of the highest rise of pre-revolutionary Russian social and pedagogical thought, immediately preceding the revolution of 1917 . We are talking about the scientist’s report “The Role of Expressive Reading in Teaching Punctuation Marks,” read at the All-Russian Congress of Secondary School Russian Language Teachers, held in Moscow in December 1916 - January 1917, and about his article “Punctuation Marks and Scientific Grammar.”
It should be borne in mind that A.M. Peshkovsky, as a theoretical scientist and methodologist, was a convinced and ardent supporter of that trend in Russian linguistics, which put forward the position of the need to strictly distinguish between oral speech and written speech, placing first place on living, sounding speech. Such prominent Russian linguists as F.F. Fortunatov and I.A. Baudouin de Courtenay and their followers and students, who raised the study of phonetics to unprecedented heights until then, spoke about this constantly and tirelessly in their university lectures and public reports. both general and Russian historical, and for the first time put applied disciplines - spelling and spelling - on a strictly scientific basis.
Punctuation marks in the vast majority of cases of use reflect “not the grammatical, but the declamatory-psychological division of speech.” Rhythm and intonation are auxiliary syntactic means only because in certain cases they can acquire meanings similar to those created by the forms of words and their combinations. “But at the same time, these signs can at every step contradict the actual grammatical signs, because always and everywhere they fundamentally reflect not the grammatical, but only the general psychological element of speech.”
To master the ability to put punctuation marks, you should always consciously read the signs, that is, “bring into connection this or that pronunciation figure. with one or another sign,” as a result of which “a strong association of each sign is formed with the corresponding pronunciation figure (or figures, if the sign has several of them) - an association that, of course, flows in both directions.” Coordination between expressive reading and grammar measures will be required just to master existing comma rules.
For A.M. Peshkovsky, such a formulation of the question of punctuation and the methodology of teaching it was part of a common big problem - the relationship between written and living oral language. Therefore, he ended his report “The Role of Expressive Reading in Teaching Punctuation” with the following words: “I will also note that such a rapprochement between expressive reading and punctuation will benefit not only punctuation alone. Mentally hear what you write! After all, this means writing beautifully, vividly, uniquely, it means becoming interested in what you write! How often is it enough for a teacher to read a student’s awkward expression from the pulpit for the author to be horrified by his own expression. Why did he write it? Because I didn’t hear when I wrote, because I didn’t read myself out loud. The more a student reads himself aloud, the better he will understand the stylistic nature of the language, the better he will write. The reunification of the written tip of the linguistic tree with its living oral roots always gives life, but cutting off always deadens.”
L.V. Shcherba was partly close to the position of A.M. Peshkovsky. He also saw the role of punctuation in indicating the rhythmic and melodic side of speech. “Punctuation is the rules for the use of additional written characters (punctuation marks),” he wrote, “which serve to indicate the rhythm and melody of a phrase, otherwise phrasal intonation.” Meanwhile, while A. M. Peshkovsky believed that all punctuation marks, with the partial exception of the comma, designate “first of all and directly only the rhythm and melodic side of living speech,” L. V. Shcherba, looking into the essence of the rhythm and melody itself, did not limited himself to this, but added: “Since the rhythm and melody of speech alone express the division of the flow of our thought, and sometimes this and that connection of its individual moments and, finally, some semantic shades, since we can say that punctuation marks actually serve to indicate all this in writing. This determines the dual nature of any punctuation: phonetic, since it expresses certain sound phenomena, and ideographic, since it is directly related to meaning.”
Further, L.V. Shcherba points out that “the division of speech-thought, and to an even greater extent the connection between its individual parts and their different semantic shades, are expressed in speech not only intonation, but also in individual words, word forms and word order , and if it is true that division and affective shades always find expression in intonation (although this is not always indicated in writing), then the connection between individual parts of speech is only very summarily expressed intonation, and their logical shades are very rarely expressed.” In some cases, as the scientist points out, intonation acts as the only indicator of both the division and the nature of the connection between the individual parts of the sentence.
Modern Russian punctuation is built on semantic and structural-grammatical foundations, which are interconnected and determine each other, and therefore we can talk about a single semantic-grammatical basis of Russian punctuation. Punctuation reflects the semantic division of written speech, indicates semantic connections and relationships between individual words and groups of words, and various semantic shades of parts of a written text. But certain semantic connections between words and parts of the text find their expression in a certain grammatical structure. It is no coincidence that the formulation of most of the rules of modern Russian punctuation is based both on the semantic features of the sentence (on the semantic basis) and on the features of its structure, i.e. the peculiarities of the construction of the sentence, its parts, the presence or absence of conjunctions, ways of expressing the members of the sentence, the order of their arrangement, etc. are taken into account, which forms the structural and grammatical basis of punctuation.
Principles of Russian punctuation:
- Syntactic. Punctuation marks reflect the syntactic structure of language and speech, highlighting individual sentences and their parts (leading).
- Semantic (logical). Punctuation marks perform a semantic role, indicate the semantic division of speech and express various additional semantic shades.
- Intonation. Punctuation marks serve to indicate the rhythm and melody of speech.
(back to topic)
I am fully aware that the concept of the semantic principle of “square of time” is somewhat difficult for readers to understand. Believe me, it is no less difficult to explain this concept. And to attempt intellectual insight into the essence of this principle requires a fair amount of interest, intuition and careful concentration.
It is also completely clear to me that a certain obstacle to attracting focused attention and intellectual penetration into this concept is, to a certain extent, the so-called “social idol phenomenon.” That is, if any scientific figure with undeniable authority in society spoke about this principle of “time square,” his explanation would certainly attract interest, attention, and concentration. For, in this case, everything said would be taken on faith without intellectual penetration into the essence of what was said.
Despite the fact that I am not a scientific figure with such public authority, I still decided to once again touch upon the topic that I raised in the article “The semantic principle of the square or the “square of time.” For, in the end, no one is forbidden from intellectual attempts to penetrate into the secrets of world perception, worldview and worldview.
At the same time, I especially want to emphasize that this topic relates specifically to the sphere of worldview, and not at all to the field of mathematics.
I will remind you of the image of this “time square”.
I draw your attention to the fact that the sum of three numbers in any direction equals the number 15 . Digital synthesis of meanings of which is equal to the number 6 .
At the same time, I note that it's just a principle .
Although this phenomenon is not mathematical, it can be expressed mathematically. This is what Pierre Fermat did in the form of a theorem in 1637. That is, he formulated a mathematical expression semantic principle of the square- for any natural number n > 2 the equation a n+ b n= c n has no natural solutions a, b And c. What I mentioned in the article “Is the “queen” of all sciences omnipotent?”
Moreover, in this formula with n = 2 , number 2 means . And all the meanings of the number n > 2 , this is, so to speak, “from the evil one.” This is what the Russian mathematician Perelman tried to prove “from the evil one.”
In other words, push-pull time turns the point to two semantic linear uniformities , representing in the space of two degrees of dimension semantic square of time.
Next, I will present you with a certain three-dimensional image, which I also already mentioned in the article “The semantic principle of the square or the “square of time”. And which demonstrates the unfolding process two semantic linear uniformities in a space of three degrees of dimension.
This is how two semantic linear uniformities unfold in three-dimensional space. Forming a peculiar the cube of material existence is an incubator.(N. b. in - cube - AT - OR).
Note that the linear sum of any three numbers in each of the three degrees of dimension is the number 15 , the digital synthesis of meanings of which is equal to the number 6 .
That is, material existence exists inside three-dimensional space (cube), determined by the number of the beast - 666. A number also called the human number.
By the way, nowadays human civilization is considered very developed, and everyone considers himself, if not a high intellectual, then at least a very intelligent person. And at the same time, both all of humanity and its individual representatives still cannot penetrate into the essence of what was formulated in ancient times. So now try to argue that this intellectual weakness is not an obvious manifestation of a certain phenomenon called human pride of mind. But this pride of reason is nothing more than evidence of a general decline in human intelligence as a result of the general degradation of humanity and the degeneration of man himself.
Now about the generalized category of time measures.
It is no secret that the generalized categories of space measures are length, width and height .
Have you ever wondered what the generalized category of time measure is called? After all, it's called corner(N.b.corner). Which I also already mentioned in the article “Diamond Psychology of Vice”.
And this should be obvious to you, because we calculate time by measure of angle turning the clock hands, walking in circles .
Even though the hour hand circles twice - 2x12, the total complete circle of time the Earth rotates around its axis is still 24 hours.
At the same time, we know that a complete circle of space is 360 angular degrees. And the names of fractional units of measurement of angles in a circle and the names of fractional units of measurement of time on a watch dial completely coincide - seconds and minutes .
The name of the main unit of measurement of time of human existence is hour - does not coincide with the name of the main unit of angular measurement in a circle - degree . Then let's calculate how many angular degrees of space are contained in one hour of time.
360: 24 = 15 (!)
Thus, every hour is 15 degrees of space (in digital semantic synthesis 6 ). And this coincides with the linear indicators of sums and their digital syntheses, which we saw in the image of the semantic square.
Consequently, we calculate time according to the principle of a semantic square.
Since we measure space through time, then in the sphere of its space (i.e., space of time) the same principle of a semantic square naturally operates.
Based on the foregoing, it is quite legitimate to conclude that any object, moving in three-dimensional space of time, at any given moment in time can only move (and only) in two degrees. That is, the vector of its movement is always determined by only two degrees. And with any changes in the direction of movement in the process of such a change, only the selection of two degrees of orientation out of three changes. Thus, a change in the vector of motion of a material body in space-time continuously changes the two-unit linear spatial coordinates of the material body themselves. That is, for a material body moving in space-time, the coordination structure of space is constantly changing. And this is the immutable law of the semantic square of time of the physical existence of the material world in three-dimensional time space.
For those who find it difficult to imagine and who still don’t believe it, I will demonstrate this phenomenon using the example of a watch dial. Which very clearly shows the principle of two linear uniformities. That is, the semantic principle of the square of time.
Once upon a time, a very long time ago, I suddenly realized quite intuitively that a watch dial is a thing incomparably more complex than the clock mechanism itself. And that this dial contains some fundamental secrets of our existence.
I believe that the designer of the dial did not start with numbers, but with meanings. He denoted the meaning of the total angular size of space-time with the following symbols of numbers:
- 3 = the trinity of God as the fundamental principle of existence;
- 6 = area of material existence;
- 0 = space time;
Thus, the total angular size of space-time has been denoted by these numerical symbols - 360 . And the basic unit of measurement of angle ( corner) was named degree.
360: 15 = 24
These calculations determined the numerical angular size of one revolution of the Earth around its axis. The basic unit of this measurement of the Earth's revolution intended for man was called the hour, consisting of 15 angular degrees.
It would seem that the rest is simple. Take 24 hours and distribute them evenly across the circular dial. However, the designer took a different path. He divided 24 hours for two halves 12 hours each. And on one circle of the watch dial he placed both halves, superimposing one on top of the other.
That is, the hand indicating the numerical value of the hour angle, during the first revolution, indicated the numerical values of the first half of 24 hours. And during the second revolution - the numerical values of the second half.
I wonder why this complication was made. And what purpose did it pursue? Let's get a look.
Let's add up the numerical values of the first circle.
1+2+3+4+5+6+7+8+9+10+11+12 = 78
Digital synthesis of meanings - 15 = 6.
Now let's add up the numerical values of the second circle.
13+14+15+16+17+18+19+20+21+22+23+24 = 222
Digital synthesis of meanings - 6 .
Thus, the designer of the watch dial fixed in his design the semantic principle of the square of time. And he reflected the semantic principle of two linear uniformities of material existence in space-time on a circular watch dial.
Principles of Russian punctuation The use of punctuation marks is determined primarily by the structure of the sentence, its syntactic structure. For example, the use of a period that marks the end of a sentence is associated with the structure of the sentence; signs between parts of a complex sentence; signs that highlight various constructions as part of a simple sentence (isolated members, homogeneous members, addresses, introductory and other constructions). Therefore, the main principle, on which modern Russian punctuation is based, is structural(or syntacticallyskiy) principle. For example: Known,1 (which,2 (in order to see in the forest there is a necessary mushroom, 3 a bird* hiding in the branches, 5 a bird's nest, 6 a nut on a branch7- in a word,8 everything),9 (What rarely comes across and one way or another hiding from the eyes),10 must be kept in mind then), (that looking for). Here, punctuation marks reflect the structure of the sentence: 1 - a comma separates the subordinate clause from the main one; 2 - a comma at the junction of conjunctions with sequential subordination of subordinate clauses; 2, 10 - commas highlight subordinate clauses within another subordinate clause with sequential subordination; 3, 6 - commas separate homogeneous members connected without union; 4, 5 - commas highlight the participial phrase after the word being defined; 7 - dash after a homogeneous row before the generalizing word; 8 - a comma highlights an introductory construction; 9, 11 - commas separate subordinate clauses in sequential subordination; 12 - a period indicates the end of a sentence.
These marks are strictly required and cannot be copyrighted.
The syntactic division of the text (including a separate sentence) is connected with its semantic division and in most cases coincides with it. However, it often happens that the semantic division of speech subordinates the structural division and dictates one or another arrangement of punctuation marks (their choice or place). Therefore the second principle on which punctuation rules are based is principle semantic.
For example: 1) In a sentence The groom was friendly and very important, then - he was intelligent and very wealthy(M. Gorky) a dash indicates that the word Then here it means “in addition.” In the absence of a dash Then would have the meaning “after something”, “subsequently”, inappropriate in this case. 2) Offer Your applicationmust be reviewed by the commission(without punctuation) expresses the speaker’s confidence in the reliability of what is being reported. And the proposal Your statement must bereviewed by the commission(with an introductory construction) - uncertainty, conjecture. 3) Wed: Vasya sat behind,liaison commander and machine gunner (K. Simonov)(three participants in the situation are indicated by three homogeneous subjects) and Vasya, the liaison commander, and the machine gunner sat behind(comma before conjunction And turns a phrase liaison commander in addition to the word Vasya, and in this sentence we are talking about only two characters). 4) Wed. There are also different semantic relationships between the main and subordinate clauses depending on the place of the comma: I did it as I was ordered And I did it as I was ordered.
Semantic principle also allows so-called “author’s” marks. For example: Without a twig in hand,at night, he, without hesitation at all, galloped alone among the wolves (I. Turgenev). The first two commas are “author’s” signs; they are not required by the structure of the sentence. But thanks to this author’s isolation, the signs that are indicated by circumstances without a twig in hand, at night, are highlighted, their exclusivity is emphasized. In the absence of commas, this important shade of meaning for the author disappears.
Thus, in all these examples, signs act as distinguishers of meaning, which determines a certain structure of the sentence.
Russian punctuation partly reflects intonation (and this is the third intonationprinciple). For example, intonation determines the choice of a period or exclamation mark at the end of a sentence (non-exclamatory or exclamatory intonation), the choice of a comma or exclamation mark after an address, the placement of an intonation dash, etc.
However, there is no literal coincidence between punctuation marks and intonation. This is manifested, on the one hand, in the fact that not all pauses in writing correspond to punctuation marks, and on the other hand, in the fact that a comma can be used where there is no pause in oral speech. For example: 1) In a sentence Short speeches/always morepossessive and capable of causing a strong impression (M. Gorky) three pauses and no punctuation. 2) In a sentence The boy carried some kind of bundle under his arm and, turning towards the pier, began to descend along a narrow and steep path (M. Lermontov) between the union And and gerunds turning there is a comma, but there is no pause in oral speech; on the contrary, before this conjunction there is a pause, but there is no comma.
Thus, modern punctuation is based on structure, meaning, and intonation division of speech in their interaction.
Russian punctuation is partly based on intonation: a dot at the site of a large deepening of the voice and a long pause; question and exclamation marks, intonation dash, ellipsis, etc. For example, an address can be highlighted with a comma, but increased emotionality, i.e. a special distinctive intonation dictates another sign - an exclamation mark. In some cases, the choice of sign depends entirely on intonation. Wed: The children will come, let's go to the park. - When the children come, let's go to the park. In the first case there is enumerative intonation, in the second - conditional intonation. But the intonation principle acts only as a secondary principle, not the main one. This is especially evident in cases where the intonational principle is “sacrificed” to the grammatical principle. For example: Morozka lowered the bag and, cowardly, burying his head in his shoulders, ran towards the horses (Fad.); The deer digs up the snow with its front leg and, if there is food, begins to graze (Ars.). In these sentences, the comma comes after the conjunction and, since it fixes the boundary of the structural parts of the sentence (adverbial phrase and subordinate part of the sentence). Thus, the intonation principle is violated, because the pause is before the conjunction.
The intonation principle does not operate in most cases in its “ideal”, pure form, i.e. Some intonation stroke (for example, a pause), although fixed by a punctuation mark, ultimately this intonation itself is a consequence of the given semantic and grammatical division of the sentence. Wed: Brother is my teacher. - My brother is a teacher. The dash here fixes a pause, but the place of the pause is predetermined by the structure of the sentence and its meaning.
So, the current punctuation does not reflect any single, consistently followed principle. However, the formal grammatical principle is now the leading one, while the principles of semantic and intonation act as additional ones, although in certain specific manifestations they can be brought to the fore. As for the history of punctuation, it is known that the initial basis for dividing written speech was precisely pauses (intonation).
Punctuation in Russian is built largely on a syntactic basis. However, this does not mean that punctuation reflects the syntactic structure of the sentence and is subject to it: the latter, in turn, is determined by the meaning of the statement, therefore the starting point for the structure of the sentence and for the choice of punctuation marks is the semantic side of speech. Wed. cases of setting a punctuation mark that are not related to syntactic rules, for example, setting the so-called intonation dash: 1) I couldn’t walk for a long time; 2) I couldn’t walk for a long time.
The above example shows that punctuation is related to intonation. However, in this case, there is no direct dependence of the first on the second: both serve as means of expressing the meaning of speech, with intonation performing this function in oral speech, and punctuation in written speech. There are quite frequent cases of discrepancies between punctuation and intonation (rhythmomelodics). For example: 1) The greatest Russian poet Pushkin was the founder of the modern Russian literary language (the pause after the word Pushkin between the composition of the subject and the composition of the predicate is not indicated in writing by any sign); 2) He quickly entered the room and, seeing us, suddenly stopped (there is no pause after the conjunction, but according to existing syntactic rules we put a comma here). We should also not forget that intonation is one of the means of expressing syntactic relations, therefore the nature of the connection between punctuation and intonation follows from the general relations of punctuation and the syntactic structure of speech, which were discussed above.
The Russian punctuation system has great flexibility: along with mandatory rules, it contains instructions that are not strictly normative in nature and allow punctuation options necessary to express the semantic nuances and stylistic features of a written text. Wed. punctuation variants associated with the isolation or non-isolation of phrases with words except, instead of, in addition to, as a result of, in view of, thanks to, etc.
It should also be noted that most punctuation marks have multiple meanings (cf. the variety of uses of commas, dashes, colons and other signs). Even marks such as question marks and exclamation marks. are used not only at the end of a sentence to indicate its completeness and interrogative or exclamatory nature, but also in the middle of a sentence (although very rarely) after each homogeneous member, if it is necessary to show the dismemberment of the question or the emotional intermittency of speech, for example: Who is driving you: Is it fate's decision? Is it secret envy? Is it open anger? (L.); He rejected everything: laws! conscience! faith! (Gr.).
“The syntactic division of speech ultimately reflects the logical, semantic division, since grammatically significant parts coincide with logically significant, semantic segments of speech, since the purpose of any grammatical structure is to convey a certain thought.” But quite often it happens that the semantic division of speech subordinates the structural, i.e. the specific meaning dictates the only possible structure.
In the sentence The hut is thatched, with a pipe, the comma standing between the combinations is thatched and with a pipe, fixes the syntactic homogeneity of the members of the sentence and, therefore, the grammatical and semantic attribution of the prepositional case form with a pipe to the noun hut.
In cases where different combinations of words are possible, only a comma helps to establish their semantic and grammatical dependence. For example: Inner lightness has appeared. Walks freely on the streets, to work (Levi). A sentence without a comma has a completely different meaning: walks the streets to work (denoting one action). In the original version, there is a designation for two different actions: walking along the streets, i.e. walks and goes to work.
Such punctuation marks help establish semantic and grammatical relationships between words in a sentence and clarify the structure of the sentence.
A dash can also be an indicator of “unexpectedness” - semantic, compositional, intonation; in such cases, the sign conveys the emotional intensity of speech (dynamism, sharpness, rapid change of events, etc.). For example: It seemed like one more minute - and the guards would rush to him (Paust.); And when there was another leap of dawn, the pale spot turned out to be the face of a man (Prishv.).
Punctuation in a literary text performs very complex and varied functions.
In literary texts, punctuation marks are widely used that express the emotional and expressive qualities of written speech and various shades of meaning, although here, too, “grammatical” marks are mandatory and indispensable. The entire punctuation system fully, widely and diversely serves in a literary text as one of the essential and vivid means of conveying both logical and emotional content.
The study of punctuation by outstanding masters of literary expression testifies to its rich stylistic possibilities. Peculiar punctuation is one of the elements of the author's style. It is known, for example, that signs can be “favorite”. Thus, Gorky’s predilection for the dash or I. Babel’s for the dot is generally recognized. M.E. also discovered subtle ingenuity. Saltykov-Shchedrin in the use of such a seemingly “unemotional” sign as parentheses. Punctuation marks in a literary text can express additional, special semantic shades and intonation nuances.
The term "author's punctuation" has two meanings. The first is all the signs that appear in the author’s manuscript, i.e. literally written by the author’s hand (this includes both regulated and unregulated punctuation); This use of the term is typical for publishing workers who are involved in preparing a manuscript for publication. The second, broader meaning of the term is associated with the idea of unregulated punctuation, not fixed by rules, i.e. representing various deviations from general norms. It is this understanding of the term that requires clarification, since not all deviations can be classified as copyright.
Unregulated punctuation can be caused by various reasons, and it is not always associated with the manifestation of the author's individuality. Of course, author's punctuation marks are included in the concept of unregulated punctuation, but this is a special case of it. In general, unregulated punctuation unites different phenomena, the awareness of which allows us to isolate the actual author’s punctuation.
In punctuation, along with general norms, which have the highest degree of stability, there are situational norms, adapted to the functional qualities of a particular type of text. Situational norms are dictated by the nature of textual information: punctuation marks, subordinate to such a norm, perform logical-semantic functions (manifested in various texts, but especially in scientific and official business), accent-emphasis (mainly in official texts, partly in journalistic and artistic ones) , expressive-emotional (in literary and journalistic texts), signaling (in advertising texts). Signs that are subject to a situational norm cannot be classified as author's, since they are not dictated by the will of the writer, but reflect the general stylistic properties of functionally different texts. Such signs are regulated by the nature of these texts and exist along with generally accepted ones.
Modern punctuation is the result of the historical development of the Russian punctuation system. Because punctuation serves an ever-changing and evolving language, it is also historically fluid. That is why in each period there may be changes in the functions of punctuation marks and in the conditions of their use. In this sense, rules always lag behind practice and therefore need revision from time to time. Changes in the functioning of signs occur constantly; they reflect the life of the language, in particular its syntactic structure and stylistic system.
Recently, a dash (in place of a colon) has been increasingly used between parts of a non-union complex sentence when indicating an explanation, a reason in the second part, with generalizing words before listing homogeneous members, etc.: Under the spreading crown it is never empty - travelers, shepherds are resting , fortunately there is a life-giving spring nearby (gas); ...The game is worth the candle - after all, such communication should become a prototype of future youth houses for engineers and houses for scientists (gas); Thousands of machine operators arrived here - from Russia, from Ukraine, from the Baltic states (gas).
More closely related to the individuality of the writer are punctuation marks, chosen depending on the specific objectives of the statement, signs that demonstrate the semantic principle of punctuation. Such signs are contextually determined and subordinate to the tasks of the author’s choice. And here, after all, “authorship” lies only in the possibility of choice, and the choice is dictated by the displayed speech situation. And therefore, different authors, if necessary, can use this option to convey the same situation. The situation itself may be individually meaningful, and not the punctuation mark. These are signs dictated by the conditions of the context, the laws of its semantic structure, i.e. the presence or absence of a sign is determined by the similarity or difference in the interpretation of the text, often even by the lexical content of the statement, and not by the originality of the choice of the sign as such. Different authors can find similar situations in their texts: Everything on him was ironed, dapper. Crooked legs - also from his father - brought him to despair (Kav.): The stove once cracked, it was covered over white with clay (Bun.); But one day, whether by accident or on purpose, while leaving the trench dugout, Stepan dropped his embroidered rag (Shol.).
There is another area of application for unregulated punctuation. This is the punctuation of spoken language. Imitation of spoken speech in written speech leads to division of the text based on live pronunciation, with numerous pauses. The intermittency of speech, and often its difficulty, is conveyed by ellipses and dashes, and their choice is dictated not by the structure of the sentence, but by the purely intonation side of speech: To begin with... such... formal questions (Shuksh.).
Author's punctuation marks in the proper sense of the word are not bound by strict rules of placement and depend entirely on the will of the writer, embodying an individual feeling of their necessity. Such signs are included in the concept of the author's syllable, they acquire stylistic significance.
However, even such author’s punctuation, due to the fact that it is designed for perception and understanding, can be predictable, since it does not lose its own functional significance. Its difference from regulated punctuation is that it is more deeply and subtly connected with the meaning, with the style of a particular text. Individual punctograms of the author's punctuation, as well as, for example, lexical and syntactic means of language, are capable, along with their main meaning, of having additional, stylistically significant meanings. Individual punctuation is legitimate only under the condition that, despite all the richness and variety of shades of meaning in punctuation, its social essence is not lost, its foundations are not destroyed.
This condition helps to establish some general patterns of manifestation of “authorship” in punctuation. For example, the appearance of a punctuation mark in such syntactic conditions where it is not regulated can be considered individual: Are fairies always beautiful? (M.G.); There is a bare bush of skinny willow (Bl.); Here we are sitting with you on the moss (Bl.); I am powerful and a great witch, but I can’t keep track of you (Bl.) I’m tired, I’ll go to my place (M.G.). Thus, B. Pasternak has a desire to separate the subject and predicate in a rather unique way: instead of the more usual dash, an ellipsis is used. It seems to combine the function of a dividing dash and an ellipsis itself, conveying something unsaid, indefinite, “thoughtful”: Twilight... like squires of roses, on which are their spears and scarves.
A dash that is not regulated by the rules occurs after conjunctions, adverbial words: Death took off her worn-out bast shoes, lay down on a stone and fell asleep (M. G.); Whose songs? And sounds? What am I afraid of? Painful sounds and - free Rus'? (Bl.); Old, old dream. Lanterns run out of the darkness - where? There is only black water, there is oblivion forever (Bl.).
The author's individuality can also manifest itself in strengthening the iconic position. This method of increasing the expressive qualities of a text consists of replacing signs that are not strong enough with ones that are stronger in their dismembering function. For example, addresses, comparative phrases, subordinate parts of complex sentences, introductory words are usually highlighted (or separated) by commas. However, the comma is often replaced by a dash as a sign that is stronger in its significance: Like, a child, I am glad with myself (M. G.); And Stepan stands - exactly a formidable oak, Stepan turned white - right up to his very lips (Color); His friend - don't bother him! (Color); The cry of separation and meeting - you, window in the night! Maybe hundreds of candles, maybe three candles... (Color); I realized that I don’t love my spouse (Color); It was a warm, quiet, gray day, a sparse aspen tree was turning yellow among the birches, and the distance of the meadows behind their transparent mesh turned slightly blue - like a hint (Bun.).
The dismemberment of speech is also enhanced when replacing a comma with a period. With a general meaning - fixation of syntactically equivalent units of speech - these punctuation marks indicate different degrees of dismemberment. And if the period is intended for use at the interphrase level, then the comma performs similar functions within a sentence. Therefore, the point that takes the position of a comma (in particular, when listing homogeneous members of a sentence) can be considered individually authored. For example, A. Blok has the following lines: About the life that burned out in the choir / On your dark choir. / About the Virgin with a secret in her bright gaze / Above the illuminated altar...
Preceded by the quoted lines, it explains the stringing of controlled word forms as enumerated homogeneous members of a sentence. Such a point, as we see, in addition to its main meaning, also has an additional one - highlighting and emphasizing. It is this that makes the punctuation mark stylistically significant, and the syntactic conditions of its use individually chosen. An increase in meaning occurs as a result of the transfer of a sign into syntactic constructions that are atypical for it. Thus, while signs retain their basic functions and meanings, the novelty of their use is associated with additional meanings and is manifested in the ability to see the possibilities of the sign.
Punctuation marks that convey the rhythm of the text, as well as its melody and tempo - fast or slow - are perceived as unconditionally individual and authorial. Such signs are not tied to syntactic structures and therefore cannot be typified in terms of the conditions of their use. Here one can detect only an internal principle, dictated by a specific text and subjectively chosen by the author. As a rule, the rhythmic and melodic organization of the text (mainly poetic) is emphasized by the dash, because it has the greatest dividing “power”, which is complemented by the visual effect: Two - we are trudged along the bazaar, both in the ringing outfit of jesters (Bl.); My path does not go past your house. My path does not lie past anyone’s house (Color).
The possibilities of individual use of dashes are especially noticeable among authors who are prone to concise speech and are stingy with verbal means of expression. For example, the text of M. Tsvetaeva, condensed to the limit, often contains only semantic guidelines, those key words that cannot be guessed, yet other elements of the statement are omitted, since in this case they do not carry the main idea: Platform. - And sleepers. - And the last bush / In the hand. - I'm letting go. - It’s too late / Hold on. - Sleepers.
In B. Pasternak, the dash helps to show the subtext in a condensed verbal form: Autumn. We are unaccustomed to lightning. / It's raining blindly. / Autumn. The trains are crowded - / Let me pass! - It's all behind.
Consistently used pauses after the first word of a line are also characteristic of some of A. Akhmatova’s poems. Pauses indicated by a dash are almost always sharp and energetic: These are the expressions of insomniacs. / This is the candle of crooked soot, / This is the hundreds of white belfries / The first morning strike...
Activation of the dash is directly related to the “saving” of speech means. But even with individualized use, the dash still retains its functional significance; one of its main meanings is the registration of missing links in an utterance.
Individuality in the use of punctuation marks can manifest itself both in expanding the boundaries of their use and in enhancing their functional properties. A combination of signs or a deliberate repetition of one of the signs can also be purely the author’s and sometimes represent an individual technique found by the writer to convey the special state of the lyrical hero. If punctuation is included in the system of literary techniques that help reveal the essence of poetic thought and the image created with its help, it becomes a powerful stylistic tool.
So, individuality in the use of punctuation marks does not lie in violating the punctuation system, nor in neglecting the traditional meanings of signs, but in enhancing their significance as additional means of conveying thoughts and feelings in a written text, in expanding the boundaries of their use. Individualized punctuation carries a charge of expression, it is stylistically significant and helps the writer and poet in creating artistic expressiveness. And this, in turn, increases the degree of development and flexibility of the punctuation system of the language. Thus, creative individuality, taking advantage of the expressive and figurative capabilities of punctuation, simultaneously enriches it.
Loading...
