Anmerkung: In diesem Artikel werden die Hauptprinzipien der Klassifizierung von Wortarten in der untersuchten Sprache Deutsch analysiert. Es werden moderne linguistische Ansätze, Methoden zur Identifizierung von Wortarten anhand grammatikalischer und semantischer Merkmale diskutiert und die spezifischen Charakteristika der einzelnen Wortklassen anhand zahlreicher Beispiele aus dem Deutschen beleuchtet. Theoretisches Wissen wird durch praktische Beispiele ergänzt.
Schlüsselwörter: Wortarten, grammatisches Merkmal, semantisches Merkmal, deutsche Sprache, linguistische Analyse
Annatation:This article analyzes the basic principles of part-of-speech assignment in the learned language – German. Modern linguistic approaches as well as methods for determining parts of speech on the basis of grammatical and semantic features are covered. The specific characteristics of each part of speech are illustrated by numerous examples from German. Theoretical findings are supplemented with practical examples.
Keywords: parts of speech, grammatical features, semantic features, German language, linguistic analysis
The language system is distinguished by its complex structure and rules. Parts of speech are classified according to the grammatical and semantic features of the words in the language. In the process of learning a language, it is important to divide words into the correct categories, to use them correctly and to master grammar perfectly.
German, although structurally similar to English and other Germanic languages, has its specific phonetic, morphological and syntactic features. Parts of speech are distinguished in German on the basis of strict grammatical criteria.
Basic principles of the division of parts of speech
1. Separation based on grammatical symbols
In German, each word group has certain grammatical symbols: gender, number, possessive, tense, cite, condition, and so on. For example:
Ism (the noun): jins (the, the, the), ko’plik (-en, -e, -er) shakllari mavjud. Misol: the table (stol), the flowers (gullar)
Verb (das Verb): changes according to the person and tense. Example: gehen (go), ging (go), ist gegangen (go)
2. Semantic character separation
The meaning of the word is also important in determining its category. For example:Names: refers to the name of an object or person. (Auto, Lehrer)
Verbs: Express an action or situation. (Laufen, Schlafen)
3. Classification based on syntactic functions
The role of words in a sentence can also help determine their category:
Noun: usually comes as an object or object of a sentence.
Verb: forms the predicative core of a sentence. Basic vocabulary and their features in the German language.
Practical Examples
1. Ismlar: The city is big. (Shahar katta.)
2. Fe’llar: Ich lerne Deutsch. (Men nemis tilini o‘rganayapman.)
3. Sifatlar: This is an interesting book. (Bu qiziqarli kitob.)
4. Ravishlar: He runs fast. (U tez yuguradi.)
5. Template:Wir fahren mit dem Bus. (Biz autobusda ketayapmiz.)
Basic information about parts of speech (Wortarten)
1. What are parts of speech? Speech categories are a system of classifying words of a language based on their morphological form, syntactic role and semantic meaning. Each phrase has its own unique grammatical features. It is also determined by the function of words in a sentence.
2. Main Separation Criteria
3. Basic Vocabulary in German. Variable (flexiberbare Wortarten):
1st noun (Ism) – the dog, the book 2nd verb (Fe’l) – to read, to sleep
3. Adjective (Sifat) – beautiful, clever 4. Pronoun (Olmosh) – I, my, this
5. Numerals (Son so’zlari) – one, two, hundred
O’zgarmas (non-inflectible parts of speech):
6. Adverb (Ravish) – today, there, fast. 7. Preposition (Predlog) – on, under, because
Ismlar: Artikl va jinsga ega (the table, the lamp, the book).
Verbs: Have tense, person, and number variation (ich gehe, du gehst).
Adjectives: Changes when it comes with fixed articles and nouns (ein schöner Tag).
B. Syntactic features
Nouns: In a sentence, it is usually possessive or complementary.
Verbs: Always serve as the center of a sentence, a predicate.
Adjectives: Used as a descriptor or sentence fragment (Das Auto ist schnell.).
C. Semantic Properties
Names: Refers to a thing, person, or concept.
Verbs: Signifies an action, situation, or process.
Adjectives: Signifies the quality, signs of things.
5. Special Events
A. Ismlanish (noun)
A verb or adjective is used like nouns and starts with a capital letter.
Examples: das Essen (eating, eating), der Alte (seniors)
B. Declination of Adjectives. It varies depending on the specified and unspecified article.
Misollar: the beautiful tree, a beautiful tree
C. Arrival of the verb in auxiliary forms
Modal verbs and perfect tenses are used with auxiliary verbs:
I have to learn. He worked.
6. Principles applied in the comparison of parts of speech
7. Examples from German
8. Literature Used
Duden editors: Duden – Die Grammatik, Dudenverlag, 2021.
Helbig, Gerhard; Buscha, Joachim: Deutsche Grammatik, Langenscheidt, 2016.
Durrell, Martin: Hammer’s German Grammar and Usage, Routledge, 2017.
Zifonun, Gisela: Parts of Speech – an Introduction, Gunter Narr Verlag, 1997.
9. Important Notes. In German, an article, gender, declination and conjugation are important for each word category.
The function of words in context is always clarifying.
When learning new words, you should always learn their vocabulary and how they are used in a sentence.
In conclusion, the division into word categories plays an important role in understanding the logical and structural order in the language. Parts of speech in German are clearly distinguished based on grammatical, semantic and syntactic notation. Adherence to these principles in the study of a language allows increasing the vocabulary and mastering the grammar perfectly.
References
1. Duden. Grammar: Indispensable for proper German. Bibliographic Institute, 2016.
2. Helbig, Gerhard; Buscha, Joachim. Deutsche Grammatik: Ein Handbuch für den Ausländerunterricht. Langenscheidt, 2001.
3. Zifonun, Gisela et al. Grammar of the German Language. de Gruyter, 1997.
4. Eisenberg, Peter. Grundriss der deutschen Grammatik. Metzler, 2004.
5. Engel, Ulrich. German grammar: tasks and solutions. Iudicium Verlag, 2013.
6. Hammer’s German Grammar and Usage. Routledge, 6th edition, London/New York, 2017.
impassioned kiss turns to wipe the makeup from her face
4
eclipse at the bottom of globe
former priest
splashes blood
across missile cones
5
sheep frozen
small portion exposed decomposing
expectations
of proofs when truth
is suppressed
Jerome Berglund has worked as everything from dishwasher to paralegal, night watchman to assembler of heart valves. Many haiku, haiga and haibun he’s written have been exhibited or are forthcoming online and in print, most recently in bottle rockets, Frogpond, Kingfisher, and Presence. A mixed media chapbook showcasing his fine art photography is available now from Fevers of the Mind.
For every soul, the place of their birth holds an irreplaceable meaning.
For me, that place — Qashqadaryo — is not just my homeland, but the very source of my greatest happiness and pride.
No matter how many poems I compose or novels I write, I doubt I could ever truly capture the fragrance, the spirit, or the magic woven into a handful of Qashqadaryo’s soil. As a child, I sometimes dreamed of being born in the capital. I would wonder, «If I had been born in Tashkent, would I have had more opportunities?» Today, I smile at those innocent thoughts, for I now realize that my greatest fortune was being born in Qashqadaryo — the cradle of history, the land of timeless traditions. Even now, as I pursue my studies in the capital, a tender longing forever lives in my heart — a longing for my homeland, for the sweet memories of my childhood, for the scent of Qashqadaryo’s air, for the songs of its birds.
Whether I step outside or turn the pages of a book, this yearning quietly embraces me. Over the years, I have made friends across the world — in Iran, the USA, Tajikistan, Pakistan, and beyond. During our conversations, I often see admiration in their eyes. A friend from Washington State once told me: «You were born in a land worthy of pride. Every region of Uzbekistan is unique, but Qashqadaryo — the land of the Timurids — stands apart. And to be from Yakkabog‘ is a rare honor, for you share your homeland with the great Amir Temur himself.» Those words stirred a profound pride within me — a feeling I shall carry forever. Indeed, Qashqadaryo is a land like no other. Its air, its soil, the melodies of its birds — all are imbued with a unique spirit. Its people are hardworking, generous, open-hearted, and kind.
When misfortune befalls one, the entire village gathers to help. Our celebrations are truly special, especially during Navruz, our cherished spring festival, when young and old alike come together in joy. We simmer sumalak, organize traditional games, and send our brightest wishes soaring into the future. Among Qashqadaryo’s many treasures is our beloved national game — Kupkari. Here, young men display their courage and skill, galloping across the field as if racing toward their beloved. This sacred land has not only left its mark on history but also shines in the world of literature. The great poet Abdulla Oripov was born here, nurtured by the spirit of Qashqadaryo. Many other remarkable individuals who have served our nation with honor have also risen from this blessed soil. And so, with pride swelling in my chest, I say:
«I am proud to have been born in Qashqadaryo!»
Dilobar Maxmarejabova is a first-year student English, Philology and Language Teaching faculty of Uzbekistan’s Journalism and Mass Communications University.
Sometimes there may be misunderstandings, it’s true,
Yet in her heart, there’s a reservoir of strength.
No one truly knows what lies inside her,
A hidden, resilient strength like a diamond.
Are not women beautiful in this world,
From whom the sun’s light has sprung?
Why not be amazed, why not love?
After all, Mother is the trembling symbol of women.
Jo‘rayeva Marjona Baxtiyorovna was born on October 18, 2003, in the Termiz district of Surxondaryo region, Uzbekistan. She is a third-year student in the Uzbek language and literature department at the Faculty of Foreign Language.
Who is there? A shadow. Who is here? A simple shadow. Who is in my heart? A complex shadow. Who is in your heart? A compound shadow. Who is all around us? Shadow, shadow and shadow! Where is man? He is absent in everywhere. Where is woman? She is absent in………. . Where is humanity? It was buried before civilization. Where is conscience It was killed before dawn. Where is property? It is in our breath. Where is life It is always past. Where am l? I don’t know. Who am l? A mummy of time.
This interview with Sudhakar Gaidhani has been conducted by internationally published Chinese poetess Yang Yujun. The Chinese version of this interview has been previously published by China’s WeChat’s Poetic Platform. The world-renowned Chinese poet Yongbo Ma has taken the initiative for this interview.
Q.1). How did Devdoot the angel strike as image of your Epoch?
Sudhakar–
First of all, I would like to thank you and dear poet Yongbo Ma for arranging this interview. To answer your question, I would like to tell you something different please.
As a child, I used to dream that I was a bird and flying. As soon as the dream broke, I would often fall off the bed. Later, I depicted this bird as Devdoot in the poem “Devdoot the Angel”. There is also an idea that an angel is a messenger of God. God is also a beautiful concept created by humans. Another thing is that there is a belief that God and His angels also free people from suffering. “Devdoot” is a the main heroine image of the family of images of this epic poem. By the way, this angel is also like a hero in this epic poem. This bird, based on the wisdom of many previous lives, communicates with the people of this era and tries to show them the path to the supreme happiness of life. This giant bird also mentions that it was with them in the era of Buddha and Christ. He warns them against the so-called spiritual preachers who frighten the naive people by spreading man made religious differences among humans. Because all religions are creations of humans.
Now let me add in short about of my epic poem Devdoot. The prologue of this epic poem contains the story of the creation of Devdoot.
The first Marathi canto of this Devdoot was published in 1981. The second canto was published in 1999 and the next three together, an epic poem of 555 pages, was published in 2004.
Some Marathi critics tried to make fun of this bird by calling it surreal. But 6 years after the creation of Devdoot the angel, the American National Museum of Natural History Smithsonian Institution, Washington, discovered that a bird like this sea bird was alive on Earth. This news came in newspapers all over the world. This is the incident of November 1987.
News was like this – “A fossil excavated from a rock formation in southeastern United States has been identified as history’s largest flying seabird, an extinct and previously unknown species that has a wing span of more than 5.5 meters”. After reading this news, one of the readers of my poem Devdoot immediately wrote a letter in the same daily, saying- “I am glad to state here that a visionary Marathi poet from Nagpur-India Mr. Sudhakar Gaidhani has depicted a similar bird in his poetry book Devdoot published in 1981”. After this my enthusiasm increased. I immediately sent the translated parts of Devdoot and the prologue of the poem along with a clipping of the reader’s published letter to the Smithsonian Institute.
Then I received two positive letters from the Smithsonian Institute’s Department of Paleobiology Museum Specialist. The first letter is dated 28th March 1988.
Second letter is dated 10th June 1988. Some of its lines are like this–
It is a rare occasion when science and poetry can meet with such a magnificent blend of serendipity. Under the matter of both letters is the signature of Raymond T.Ray II.
Now what I am telling you here that is wonderful and true. After the publication of the entire Devdoot, the 16 incidents depicted in it have actually become true. This is recorded in a Marathi book published on Devdoot.
Q.2). What role should a poet play in the contemporary society? I mean, was a poet born with a mission (obligation)?
Sudhakar–
In contemporary society, the role of a poet should also be linked to the feelings of the society. Because he is an integral part of the society.
Once a poem is expressed,
it is no longer the poet’s personal matter.
Rather, it becomes a part of the collective human mind.
Because the poet is also
an integral part of the social brain.
A poet who says he writes and publishes only for his own pleasure is deceiving himself.
Poetry is also an art of communication. And the poet communicates with the society through his poetic expression. With this social consciousness, he can also communicate freely with nature.
ii – Although no poet is born with a goal, later his inner mind keeps suggesting him to take up the flag of a goal. And he can take a definite role as the need of the society, the world. Because basically a real poet is a prophet, a philosopher. Poets who perform only for stage entertainment are performing artists.
Que-3) Your poems remind me of EI viejo con las alas enormes by Gabriel Garcia Marquez (The Old Man with Enormous Wings) What do you think of this story?
Sudhakar–
Sorry, I have never read this story. My reading of English literature is limited. The relationship of the bird in my epic poem The Angel is deeply moving to me. I had listened to the entire epic Mahabharata as a child. In it, the great warrior Bhishma, who fights for the Kauravas and falls wounded on the battlefield, touches Devdoot in the first canto, that’s all. There is nothing much beyond this. Because the giant bird in Devdoot is wounded by a hunter’s arrow and falls on a deserted island.
Q.4). Numerous literary works can be traced back to the Bible, how about your poems?
Sudhakar–
I have already said that the message of compassion conveyed by the great human beings like Buddha and Christ awakens the consciousness of humanity in humans. The martyrdom of Jesus impresses me more than the Holy Bible. The Jaataka stories in Buddhist literature or the miraculous short stories in the Bible are like a crutch to help ordinary devotees understand the truth.
Since these stories are related to faith, they do not take away the faith of the devotees. I think that even a mature scholar should not snatch these faiths of ordinary naive devotees. If they do so, their ignorance will increase and they will become aggressive. Because both Buddha, who denies God, and Jesus, the only son of God, are very necessary for those who try to live a normal life happily. Most of the short stories about Jesus in my Devdoot are inventions of imagination.
Q.5). Is the identity of Character of Devdoot change with the unfolding of the five cantos?
ii – Do you yourself grow (feel elevated) with your own works in the process of writing?
Sudhakar–
Devdoot gradually reached five cantos quietly. The first canto in 1981, the second in 1999 and the other three cantos together, the entire Devdoot, was released in 2004. It is because of these five cantos that Devdoot angel’s own identity and personality have been realized.
ii—The poet’s mature poetry creation gives him the joy of inner satisfaction. As the seed of poetry blooms in his state of contemplation, he forgets the sense of his own normality and, as he unites with an extraordinary state, he himself experiences the creation of a poem. Like a pregnant woman and the fetus in her womb. This is the elevated state that the poet gains from the process of creating poetry.
Q. 6)–. How did Ramayana and Mahabharata influence you and your writing?
Sudhakar–
There is no such thing as the influence of these two mythological epics on my poetry creation. But some of the characters in my epic poem Devdoot and my second epic poem “Shadows of Yoginis’s Dreams” are useful for expressing new content and beauty of thought. That’s all.
Q.7)— It seems that your five cantos are written from God’s perspective, that view of a philosopher than simply a narrator of world events?
Sudhakar–
Your question is about the principle of God related to the human world on earth. In the fifth canto of Devdoot, the solution to this question is in the dialogue between the Awadhoot-pilgrims who has reached heaven. God himself says that I am also the caring guardian of this world on behalf of the Creator. When these Awadhoots actually come before the Creator of the world, the Creator explains to them,
O Awadhoot-pilgrims on earth, all the gods and all the religions on earth are the creation of you humans.
Even God also says that God is just a beautiful concept.
Let it be beautiful. Anyway!
In all these five cantos, Devdoot gently explains this formula to the collective consciousness of human. If materialism tries to snatch the concept of God from humans, the common people will be very hurt. The world has experienced this fact. I have used to refer some how the basic thoughts of Buddha and Jesus in connection with the previous question. Anyway, now world events, even if they are temporary, can have some impact on the world. But a poet or artist does not consider them as a means of creation, but only as an occasion, and is in the contemplation of eternal creation, taking note of them. Everyone has two minds. One is the inner mind and the other is the outer mind. The inner mind is pure, it is not muddy like the outer mind. This inner mind easily entwines the poet’s poetry in the thread of philosophy. That is why an ascetic poet is a philosopher. Poets who only entertain on stage are artists.
Q.8)— Was there a particular event/incident in your early life that motivated/triggered you to start writing or you just naturally picked up writing?
Sudhakar–
To speak in this context, this inheritance from my mother must have flowed into my genes to some extent. This arrangement exists in the genetic system. Our genomes travel through human sperm for thousands of years with the memories of past lives. During this journey, the memories of some are destroyed, while those who do not, continue to travel through the capsule of genes, taking with them new memories. It is said in Jaataka stories that Lord Buddha had the memories of five hundred such births. We bury a grain seed in the soil and see later the same seed sprouts on its grave. The formula of birth, death and rebirth is also applicable to animals, birds and plants. My insufficient practice from my past life must also be attached to this birth.
Q.9) Do you normally start writing with a plot as with a novel or you just write on pouring out what pops out from your mind?
Sudhakar–
No. Not at all like a novel. While writing Devdoot the Angel, as I mentioned earlier, I took as a basis a small story hint in my mind. Later, as the journey of contemplation began, some small mythological stories got into the poem as needed. Something similar happened in the case of my other epic poem Shadows of Yoginis’ Dreams. You yourself are a deeply contemplative poet. Therefore, I do not think it is appropriate to say anything more. Here I am giving a recent poem of mine as an example.
WHEN THE POET IS GUILTY
In the abyss of the poet’s inner self,
the seeds of memory flutter
and fly like angelic butterflies.
When they settle down peacefully,
the embryo of poetry gradually
takes shape from their divine eggs.
The poet has to wait for the natural birth
of this new creation.
But when, due to the poet’s excessive enthusiasm,
the poem is born by cesarean section
before it is mature –
The poem constantly blames the poet
for its unnatural birth.
I also agree that poetry does not come out of the inner contemplation like an object coming out of a machine. It has to be shaped in a state of contemplation. For example – even if it is a diamond, it becomes brighter and more valuable because of its shapes. Every poet must be the first reader and critic of his own poetry. It takes penance to master all the arts.
Q. 10) Is writing part of your day- to-day life or something special or a project that you focus on?
Sudhakar–
I often spend late nights thinking about what new things I can think of and in the morning it takes on the body and life of poetry. Every poem has its own personality and character. A noble poem also stand nude before her ingenious devoted reader.The needle weaves the clothes to cover the naked but it itself remains nude still no one objects it for its nudity. The poetry is also similarly.
Lately I have been more lost in poetic contemplation. Sometimes in this contemplation, the thread of new creation is found, of course this is very useful for a long-term poem. These days I am meditating more on Buddha. Mahayogi Buddha, that is, Epic Yogi Buddha.
Q. 11). Do you have much interaction with your readers?
Sudhakar –
Literature is a communicative art. There must be communication between the writer and the reader. But this is not mandatory. Still, one thing is very important. Speaking of poetry, the poet’s poem should communicate with the readers. Poem can be obscure but if it is self-obscure? Then it can be counted as mad poetry. And the self-centered poet wanders in the mist of self-sorrow searching for own tears; and beg before himself for it.
The love of the readers is a very important issue for a poet. This is the respect that the poet receives from the readers for their creation. Therefore, every poet should treat his readers with great respect. One issue is that my low budget books were released easily, but I had to wait a long time for a six hundred page book. Today, for the new edition of my “Mahavakya” i.e. the complete Devdoot the angel, my friends, Marathi poetess and writer Mrs. Dr. Manjusha Sawarkar and Mr. Sunil Sawarkar, who love my poetry, came forward. They started a publishing house in Nagpur metro city under the name ‘Kusumaee Publication International’ and made my Devdoot epic available to English and Marathi readers around the world. Because other publishers did not dare to spend 5 lakhs (0.5 million) rupees. A poem can remain in the news due to positive or negative reviews, but it survives only because of the place it has found in the hearts of the readers.
Q.12). When did you start to take writing seriously ?
Sudhakar–
I started writing since my school days. But I really started writing poetry seriously from 1968. My first collection was published in 1973, which I later had to study in the M.A. Marathi course from Nagpur University.
Q.13) What would you call your style?
Sudhakar –
For me this question is not easy to answer. In the Marathi poetry world, free verse is considered a type of style today. But in my opinion, instead of free verse, it is a type of verse free style. In my opinion, poetry is a beautiful outburst resulting out of deliberation of innermost thoughts. It becomes the nucleus of the poetry. It balances the surface, middle and bottom of the poem. I consider such an invention as an easy but free, with depth and beautiful style. In short.that style is philosophical and mystical
Q.14). Do you think the identity of a poet affects your relationship with other people, especially your family?
Sudhakar—
No, I don’t think so. But in this poetic penance, my family is a little neglected. But Mrs. Gaidhani takes care of me. A few years ago, a leading daily newspaper used to have a column of my poetry. The honorarium I received for that gave me some support. In 1991, I lost my postal job to contest the parliament elections. I was defeated in the elections. In the later days, I had the support of my wife. At that time, the writing of the next part of the epic Devdoot was delayed. My readers love me along with my poetry. In 2004, when I had two major heart attacks, these friends helped me a lot. These friends collected the subscriptions and published the Marathi version of Devdoot. My birthplace Khapa is adjacent to the metropolis Nagpur. There, with the cooperation of the people of the village and the municipal council, a public garden has been opened in my name on two and a half acres of land.
Q.15) Do you normally write on schedule or write only when you feel like writing?
Sudhakar—
I have also mentioned this earlier. However, let me mention about a farmers movement I was also part of. Three decades ago farmers in Vidarbha region (of 11 district in Maharashtra state) were committing suicide due to debt burden and poverty. And the peasant leaders were doing politics. These pictures were disturbing me. In that mindset, I started a daily poetry column on behalf of farmers in a major daily in Nagpur. That column continued for more than two years as it became a reader favorite. During that time I wrote almost 12000 lines. And an unexpected incident greatly affected my later life.
Q.16). Of course once appear in the form words, all works have broad orientations. However, do you have a particular reader in mind when you begin writing (the so- called reader consciousness)?
Sudhakar—
I do not write with a particular reader in mind. It cannot be kept in mind in the creation of poetry. We don’t say the gold is beautiful, we say the jewelery is beautiful.
Poetry is not an easy – accomplishment. It require to bear the scorching of the meditation -energy, only then the picture language of the letters(syllables) possesses the essence with immortality. Using broken bricks of words,one cannot build castles of poetry.
In case of music,sculpture, painting, dance and acting it takes a considerable time to assimilate the minute delicacies of of arts. After that the flowers of those arts blossom.But about poetry, No! It’s very easy. Something enters the mind, oozes through pen and is mixed with words. That is called poem (for some).
YANG YUJUN
Yang Yujun, born in Beijing, now lives as an English teacher in Guangdong. Her poems and prose first appeared in 1986 and her own collections of Poetry Garden In Winger and The Hand On The Mouse Is Turning Cold have been published in Chinese and English. She has translated work of more than 5 million words including collections by thirty Chinese poets and two collections of short stories by Alice Munro. Also she has translated Sudhakar Gaidhani’s entire Epic Poem “Devdoot The Angel” from English to Chinese. Her poems have been translated into English, Arabian, Spanish, Japanese, etc.
