The speech characteristics of the characters. The speech of the heroes of F. M. Dostoevsky is more important than the portrait. The very manner of speaking, communicating with each other and pronouncing internal monologues is important. L. N. Tolstoy believed that in F. M. Dostoevsky all the characters speak the same language, not conveying their individual emotional experiences. The modern researcher Yu. F. Karyakin argues with this statement.

The heat of passion that is expressed in these disputes leaves no room for cold-blooded deliberation. All the heroes express the most important, the most secret, express themselves to the limit, scream in a frenzy or whisper their last confessions in a deadly delirium. Yu.F. Karyakin. Raskolnikov's self-deception. Artistic Literature, 1976. 26 pp. What can serve as a better recommendation of sincerity than a state of hysterics when your inner world opens up? In crisis situations, during a scandal, in the most tense episodes that follow one after another, Dostoevsky's heroes pour out everything that has boiled in their souls. Not words of convulsions stuck together in a lump V. Mayakovsky.

In the speech of the heroes, always agitated, by chance slips what they would most like to hide, hide from others. This technique used by F. M. Dostoevsky is evidence of his deepest knowledge of human nature. Bonded with associative links, these hints and reservations just bring out everything secret, inaccessible at first glance.

Sometimes, thinking hard about something, the characters begin to break down the speech of other characters into separate words, focusing their attention on certain association words. Observing this process, we learn, for example, what really oppresses Raskolnikov when he singles out only the words seven from the conversation between Lizaveta and the townspeople, at the seventh hour, decide, Lizaveta Ivanovna, decide. In the end, these words in his inflamed mind turn into the words death, solve, that is, kill.

What is interesting is Porfiry Petrovich, a subtle forensic psychologist, that these associative connections are used consciously in a conversation with Raskolnikov. He puts pressure on Raskolnikov's mind, repeating the words state-owned apartment, that is, prison, decide, butt, making Raskolnikov more and more worried and finally bringing him to the ultimate goal of recognition. The words butt, blood, crown, death run like a leitmotif through the entire novel, through all Raskolnikov's conversations with Zametov, Razumikhin and Porfiry Petrovich, creating a special psychological subtext. The psychological subtext is nothing more than a dispersed repetition, all the links of which enter into complex relationships with each other, from which their new, deeper meaning is born, says T. Silman, one of the researchers of F. M. Dostoevsky.

Porfiry Petrovich probably thinks so too, he plays with words, forcing Raskolnikov to confess. At this moment, Raskolnikov receives a severe moral trauma, experiences haunt him, and he splashes everything out.

The goal of Porfiry Petrovich has been achieved. The general psychological mood contributes to the identification of the similarities of the characters. Here is what the well-known researcher Dostoevsky Toporov says about the problem of duality, that we single out Raskolnikov and Svidrigailov, strictly speaking, a tribute to the habit, in particular, to hypostasis. So, with the help of a whole system of doubles, the main character of Dostoevsky is revealed. The images of Sonya, Dunya, Katerina Ivanovna also intersect in a number of motives, for example, selflessness is characteristic of all three. At the same time, Katerina Ivanovna is also endowed to the highest degree with self-will, while Dunechka is proud, capricious, and self-sacrificing.

She is almost a direct copy of her brother - Rodion Raskolnikov. That's what mother says about them. I looked at you both, and not so much with your face as with your soul, you are both melancholic, both gloomy and quick-tempered, both arrogant and both magnanimous. Here also one of the methods of characterization takes place, one of the ways of penetrating into the inner world of the hero is the characterization of him by other characters.

But F. M. Dostoevsky's characters explain each other not only with the help of speech. Dostoevsky endows similar characters with consonant surnames. Speaking surnames are a technique that came from classicism, thanks to which the characterization of the hero is very aptly given. The names of F. M. Dostoevsky match the portraits. A number of chthonic G. Gachev characters are endowed with surnames, where the word horn Stavrogin, Svidrigailov, Rogozhin is clearly visible. These are some demonic attributes of an earthly person.

In the novels of F. M. Dostoevsky, the names of the characters, even in their sound composition, are already characteristics. Marmeladov is internally soft, transparent, his surname indicates the composition of the water - m, n, l predominate - sonorous, voiced, feminine, wet sounds G. Gachev. This is also an attempt to penetrate the inner world of the character, but the connections between the character and the reader are established on a subconscious level.

F. M. Dostoevsky knows no equal in quantity and, most importantly, in the virtuosity of using the methods of penetration into the inner world of the characters.

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In recent years, more and more studies have appeared in which the linguistic personality in artistic discourse is studied through the artistic image of the character, his individual speech structure, and the discourse is called character. E.N. Baibulatova [Baybulatova 1998].

Despite the fact that each approach has its justification and its supporters, it should be noted that the author and character of a work of art cannot be studied in isolation from each other.

The linguistic personalities of the characters in a work of art are studied for a deeper understanding of the artistic component and for the study of the linguistic personality of the author as well. It is in the system of characters that the author develops his view of the world, the essence of human characters and the patterns of their relationships with each other.

The study of the linguistic personality of the author through the prism of the character segment is becoming more widespread. The direct speech of a character is studied as a way of expressing the image of the author [Skibina 1999], the stratification and opposition of the "I" of the author and the "I" of the character is treated as a genre-forming marker [Loktionova 1998], the linguistic personality of the writer is studied as a source of speech characteristics of the characters [Men'kova 2005], etc. .P.

The emergence of the concept of "speech personality" is due to the fact that the available research material is the speech activity of a person in a situation of real communication. A speech personality is a linguistic personality at the moment of real communication [Krasnykh 2002:22; Maslova 2004:119; Prokhorov 2004:106]. When studying a speech personality, a large number of linguistic and extralinguistic parameters are taken into account: the communicative situation, its goals, the topic of communication, its axiological significance for the participants in communication, the social and age statuses of the participants, their psychological state. Thus, the concept of a speech personality includes a social image that a person takes on during communication with others, depending on the situation.

Traditionally, the character's linguistic identity is studied on the basis of the totality of the character's statements throughout the entire space of the text. However, some researchers take into account only the direct speech of the character [Treshchalina 1998], while others consider it necessary to take into account the indirect speech as well [Salmina 2005].

Psychological analysis in a work of art involves various means of representation: direct authorial reflections, introspection of the hero, statements about him by others, as well as actions, gestures, facial expressions, i.e. indirect features. A special place belongs to the hero's speech and his internal monologues: “A character's word can become an extremely compressed reflection of his character, feelings, motives, a kind of focus for the artistic interpretation of the image. But it took a long development, the work of many great artists, so that these possibilities of the word could be realized” [Ginzburg 2009: 97].

The nature of the character, his internal motives, external circumstances, the situation of the current moment are most often manifested in a dialogic word; it gives an idea of ​​the properties of the hero, analyzes, complements, and often reveals his nature.

Such qualities as narcissism, pride, passion, hypocrisy, coldness of soul, inability and unwillingness to understand another person are often combined in life and in a literary text. In novel prose, every word, replica, monologue, dialogue performs a complex artistic task: they characterize the hero, his time, environment, his thoughts and experiences, contain information about events related to the character, develop the plot of the work, bringing additional dynamics to it, and sometimes an unexpected twist. But often the word goes beyond the character of the hero and the plot of the work, and then it carries philosophical generalizations about the life and place of man on earth.

When depicting the hero's experiences in a dramatic situation (deep excitement, a special mental or physical state - illness, injury, proximity to death), irrational elements can be used in his speech. A similar technique for the most subtle display of the inner life of heroes was often used by L.N. Tolstoy ("War and Peace", "Anna Karenina", "Sunday", as well as his novels and stories).

The inner speech of the hero opens up wide opportunities for analyzing his psychological state: a person “reveals” himself, dreams, admits his weaknesses and mistakes, etc. According to L. Vygotsky, inner speech is “not speech minus sound”, it is a special structure, which is characterized by its content and purposefulness [Vygotsky 2009:178].

The study of the linguistic personality of a character is impossible without taking into account the entire paradigm of his speech characteristics, since they are based on the discursive characteristics of the communicant and are the main means of expressing the pragmatic potential of a literary work. The presence of speech characteristics of characters is the key to creating artistic images both by the author himself and by the reader who interprets the discourse in the future. The linguistic means chosen and used by the author for the verbal behavior of a character in a work of art are the most important for describing the linguistic personality of a literary hero.

A significant role in the organization and production of the utterance is played by the individual component of the personality, which is due to the uniqueness of each linguistic personality. The speech portrait of a character includes the main concepts of the worldview reflected in the speech, marking the time and space of the character's existence, social aspects, his individual manner of expressing his thoughts through certain communicative strategies and their lexical design, etc. The linguistic features of the character's speech and the emotional and expressive coloring contained in the speech parts represent the character's attitude to the world, his state of mind, give an idea of ​​his attitudes and values, the goals of the society in which he lives.

It remains for us to say a few words about the speech characteristics of the characters, but this question is usually not very difficult for a practicing teacher. The only thing to be warned against is the confusion of concepts when analyzing the speech of the characters. Often, the speech characteristics of a character mean the content of his statements, that is, what what the character says what thoughts and judgments he expresses. In fact, the speech characteristic of the character is something completely different. As Gorky wrote, "it is not always important what they say, but it is always important how they say it." The speech characteristic of a character is created precisely by this "how" - the manner of speech, its stylistic coloring, the nature of the vocabulary, the construction of intonational-syntactic constructions, etc.

General properties of artistic speech

What are the most common characteristics inherent in artistic speech in a particular work? There are six such characteristics - three pairs. First, the speech form of the work can be prosaic or poetic - this is clear and requires no comment. Secondly, it can be distinguished monologism or heteroglossia. Monologism implies a single speech manner for all the heroes of the work, coinciding, as a rule, with the speech manner of the narrator. Heterogeneity is the mastering of the heterogeneity of speech manners, in which the speech world becomes an object of artistic representation. Monologism as a stylistic principle is associated with an authoritarian point of view on the world, heteroglossia - with attention to various options for understanding reality, since the diversity of speech manners reflects the diversity of thinking about the world. In heteroglossia, it is advisable to distinguish two varieties: one is associated with the reproduction of the speech manners of different characters as mutually isolated (“Who in Russia should live well” by Nekrasov, essays by N. Uspensky, stories by Chekhov, etc.) and the case when the speech manners of different characters and narrators interact in a certain way, "penetrate" each other (the novels of Tolstoy, Turgenev, and especially Dostoevsky). The last type of heteroglossia in the works of M.M. Bakhtin was named polyphony.

Thirdly, and finally, the speech form of a work can be characterized nominativity or rhetoric. Nominativity implies an emphasis primarily on the accuracy of a literary word when using neutral vocabulary, simple syntactic constructions, the absence of tropes, etc. Rhetoric, on the contrary, uses a large number of means of lexical expressiveness (elevated and reduced vocabulary, archaisms and neologisms, etc.), tropes and syntactic figures: repetitions, antitheses, rhetorical questions and appeals, etc. In nominativity, the object of the image is primarily emphasized, in rhetoric, the word depicting the object is emphasized. Nominative, in particular, is the style of such works as Pushkin's The Captain's Daughter, Turgenev's Fathers and Sons, and Chekhov's Lady with a Dog. Rhetoric is observed, for example, in the lyrics of Lermontov, in Leskov's stories, Dostoevsky's novels, etc.

The considered properties are called speech dominants works.

? TEST QUESTIONS:

1. What lexical means does the writer use to make his artistic speech more expressive?

2. Name the trails you know (with examples from fiction). Show their artistic function using one or two examples.

3. What is syntactic organization and why should it be analyzed?

4. What is the tempo of a work of art? Using one or two examples, show the value of tempo-rhythm for creating a certain emotional picture of a work or its fragment.

5. What is the difference between prose and verse? Name the poetic meters known to you in Russian versification.

6. What artistic functions does the speech characteristic of the character have? What are the ways in which the speech of each of the characters is individualized?

7. What is storytelling? What is the character of the narrator? What are the types of storytelling? Why is it necessary to analyze the nature of the narrative and the narrator's speech style in a work of art?

8. What is the difference between monologism and heteroglossia? What types of heteroglossia do you know and how do they differ from each other?

9. What is the difference between nominativity and rhetoric?

Exercises

1. Compare the poems of A.S. Pushkin's "Village" and "When I wander thoughtfully outside the city ..." according to the following scheme:

a) the nature of the vocabulary,

b) more or less use of tropes,

c) the syntactic construction of the phrase and its tempo-rhythm,

d) meter.

2. Determine whether the speech characteristics of the characters are significant for Maxim Maksimych (“A Hero of Our Time” by M.Yu. Lermontov), ​​Platon Karataev (“War and Peace” by L.N. Tolstoy) and Gromov (“Ward No. 6” by A. P. Chekhov). If a

a) no, why?

b) yes, then how does it express itself and what character traits of the characters does it reveal?

3. Analyze the nature of the narrative and the image of the narrator in "The Queen of Spades" by A.S. Pushkin, "Lefty" N.S. Leskov and "Lady with a Dog" by A.P. Chekhov according to the following scheme:

a) the story is told in the first person or in the third person;

b) the narrator is personified or not,

c) whether a special speech image of the narrator is created in the work,

d) if not, then why, if yes, how it is expressed,

4. Determine the nature of speech dominants in A.S. Pushkin, "Mtsyri" M.Yu. Lermontov, "Besakh" by F.M. Dostoevsky according to the following scheme:

a) monologism or heteroglossia,

b) if heteroglossia, then what type,

c) nominativity or rhetoric.

Final task

Analyze the organization of artistic speech of two or three of the following works (optional):

AS. Pushkin, Boris Godunov, Captain's daughter,

M.Yu. Lermontov. Daemon,

F.M. Dostoevsky. Player,

L.N. Tolstoy. Hadji Murad,

M.A. Bulgakov. Dog's heart,

V.M. Shukshin. Up to the third roosters.

Composition analysis

General concept of composition

The details of the depicted world and their verbal designations in a literary work are arranged in a certain way, with a special artistic meaning. This arrangement constitutes the third structural side of the art form - the composition. In the practice of school literary criticism, very little time and attention is given to the analysis of composition. In essence, the concept of composition in the vast majority of cases comes down to the concept of the plot and its elements. Even the very definition of composition, which is given by schoolchildren in 90% of cases (“composition is the construction of a work”), is, in fact, a metaphor, the meaning “which remains dark and unclear: how built work verbal dynamic art is not a house, not a church, not a theater... Therefore, we will begin the chapter on composition with its exact, scientific definition: composition is a composition and a certain location parts, elements and images of the work in some significant time sequences. This sequence is never random and always carries a meaningful and semantic load; it is always, in other words, functional. You can show this with the simplest example: break the sequence of parts, for example, in a detective story - when you start reading a book, look immediately at the end. In practice, of course, no one does this, because such a violation of the compositional sequence deprives further reading of the meaning and, in any case, deprives the reader of a good half of the pleasure. But this, of course, is an elementary example; in more complex cases, a closer analysis is also required in order to understand the logic and meaning of the compositional construction of this or that artistic whole.

In the broad sense of the word, composition is the structure of an art form, and its first function is to “hold” the elements of the whole, to make the whole out of separate parts; without a deliberate and meaningful composition, it is impossible to create a full-fledged work of art. The second function of the composition is to express some artistic meaning by the very arrangement and correlation of the images of the work; how this happens in practice, we will see in the future.

Many teachers direct their students to study the outer layer of the composition of a work: dividing it into volumes, parts, chapters, etc. This, as a rule, should not be done, because this outer layer of the composition only rarely has independent artistic significance. The division of a work into chapters is always of an auxiliary nature, serves for ease of reading and is subordinated to the deeper layers of the compositional structure of the work. It is necessary to pay attention here only to specific, not always found elements of the external composition: prefaces, prologues, epigraphs, interludes, etc. The analysis of epigraphs is of particular importance: sometimes they help to reveal the main idea of ​​the work (for example, in Pushkin's The Captain's Daughter), sometimes, on the contrary, they pose a riddle to the reader that needs to be solved during reading (for example, in A. Green's novel "Running along waves"), sometimes indicate the main problem of the work ("So who are you? - I am part of that force that always wants evil and always does good" - an epigraph to the novel by M.A. Bulgakov "The Master and Margarita"). The correlation of the epigraph to the chapter with the content of the chapter itself is also curious: for example, in the same "The Captain's Daughter" the first chapter, as it were, enters into a dialogue with its epigraph. The epigraph ends with the question: "Who is his father?", and the chapter begins with plums: "My father, Andrei Petrovich Grinev ...".

Compositional techniques

Before proceeding to the analysis of the deeper layers of the composition, we need to get acquainted with the basic compositional techniques. There are few of them; There are only four main ones: repetition, amplification, opposition and editing.

Repeat - one of the simplest and at the same time the most effective composition techniques. It allows you to easily and naturally "round" the work, to give it a compositional harmony. The so-called ring composition looks especially impressive when a compositional call is established between the beginning and end of the work; such a composition often carries a special artistic meaning. A classic example of the use of a ring composition to express content is Blok's miniature "Night, street, lamp, pharmacy ...":

Night, street, lamp, pharmacy,

A meaningless and dim light.

Live at least a quarter of a century,

Everything will be like this. There is no exit.

If you die, you start over again

And everything will repeat, as of old:

Night, icy ripples of the channel,

Pharmacy, street, lamp.

Here the vicious circle of life, the return to what has already been passed is, as it were, physically embodied in the composition of the poem, in the compositional identity of the beginning and end.

A frequently repeated detail or image becomes the leitmotif of the entire work, such as, for example, the image of a thunderstorm in Ostrovsky’s work of the same name, the image of the resurrection of Lazarus in Dostoevsky’s Crime and Punishment, the lines “Yes, there were people in our time, Not like the current tribe” in "Borodino" Lermontov. A variation of repetition is the refrain in poetic works: for example, the repetition of the line “But where is last year’s snow?” in F. Villon's ballad "Ladies of bygone times".

A technique close to repetition is gain. This technique is used in cases where simple repetition is not enough to create an artistic effect, when it is necessary to enhance the impression by selecting homogeneous images or details. Thus, the description of the interior decoration of Sobakevich's house in Gogol's Dead Souls is built on the principle of amplification: every new detail reinforces the previous one: “everything was solid, clumsy to the highest degree and had some strange resemblance to the owner of the house; in the corner of the living room stood a pot-bellied walnut office on absurd four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and restless quality—in a word, every object, every chair seemed to say: "Me, too, Sobakevich!" or “and I also look a lot like Sobakevich!”.

The selection of artistic images in Chekhov’s story “The Man in the Case” works according to the same principle of amplification: “He was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella and certainly in a warm coat with wadding. And his umbrella was in a gray suede case, and when he took out his penknife to sharpen his pencil, his knife was also in a case; and his face also seemed to be in a case, for he always hid it in his upturned collar. He wore dark glasses, a jersey, stuffed his ears with cotton wool, and when he got into a cab, he ordered to raise the top.

The opposite of repetition and amplification is opposition. From the name itself it is clear that this compositional technique is based on the antithesis of contrasting images; for example, in Lermontov's poem "The Death of a Poet": "And you will not wash away all your black the blood of the Poet righteous blood". Here the underlined epithets form a compositionally significant opposition. In a broader sense, opposition is any opposition of images: for example, Onegin and Lensky, Bazarov and Pavel Petrovich, images of storm and peace in Lermontov's poem "Sail", etc. Contrasting is a very strong and expressive artistic technique that you should always pay attention to when analyzing a composition.

Contamination, combining the techniques of repetition and opposition, gives a special compositional effect: the so-called mirror composition. As a rule, with a mirror composition, the initial and final images are repeated exactly the opposite. A classic example of a mirror composition is Pushkin's novel "Eugene Onegin". In it, in the denouement, the plot seems to be repeated, only with a change of position: at the beginning, Tatyana is in love with Onegin, writes him a letter and listens to his cold rebuke, at the end - the opposite is true: Onegin in love writes a letter and listens to Tatyana's rebuke. The technique of mirror composition is one of the strong and winning techniques; sufficient attention needs to be given to its analysis.

The last compositional technique - mounting, in which two images located side by side in the work give rise to some new, third meaning, which appears precisely from their proximity. So, for example, in Chekhov's story "Ionych", the description of Vera Iosifovna's "artistic salon" is adjacent to the mention that the clink of knives was heard from the kitchen and the smell of fried onions was heard. Together, these two details create that atmosphere of vulgarity, which Chekhov tried to reproduce in the story.

All compositional techniques can perform two functions in the composition of a work, somewhat different from each other: they can organize either a separate small fragment of text (at the micro level), or the entire text (at the macro level), becoming in the latter case the principle of composition. Above, we considered how repetition organizes the composition of the entire work; Let's give an example when the repetition organizes the structure of a small fragment:

Nor glory bought with blood

Nor full of proud trust peace,

No dark antiquity cherished legends

Do not stir in me a pleasurable dream.

Lermontov. motherland

The most common method of organizing the microstructures of a poetic text is the sound repetition at the end of poetic lines - rhyme.

The same can be observed, for example, in the use of the amplification technique: in the above examples from Gogol and Chekhov, it organizes a separate fragment of the text, and, say, in Pushkin's poem "The Prophet" becomes the general principle of the composition of the entire artistic whole (by the way, this is very clearly manifested in the performance by F.I. Chaliapin of P. Rimsky-Korsakov's romance to poems by Pushkin).

In the same way, montage can become the compositional principle of organizing the entire work - this can be observed, for example, in Pushkin's Boris Godunov, Bulgakov's The Master and Margarita, and so on.

Thus, in the future we will distinguish between repetition, opposition, amplification and montage as a proper compositional device and as a principle of composition.

These are the basic compositional techniques with which a composition is built in any work. Let us now turn to the consideration of those levels at which compositional effects are realized in a particular work. As already mentioned, the composition covers the entire artistic form of the work and organizes it, thus acting at all levels. The first level that we will consider is the level of the figurative system.

Composition of the figurative system

The artistic form of the work is made up of individual images. Their sequence and interaction with each other is an important point that must certainly be analyzed, without which it is often impossible to understand either the shades of artistic content or the originality of the form that embodies it. So, in Lermontov's poem "Duma", the poet's reflections on his generation are accompanied by a number of images of the same order (the technique of repetition is used), expressing a state of impotence, emptiness, meaninglessness: "a smooth path without a goal", "a feast at a strange holiday", "skinny fruit, time ripe”, “we barely touched the cup of pleasure”, “buried by avarice and useless treasure”. This series of images leads to the last, final, most expressive and summing up the entire poem: “And our ashes, with the severity of a judge and a citizen, / A descendant will offend with a contemptuous verse, / With a bitter mockery of a deceived son / Over a squandered father.” The study of the figurative structure and its composition in this case allows one to penetrate not only into the meaning of the poet's rational reasoning, but also into the emotional world of the poem, to capture the strength and sharpness of Lermontov's longing and bitterness, the strength of his contempt for his own generation, without excluding himself from it. The principle of the unity of the work, which is carried out primarily by compositional means, also becomes clear.

In general, the construction of a figurative system often brings unity and integrity even to compositional elements of a work that are very heterogeneous in composition; this is one of the functions of composition. Thus, in Bulgakov's novel The Master and Margarita, the roll call of images in the Yershalaim and Moscow chapters is of particular importance (the technique of repetition is again applied). These are images (often having a symbolic meaning) of the sun, moon, "black yellow-bellied cloud", thunderstorms and some others. They create a semantic and emotional connection between the events in Moscow and in ancient Yershalaim, work to create a semantic, emotional and aesthetic unity of the work, in their own way emphasizing the idea that, despite the difference of twenty centuries, it is in both In another case, it is about the same thing: about human nature, cowardice and courage, moral responsibility and conscience, good and evil, light and darkness. The compositional unity of the figurative system of the novel is here a reflection of Bulgakov's ideas about the unity of the world.

In general, recurring images in the composition of a work should be given increased attention: they often not only serve as a unifying whole, but also carry an increased semantic load, embodying some important idea for the author. So, in Tvardovsky's poem "Terkin in the Other World", the recurring image "guns go backwards to battle" persistently point out to the reader the allegorical meaning of the figurative system of the work, remind the reader of the need to think about the lines of this story, which the author himself defines as "unusual, it may turn out ; strange, maybe sometimes”, revealing the author's implication of the fantastic plot and imagery:

The point is not that heaven and hell

Damn it, the devil - it's all the same ...

Guns go to battle backwards -

It's been said for a long time.

Equally, and perhaps even more important, the semantic and emotional load is carried by the repetitive image of the road in Gogol's poem "Dead Souls". Appearing now in Chichikov's travels, now in the author's digressions, this image opposes the dead stagnation of Russian everyday life, pointing to the movement, to the living forces of Russia, and compositionally prepares one of the key images of the poem - the image of a galloping troika.

Important for the composition of the work are not only repetitive, but also opposing images. So, in many of Yesenin’s works (“Sorokoust”, “I am the last poet of the village ...”, etc.), there is an important compositional opposition of the images of the city and the village, the dead and the living, and the living for Yesenin is embodied in the images of nature (always animated by the poet), wood, straw, etc., and the dead - in the images of iron, stone, cast iron - that is, something heavy, inert, unnatural, opposing the normal course of living life:

Have you seen how he runs across the steppes,

Hiding in lake mists,

Zheleznaya snoring nostril,

On paws cast iron a train?

And we’ll take it on the big grass,

Like a holiday of desperate races,

Thin legs throwing to the head,

Red-maned gallops foal.

Here they squeezed the neck village

Stone highway hands.

On the blue field path

Coming soon iron the guest.

oatmeal, spilled dawn,

A scooping handful will collect it.

(Italics are mine throughout. – A.E.)

In the last example, there is another important figurative opposition for Yesenin: color. The black color of the “bad guest”, the inanimate color, is contrasted here with the multicolored living life: the color blue is directly given, but yellow (“oatmeal”) and pink (“shed by the dawn”) are also implied. The opposition in the figurative system thus acquires a more intense character.

For Yesenin (as, indeed, for many other poets and writers), color images are generally very important. So, in his poem "The Black Man" one cannot pass by two color spots literally flashing against a black and white background:

The boy lived in a simple peasant family,

Yellow-haired, with blue eyes.

In general, the most unexpected finds are possible in the figurative composition of the work. So, in Chekhov's play "The Cherry Orchard" the sound image is extremely important for creating emotional coloring: "the fading, sad sound of a broken string." Sound, or rather, musical images play an important role in the composition of Turgenev's works. They appear, as a rule, when an author's digression, a direct statement of the author, is asked to be included in the structure of the narrative. In Turgenev's, fundamentally neutral narrative, there is no place for such a statement, so the music sounds like a hint of the author's understanding of life. As you can see, musical images occupy an extremely important place.

It is interesting to see how a work is built on a single image, which happens quite often in lyrics. In such cases, the image is usually revealed gradually, often as if "playing" with its different facets; the composition of the work is reduced in this case to the disclosure of the true and full meaning of the image. For example, in Lermontov's poem "Clouds", the first stanza sets the image and begins to liken the clouds to a person, his fate:

You rush, as if like me, exiles,

From the sweet north to the south.

The second stanza continues, reinforces this meaning of the image (the technique of amplification is used), more and more likening nature to man. It seems that the meaning of the image has been exhausted, but in the third stanza an unexpected poetic move changes everything:

Alien to you are passions and alien to suffering;

Forever cold, forever free

We have no homeland, you have no exile.

In nature, those passions and concepts do not exist that in human life, only a person is given to suffer exile, to have a homeland. So, this time using the opposition technique, Lermontov creates the affect of a deceived expectation: the more the reader believes in the assimilation of clouds to a person, the more unexpectedly, and therefore, the last quatrain sounds strongly, finally completing the figurative system.

In a particular work of art, the composition of images can be arbitrarily diverse. The compositional construction of a work, as a rule, is individual, although it is based on four main techniques and their contamination, so it seems difficult to give any general recipes for analyzing the composition of images. However - and it is clear from the examples given - we wanted to focus primarily on the composition of such images that are not related to the plot, that is, the event outline of the work. It is the images of this kind that most often escape attention, and yet they contain a lot of interesting and important things.

Character system

Let's move on to more familiar material. When analyzing epic and dramatic works, much attention has to be paid to the composition of the system of characters, that is, the actors of the work (we emphasize that the analysis is not of the characters themselves, but of their mutual connections and relationships, that is, the composition). For the convenience of approaching this analysis, it is customary to distinguish between the main characters (who are in the center of the plot, have independent characters and are directly related to all levels of the content of the work), secondary ones (also quite actively participating in the plot, having their own character, but which receive less authorial attention; in in a number of cases, their function is to help reveal the images of the main characters) and episodic (appearing in one or two episodes of the plot, often without their own character and standing on the periphery of the author's attention; their main function is to give impetus to the plot action at the right time or set off certain or other features of the main and secondary characters). It would seem that a very simple and convenient division, but meanwhile in practice it often causes bewilderment and some confusion. The fact is that the category of a character (main, secondary or episodic) can be determined by two different parameters. The first is the degree of participation in the plot and, accordingly, the amount of text that this character is given. The second is the degree of importance of this character for revealing the sides of the artistic content. It is easy to analyze in cases where these parameters coincide: for example, in Turgenev’s novel “Fathers and Sons”, Bazarov is the main character in both respects, Pavel Petrovich, Nikolai Petrovich, Arkady, Odintsova are secondary characters in all respects, and Sitnikov or Kukshina are episodic. But it often happens that the parameters of the character do not match; most often in the event that a person who is secondary or episodic from the point of view of the plot bears a large content load. So, for example, an obviously secondary (and if we take his need for the development of the plot, it’s completely episodic) character in the novel What Is To Be Done? Rakhmetov turns out to be the most important, the main one from the point of view of the embodiment of the author's ideal (“salt of the salt of the earth”), which Chernyshevsky even specifically stipulates when talking with the “astute reader” that Rakhmetov did not appear on the pages of the novel in order to take part in the plot, but in order to satisfy the main requirement of artistry - the proportionality of the composition: after all, if the reader is not shown at least a glimpse of the author's ideal, "a special person", then he will be mistaken in assessing such heroes of the novel as Kirsanov, Lopukhov, Vera Pavlovna. Another example comes from Pushkin's The Captain's Daughter. It would seem that it is impossible to imagine a more episodic image than Empress Catherine: it seems that she exists only in order to bring the rather complicated story of the main characters to a happy denouement. But for the problematics and the idea of ​​the story, this image is of paramount importance, because without it the most important idea of ​​the story, the idea of ​​mercy, would not have received its semantic and compositional completion. Just as Pugachev at one time, in spite of all circumstances, pardons Grinev, so Ekaterina pardons him, although the circumstances of the case seem to point against him. Just as Grinev meets with Pugachev as a person with a person, and only later he turns into an autocrat, so Masha meets with Catherine, not suspecting that the empress is in front of her - also like a person with a person. And had it not been for this image in the system of characters in the story, the composition would not have been closed, and consequently, the idea of ​​the human connection of all people, without distinction of estates and positions, would not have sounded artistically convincing, the idea that “doing alms” is one of the best manifestations of human spirit, but a solid foundation of human community - not cruelty and violence, but kindness and mercy.

In some artistic systems, we encounter such an organization of the system of characters that the question of their division into main, secondary and episodic loses all substantive meaning, although in a number of cases there are differences between individual characters in terms of plot and volume of text. No wonder Gogol wrote about his comedy The Inspector General that “every hero is here; the course and course of the play produces a shock to the whole machine: not a single wheel should remain as rusty and out of business. Continuing further the comparison of the wheels in the car with the characters of the play, Gogol notes that some characters can only formally prevail over others: “And in the car, some wheels move more noticeably and more strongly, they can only be called the main ones.”

The same principle in the composition of the system of characters is sustained by Gogol in the poem Dead Souls, but meanwhile, do we notice all the people created by the writer in the analysis? In the orbit of our attention, first of all, Chichikov is the “main” character (the word “main” involuntarily has to be put in quotation marks, because, as it gradually turns out, he is no more important than all the others). Further, landowners, sometimes officials, and - if time permits - one or two images from among Plyushkin's "souls" fall into our field of vision. And this is unusually small compared to the crowd of people that inhabits the space of Gogol's poem. The number of people in the poem is simply amazing, they are at every step, and before we get to know Chichikov, we have already seen “two Russian peasants”, without a name and external signs, who do not play any role in the plot, do not characterize Chichikov in any way and in general seems to be of no use. And then we will meet a great many such figures - they appear, flash and disappear without a trace: Uncle Minyay and Uncle Mityai, Nozdryov’s “son-in-law” Mizhuev, boys begging Chichikov for alms at the gates of the hotel, and especially one of them, “big hunter to stand on the heel”, and the staff captain Kisses, and a certain assessor Drobyazhkin, and Fetinya, “an expert in fluffing feather beds”, “some lieutenant who came from Ryazan, a big, apparently, hunter for boots, because he has already ordered four pairs and constantly trying on the fifth ... "There is no way to list all or at least a significant part. And the most interesting thing in Gogol's system of "episodic" characters is that each of them is unforgettably individual, and yet none of them has any functions that are usual for this type of characters; they do not give impetus to the plot action and do not help to characterize the main characters. In addition, let's pay attention to the detail, the detail in the depiction of these characters, which is clearly excessive for a "passing", peripheral hero. By giving their characters a peculiar manner of behavior, a special speech face, a characteristic feature of a portrait, etc. Gogol creates a bright and memorable image - let us recall at least the men who talked about Manilovka and Zamanilovka, Ivan Antonovich Kuvshinnoye snout, the wife of Sobakevich, the daughter of an old clerk, whose face “threshed peas at night”, the late husband of Korobochka, who loved that someone I scratched his heels at night, but without this I couldn’t fall asleep in any way ...

In the composition of Gogol's poem, episodic characters differ from the main ones only quantitatively, not qualitatively: in terms of the volume of the image, but not in the degree of the author's interest in them, so that some Sysoy Pafnutevich or a completely nameless mistress of a roadside tavern turn out to be no less interesting for the author than Chichikov or Plyushkin. And this already creates a special setting, a special meaningful meaning of the composition: before us are no longer images of individual people, but something broader and more significant - the image of the population, people, nation; peace, finally.

Almost the same composition of the system of characters is observed in Chekhov's plays, and here the matter is even more complicated: the main and secondary characters cannot be distinguished even by the degree of participation in the plot and the volume of the image. And here, the following composition carries a close, but somewhat different than Gogol’s, meaningful meaning: Chekhov needs to show a certain set of ordinary people, ordinary consciousness, among which there are no outstanding, outstanding heroes, on whose images one can build a play, but for the most part they no less interesting and significant. For this, it is necessary to show a lot of equal characters, without singling out the main and secondary ones from them; only in this way is something in common revealed in them, namely, the drama of a life that has not taken place, a life that has passed or is passing in vain, without meaning and even without pleasure, inherent in everyday consciousness.

Quite complex compositional and semantic relationships can arise between the characters of the work. The simplest and most common case is the opposition of two images to each other. According to this principle of contrast, for example, the system of characters in Pushkin's Little Tragedies is built: Mozart - Salieri, Don Juan - Commander, Baron - his son, priest - Walsingam. A somewhat more complicated case, when one character is opposed to all others, as, for example, in Griboedov's comedy Woe from Wit, where even quantitative ratios are important: it was not for nothing that Griboedov wrote that in his comedy "twenty-five fools per one smart person." Much less often than opposition, the technique of a kind of “duality” is used, when the characters are compositionally united by similarity; Gogol's Bobchinsky and Dobchinsky can serve as a classic example.

Often, the compositional grouping of characters is carried out in accordance with the themes and problems that these characters embody. So, in Tolstoy's Anna Karenina, the main compositional grouping of characters is according to the thematic principle stated at the beginning of the novel: "All happy families are alike, each unhappy family is unhappy in its own way." Different families in the novel develop this theme in different ways. In the same way, in Turgenev's Fathers and Sons, in addition to the obvious and realized in the plot opposition of Bazarov to almost all other characters, another, more hidden and not embodied in the plot, compositional principle is realized, namely, the comparison of the similarity of two groups of characters: on the one hand, these are Arkady and Nikolai Petrovich, on the other, Bazarov and his parents. In both cases, these characters embody the same problem - the problem of the relationship between generations. And Turgenev shows that, no matter what the individual people are, the problem remains essentially the same: it is an ardent love for children, for whom, in fact, the older generation lives, this is an inevitable misunderstanding, the desire of children to prove their “adulthood” and superiority, dramatic internal collisions as a result of this, and yet, in the end, the inevitable spiritual unity of generations.

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Speech characteristics of characters

It remains for us to say a few words about the speech characteristics of the characters, but this question is usually not very difficult for a practicing teacher. The only thing to be warned against is the confusion of concepts when analyzing the speech of the characters. Often, the speech characteristics of a character mean the content of his statements, that is, what the character says, what thoughts and judgments he expresses. In fact, the speech characteristic of the character is something completely different. As Gorky wrote, "it is not always important what they say, but it is always important how they say it." The speech characteristic of a character is created precisely by this "how" - the manner of speech, its stylistic coloring, the nature of the vocabulary, the construction of intonational-syntactic constructions, etc.

General properties of artistic speech

What are the most common characteristics inherent in artistic speech in a particular work? There are six such characteristics - three pairs. Firstly, the speech form of a work can be prose or verse - this is understandable and does not require comments. Secondly, it can be distinguished by monologism or heteroglossia. Monologism implies a single speech manner for all the heroes of the work, coinciding, as a rule, with the speech manner of the narrator. Heterogeneity is the mastering of the heterogeneity of speech manners, in which the speech world becomes an object of artistic representation. Monologism as a stylistic principle is associated with an authoritarian point of view on the world, heteroglossia - with attention to various options for understanding reality, since the diversity of speech manners reflects the diversity of thinking about the world. In heteroglossia, it is advisable to distinguish two varieties: one is associated with the reproduction of the speech manners of different characters as mutually isolated (“Who in Russia should live well” by Nekrasov, essays by N. Uspensky, stories by Chekhov, etc.) and the case when the speech manners of different characters and narrators interact in a certain way, "penetrate" each other (the novels of Tolstoy, Turgenev, and especially Dostoevsky). The last type of heteroglossia in the works of M.M. Bakhtin was called polyphony.
Thirdly, and finally, the speech form of a work can be characterized by nominativity or rhetoric. Nominativity implies an emphasis primarily on the accuracy of a literary word when using neutral vocabulary, simple syntactic constructions, the absence of tropes, etc. Rhetoric, on the contrary, uses a large number of means of lexical expressiveness (elevated and reduced vocabulary, archaisms and neologisms, etc.), tropes and syntactic figures: repetitions, antitheses, rhetorical questions and appeals, etc. In nominativity, the object of the image is primarily emphasized, in rhetoric, the word depicting the object is emphasized. Nominative, in particular, is the style of such works as Pushkin's The Captain's Daughter, Turgenev's Fathers and Sons, and Chekhov's Lady with a Dog. Rhetoric is observed, for example, in the lyrics of Lermontov, in Leskov's stories, Dostoevsky's novels, etc.
The considered properties are called speech dominants of the work.

TEST QUESTIONS:

1. What lexical means does the writer use to make his artistic speech more expressive?
2. Name the trails you know (with examples from fiction). Show their artistic function using one or two examples.
3. What is syntactic organization and why should it be analyzed?
4. What is the tempo of a work of art? Using one or two examples, show the value of tempo-rhythm for creating a certain emotional picture of a work or its fragment.
5. What is the difference between prose and verse? Name the poetic meters known to you in Russian versification.
6. What artistic functions does the speech characteristic of the character have? What are the ways in which the speech of each of the characters is individualized?
7. What is storytelling? What is the character of the narrator? What are the types of storytelling? Why is it necessary to analyze the nature of the narrative and the narrator's speech style in a work of art?
8. What is the difference between monologism and heteroglossia? What types of heteroglossia do you know and how do they differ from each other?
9. What is the difference between nominativity and rhetoric?

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MUNICIPAL EDUCATIONAL INSTITUTION

"SEVERAGE SCHOOL №43"

SPEECH CHARACTERISTICS

CHARACTERS OF THE STORY BY L. A. CHARSKAYA

"NOTES OF THE INSTITUTE"

Performed:

9th grade student

Solomenik Julia.

Checked:

teacher

Zhukovskaya

Elena Viktorovna

Khabarovsk

2010

1. Introduction. The connection of language with the development of society………………… page 3
2. A word about the author of the story “Notes of an Institute Girl”: the life and work of L. Charskaya……………………………………………………..……….. page 5
3. Main part. The role of the character's speech in revealing the image of the hero and the social atmosphere of the work………………………….….... page 8

1. Techniques for creating speech characteristics of characters.
2. Speech etiquette as a component of the character's speech characteristics………………………………………..…... page 13
3. Features of the speech of the characters in the work of L. Charskaya:

A) speech etiquette;……………………...………. page 16

B) the speech of the institute girls;……………………..……... page 17

C) speech of teachers……….…….………… page 24

1. Conclusion. The speech of the character or means of typing….……. page 26
2. References………………………………………….…... page 28
3. Applications.

1. Introduction.

The connection of language with the development of society.

The development and state of the language is inextricably linked with the development of society. The language reflects all the phenomena occurring in society, its lexical composition, phonetics, and grammar change.

Nowadays, changes in society, computerization, interpenetration of different cultures lead to a change in the language. Is this good or bad? It is impossible to answer unequivocally, because many scientists have been trying to solve this question for several centuries. Features of the language are a reflection of the era. It has always been like this, and the works of Russian writers are an example.

And the language reflects the characteristics of various social groups. Many writers of the 19th century preserved for us the historical features of the language: for example, A. N. Ostrovsky - the features of the speech of the Russian merchant class. So the language of L. A Charskaya's story "Notes of an Institute Girl" carries the originality of the era - this is the end of the 19th century - and the social group (the heroines of the story are pupils of a closed institute and their teachers). The speech of schoolgirls and their teachers is interesting to the modern reader, a special world opens before him not only of artistic images, events, relationships, but also a special world of the language of the work.

In linguistics, the concepts of "language" and "speech" are distinguished. Language is a system of sound and vocabulary-grammatical means that consolidate the results of the work of thinking and are a tool for people to communicate, exchange thoughts and mutual understanding in society. Speech is language in action, language in "work" when we use it to communicate with other people.

In this work, attention will be paid specifically to the speech of the heroes of the story.

The purpose of this work is to identify the main speech features of the characters in the work of L. A. Charskaya’s story “Notes of an Institute Girl”.

Tasks:

• Consider some features of the speech of a literary character in general;
• To systematize the main features of the speech of the characters in L. A. Charskaya's story "Notes of an Institute Girl";
• To reveal the significance of the features of the speech of a literary character for revealing the image of the hero and reflecting the social atmosphere of the work.

Life and work of L. A. Charskaya.

The novel by L. A. Charskaya “Notes of a schoolgirl” was chosen for the study. The name of this writer is almost forgotten, but this does not mean that her books are uninteresting. On the contrary, they describe the pictures of life more accurately and introduce smaller, but important details that only sensual and subtle natures can notice.

L. A. Charskaya was such a refined personality. Her books captivate from the first pages: while reading, time just flies by. The reader is transferred to the described era, to the society of heroes and lives next to them.

But it is also interesting that L. Charskaya, along with everyday life, problems and happy moments, conveys speech features of both the era and a certain social environment.

There is little information about the life of L. Charskaya: even at the time of her greatest success, her fame, she remained a very modest person, almost never wrote about herself. And in general, it never occurred to anyone to create a biography of a young woman, in the midst of her work, although after all her sensational books, Charskaya wrote three stories “about herself”, standing, as it were, aside from all her previous ones. In these stories - “For what?”, “For life”, “Goal achieved” - she told the story of her life for more than twenty years ...

The childhood of Lydia Alekseevna Churilova passed in a wealthy family. She lost her mother early and transferred all her affection to her father.

Childhood seemed to be a source of only joy, until the father brought a new mother, stepmother, into the house. An irreconcilable enmity began between Lida and the new mother, which led to the girl's escape from home. This escape, which nearly cost her her life, will later find its plot incarnation in "Princess Javakha" - one of her most famous stories.

The domestic conflict only escalated, Lida was taken to St. Petersburg and assigned to a closed educational institution - the Pavlovsk Institute.

After graduating from the Pavlovsk Institute, eighteen-year-old Lida married a gloomy, unsociable officer Boris Churilov. Their life together was short-lived: Churilov had to go to work in Siberia, and a young wife with a newborn child could not follow him. She made a firm and unshakable decision: to start, albeit the most modest, but independent life. For a long time she had felt a "most incomprehensible" attraction to the stage, to the theater.

She submits a petition, passes the competition and enters the Dramatic Courses at the Imperial Theater School, for some time she studies under the guidance of the famous dramatic artist V. N. Davydov. A friendly artel life begins, very often comrades gathered in her tiny apartment and helped her take care of her little "prince", her son Yurochka. And finally, an event of extraordinary importance came: at the end of the course, she was accepted for the only female vacancy at the Alexandrinsky Theater. Under the name of L. Charskaya, she worked in this famous theater from 1898 to 1924.

Charskaya did not become a famous actress. She was completely captured, subjugated by another passion - to writing. In about twenty years, she wrote about eighty books. With them came unheard-of success, unprecedented glory. She became the undivided idol of the young reader. Hundreds of letters from children and their parents went to Lidia Alekseevna, a scholarship was established in her name.

Charskaya's creative life ended in 1917. Her name was included in the lists of banned authors, her works were considered "bourgeois-petty-bourgeois", sentimental, sugary, vulgar and monarchical.

But, withdrawn from sale and removed from the bookshelves of libraries, the books continued to live an "underground" life, and love for Charskaya among readers existed for a long time. Answering Gorky, who in the early 1930s addressed the children through a newspaper with a question about what books they read and what they would like to read, many of them named Charskaya and explained that they loved her “for her daring, for the highlanders, for the sparkling of checkers and black horses."

The writer died in 1937 and was buried by someone's good hands at the Smolensk cemetery. The relay race of kindness continued: the grave is always tidied up, well-groomed, and after all, several decades have passed ...

And only from the mid-60s of the 20th century, during the thaw, her name sounded again. And today, the books of this wonderful Russian writer are again published and are a success with readers.

Among the works of L. Charskaya, one can single out the most interesting, filled with colors and emotions, soul and life - these are “Princess Javakha” and “Notes of an Institute Girl”. They were her first stories and immediately captured the attention of readers. They believed in the existence of Nina Javakha so that readers came and came to her grave - to the Novodevichy Convent - no one wanted to believe that there was no such grave.

Lydia Charskaya sought to evoke good feelings among young readers, "to support their interest in the environment, to awaken love for goodness and truth, compassion for the poor, the sacred flame of love for the motherland." She never changed her ideas about the appointment of a person.

It is best to complete the story about the fate of L. Charskaya with her own words: “If they took away my ability to write, I would stop living.”

3. The main part.

The role of the character's speech in revealing the image of the hero

And the social atmosphere of the work.

“The speech of works of art is made up of different types of monologue and dialogue, from a mixture of diverse forms of oral and written speech ...” - wrote the famous linguist V. V. Vinogradov.

The language of the work may be different. It includes artistic vocabulary, syntactic figures, sound features. All this is a very important part of the work, it helps to more vividly and clearly express the feelings of the characters, their moral qualities, as well as the peculiarities of the time. Reading any book, everyone pays attention to the speech of not only the narrator, but also the characters of the work. The character's speech usually reveals his character and helps us understand the author's attitude towards the hero.

Everyone loves it when literary heroes speak a bright, original language. Readers always pay attention to this when reading books, and authors try to diversify the speech of their characters.

The image of the hero of a work of art is made up of many factors - this is character, appearance, profession, hobbies, circle of acquaintances, and attitude towards oneself and others.

A talentedly created characterization of the hero is an adornment of the artistic text and an important touch to the portrait of the character. The skillful use of speech characteristics is one of the tools of a professional writer.

3.1. Techniques for creating a speech characteristic of a character.

There are two ways to create speech characteristics: indirect - through the author's remarks and dialogues, and direct - in the speech of the characters. It is this aspect - the speech of a literary character - that will be considered in this work.

The functions of speech characteristics can be different:

• CHARACTERIZING - in order to better reveal the image of the hero, his personality, to emphasize some character traits or belonging to a certain group (professional, ethnic, social), especially education.
• HIGHLIGHTING - to make the image memorable, to distinguish it from the background of others.
• COMPARATIVE - used to compare or contrast characters.
• PSYCHOLOGICAL - reveals the emotional state of the hero.

Often the leading speech means of creating the image of a character is the selection of vocabulary. Among the possible lexical means of creating the speech characteristics of a literary hero, the following can be distinguished:

Among other methods of creating the speech characteristics of the hero, the following can be distinguished:

• Speech speed - slow, standard, fast. Usually illustrates the character's temperament - choleric or melancholy. It is expressed in the words of the author "chattered", "mumbled", "pulled", "mumbled", etc.
• Loudness of speech - the hero speaks a little audibly, whispers or, conversely, shouts loudly. It is used as a means of psychological characterization of the hero, an expression of his temperament or momentary mood. The effect of loudness is created using a special arrangement of punctuation marks in the character's speech.
• Speech defect - accent, stuttering, lisp. The accent is often used in the speech of minor characters to create a comic effect. Stuttering is usually a sign of a weak, pathetic, cowardly hero. Lisp is inherent in negative characters. Very rarely, speech defects are used in the description of goodies. (mostly - if such was the speech of the prototype of a literary character).
• Special construction of phrases. Usually emphasizes the individuality of the hero, his opposition to the whole world.
• Repetitions - they are used to give individuality to secondary characters and their psychological characteristics.
• Rhyming - the hero speaks in verse or a certain poetic size. This either reveals the poetic world of the hero, or creates a comic effect.
• Talkativeness and silence - these qualities of a character are emphasized when they want to oppose him in a conversation with an interlocutor. Chatterboxes are usually episodic characters, superficial and empty characters. Silent people are mysterious characters who will not give out what is on their mind, either by word or deed. Talkativeness and silence in the speech of the main characters can be used occasionally - as a reaction to stress.

Of all the listed characteristics of the speech of a literary character, the following were chosen for working with the text of L. Charskaya's story "Notes of a Schoolgirl":

foreign words;

Diminutive words;

Slang;

Loudness and rate of speech;

Speech etiquette.

3.2. Speech etiquette.

When working on the text of the story, it is necessary to pay attention to speech etiquette. After all, etiquette, and speech in particular, was given a lot of attention at the institutes for noble maidens. From the pupils of the institutes, secular ladies, mistresses of salons, mothers of noble families should turn out.

Speech etiquette is an important part of the national language and culture. Speech etiquette is a set of requirements for the form, content, order, nature and situational relevance of statements accepted in a given culture. The well-known researcher of speech etiquette N. I. Formanovskaya gives the following definition: “Speech etiquette is understood as the regulatory rules of speech behavior, a system of nationally specific stereotyped, stable communication formulas accepted and prescribed by society to establish contact between interlocutors, maintain and interrupt contact in the chosen key.” Speech etiquette, in particular, includes words and expressions used by people to say goodbye, requests, apologies, forms of address adopted in various situations, intonation features that characterize polite speech, etc. The study of speech etiquette occupies a special position at the junction of linguistics, theory and history of culture, ethnography, regional studies, psychology and other humanitarian disciplines.

On the one hand, the specificity of speech etiquette is that it characterizes both everyday language practice and the language norm. Indeed, elements of speech etiquette are present in the daily practice of any native speaker who easily recognizes these formulas in the flow and expects the interlocutor to use them in certain situations. Ignorance of the requirements of speech etiquette and, as a result, their failure to comply is perceived as a desire to offend or as bad manners.

On the other hand, speech etiquette can be considered from the point of view of the language norm. So, the idea of ​​correct, cultural, normalized speech includes certain ideas about the norm in the field of speech etiquette. In addition, a violation of the norms and rules of the literary language, especially if it looks like negligence, can in itself be considered a violation of speech etiquette.

The boundary between everyday speech practice and the norm in speech etiquette is inevitably mobile. The practical application of speech etiquette is always somewhat different from normative models, and not only because of insufficient knowledge of its rules. Deviation from the norm or too meticulous adherence to it may be associated with the speaker's desire to demonstrate his attitude towards the interlocutor or emphasize his vision of the situation.

Speech etiquette is not a rigid system of rules; it is quite plastic.

Stylistic differences in the use of units of speech etiquette are largely determined by the belonging of speech to various functional styles. In fact, each functional style has its own etiquette rules. For example, business speech is distinguished by a high degree of formality: the participants in communication, the persons and objects in question are called by their full official names. In scientific speech, a rather complex system of etiquette requirements is adopted that determines the order of presentation, references to predecessors and objections to opponents.

Among the etiquette requirements for oral speech, an important place is occupied by the intonation of the statement. A native speaker accurately determines the entire range of intonations - from emphatically polite to dismissive. However, it is hardly possible to determine which intonation corresponds to speech etiquette, and which goes beyond its scope in general, without taking into account the specific speech situation. The pronunciation of the same statement with different intonation expresses different oppositions: in meaning, in stylistic nuances, and, among other things, in expressing the attitude of the speaker to the listener. This relation determines which intonation construction should be used in this case, and which should not. So, in accordance with the rules of etiquette, intonation should not indicate a dismissive or patronizing attitude, the intention to teach the interlocutor, aggression and defiance.

Based on the foregoing, it is advisable to consider the features of speech etiquette in the story "Notes of an Institute Girl" separately, because this is an extremely important aspect of the life of people who exist in a rather closed world. This world, in this case a closed institution, is subject to strict rules, among them - the rules of speech etiquette.

3.3 . Features of the speech of the characters of the work

L. Charskoy.

Roar etiquette.

The appeal to speech etiquette is due to the fact that in the text of the story it combines two aspects: on the one hand, speech etiquette norms adopted in the nobility, on the other hand, speech etiquette of educational institutions for girls. Of course, speech etiquette is inextricably linked with the etiquette of behavior in society: requirements for appearance, demeanor, etc.

For example, etiquette requirements for the appearance of pupils:

“Is this little Lyudmila Vlassovskaya, the daughter of Vlassovsky, who was killed in the last company? the boss asked Anna Fominishnu. “I’m glad she’s in our institute…” and then she added, running her fragrant soft hand through my unruly curls:

It must be CUT OFF, it is NOT IN SHAPE * ".

The following sentence is an example of etiquette behavior:

"Girls walking in pairs and groups,STOP AND SHATTED LOW TO THE PRINCESS».

And the following examples can be attributed to speech etiquette:

«- DON'T SAY "YOU" TO ME. WE ARE FRIENDS.- And Nina, shaking her head reproachfully, added: - the bell is coming soon - the end of the lesson, then we will chat with you,- the appeal to "you" was evidence of friendly relations.

Girls at the institute gave each other nicknames:Checkmark, Squirrel, Baby ...

And here is a dialogue between two friends:

“In response, she hugged me and whispered a little audibly:

And what did you endure for me, Luda!

*Collected by me.

"Luda!" How delightful my name sounded to me in the princess's lovely lips: Checkmark, and Luda " . - It was important for the heroine that her friend, whom she looks up to, called her by name, “just like an adult.”

The girls addressed their teachers:Maman, Madam, mistress, fraulein.Such an appeal was accepted in the noble society and, accordingly, at the institute. The teachers addressed the girls by their last names, and the girls themselves did the same: “- Yes, m-lle, Fedorova sick and transferred to the infirmary" or " Vlassovskaya, Gardina and Javakha, - the fraulein called in a whisper, and we took the vacant place on the pulpit ", or "- Mesdames go confess! - the institute girl who came across on the way shouted loudly to us.

Thus, speech etiquette served as a form of official communication at the institute. New students had to master these norms and observe them all the years of study.

Speech of institutes.

Along with the features of speech etiquette, the theoretical part also highlighted the following: slang, diminutive words, foreign words, loudness and pace of speech.

Slang.

Slang is inherent in the youth environment, and students of the Institute are no exception. The most frequently used words are: “bruises”, “sevens”, “darling”, “darling”, “dormitory”, “parfettes”. In the text of the story, Luda Vlassovskaya is introduced to the lexical meaning of these words by her new friend Nina Javakha.

For example:

“But “Kroshka” is not at all small - she is already eleven years old,” the princess answered and added: “Kroshka is her nickname, and her real name is Markova. She is beloved(so in the text) our boss, and all"bruises" fawning over her.

Who do you call bruised ? I inquired.

- Cool ladies cause they all wear blue dresses- the princess continued in the same tone.

The institute had its own names of some rooms:“The evening slipped by. At eight o'clock the bell for prayer interrupted our conversations. We went in pairs to the bedroom, or "dormitory", as it was called in the institute language.

“Baby and Manya Ivanova - two inseparable friends - decorously walked along"middle" lane, i.e., the space between two rows of beds,and whispered about something.

At the institute, words were used that were understandable to all the institute girls:“Several girls, including the princess, went to the middle of the class. These were our"cream", i.e., the best in behavior and teachings of the institute.

sevenths they ran under the tap to wash their neck, face and clean their nails and teeth. This was done with special diligence, although sevenths we didn’t have to dance – the elders danced, and we were only allowed to watch.”- "Sevens" were called the smallest, and "first-graders" - the oldest girls.

"Girls -" parfettes " followed the girls"moves", making sure the lesson is learned."- "Parfettes" - excellent students at the institute, "moveshki" - on the contrary, lagging behind students.

« Fiskalka! .. Fiscalka! ..Angry! .. Angry! .. Fiscalka! - I covered my ears so as not to hear anything ... My heart ached painfully.- In the language of schoolgirls, this means - sneak.

There are two such passages. From the first, we see that teachers were given nicknames, as well as pupils, and that favorite teachers were called "Dusya", "Darling":

“What if the fraulein leaves! Then Pugach will eat us up completely! Mesdam'glasses , what should we do? - heard the voices of girls, alarmed in advance by the event.

No, we won't let our dusyu , we will beg her on our knees to stay with the whole class! shouted Mila Korbina, an enthusiastic, always fantasizing head.

Quiet! Kitty is coming!

We fell silent at once. Entered the class fraulein . Indeed, her eyes were red and swollen, and her face tried in vain to smile.

In institutes and gymnasiums for girls, it was customary to “adore” someone. The second example shows how Nina explains this to the new girl:

“- You see, Checkmark, we haveelementary school students are called "junior", and those that in the last grades, these are "senior". We, juniors, "adore" seniors. This is already accepted in our institute. Each of the youngerchooses his "darling", approaches her hello in the morning, walks on holidays with her in the hall, treats her with sweets andintroduces his family, during the reception, when relatives are allowed on a date. The monogram of the "darling" is cut with a penknife on"tituare" (music stand),and some scratch it out with a pin on their hand, or write her number in ink, becauseeach of us at the institute is recorded under a known number. And sometimes the name of the “darling” is written on the walls and windows ... For the “darling”, in order to be worthy to walk with her, you need to do something special, accomplish, for example, some kind of feat: either run away at night to the church porch, or eat a large a piece of chalk - but you never know how you can show your stamina and courage.- As you can see, the relationship between pupils of different ages was quite peculiar, but these are again the norms of etiquette: on the one hand, it is indecent to openly express sympathy, on the other hand, children need to show their feelings. Those who are younger seek support from the elders.

The use of slang in the official setting of the institute brought the girls a sense of unity and closeness.

The use of slang was generally characteristic of gymnasium students in Tsarist Russia. For example, the use of slang in pre-revolutionary gymnasiums for boys is reflected in the works of L. A. Kassil “Konduit and Shvambrania” and N. A. Krasheninnikov “Eight years”.

Diminutive words.

Another characteristic feature of the speech of girls - institutes is the use of diminutive words. If the use of slang is understandable: it exists in the modern youth sphere, then the use of words with diminutive suffixes is very unusual. And among institute girls, all speech is literally riddled with such words. They turn to their friend:

“This was the first deep offense inflicted on a childish heart impulse .... I could barely contain the sobs that rose up in my throat and went to the place.

Nina, who had heard everything that had happened, changed her whole face.

Angry! she said shortly and sharply, almost aloud, pointing with her eyes at Mlle Arnaud.

I froze in fear for my friend. But she, not at all embarrassed, continued:

Don't worry, checkbox , write another letter and give it to her ... - And she added quite quietly: - And we will still send this tomorrow .... To Irochka relatives will come, and they will lower the letter. I've always done that. Do not speak only to ours, otherwise Chit snitching on Pugach."- You can see that diminutive words were used, despite the negative nature of the information. It can be assumed that the use of diminutive words was so traditional that the girls, with the most violent flow of evil, continued to "hold" each other.

The same feature - the use of diminutive suffixes - can be attributed to some slang words: "darling", "sevens".

“This is already the way it is in our institute. Each of the younger ones chooses"darling" ... "

“At 7 o'clock an extraordinary revival began; sevenths they ran under the tap to wash their necks and faces and brush their nails and teeth.”

Another interesting fact is that even foreign words girls could use with diminutive suffixes. The most striking example is the appeal of the pupils to each other, formed from the word “madam”: “madamochki” and “mesdam’ glasses”:

"- Mesdam'glasses, Mesdam'glasses, you know the news, the terrible news?"

Thus, we can conclude that the use of diminutive words not only showed the sympathy of girls, but was also a speech norm in the 19th century. On this aspect of observations, it should be noted that the narrator's speech in the work (it is conducted on behalf of the twelve-year-old pupil Luda Vlassokovskaya) is riddled with words with diminutive suffixes:

“Milya Corbina, gently clung to her motherblond head"," we looked through round window into the hall", "she stood before me as if alive,my sweet, wonderful mother».

These examples illustrate the fact that these features were the speech norm in the nobility. This can be confirmed by the fact that in the stories "Childhood" and "Adolescence" from the autobiographical trilogy of Leo Tolstoy, there are also a lot of diminutive words.

Foreign words.

In Russia in the 19th century, among the nobility, knowledge of foreign languages ​​was mandatory, French and German were predominant. Girls in gymnasiums and institutes were required not only to know foreign languages, but to speak them. When reading the story "Notes of an Institute Girl" you immediately see an abundance of foreign words and whole phrases.

For example, calls:

"- Mesdam'glasses, Mesdam'glasses, you know the news, the terrible news? Now I was down and saw Maman she was saying something to our German woman - strictly, strictly ... And Fraulein crying ... I myself saw how she wiped her tears! By God…”

“Girls at the institute turned to a mentor Maman , and to each other on "You".

"We have a new une nouvelle eleve (a new student), - there was an exclamation of Belskaya in the middle of complete silence.

Ah! asked the teacher, not understanding.

Taisez-vouse, Bielsky! (Shut up, Belskaya, - the cool lady strictly stopped her.

Noteworthy is the word “mesdam’ochki”: this is a French word, but with a Russian diminutive suffix; it was customary for the pupils to speak like that.

Thus, the use of foreign words is the speech norm for the noble environment of the 19th century (we can also see this in the autobiographical trilogy of Leo Tolstoy).

Loudness and rate of speech.

Considering the volume and pace of speech, it should be noted that, in general, girls behave with restraint, speak quietly; and the rate of speech depends on whether it is a dialogue or a remark in a general conversation:

“As soon as her cautious steps subsided, Belskaya rose to her elbows from her pillow anduttered in a loud whisper throughout the bedroom:

Quiet, mesdam'glasses, otherwise you disturb her ladyship, the illustrious princess, from sleeping.

The girls snorted weakly.”

"Ah, the new one! ..she exclaimed,and her kind eyes shone with caress».

Basically, the description of the tone of speech is used to convey the mood and state of mind of a literary hero.

Consider an excerpt depicting a scene of communication between the Emperor (as in the text) and the main character of the work:

"Great, little one!- said the cute bassSovereign. - What is your last name?

His hand, a little heavy and large, a real sovereign hand, lay on my cropped curls.

Vlassovskaya Lyudmila, Your Imperial Majesty, - I guessed to answer.

Vlassovskaya? The daughter of the Cossack Vlassovsky?

That's right, Your Imperial Majesty, -hastened to intervene Maman.

Daughter of a hero who served his country gloriously! -quietly and thoughtfully repeated Sovereign, so quietly that the Empress and the boss, who was sitting nearby, could only hear.But my sensitive ear caught these words of the good Monarch.

Approche, mon enfant (come, my child)! -sounded a sweet and gentle voiceEmpresses. And as soon as I had time to approach her, her yellow-gloved hand lay on my neck, and her deep, lovely eyes looked very close to my face.

From this example, it follows that girls from childhood learned to remember the merits of their ancestors; that admiration for the imperial couple led to an enthusiastic perception of their every word and gesture. Perhaps the heroine subjectively perceived what was happening, but her feelings are easy to understand: not everyone was honored with such an honor.

Teachers speech.

This characteristic of speech - loudness and tempo - is also characteristic of the teachers of the Institute.

For example, the priest says quietly: “What is your last name, child? he turned to mein the same gentle voice, from the sounds of which it is definitely easier on the heart»; and the German teacher shouts loudly:“As far as the French teacher was “darling”, so much the German “asp”. The class was shaking in his lesson. Hecalled the pupils in a sharp, noisy voice, listened to the given, minute by minutebreaking and breakingremarks, and mercilessly poured units.

From these fragments it is clear that the volume and pace of speech can determine the nature of the teacher, his attitude to work and college girls.

And a cool lady can show her severity through the intonation of her voice:"- Vlassovskaya, - a stern voice rang out over mecool lady, - let's go, I'll show you your place.

I started. I was called by my last name for the first time, and it had an unpleasant effect on me.

The speech of teachers, of course, is saturated with foreign words, moreover, these are not only teachers of foreign languages, but also other teachers, educators, the head of the institute:

“The Frenchman nodded to me affectionately and turned to Nina jokingly:

- Prenez garde, petite princesse, vous aurez unerivale (beware, princess, you will have a rival). “And, nodding at me again, he let me go.”

…"- Tres mal (very bad) - the teacher briefly threw and put Rennes one.

Teachers rarely use diminutive words, this is due to the fact that events take place in an official setting. The exceptions are the classy lady Kitty Kitty and father - a teacher of the Law of God:

“Kis-kis was embarrassed:

Thank you darlings . I have always been sure of your goodwill towards me and I am very, very proud of my kids."

"Okay, stranger , well done! - the father praised me, letting me go to my place.

Dodo Muravieva followed me and read the canon to the Theotokos in a clear and loud voice.

Okay, Dunyasha ! - Her father also praised "

The cool lady and the father sincerely loved the pupils, so they could talk to them like that.

Since the narration in the story is conducted on behalf of the institute, we will not see slang in the speech of teachers on the pages of the work.

Turning to speech etiquette, we recall that this aspect has already been considered in the section "Speech etiquette".

Thus, the speech of teachers at the institute contained all the main features characteristic of this social group, except for slang. This commonality of the specifics of the speech of pupils and teachers creates a unique atmosphere of the work.

4. Conclusion.

The character's speech as a means of typing.

The atmosphere of L. Charskaya's story "Notes of an Institute Girl" is closely connected with a narrow social environment: life in a closed institute for noble maidens. Girls for seven long years were torn away from home, familiar environment. Not everyone could go home for the holidays: impoverished noble families could not afford it, or the girls were orphans (such students were brought up at state expense). The atmosphere of a government institution, even if, as we would say now, an elite one, oppressed the child's soul. Much depended on the environment: friends, teachers, educators. Of course, staying at the institute brought the joy of true friendship, the opportunity for quality education, and a worthy place in society after graduation. But the main thing was communication, communication in the team for many years. And the speech of the characters, of course, reflects the prevailing norms of this communication.

All the features of speech: the use of slang and foreign words, diminutive words, following etiquette - characterize the heroines of the story as representatives of one social environment, in general, with a common worldview, common moral values. And girls teachers also represent a traditional group: there are good and evil, smart and stupid. Images of teachers are revealed in the manner of communication with students, in the nature of speech: intonation, loudness, tempo.

Thus, despite the individuality of the images of schoolgirls (both main characters and episodic ones) and their teachers, we can conclude that these literary characters are typical for works about educational institutions of pre-revolutionary Russia. For Charskaya's contemporaries, this is typical of heroes - an approximation to the realities of their lives; for us today it is an opportunity to present a complete picture of the life and studies of our peers, to feel the atmosphere of a bygone era.

Based on the reviewed material, the following conclusions can be drawn:

There are various criteria for systematizing the features of the speech of a literary character;

The speech of the characters in L. Charskaya's story "Notes of a Schoolgirl" contains the following characteristic features: the use of slang, diminutives, foreign words;

The features of the speech of a literary character are an important tool in revealing the images of the characters and the atmosphere of the work.

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