The concept of literary and national language.

Literary language– the national language of writing, the language of official and business documents, schooling, written communication, science, journalism, fiction, all manifestations of culture, expressed in verbal form(written and sometimes oral), perceived by native speakers of a given language as exemplary. Literary language is the language of literature in the broadest sense. Russian literary language functions as in oral, as well as in writing speech. Signs of a literary language: 1) the presence of writing - affects the nature of the literary language, enriching it means of expression and expanding the scope; 2) normalization - a fairly stable way of expression, which denotes the historically established patterns of development of the Russian literary language.

Normalization is based on the language system and is fixed in the best examples of literary works. This mode of expression is preferred by the educated part of society; 3) codification, i.e., fixedness in scientific literature; it is expressed in the presence grammar dictionaries and other books containing rules for the use of the language; 4) stylistic diversity, i.e., the variety of functional styles of the literary language; 5) relative stability; 6) prevalence; 7) general usage; 8) general obligation; 9) compliance with usage, customs and possibilities language system. 10) the dialectical unity of the book and colloquial speech; 11) close connection with the language of fiction; The protection of the literary language and its norms is one of the main tasks of the culture of speech. Literary language unites the people in terms of language.

The leading role in the creation of the literary language belongs to the most advanced part of society.

Each of the languages, if it is sufficiently developed, has two main functional varieties: the literary language and live colloquial speech. Every person masters live colloquial speech from early childhood.

The assimilation of a literary language occurs throughout the development of a person, right up to old age. The literary language should be generally understandable, that is, accessible to perception by all members of society. The literary language must be developed to such an extent that it can serve the main areas of human activity. In speech, it is important to observe the grammatical, lexical, orthoepic and accentological norms of the language. Based on this, important task linguists is to consider everything new in the literary language from the point of view of compliance with the general laws of language development and optimal conditions its functioning.

The modern Russian literary language, expressing the aesthetic-artistic, scientific, social, spiritual life of the people, serves the self-expression of the individual, the development of all forms of verbal art, creative thought, the moral revival and improvement of all aspects of society at a new stage of its development. The national language is the language of the nation, which has developed on the basis of the language of the people in the process of the development of the people into a nation.

The intensity of this process depends on the pace and special conditions of the development of a nationality into a nation among different peoples. The national language is a system of several forms of language existence: the literary language (oral and written forms), the colloquial language (varieties of language and dialects). In the process of the formation of the national language, the relationship between the literary language and dialects changes significantly. The national literary language is a developing form that occupies a leading position, gradually replacing the dialects that dominated the early stages of language development, especially in the field of oral communication.

At the same time, the formation of new dialect features ceases, and under the influence of the literary language, the sharpest dialect differences are leveled. At the same time, the scope of the literary language is expanding, and its functions are becoming more complex. This is due to the complication and development of the national culture of the people, as well as the fact that the literary form of N. I is developing on folk basis, displaces alien people written languages(for example, Latin in Western Europe, Church Slavonic in Russia). The national literary language also penetrates into the sphere of oral communication, where the dialect previously dominated.

The most important feature of the national literary language is its normalized character. In connection with the need to satisfy the increasingly complex and diverse needs of society, caused by the development of fiction, journalism, science and technology, as well as different forms oral speech, the syntactic system and vocabulary national literary language.

In the era of existence bourgeois society the national literary language serves mainly the ruling stratum of society, that is, its educated part. Rural population, as a rule, continues to use dialects, and in cities urban pronunciations compete with the literary language.

Under the conditions of the development of socialist nations, a single normalized nationwide literary language becomes, in connection with democratization and the widespread dissemination of education, the property of every member of the nation. 6.

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Paronyms. 9. Borrowings in modern Russian. 10. Phraseologisms. 11. Grammatical difficulties of the modern Russian language. 1. Reasons .. Of course, the influence of these factors on the language is usually not carried out directly, but .. The narrow and increasingly narrowing composition of speakers of territorial dialects also affects their character ..

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Any developed language, including Russian, performs a variety of functions, is used in the most different situations, on the large territories and most different people, which are sometimes united by only one common property- they all speak given language, so the latter has a complex and branched structure. In this regard, it becomes necessary to introduce a number of concepts (later they will be actively used in other chapters) that make it possible to reflect the differentiation of the language and give an idea of ​​the features and purpose of each of its varieties.

Russian language has rich history and is constantly evolving. Naturally, it is extremely difficult for a modern person to read, say, "The Tale of Igor's Campaign" without translation, so first we need to determine when the language appeared that can serve as a means of communication for us without requiring translation from Russian into Russian, i.e. ., in other words, introduce chronological boundaries modern Russian language.

In Russian studies, it is believed that the modern stage of development of the Russian language begins with the era of A.S. Pushkin - approximately from the 1830s. It was then that the literary variety of the language was formed, which still serves as the basis for the development of the dictionary, grammar, and the system of functional styles, and phonetics, and orthoepy. It is this circumstance that serves as the basis for counting the current stage in the development of the Russian language.

A huge role in creating the system of the modern literary language as a set of means of expression and ideas about the literary norm as the basis of this system was played by A. S. Pushkin, who went down in history not only as the "sun of Russian poetry" (in the words of V. F. Odoevsky), but also how great reformer- the creator of the modern Russian literary language.

However, almost 200 years have passed since Pushkin's time, and the language has inevitably undergone significant changes, especially in the 20th century. During this period, first the October Revolution, and 70 years later, the collapse of the USSR significantly influenced the development of both lexico-phraseological and grammatical (albeit in lesser degree), and especially the functional-stylistic system of the Russian language. There has also been a transformation social conditions his existence. For example, in connection with the introduction after the revolution of mandatory school education the circle of native speakers of the literary language expanded. In connection with the ubiquity of the media, territorial dialects die off and remain only as a fact of the history of the language. Other changes are also taking place.

Although Pushkin's language remains both generally understandable and exemplary for us, we ourselves, of course, no longer speak, let alone write, Pushkin's language. This was noted back in the 1930s. Soviet linguist L. V. Shcherba: "It would be ridiculous to think that now you can write in the sense of the language quite in Pushkin's way." In this regard, it became necessary to allocate a period for present stage the evolution of a language that would take into account precisely the ongoing metamorphoses.

This is how the idea arose of the actual modern stage of the development of the language, the beginning of which dates back to abroad XIX-XX centuries

Thus, the stage of evolution of the modern Russian language begins with the reform of A. S. Pushkin, and within this period, from the beginning of the last century, the actual modern language which we use.

Now let's answer the question: what language is called national? In short, the national language is the language of the Russian nation as a whole, a developed multifunctional and multifaceted system. Being the main means of communication, it serves all spheres of public and private life of people and is an essential element of national identity and unity. Historically, the Russian national language is formalized in holistic education from the 17th century together with the transformation of the Great Russian people into the Russian nation.

On the one hand, the national language includes elements that are generally understood and generally accepted, used in any situation, and on the other hand, those whose use is limited or attached to certain kind activities, or territory, or social causes.

The structure of the national language can be represented as follows.

The core of the national language is literary Russian language, i.e. a historically established exemplary form of the existence of a national language, which has a number of important properties that allow it to play the role of a generally understood, socially sanctioned means of communication and serve all the most important spheres of life. These properties are:

• 1. Literary language - processed tongue. All its elements (pronunciation, vocabulary, grammar, style) have gone through a long historical process of processing and selection, and in folk art in the works of writers and poets, in the language of other authoritative masters of the word, therefore the resources of the literary language are the most accurate, figurative and expressive and most adequately reflect the peculiarities of the national mentality, create the Russian language picture of the world, serve as the basis of Russian culture.
• 2. Literary language - normalized language, with an established generally accepted system of units of all levels and a unified system of rules for their use. Vocabulary, phraseology, grammatical forms of the literary language, as well as the rules for using these units (from pronunciation and spelling to stylistic features) are described and fixed in dictionaries, grammars, reference books, educational literature, and geographical, administrative, historical and some other names are enshrined in law.
• 3. Literary language - language both traditional and developing. Each younger generation inherits the language of the older one, but at the same time develops those of its means and trends that most fully reflect its socio-cultural tasks and conditions of speech communication.
• 4. Literary language - integral branched stylistic system. In it, along with neutral means applicable in any situation, there are means that are stylistically colored. Stylistic coloring reflects attachment language resources to the oral or written form of the language, to various thematic areas, conveys various expressive, emotional and other shades of meaning. AT explanatory dictionaries, for example, this is reflected by the system of stylistic labels that a word or expression is supplied with: book.- bookstore unfold- colloquial iron. - ironic poet.- poetic rough.- rude mouth- obsolete, etc.

In addition, several functional styles are distinguished in the literary language - varieties of the literary language, each of which serves specific area communications. According to the classification of V. V. Vinogradov, these styles include the following: colloquial, scientific, business, journalistic, style of fiction. Currently, the nomenclature of styles is being specified: in particular, many researchers single out a preaching, or religious, style.

5. Literary language functions in two varieties - book and colloquial. In general, any of the styles belongs to one of these forms. Business, scientific, journalistic, religious styles represent book speech, colloquial - respectively colloquial. The artistic style, with its dominant aesthetic function, combines both literary and colloquial features.

However, within the limits of book business and scientific styles, oral genres are distinguished (job interview, conference call, oral reprimand), and accordingly, the possibilities of using colloquial speech resources are expanding.

• 6. Literary Russian language accumulates all the best that is in the national language. This allows him to be a model, to serve universal remedy communication, perform the functions of the state language and one of the working languages ​​of international communication.
• 7. Literary language - language that exists and functions in two varieties: oral and written(see 1.5). Written fixation, along with traditionality, allows the literary language to become the basis for the accumulation and inheritance of knowledge and experience of predecessors, the continuity from the older generation to the younger of the achievements of science, material and spiritual culture and civilization as a whole.

The periphery of the national language is vernacular, territorial dialects, social and professional jargons. Unlike literary, non-literary varieties of the national language, which will be discussed, of course, can be recorded in writing, but they function in oral form.

Territorial dialects- These are variants of the national language, characteristic of a particular area. They differ from each other in pronunciation. For example, in northern dialects they are okayut (they say words like beard, sequentially distinguishing sounds a and about), and in South Russian akayat (pronounce barada). Vocabulary is also partially different in different dialects (for example, delusional in the Pskov dialect means willow), phraseology, morphological and syntactic forms(for example, K. I. Chukovsky in the book "Alive, like life" gives a dialect form a person (What kind of person are you?), whereas in literary language the form Human). Invaluable observations of the dialectal features of word usage are given by the dictionary of V. I. Dahl.

In general, the topic speech communication in folk dialects is rather limited, which is reflected in thematic groups ah vocabulary: rural and household, interpersonal relationships, folklore, traditions and rituals.

At present, due to the ubiquity of electronic media oriented to oral literary speech, territorial dialects of the Russian language as complete systems, territorial varieties of the national language are dying out. Only elderly people remained among their speakers, while younger people often retain only some features of dialectal pronunciation.

Remain outside the literary language jargon- group varieties of the national language. According to the functions and who are their carriers, they distinguish professional and social jargon. The first group is oral, everyday-colloquial equivalents of professional languages: jargon of doctors, lawyers, rock musicians, computer, etc. The second group is the jargon of social groups: school, student, sports fans, social bottom (drug addict, criminal), etc. Jargon is characterized by its own vocabulary, relatively quickly replaced and highly emotional, generally reduced stylistic coloration, the predominance of certain thematic groups in the vocabulary, its own phraseology, sources of its replenishment and word-formation models. So, for youth and school jargon, truncation of the bases is characteristic as a way of word formation (people- Human, teacher or prep - teacher, nerd, bot(from slang botanist)- diligent student) and replenishment vocabulary largely due to anglicisms and jargons of the social bottom.

In addition to the term "jargon", the concepts of "social dialect" (otherwise "sociolect"), "slang", "slang", "interjargon" are used to designate group varieties of the national language. The latter includes words common to several jargons, and this brings it closer to urban rough vernacular. Argo is a secret, secret group language, like thieves' slang.

Not included in the literary language and vernacular- the speech of an insufficiently educated part of the urban population, the urban lower classes. There are two types of vernacular: rude (starting from rough vocabulary and ending with taboo curses) and illiterate - non-normative (non-normative can be observed at the level of pronunciation, vocabulary, morphology, syntax).

Words that go beyond the literary language are not included in general language dictionaries and are recorded only in specialized publications, for example, in jargon dictionaries.

literary norm

The literary language is a strictly standardized form of the national common language. All aspects of the language are processed and normalized in the literary language: writing, vocabulary, pronunciation, grammar, word formation. The rules governing the use of words, their formation, combination, grammatical forms, pronunciation, spelling, sentence construction are called the literary norm.

The literary norm changes and develops over time, and at different language levels the degree of mobility of the norm is not the same. For example, orthoepic norms(pronunciation and stress) have undergone significant changes throughout the 20th century, and grammatical norms(rules for the formation of sentences, phrases and words) were more stable.

The literary norm has a very important social significance. Without firmly established language norms people would have difficulty understanding each other.

Also literary norm protects the national language from the introduction of everything accidental and private. Literary and linguistic norms are obligatory for the mass press, radio and television, entertainment enterprises, they are enshrined in reference literature, dictionaries and textbooks.

A significant contribution to the development of literary and linguistic norms was made by N.M. Karamzin, M.V. Lomonosov, M. Yu. Lermontov, A.S. Pushkin and other classics of our literature of the XIX-XX centuries. “To create a language,” according to V.G. Belinsky, is impossible, because the people create it; philologists only discover its laws and bring them into a system, while writers only create on it in accordance with these laws” [Belinsky 1988: 244].

Features of the literary language

The literary language has a number of distinctive properties. These include:

1) stability;

2) mandatory for each native speaker;

3) processing;

What is the meaning of language processing can be understood from the words of A.M. Gorky. He noted that "any material - and especially language, requires careful selection all the best that is in it - clear, precise, colorful, sonorous, and - further love development of this best ”[Vvedenskaya 2001: 34].

In the article “On How I Learned to Write,” Gorky notes: “It would be appropriate to recall that the language is created by the people! The division of language into literary and folk only means that we have, so to speak, a "raw" language and processed by masters. The first to understand this perfectly was Pushkin, he was the first to show how to use speech material people, how it is necessary to process it” [Gorky 1953: 491].

4) Another feature of the literary language is the presence of an oral ( sounding speech) and written forms of speech (graphically fixed).

Oral speech presupposes the presence of a listener, an interlocutor. Written speech is usually directed to the absent. The writer can only mentally imagine his reader. At the same time, the reaction of the reader, his emotions, feelings do not affect the written language. Oral speech in most cases is interactive, i.e. depends on the perception of the listener - the reaction can change the nature of speech or even stop it.

The speaker creates his speech immediately. The writer can improve, correct the written text.

5) availability of functional styles;

In accordance with the goals that are set during communication, a variety of linguistic means are selected and varieties of a single literary language are formed, that is, functional styles. The term functional style emphasizes that depending on the functions that the language performs in each case, varieties of the literary language are distinguished:

Scientific style (they write textbooks, reports, scientific papers);

Official business (financial reports, orders, instructions);

Journalistic style (articles in newspapers, magazines, speeches on radio and television);

Colloquial and everyday style (in an informal setting).

6) normativity;

Norms exist for both written and oral speech. For example, oral speech includes accentological norms (stress) and orthoepic (pronunciation); punctuation, spelling norms(spelling) characteristic of writing. In all forms of speech, lexical, word-formation, syntactic, morphological norms must be observed.

All of the above features make up the peculiarity of the literary language as higher form national language.

The main variant, the main form of existence of the language is the national literary language. The main feature of the literary language is its normalization (for example, English-speaking peoples instead of the term "literary language" use the term "standard language" - " standard language"). Another feature of the literary language is multifunctionality - the literary language is able to serve not only the domestic sphere, but also the sphere of higher education. intellectual activity; you can speak and write in the literary language on almost any topic; The literary language is characterized by a wealth of expressive means, primarily vocabulary. Important features of the literary language are also universally binding for all members of the collective (and in connection with this, the inadmissibility of dialect variants) and stylistic differentiation.
As mentioned above, the invariable and constant quality of the literary language, which always distinguishes it from other forms of existence of the language and most fully expresses its specificity, is the normalization of the language. The distinguishing feature "normalization of the language" implies the presence of a certain selection of language means and a certain regulation, carried out on the basis of different criteria; these include genre and stylistic criteria, social and stylistic selection, as well as the rejection of narrow dialect phenomena and general trend to supra-dialect language type. The language norm that characterizes the literary language is a historically conditioned set of commonly used language means, as well as the rules for their selection and use, recognized by society as the most suitable in a particular historical period; an example of the use of a language unit. The norm is established either in accordance with the practice of real use (like everyone else, as usual), or based on authority (writers, actors, specialists). Normalization is a constant process, because the norms diverge from practice, grow old, change. The norm sometimes allows for variations; then stylistics comes into play, which determines the choice based on aesthetic taste, various communicative effects.
The literary language is characterized by stylistic differentiation - it breaks up into several variants intended for use in various fields human activity. Such variants of the literary language are called functional styles. In book speech, four main styles are usually distinguished: scientific, official business, journalistic and artistic (the language of fiction); conversational style refers to colloquial speech. Each style has its own characteristics in vocabulary and grammar.
The scientific style is characterized by unemotionality and extreme precision of expression. Words in the scientific style are used in direct, figurative meanings, it uses many special terms. The scientific style tends to be complex syntactic constructions, a clear division of the text into chapters, paragraphs, paragraphs. characteristic feature scientific style is an a large number of words and expressions containing an assessment of the reliability of the message: “as it seems to us”, “in our opinion”, “it can be considered proven that ...”, “it seems implausible”, etc. In Russian scientific style, it is customary to avoid the first person pronoun singular"I". Instead, the pronoun "we" is usually used, which does not have the meaning of plurality here. Thus, it is very unlikely to find in a Russian scientific work a phrase like: "I think"; typical for the Russian scientific style will be the phrases “It seems to us”, “We believe”.
The official business style, like the scientific one, is characterized by the accuracy of information transfer, the use of words in their direct, non-figurative meanings. The official business style is the most standardized among the styles of the literary language: official documents are drawn up, as a rule, according to the model approved by the authorities, here there is a strictly established form. hallmark formal business style is an active use verbal clichés and cliches: “I bring to your attention”, “in view of the circumstances”, etc.
Publicistic and artistic styles realize the function of emotional impact on the reader. The journalistic style is characterized by the widespread use of socio-political vocabulary and phraseology, the widespread use of emotionally colored words, different kind rhetorical questions and exclamations. AT last years penetration into the Russian publicistic speech elements of vernacular and even slang.
The language of fiction, in addition to the function of communication and emotional impact on the reader, always also performs an aesthetic function. It most actively uses all the expressive means available in the language. The desire for vivid imagery encourages the authors to avoid speech stencils, to clothe thoughts in a new, expressive language shell, using trails.
For conversational style characterized by unpreparedness, spontaneity, dialogical character. Almost completely absent solemn, book vocabulary. Great importance for this style have intonation, facial expressions, gestures, without which the meaning of the speaker may be incomprehensible.
Book speech as a whole is characterized by the active use of participles and gerunds, participles and participle turns, abstract and verbal nouns, complex sentences. Colloquial speech is characterized by the use of pronouns, interjections, particles, simple and incomplete sentences, absence short forms adjectives, participles, participles and, accordingly, participles and participles.
Thus, the literary language and the language of literature are different phenomena. Literary language, on the one hand, is broader than the concept of "language of fiction", since literary language includes not only the language of fiction, but also the language of journalism, science and government controlled, business language and the language of oral presentation, colloquial speech, etc.; on the other hand, the language of fiction is a broader concept than the literary language, since elements of a dialect, urban semi-dialects, and jargon can be included in a work of art. There are cases when works of art were created not in the literary language, but in slang or dialects. So, for example, Vladimir Dal, who published under the pseudonym Cossack Lugansky, wrote many of his stories in the Don dialect. Some works were written in northern Russian dialects famous poet silver age Nikolay Klyuev. Venedikt Erofeev actively used vernacular and slang in his poem "Moscow-Petushki".
Any language really exists only as a set of variants, often quite different from each other. Such options are, in addition to the literary language, various dialects, various slang and jargon, and vernacular. In slang, dialects, vernacular, you can communicate almost exclusively on everyday topics. cultural, political, scientific terminology in these variants of the language is completely or almost completely absent.
A dialect is a territorial variant of a language. A dialect can differ from a literary language at all levels of the language system: phonetic, morphological, lexical and syntactic. So, for example, some northern dialects of the Russian language are characterized by a rounded pronunciation, the replacement of the sound “ch” with “ts” (“tsai” instead of “tea”, “tsyorny” instead of “black”, etc.). Another feature of some northern dialects is the coincidence of the endings of the instrumental and dative cases of plural nouns. For example: “work with your hands” instead of the all-Russian “work with your hands”. Most of the differences between the literary language and dialects are in the field of vocabulary. So, in the northern Russian dialects, instead of the all-Russian “good”, they say “Basque”, instead of “neighbor” - “shaber”; in Siberian villages, gooseberries are called the word "argus", the hut - the word "buda", and instead of the all-Russian "branch" they say "gilka". Dialects very often retain words lost by the literary language in the process of its historical development. So, for example, in some dialects of Siberia and now you can find Old Russian words"molonya" (lightning) and "oral" (lips). The dialectal differences in a language can be great: in countries such as Germany or China, the differences between individual dialects can be even greater than the difference between individual languages. In these countries, communication between people speaking different dialects is very difficult or even completely impossible, and the role of a national literary language is growing sharply in them. It happens that separate dialects of any language develop outside the main territory of distribution of its distribution. Such dialects are called insular. An example of island dialects is the dialects of the Germans living in Siberia. On the other hand, there are languages ​​that dialect articulation is absent altogether. An example of such a language is Icelandic. Thus, the literary language can serve as a factor that unites the entire population of the country into one nation.
Jargon (slang, slang) is a social version of the language. Jargon is the language of some more or less closed social group. Jargon can be youth, student, sailor jargon, criminal world jargon, etc. In some cases, as, for example, in a criminal environment, jargon is used as a secret language, incomprehensible to the uninitiated, in others it is just a language game, a way to make one's speech more expressive, unusual. In addition, jargon can serve as a kind of "password": someone's use of slang words and expressions in the environment where it is accepted, as it were, signals: "I belong here." Jargon differs from the national language only in vocabulary. There is no special jargon phonetics or grammar. Jargons are present in many, but not all, languages ​​of the world. Some researchers argue that, for example, there is no jargon in the Belarusian and Altaic languages.
In linguistics, the correlation of the terms "jargon", "slang", "slang" is ambiguous. Nevertheless, most researchers actually call the social dialect of a certain age community or professional corporation with jargon. Argo is usually interpreted as the everyday speech of the lower classes of society; a secret language used by members of a closed group, the lower classes of society. Slang is understood as an emphatically informal, “everyday”, “familiar”, “confidential” kind of colloquial speech (meaning a kind of speech with artificially high expression, language game, fashionable neology).
Vernacular, unlike jargon and dialect, is a nationwide variant of the language. In this it approaches the literary language. However, unlike the literary language, vernacular has neither normalization nor polyfunctionality. Its main area of ​​application is household oral speech undereducated part of the population. Russian vernacular is characterized, for example, by such words and word forms as “lay down”, “polta” (plural form of “coat”), “was ustamshi”, indistinguishability of the verbs “dress” and “put on”, the use of the noun “coffee” in the middle gender, the active use of obscene language.

A single national language arises as a result of a long-term integration of not only class, but also territorial dialects, in a process, so to speak, directly opposite Babylonian pandemonium. closed, natural economy separates people, preserves their local words, linguistic clichés... Is it any wonder that the inhabitants of the same country hardly understand their compatriots-neighbors. Perhaps the most striking example of this kind was Germany in the 18th century, on whose territory there were approximately as many different principalities (each with its own dialect!) as there are days in a year. Dialect stratification as a consequence of the former feudal fragmentation even in modern German well known. The formation of a unified centralized state contributes to the formation of a single national language.

Any National language- the systemic unity of its three main components, which partially coincide, approximately like the Olympic rings: spoken language, literary language and poetic language.

Language spoken exists on a dialect basis and serves for everyday, intimate, involuntary communication. Its main and only function is communicative. This language is fundamentally unprocessed, improvisational, allowing liberties and roughness. Colloquial free in the use of profanity: individual neologisms, dialectisms, provincialisms, professionalisms, jargon, vernacular and even in certain situations vulgarisms, uses risky phrases and uninhibited syntactic constructions, does not differ in a sustained stylistic field, frankly eclectic.

Literary language should not be confused with the language of fiction. It got its name due to the fact that written literature played a major role in its formation, formation and development. Literary language is a normalized, correct, official language. It is the language of the press, radio, television, public speaking. He does not allow anomalous deviations either in style, or in syntax, or in vocabulary. The literary language arises at a certain stage of the historical development of the people representing it, as a rule, in the era of the elimination of feudal fragmentation, national consolidation and political unification based on the leadership of the most advanced in political, economic and culturally parts of the country. For example, the Russian literary language was based on the Moscow dialect. The unification of linguistic norms at first is achieved through trade, as well as the activities of itinerant singers and actors. Later, with the advent big cities and the establishment of capitals, the influence of universities, theaters, seminaries and schools, and, of course, national fiction and journalism, is felt. The final finishing of the exemplary literary language is covered by the funds mass media, although they often act in a destructive way. Standardization of the literary language is usually carried out in writing. Therefore, writing is rightly called the second form of existence of the literary language.

Poetic language - the language of fiction itself. Being the basis of the national literary language, it has its own specific features. Along with the communicative function, which, as we could see, extends far beyond the limits of one generation, poetic language is still more endowed with an aesthetic function. It resolutely opposes the average clichéd language in its colloquial and literary form as a unique expression of an individual personal principle.

In linguistic and literary stylistics (linguopoetics) there is a concept of the so-called " individual style context"- a representative segment of the text, according to which it is possible to establish its authorship. So, quite realistically and tangibly, there are "individual-style contexts": "The Tale of Igor's Campaign", "Daniel the Sharpener", "Protopope Avvakum", "Pushkin", " Lermontov", "Turgenev", "Dostoevsky", "Tolstoy", "Leskov", "Bunin", "Nabokov", "Solzhenitsyn" and so on ad infinitum. Sometimes two or three phrases are enough to reconstruct the individual signs of the handwriting of one or another masters.

Let's take, for example, the individual stylistic context of "Andrei Platonov" in the form of an excerpt from the writer's story "The Third Son": "If a mother could, she would always live so that her sons would not waste their hearts mourning her. But the mother could not bear to live long. Of course, only the author of "Chevengur" and "The Foundation Pit" could write this way. The unexpected and powerful word "couldn't endure" in relation to the ability to live, the painful expression of the very content, the very patience to live ... The central word of the whole phrase sags under an excessive semantic load and behaves as actively as in poetry. At the same time, let us not forget that the remarkable prose writer began precisely from the poetic field, publishing his first collection of poems in the Voronezh Proletkult.

Leo Tolstoy's unfinished novel "The Decembrists" begins with a syntactic period of 698 words! This is not only a striking fundamental property of the writer's artistic thinking, his style, but also salient feature his, Tolstoy's, vision of the world, which he imperiously imposes on the reader: we survey him, together with Tolstoy, with a long gaze, analyzing and evaluating at the same time.

So, each writer voluntarily or involuntarily develops his own unique version of poetic language, the relevant properties of which are the individual stylistic context of his work, which, however, is also not homogeneous within itself. The language of even the same author changes like handwriting on different stages his creative way, depending on the object of application of his creative energy, generic, genre-specific, structural specificity of his works, etc.

There is a complex relationship between the private and general contexts of poetic language, without taking into account which it is impossible to adequately assess not only the specifics of the idiostyle of a particular writer, but even the meaning of a particular word in his particular work. The dependence of the semantics of a word on its immersion in one or another artistic context is especially great in lyrics. The decisive aesthetic impact of the context, the intensity of semantic interactions are inherent in any kind of verbal art, not to mention lyric poetry where the interactions are especially dynamic...

Poetry - special way artistic knowledge of things in their unique aspects, generalized and at the same time individual, thus inaccessible to scientific and logical knowledge. This originality, the singularity of the concept for the lyrical poetry of modern times is even more obligatory than the emphasized individuality of the author or hero. That is why the poetic word is always a word transformed by the context (the forms of this transformation are manifold), qualitatively different from its prose counterpart.

Outwardly, poetic language operates with the same units of speech as spoken and literary language. Therefore, he is not at all protected from profanity, from interpretation that is obviously inadequate to the poetic intention.

Poetic language, in contrast to related spoken and literary languages, Yu.M. Lotman defined as artificial language or, in his structural terminology, as a "secondary modeling system”, which has an incomparably greater complexity and information density compared to natural languages. Such a statement of the question warns against a simplified view of the poetic text, actualizes the conditional, playful nature of the speech elements functioning in its system, and reveals their purposeful figurative meaning.

As noted above, the language broad sense there is figurative form reflection of reality, which does not exist outside the actual verbal-speech form of the embodiment of the entire system of images that make up artistic space. Certainly, figurative means to a certain extent, they are used both in colloquial vernacular and in general literary standardized language, but, of course, not in the sequence and density that are characteristic of artistic speech itself. Poetic language actively exploits, and sometimes consciously imitates, pursuing certain artistic goals, characteristic forms colloquial and literary language.

The language of works of art is a subject of study for both linguistics and literary criticism. However, both friendly philological disciplines consider it from a specific angle. If the linguist is mainly interested in general patterns functioning of the national language under the pen of outstanding masters, their streamlining, normalizing significance in the formation of the literary language (it is no coincidence that the texts of dictations, exercises and examples in school and university grammars are selected from the works of Russian classics!), then the literary critic focuses mainly on the specific use of the language for artistic image reality, man and society in certain literary works, idiostyles of certain writers, schools, trends and trends.

However, the interests of linguists and literary critics naturally, "peacefully" intersect if they turn to an adjacent field of application of their knowledge - linguopoetics.