Writing as a genre of linguistic creativity requires the author to comply with a whole range of norms: word-forming, lexical, morphological, syntactic, phraseological and stylistic. Word-forming errors appear when they resort to unjustified word combinations or modification of the sound composition of words; lexical errors occur when a word is used in an unusual meaning, when there is a violation of the compatibility of words, various types of tautology. Morphological errors are associated with the non-normative formation of word forms and the use of parts of speech; syntactic errors consist in the incorrect construction of phrases and sentences; phraseological errors are characterized by the unsuccessful use of stable turns of speech; stylistic errors are characterized by a violation of the unity of style.

Although native speakers use a strictly defined set of lexical units fixed in dictionaries, so-called occasional neoplasms are often found in works of fiction: "The Neapolitan's tremolo... It was beating in our ears: applause " (White. Between two revolutions); " ... just as one cannot help but be fascinated by Pugachev's "Captain's Daughter", one cannot help but turn away from Pugachev's "Pugachev's Revolt" (Tsvetaeva. Pushkin and Pugachev); " Ya... I thoughtfully dig out the plot of my game" (White. At the turn of two centuries);".., but also the "cadets", whom the" trickster " bypassed-

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val, "peregor'li "" Bryusov "(White. Beginning of the century); "Boris Konstantinovich... combines them... all things are truly new with truly eternal things; the latter, however, he kept silent "(White. Beginning of the century).

When writing essays, such word-forming "experiments" are unacceptable: "Mayakovsky - our revvoenpoet" (here and further - examples from the works of applicants); "Platonov's works destroy the under-embodied socialist idea"; "from above, Grushnitsky's meanness ruined by loneliness"; "secular transformation of the heroine". The change in the sound composition of words can also be associated with the influence of colloquialisms: no, take away, instead, bake, etc.: "Katerina was in the Kabanov family instead of a housekeeper"; "Mayakovsky has no poems about love." In these sentences, you can also identify factual errors, that is, the discrepancy between what is written and specific literary (content) or literary-historical realities.

Among lexical errors, the most common ones are:

1. Incorrect choice of the lexical equivalent: "Nozdryov vegetates aimlessly life "(in consonance with the word burns)', "Sharikov's image is inspired by the collective image of the new masters of Russia" (correctly-inspired); "Like any young lady, Lisa dreams of a wedding set" (semantic combination of the words headdress and outfit); "In the 19th century, it was considered fashionable to faint and suffer from gangrene" (in consonance with migraines). Such errors are usually associated with the similar sound of different words in the meaning, the so-called associative errors.

2. Substitution of a concept: "The writer introduces us to a gallery of images"; "... and only the diary was able to describe Pechorin's personality in detail"; "Blok's lyrics are headed by a Beautiful Lady" (there is also a factual error).

3. Alogism (comparison of the incomparable): "Chatsky's behavior is different from the rest of the characters in the play"; "Tatiana's image cannot be compared to other Russian women."

4. Violation of semantic compatibility: "Satan's burning gaze chilled the heart"; "an impressive chiseled gait"; "Pushkin played a great role in the history of Russian literature"; "Along with the growth of political consciousness, the heroes' social activity is growing."

Often, poets and writers use the technique of expanding lexical compatibility to create vivid, expressive images and situations:"Cruel May with white nights!" (Block); "...Write about February in tears..."(Pasternak); "In winter, the last pieces sob a little under your feet, and the bumps breathe so embarrassingly with naked insecurity" (Yevtushenko) - but the style of educational written works prohibits "semantic experiments".

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5. Speech redundancy, or verbosity: a) tautology (from the Greek tauto - the same thing + logos - word) - repetition of the same or one-root word in a narrow context: "... we need to think, because many of us do not find a place in our life, because any of us can be in their place"; "The inhabitants of a county town live a joyless life"; b) pleonasm (from the Greek pleonasmos - excess): "The main point of the novel"; "Pierre came back as a different person"; " In the end, Onegin himself suffers a complete fiasco in life."

M. Gorky, describing the work of the writer, emphasized:: "It is extremely difficult to find exact words and put them in such a way that a few people say a lot, "so that words are cramped, thoughts are spacious."

6. Semantic errors related to polysemy (polysemy of a word): "Tolstoy draws lines of family and peace throughout the novel"; "Every page shows traces of the poet's emotional experiences".

Morphological errors are often associated with the formation of nouns.They also occur when using the category of animateness/inanimateness, gender, number, and declension. For example, the synonymous nouns corpse and dead person in the category of animateness/inanimateness are different (I see a corpse - I see a dead person, I see a house - I see a cat). In animate nouns, the accusative plural form coincides with the genitive plural form (I see horses - many horses), and in inanimate nouns, the accusative plural case coincides with the nominative plural case (beautiful flowers - I see beautiful flowers). On this basis, the following words are considered grammatically animated: dead man, dead man (I see dead people - many dead people); mythical names (brownie, dwarf, mermaid)', the names of some game pieces (queen, ace, jack, trump).

When using forms of the gender of nouns, errors are grouped as follows: a) gender change; b) the use of general nouns that does not correspond to the norm. In the first case, we mean inanimate nouns whose generic affiliation is not motivated by anything: "Grinev, as he himself said, was a minor" (the masculine word is used in the feminine form). Many nouns of the 2nd and 3rd declensions ending in b are influenced by the vernacular: "new piano", "white tulle", " scented shampoo "(true- new piano, white tulle, scented shampoo). The modern Russian language contains about 200 nouns of the general gender (such a slob, such a quiet one), the endings of which coincide with the endings of feminine nouns, and if they are used in the meaning of the masculine gender, there is a contradiction between the form and use: "Silent rendered-

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Xia is a very sly fox" (that's right - sly). Nouns can have parallel gender forms related to the process of language development or to the difference in forms by style: in the pairs aviary-aviary, climbed, shutter-shutter, keys-key, the first form is outdated, the second is modern.

The category of the number of nouns is based on the opposition of singularity and plurality. Sometimes there are difficulties in forming words that do not have one or more forms: "I can't convey my dreams "(that's right- dreams from the word dreams, not dreams). The words dream, plea, bottom, sofa are not used in the genitive plural. Since the beginning of the XX century, the forms of endings on-a,- I and the forms on-s,- and nouns of the 2nd declension in the nominative plural have been competing with each other. Previously, the words teachers, trains, houses, doctors, etc. were considered the norm, but in the middle of the last century it was established that words of this type, which have entered everyday use, can end in-a,- i: tractors, workshops, wires, doctors, professors, boats, teachers. But: lecturers, cakes, ports (sea). You should also pay attention to some variants of case endings: to live in the forest - to talk about the forest, to walk in the cherry orchard - to talk about the "Cherry Orchard", to stand in the snow - to dream of snow.

The forms of adjectives depend on the categories of gender, number, and case of nouns that are related to them in meaning and grammatically. Errors occur when using the full and short forms and when forming a comparative degree: "Onegin was able to reject love "(correct - was able); "Such an act was unexpected for the county town" (was unexpected). It should be remembered that a number of qualitative adjectives with the suffixes-sk-, -k -, - oe -, - ev -,- l- (friendly, militant, sluggish, marky, etc.) do not form forms of a comparative degree (incorrect: it became more militant day by day). Qualitative adjectives denoting an absolute sign (blind, lame, deaf, oblique, crooked, torn, dead, broken) do not allow semantic comparison, the manifestation of a greater or lesser degree of the sign, and therefore do not form degrees of comparison.

There are several main types of errors when using verb forms:: 1) incorrect definition of the base: doze - doze, whisper - whisper, thirst-thirst, jump-jump-mistakes (true: doze, whisper, thirst, jump); 2) violation of the alternation of letters in verbs of the present tense: cherishes, cherishes; guards (true- protects, cherishes, guards); 3) adding an extra suffix-well - in the past tense forms: wet, dried, stalled (true-mok, soh, gloh);4) errors in the formation of the imperative mood: go, go (true: go); 5) use-

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definition of grammatically impossible verb forms: a) some verbs with a base on -d, - ga, -z do not form the 1st person singular forms of the present and future tense (dare, outshine, convince, freak, win, find yourself, blow, hum, feel, shkodit)', I dare, I will win-mistakes, true-descriptive constructions (I will try, I must convince, win, do not be bold...).

Mistakes in the use of participial forms: "A poet who can raise the people to fight is a true patriot and citizen"; "The most memorable lines from Pushkin"; "This is the opinion of all people who have read these poems since childhood"; "Trying to describe the characters in detail, Gogol brought out a gallery of universal types" (here is also a substitution of the concept: "brought out the gallery").

The appearance of syntactic speech errors is related to: 1) with a violation of the order of words in the sentence: "Lermontov accurately described his generation"; "The drama" Thunderstorm " was written quite a long time ago." In modern Russian, the subject can be placed after the predicate if: a) denotes a period of time or a natural phenomenon in a sentence with a predicate of existential meaning or with the meaning of the course of action: Autumn has come. It was early winter', b) if the text is descriptive: "The sea sings, the city hums, the sun shines brightly, creating fairy tales "(M. Gorky); c) in the words of the author standing after or inside a direct speech: "Why aren't you going?" I asked the driver impatiently "(A. Pushkin). All other cases of permutation of the subject and predicate are considered speech errors;

2) with a violation of communication between the main members of the proposal. Matching the subject and predicate is a syntactic connection, in which there is a complete or partial similarity of word forms. The greatest difficulties are caused by verbal concordance: "Many political figures tried to encroach on freedom of speech in Russia"; "We see that Pugachev and his henchmen are each outstanding natures"; "The cruelty of landlords, famine, extortion leads to a popular uprising";

3) with a violation of the connection between the main and subordinate sentences: "Catherine is shown to us as a person who is able not only to understand someone else's grief and who can correct mistakes with the help of the power given to her";

4) with the semantic incompleteness of the sentence: "During the war, the Russians fought for their homeland, which gave rise to confidence" (from whom and in what?); "Thinking, Tatiana leafs through Onegin's books" (thinking about what?); "Once in prison, Pavel knew that he would not accept it" (with what?);

5) with incorrect use of prepositions and conjunctions: "Pushkin's creative path confirms that he was a great poet" (true-confirms that...); " Raskolnikov prefers public art."

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repentance is better than mental anguish .".. mental anguish); "Reading The Master and Margarita gave me great pleasure" (that's right - it gave me pleasure);

6) with a violation of the uniformity of the sentence members: "This year I read a lot of lyrical works, poems, poems"; "For the novel, the writer used family archives, memoirs, literary sources and other notes of eyewitnesses"; "I love reading books and thinking about them"; "In my essay, I want to talk about defenders of our country and what their exploits teach us";

7) with incorrect use of participial and adverbial turns. Proper use of participial turns requires compliance with the following rules: a) the defined word must stand before or after the participial turn. Incorrect: "The events described in the novel relate to the beginning of the XIX century"; b) the semantic connection between the participial turn and the subordinate determinative sentence should not be violated. Incorrect: "We are grateful to Dostoevsky, who first discovered the methods of psychological analysis of personality, and who made a great contribution to the development of literature and psychology" (here is also a factual error). The adverbial turn usually moves freely in the sentence, can occupy any position, but must always be consistent with the appropriate character in the nominative case, otherwise speech errors occur.: "After reading the play, I had clear images of the characters" (correct: after reading the play, I had clear images of the characters); "When thinking about the Russian poetry of the Silver Age, the following lines come to mind..."(true: thinking.., I remember the lines...);

8) with a violation of the uniformity of verb forms of time in a narrow context: "So the years passed until Katerina meets Boris"; " Pushkin's love lyrics have a number of features. One of them was out-of-genre, that is, he violated the previously existing canons and subordinates the form to the content."

Speech errors also occur when using phraseological units: a) distortion of the phraseological unit form: "Gritting his heart, Savelyich watches Grinev give his sheepskin coat to a stranger "(true- grudgingly); "While the autocracy was rolling like butter, the people were dying of hunger "(true: like cheese in butter); b) distortion of the meaning: "The relationship between Pugachev and Grinev is not a red debt, but a human one"; "Onegin is courting Olga, deciding to immediately take the bull by the horns".

One of the most serious mistakes is the violation of the unity of the style of writing and the use of colloquial, colloquial or clerical words and expressions: "Luka quickly ingratiated himself with the inhabitants of the nochlezhka"; "The vices of landlords are protruding for the edification of contemporaries"; "Pechorin, in order to annoy Grushnitsky, decides to pick up the princess"; "The above facts lead us to you-

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water"; "Taking into account the examples given, I will begin the proof of the main idea."

A special type includes logical errors that occupy an intermediate position between speech and content errors. They are associated with a violation of the semantic compatibility between sentences or paragraphs of an essay, with unjustified repetitions of the same thought using different linguistic means, with inaccurate expression of the thought: "Perhaps it is not worth trying to understand the point of view of A. S. Pushkin, but I wanted to consider the topic from the position of those in power. Grinev in this work, although he is a nobleman and a master, is a link in the general image of breadth and mercy of the powerful. Or you can look at Pugachev, who at the beginning of the novel is a slave and a drunkard, and after that-the anointed of God. Grinev, who gives him his sheepskin coat from the master's shoulder and brings him a glass for the service. She gives him her sheepskin coat, so that he does not freeze in the jacket. Gritting his heart, Savelyich watches Grinev give his sheepskin coat to a stranger, because he sees the world through the eyes of a slave. And it turns out that Grinev favored Pugachev out of natural kindness, and not as "his excellency"."

This is the first paragraph of an essay written by an applicant of the Faculty of History on the topic: "The Russian people in the prose of A. S. Pushkin (based on the story "The Captain's Daughter"). In addition to logical errors, the passage presents almost the entire set of possible speech errors, and such works are not isolated. Unfortunately, in our country, for many years, the study of the native language was reduced only to the mandatory assimilation of spelling and punctuation rules. Information about language norms and speech culture has penetrated the educational process relatively recently, but, as the experience of conducting entrance exams has shown, it has not changed the current situation at all. In this connection, it is as if I. S. Turgenev's words addressed to us are recalled: "Take care of our language, our beautiful Russian language-it is a treasure, it is a heritage handed down to us by our predecessors! Treat this powerful tool with respect."

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