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- Go away! - he shouted angrily and swung at the horseback whip.

Then he turned the horse back and, examining the papers in the book, rode at a pace along the wagon train. When he drove up to the rear wagon, Yegorushka strained his eyes to get a better look at him. Varlamov was already old. His face with a small gray beard, a simple, Russian, tanned face, was red, wet with dew, and covered with blue veins; it expressed the same businesslike dryness as the face of Ivan Ivanitch, the same businesslike fanaticism. But all the same, what a difference was felt between him and Ivan Ivanitch! Uncle Kuzmichov, next to his businesslike dryness, always had anxiety and fear on his face that he would not find Varlamov, would be late, miss a good price; nothing of the kind characteristic of small and dependent people was noticeable either on the face or in the figure of Varlamov. This man created prices himself, did not look for anyone and did not depend on anyone; no matter how ordinary his appearance was, but in everything, even in the manner of holding the whip, one could feel the consciousness of strength and habitual power over the steppe.

Passing Yegorushka, he did not look at him; only the stallion honored Yegorushka with his attention and looked at him with large, stupid eyes, and even then with indifference. Panteley bowed to Varlamov; he noticed this and, without taking his eyes off the pieces of paper, said with a lisp:

- Hello, stagik!

Varlamov's conversation with the horseman and the swing of the whip, apparently, made a depressing impression on the entire wagon train. They all had serious faces. Riding discouraged by anger strong man Without a hat, dropping the reins, he stood at the front wagon, was silent and did not seem to believe that the day had begun so badly for him.

- A cool old man ... - Panteley muttered. - The trouble is, how cool! But nothing, a good person ... Will not offend for nothing ... Nothing ...

After examining the papers, Varlamov thrust the book into his pocket; the stallion, as though understanding his thoughts, without waiting for an order, shuddered and rushed along the high road.

Vii

And the next night, the carriers made a halt and cooked porridge. This time, from the very beginning, there was a kind of vague melancholy in everything. It was stuffy; everyone drank a lot and could not quench their thirst in any way. The moon has risen, very crimson and gloomy, as if ill; the stars were also frowning, the haze was thicker, the distance dimmer. It was as if nature had a presentiment of something and languished.

There was no longer yesterday's excitement and conversations around the fire. Everyone was bored and spoke languidly and reluctantly. Panteley only sighed, complained about his legs, and now and then started talking about brazen death.

Dymov lay on his stomach, was silent and chewed on a straw; his expression was squeamish, as if the straw smelled bad, angry and tired ... Vasya complained that his jaw ached and predicted bad weather; Emelyan did not wave his hands, but sat motionless and looked gloomily at the fire. Yegorushka also languished. Riding at a step tired him, and from the heat of the day he had a headache.

When the porridge was cooked, Dymov, out of boredom, began to find fault with his comrades.

- He sat down, bump, and the first one climbs with a spoon! He said, looking angrily at Yemelyan. - Greed! So the first one strives to sit down at the boiler. He was a singer, so he thinks - master! There are many of you such singers asking for alms on the big road!

- Why are you sticking? Emelyan asked, looking at him with malice too.

- And the fact that do not poke the first to the boiler. Don't understand a lot about yourself!

“Fool, that's all,” Emelyan hissed.

Knowing from experience how such conversations often end, Panteley and Vasya intervened and began to convince Dymov not to scold in vain.

- Singing ... - the mischievous man did not stop, grinning contemptuously. “Anyone can sing that way. Sit on the porch in church and sing: "Give alms for Christ's sake!" Eh, you!

Emelyan said nothing. Dymov's silence had an irritating effect. He looked at the former singer with even greater hatred and said:

- I don’t just want to get involved, otherwise I would show you how to understand yourself!

- Why are you sticking to me, mazepa? - Emelyan flashed. - Am I touching you?

- What did you call me? Dymov asked, straightening up, and his eyes were bloodshot. - How? Am I a Mazepa? Yes? So there you go! Go look!

Dymov snatched the spoon out of Yemelyan's hands and threw it far to the side. Kiryukha, Vasya and Styopka jumped up and ran to look for her, while Emelyan stared imploringly and questioningly at Panteley. His face suddenly became small, grimaced, blinked, and the former choirman began to cry like a child.

Yegorushka, who had long hated Dymov, felt how the air suddenly became unbearably stifling, how the fire from the fire burned his face hotly; he wanted to run to the wagon train in the dark as soon as possible, but the evil, bored eyes of the mischievous man drew him to him. Eager to say something extremely offensive, he stepped up to Dymov and said breathlessly:

- You're the worst! I can't stand you!

After that, it would be necessary to run to the wagon train, but he could not budge in any way and continued:

- In the next world you will burn in hell! I'll complain to Ivan Ivanitch! You dare not offend Emelyan!

- Also, please tell me! Dymov chuckled.

- Any piglet, the milk has not dried on the lips yet, it climbs into the pointers. And what if behind the ear?

Yegorushka felt that there was no longer anything to breathe; he - this had never happened to him before - suddenly shook his whole body, stamped his feet and shouted shrilly:

- Hit him! Hit him!

Tears gushed from his eyes; he felt ashamed, and staggered, he ran to the train. What impression his cry made, he did not see. Lying on a bale and crying, he jerked his arms and legs, and whispered:

- Mum! Mum!

And these people, and the shadows around the fire, and the dark bales, and the distant lightning that flashed in the distance every minute - everything now seemed to him unsociable and terrible. He was horrified and in despair asked himself how it was and why did he end up in an unknown land, in the company of terrible men? Where is the uncle now, oh. Christopher and Deniska? Why have they not been traveling for so long? Have they forgotten about him? The thought that he was forgotten and abandoned to his fate made him feel cold and so creepy that he tried several times to jump off the bale and headlong, without looking back on the road, but the memory of the dark, gloomy crosses that he would certainly meet on paths, and the lightning flashing in the distance stopped him ... And only when he whispered: “Mom! Mother!" he seemed to feel better ...

The servicemen must have been creepy too. After Yegorushka ran away from the fire, at first they were silent for a long time, then they spoke in an undertone and dullly about something that it was coming and that it was necessary to get ready and leave it as soon as possible ... They soon had supper, put out the fire and silently began to harness it. From their vanity and abrupt phrases, it was noticeable that they foresaw some kind of misfortune.

Before starting off, Dymov went up to Panteley and asked quietly:

- What is his name?

- Yegoriy ... - Panteley answered.

Dymov stood with one foot on the wheel, took hold of the rope with which the bale was tied, and got up. Yegorushka saw his face and curly head. The face was pale, tired and serious, but no longer expressed anger.

- Yora! He said quietly. - On, hit!

Yegorushka looked at him in surprise; at this time lightning flashed.

- Nothing, hit! Dymov repeated.

And without waiting for Yegorushka to beat him or talk to him, he jumped down and said:

- I'm bored!

Then, waddling from foot to foot, moving his shoulder blades, he lazily trudged along the wagon train and repeated in a crying or annoying voice:

- I'm bored! God! Don't be offended, Emelya, ”he said, passing Emelyan. - Our life is lost, fierce!

Lightning flashed to the right and, as if reflected in a mirror, it immediately flashed in the distance.

- Yegoriy, take it! - Panteley shouted, feeding something large and dark from below.

- What is it? Yegorushka asked.

- Matt! It will rain, so cover yourself.

Yegorushka raised himself up and looked around him. Dahl noticeably blackened and more often than every minute, blinked with a pale light, as if for centuries. Her blackness, as if from heaviness, leaned to the right.

- Grandfather, will there be a thunderstorm? Yegorushka asked.

- Oh, my legs are sick, cold! - Panteley spoke in a chant, not hearing him and stamping his feet.

To the left, as if someone had struck a match across the sky, a pale, phosphoric stripe flickered and went out. I heard how, somewhere very far away, someone walked on the iron roof. Probably, they walked barefoot on the roof, because the iron grumbled dully.

- And he is oversized! - Kiryukha shouted.

Between the distance and the right horizon, lightning flashed so brightly that it illuminated part of the steppe and the place where the clear sky bordered on blackness. A terrible cloud was advancing slowly, in a continuous mass; at the edge hung large, black rags; exactly the same rags, crushing each other, were piled up on the right and left horizons. This ragged, disheveled appearance of the cloud gave it a kind of drunken, mischievous expression. The thunder growled clearly and not hollowly. Yegorushka crossed himself and began to quickly put on his coat.

- I'm bored! - Dymov's cry came from the front carts, and by his voice one could judge that he was already beginning to get angry again. - Boring!

Suddenly the wind blew up and with such force that it almost snatched a bundle and a mat from Yegorushka; Startled, the mat dashed in all directions and slapped on the bale and on Yegorushka's face. The wind whistled across the steppe, whirled randomly and made such a noise with the grass that from behind it one could not hear either thunder or the creak of wheels. It blew from a black cloud, carrying with it clouds of dust and the smell of rain and wet earth. Moonlight it became foggy, it seemed to become dirtier, the stars frowned even more, and one could see how clouds of dust and their shadows hurried back somewhere along the edge of the road. Now, in all likelihood, the whirlwinds, whirling and carrying dust, dry grass and feathers from the ground, were rising to the very sky; Probably, near the blackest cloud, tumbleweeds were flying, and how they must have been afraid! But through the dust that covered his eyes, nothing was visible except the flash of lightning.

Yegorushka, thinking that the rain would pour down this minute, knelt down and covered himself with a mat.

- Pantelle! - someone shouted ahead. - A ... a ... va!

- Do not hear it! - Panteley answered loudly and in a chant.

- A ... a ... va! Arya ... ah!

Thunder rumbled angrily, rolled across the sky from right to left, then back and froze near the front carts.

- Holy, holy, holy, Lord of hosts, - Yegorushka whispered, crossing himself, - fill heaven and earth with your glory ...

The blackness in the sky opened its mouth and breathed white fire; immediately the thunder rumbled again; as soon as he was silent, the lightning flashed so widely that Yegorushka, through the cracks in the mat, suddenly saw the whole long road to the very distance, all the carriers and even Kiryukhina's waistcoat. The black rags on the left were already rising up and one of them, rough, clumsy, like a paw with fingers, was reaching for the moon. Yegorushka decided to close his eyes tightly, ignore it and wait until everything was over.

For some reason, the rain did not start for a long time. Yegorushka, hoping that the cloud might be passing by, looked out of the mat. It was terribly dark. Yegorushka saw neither Panteley, nor the bale, nor himself; he looked sideways to where the moon had been recently, but there was the same darkness as on the wagon. And the lightning in the darkness seemed whiter and more dazzling, so it hurt his eyes.

- Panteley! - called Yegorushka.

There was no answer. But then, finally, the wind tore the mat for the last time and ran away somewhere. There was a steady, calm noise. A large cold drop fell on Yegorushka's knee, another crawled down his arm. He noticed that his knees were not covered, and was about to straighten the mat, but at that time something fell and knocked along the road, then on the shafts, on the bale. It was raining. He and the mat, as if they understood each other, started talking about something quickly, cheerfully and disgustingly, like two magpies.

Yegorushka was kneeling, or rather, sitting on his boots. When the rain pounded on the mat, he leaned forward with his body to shield his knees, which had suddenly become wet; I managed to cover my knees, but less than a minute later, a sharp, unpleasant dampness was felt behind, below the back and on the calves. He took the same position, put his knees out in the rain and began to think what to do, how to fix the invisible mat in the dark. But his hands were already wet, water was flowing into his sleeves and behind his collar, and his shoulder blades were chilly. And he decided not to do anything, but to sit still and wait for everything to end.

- Holy, holy, holy ... - he whispered.

Suddenly, over his very head, the sky broke with a terrible, deafening crash; he bent down and held his breath, waiting for the debris to fall on the back of his head and back. His eyes opened by accident, and he saw how on his fingers, wet sleeves and trickles that ran from the mat, on the bale and below on the ground, a blindingly caustic light flashed and blinked five times. There was another blow, just as strong and terrible. The sky no longer thundered, did not rumble, but uttered dry, crackling, similar to the crackling of a dry tree, sounds.

"Fuck! tah, tah! tah! " - the thunder clearly rasped, rolled across the sky, stumbled and somewhere near the front carts or far behind it fell with an angry, abrupt - "trra! .."

Previously, lightning was only terrible, with the same thunder they seemed ominous. Their magic light penetrated through closed eyelids and spread coldly throughout the body. What to do to avoid seeing them? Yegorushka decided to turn his face back. Cautiously, as if fearing that he was being watched, he knelt down on all fours and, sliding his palms over the wet bale, turned back.

"Fuck! tah! tah! " - rushed over his head, fell under the cart and exploded - "Rrra!"

His eyes again accidentally opened, and Yegorushka saw a new danger: behind the cart were three huge giants with long lances. Lightning flashed at the points of their peak and very clearly illuminated their figures. They were people of enormous proportions, with closed faces, drooping heads and a heavy gait. They seemed sad and dull, lost in thought. Perhaps they did not follow the wagon train in order to cause harm, but nevertheless there was something terrible in their proximity.

Yegorushka quickly turned forward and, trembling all over, shouted:

- Panteley! Grandfather!

"Fuck! tah! tah! " - answered the sky.

He opened his eyes to see if the drivers were there. Lightning flashed in two places and illuminated the road to the very distance, the entire train and all the carriers. Streams flowed along the road and bubbles jumped. Panteley walked beside the cart, his high hat and shoulders were covered with a small mat; the figure expressed neither fear nor concern, as if he had been deafened by thunder and blinded by lightning.

- Grandfather, giants! Yegorushka shouted to him, crying.

But the grandfather did not hear. Next came Emelyan. This one was covered with a large mat from head to toe and was now in the shape of a triangle. Vasya, not covered with anything, walked as woodenly as always, raising his legs high and not bending his knees. With the flash of lightning, it seemed that the baggage train did not move and the supply officers froze, that Vasya's raised leg was numb ...

Yegorushka still called his grandfather. Unable to get an answer, he sat down motionless and did not wait for it to be over. He was sure that this minute he would be killed by thunder, that his eyes would open inadvertently and he would see terrible giants.

And he no longer baptized himself, did not call his grandfather, did not think about his mother, and only grew numb from the cold and the confidence that the storm would never end.

- Yegoriy, are you asleep, or what? Panteley shouted below. - Get off! Deaf, you fool! ..

- That's a thunderstorm! - said some unfamiliar bass and grunted as if he had drunk a good glass of vodka.

Yegorushka opened his eyes. Below, near the cart, stood Panteley, the Emelyan triangle and the giants. The latter were now much shorter, and when Yegorushka looked at them, they turned out to be ordinary peasants, holding on their shoulders not pikes, but iron pitchforks. In the interval between Pantelei and the triangle, the window of a low hut shone. This means that the wagon train was in the village. Yegorushka threw off his mat, took the bundle and hurried off the cart. Now, when people were talking nearby and the window was shining, he was no longer afraid, although the thunder still crackled and lightning slashed across the sky.

- Thunderstorm is good, nothing ... - muttered Panteley. - Thank God ... The legs are a little damp from the rain, it's nothing ... Tears, Yegoriy? Well, go to the hut ... Nothing ...

- Holy, holy, holy ... - Emelyan hissed. - It certainly hit somewhere ... Are you local? He asked the giants.

- No, from Glinov ... We are Glinovs. We work for Messrs. Platers.

- Thresh, or what?

- Miscellanea. We are still harvesting the wheat. And the molon, the molon! There hasn't been such a thunderstorm for a long time ...

Yegorushka entered the hut. He was greeted by a skinny, hunchbacked old woman with a sharp chin. She held a tallow candle in her hands, squinted and sighed longly.

- What a thunderstorm God has sent! She said. - And ours spend the night in the steppe, then the hearts of the hearts will suffer! Take off your clothes, father, take off your clothes ...

Shivering from the cold and shrinking in disgust, Yegorushka pulled off his wet coat, then spread his arms and legs wide apart and did not move for a long time. Every slightest movement gave him an unpleasant sensation of phlegm and coldness. The sleeves and back of the shirt were wet, the trousers stuck to the legs, it was leaking from the head ...

- Well, lad, should you stand there? - said the old woman. - Go, sit down!

Spreading his legs wide, Yegorushka walked over to the table and sat down on a bench near someone's head. The head moved, let out a stream of air through its nose, chewed and calmed down. From the head along the bench stretched a bump covered with a sheepskin sheepskin coat. It was a woman who was sleeping.

The old woman, sighing, went out and soon returned with a watermelon and a melon.

- Eat, father! There is nothing else to treat ... - she said, yawning, then rummaged in the table and pulled out a long, sharp knife, very similar to those knives with which robbers cut merchants in inns. - Eat, father!

Yegorushka, trembling as if in a fever, ate a slice of melon with black bread, then a slice of watermelon, and this made him even colder.

- Ours spend the night in the steppe ... - the old woman sighed while he ate. - Passion of the Lord ... I would like to light a candle in front of the image, but I don't know where Stepanida was doing. Eat, father, eat ...

The old woman yawned and, throwing back her right hand, scratched her left shoulder with it.

“It must be two o'clock now,” she said. - Soon and it's time to get up. Our people spend the night in the steppe ... I suppose they got everything soaked ...

- Grandma, - said Yegorushka, - I want to sleep.

- Lie down, father, lie down ... - the old woman sighed, yawning. - Lord Jesus Christ! I myself sleep and hear, as if someone is knocking. I woke up, I looked, and God sent it to a thunderstorm ... I ought to light a candle, but I didn’t find it.

Talking to herself, she pulled some rags off the bench, probably her bed, took off two sheepskin coats from a nail near the stove and began to lay them for Yegorushka.

“The storm is not going to stop,” she muttered. - As if, the hour is uneven, which did not burn. Our people spend the night in the steppe ... Lie down, father, sleep ... Christ is with you, granddaughters ... I won't take away the melon, maybe, when you get up, you will eat.

The sighs and yawns of the old woman, the measured breathing of the sleeping woman, the twilight of the hut and the sound of the rain outside the window made you fall asleep. Yegorushka was ashamed to undress in front of the old woman. He took off only his boots, lay down and covered himself with a sheepskin coat.

- The boy went to bed? - Pantelei's whisper was heard a minute later.

- Lay down! - answered the old woman in a whisper. - Passion, passion of God! Thunders, thunders, and the end cannot be heard ...

- It will pass now ... - Panteley hissed, sitting down. - It became quieter ... The guys went to the huts, but two of them stayed with the horses ... Guys ... They can't ... They'll take the horses away ... So I'll sit for a little and go to change ... I can't, they will take them away ...

Panteley and the old woman sat side by side at Yegorushka's feet and spoke in a hissing whisper, interrupting their speech with sighs and yawns. And Yegorushka could not get warm in any way. A warm, heavy sheepskin coat lay on him, but his whole body was shaking, his arms and legs were cramping, his insides trembled ... He undressed under the sheepskin coat, but that did not help either. The chills got stronger and stronger.

Panteley left for his shift and then returned again, but Yegorushka still did not sleep and trembled all over. Something pressed on his head and chest, oppressed him, and he did not know what it was: the whispering of old men, or the heavy smell of sheepskin? The watermelon and melon eaten had an unpleasant, metallic taste in my mouth. In addition, fleas bite.

- Grandfather, I'm cold! - he said and did not recognize his voice.

- Sleep, granddaughter, sleep ... - the old woman sighed.

Titus, on thin legs, walked up to the bed and waved his hands, then rose to the ceiling and turned into a mill. Fr. Christopher, not the same as he was sitting in the chaise, but in full vestments and with a sprinkler in his hand, walked around the mill, sprinkled it with holy water, and it stopped waving. Yegorushka, knowing that this was nonsense, opened his eyes.

- Grandfather! He called. - Give me some water!

Nobody responded. Yegorushka felt unbearably stuffy and uncomfortable to lie down. He got up, dressed and went out of the hut. Morning had already come. The sky was overcast, but there was no rain anymore. Shivering and wrapping himself in a wet coat, Yegorushka walked across the dirty courtyard, listening to the silence; he caught sight of a small shed with a reed, half-open door. He looked into this barn, entered it and sat down in a dark corner on a dung.

His heavy head was confused with thoughts, his mouth was dry and disgusting from the metallic taste. He looked at his hat, adjusted the peacock feather on it, and remembered going with his mother to buy this hat. He reached into his pocket and pulled out a lump of brown, sticky putty. How did this putty get into his pocket? He thought, sniffed: it smells like honey. Aha, this is a Jewish gingerbread! How soggy he is, poor man!

Yegorushka looked at his coat. And his coat was gray, with large bone buttons, sewn in the manner of a frock coat. Like a new and expensive thing, at home it hung not in the hallway, but in the bedroom, next to mother's dresses; it was allowed to be worn only on holidays. Looking at him, Yegorushka felt pity for him, remembered that he and his coat were both abandoned to their fate, that they would never return home, and sobbed so that he almost fell off the dung.

A large white dog, soaked in the rain, with tufts of fur on its muzzle, like papillots, entered the barn and stared at Yegorushka with curiosity. She, apparently, thought: to bark or not? Deciding that there was no need to bark, she cautiously approached Yegorushka, ate the putty and left.

- These are the Varlamovs! - someone shouted in the street.

Having wept, Yegorushka left the barn and, bypassing the puddle, trudged out into the street. There were carts just in front of the gate on the road. Wet feeders with dirty feet, lethargic and sleepy like autumn flies, wandered around or sat on the shafts. Yegorushka looked at them and thought: "How boring and inconvenient to be a peasant!" He went up to Pantelei and sat down next to him on the shaft.

- Grandfather, I'm cold! He said, trembling and thrusting his hands into his sleeves.

- Nothing, we will reach the place soon, - Panteley yawned. - It's okay, you'll keep warm.

The wagon train set off early, because it was not hot. Yegorushka lay on the bale and shivered from the cold, although the sun soon appeared in the sky and dried his clothes, bale and earth. As soon as he closed his eyes, he saw Titus and the mill again. Feeling nausea and heaviness in his entire body, he strained his strength to drive these images away from himself, but as soon as they disappeared, the mischievous Dymov with red eyes and raised fists rushed at Yegorushka with a roar, or you could hear him grieving: “I’m bored ! " Varlamov rode on a Cossack stallion, passed with his smile and with a bunny, happy Konstantin. And how all these people were heavy, intolerable and annoying!

Once - it was already before evening - he raised his head to ask for a drink. The wagon train stood on a large bridge that stretched across a wide river. Smoke darkened below the river, and through it could be seen a steamer pulling a barge in tow. Ahead, across the river, was a huge mountain dotted with houses and churches; a locomotive was running at the foot of the mountain near the freight cars ...

Earlier Yegorushka had never seen any steamships, or locomotives, or wide rivers. Looking at them now, he was not frightened, not surprised; his face did not even show anything resembling curiosity. He only felt faint and hastened to lay his chest on the edge of the bale. He vomited. Panteley, who saw this, grunted and shook his head.

- Our boy fell ill! - he said. - The stomach must have chilled ... the kid ... On the wrong side ... Bad business!

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Slide captions:

The boys, hushed up, looked after the truck, until it drove off the intersection, until the dust it raised scattered, until it itself became a cloud of dust. ↓ (bye), (bye), (bye) Clauses refer to one main clause. They answer the same question - until when? Each subordinate clause is associated with the main union so far. Conclusion: these are homogeneous subordinate clauses.

My father told me that he had never seen such loaves and that the harvest this year was excellent. : (what) and (what) Clauses refer to one word (predicate spoke) in the main clause. They answer the same question - what? Each subordinate clause is associated with the main union that. Subordinate clauses are interconnected by a connecting union and. Conclusion: these are homogeneous subordinate clauses.

Note: If homogeneous subordinate clauses are attached to the main one with the same union, then this union can be omitted in one or more subordinate clauses (but the union is easy to restore). Shatsky saw how the last boat returned to the steamer and the sailors for a long time, interfering with each other, pulled it up on hoists. In this case, no comma is placed before the second subordinate clause.

While in the hospital, he recalled how the Nazis attacked them suddenly, and how they were surrounded, and how the detachment managed to get through to their own. With repeated compositional conjunctions, a comma is placed between homogeneous subordinate clauses.

When he drove up to the back yard, Yegorushka strained his eyes to get a better look at him. ↓ ↓ (when) (so) Subclauses refer to the same main clause, but answer different questions - when? and why? ... These are different types of subordinate clauses: when he drove up to the backyard - subordinate clauses; to get a better look at it - the clause of the goal. Conclusion: this is a complex sentence with heterogeneous (parallel) subordination.

I asked him why he went so far from the base and said that I was worried about him. [chap. ch.] ↓ ↓ (why) (what) Sub clauses refer to different words inside the main sentence: the first subordinate - to the predicate asked, the second subordinate to the predicate said. Conclusion: these subordinate clauses are heterogeneous (parallel).

I heard Gaidar cleaning the pot with sand and scolding him for the fact that his handle fell off. , (like what). Conclusion: this is a complex sentence with consistent subordination.

The maid was an orphan who, in order to feed herself, had to enter the service. , (which, (to ...), ...). With successive subordination, one subordinate clause may appear inside another subordinate clause. In this case, at the junction of the clauses, two subordinate unions or a subordinate union and a union word may appear side by side.

A comma at the junction of two subordinate unions (or a union and a union word) is not put if the second subordinate clause cannot be removed without changing everything complex sentence(in this case, the second part of the double union follows - then, so, but). I bet if you pass this on to the Duke, he will stay here for another three days. , (what (if ...) then ...).

You could hear how the runners creaked in the street, how the cglevoz drove to the factory (and) how half-frozen people shouted hoarsely at the horses (D. Mamin-Sibiryak). V this proposal three subordinate clauses are homogeneous, since they answer the question "what?", are explanatory and refer to the same phrase (it was heard) in the main part:
Homogeneous
subordination

On holidays, the owner deliberately looked for something to do, just to occupy his time, if only it would not. b amr a to him without _ work (M. Sholokhov). In this sentence, two subordinate clauses are homogeneous, since they answer the question "why?", Are clauses of the goal and relate to one main part:
Homogeneous
subordination
Between themselves, these parts are connected by a compositional or non-union connection and therefore are called subordinate clauses:
And for a long time I will be so kind to the people that I am a good feeling lyre. woke up. that in my cruel age I glorified freedom (and) mercy ... to the fallen ... pri.zmtl (A. Pushkin). Two homogeneous explanatory subordinate clauses are interconnected by a non-union connection, and the third explanatory subordinate creative communication:

how?
(what ...), (what ...) and ()
I was born in a forest farm and spent part of my childhood in dense forests, where bears walk along portages and impenetrable swamps, (a) swarm flocks and ... in a lolochat. I (V. Gilyarovsky). Homogeneous subordinate clauses are connected by an adversarial union a. Subordinate union where in the second subordinate clause is omitted:

In the summer it was a shallow rivulet, which was easily wade (and) which usually dried up by August (A. Chekhov). Homogeneous subordinate clauses are connected by a union and:

(which ...) and (which ...)
It seemed to her that this ringing like a sharp thorn entered her
in the dish that the fire will never end, that. / g about lost as
Sasha ... (A. Chekhov). Three explanatory clauses are connected by a non-union connection:

what?
(what ...), (what ...), (what ...)
Inhomogeneous subordinate clauses are dissimilar, that is, different in meaning, as well as the same in meaning, but referring to different members of the main part. Such subordinate clauses are also called parallel:
The point is not what they called her, but that she is a street, amazing! (S. Baruzdin). Both subordinate clauses are explanatory, but refer to different words of the main part:

Heterogeneous (parallel) subordination

it seemed that at every step he was pulling out NOSH OTPKTS- ^: SHO..Mmboshmz: Pod.ze4MTs (K. Simonov). Two different subordinate clauses belong to one main part: clause assignment and explanatory, which explain it from different angles:

despite what? ^ what?
(although ...) (what ...)
I will spare you from describing mountains, from exclamations that do not express anything, from pictures that. _.nich.h_o..not..ish they are fighting (M. Lermontov). Both subordinate clauses are definitive, but refer to different words of the main part:

Complex sentences with several subordinate clauses can be divided into three main groups: with homogeneous, heterogeneous (parallel) and sequential subordination.

1. Complex sentences with homogeneous subordination:

all subordinate clauses refer to the same main clause or to the same word in the main clause (if the clauses do not extend the entire main clause, but one of its words);

subordinate clauses answer the same question, that is, they are subordinate clauses of the same type;

subordinate clauses are connected with each other with the help of constructive conjunctions or non-union (with the meaning of enumeration), just as homogeneous members are related to each other.

Boys, hushed up,lookedfollowing the truck / 1 bye that did not leavebeyond the intersection, / 2 bye did not dissipatedust raised by him, / 3 bye he himself didn't become a clubdust/ 4 (Zhukhovitsky).

1 , (bye- union) 2, ( bye- union) 3, ( bye- union 4.

Complex sentence; consists of four simple sentences; the first is the main thing, the rest are subordinate tense. The clauses refer to the same main clause, answer the same question - How long? Each clause is associated with a main union bye. These are homogeneous subordinate clauses.

The vertical diagram (a diagram that reflects not the arrangement of simple sentences in a complex one, but their dependence) will be as follows:

1
↓
(bye- union) 2, ( bye- union) 3, ( bye- union) 4

My father told me / 1 that he has never seen such loaves / 2 and / that this year's harvest is excellent / 3 (Aksakov).

[chap.] 1, ( what- union) 2 and ( what- union) 3.

Complex sentence; consists of three simple sentences; the first is the main thing, the rest are additional clauses. Subordinate clauses refer to one word (predicate said, expressed by a verb) in the main sentence, answer the same question - what? Each clause is associated with a main union what. Subordinate clauses are linked by a connecting union and. These are homogeneous subordinate clauses.

The vertical diagram of a complex sentence will be as follows:

1
↓
(what- union) 2 and (what- union) 3

Note!

1) If homogeneous subordinate clauses are attached to the main one by the same union, then this union can be omitted in one or more subordinate clauses (but the union is easy to restore).

Wed: Shatsky saw, / 1 howthe lastboat returnedto the steamer / 2 and / sailorslong, interfering with each other, pulled upher on hoists/ 3 (Paustovsky). - Shatsky saw, / 1 howthe lastboat returnedto the steamer / 2 and / how sailorslong, interfering with each other, pulled upher on hoists / 3 .

2) If homogeneous subordinate clauses are connected by a single connecting or dividing union (and, yes, in the meaning of "and", or, or), then the comma between the subordinate clauses is not put.

Fathermysaidto me,what he never seensuch loavesand whatthis yearharvest great(Aksakov); Hedecisivelystated, what we mustimmediatelyget outfrom his houseor he will causethe police(Grigoriev) - union that before the second clause is omitted, but can be restored ( Hedecisivelystated, what we mustimmediatelyget outfrom his houseor what he will causethe police).

3) With repeated compositional conjunctions, a comma is placed between homogeneous subordinate clauses.

While in the hospital, he recalled, how fascists attackedon them suddenly, And How they were surrounded , And Howdetachmentmanaged to break through to their own.

4) Alliances whether ... or are treated as repetitive (in this case or can be replaced li), and homogeneous subordinate clauses connected by these unions are separated by a comma.

Wed: It was hard to understand, was whether thensomewherefire, orthe samewas about to come up moon(Chekhov). - It was hard to understand, was whether thensomewherefire, was going whether ascend moon.

2. Complex sentences with heterogeneous (parallel) subordination:

all subordinate clauses refer to the same main clause;

subordinate clauses answer different questions, that is, they are different types of subordinate clauses.

Inhomogeneous (parallel) will also be relative clauses that have the same value but refer to different words in the general main sentence.

/ 1 Yegorushka strained his eyes / 2 / 3 (Chekhov).

(when- union) 1, 2, ( to- union) 3.

A complex sentence, consists of three simple ones; the second sentence is the main one, the first and third are clauses. The relative clauses refer to the same main clause, but answer different questions (cf .: [When?] When he pulled up to the backyard / 1 Yegorushka strained his eyes / 2 ; Yegorushka strained his eyes[why?], / 2 to get a better look at it/ 3). These are different types of clauses: when he drove up to the backyard- subordinate time; to get a better look at it- clause of purpose.

2
↓ ↓
(when- union) 1 ( to- union) 3

We must take into account the environment, / 1 in which a poetic work develops, / 2 / 3 (Mayakovsky).

[n.] 1, ( wherein- union. sl.) 2, ( to- union) 3.

A complex sentence consists of three simple ones; the first sentence is the main one, the second and the third are clauses. Subordinate clauses refer to one main clause, but the first clause (second simple clause) refers to one word - environment, expressed by a noun; the second clause (third simple clause) refers to the entire main clause. Subordinate clauses answer different questions (cf .: It is necessary to take into account the environment[what?], / 1 in which the poetic work develops, / 2; It is necessary to take into account the environment[why?], / 1 so that a word alien to this environment does not get accidentally / 3). These are different types of clauses: in which the poetry develops- subordinate attributive; so that a word foreign to this environment does not get accidentally- clause of purpose.

The vertical outline of the proposal will be as follows:

[noun. ] one
↓ ↓
(wherein- union. sl.) 2 ( to- union) 3

I asked him, / 1 why did he go so far from fanza, / 2 and said, / 1 that I was worried about him/ 3 (Arseniev).

[ch., ( why- union. sl.) 2, ch.] 1, ( what- union) 3.

A complex sentence consists of three simple ones; the first sentence is the main one, the second and the third are clauses. Subordinate clauses refer to one main clause and answer questions of indirect cases (cf .: I asked him[what about?], / 1 why did he go so far from fanza / 2 ; I asked him and said[what?], / 1 that I was worried about him/ 3). These are the same types of clauses - additional clauses. But these subordinate clauses refer to different words within the main clause: the first clause (second simple clause) refers to the predicate asked expressed by a verb; the second subordinate (third simple sentence) refers to the predicate said, also expressed by the verb. Therefore, these subordinate clauses are heterogeneous (parallel).

The vertical outline of the proposal will be as follows:

[chap. ch.] 1
↓ ↓
(why- union. sl.) 2 ( what- union) 3

3. In complex sentences with sequential subordination the main clause is subordinated to one subordinate clause (subordinate clause of the 1st degree), and to this subordinate clause another subordinate clause (subordinate clause of the II degree), etc. Thus, the I degree subordinate clause is the main clause for the II degree subordinate clause, etc.

I have heard, / 1 how Gaidar cleaned the pot with sand and scolded him for / 2 that his handle fell off/ 3 (Paustovsky).

[chap.] 1, ( how- Union of Ch. + uk. sl.) 2, ( what- union) 3.

A complex sentence consists of three simple ones; the first sentence is the main one, the second and the third are clauses. The first degree clause (second simple sentence) refers to the first (main) sentence, namely, to the predicate heard expressed by a verb; 2nd degree subordinate clause (third simple sentence) refers to the 1st degree subordinate clause (second simple sentence), namely, to the predicate scolded expressed by a verb.

The vertical outline of the proposal will be as follows:

[ch.] 1
↓
(how- Union of Ch. + uk. sl.) 2
↓
(what- union) 3

Note!

With successive subordination, one subordinate clause may appear inside another subordinate clause. At the same time, at the junction of these subordinate clauses, two subordinate unions or a subordinate union and a union word may appear side by side.

The maid was an orphan / 1 which, / 2 to feed, / 3 should have entered the service/ 2 (L. Tolstoy).

[noun. ] 1, (which is a union. Words, 2 (so that a union ...), 3 ...) 2.

[noun. ] one
↓
(which- union. sl.) 2
↓
(to- union) 3

Nearby are the union word which and the union to. They refer to different subordinate clauses: the I degree subordinate clause - who was supposed to enter the service; clause II degree - to feed... The II degree subordinate clause is located inside the I degree subordinate clause, and the II degree subordinate clause can be removed from the complex sentence without prejudice or put after the I degree subordinate clause, compare: The maid was an orphan who had to enter the service; The maid was an orphan who had to enter the service in order to feed... There is a comma between the union word which and the union so that it belongs to different subordinate clauses.

Thus, when two subordinate unions meet (or a subordinate union and a union word) comma between them put, if the removal of the second subordinate clause does not require the restructuring of the entire complex sentence (in this case, the second part of the double conjunction does not follow further - then, so, but).

Commaat the junction of two subordinate unions (or union and union word) not put in the event that the second subordinate clause cannot be removed without changing the entire complex sentence (in this case, the second part of the double conjunction follows - then, so, but).

I bet/ 1 what / 2 / 3 then/ 2 (Leskov).

[noun. ] one , ( what- union 2 ( if- union ...), 3 then ...) 2.

[noun. ] one
↓
(what- union) 2
↓
(if ... then- union) 3

In this sentence, the main sentence can be distinguished: I bet/ 1, as well as two consecutively connected subordinate clauses: a subordinate clause of the 1st degree: something ... then he will stay here for another three days/ 2, inside which there is a II degree subordinate clause: if you hand it over to the duke/ 3 (compare: I bet ... he'll stay here for another three days; he will stay here for three more days if you turn it over to the duke). At the junction of the I degree and II degree subordinate clauses, there are two subordinate alliances what and if. However, a comma is not placed between them, since it is impossible to remove the II degree subordinate without changing the I degree subordinate, cf.: I bet, / 1 that he will stay here for another three days/ 2. This is prevented by the second part of the double conditional union if ... then, which is in the main conditional clause for the conditional clause - the I degree subordinate clause: he will stay here for another three days... If this second part (then) is removed, then at the junction of the unions it will be necessary to put a comma if and how, compare: I bet/ 1 what, / 2 if you pass it on to the duke, / 3 he will stay here for another three days / 2 .

In complex sentences with several subordinate clauses, it is possible combinations of connections: there can be homogeneous and consistent subordination at the same time; parallel and serial, etc. Therefore, when parsing and placing punctuation marks, one should not strive to immediately draw up a general scheme or immediately place punctuation marks.

The following analysis algorithm seems to be the most optimal:

Establish the total number of simple sentences in a complex one, highlighting all grammatical bases.

Highlight all subordinate means of communication (subordinate unions and union words); based on this, establish the main clause and the subordinate clauses.

For each subordinate clause, set the main clause, that is, break the complex clause into pairs: the main clause is the subordinate clause.

Build a vertical diagram of a complex sentence, and on this basis, determine the nature of the subordination of clauses (homogeneous, parallel, sequential subordination).

Draw a horizontal outline, and on this basis place punctuation marks.

The bet is that if your master stays here for three days, then you, without any excuses, must fulfill what I tell you, and if he does not stay, then I will carry out any order that you give me (Leskov).

This complex sentence contains 7 simple sentences:

The bet is / 1 what / 2 if your master stays here for three days / 3 then you, without any excuses, must fulfill that / 2 what will i tell you/ 4 a / if he doesn't stay / 5 / 6 what will you give me/ 7 (Leskov).

1) the bet is;
2) that ... then you must fulfill that without any excuses;
3) if your master stays here for three days;
4) what will I tell you;
5) if he doesn't stay;
6) then I will carry out any order;
7) which you will give me.

The first sentence ( the bet is) - the main thing, the rest are clauses. The only question is the sixth simple sentence ( then I will carry out any order).

This complex sentence can be divided into the following pairs of complex sentences:

1→2: the bet is that ... then you must fulfill that;
2→3: you must fulfill without any excuses if your master stays here for three days;
2→4: you must do what I tell you without any excuses;
6→5: I will carry out any order if he does not stay;
6→7: I will carry out any order you give me.

It is still difficult to determine what type of proposal the sixth proposal belongs to. In this case, you should pay attention to the compositional union of a. A compositional union, in contrast to a subordinate union, in a complex sentence consisting of three or more simple sentences, may not stand in front of the sentence to which it belongs. Therefore, it is necessary to find out which simple sentences are connected by this adversarial union. To do this, it is necessary to remove all simple sentences, leaving only those that contain opposition. These are sentences 2 and 6, cf.: you, without any excuses, must carry out that, and I will carry out any order... But clause 2 is a clause. Consequently, sentence 6, associated with sentence 2 by a compositional conjunction, must also be a subordinate clause. This can be verified by inserting the same union as sentence 2 and linking sentence 6 with the same main one on which sentence 2 depends, cf.: the bet is that I will obey any order... This means that Propositions 2 and 6 are homogeneous clauses, only the conjunction that is omitted in Proposition 6 (1 → 6).

Based on the data obtained, it is possible to construct a vertical diagram of this complex sentence:

[chap. + uk. sl.] 1
↓
(what- Union of Ch. + uk. sl.) 2, a (- noun + uk. sl.) 6
↓ ↓ ↓ ↓
(if ... then- union) 3 ( what- union. sl.) 4 ( if ... then- union) 5 ( which- union. sl.) 7

Thus, this sentence is complex, in which the subordinate clauses are connected uniformly (sentences 2 and 6), in parallel (sentences 3 and 4, sentences 5 and 7), also sequentially (sentences 2 and 3; 2 and 4, 6 and 5, 6 and 7).

To place punctuation marks, it is necessary to outline the boundaries of simple sentences, paying special attention to the possible combination of several conjunctions on the sentence boundary, and also to build a horizontal sentence outline.

[chap. + uk. sl.] 1, ( what- union ( if- union) 3, then ch. + uk. sl.) 2, ( what- union of words) 4, a (if- union) 5, ( then noun + uk. sl.) 6, ( which- union. sl.) 7.

This sentence contains a combination of subordinate unions at the junction of sentences 2 and 3 (what if). In addition, the compositional conjunction a, which refers to clause 6, comes before clause 5, forming a combination of unions with a subordinate if (and if) conjunction. By general rules they must be separated by commas, but then the second part of the double conjunction if ... then follows. It is this second part of the union that does not make it possible to remove conditional clauses without changing the structure of sentences as a whole, cf.: The bet is that ... then you must fulfill that without any excuses; but ... then I will carry out any order... That is why the comma is not put at the junction of these unions.

So, punctuation marks in a sentence should be placed as follows:

The bet is that if your sovereign stays here for three days, then you, without any excuses, must carry out what I tell you, and if he does not stay, then I will carry out any order that you give me (Leskov).

Parsing plan of a complex sentence with several clauses

Indicate the type of complex sentence (complex sentence).

Name the main clause and subordinate clauses (highlight grammatical bases).

Indicate how the subordinate clauses are related to the main clause (sequential, parallel, homogeneous subordination).

Parse each clause according to the plan.

Build vertical and horizontal proposal schemes.

Sample parsing

A runner participates in the adventures of Baron Munchausen, / 1 which the, / 2 so as not to run very fast, / 3 ties pood weights to the feet/ 2 (Soloukhin).

The proposal is complex; consists of three parts; sentence 1 - the main thing; sentences 2 and 3 are clauses. The clauses are connected with the main one in sequence.

The 1st degree subordinate clause (sentence 2) refers to the main one (sentence 1). This is a relative clause; it refers to the subject runner, expressed by a noun, a means of communication - a union word which the; the clause comes after the main one.

The II degree subordinate clause (sentence 3) refers to the I degree subordinate clause (sentence 2). This is a clause of the goal; it refers to everything important, the means of communication is the union to; the subordinate clause is in the middle of the main one.

[n.] 1
def. ↓
(which the- union. sl.) 2
goals ↓
(to- union) 3

[n.] 1, ( which the- union. sl., ( to- union) 3,) 2.
def. goals