In highly stratified developed languages, such as English, archaisms can serve as professional jargon, which is especially true for jurisprudence.
Archaism is a lexical unit that has fallen into disuse, although the corresponding object (phenomenon) remains in real life and receives other names (obsolete words that have been supplanted or replaced by modern synonyms). The reason for the appearance of archaisms is in the development of the language, in updating its vocabulary: one word is replaced by another.
Displaced words do not disappear without a trace: they are preserved in the literature of the past and as part of some established expressions used in a certain context; they are necessary in historical novels and essays - to recreate the life and language coloring of the era. AT modern language derivatives of obsolete words may be preserved (for example, « this hour" and « this days" from archaic "this" and "this").
Examples of archaisms in Russian
az - I (" you're lying, dog, I am the king!», « vengeance is mine, and I will repay») know - know (derivatives: not Vedas enenie, not Vedas washed, Vedas yma) velmy - very, very vyya - neck (" Israel did not bow before the proud satrap») voice - voice (" voice in the wilderness», « the voice of the people is the voice of God»; derived words: co voice ie, co voice ny, full voice ie, united voice ny, transportation glash shipping/carriage voice it, glash atay) right hand - right hand (" punishing right hand») hand - palm daughter - daughter ( "daughter you are my unlucky"- playful) if - if ( "if you are polite") stomach - in the meaning of "life" (" sparing no life», « not to life, but to death») green - very gold - gold (" There, King Kashchei languishes over gold») ilk - which, which (ex. "like with them") cheeks - cheeks nonsense - beauty, splendor say - speak (" did not lead to execute, led the word to say»); derivatives: "on rumors to go", "on rumors ka" night - night (for example, in the expression "day and night" i.e. day and night eye, eyes - eye, eyes in the blink of an eye», « Black eyes», « day and night at the open-hearth furnaces our homeland did not close its eyes" (see Victory Day (song), " an eye for an eye a tooth for a tooth», « eye of sauron»; derived words: oche prominent, oche seer, in och july, och ny/for och ny, och ki) one - they (about females) eight (genus pad. " axles"") - eight (derived word: axles legs) eighteen - eighteen finger - finger (" pointing finger»; derivatives: finger day, on the finger OK, twelve finger gut, on the finger yanka(digitalis), lane chats) therefore - That's why because - because, as, because this, this, this - this, this, this (" this very second!», « this moment!», « what does that mean?») adversary - wicked, villain essence - form 3 l. pl. h. verb "to be" tokmo - only trust - to hope (" I trust in God's mercy») mouth - lips, mouth frozen smile»; derivatives: mouth ny, mouth ye) red - red, scarlet brow - forehead (" beat with a forehead”, that is, to express respect, respect; derived word: forehead bit») helmet - helmet (" drink with a helmet to the Don»; derived words: about helmet it, about helmet linen) like or like - as, as if, exactly (to add a comparative turnover - "wise as a serpent", “And all that you are in the works, the great sovereign, like a bee”)see also
- Neologism - on the contrary (on the contrary), an innovated word; New word.
Literature
- R. P. Rogozhnikova, T. S. Karskaya. School dictionary of obsolete words of the Russian language: Based on the works of Russian writers of the 18th-20th centuries. - M., 1997, 2005. - ISBN 5710795305
- V. P. Somov. Dictionary of rare and forgotten words. - M .: Vlados, Astrel, AST, 1996, 2009. - ISBN 5-17-004597-2, ISBN 5-271-01320-0
- O. P. Ermakova. The life of the Russian city in the vocabulary of the 30s - 40s of the twentieth century: A short dictionary of bygone and outgoing words and expressions. - Kaluga, Moscow: Eidos, Flinta, Nauka, 2008, 2011. - ISBN 978-5-9765-0967-2, ISBN 978-5-02-037282-5
Links
Wikimedia Foundation. 2010 .
Synonyms:Antonyms:
See what "Archaism" is in other dictionaries:
- (Greek archaismos, from archaios old, ancient). An expression, a word that has gone out of use, in general, everything is outdated, old. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ARCHAISM 1) an outdated turn of speech; ... ... Dictionary of foreign words of the Russian language
An obsolete and obsolete word. In artistic speech, A. is one of the stylistic means studied in a special department of stylistics. In our country, A. most often are Slavicisms, drawn from Church Slavonic, which until the 18th century. was … Literary Encyclopedia
Belching, relic, atavism, anachronism Dictionary of Russian synonyms. archaism, see relic Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011 ... Synonym dictionary
archaism- a, m. archaisme m. 1. An obsolete word or turn of speech that has fallen into disuse. Our language no longer has either AUGE or ACH, or many other Archaisms, that is, deep antiquity. 1751. Trad. 1 s. LXII. // Uspensky 1985 190. 2. A relic of antiquity. Oh... Historical dictionary gallicisms of the Russian language
ARCHAISM, archaism, male. 1. Archaic, obsolete word or figure of speech (ling.). 2. An obsolete phenomenon, a relic of antiquity (book). Explanatory Dictionary of Ushakov. D.N. Ushakov. 1935 1940 ... Explanatory Dictionary of Ushakov
ARCHAISM, a, husband. 1. An obsolete word, figure of speech or grammatical form. 2. A relic of antiquity. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov
Husband, Greek ancient, ancient, dilapidated turn of speech. Dahl's Explanatory Dictionary. IN AND. Dal. 1863 1866 ... Dahl's Explanatory Dictionary
- (from the Greek archaios ancient) 1) obsolete, a relic of antiquity; 2) an obsolete word or turn of speech that has gone out of use; 3) the revival of the old, archaic style as a result of conscious or unconscious dissatisfaction with the fact that ... ... Philosophical Encyclopedia
The use of obsolete words and old figures of speech; also the imitation of the old style in art ... Encyclopedia of Brockhaus and Efron
Archaism- ARCHAISM is an old word or an outdated figure of speech. We find archaisms alive in documents and monuments of the word, compiled at any time that is remote from us. In poetic speech, archaisms are often introduced for a dual purpose. In… … Dictionary of literary terms
Archaism- (gr. archaios - eskі, kөne, ezhelgі) - 1) koldanystan shyққan eskі soz nemese soz aynalymy; 2) eskinin kaldygy ... Philosophical terminderdin sozdigі
Books
- Modernism as archaism. Nationalism and the search for modernist aesthetics in Russia, Shevelenko Irina Danielevna. The book is devoted to the interpretation of the interaction between the aesthetic searches of Russian modernism and nation-building ideas and interests that took shape in the educated community in the late imperial…
Faculty of Philology
BELLA AKHMADULINA
Danilova Natalia Yurievna
Supervisor:
Teacher LOGINOVA Marina
Albertovna
Petrozavodsk 1999
Introduction S.
§ 1. The problem of idiostyle. WITH.
§ 1. Lexical archaisms. WITH.
2.2. Verbal archaisms. WITH.
§ 3. Historicisms. WITH.
Poetry B. Akhmadulina. WITH.
Conclusion. WITH.
Introduction
§ 1. Purpose, tasks, research methods.
The purpose of our graduation essay is to analyze archaisms in the lyrical works of Bella Akhmadulina, to study the stylistic functions of lexical and grammatical archaisms, to analyze their role in creating a special poetic idiostyle of the poetess.
The objectives of our study can be formulated as follows:
1. acquaintance with the literature on the problems of linguistic and stylistic analysis of a literary text;
2. analysis of the frequency of the use of archaisms;
3. classification of archaisms;
4. definition of their stylistic functions in a poetic text.
302 lyric works were studied using the continuous sampling method, the sample size was 760 word usages. The analysis of the material was carried out on the basis of descriptive, comparative-historical and statistical methods and was accompanied by linguistic commentary, which is a universal method for explaining and synthesizing the information received.
The topic of the work is, of course, relevant, primarily because the work of Akhmadulina is little affected from the point of view of linguistic analysis, while it represents the richest material for this.
§ 2. Poetic style of Bella Akhmadulina.
B. Akhmadulina is a unique phenomenon in Russian poetry of the 20th century.
Its uniqueness lies, first of all, in originality. Akhmadulina's style is easily recognizable. The belonging of the poem to her pen is determined both by the choice of words, and their sometimes strange cohesion, and “the specific intonation of traditional Russian folklore lamentation, indistinct lamentation. The latter is especially noticeable in her performances.
1. Brodsky I. Why Russian poets? ..// Akhmadulina B. Moment of life. M.,
1997.p.253
(I. Shaitanov writes about the same, but with the opposite sign: “Bella
Akhmadulina can leave you indifferent, because in her you hear - especially in the author's performance - an excitedly affected intonation, a style finished in an antique way, under something else exquisite, but you don’t hear the words as such. It is absorbed by emotional aspiration, stylistic decoration - indeed, as in a thing overloaded with decorations, you do not feel the material in the verse»1).
Not the last place in the creation of her idiostyle is occupied by archaisms.
It seems necessary to trace what caused the step
Akhmadulina to the archaic. I. Brodsky writes: “Poetry is the art of boundaries, and no one knows this better than the Russian poet. Meter, rhyme, folklore tradition and classical heritage, prosody itself, strongly plot against anyone's "need for song". There are only two ways out of this situation: either make an attempt to break through the barriers, or love them. The second is a more humble and probably inevitable choice.
Akhmadulina's poetry is a protracted love affair with the aforementioned boundaries, and this relationship bears rich fruit.
Bella Akhmadulina - the poet is perceived as an heiress, or an anachronism.
One way or another, all researchers of her work tend to associate it with the Pushkin era. This applies both to the external form of poetry (for example, its obvious tendency to reminiscences, signs of the literary tradition of the past), and Akhmadulina's "archaic" worldview. (I. Sheveleva rightly speaks of the love of Akhmadulina, who knows how to live in the world she invented, for antiques3).
E. Schwartz's reflections on this matter are curious. “The very existence of such a poet as Bella Akhmadulina, perhaps, fills in a gap that gaped in the history of Russian literature, namely: this empty
1. Shaitanov I. Let the word grow heavy. Features of a modern poetic personality
// Literary Review. 1984. No. 1.S. 23.
2. Brodsky I. Why Russian poets?..// Akhmadulina B. Moment of being. M.,
1997.S. 253
3.Sheveleva I. Feminine and maternal…//Akhmadulina B. Moment of being. M., 1997.S.
265-266 place Poetess of the late 17th-early 19th century, the missing star of the Pushkin galaxy, a beautiful landowner, heiress of Italians who became Russified in the naval service, and an old Russian family (from the Tatars).
Brought up by a Voltairian emigrant, but learned from him only the elegance of a joke, inclined more towards the profundity of Novikov and
A.M. Kutuzova, a lover of Tass and Stern, composing messages in verse, touchingly adding “my light ...” at the end. All this is easy to imagine, and, probably, the existence of such a poetess at the origins of her literature would be good for our literature, but, thank God, the nineteenth century did not come to claim its property, and an even greater blessing and miracle was that which was given to us at the time thaw and, although placed in times and customs alien to itself, miraculously took root in them, and how poor these times would be without it.
Thus, Akhmadulina turned to the archaic, firstly, in search of continuity. It owes a lot to the 19th century, including thematically.
One of the main motives of her work is the poetry of friendly feeling, which goes back mainly to Pushkin.
Secondly, following V. Erofeev, let's say that the step into the "archaic" was rich in innovative meaning. "Almost without hesitation in the choice of his poetics,
Akhmadulina preferred a complicated, sometimes archaic language to the ultra-modern, jargon-friendly language of her comrades in the poetic workshop.
In one of her 1962 poems, she wrote:
The old syllable attracts me.
There is charm in ancient speech.
It is our words and more modern and sharper.
It must be said that the words old-fashioned, old-fashioned run like a red thread through all her work, defining the originality of poetics.
1. Schwartz E. “The casket and the key” // Akhmadulina B. Moment of life. M., 1997. S. 265-266.
2. Erofeev V. New and old. Notes on the work of Bella Akhmadulina
//October.1987.No.5.S. 191
Akhmadulina's innovation was due to her rejection of linguistic normativity, a natural reaction to the "cult of colloquialism" that had existed for a long time in poetic language. “The same refusal, only carried out by directly opposite means, we see in the poetry of her comrades - the avant-garde artists. But here, too, Akhmadulina went further than the avant-garde artists, such a choice had an immanent moral protest. In the complexity of the poet's speech moves, there was a call for the restoration of once existing, but destroyed ideas about nobility, honor, human dignity. Ornateness, which has been called mannerisms more than once
(but it cannot be said that Akhmadulina’s poetry is not at all distinguished by mannerisms - N.D.), testified to the diversity, overflows of mental states, the impossibility of reducing a person to a purely social function”1.
Thirdly, in our opinion, the considered feature of the style
Akhmadulina is determined by her special worldview. “A special light falls on those with whom and with whom Bella Akhmadulina comes into contact in life and in literature. Hence her unique ability to speak about both simple and complex things is always difficult, i.e. high (“high” words. Archaisms, for the most part, have sublime expression - N.D.) and with complete confidence - they will understand. But if they don’t understand, they will feel that, in principle, they are one and the same. Thanks to this, insignificant, at first glance, acquires the significance of an epic. (Critics called it an abstract super-delicacy, losing touch with reality).
One way or another, the work of Bella Akhmadulina, no doubt, deserves attention and study. Her each new book gave rise to clashes between unconditional adherents and ardent opponents of the poet. And only in the last 10
- For 15 years, the intensity of critical speeches has somewhat weakened - the place and role of
Bella Akhmadulina in modern Russian poetry are quite clearly defined and, obviously, can be revised only in
1. Erofeev V. New and old. Notes on the work of Bella Akhmadulina
//October.1987.No.5.S. 191-192.
2. Popov E. A special light // Akhmadulina B. Moment of life. M., 1997. S. 260 historical perspective.
Naturally, all the above reflections on the archaic style
Akhmadulina needs actual confirmation. Chapter two of our work will be devoted to this (despite S. Chuprinin's assertion that any analysis destroys poetic harmony1).
1. Chuprinin S. Bella Akhmadulina: I will sing love // Chuprinin S. Close-up. Poetry of our days: problems and characteristics. M., 1983.S. 177
Chapter 1
Poetic language as a subject of study. Linguistic analysis of the text.
§one. Idiostyle problem.
The problem of the theory of poetic language and the related problem of linguistic analysis of a work of art (already a poetic text) have long remained one of the most relevant in philology. In different periods, many researchers paid attention to them, including such prominent scientists as L.V. Shcherba, V.V. Vinogradov, G.O. Vinokur1.
The question of the essence of poetic language was developed in particular detail by structuralists2. Thanks to them, standard linguistic poetics established the idea of poetic language as a system organized in a special way, as a language in its poetic function, which “is distinguished by its centripetal orientation towards the very system of signs and meanings and seeks to create an internally motivated “world” of the message”3. Thus, poetry is “a type of speech that strives for an excess of order, is distinguished by a high degree of “poeticism” of the language and highlights the centripetal orientation of the verbal message as its main value, which in other cases plays only the role of a counterbalance”4.
We find a broader view of the problem in G.O. Vinokur5. He speaks of three hypostases of the concept of "poetic language". First, by poetic language one can understand, first of all, the language used in poetic works, meaning "a special tradition of linguistic use", a special style of speech among others.
1. See also the works of B.V. Tomashevsky, E.I. Khovanskaya, E.A. Maymina, A.I.
Efimova, N.M. Shansky, L. Tarasov and many others.
2. See, for example, the articles by Yu. Tynyanin, R. Yakobson, Ya. Slavinsky.
3. Slavinsky Ya. Towards the theory of poetic language // Structuralism: “for” and
"against". M., 1975. S. 261
4. Ibid., p. 263
5. Vinokur G.O. The concept of poetic language // Vinokur G.O. About the language of fiction. M., 1991. S. 24-31.
Secondly, the language used in poetic works can be associated with poetry “not only by the external tradition of word usage, but also by its internal qualities, as a language that really corresponds to the depicted poetic world. In this case, the language of poetry is understood by us as a language in itself poetic, and we are already talking about poetry as a special expressive quality of language. Under
“Poeticity” Vinokur understands a special kind of tradition, which is largely connected with the question of “what subjects are considered possible or impossible to write in a poetic work.
Thirdly, when the relationship between language and poetry is conceived as an identity, the question arises of “a special poetic function of language, which does not coincide with the function of language as a means of ordinary communication, but appears to be its peculiar complication. Poetic language in this sense is what is usually called figurative language.
As we have already noted, researchers were concerned not only with the problem of determining the essence of the language of poetry, but also with the development of methods and principles for its analysis.
Emphasizing the importance of this, V.V. Vinogradov wrote: “The study of poetic speech contemporary writer is of extreme methodological interest. Within the framework of modernity, it can be especially acute to comprehend the originality of an individual poetic style as a closed system of linguistic means, the characteristic features of which emerge even more clearly against the background of the possession of common forms of everyday intellectual speech in its various functions.
Naturally, the study of the language of a work of art is closely connected with the study of the language of fiction and its styles in general, as well as the language of a particular writer.
In addition, the originality of the language of fiction in the corresponding era, the historical patterns of development
1. Vinogradov V.V. On the poetry of A. Akhmatova. Stylistic sketches //
Vinogradov V.V. Selected works. Poetics of Russian literature. M.,
1976.p.369. literary styles.
When analyzing the language of a work of art, one cannot ignore its relationship with the national and literary language.
What is the specificity of the language of fiction? With all the variety of characteristics, its originality is clearly distinguished, which is due to the sphere of functioning and subordination of the aesthetic function.
“The status of artistic speech as a separate variety of language is not determined by the presence of specific linguistic elements; at the same time, unlike other functional types, all means of the common language are used here, regardless of their functional and stylistic characteristics. The assessment of these means is given not from the point of view of the literary and stylistic norms of the language, but from the standpoint of their conditionality by an aesthetic function, subordination to a certain ideological and artistic design, the principle of "proportionality and conformity"1.
It is possible to analyze a literary text in different aspects, which predetermine various methods and final results. But all this diversity ultimately comes down to the differentiation of literary and linguistic approaches to the object of study.
L.V. Shcherba formulated the task of linguistic analysis as “showing those linguistic means through which the ideological and related emotional content of literary works is expressed”2.
We have already said that the analysis of the features of the language of a work of art should be based on knowledge of social life and literature of a certain period, in addition, it cannot but take into account the state of the literary and popular language of the corresponding era, those linguistic processes that are characteristic of it. An indispensable condition for a full-fledged analysis is knowledge of the literary and stylistic norms of the language of the corresponding era, the characteristics of the speech of certain social groups;
1. Moiseeva L.F. Linguo-stylistic analysis of a literary text. Kyiv,
1984, p. 5.
2. Shcherba L.V. Experiences of linguistic interpretation of poems // Shcherba
L.V. Selected works on the Russian language. M., 1957. S.97
consideration of changes in the semantic and stylistic characteristics of linguistic elements (in accordance with the principle of historicism); determination of the genre affiliation of the work, which determines its structure (hence the specific features of the language of prose, poetry, dramaturgy).
Linguistic analysis of a literary text, like any scientific branch, has its own methods and principles of research1.
In modern science and practice, there are two ways of linguistic analysis of a literary text - partial and complete. “In the first case, it is mainly the linguistic dominant that forms the stylistic dominant and implements the main author's idea along with it. In the second case, the units of all levels of the linguistic structure of the text are studied in their aesthetic unity and interaction. With incomplete and complete analysis of a literary text, selectivity of linguistic elements is necessary, which allows, without violating the integrity of the text, to explore the most significant of them.
Among the methods of linguistic analysis of a literary text, the following can be distinguished: observation, stylistic (which are directly related to our study), as well as experiment and modeling3.
The leading role is given to the method of observation of the organization of linguistic elements into one artistic whole. Most language learning papers works of art written on the basis of this method.
The statistical method is used in determining the leading or secondary elements of the text and helps to explain many features of the author's linguistic manner.
As for the principles of linguistic analysis of a literary text, in the work of L.F. Moiseeva4 we find the following:
1. See also: Garlanov Z.K. Methods and principles of linguistic analysis. Petrozavodsk, 1995.
2. Studneva A.I. Linguistic analysis of a literary text. Volgograd,
1983. P.35.
3. Ibid.
4. Moiseeva L.F. Linguo-stylistic analysis of a literary text. Kyiv,
1984. S. 18-20.
1. Characteristics of linguistic means in connection with the ideological and figurative content of the work.
2. Evaluation of linguistic facts within the framework of the semantic structure of the given text.
3. The correlation of the stylistic characteristics of linguistic elements with the literary and stylistic norms of the language of the corresponding era. This is a requirement of a concrete-historical approach to the interpretation of the text.
4. Accounting for the author's position.
5. Analysis of language elements in their relationships and interdependence
(principle of systematic analysis).
6. Accounting for the genre originality of a literary work.
Until now, we have been talking in general about the analysis of any work of art, while the main subject of our work is the poetic text, which is certainly a specific artistic system.
Naturally, the methods of analysis of poetic and prose texts are somewhat similar. But poetic speech is subject to additional rules and restrictions. First of all, this is the observance of certain metro-rhythmic norms, as well as organization at the phonological, rhyming, lexical and ideological-compositional levels. Accordingly, in the course of the linguistic analysis of a poetic text, such structural characteristics of a verse as rhythm, rhyme, stanza, sound repetitions, the nature of pauses, and general intonation features are taken into account.
In accordance with the principles of analysis of the language of a literary text, it is necessary to pay attention to the specifics of the work (a certain form of epic, lyrical or dramatic poetry). It determines the content characteristics of linguistic elements in the system of poetic text.
In this regard, the definition of lyrics given by
L.I. Timofeev: “Lyricism is a reflection of the whole diversity of reality in the mirror of the human soul, in all the subtlest nuances of the human psyche and in the fullness of the speech expression that corresponds to them”1.
A lyrical poem is most often seen as a stable, complete structure, a kind of "hierarchy of conceptual-figurative, emotional-evaluative, expressive, intonational and rhythmic elements"2.
In our study, we only touch upon the lexical level from a certain point of view, while a complete analysis includes a description of the units of all levels of the language, with the help of which a complex holistic ideological meaning of a given literary text is formed.
When studying the aesthetic organization of the elements of the lexical level, the most significant layer of words is considered, which form the main emotional and semantic content and are either actually figurative
(tropes), or neutral, but received figurative content in the context of a work of art.
Not without interest is the method of analyzing a poetic text based on its dictionary, developed by M.L. Gasparov3. Having compiled a dictionary of a poem, we can to some extent understand the worldview of the poet of interest to us. The method of compiling a dictionary is "reading by parts of speech". There are three aspects in a lyrical poem: I. nouns of the text - its objects and concepts; II. verbs - actions and states; III. adjectives and adverbs - qualities and evaluations. The dictionary reveals what (objects, concepts, actions or assessments) determines the inner world of a particular text, makes it possible to visually show
"thematic fields and semantic echoes between the words of the text - to determine the thematic framework of a lyrical poem"4.
1. Timofeev L.I. Fundamentals of the theory of literature. M., 1976. S. 272.
2. Tarasov L.F. Poetic speech. Kyiv, 1976. P.5.
3. Gasparov M.L. To the analysis of the composition of a lyrical poem //
The integrity of a work of art and the problems of its analysis in school and university literature studies. Donetsk, 1975. S. 160-161.
4. Interpretation of a literary text. M., 1984.S.58.
The analysis of a poetic text with the help of a dictionary also helps to show the existence of various stylistic layers, systems in the text, to understand the problem of the specifics of a “foreign” word (meaning a stylistic system usually set by some kind of poetic direction).
After all of the above, it is necessary to say a few words about what, according to V.V. Vinogradov, is recognized as the main category in the field of linguistic study of fiction. This is the concept of individual style. It combines, according to the artistic intention of the author, all the linguistic means used by the writer.
In the process of creating a literary text, the author seeks to capture the content that is relevant to him, the personal meaning. If we take the thought process as the basis of the creative act, then the realities, objects serve as a motive for it, and the result is the fixation of the above-mentioned personal meaning in linguistic units.
Thus, the study of a literary text is narrowed: only those linguistic elements that the artist used to realize personal meaning are analyzed.
“Artistic meaning arises for the reader as the realization of a certain idea within the framework of an idiostyle, which is understood as a model of the writer’s speech activity, where individual ways of using and functionally transforming language units into aesthetically significant elements of a literary text are systematically and naturally manifested”1.
It is natural to consider the idiostyle as a unity, a special type of aesthetic linguistic structure. This integrity is created by the application of peculiar principles of selection and motivated use of linguistic elements.
Based on the foregoing, it is possible to define a literary text as
“a stable, complete, closed system formed on the basis of the dynamic interaction of linguistic elements representing
1. Pishchalnikova V.A. Idiostyle problem. Psycholinguistic aspect.
Barnaul, 1992. P.20 author's personal meaning. Hence, one of the tasks of a literary text investigating the meaning is to understand the system of linguistic means used by the artist to embody the ideological intent of the work, and to study the functions and meanings of both individual elements of the literary text and the text as a whole. The solution of such a problem leads to the determination of the characteristics of the idiostyle of a particular writer.
§ 2. Linguistic science of archaisms and their stylistic use
At different stages of its development, poetic language seeks to appropriate for itself those forms that “are not mastered by the practice of everyday concrete-referential use, that is, they have a weak halo of connection with denotative extralinguistic space”2. Here we include the mythological dictionary, occasional names, various kinds of archaisms, which are the subject of our study.
“In terms of their meaning, they can completely coincide with their synonyms accepted in the language of everyday communication, in other forms of speech activity, but differ precisely in the fact that in the mind of the speaker they are not associated with objects familiar to them and in their familiar mastered non-linguistic space.
In pairs, eyes - eyes, forehead - forehead, lips - mouth and under. the original opposition lies primarily in the referential sphere.
The specific phenomena of poetic language are thus a signal and confirmation of that special denotative space with which the poetic text is associated.
Archaisms occupy a special place in the Russian vocabulary. The question of what is considered archaic vocabulary in the language system is difficult, as well as what is the scope of the very concept of "archaism", how it relates to
1. Ibid., p.27.
2. Essays on the history of the language of Russian poetry of the XX century. Poetic language and idiostyle: General questions. Sound organization of the text. M., 1990.S.34
3. Ibid., p.35. For example, with the concepts of "Slavicism" and "traditional poetic vocabulary", which were separately studied by a number of researchers1.
And archaisms, and Slavicisms, and traditional poetic words belong to the passive vocabulary. “Everything that in one way or another falls out of active linguistic use is archaized, and the degree of archaization is determined by time and the living linguistic consciousness of the speakers”2. We believe that the relationships between these concepts are genus-species. Let us stipulate here that by traditional poetic words (including those of non-Slavic origin) and stylistic Slavisms we will understand proper lexical archaisms. Thus, archaism is wider than Slavicism, since it can be represented both by a word of non-Slavic origin (Russianism “vorog”), and wider than a traditional poetic word as a proper lexical archaism, since in addition to this group there are lexico-phonetic archaisms, lexico- derivational and grammatical. (There is no difficulty in defining the latter, since the sign of archaization is seen very clearly).
O.S. Akhmanova gives the following definition of archaism:
"one. A word or expression that has fallen out of everyday use and is therefore perceived as obsolete. Russian sculptor, widow, widow, healing, in vain, giving, since ancient times, covetousness, slander, incite.
2. Trope, consisting in the use of an old (ancient) word or expression for the purpose of historical stylization, giving speech an elevated stylistic coloring, achieving a comic effect, etc. Russian the finger of fate”3.
1. See, for example, the works of Mansvetova E.N., Golub I.B., Zamkova V.V.,
Zeitlin R.M., Koporskoy E.S., devoted to Slavicisms, as well as research
Mylnikova S.E., Dvornikova E.A., Ivanova N.N., concerning traditional poetic vocabulary.
2. Grigorieva A.D. On the main vocabulary and vocabulary of the Russian language. M., 1953. P.12.
3. Akhmanova O.S. Dictionary of linguistic terms. M., 1966. S. 56.
The second meaning determines the functions of archaic vocabulary in a literary text.
In our work, we consider grammatical and lexical archaisms. To grammatical, or morphological, we include obsolete forms of the word (wings, flame, trees, etc.).
In the group of lexical archaisms, we single out, following N.M. Shansky, three subgroups: proper-lexical, lexical-derivative and lexical-phonetic.
“In one case, we are dealing with such words that are now forced out into the passive vocabulary by words with a different non-derivative stem. For example: voshe (in vain), ponezhe (because), sail (sail), neck (neck), etc.
In another case, we are dealing with such words, which now, as a linguistic shell of the concepts they express, correspond to words of a single-root character, with the same non-derivative stem. For example: shepherd - shepherd, answer - answer, ferocity - ferocity, etc.
In this case, the word currently used in the active dictionary differs from archaism only in terms of word-formation structure, only by suffixes or prefixes, the non-derivative basis in them is the same, and they are formed from the same word
In the third case, we are dealing with such words that are currently replaced in the active dictionary as the language shell of the corresponding concepts by words of the same root, but with a slightly different linguistic appearance. For example: mirror (mirror), smooth (hunger), vran (raven), etc.”1
Poetry is always built on the language base of the traditional and the new.
"The interaction of tradition, the heritage of the past with the affirmation of the new, the eternal interaction that the aesthetic act lives on"2. Researchers
1. Shansky N.M. Lexicology of the modern Russian language. M., 1972. S. 150-
151.
2. Ginzburg L. About lyrics. M.-L., 1964. P.5. The language of poetic works has repeatedly emphasized the important, special role of the traditional in poetic speech, and the poets themselves spoke about it.
“The artistic expressiveness of a lyrical work, its aesthetic potential largely depends on how the poet is able to adapt the language tools inherited by modern poetic speech from past eras of the development of the literary language to express new content, pressing problems of our time, personal spiritual experience”1.
In this regard, we can easily explain the interest in those lexical elements of the modern poetic language, with the help of which it is connected with the historical past of the literary language and the language of poetry itself, that is, with the vocabulary of high, poetic, archaic.
It is necessary to note the difference between the norm of the modern literary language (as it is reflected in the explanatory dictionaries of the modern literary language) and the norm of modern poetic speech. “The latter is more open to archaic vocabulary that has gone out of active speech use. What is obsolete for the literary language is more often “high” or “poetic” in poetry due to the isolation of the lyrical text, the expressive-stylistic function of speech material and the way it is organized.
Proper lexical archaisms (and this is a very significant point) can only include those words that are forced out of modern speech practice or are actively used synonyms, or the realities called by these words (historicisms) go into the past.
“A number of words that go back to the Church Slavonic source, having become obsolete in the direct nominative meaning (it is supplanted, as a rule, by the Russian doublet, which is actively used), actively functions in poetry, as well as in the literary language, in their figurative meanings, as well as in
1. Ivanova N.N. High and poetic vocabulary // Language processes of modern Russian fiction. Poetry. M., 1977. P.7.
2. Ibid., p.8.
3. They will be discussed in the concluding paragraph of Chapter 2 of this work. the composition of stable verbal linkages, characteristic of the book variety of the literary language. However, the archaic direct meanings of these words, forgotten by speech usage, find use in modern poetry if they correspond to the poet's stylistic attitude.
Many words that we now perceive as obsolete were used in their direct meaning in the literature of the 18th-19th centuries. The scope of their use was limited, and this was reflected in their future fate: they began to be perceived as “specific signals of the conditions for their use”2. Thus, a number of poeticisms were formed, many of which differ in that they have limited possibilities to combine with other words.
Based on the foregoing, let's say, following the researchers, that the literature of past centuries has enriched the speech practice of modern poets with a large amount of vocabulary, which was distinguished by a specific book application. The degree of archaization of this vocabulary is different. It depends on the stylistic coloring of words, the nature of their connection, the content of the text in which it is implemented. Today, such vocabulary is perceived by us as archaic high, high bookish or poetic. Such a perception opens up wide possibilities for “emotionally contrasting use of the named layer of vocabulary – playful, ironic, satirical – as a result of the incompatibility of the stylistic coloring established in the language with the name of this particular object or with the author’s sharply negative attitude towards it3.
Naturally, the creation of a high tonality of a poetic work is achieved not only by the inclusion of archaic vocabulary in it.
However, no one denies its enormous pictorial and expressive potential, which makes it possible to enrich the images created by the poet in a poetic work of a certain thematic focus, and
1. Ivanova N.N. High and poetic vocabulary // Language processes of modern Russian fiction. Poetry. M., 1977. P.9.
2. Ibid.
3. Ibid. achieve a variety of emotional nuances. The appropriateness of referring to this vocabulary is determined, firstly, by the emotional and stylistic possibilities of linguistic phenomena, secondly, by the individual author's perception of archaic words, and, thirdly, by the author's consideration of their specific contextual position.
Despite the opinion of some linguists who believe that high-style archaisms in the poetry of our days are a very rare occurrence (and O.S. Akhmanova considers their use as evidence of almost bad taste), observations show that this category of words is used by many modern poets. So E.A. Dvornikova gives the following data:
“Only in thick magazines published in Moscow and Leningrad in 1972, this vocabulary is used by 84 poets published in them: I. Avramenko, P.
Antokolsky, A. Voznesensky and others”1.
Dvornikova also speaks about the reasons for its use, defining the poetic background of this period. “In the 60-70s, and possibly in the second half of the 50s, there was a revival in the use of words of this category. This is largely due to the expansion of the subject of poetic genres, with greater attention to antiquity, more frequent appeal to intimate lyrics, the development of philosophical lyrics and the creative use of traditions.
Pushkin, Tyutchev, Yesenin"2.
Then she notes: “When considering the place of traditional poetic vocabulary in the history of the poetic language of the Soviet period, it is important to separate the individual, the author’s from the language characteristic of the era, due to
themes from those obviously intended to achieve stylistic and technical goals”3.
1. Dvornikova E.A. Problems of studying traditional poetic vocabulary in modern Russian // Questions of Lexicology. Novosibirsk, 1977.
P.142.
2. Dvornikova E.A. Problems of studying traditional poetic vocabulary in modern Russian // Questions of Lexicology. Novosibirsk, 1977.
P.152.
3. Ibid., p.153.
The very fact of turning to the archaic, high vocabulary of many modern authors suggests that they perceive this vocabulary as one of the means of stylistic expression. Thus, all of the above does not allow us to consider the lexical layer under consideration as a phenomenon alien to the language of modern poetry.
In the use of this linguistic layer of vocabulary, modern poets are not limited to referring to specific words. They also resort to archaic grammatical forms of individual words, to archaic word-formation models, which allows them to recreate the lost or create new words according to old patterns.
One can note the special activity of individual authors in the use of this lexical material. For example, the naming of obsolete realities and signs (in particular, the vocabulary of the “cult” thematic field) is widely used by A. Voznesensky.
Consider the functional orientation of the studied words:
1. Most often, the vocabulary of the series under consideration is used as a means of giving the text or part of it a high, solemn coloring or ironic emotional coloring. “The expression of vocabulary through a word is transmitted to an object, phenomenon, sign, action, which in this way
“poetically” affirmed, exalted or (with irony) denied, ridiculed, ridiculed”1.
This function is also carried out in such conditions when the words of interest to us are combined with the vocabulary of a different series, formed by vernacular, the names of “low” (related to everyday life) realities, signs, and actions.
Such mixed texts, according to researchers, are a specific feature of modern times.
2. A characteristic function associated with the property of the vocabulary under consideration to impart to the text the flavor of an era or to demonstrate a connection with the literary past (including, here one can consider
1. Ivanova N.N. High and poetic vocabulary // Language processes of modern Russian fiction. Poetry. M., 1977. P.19. various literary references).
3. Writers and publicists use archaic vocabulary in a parodic way to reduce the style of speech, to create a comic effect, for the purpose of irony, satire. This function is also considered the main one and is highlighted by all researchers.
4. In the language of modern poetry, archaisms are also a means of poetizing speech. With their help, an expression of lyricism, sophistication, sincerity, musicality is created. The vast majority of modern poetic words go back to the traditional poetic vocabulary that takes shape as a stylistic category at the turn of the 18th-19th centuries and is historically assigned to poetic genres. “Being “carriers of experienced emotions,” poetisms are sometimes used in the spirit of the traditions of the 19th century”1.
5. In modern poetic speech, there is also the use of the studied words without a specific stylistic goal setting. The use of such tokens is determined by versification goals. In the verses of modern poets there are traditional rhymes-stamps (eyes-nights).
Let us say, in conclusion, a few words about the history of the studied lexical layer in the 20th century, based on the works of linguists devoted to Slavicisms and traditional poetic vocabulary2.
1. Compared to the Pushkin era, the volume of archaic vocabulary has drastically decreased. The reduction occurred due to words that do not have stylistic expressiveness (stop, precious, etc.), words that are artificially created variants of commonly used names (combine, hide, etc.), and finally, the number of words decreased, which differed from their common
1. Artemenko E.P., Sokolova N.K. About some methods of studying the language of works of art. Voronezh, 1969, p. 61.
2. Mansvetova E.N. Slavicisms in the Russian literary language of the XI-XX centuries.
Textbook. Ufa, 1990. S. 59-72.
Dvornikova E.A. Problems of studying traditional poetic vocabulary in modern Russian // Questions of Lexicology. Novosibirsk, 1977. P.141-
154. synonyms by the presence of a phonetic sign of disagreement (mraz, smooth, etc.).
(However, B. Akhmadulina quite often uses non-vowel variants, which speaks of her originality).
Another way of changing archaisms, mostly of Old Slavonic origin, is that it was joined by primordially Russian words, which at one time were forced out of the language in general or in some cases from poetic speech by Old Slavonic equivalents: vorog, full, the shape of a tree is close to them. The researchers note that the revival of this category of words is mainly associated with the theme of the poetry of the Great Patriotic War.
2. The changes also affected the semantics of some words. For example, the word “canopy”, which had a generalized meaning (cover), in the use of modern poets narrows the semantics and means (leaf cover of trees). The vocabulary of the category under consideration, denoting the names of parts of the human face and body, is often used in modern poetry in metaphorical contexts. Most often, the words of this group are used when personifying the forces of nature (the cheeks of spring, the right hand of the wind, etc.).
3. From a functional point of view, the former role of the studied lexemes is basically preserved, but they are especially often involved in cases when it comes to the literary past. Then even those poets who usually do not use them turn to them. This is especially evident in the poems dedicated to Pushkin. Just as in the literature of the 18th-19th centuries, there is a combination of the versification and stylistic functions of archaisms.
4. The composition and use of archaic vocabulary at different stages of the history of the Russian language of the Soviet era are different.
In the work of poets of the 1920s and 1930s (the time of “linguistic devastation”, the denial of the authorities and traditions of the past, the years of the subsequent domination of the neutral style in poetry), the words of this group are used with minimal frequency. This is largely due to the predominance of social topics.
During the war years and the first post-war decade, due to the predominance of patriotic themes and a general spiritual upsurge, the traditions of the sublime style are resurrected to a certain extent, and the traditional vocabulary of the poetic language reappears in poetry, mainly its rhetorical variety, enriched with archaic words of ancient Russian origin.
We spoke about the use of archaic vocabulary in the 60s and 70s above, determining the reasons why contemporary poets turn to them.
We have already mentioned the specific attitude of B. Akhmadulina to archaisms in the introduction to this work. The analytical chapter of our study is devoted to a detailed analysis of the forms used by her as style-forming means.
Chapter 2. Analysis of lexical and grammatical archaisms in poetry
B. Akhmadulina.
§1. Lexical archaisms.
Let us turn, first, to lexical archaisms. As mentioned above, we distinguish three subgroups in their composition: lexical-phonetic, lexical-word-forming and proper-lexical.
1.1. Lexico-phonetic archaisms.
To this subgroup of lexical archaisms, we include words in which the phonetic design has become outdated and has undergone changes. a) The leading place is occupied here by non-vowel words, which are representatives of genetic Slavicisms. (Let's mention here that in the Russian language by no means all dissonances can serve as style-forming means. They can only be those that have gone out of active word usage, since there are actively functioning full-vowel equivalents of them). It makes sense to define full agreement and disagreement. To do this, we turn to G.O. Vinokur1. He calls the phenomenon when in Russian, in accordance with the Church Slavonic combination -ra-, there is a combination -oro- between consonants, in accordance with Church Slavonic -la-, -le- between consonants -olo- (but after hissing
-elo-).
Without a doubt, B. Akhmadulina recognizes archaic vocabulary as one of the means of stylistic expression. This position is confirmed by the very frequent use of the lexemes under consideration, in particular, lexico-phonetic archaisms.
From a functional point of view, the most striking and revealing, in our opinion, is the use of words with an outdated phonetic design to poetize speech and give it high expression. Let's look at specific examples:
1. Vinokur G.O. On Slavicisms in Modern Russian // Vinokur G.O.
Selected works on the Russian language. M., 1959. S.448-449.
I. Words with the root -cold- (14 uses)
First of all, we note the cases of the use of words with this root in landscape lyrics: 1). Judging by the coldness of the luminaries, by the crimson copse,
Pushkin, October has come.
“Blossom order” (341)
3). Waves closed, boulders, the eve of forced separation, a white night and part of the moon over cold-water Ladoga.
4). Lapland summer ice is a near boundary.
The coldness of Ladoga is deep, and the course of the boat is smooth.
The palms of the lily of the valley are given and kept in the amulet.
And the structure of the soul, open for love, is well.
“Lapland summer ice…” (426)
The use of dissonance coldness in such poems serves to create expressiveness and poeticization of speech (a common function of lexemes of this kind used in landscape lyrics). However, Akhmadulina's works, in which the theme of nature sounds, cannot be interpreted as simply expressive descriptions. In the fabric of the poem there is always the print of her subjective worldview, a characteristic feature of her style.
This desire and ability to talk about both simple and complex is always difficult, that is, high.
1. Akhmadulina B. Favorites. M., 1988. P. 169. (Further poems are cited from this source, except where otherwise noted, with an indication in parentheses of the Arabic numeral of the page).
In addition, the reference to the name of Pushkin (example (1)) refers us to the poetry of the 19th century, in which the use of dissonant variants (and in particular the word cold) in landscape lyrics was common. The word thus receives a certain traditional literary halo.
The poem “Lapland summer ice…” (example (4)) demonstrates the use of a non-vowel word in a pronounced function of speech poeticization. In addition, expressiveness is enhanced by sound writing (repetition of the combination la).
In the following example, we note the function of creating irony in the description of an Intourist employee:
5). When a beauty looks up, in which there is coldness and hell is going on.
But I do not enter this cold hell:
Always my downcast eye.
“Monstrous and ghostly resort” (394)
Interesting here is the combination of the lexico-phonetic archaisms we are considering (cold, cold) with proper lexical archaisms
(Zenitsa), to which we will turn later.
Finally, the archaism of coldness in the function of creating high expression can be seen in the following example:
6). She sipped - as she killed - the incomprehensible coldness of the brow.
“Moscow: house on Begovaya street” (330).
Here, the already mentioned situation of combining archaisms of different types attracts attention. In this poem (dedicated to V. Vysotsky), the dominant, from the point of view of meaning, but not from a grammatical point of view, is, in our opinion, the lexeme chelo, which also entails the use of an archaic form (cold).
The combination of coolness of the forehead, which serves to create sublimity and poeticization of speech, is traditional in poetry. In addition, the use of archaic vocabulary of one type or another by Akhmadulina is also explained thematically: archaisms are very common in poems dedicated to people who have played or are playing a significant role in the life of the poet.
Naturally, the selection of individual functions is purely conditional, since we will consider the leading function, which absorbs all the others, the function of creating Akhmadulina's idiostyle, due to her vision of the surrounding world.
II. preposition before
In the lyrics of Bella Akhmadulina, we find an extremely large number of discordant variants of the preposition before - before. The archaic form combines versification and stylistic functions. The latter lies in the fact that the non-vowel variant, being an attribute of a high syllable, also serves to make speech more expressive.
one). I am embarrassed and timid in front of a clean sheet of paper.
This is how the pilgrim stands at the entrance to the temple.
“New notebook”1
2). Our sin of an imperfect mind prayed alone before heaven.
“In memory of Boris Pasternak” (68)
3). Your shady thicket is always dark, but before the heat, why did the embarrassedly in love lace umbrella look down?
"Garden" (244)
III. Words with the root -gold- (7 uses)
one). Stand and boast of wealth,
pass, ringing with gold and silver.
"Nesmeyana" (34)
2). scurrying around, embracing insatiable dream who are drunken rivers, who are golden mountains.
“I walk around the outskirts…” (470)
3). The view of the market in Gagra amuses the soul.
On the gold of the melon, the copper penny is squandered.
Am I not a lazy lord
Whose eyes are full of purple and honey.
"Rose" (225)
4). How he loved his golden-haired, supple and fruitful wives!
“Lilac, lilac…” (451)
5). Here I took my native golden goose feather in my hands.
"Goose Parker" (301)
Commenting on example (1), it should be noted that the combination of gold and silver is a familiar attribute of folklore works and organically enters the fabric of the poem, which in general has a pronounced folklore orientation.
In the following example (2) we find a song reminiscence, which is indicated by combinations of golden mountains and intoxicating rivers (cf. rivers full of wine).
In the context of the poem “Rose” (example (3)) the lexeme gold is involved in creating expressiveness and, at the same time, a shade of light irony. In addition, we note again the combination of heterogeneous archaisms.
The poem "Lilac, lilac ..." (4) demonstrates a vivid example of the expressiveness created by the golden (hairy) Slavicism in combination with the poetism of the camp. These lexemes also perform the function of speech poeticization.
The following example (5) is very interesting. To some extent, its appearance is caused by the second part of the compound adjective (-goose), of which it is an integral part, and the word pen. Thus, the context becomes more expressive and poetic. In addition, an “old-fashioned” atmosphere is created, so beloved by Akhmadulina (see, for example, the poem “Candle”).
IV. Words with the root -young- (6 uses)
Consider the most interesting examples:
one). I look around greedily. Finally, like an old young slave king, I drag a rose to my poor palace and am indignant at my gray hairs.
"Rose" (225)
2). Face and speech are an insurmountable feat of the soul.
In the salary of cold waters, a young day shines.
Midnight, noon, fret, Ladoga, palm and sweet dream mixed up between the weary eyelids.
“Lapland summer ice…” (427)
3). I'm going again. I believe the slope.
He knows everything about what is beyond the Eye.
The curtain fell. And to the blind eye the distance appears young and naked.
"Grace of Space" (272)
In example (1), the non-vowel word is used explicitly to stylize it as romantic poetry (see, for example, Pushkin's “southern” poems) with an ironic tinge.
The following two examples show us the use of dissonance in combination with archaisms of the same or different types in landscape lyrics to poeticize speech.
V. Words with the root -drev- (4 uses)
Tokens with this root, according to the observations of researchers, are widely used in the lyrics of modern poets for one purpose or another. Akhmadulina is no exception in this sense. Consider the following examples:
one). and I will not reproach the thought that has spread over the tree.
“The end of bird cherry-1” (344)
2). the tree looks at the daughter and the daughter.
“Waiting for the Christmas tree” (172)
In the first example, we have the reminiscence “The Tale of Igor's Campaign…”, which explains the use of this non-vowel word.
In the poem “Waiting for the Christmas Tree” (2), the use of the word with discord serves to create, let's say, an atmosphere of significance.
The eve of the holiday is given through the feelings of children, for whom this event is, of course, something very important. This is also indicated by the lexeme looks.
VI. Words with the root -zdrav- (5 uses)
one). He, they say, is a talent, and those who drink it.
Only a genius is healthy and sober, although he is not alien to talent.
“Zvezdkin told me…” (363).
2). To converge glasses in the health of the young
"Bride" (10).
We will consider the non-vowel word in the first example to be stylistically neutral, in contrast to the lexeme zdorovye in the poem “The Bride” (2), which serves to create an atmosphere of solemnity, which is confirmed by the use of the preposition vo (cf. for health).
VII. Words with a root - vlak - (4 uses)
one). A resurrected chick fell from heaven through the window
In a moment of magic, a candle lit itself: a cricket was walking towards us, dragging the gentlest rattle, like a wagon with a cricket's belongings. “Family and Life” (140).
2). Long live love and lightness!
And then I sit all night in smoke, and my elbow drags heavily, dragging the string like a barge.
“How long have I not slept”1.
The use of this archaic form serves to create expressiveness, enhance the sign (cf. stylistically neutral drag, drag). The meaning of the word is translated, in our opinion, into the existential plane, acquiring great significance (cf. eke out existence).
VIII. Words with the root -mid- (2 uses)
These lexemes, in addition to performing a versification function, carry a stylistic load, which is evident from the context: these dissonant words always define the core of something closed, closed.
one). In the middle of a vicious circle - love or the eve of love.
“Bird bird penultimate” (287).
2). Like a stalk in the middle of a closed book, his silhouette is flattened between them.
“I walk around the outskirts ...” (471).
IX. Words with the root -grad- (3 uses)
one). To her shelter - between the mud and between the ice!
But in the city of black stone, hungry, what to do with this inappropriate forehead?
"Biographical note" (111).
2). He says that he supplies furniture to such a famous nearby city.
“A monstrous and ghostly resort…” (396).
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.134.
Example (1) (the poem is dedicated to M. Tsvetaeva) demonstrates the use of a non-vowel word to create high expression, while the lexeme hail in example (2), used in the context with such words as supply, furniture, clearly serves to create irony.
X. Words with the root -breg- (2 uses)
one). How hard the day - but it will not happen again.
The beach is stone, we are stone together.
"Gagra: cafe" Ritsa "" (237)
2). This shore is only the delirium of two seized dawns.
“This breg is just nonsense…” (420).
The word breg, being traditional for poems in which the theme of nature sounds, serves to poeticize speech.
XI. Other, singularly occurring non-vowel words.
one). The three-headed shadow is approaching,
Pushchin passes snowdrifts and ice floes.
“Waiting for the Christmas tree” (172)
2). We'd rather be sheep. Sweet and pure is the taste of grass on the day of the slaughter, sinister.
Are you not afraid, most cunning of the she-wolves?
How beautiful you are in sheep's clothing!
“Poems to the symphonies of Hector Berlioz. III. Field”1
3). And in the heart it was holy-holy from that harmonica, from the wines, from the sweet voice of the matchmaker and from the blue shirt.
2. Ibid., p.44.
4). How much, nanny, neither nurture nor feed your child with a flower milk of honey ...
"St. Bartholomew's Night" (123)
5). Prayer - through hundreds of miles of fuzzy love.
“In the time where the villain is” (125).
In example (1), the use of the archaic form is partly explained again by the appeal to antiquity (see Pushchin, troika). In addition, in our opinion, this "archaism" is the author's formation using the Slavic root.
The word slaughter, which carries a great emotional and semantic load, has a connotation of sacredness.
Example (3) demonstrates a kind of folk-poetic, folklore stylization.
In the poem "St. Bartholomew's Night" (4) we observe the use of a non-vowel word in the function of poetizing speech.
And, finally, the last of the cases we have cited of attracting
Akhmadulina of archaic forms with disagreement shows the use of her
[forms] to create more expressiveness, enhance the semantic load. b) Stylistically marked consonances.
Here we have only one example - full (2 uses). This word is not stylistically neutral, unlike its non-vowel variant captivity, which belongs to the active vocabulary.
one). … Dean, my friend, a Slavist, a professor, a torch of knowledge, completely and touchingly versed in literature, whose taste and sound never let you go anywhere, nowhere does not let me go out of my full.
“Letter to Bulat from California” (230)
2). She didn't bloom! - I took her assumption to bloom in the morning in full.
“Bird cherry” (283)
The full-voiced version in this case is much more expressive and carries a greater emotional load. In addition, the appropriateness of using Russism is confirmed by the fact that in the given context (1) we are talking about the Russian language. c) Initial E instead of O.
Once lived - and twice to be killed.
“In memory of Heinrich Neuhaus” (227)
In this example, the sign of the archaization of the phonetic image of the word is the initial E instead of O. It is necessary to note the differences between the Slavic (archaic) and Russian versions. Russian version (with initial
O) has more specific semantics and is stylistically neutral.
Slavism, on the contrary, serves to create high, solemn pathos. (We note the roll call with the biblical once lying). d) The absence of a prosthetic consonant, contrary to the current law on limiting the beginning of a word to a vowel.
How old are you? - Answered:
Eighteen.
“I have come. Worth…” (196)
This archaic form is used by Akhmadulina in order to show and express the worldview of the heroine of the poem, who is to some extent a double of the poetess herself, whose perception of the world we have already discussed above.
E) Prehistoric combination *kt before *?.
Here we have three compound adjectives: all-night (3 cases), five-night
(1 case), white-nosed (7 cases).
The last two examples are author's formations using the Slavic phonetic reflex Щ instead of Ч ((* kt before
*?). It is necessary to note their connection with the word all-night, which has sacred semantics and is part of the church lexicon. It will be natural to note their function of creating high expression and poeticization of speech.
one). I look sadly at the petals - scraps of my five-night writings.
“Occupation” (296)
2). And in the room where the table rules, there is a stove - a silver lioness.
And the nightingale's arbitrariness in the white-night district continues.
“It's time, goodbye my rock…” (436)
3). Hostess, your animal genius in despair all-day and all-night over your offspring, oh, over your great son, droops his head.
“The Tale of the Rain” (73) e). Within the framework of lexico-phonetic archaisms, let's consider another noteworthy example:
In a hall with black columns
Masquerade started
And cold cuffs
He touched her hands.
“Ancient portrait”1
This is a borrowing from French(and this word got into French from the Italian language) was perceived by the Russian language, including in such a phonetic design, and first appeared in the era of Peter I.
Akhmadulina uses this archaic form for the purpose of historical stylization, for a deeper transfer of the atmosphere
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.29.
the time it describes.
So, we are convinced that lexical-phonetic archaisms are widely used by Akhmadulina and play an important role in creating her idiostyle.
In quantitative terms, dissonant words predominate here. In addition to them, we find stylistically marked full vowels, words with an initial E instead of O, words with a missing prothetic consonant at the beginning of a word, examples with the Church Slavonic reflex Щ in place of the *kti combination, and, finally, an outdated phonetic design of the borrowing.
From a functional point of view, the lexemes we are interested in are involved
B. Akhmadulina, firstly, to poetize speech and create high expression. We can also note the following functions:
- creating irony
- historical and folklore stylization,
- creating more expressiveness,
- versification function,
- reminiscence of a specific source and the creation of a general literary context.
1.2. ARCHAISMS LEXICAL AND DERIVATIVE
The next point of our analysis is devoted to lexical and derivational archaisms as one of the subgroups of lexical archaisms. a) The leading place here is occupied by words with the prefix voz- (vos-). Here we indicate the cases of the use of lexemes formed with the help of the prefix bottom-(bottom-
). Words from the above groups are not opposite in stylistic coloring and, in fact, do not differ functionally, participating in the creation of high expression and poetizing speech.
A huge number of examples of the use of words with the prefix voz-(vos) is explained by the main focus of Akhmadulina's lyrics, which has already been mentioned more than once. It should be noted that the vast majority of words with the specified prefix are verbs, i.e. represent a specific action. The prefix voz-(vos-) in combination with the verbal root emotionally colors the word, turning the action into some significant creative or spiritual act. Turning to specific examples, we note the following:
1) I envy her - young
And thin, like slaves in a galley: hotter than slaves in a harem, she kindled a golden pupil and watched how two dawns burned together over the Neva water.
“I envy her - young ...” (165)
2) But Sirius has already sunk into absentia.
I loved his fire posture.
He who is without sin, let him throw a stone at sin.
“Sorrows and jokes: room” (323)
3) The meaning of hide and seek immediately comprehended, I will remember this look at the last hour.
"Pashka" (369)
4) He himself did not know whose powers, whose labors possessed him. But legends say that, having rushed in search of trouble, he desired suffering as a benefit.
"Bad Spring" (117)
It is necessary to pay attention to an interesting case of the author's occasional formation with the considered prefix:
5) If they need, look over the lowlands of their poor misfortunes, and the silence of a fish is not a cry, inaudible, but visible, orange caked at the mouth.
"Tarusa" (214)
This example confirms the active existence of this word-formation model in the author's linguistic consciousness.
Speaking of lexemes with the prefix nis-(nis-), we note the expressive blurring between them and the examples described above.
6) That one, twisted in the twilight, who are we related to? She comes down to us.
Alien elements tempting mystery is not subject to transparent names.
“That, in the twilight of the most lofty…”1
7) But it will come down on me too
The last enthusiasm is futility.
“An ancient syllable attracts me…” (17) b) The next group of lexical and derivational archaisms is represented by words with the prefix CO-. Among them, we note such forms as hiding (11)2 and doing (10). In the second case, the root of the word itself is also archaic.
Words with the specified prefix, having increased expressiveness, perform the function of creating high expression.
“Biography” (111)
2) He secretly hurries to rendezvous with those whose breath all his air is created, whose fate is mournful, and whose genius is laughable.
“It's exactly midnight…(386)
1. Akhmadulina B. Moment of being. M., 1997. S.205.
2. The number of uses is indicated in brackets.
3) That was what happened to me, what was not with me: the bird cherry all night in a fever and delirium.
I said to the verses that I will hide from them
Her tongue is sick, prophesying trouble.
“Death of Frantsuzov” (347)
4) With her in the lawsuit for children, hidden torment is a vigilant shadow of a guilty soul.
“How much this little music has… (364) c) Let us point out two more examples that deserve special attention. These are the words fall (8), fall (4) and be afraid (1). A sign of their archaization is the combination of the prefix U- with these roots. Common variants in this case will be words with the same roots, but with a different prefix or without it at all.
1) He only looks - in the church, at the ball.
A prayer book or a fan falls from trembling hands. Not giving them a moment to stay on the floor, her fiancé suffers.
“My family tree”1
3) I will save them from my sadness, from my pompous diploma
“Gagra: cafe “Ritsa””(237)
4) The garden-rider leaves his land,
And the wind throws the horse's mane at him.
With one hand he holds the reins, with the other my fear on his chest falls.
“Garden Rider”(325)
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P. 268.
5) We are both pretenders. At midnight black, in the late dawn, the rider-garden rushes
A child doomed to the King of the Forest, let it not be afraid, let it not be saved.
“Garden rider” (326) d) In conclusion, we note the forms of the verb formed with the suffix -stv-, as well as participles formed with the suffixes -enn- and -usch-(-yusch-), not included in active word usage , while variants of the same forms, formed according to a different model, are commonly used.
From the point of view of functional purpose, we will indicate the function of creating high expression performed by these forms.
1) The sight of these small villages is sad,
Groves plagued, churches slain
“Joy in Tarusa”(249)
2) Send me, O You, who was killed on the cross, the hope that the Easter week is near.
“Saturday in Tarusa”(339)
3) The sound indicating, let my fault be great, but the torment is also great.
“Sound pointing”(352)
4) A serene light answered me and indicated light or laughter.
“In that longing…”(156)
“Visit the artist”(127)
The commonly used variants of these lexemes are, respectively, the words killed, indicating, answered, answered. It seems that in the first two cases, one way or another, there is sacred semantics, which explains their large expressive capacity.
As we could see, B. Akhmadulina actively uses various lexical and derivational archaisms. In fact, the leading function of the above words in a poetic text is the function of creating high expression, as evidenced by the examples we have given.
1.3. OWN-LEXICAL ARCHAISMS.
Let us turn to perhaps the most numerous subgroup of lexical archaisms. It seems that the words of this subgroup are traditional for poetry in general, and Akhmadulina was by no means the only poet who turned to these very expressive lexical resources. It seems appropriate to classify, where possible, these lexemes on a semantic basis. a) A group of words denoting parts of the human face and body
The most common are words that name parts of the human face and body. In this, Akhmadulina pays tribute to tradition to a greater extent. Let's pay attention to the table1 of use and distribution
(that is, the number of authors using one or another word of traditional poetic vocabulary) of these lexemes, compiled based on the materials of journals in 1971:
1. Dvornikova E.A. Problems of studying traditional poetic vocabulary in modern Russian // Questions of Lexicology. Novosibirsk, 1977.
P.153.
| Words | Mouth | Eyes | Lik | Chel | Per | Maloup | Head | Gotha | Dlan | Desn | Vyya | Persian | Zrak |
| | a | | | o | st | otrebi | a | n | b | ica | | and | |
| | | | | | | Telny | | | | | | | |
| | | | | | | e | | | | | | | |
| | | | | | | words | | | | | | | |
|Number| | | | | | | | | | | | | |
| Stvo | 36 | 32 | 19 | 16 | 10 | |2 |1 |4 |1 |1 |1 |0 |
|woptre| | | | | | | | | | | | | |
| bleny | | | | | | | | | | | | | |
|Strife| | | | | | | | | | | | | |
| division | 13 | 17 | 11 | 5 | 8 | |1 |1 |1 |1 |1 |1 |0 |
| awn | | | | | | | | | | | | | |
So, the most frequent are the words mouth, eyes, face, forehead, fingers. All of the above lexemes we find in Bella's poems
Akhmadulina. As a comparison, we present a table showing which words of this group and how often they are used by it.
| WORDS | MOUTH | EYES | FACE | HUMAN | FINGERS | EYES | WOMB | BOMB |
| QUANTITY | 42 | 8 | 11 | 9 | 2 | 4 | 2 | 1 |
| USE | | | | | | | | |
Bella Akhmadulina does not use seldom-used words, but uses lexemes that are not recorded in the table compiled by
E.A. Dvornikova.
In quantitative terms, the lexeme mouth dominates in the group of these words. This position is partly explained by the existence of a logical connection between such images as the mouth and the word (the latter is very important in Akhmadulina's poetry).
In addition, the words of Narovchatov regarding the pair of lips and lips are not without interest: “... the lips kissed and kissed, they prayed and laughed, they were open and closed, but the fever appeared only on the lips”1.
1. I quote from: Mansvetova E.N. Slavicisms in the Russian literary language XI-
XX centuries. Tutorial. Ufa, 1990, p. 65.
Let's illustrate the above with specific examples:
1. But only when words are irreparable, there is justification for an open mouth.
February Full Moon (295)
2. The case, and the medallion, and the secret in the medallion, and in the secret - the secret of secrets, forbidden to the mouth.
"Finger on Lips" (306)
3. Yes, that, the other, did fear know when it was naughty in a voice so boldly, itself, like laughter, laughed on its lips and wept like weeping, if it wanted to?
"Other" (107)
Let us pay attention to the first stanza of this poem, where the word lips appears, which is opposed from the expressive point of view to the lexeme of the mouth.
The variant of the lip has a pronounced negative emotional coloring in the context:
What happened? Why can’t I, I don’t know for a whole year, I don’t know how to compose poetry and only have heavy dumbness in my lips?
Here are the most illustrative examples of other archaisms of this semantic group:
1. There is such a look, such a shadow of the brow - the farther you look, the wetter the pupil.
That memory of the war ...
"Victory"1
About your forehead said yours:
I myself saw how the golden brand smoked between the eyebrows,
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P. 190.
whose meaning is supreme mercy.
And about the forehead that rose above me, she said: it will not be the best!
Not completed to the seventh span and not fully trained to the gray strand.
"Andrey Voznesensky"1
In the latter case, we again see an emotional opposition between the archaic and commonly used variants.
2. - This talent will perish! - I will be prophesied behind my eyes.
Unknown and wooden are their faces, like images.
“Oh, the exact word is scum!..”2
Rancid your face, your small house is miserable
My friends were taken from you too.
"Ladyzhino" (247)
3. ... to me - who did not know how to fall asleep at night, corrupting acquaintances with madness, having the pupil of a horse in her eyes, recoiling from dreams, as from pens ...
"A poem written during insomnia in
Tbilisi (43)
4. Fingers that do not let go, invisible giving a pinch of pain and pollen, bet, indulging in the thoughts of an eagle, sparkle and bask, perish and forgive.
"Butterfly" (329)
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979, p.146.
2. Ibid., p.34.
5. A moment of a closed eye protects my apple.
It will not save: the horn will call me cruelly universal.
"I am only the foot of my mountains ..."
According to the observations of researchers, the vocabulary of the category under consideration, denoting the names of parts of the human face and body, is often used in modern poetry in metaphorical contexts. Akhmadulina is no exception in this sense:
6. I kiss grass. I am lying in the meadow.
I am a baby in the womb of nature.
"Poems to the symphonies of Hector
Berlioz. III. Field"1
7. She entered the lair in lilac and into the bosom of the trap - and the catcher blessed everything that is completely, almost, barely lilac or near - lilac, finally.
“Entered in purple…” (460)
Determining the functions of the words of the selected group, we note the following: these lexemes, being much more expressive than their neutral variants, perform, first of all, the function of poetizing speech and creating high expression. b) A lexico-semantic group of words denoting a person according to some attribute.
Here we single out three lexemes: child (twice), men and thief:
1. Their innocent sleep in the predawn hour from dreams composes the appearance of a gentleman, but the inevitability of their spinning children
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.256.
the queen is hard on them.
"Poems to the symphonies of Hector
Berlioz. To the symphony
"Romeo and Juliet""1
2. Terrible, like Dante, but looks like a cheat.
Darkness of the night, "I'm scared!" He speaks.
"Now about those..." (175)
3. Your case is such that the men of these places and suburbs are whiter than Ophelia, wandering around with madness in their eyes.
Answer us, who have seen the sights, as a charming maiden.
So - to be? Or how? What did you decide in your Elsinore?
“Your case is…” (246)
Akhmadulina draws on these archaisms either as a means of stylization
(example (1)), or to create high expression. c) A group of traditional poetisms.
This group is represented by a number of words that are very common, traditional and characteristic of the poetic lexicon, such as bliss (4 uses), delight (10 uses), bush (2 uses), curtains (3 uses). The function of these lexemes is also traditional: they are designed to give speech more expressiveness and poeticize it.
1) Bliss sighs, calculation is awake, prosperity of the Caucasus shines. trade, the fire-breathing pupil is softened by sleep and narrowed by deceit.
"Rose" (225)
(We will stipulate that in this case poetism is used with a touch of irony).
2) He will become a happy excess, an excessive love of fate, a delight to the lips and a drink,
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.252. intoxicating gardens in spring.
"February Without Snow" (200)
3) Not by registration - for analysis, so as not to disappear in rose bushes, there is Rose Prima, Rose Second ...
"Suburbs: Street Names" (468)
4) I grew flowering pictures of their days between sleepy ages, exiling their images into curtains, into a decayed garden, into ancient snow.
"Country romance" (182) d) A group of words denoting the physical or emotional state of a person.
It can combine such lexemes as vigil (3), hunger (4), hope (3) and the word kruchina, recorded in dictionaries as folk poetic.
1) You have no other knowledge: for the eternal instigation of the two, for hope and torment, your sickly spirit blooms.
"Bird bird penultimate" (287)
2) Hang your dejected head!
Trust the liar! Do not hesitate to doubt!
Not he, but I, I am your tempter, because I am hungry for the emergence.
"My family tree"1
3) But, apparently, my mind is really great and unharmed in the madness of these vigils, since excitement, hot, like a genius,
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.263. he still did not consider it his dignity.
"Night" (66)
4) Your view has changed a lot since those ancient times, when in the gorge, I don’t remember for what reason, you died - about a hundred years ago.
"Dream" (102)
Noting the functional commonality of the above words, let's say that, by reinforcing the semantic characteristics of the signified, they serve to create high expression, and in the latter case, poeticization of speech. As for the lexeme vigil, it, in our opinion, has a sacred connotation (cf. all-night vigil) and was drawn by Akhmadulina for a more emotional description of the state of the poet at the time of the creative act. e) A group of words related to the theme of death.
This group is represented by the words deceased (3) and buried. They are used both literally and metaphorically.
1) For old people who have long since died. for the sailors left at the bottom, for the mummies, mysterious, shrunken, and yet - for me, for me, for me.
"Hemingway"1
2) In silence, as in a buried earth, it is strange for me to know that there is a child in Perm who could pronounce a word.
"Word" (104) f) A group of words, symbolically denoting the area, the land given by fate.
Here we include the lexemes yudol (5) and the monastery, which apparently have sacred semantics and therefore are stylistically colored
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.27.
(especially in the first case).
1) I go out, go to someone else's house, and Ferapont's lips say over the former and future vale:
"The earth was formless and empty, and the spirit of God hovered over the water."
"Monstrous and Ghostly Resort" (396)
2) They put a Christmas tree in the corridor of the hospital. She herself is embarrassed that she has fallen into the abode of suffering.
"Christmas tree in the hospital corridor" (466) g) Words denoting speech.
This group is represented by the words verb (3), verb (2), name ((9), including words with the same root), serving, no doubt, to create an atmosphere of sublimity and solemnity.
1) I'm not worth much on my own.
I am an old verb in a modern cover.
"The night before the performance"1
It is very interesting that here Akhmadulin's verb calls its own word with a lexeme.
2) His outlandish things are brought up as creatures.
Their mute veche speaks of the pure mystery of magic.
"Home" (187)
3) No, you are he, and he is the roar that predicted you,
He brought to me everything that you advertised.
As a fern is quiet, as a preacher is meek and - a brief sharp light, dangerous for the pupil.
"In memory of Heinrich Neuhaus" (228)
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.167. h) A group of words associated with the perception of the phenomena of the surrounding world.
The following words are combined into a group: look (4) and look (25), listen (3), stare (4), know (21), eat (6).
1) I'm sorry. Only then do I stand on the shore of the bay, looking at other people's children so inseparably and sadly.
"Coast" (414)
2) In the opening - it is a sin to look into the mind, let the mind help the body move forward and the oncoming stopper calls my gaze, as everyone calls it: a blizzard.
"Jealousy of Space" (269)
3) You won’t listen to my speeches in vain.
Take a look at the girl. She is your insight, and only harmony is embodied in her.
"The meadow is green. Girl"1
4) And so - I stare at her letters and write off a poem from them.
"Wall" (391)
5) Oh, if I didn’t drink from the waters of Kura!
And do not drink from the waters of the Aragva!
And do not know the sweetness of poison!
"Chapter from a Poem" (72)
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.246.
6) Oh, to forgive everyone - that's a relief!
Oh, to forgive everyone, to convey to everyone and tender, like irradiation, to taste grace with your whole body.
"Disease" (58)
The listed words, being much more expressive than their common variants, enhance the person's involvement in the world. i) A group of words denoting an action.
Here we highlight the words to accomplish (5), to do (13), to bestow (10), to give
(2), wave.
1) Speech is in such a hurry not to perish in silence, to accomplish sound generation and then forget me forever and leave
"Sunday" (57)
2) A tear admires the end of the day.
Frost: you will make a tear, but you will not pour it out.
I don't know and I'm blind.
And God's day is all-knowing and all-seeing.
3) She gave me water, appointed for the roots, creaking wooden steps led to her.
4) Countless shafts rush by.
The fin overcomes time,
And everything that will soon become an amphibian will raise its head from the water.
"From Far Away" (360)
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.46.
5) The omnipotence of the pipe is wagging its tail, the suburban henchman pores, helps.
"I walk around the outskirts ..." (470)
The use of these lexemes is due, first of all, to the special worldview of Akhmadulina. In addition, they serve to create high expression. j) There are a number of words that are difficult to include in any of the listed groups: participles otverst (18) and osyanny (2), demonstrative pronoun this (20), adverbs in vain and hitherto (5), adjective lep.
1) Sacred noise of non-vain fuss:
Yearning for weddings, getting food.
Oh dear world, open for spring, how can you save your bird's heart?
"Morning after the moon" (260)
2) My moon is gone forever.
You are illuminated by the eternal, but different.
"Morning after the moon" (260)
3) He dreamed about you, and now you dream about him.
And now your life is a Tiflis dream.
Since this city is incomprehensible to the mind, it was given to us during our lifetime as a posthumous possession.
“He dreamed about you ...” (236)
4) And about a candle - in vain a dream:
Where can I get a candle in the wilderness these days?
Otherwise, the soul would indulge in mystery near her soul.
5) I forgive you, dog eyes!
You were my reproach and judgment.
All my sorrowful cries
Until now, these eyes carry.
"Disease" (58)
6) Resurrect - you are resurrected already.
Great and flax, arise magnificent.
"After the 27th day of February" (262)
Speaking about the motives that prompt the poet to use the above lexemes, we note their inherent functions of poetizing speech, as well as creating high expression.
Such a frequent appeal to proper lexical archaisms suggests that they are recognized by Akhmadulina as one of the main means of creating more expressive individual poetic images.
In addition, as we have already noted, using words of this kind, Bella
Akhmadulina pays tribute to the poetic tradition.
§ 2. Grammatical archaisms.
This section will be devoted to archaisms morphological
(grammatical), their functional use. Such elements of the language, since they fall out of the modern language system, are usually stylistically marked either as high, bookish, poetic, or as colloquial, therefore their main function in fiction is stylistic.
“The use of grammatical archaisms for the purpose of stylization can be compared with the use of lexical archaisms, with the only essential difference that their heterogeneity in a text written in modern language is perceived much more sharply. The fact is that lexical archaisms may have a greater or lesser degree of "archaism", many of them can be regarded as "passive" elements of some peripheral layers of the vocabulary of the modern language. By various word-building and semantic threads, they are often associated with the active part of the modern dictionary.
Grammatical archaisms, if they have not entered the modern language with a reinterpreted meaning, are always perceived as elements of a different system.
The work of Bella Akhmadulina provides the richest material for illustrating the use of grammatical archaisms in different parts of speech.
(nouns, adjectives, pronouns, verbs, participles).
(Considering the question of the role of grammatical archaisms in poetry, it is necessary to pay attention to the article by L.V. Zubova. “On the semantic function of grammatical archaisms in the poetry of M. Tsvetaeva”2. This work is also useful for our study: the examples described in it, in are in many ways similar to the words we are interested in, which, in turn, uses Akhmadulina in her poems. It is known what place Marina Tsvetaeva occupied in the life and work of Akhmadulina. idiostyle elements of both poetesses are similar).
2.1. Obsolete grammatical forms of nominal parts of speech. a) A very large group is made up of grammatical archaisms - nouns. In turn, in quantitative terms, 2 lexemes are distinguished in them: trees (16 cases) and wings (10 cases), which are traditional poetic words. It makes no sense to give here examples from all the poems in which these forms are used. Let's consider only the brightest. These forms, frequent in the literature of the 19th century and partly of the 20th (especially in poetry), are preserved along with the usual forms in the literary language in -ya.
(Also, along with the usual form of friends, friends are sometimes used).
1) The blizzard is dedicated to who these trees and dachas are
C.7.
2. Zubova L.E. On the semantic function of grammatical archaisms in the poetry of M.
Tsvetaeva // Questions of style. Functional styles of the Russian language and methods of their study. Interuniversity. Scientific Sat. Saratov, 1982. Issue 17. pp. 46-60. took me so close to my mind.
"Snowstorm" (131)
In our opinion, this form indicates a reminiscence of the poem by B.
Pasternak's "Wind", especially since Akhmadulina's "Snowstorm" is dedicated to him.
2) Two nonsense - dead and dead, two deserts, two accents - Tsarskoye Selo tree gardens, trees in Peredelkino groves.
"A quarter of a century, Marina, to that ..." (110)
This example is interesting, first of all, by contrasting the archaic, out of active use, and commonly used forms of a tree - trees. The phrase Tsarskoye Selo gardens allows us to draw a parallel to Pushkin. Thus, the use of an archaic form becomes understandable, acquiring a peculiar literary halo.
L.V. Zubova in the above article writes that, using the archaic form of a tree, Tsvetaeva shows the presence of a soul in them.
[trees], animates them.1 We find something similar in Bella Akhmadulina:
3) Neither in the dampness that saturates the inflorescences, nor in the trees filled with love, there is evidence of this century - take another one for yourself - and live.
"Twilight" (62)
The plural form of wing in 19th-century poetry is traditional poeticism. In the 19th century, this form, as a poetic one, was used both in the literal sense (the wings of a bird) and figuratively (a symbol of poetic gift and inspiration). By the way, it is in this sense that this form is used in Tsvetaeva's lyrics. B. Akhmadulina has this
1. Zubova L.V. Decree. article, p. 52. we do not find. Performing the function of poeticization and style-forming, the shape of the wing is used by the poetess in the direct meaning (wings of a bird) and in the meaning
(Angel wings).
1) Correlated swallows of the wing
Wilderness of our places and wandering around the world.
"My Swan" (310)
2) The twenty-seventh, February, incomparable, the ambassador of the soul in the transcendental lands, the hero of poetry and the orphan of the universe, return to me on angelic wings.
"After the 27th day of March" (267)
As for the form of the friend, here Akhmadulina follows Pushkin's traditions, his early lyrics, poems dedicated to friendship. She uses this form to ironically designate her fellow writers:
So, how are you guys doing?
Getting up early, while it is dark and light, open a notebook, take a pen in your hands and write? Like, that's all?
"So, how are you guys doing...?"(174)
Let's consider a number of other morphological archaisms - nouns, simultaneously defining the sign of archaization.
The vocative form occurs twice in the examples we studied: 1) as part of the name of the prayer and 2) as a means of creating high, passionate pathos.
1) But who knows. Suddenly, mother led to church:
"Deva, rejoice!" I don't know how to remember an akathist.
"Sunday has come..." (377)
2) Man, is it tight for you in the field?
Wait, don't rush to die.
But again he wants to ring, painfully, to look at the white sky.
Noteworthy is the form in the house (7 uses). Inflection - in this form, which changed according to the type of declension from the main to * th, is the original
(local singular). Although in modern Russian it is not an archaism, but a morphological variant, the markedness of this original form, according to L.V. Zubov, allows us to think that it is being squeezed out of the language2. Both M. Tsvetaeva and B. Akhmadulina use this form in a more generalized sense than the neutral one in the house, and in the latter, as a rule, it is part of the phrase in a strange house:
Have you tried living in someone else's house?
"Longing for Lermontov" (93)
2) To make it more convenient for music to appear,
In someone else's house, I imprisoned myself.
“How much this little music has…” (364)
The historically primordial plural forms of the neuter gender nouns shoulder and knee, used by B. Akhmadulina, are also obsolete at the present time. These nouns belonged to a group of words with a stem on *o and in the nominative and accusative plurals had inflection -a, -a, and in the genitive plural -
-ъ or -ь, depending on the variety - hard or soft.
1) In a strange house, I don’t know why, I stopped the run of my knees.
"Longing for Lermontov" (93)
2. Zubova L.V. Decree. article, p. 52.
2) In him there is a harmony of misfortune and talent and a readiness to take these ancient torments of Tantalus on big shoulders again and again.
"A man in an open field goes out ..."1
To comment on the shape of the flame, we again turn to the work of D.N.
Shmelev. “Preserved in the modern language as one of the fragments of the old declension, the special case forms of neuter gender nouns in –me are characteristic mainly of the literary language. In dialects and vernacular, these words also experienced a tendency to equalize the bases and, accordingly, bring these words under productive declensions. There could be two ways here: firstly, the loss of the “build-up” -en- in oblique cases; secondly, the acquisition of this element by the nominative singular. In the second case, two types of formations are noted in dialects: names in
-eno (of which the stirrup, used by some old writers, penetrated into the literary language) and na-en, of which, especially in the poetry of the last century, the word flame was very common. Thus, being "archaic" in modern language, the variant flame is historically a neoplasm in comparison with flame"2.
1) A single flame grew brighter and brighter over the heavenly edge of two dawns.
“When I felt sorry for Boris ...” (379)
2) The faceted water of Kizir was cold like a flame.
“You say don’t cry…”3.
Let us comment on two more forms: in the tongue and in the net. A sign of archaization of the first of them is the old ending of the local case, as well as
1. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.35.
2. Shmelev D.N. Archaic forms in modern Russian. M., 1960.
S.34-35.
3. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.20.
the old alternation of back-lingual with whistling. Shmelev calls this alternation "alien" for the modern language, due to which this form turned out to be frozen, being part of a single phraseological whole.
A tame monster in other people's houses to carry two wet blackness in the eye sockets and stay not as information in the minds, but as a longed-for parable in the town.
"It's so bad to live ..." (152)
The expression is to be in the net, i.e. to be absent, to hide who knows where, goes back to the word no (in the plural, the regular form of the nominative case in Old Russian was nti, the local - in ntkh; the plural served as the name of the list of those who did not appear for military service).
1) Having nourished the moon with all its fullness, it will spend the whole day in faded nets.
"Moon Until Morning" (257)
2) Distance - in white nets, near - not deep, she is a squirrel, and not a pupil of vision.
"Jealousy of space" (269) b) A sign of the morphological archaization of adjectives is inflection.
1) But a dead oak blossomed in the middle of a flat valley.
"Day-Raphael" (309)
Here we have a full singular feminine adjective in the genitive case with Church Slavonic inflection -yya. Apparently, in this case there is an obvious reminiscence of the famous poem by A.
Merzlyakov "Among the flat valley ...".
2) I have a secret from a wonderful flowering, here it would be b: wonderful - it’s more appropriate to write.
Not knowing the news, turning yellow in the old way, the flower always begs for itself “yat”.
"I have a secret..." (291)
Inflection - ago of a full adjective is an indicator of the genitive case of the singular. Forms with a similar ending functioned, apparently, before the influence of the form of that and the transition -ago to -th. In this context, it is by no means an accidental opposition of the forms of the miraculous and the miraculous that attracts attention. The archaic form is used here as a peculiar
the "signal" of turning to antiquity (see the following context) and, in addition, serves to poeticize speech. c) A very small group of morphological archaisms is represented by pronouns. In the poems we have examined, we find, for example, the personal pronoun az, the demonstrative it, the interrogative with the ring, and the determinative koegoda. In the context of poems, these forms 1) indicate biblical reminiscences, or their use is determined by religious themes; 2) are used as an integral part of a phraseological expression
(it's time).
1) “Eating, tasting a little honey, - I read it, I can’t read it anymore: - And now I’m dying.”
"I walk around the outskirts ..." (472)
2) He called every one of the debtors and exacted little, and was praised from God.
"I walk around the outskirts ..." (472)
3) I walk around the outskirts of a hefty spring, around the hollow water, and someone’s companion says: “Do you have to have a lot?”
"I walk around the outskirts ..." (470)
4) The fin overcomes time, and it lifts its head from the water everything that will soon become an amphibian.
"From far away to distant lands ..." (360)
5) Where four gramophones look at you from the pulpit, feast and drink for the time it is, for the gramophones, for me!
"Signs of the workshop" (219)
Thus, among the obsolete forms of the name, we find cases of the use of archaisms - nouns, adjectives and pronouns, with a clear numerical superiority of the former. A sign of archaization of adjectives is the inflection -yya in the genitive singular feminine and -ago in the genitive singular neuter. Among the pronouns we see the outdated form of the personal pronoun az, the demonstrative - it, the interrogative - the number and the definitive
- anytime. Nouns are represented by obsolete case forms. The frequency of use of these forms, as can be seen from the examples we have given, proves that they play a very important role as style-forming means in the poetry of B. Akhmadulina.
2.2. Obsolete grammatical forms of verbs and verb forms. a) The next group of grammatical archaisms, after nouns, is represented by verbs. Among them we see the forms of the aorist, imperfect, obsolete forms of the present tense of verbs, including athematic ones.
So in the examples we have considered, the following forms of the aorist are presented:
1) The forgetfulness of a tombstone is gentle and durable.
Oh gourmet, immediately inherited by paradise!
Tasting, tasting a little honey, - I read it, I can’t read it anymore: - And now I’m dying.
"I walk around the outskirts ..." (472)
There are a number of stable phraseological expressions, borrowed mainly from Church Slavonic texts, “in which, so to speak, separate forms of the aorist are retained in a petrified form”1. So the form of the first person singular given by us above is represented by a quote from
Bible: "Eating a little taste of honey, and now I die." (This quote was also used by M.Yu. Lermontov as an epigraph to the poem "Mtsyri")2.
2) If any wanderer will move to Aleksin or to Serpukhov, and then he will return, a secret message will come to us: “He is risen!”
"Indeed!" - let's say. So everything will work out.
"Saturday in Tarusa" (340)
The aorist form of the third person singular indicates an explicit Biblical, related to the Easter theme. (See the following context of the poem:
Away from you! But it becomes the boom of Saturday revelry. I'll look for salvation.
This ravine was called Igumnov.
The ruins above it are the Church of the Resurrection.
Where the famous and poor boy fell asleep, softer than stones, and stronger than children, send me, O You, killed on the cross, hope for the approach of Easter week).
The form of the imperfect of the third person singular is used by the poet to recreate the "voice from above", which, of course, can only
"verb" and only in archaized language:
I walk around the outskirts of a hefty spring,
Around the hollow water, and someone's accompaniment
1. Shmelev D.N. Archaic forms in modern Russian. M., 1960.
P.83.
2. The problem of literary reminiscences is considered in more detail in chapter three of this work.
say...
"I walk around the outskirts ..." (470)
The first person singular form of the verb to tell a story performs an emotional function. The verb to tell is archaic in itself and stylistically marked as a word of high, bookish style. At the same time, its markedness is further enhanced by the form of the highest degree of archaism. M.
Tsvetaeva uses this form as part of a quotation from the Psalter1. At
Akhmadulina, this quote is removed:
Between two fires, between music and the word, I do not hope to decorate the symphony with a new meaning with the babble of poems and we will sing its meaning to you without embellishment.
"To the Fantastic Symphony" 2
We see the ancient ending of the second person singular in some stable quotation expressions that have penetrated into the literary language from Church Slavonic texts. An example of this is the expression now let go, used by B. Akhmadulina:
It snowed, and silence descended, and I say in a dream: let go now ...
"I walk around the outskirts ..." (473)
Athematic verbs are represented by the forms of the words being and imti. L.V.
Zubova describes the first person singular form used by M. Tsvetaeva is in two functions: 1) a linking verb that replaces both the zero link and the pronoun I and reveals and emphasizes the natural essence of the predicate feature and 2) an existential verb that replaces the modern form is, which lost face 3. For Akhmadulina, this form performs only the second function, emphasizing the meaning of beingness:
1. Zubova L.V. Decree. article, p. 55.
2. Akhmadulina B. Dreams about Georgia. Tbilisi, 1979. P.253.
3. Zubova L.V. Decree. article, p. 55.
1) I am so lonely among the orphan lands, as if I do not exist, but seem to mind.
“How much this little music has…”
2) Before it was - I'm afraid and in a hurry:
I am today, but will I be again?
"Slowness" (158)
3) ... and it was heard: - I am here, at the open cut of the rock and houses that hang over the abyss of the Kura near Metekhi.
"Anna Kalandadze" (206)
(There is no archaic form, also found in Akhmadulina and
Tsvetaeva, arising from the combination is not and remaining in the expressions there is no number, no end, also in itself actualizes the existential meaning1.
Rejoice forever, Devo! You brought the baby into the night.
There are no other grounds left for hopes, but they are so important, so huge, so innumerable that they are forgiven and comforted by the unknown basement recluse.
"Christmas tree in the hospital corridor" (466)
The form of the second person singular is used in the context we have already given, where it replaces the personal pronoun of the second person:
... someone’s accompaniment says: “Do you have to number?” - Count as best you can, I lost count.
"I walk around the outskirts ..." (470)
1. Zubova L.V. Decree. article, p. 57.
Speaking about athematic verbs, we note the following forms of the first person singular and plural and the third person plural of the verb imti after the transition to the III productive class:
1) Where do we take virtue and become?
For us it is not by fate, not by rank.
If we don’t disappear completely, then we won’t get tired, even if we have a reason.
"Joy in Tarusa" (249)
2) For Pachev's grandmothers, for these huts, for treasures, for the yellow-transparent willow who asks the invisible: oh, don't forget! - surely they will take away this, what is it to them?
“Saturday in Tarusa” (388) b) It will be natural to move from verbs to their special forms - participle and gerund. The participle from the verb being, which, like the form of the first person, falls out of the system of the modern Russian language, “has a more expressive existential meaning”1. In addition, it is included in the already mentioned poem “I walk around the outskirts of a hefty spring ...”, replete with grammatical archaisms.
“Evil exists - go, for you do not owe us or our wicked and rude places.
That's your kind."
"I walk around the outskirts ..." (473)
Russian participles developed and took shape from two categories of participles - short real voices of the present and past tense.
“The point here is that short participles in the Old Russian language could be used initially both as a nominal part of a compound predicate and as definitions. Used as definitions, short participles agreed with
1. Zubova L.V. Decree. article, p. 57. defined by a noun in gender, number and case. In this respect, their position in the language was the same as that of short adjectives.
However, participles, unlike adjectives, were more closely related to the verb, and therefore their use as definitions was lost earlier and faster than the same use of short adjectives. The loss of the role of definition by short participles could not but create conditions for the withering away of the forms of indirect cases of these participles, since they, participles, began to be fixed only in the role of the nominal part of the compound predicate, where the dominant form is the nominative case, consistent with the subject. Thus, only one form of the former short participles remained in Russian - the old nominative case of the singular masculine and neuter in the present tense on [, a] (-я), in the past
-on [b], [vb] (or after the fall of the reduced ones - a form equal to the pure base, or a form on [v], like reading "1.
In the modern language, there is no longer a form equal to the pure stem, but B.
Akhmadulina uses it as more expressive, stylistically marked. This participial form has lost all those features that brought it closer to adjectives, and above all, it has lost the ability to agree with the subject in gender and number. This is precisely what indicates the transformation of the former participle into a gerund participle - an invariable verb form that acts as a secondary predicate. In the examples we analyze, words of the same root with different prefixes are used.
"The moon from the jealous" (353)
2) Will be heard after: have you gone crazy
The one who loved life but forgot about vitality.
"This death is not mine..." (359)
3) Barometer, with your mind
1. Ivanova V.V. Historical grammar of the Russian language. M., 1990. S.360. to the truth that it is hot, he is busy with the same business and opinion.
“That’s not the same as twenty years ago…”
4) Yes, yes! Yesterday, I entered here
Bulat gave me a key.
“Song for Bulat” (160)
It is generally accepted that, unlike lexical archaisms, “grammatical forms that have disappeared from the language, like “fossil” animals, do not return to life”1. However, as we have seen, this statement is rather controversial.
The active use of these forms allows us to think that they are one of the important expressive means of the poetic language in general and elements of Akhmadulina's poetic style in particular, having more expressiveness than the commonly used variants.
§ 3. HISTORICISMS
It seems necessary to say, in conclusion, a few words about historicisms, i.e. the names of disappeared objects, phenomena, concepts: oprichnik, chain mail, gendarme, policeman, hussar, etc.
The appearance of this special group of obsolete words, as a rule, is caused by extralinguistic reasons: social transformations in society, the development of production, the renewal of weapons, household items, etc.
Historicisms, unlike other obsolete words, do not have synonyms in modern Russian. This is explained by the fact that the realities themselves, for which these words served as names, have become obsolete. Thus, when describing distant times, recreating the color of bygone eras, historicisms perform the function of a special vocabulary: they act as a kind of terms that do not have competing equivalents. Historicisms are words that differ in the time of their appearance in the language: they can be associated with very distant eras (tiun, governor, oprichnina), and with events
1. Shmelev D.N. Archaic forms in modern Russian. M., 1960.
C.8. recent times (tax in kind, provincial committee, county). Linguistic literature emphasizes the dominance of the function of historical stylization performed by historicisms. However, in the use of the words of this group, Akhmadulina showed
"dissimilarity" and originality, distinguishing her from the galaxy of poets of the second half
XX century.
Let's look at specific examples:
1) They look with blue eyes and in the upper room are a crowd.
"Nesmeyana" (34)
2) Why did they put on new caftans and try on hats to the heads?
"Nesmeyana" (34)
3) My boyar outfit will be thrown on the bed.
"Bride" (10)
4) Those who taught the motive,
They hid how to kindle a light.
Little was lacking to make my life red, my spindle scurried, my braid hung down to the floor.
"All darkness is in the absence..." (443)
Through the historicisms of Akhmadulina, folklore stylization is created in the above poems.
5) Two young ladies, having flown out of the children's light, went to the Kuznetsky Bridge ...
Tarusa (213)
6) Who from the ages answers her with a nod?
Whose armor, gray hairs and wounds is not sorry and not a little to disappear like a moth in the captivating crimson inferno?
“It is getting dark at the fifth hour…” (240)
In these examples, we see historicisms in their main function - creating the color of the past.
7) He looks at Ladoga evening chain mail more and more gloomily and stronger.
“Entered in purple…” (460)
8) Having obtained melancholy and exorbitant superiority with the double-humped mind, she completely bypasses the tower of world homelessness and orphanhood.
In the first case, we are dealing with a historical metaphor. Its "historicism" is achieved at the associative level, evoking images associated with the times of the Battle on the Ice. This metaphor, which describes the ice covering the lake like chain mail, is intended to create a more expressive image, to poeticize speech.
The meaning of the image of the tower of world homelessness and orphanhood is revealed in the context of the poem when compared with similar ones: the province of her sovereign flour, the village of misfortune, the courtyard of the last suffering. The poem is dedicated to Marina Tsvetaeva, and with the help of the expressive combinations described above (very Tsvetaeva’s), her life path is shown, the steady path of her gradual rejection by the world, ending in the courtyard of her last suffering (Yelabuga), where she committed suicide.
As we could see, the predominant function of historicism in the poetic texts of B. Akhmadulina is the function of folklore stylization.
In this regard, it is appropriate to recall the remark of I.
Brodsky about the special style of Akhmadulina, the specific intonation of traditional Russian folk lamentation, indistinct lamentation.
Chapter 3
Stylistic functions of archaisms in the poetry of B. Akhmadulina
Speaking about the functions that archaisms perform in the poetic texts of Bella Akhmadulina, it should be noted that in the poetry of this author they play one of the main roles in the formation of her special poetic style, while the entire set of functions standardly distinguished by researchers is still secondary in relation to the style-forming functions. However, they deserve special consideration.
1. The function of speech poeticization:
He will become a happy excess, an excessive love of fate, a delight to the lips and a drink that intoxicates the gardens in spring.
"February Without Snow" (201)
2. High expression creation function:
To her shelter - between the mud and between the ice!
But in the city of black stone, hungry, what to do with this inappropriate ice?
Where should he be, if not in the place of the frontal?
"Biography" (111)
3. Function of creating irony:
When a beauty looks up
In which the cold is and hell is going on.
But I do not enter this cold hell: my eye is always lowered.
"Monstrous and Ghostly Resort" (394)
4. Historical Styling Feature:
Two young ladies, having flown out of the children's room, went to the Kuznetsky Bridge ...
Tarusa (213)
5. Folk Styling Function:
My boyar outfit will be thrown on the bed.
It's good for me to be afraid to kiss you.
"Bride" (10)
(The last two of these functions are more characteristic of historicism).
6. Often archaisms combine their main stylistic function with a versification function. In the work of Akhmadulina, we can also observe rhyme-stamps that are repeated in many poems (eyes-nights, delights-garden, etc.):
I keep looking into lilac eyes, into the silver waters of silence, who thought: perhaps the white night is enough - and gave only half a moon?
"Lilac, lilac ..." (451)
7. We have already talked about the property of the vocabulary we are considering to tell the text the flavor of an era or to demonstrate a connection with the literary past. Among other things, various literary reminiscences can be considered here. We stipulate that the latter are not the subject of our special consideration, although they are widely represented in the work of B. Akhmadulina. In the context of this work, only those literary reminiscences that include archaisms of various types are of interest.
“For the poetic thinking of the 20th century, thinking in poetic associations, a sharp increase in the role of reminiscences and quotations, quotation as a dialogue is highly characteristic. The attitude towards poetry as an integral part of reality given to the poet, as a real belonging to his individual world, has become aggravated. Hence - thinking with poetic formulas developed by predecessors, not as imitation, but as a conscious introduction of poetry, poetic tradition into the world of modern man.
Literary reminiscences are peculiar signals of one poet's appeal to the text of another. The classification of reminiscences and consideration of their functions in a poetic text can be found in N.N. Ivanova2.
At the level of vocabulary and phraseology, the signals of referring to a "foreign" word in the author's lyrical narration can be represented by:
1) complete textual coincidences of two authors;
3) a single word or combination of words that is attached to someone's creative style, associated with someone's individual style, individual self-expression, and finally, a word behind which stands an individual image;
4) various combinations of the listed varieties of literary reminiscences, while the latter are often combined in the text with the facts of referring to the language system of the era to which the author of the source text belongs.
There are literary reminiscences in the text, as N.N. Ivanov, can be in a weak and strong position. In the first case, there is no author's intention to highlight their stylistic or emotionally expressive quality. In the second case, they are contextually actualized and serve to enhance the solemn sound of the text, its separate section, word, etc.
Literary reminiscences can also be used to create a playful or ironic coloring, which usually occurs when they are opposed to lexical means with a different stylistic or emotional coloring.
1. Essays on the history of the language of Russian poetry of the XX century. Poetic language and idiostyle: General questions. Sound organization of the text. M., 1990.S.15.
2. Ivanova N.N. High and poetic vocabulary // Language processes of modern Russian fiction. Poetry. M., 1977. S.35-43.
Further, the researcher notes that, as acquaintance with the poetry of the 60-70s shows, the most frequent appeal of modern poets to poetic texts and images of Pushkin. Moreover, often Pushkin's reminiscences in the text serve not as a signal of Pushkin's individual style, but as a signal of poetic tradition, the origins of which and the most perfect embodiment are found in Pushkin. Such cases of using literary reminiscences as signals of poetic tradition, that is, a number of texts united by some kind of commonality, seem to oppose their use in which they act as signs-signals of one specific text and, therefore, are called upon to convey the specifics inherent in the latter.
As for the functions of literary reminiscences, Ivanova identifies the following:
1) a message to the text of emotionally expressive coloring;
2) a reference to a certain historical era and to the totality of literary texts of a certain time;
3) participation in the creation of an individual plastic image;
4) literary reminiscences also contribute to the emergence of new additional meanings for other words in the text, determining the presence
"hidden" meanings, subtext, in general, the multidimensionality and multifacetedness of the text.
Let us turn to the specific, most striking, used by B. Akhmadulina, examples of literary reminiscences, which include archaic vocabulary.
1. The forgetfulness of a tombstone is gentle and durable.
Oh gourmet, immediately delivered to paradise!
“Eating, tasting a little honey, - I read it, I can’t read it anymore: - And now I’m dying.”
“I walk around the outskirts ... (472)
In this case, we see a direct quote from the Bible (1 Sam.
14:43). This quote was also used by M.Yu. Lermontov as an epigraph to the poem "Mtsyri". In addition to referring directly to the text of the Bible, the above quotation is also used to create a high tone in the text.
2. Her guests have forgotten the motive, their native speech is far from Latin, they scurry about, embracing with an insatiable dream who are intoxicated rivers, who are golden mountains.
Not caresses and glances, but clanging and fuss.
“I walk around the outskirts ... (471)
3. I fell in love with your spiritual poison-coldness of mine and drank, and I dutifully indulge in this business for thirteen days in a row and I won’t reproach the thought that it has spread over the tree.
"The end of bird cherry-1" (344)
4. Day-Light, Day-Rafael left unrecognized.
But the dead oak blossomed in the middle of the flat valley.
And the blissful sunset rose above us.
And the wanderers all night were baptized on the ruins.
"Day-Raphael" (309)
5. How strong it is! Not otherwise - the blizzard is dedicated to the one who took these trees and dachas so close to the mind.
"Snowstorm" (131)
The following four examples are either a paraphrase of the source text, or, through a combination of words, indicate the individual style of another author. Determining the functional commonality of these literary reminiscences, let's say that all of them, in addition to giving the text an emotionally expressive coloring, are designed to create an individual plastic image enriched with new meaning, as, for example, in the poem "The End of Bird Cherry-1", where we see the play of shades of meaning the words tree (1. tree in general and 2). tree - bird cherry, which is the source of inspiration for B. Akhmadulina). Example (5) is also very interesting. Here, the combination of the words tree and dacha is part of a kind of euphemism named after B. Pasternak, especially since the poem
“The Blizzard” is dedicated to him (cf. ... the wind, complaining and crying, / Rocks the forest and the cottage, / Not every pine tree separately, / But all the trees ... (B. Pasternak
"Wind")).
As for the source texts, the first example refers us to the famous song “If only I had mountains of gold ...”, the second - to “The Tale of the Regiment
Igor…”, the third and fourth - to A. Merzlyakov’s poem “Among the flat valley…”, which also became a song, and B. Pasternak’s poem “Wind”, respectively.
6. Judging by the cold, it was shining, by the crimson copse,
Pushkin, October has come.
How much coolness and brilliance.
“The garden has not yet flown around ...” (169)
In this case, Pushkin's reminiscence, more precisely, associated with the name
Pushkin, just serves not as a signal of his individual style, but as a signal of a certain poetic tradition, undoubtedly poetizing speech.
Even these few examples convince us that literary reminiscences fit very organically into the fabric of B.
Akhmadulina and are an integral part of her individual style, contributing to the creation of new individual images.
CONCLUSION.
Archaisms organically enter the fabric of Bella's lyrical works.
Akhmadulina, participating in the formation of her unique poetic style, and are used to poetize speech, create high expression or irony, serve as a method of historical and folklore stylization. In addition, they can either point to a specific work of another author, or are indicators (markers) of the literary tradition of a certain era.
In the use of archaic vocabulary in terms of its composition,
Akhmadulina, as we have seen, is largely traditional, using words familiar to poetry as style-forming means.
There is a gradual increase in the number of uses of archaic words in her poetry from the early period of creativity to the later one. Taking as a basis the periodization of Akhmadulina's work, which belongs to
O. Grushnikov1, we give a table of the percentage of the use of archaisms in the lyrical works of Bella Akhmadulina until the end of the 70s
(“initial time” and “time of formation”) and from the beginning of the 80s (“time of maturity”). until the end of the 70s. since the beginning of the 80s. lexico-phonetic archaisms
46% 54% lexical and derivational archaisms
45% 55% proper lexical archaisms
43% 57% grammatical archaisms
43% 57%
1. Grushnikov O. Bella Akhmadulina. Bibliographic summary of literary life // Akhmadulina B, Moment of Being. M., 1977. S.278.
As Akhmadulina becomes a mature original poet, the number of archaisms she uses grows, and with their help her poetic style is formed.
The degree of use of archaisms does not depend on the thematic orientation of Akhmadulina's poetic text: they are equally frequent in poems of various subjects, for example,
1) in poems dedicated to an ordinary event of everyday life
Thank you for your beauty and mercy, tomato.
For the fact that you are wet with moisture, for the fact that you are thick with a vegetable, for the fact that your childish kiss around your lips is red and brave.
"In the subway at the Sokol stop" (49)
2) in love poems
With the same fixed and childlike face, my love, always play the game.
Give in to his long work, O my beloved work!
Grant him the luck of a child drawing a house and a chimney.
"December" (64)
3) in poems that touch on the theme of creativity
Yes, that, the other, did fear know when it was naughty in a voice so boldly, itself, like laughter, laughed on its lips and wept like weeping, if it wanted to?
"Other" (107), etc.
It seems that the archaism of the language (lexical and grammatical) has become an integral part of Akhmadulina's poetic style. It can be assumed that deliberate archaization, orientation towards traditions, the use of linguistic archaism in all possible functions and regardless of the thematic orientation of the text, this is the very style of the author being studied. There is no poet B. Akhmadulina without archaisms.
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MINISTRY OF GENERAL AND VOCATIONAL EDUCATION OF THE RUSSIAN FEDERATION
PETROZAVODSK STATE UNIVERSITY
Faculty of Philology
LEXICAL AND GRAMMATICAL ARCHAISMS
AS AN ELEMENT OF POETIC STYLE
BELLA AKHMADULINA
Diploma work of a 5th year student
Danilova Natalia Yurievna
Supervisor:
Teacher LOGINOVA Marina
Albertovna
Petrozavodsk
Introduction S.
Chapter I. Poetic language as a subject of study.
Linguistic analysis of the text. WITH.
§ 1. The problem of idiostyle. WITH.
§ 2. Linguistic science of archaisms and their stylistic use. WITH.
Chapter II. Analysis of lexical and grammatical archaisms in the poetry of B. Akhmadulina S.
§ 1. Lexical archaisms. WITH.
1.1. Archaisms are lexico-phonetic. WITH.
1.2. Archaisms are lexical and derivational. WITH.
1.3. Archaisms proper-lexical. WITH.
§ 2. Grammatical archaisms. WITH.
2.1. Obsolete forms of the name. WITH.
2.2. Verbal archaisms. WITH.
§ 3. Historicisms. WITH.
Chapter III. Stylistic functions of archaisms in
Poetry B. Akhmadulina. WITH.
Conclusion. WITH.
List of used literature. WITH.
MINISTRY OF GENERAL AND VOCATIONAL EDUCATION OF THE RUSSIAN FEDERATION
PETROZAVODSK STATE UNIVERSITY
Faculty of Philology
LEXICAL AND GRAMMATICAL ARCHAISMS
AS AN ELEMENT OF POETIC STYLE
BELLA AKHMADULINA
Diploma work of a 5th year student
Danilova Natalia Yurievna
Supervisor:
Teacher LOGINOVA Marina
Albertovna
Petrozavodsk
Introduction S.
Chapter I. Poetic language as a subject of study.
Linguistic analysis of the text. WITH.
§ 1. The problem of idiostyle. WITH.
§ 2. Linguistic science of archaisms and their stylistic use. WITH.
Chapter II. Analysis of lexical and grammatical archaisms in the poetry of B. Akhmadulina S.
§ 1. Lexical archaisms. WITH.
1.1. Archaisms are lexico-phonetic. WITH.
1.2. Archaisms are lexical and derivational. WITH.
1.3. Archaisms proper-lexical. WITH.
§ 2. Grammatical archaisms. WITH.
2.1. Obsolete forms of the name. WITH.
2.2. Verbal archaisms. WITH.
§ 3. Historicisms. WITH.
Chapter III. Stylistic functions of archaisms in
Poetry B. Akhmadulina. WITH.
Conclusion. WITH.
List of used literature. WITH.
Hello, dear readers of the blog site. The Russian language is constantly being updated, it includes new terms and concepts.
Well, for example, 30 years ago, many of us did not know such words as smartphone, roaming, cryptocurrency, blockbuster, and so on.
And some concepts, on the contrary, eventually disappear from everyday speech and begin to be called "archaisms". We will talk about them in this article.
Definition - what is it
Archaism is the obsolete names of objects, phenomena or actions that have lost their uniqueness and have been supplanted by other words denoting the same thing (synonyms).
This term, like many others in the Russian language, originated in Ancient Greece. In literal translation, the word "archaios" means " ancient».
Archaisms have two features that characterize them.
Everyone knows the saying "Eye for an Eye" or the song "BLACK EYES". And we all understand that the EYE (EYES) is the eye (eyes). But in ordinary life we don’t say that, well, or we say it very rarely.
So EYES - this is archaism, and EYES - a modern synonym.
By the way, it is in the designation human body parts there are many archaisms. Almost everything that we are made of used to be called differently. Some words are still well known to us, while others are not often found on the pages of books.
- EYES - EYES.
- PUPILE - EYE. Remember the saying "cherish like the apple of your eye";
- MOUTH - MOUTH. Famous expressions "On everyone's lips" or "Firsthand";
- FORON - HUMAN. “The Tsar and Grand Duke of All Russia beats with his forehead ...” (feature film “Ivan Vasilyevich Changes His Profession”;
- FINGER - FINGER. Another well-known expression is “Finger pointing”;
- PALM - HAND. “You will take a hammer in your hand // And you will call: freedom!” (Pushkin);
- RIGHT HAND - RIGHT HAND. The expression "punishing right hand", meaning "retribution". It is also customary to call a confidant a “right hand”;
- LEFT HAND - SHUITSA. “Forgive the simpleton, but this ray on your dark-skinned shuitz is not a magic stone?” (Nabokov);
- CHEEKS - PLANTS. “They will bow to you, and you will turn your whole back to them for joy” (Dostoevsky);
- NECK - OUT. “A Prussian baron, girdling his neck // With a white jabot three inches wide” (Nekrasov);
- SHOULDER - RAMEN. “The spear of the ramen pierces, // And the blood flows out of them like a river” (Lermontov);
- HAIR - HAIR. “And then my gray hair did not shine on my forehead” (Lermontov);
- HEAD - HEAD. “Bend your head first // Under the shelter of a reliable law” (Pushkin), plus “head” today is often called some leader (head of a company, head of a region);
- CHEST - PERCY." A dove quietly sat down on her Persian, hugged them with its wings ”(Zhukovsky);
- HEEL - HEEL. The expression "to toe" is used to explain the length of a dress or skirt. Or the expression "tread on the heels", that is, "pursue";
- HIPS, LOIN - LOINS. “And chaste and bold, // Shining nakedness to the loins, // The divine body blooms // With unfading beauty” (Fet).
It is worth adding that archaisms can be any part of speech. We have given examples of nouns.
And there are archaisms:
- verbs (VERB - SPEAK)
- adjectives (RED - RED)
- pronouns (AZ - I)
- numeral (EIGHTEEN - EIGHTEEN
- adverb (UP TO THE TIME - UNTIL THAT).
Varieties of archaisms
All obsolete words can be divided into several categories - depending on how they are perceived in Russian, and how they relate to modern synonyms.
Lexical archaisms
These are words that are not at all similar to their modern counterparts - there is no similarity in sound, not a single root. For "decryption" often you have to look into the dictionary, or try to guess what is being said based on the general context.
- SAIL - SAIL
- TOLMACH - INTERPRETER
- BRADOBREY - HAIRDRESSER
word-building
Words that have had only a partial replacement. For example, a single root remained, but a suffix or ending was added / removed. These archaisms do not require checking in a dictionary, they intuitive.
- FAMILIAR - FAMILIAR
- FISHER - FISHER
- DUSHEGUBETS - DUSHEGUB
- FRIENDSHIP - FRIENDSHIP
- COFFEE - COFFEE
Phonetic archaisms
Words that have changed over time. As a rule, due to the replacement of just one letter. Such archaisms are very similar to their modern counterparts, and they also do not require a separate specification in the dictionary.
- MIRROR - MIRROR
- STORA - CURTAIN
- NUMBER - NUMBER
- PHILOSOPHY - PHILOSOPHY
- NIGHT - NIGHT
- PROJECT - PROJECT
Semantic
This is the most interesting group outdated words. Over time, they not only acquired more common synonyms, but also completely changed their meaning. As they say, "white became black" and vice versa.
You can identify such archaisms in the text by one sign - they absolutely do not fit into the context. And to "decrypt" you have to use a dictionary.
- SHAME - this word used to mean "spectacle", but now it is a synonym for shame / dishonor.
- UGLY - used to mean "beautiful", but now it's exactly the opposite.
- PLESK - used to mean “applause” (the word “applause” has survived to this day), and now it is “the sound of water”.
- CARRY - they used to talk like that about pregnancy, and now about moving something (carried the bride in his arms) or some kind of test (suffered punishment).
Archaisms in literature
As we have already said, archaisms are often found on the pages of books. The authors write in the language that was used in their time. That is, today some words may not be clear to us, and then none of the readers would have any questions.
But on the other hand, obsolete terms make the text more expressive, they help the reader mentally transport himself to the exact time that the narrative corresponds to.
Take, for example, Griboedov's famous work " Woe from Wit”, in which archaisms are found on almost every page.
- “But be a military man, be a civilian” – today we pronounce the word STATESKY as STATESKY.
- “What a commission, Creator, / To be a father to an adult daughter!” - the word COMMISSION then meant CHALLENGES.
- “But the debtors did not agree to a delay” - DEBTORS used to be called creditors, and not those who borrowed.
To make it clear to the modern reader what is at stake, footnotes “note” are made in the books. It may not be very convenient, but there's nothing you can do about it. Do not rewrite the classics of Russian literature!
Instead of a conclusion
Obsolete words have a special variety, which includes various names of things or concepts that are no longer used in the modern world -. For example, these can be items of clothing (camisole, bast shoes), crafts (staples, buffoons), measurements (arshin, pound) and so on.
True, some linguists believe that this is a completely separate group of words. And they cannot be considered archaisms. The point is that these terms no modern synonyms. And this, as we wrote at the very beginning, is one of the basic definitions of archaism.
Good luck to you! See you soon on the blog pages site
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- Specialty HAC RF10.02.01
- Number of pages 309
CHAPTER I. Archaic vocabulary and the principles of its inclusion in explanatory dictionaries
§ 1. Obsolete vocabulary: qualifications.
§ 2. The history of the study of archaic vocabulary and its reflection in explanatory dictionaries of the Russian language.
§ 3. Archaic vocabulary in modern dictionaries of obsolete words.
CHAPTER II. Proper lexical archaisms in modern Russian and the typology of archaic vocabulary
§ 1. Archaisms: the problem of typology and definition of criteria.
§ 2. Qualification signs of the category of proper lexical archaisms.:.
§ 3. Reasons for the emergence of proper lexical archaisms.
§ 4. Typology of archaic vocabulary of the lexico-semantic level of the language.
CHAPTER III. The history of proper lexical archaisms in the explanatory dictionaries of the Russian language of the 18th-20th centuries.
§ 1. Principles of selection and general characteristics category of proper lexical archaisms.
§ 2. Actually lexical archaisms - agentive names.
§ 3. Actually lexical archaisms are abstract names.
§ 4. Actually lexical archaisms - borrowings from non-Slavic languages.
Recommended list of dissertations
Stylistic function - a new meaning of the existence of lexical archaisms 2003, candidate of philological sciences Shpotova, Irina Vladimirovna
Archaization of the vocabulary of the Russian language of the XX century 2002, candidate of philological sciences Lesnykh, Elena Vladimirovna
Obsolete vocabulary of the Kumyk language 2013, candidate of philological sciences Asadulaeva, Patimat Uryatovna
Outdated vocabulary of the Nogai language 1999, candidate of philological sciences Karakaev, Yumav Imanyazovich
The phenomenon of archaization in the vocabulary of the modern Russian language: according to the editions of the "Dictionary of the Russian Language" S.I. Ozhegov 2007, candidate of philological sciences Kadantseva, Elena Evgenievna
Introduction to the thesis (part of the abstract) on the topic "Archaic vocabulary of the modern Russian language according to the explanatory dictionaries of the 18th-20th centuries."
The outdated vocabulary of the Russian language attracts the attention of many scientists. It is considered in connection with the solution of general issues of language development in the works of V.V. Vinogradova, J1.B. Shcherby, A.A. Khaburgaeva, Yu.S. Sorokina, V.V. Veselitsky, N.M. Shansky, S.I. Ozhegov, as well as in the works of G.O. Vinokura, D.N. Shmeleva, F.P. Filina, E.P. Voitseva, A.N. Kozhin and others, who describe the functioning of obsolete and obsolete vocabulary in fiction and journalism. The reasons for the archaization of the vocabulary of the Russian language are studied in the works of E.P. Khodakov, L.N. Granovskaya, JI.J1. Kutina, E.E. Birzhakova, I.M. Maltseva, E.H. Prokopovich and others.
Archaic vocabulary is the most valuable material not only in terms of linguistic heritage, but also in terms of language learning. A comprehensive study of the processes of archaization of the modern Russian language and generalization of the results of such studies helps, first of all, to further comprehend the general laws of language development, explains some of the formation processes of the Russian national language, reveals the dynamics of the evolution of its vocabulary (semantic and stylistic shifts in the lexical system at certain stages of its development, nomination processes, the development of new meanings in some words and the reasons for the archaization of certain meanings in others, or the obsolescence of the word as a whole, a reflection of "diachrony in synchrony").
The functional aspect of the study of archaism has been developed in sufficient detail; quite a large number of works have been devoted to it. Traditionally, archaism is considered as a stylistic category, with a strictly defined scope, i.e. as a means of historical stylization in fiction or as one of the varieties of high vocabulary.
The question of the systematic nature of archaisms in modern linguistics is still controversial, since some researchers emphasize the non-systemic nature of the category, while others talk about the systemic connections of the category of archaisms with the modern language system.
Since the 50s. 20th century there is an increase in interest in archaic vocabulary, in particular, there are works devoted to its classification.
The founder of the most common approach to the typology of archaisms today is N.M. Shansky, who in 1954 in the article "Obsolete Words in the Vocabulary of the Modern Russian Language" for the first time proposed his own classification of obsolete words (in addition to dividing them into historicisms and archaisms), based on the fact that a word as a linguistic sign can also be archaized in terms of expression ( form), and in terms of content (meaning) [Shansky 1954, 27-33]. Later, this principle formed the basis of the classifications of A.C. Belousova, I.B. Golub, N.G. Goltsova, F.K. Guzhva, A.B. Kalinina, L.P. Krysin and T.G. Terekhova and others, reflected in textbooks on lexicology.
In addition to the above, there are other approaches to the typology of obsolete words. Archaic vocabulary can also be classified not only by the type of archaization within the word itself, but also a) by the nature of the causes of obsolescence (external or internal); in accordance with this, archaisms and historicisms are traditionally distinguished (some researchers propose to consider groups of a limited sphere of use as independent categories - biblicalisms, mythologisms, church-cult vocabulary); b) according to the degree of obsolescence of the word (one of the achievements in this area of research is the inclusion of the label "obsolete" in modern explanatory dictionaries of the Russian language).
However, despite the existing variety of classifications of archaic vocabulary, the complexity and diversity of the object of research allows us to continue working in this direction.
The study of the processes of archaization of vocabulary is important for its more rigorous lexicographic reflection. Clarification of the qualification criteria of an obsolete word will help develop common approaches to the designation of archaic vocabulary in explanatory dictionaries and solve the problem of its universal marker, which, unfortunately, is not given enough attention in theoretical lexicography.
The formation of a common understanding of the concept of an obsolete word will contribute to a more rigorous selection of lexical material when creating specialized dictionaries of archaic vocabulary, which until recently were absent in the system of explanatory dictionaries of the Russian language. The gap in this area began to be eliminated from the second half of the 1990s. XX century: since 1996, seven dictionaries of obsolete words have been published, incl. two school-type dictionaries. And although publications today are subjected to justified criticism, in general, this phenomenon, in our opinion, should be considered positive, because now when reading Russian fiction, albeit partially, the difficulties of making inquiries about not well-known words are still resolved.
The relevance of the study is determined primarily by the functional, semantic and stylistic specifics of the archaic vocabulary, its place in the system of the Russian literary language and in the language of modern fiction, especially poetry. The active use of archaic vocabulary in the functional styles of the Russian literary language requires a comprehensive theoretical development of a range of issues that have not received a sufficiently clear solution in linguistics.
So, there is still no exact terminological definition of the concept of archaic vocabulary; unified criteria for selection and designation of obsolete words are not defined.
Currently, there are no studies that systematize the principles of including obsolete words in explanatory dictionaries; the criteria for selecting archaic vocabulary for specialized dictionaries have not been finally formed.
While there is no unified approach to marks for obsolete words, the history of formation and the process of development and changes in the semantic volume of markers have not been considered, there is no consensus on the issue of their status.
The problem of typology remains open, which is associated with the undeveloped composition of the qualification features of specific categories of archaisms, as a result of which linguists to this day are forced to use vaguely established criteria for an obsolete word, and underestimation of such phenomena when considering archaic vocabulary leads either only to a description of the core of various types of archaisms, or to an approximate and, moreover, often incorrect qualification of one or another obsolete word.
A comprehensive analysis of proper lexical archaisms is of interest not only for linguistic research itself, but also for teaching the Russian language at school and university.
The object of the dissertation research is the archaic vocabulary of the modern Russian language.
The subject of the study was the system of explanatory dictionaries of the Russian language of the 18th-20th centuries, which included obsolete vocabulary in their dictionaries.
The main purpose of the work is the analysis of the archaic vocabulary of the modern Russian language in explanatory dictionaries of the 18th-20th centuries. - led to the solution of the following specific tasks:
Clarify the qualification features of archaic vocabulary;
Explore the history of the study of archaic vocabulary and its reflection in explanatory dictionaries of the Russian language;
To trace the history of the formation of the semantic volume of the label for obsolete words and to establish its status;
To identify the main criteria for belonging of obsolete words to the category of proper lexical archaisms;
Determine the types of intralinguistic reasons that contribute to the emergence of proper lexical archaisms in the Russian language;
Based on the refined categorical features of the category, develop its typology;
Develop a classification of archaic vocabulary of the lexico-semantic level of the language;
To trace the history of the formation of proper lexical archaisms in the explanatory dictionaries of the Russian language.
The scientific novelty of the study is determined by the fact that this work is the first study in which an attempt is made to comprehensively analyze the category of proper lexical archaisms within the chronological framework of the modern Russian language.
In this study, the qualification features of archaic vocabulary are specified.
Based on the refined features of the category of proper lexical archaisms and their comparison with the criteria of other types of obsolete words, a classification of archaisms is proposed, the peculiarity of which is due to the fact that it is based not only on the level approach and the specifics of the archaization of the expression plan, but also on the nature of the basis of the lexeme.
The paper establishes the characteristic reasons for the appearance of proper lexical archaisms, due to the semantic and structural relations of the word with its modern synonymic equivalent; statistical data on the part-of-speech composition and the origin of the studied category are given, and the history of the formation of the semantic volume of the marker of obsolete words is also considered.
The study develops for the first time a typology of proper lexical archaisms.
The theoretical significance of the study lies primarily in the fact that the study of the category of proper lexical archaisms of the modern Russian language makes a certain contribution not only to linguistic research proper, but also solves some problems of lexicography.
Revealing the lexicological specifics of proper lexical archaisms, developing a typology of this category, identifying the causes and conditions for the emergence of proper lexical archaisms in the Russian language is of some importance for solving theoretical problems of lexicology (for example, predicting the further development of the language system), and also helps to better understand the mechanism of archaization processes in system of the modern Russian language.
The practical significance of the work is determined by the fact that identifying the causes and conditions for the formation of proper lexical archaisms is also important for lexicographic practice, as this will contribute to a more compelling justification for including them in explanatory dictionaries, as well as clarifying the main composition of obsolete words that need to be presented in modern dictionaries. Russian language; the words selected for the dissertation research can be included in the card index of the future dictionary of obsolete words.
The use of research materials, its main provisions and conclusions is possible in the practice of teaching the Russian language, in special courses and special seminars on the Russian language (in the "Lexicology" section), as well as in textbooks on the lexicology of the Russian language.
Research materials can be involved in the work of university and school electives, scientific circles devoted to the study of the word. Compiled on the material of explanatory dictionaries of the XX century. as an appendix "Dictionary of proper lexical archaisms of the Russian language", which reflects all varieties of labels that characterize this lexical and stylistic category, can be used as a guide to historical lexicology and historical stylistics of the Russian language
Research methods are based on the understanding of language as a materialistic phenomenon. The work uses a descriptive method, a method of component analysis based on dictionary definitions, a historical method, comparative and statistical methods, etc.
Defense provisions.
1. The archaization of vocabulary is facilitated by a) the stylistic diversity of competing lexemes when used in the literary language, as a result of which those lexical units that could not overcome the stylistic barrier pass into the passive stock of the language; b) the competition of lexemes acting as members of a synonymic series, as a result of which those words that were incapable of semantic development fall out of the active composition of the language; c) frequency of use of the word.
2. Actually lexical archaisms are unambiguous obsolete words, represented in some cases by word-formation, phonetic or morphological parallels and displaced into the passive stock by their active equivalents - synonymous words, synonymous phrases or brief interpretations.
3. One of the reasons contributing to the emergence of proper lexical archaisms is the violation from the standpoint of the modern language of the word-formation motivation of the lexeme, caused by a) the motivation of the derived word by secondary or connotative LSVs of the active producer; b) a high degree of obsolescence of the generating base, which for a modern native speaker no longer fills the derivative education with lexical content.
4. In the category of proper lexical archaisms, SSGs are distinguished, concentrating words on the basis of origin, on the designation of the negative qualities of a person, on the name of a person by craft, profession, occupation.
Approbation of work. The main provisions of the dissertation were presented in the form of reports and reports at scientific conferences of the teaching staff of the Bryansk State Pedagogical University in 1990, 1992, 1998, at a scientific conference on problems of regional lexicology and lexicography (Orel, 1994), at the All-Russian scientific conference on problems and trends in the development of spiritual culture (Syktyvkar, 1994), at the All-Russian Scientific and Practical Conference on topical issues education of primary school students (Saransk, 1998), at a regional conference on the problems of moral and patriotic education of students (Bryansk, 1998), at an interuniversity scientific conference on problems of Russian lexicology and lexicography (Vologda, 1998). The content of the study is reflected in 8 publications.
Work structure. The dissertation consists of an introduction, three chapters, a conclusion, a list of references and an appendix.
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Dissertation conclusion on the topic "Russian language", Shestakova, Natalya Alekseevna
The history of the archaization of vocabulary and the trend in the formation of the category of proper lexical archaisms can be quite fully represented, based on the data of explanatory dictionaries of the Russian language of the 18th-20th centuries.
Based on the specifics of the designation of archaic vocabulary in the explanatory dictionaries of the Russian language, we have developed our own system of marking the dynamics of the functioning of proper lexical archaisms in the modern Russian language and, with its help, reflected this dynamics in the appendix "Properly lexical archaisms of the Russian language according to explanatory dictionaries of the 18th-20th centuries. ".
By origin, proper lexical archaisms are presented as borrowings from non-Slavic languages, tracing papers and vocabulary of Slavic origin (native Russian, Old Slavonic).
Among thematic associations, both in obsolete borrowings and Slavic archaisms, the most regular are groups of negatively colored vocabulary related to the qualities or actions of a person, as well as the names of persons by profession, craft, occupation.
The archaization of the category of proper lexical archaisms was primarily influenced by general reasons - semantic and stylistic shifts in the lexical system during the formation of the national Russian language, which were identified and described by V.V. Vinogradov, V.V. Veselitsky, Yu.S. Sorokin, E.E. Birzhakova and others.
The history of lexemes included in the SG "negative qualities or properties of a person" reconstructed from explanatory dictionaries confirms that if a neologism appears in the literary language - a synonym for an already well-known, established nomination of an object, attribute, phenomenon, then as a result of competition, these lexemes must either disperse semantically, i.e. desemantize, or change stylistic coloring. The inability to stylistic changes and semantic development leads to the fact that in a competing group of words, some of the lexemes with such criteria eventually become archaic.
In addition to general reasons, the replenishment of the category of proper lexical archaisms is influenced by the following factors:
1. The vast majority of proper lexical archaisms of Slavic origin has a derivative character. This allows us to state that the generative stem also influences the archaization of a word: approximately 50% of such words are formed from obsolete generating stems.
2. Homonymy plays an important role in the obsolescence of words (this is confirmed by quantitative data: 7.5% of proper lexical archaisms are part of homonymous pairs or groups).
3. In those cases when lexical archaism itself, derived from a modern stem, reveals an active equivalent-lexeme in the modern language, the reason for the archaization of a word is a violation of its word-formation motivation, which is expressed in the fact that its morphemic composition does not reflect the nuclear meaning of the semantic structure of the word. The violation of word-formation motivation in an obsolete word occurs because these archaisms are either "fragments" of old lexemes (since at the time of archaization, many of them finally lose their primary meanings that can semantically support secondary LSVs), or are motivated by secondary or obsolete LSVs of active producers. words.
CONCLUSION
Outdated vocabulary is the most valuable material not only in terms of linguistic heritage, but also in terms of language learning. A comprehensive study of the processes of archaization of the modern Russian language and generalization of the results of such studies helps, first of all, to further comprehend the general laws of the development of the language, explains some processes of the formation of the Russian national language, and reveals the dynamics of the evolution of its vocabulary.
The criteria for obsolete vocabulary are determined by the presence of specific causes of obsolescence, the fact that the word belongs to the passive stock, the degree of its obsolescence and the nature of its use (stylistic aspect).
An analysis of the formulations available in the scientific and scientific-educational literature allows us to conclude that obsolete vocabulary is a category of words belonging to the passive stock of stylistically neutral vocabulary or the corresponding functional style.
The outdated vocabulary of the Russian language consists of words with a partially or completely lost nominative function in the process of their historical development under the influence of internal linguistic factors. The degree of loss of nominativeness can be directly proportional to the degree of obsolescence of the word. A low degree of loss of nominativity in most cases allows the obsolete word to function in other styles or perform special stylistic tasks in the modern literary language, because in this case the lost nominativity of the lexeme is compensated by the expressive-synonymous function.
Outdated vocabulary is an integral part of the Russian language, and, consequently, its explanatory dictionaries from the Dictionary of the Russian Academy of the late 18th century. to the explanatory dictionaries of our century.
The principles for including obsolete words are determined by the conceptual tasks of dictionary compilers: 1) all obsolete vocabulary (SCRL) is introduced into the dictionary, 2) the number of obsolete words may be limited by the "period embraced by the dictionary" (Grot-Shakhmatov Dictionary), 3) obsolete words are introduced into the dictionary " from Pushkin to the present day", the knowledge of which is necessary for the correct reading of fiction and journalism of the late 18th - early 20th centuries. (explanatory dictionaries published in the 20th century).
The first experiments in compiling dictionaries of obsolete words (1996 -1997) show that the principles for selecting obsolete vocabulary in them are somewhat different from the principles of explanatory dictionaries. So, for example, in dictionaries of obsolete words, both historical-thematic and functional approaches can be used simultaneously with the general cultural one.
Unfortunately, the term obsolete vocabulary itself is understood differently by the authors of dictionaries of obsolete words, because there is no consensus yet on the set of its qualifications. As a result, the absence of clear criteria for an obsolete word in these dictionaries makes it possible to combine archaic vocabulary with functionally limited lexical units either on the basis of their low frequency, or classify active vocabulary that is not included in the vocabulary of a school student as obsolete words.
On the example of explanatory dictionaries of the late XVIII - early XX centuries. the history of the lexicographic designation of obsolete words is traced (from "old" /old /, "old" /old /, "weathered." /dilapidated word/ to "obsolete" /obsolete/), as well as the history of the formation of the semantic content of markers that fix archaic vocabulary.
A different understanding of the nature of the signal of obsolete words resulted in two positions in the 20th century on the issue of the content of the mark. Some authors of explanatory dictionaries (BASM, BAS-2, MAS-1, MAS-2) classify it as stylistic marks, some compilers (SU) - as exclusively diachronic. In contrast to theoretical disagreements, the practical application of the mark illustrates the non-normativeness of the obsolete word for the modern language, and its special stylistic tasks characterize the second component of the double mark or special indications in the content of the dictionary entry.
Based on a comparison of data from explanatory dictionaries of the 18th - 20th centuries. marks of archaic vocabulary can characterize an obsolete lexeme on the following grounds: 1) the degree of obsolescence ([obet., old, obsolete, obsolete; historical, new. istor.): 2) the stylistic characteristic of the word (church., whole., church .-bookish, obsolete poet.); 3) the diachronic characteristic of the word (the absence of the second component in the litter old, obsolete, etc.); 4) an indication of certain lexical properties (obsolete, historical, pre-revolutionary, new historical); 4) grammatical signs (old, gram., old. binary h); 5) syntactic signs (old, pogov.).
The way of expressing the criterion is formed as follows: 1) a single marker, 2) a double marker, 3) in a definition using indications of chronology, the words old, ancient, etc., as well as past participles.
Up to the release of BAS-1 in dictionary practice, the conventions of obsolete words were quite diverse, and this allowed the user of the dictionary to quite accurately imagine the place of the obsolete word and its chronological framework in the system of the modern Russian language (the SU and the Grot-Shakhmatov Dictionary are especially illustrative in this respect). Subsequently, the quantitative indicator of markers for linguistically close vocabulary became one of the aspects of the problem of choosing labels, since there was a tendency towards their universalization.
The search for a universal marker led to the fact that in BAS-2 only one litter began to be used - obsolete, which in the broad sense is still not absolute, because. the compilers of the dictionary designate historicisms that they classify as obsolete words in the dictionary entry with the help of past participles.
Despite the tendency to unify labels for linguistically the same type of vocabulary, due to the complexity and diversity of the subject of research, it seems to us the most rational to leave three markers - old, (or old.), outdated. and obsolete, which will characterize the degree of obsolescence of archaism (subject to solving the problem of the degree of archaization of the lexeme), and in combination with other marks - indicate its stylistic affiliation (obsolete high, obsolete simple) and the ability to be used in a modern language in a different stylistic status or with a certain emotional coloring (obsolete and colloquial; obsolete and joke). The markers of archaic vocabulary themselves should be defined as one of the varieties of marks of the speech usage of the word (stylistic marks will be another variety).
Linguistic studies of the second half of the XX century. show that archaic vocabulary is heterogeneous in terms of obsolescence, and this has led to the emergence of classifications of obsolete words on this basis. However, the unequal understanding of the chronological characteristics of the archaization of the word still prevents the emergence of a clear and complete typology of archaic vocabulary in terms of its obsolescence, and the designated issue in modern linguistics is still at the development stage.
Since the 50s. XX century., Of great interest to linguists is the classification of archaic vocabulary according to the nature of the internal causes of obsolescence. Approaches to the typology of obsolete words that are correct in themselves, existing in the scientific literature, are still not universal enough to fully cover it, because to this day there are no clear criteria for delimiting archaic vocabulary from other linguistic units and there is a problem of selecting qualifying features of specific categories of obsolete words.
The archaization of vocabulary is facilitated by a variety of intralinguistic reasons. The specificity of the causes of obsolescence within the word itself determines the allocation of certain categories of archaisms, however, the lack of reasonable criteria for the types of obsolete words sometimes leads to an approximate and, moreover, often incorrect qualification of a particular archaic unit or to a description of only the nuclear part of a particular category.
Unfortunately, the defining features of each of the parameters in various classifications are often fundamentally different from each other, since they do not have solid justifications or are offered as given. In this situation, one of the possible solutions to the problem may be to clarify the qualification features of the category of proper lexical archaisms, which will help to more rigorously characterize other categories and, possibly, to identify new types of obsolete words.
Having studied various positions on the issue of classifying obsolete words, we propose to take a systematic approach as the basis for the typology of archaic units of the language, i.e. take into account that the language as a system has interdependent levels, each of which is subject to archaization and has its own obsolete specific elements.
At the lexico-semantic level, when classifying archaisms, we, following N.M. Shansky, we consider archaism as a two-sided lexical unit, in which both the plan of expression (lexical archaisms) and the plan of content (semantic archaisms) can become obsolete, while simultaneously taking into account the nature of the generating stem of the word.
Having considered the qualifying features of the category, we define proper lexical archaisms as obsolete single-valued words, represented in some cases by phonetic, derivational or morphological variants and displaced in the modern language by their active equivalents - synonymous words with a different non-derivative stem (root), synonymous phrases or brief interpretations . A certain part of proper lexical archaisms is potential vocabulary.
The study of the actual lexical archaisms made it possible to identify the immediate causes of their appearance.
In the modern language, along with the general causes of archaization, to which a sufficient number of studies have been devoted, when comparing some of the proper lexical archaisms with their active equivalents, there is a violation of the word-formation motivation of an obsolete derivative word, which is associated with the peculiarities of the structural-semantic relations between the derivative and the generating bases and is expressed in the following:
1) proper lexical archaism, (directly or indirectly) formed from an active stem (except for potential vocabulary), is motivated not by the entire (or main) meaning of the generating word, but by its secondary LSV (active or obsolete) or individual components of meanings. With absolute use, such a derivative word, obeying modern word-formation laws, is perceived as motivated by the entire meaning of the generating one, as a result of which there is a discrepancy between the morphemic composition of the lexeme and its general semantic structure, which is resolved by choosing a new form that is more in line with modern word-formation laws;
2) archaism, formed from a completely obsolete basis, for a modern native speaker retains only a structural analogy with the corresponding lexico-grammatical category of words, and lexical correlation with the semantics of the motivating word disappears.
The specific material selected for analysis shows that, in addition to general reasons, the replenishment of the category of proper lexical archaisms depends on the following factors: b) homonymy (this is confirmed by quantitative data: 7.5% of proper lexical archaisms are part of homonymous pairs or groups); c) belonging to the so-called potential vocabulary.
By origin, proper lexical archaisms are presented as borrowings from non-Slavic languages or calques (mainly with Greek), and vocabulary of Slavic origin (originally Russian, Old Slavonic).
Among the borrowings, the largest are actually lexical archaisms - Gallicisms, Latinisms and Germanisms, among derivatives - abstract names in -ie and -stv(o) and agentive nouns with suffixes -schik, -nik and -tel.
Both in obsolete borrowings and Slavic archaisms, the most regular are groups of negatively colored vocabulary denoting the qualities or actions of a person, and agentive names by profession, craft, occupation.
The history of lexemes, reconstructed from explanatory dictionaries, included in the semantic groups "negative qualities or properties of a person" and "names of persons by craft, profession", confirms the general patterns of formation of the lexical composition of the language: if a neologism appears in the literary language, it is a synonym for an already well-known, established nomination object, feature, phenomenon, then as a result of competition, these lexemes must either diverge semantically, i.e. desemantize, or change stylistic coloring. The reasons for the obsolescence of expressively or stylistically colored words (SH "negative qualities or properties of a person") are mainly associated with their inability to stylistic changes, stylistically neutral vocabulary - to semantic development, and as a result, in a competing group of words, representatives of these groups eventually become archaic.
The performed analysis of archaic vocabulary is far from final and incomplete: a systematic examination of only one of the types of obsolete words, the category of proper lexical archaisms, has begun. - actually lexical archaisms, as well as to continue an in-depth study of other types of archaisms (the most interesting in this regard, in our opinion, are semantic archaisms)
The qualification of archaic vocabulary proposed on the basis of refined features of one of the categories is not final and complete. Further research in this direction will help to find new criteria for a more accurate systematization of archaisms, as well as to discover new categories of obsolete words.
A promising direction in the further study of archaic vocabulary, as well as the category of proper lexical archaisms, is the cognitive approach.
On the material of explanatory dictionaries (SU, BAS-1, MAS-1, MAS-2, BAS-2), as an appendix to the dissertation, a "Dictionary of proper lexical archaisms of the Russian language" was compiled, which includes more than 2000 lexemes. The Dictionary reflects all varieties of labels that characterize this lexical and stylistic category, which will make it possible to use it as a guide to historical lexicology and historical stylistics of the Russian language.
The material of the dissertation research makes it possible to create a textbook "Archaic vocabulary of the modern Russian language"
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N. A. SHESTAKOVA
Proper lexical archaisms in Russian
The article discusses the archaic vocabulary that forms the category of proper lexical archaisms, shows the features of the motivational relationship between the derivative and generating words, which determine the transition of the lexeme to the category of proper lexical archaisms, as well as other reasons that cause the appearance of these words in the language.
Key words: proper lexical archaism; derivative basis; producing basis; word-formation motivation; potential vocabulary; homonymy.
The processes of enrichment of the vocabulary of the Russian language and the archaization of a certain part of it go in parallel. Activation and weakening of the functioning of the word are associated with the peculiarities of the development of the lexical system of the Russian language, which is sensitive to the processes taking place in the modern world.
The period of archaization of vocabulary is very long and not as noticeable as the emergence of new words, and, according to some linguists, not as significant as the development of the national language as a whole, however, the study of the reasons for the obsolescence of words plays an important role in understanding the processes of further formation of the system of Russian vocabulary and , respectively, changes taking place in the world. The reasons for the archaization of vocabulary should be sought not only in the language processes of our time, but also throughout the entire period of formation and development of the Russian national language.
The scientific literature highlights the following factors that contribute to the obsolescence of words: active formation Russian literary language (XVIII century), associated with the formation of the Russian state, which led to a tendency to eliminate redundant names that duplicate each other; semantic change in the lexical system of the Russian literary language that occurred in the 19th century.
Archaization of vocabulary is caused by changes
Shestakova Natalya Alekseevna, Ph.D. Sciences, Associate Professor, Belarusian State University. Email: [email protected]
in the state and public life of the country, as a result of which the scope of the use of words associated with the former way of life is limited, there is a conscious rejection of certain groups of vocabulary (in particular, from some thematic groups Old Slavonicisms), as well as the fight against the so-called gallomania, which had negative influence for the formation of the national language.
The obsolescence of vocabulary is affected by the low frequency or low use of the word, leading to the fact that the word is forgotten by contemporaries or becomes incomprehensible.
Depending on the nature of the internal causes of obsolescence, various types of archaic vocabulary are distinguished: lexical proper, word-formation (derivational), phonetic, etc.
In our opinion, the category of proper lexical archaisms is the most interesting in this respect. Undoubtedly, the formation of the category is influenced by the general language factors outlined above, however, the analysis of specific material (according to explanatory dictionaries of the 17th-20th centuries, more than two thousand lexemes were qualified by us as proper lexical archaisms) made it possible to establish the linguistic reasons that cause the appearance of this group words.
By proper lexical archaisms, we include obsolete, mostly unambiguous words, displaced in the modern language by active equivalents with a different basis: atomless -
nuclear-free, dishonor - dishonor, dishonor, hawk - drunkard, reveler, bucket - clear, sunny, dry (about the weather); vzrachnost - beauty, attractiveness; sighing - sad, plaintive; clearance - dismissal (from service); harpagon - miser, miser; guny - bald, bald; sassy - daring, lively, etc. One of the reasons for the emergence of proper lexical archaisms lies in the nature of the generating base and in the features of the motivational relationship between derivative and generating words, because more than 80% of the total number of proper lexical archaisms considered by us have a derivative basis, and only about 20% are non-derivative words (15% are borrowings, 5% are Old Slavic words and native Russian vocabulary).
Among the derivatives of proper lexical archaisms, about half of the words are motivated by active vocabulary, the other - by obsolete ones.
The main reason for the emergence of proper lexical archaisms formed from active stems is the violation of the word-formation motivation of the derived obsolete word from the standpoint of the modern language (we believe this is one of the reasons that prevent many modern neoplasms from gaining a foothold in the group of active vocabulary).
The lexical meaning of a word, according to the definition of V. V. Vinogradov, is “a subject-material content, designed according to the laws of the grammar of a given language and being an element of the general semantic system of the language” [Vinogradov 1986: 10].
In modern Russian, the semantics of a motivated word is defined through the meaning of a single-root word that is either in relation to word-formation motivation, or it is “identical to the meaning of another in all its components, except for the grammatical meaning of a part of speech” [Russian Grammar 1980: 133].
The semantics of a derived word can also be determined through its morphemic
composition, where each morpheme is the corresponding representative of one of the components of the meaning of the segmented word. “The division of a word into meaningful parts is the allocation in its lexical meaning of the semantic components expressed by these parts” [Ulukhanov 1977: 83].
We will proceed from the fact that in explanatory dictionaries the dictionary definition reflects the general semantic structure of the lexeme, the representative of the semantic core of which is the root, which contains "the main element of the lexical meaning of the word" [Russian Grammar 1980: 124].
When comparing the semantics determined by the structure of lexical archaisms proper with their general semantic structure, the following regularities are revealed.
From the standpoint of the modern language, in the morphemic structure of many proper lexical archaisms formed from active stems, the root is not a representative of the nuclear meaning of the general semantic structure of the word, but represents minor or connotative components of its semantics. Such a discrepancy between the form of a word and the content put into it is due to the fact that derivative archaism is motivated not by the entire semantics of the generator, but by its secondary meanings or connotative shades. In the modern language, with absolutive use, the derivative word is perceived as motivated by the entire meaning of the generating one, and in this case the root of proper lexical archaism also returns to itself the main, nuclear meaning. As a result, there is a discrepancy between the meaning of archaism, due to the morphemic composition, and its general semantic structure.
So, for example, the actual lexical archaism of the sensory (cognitive and thinking abilities of a person), based on its morphemic structure, can be interpreted as “a place (or object) where feelings are located, that is, a receptacle for feelings” or as “an object, possessing
giving the ability to feel. An analysis of the general semantic structure of archaism sensibiliche shows that the active deriving verb to feel motivates the obsolete name not by the main, but by one of the secondary meanings: “to be able to perceive and understand.” - l. feeling, to feel), as a result of which the root - feelings - returns to itself the main meaning "the ability to experience, perceive external influences, as well as such a sensation itself." As a result, the semantics of archaism, determined by the morphemic composition, ceases to correspond to its general semantic structure. This contradiction is resolved by the transition of the name sensibility into a passive vocabulary, and in the modern language the active nouns intellect (thinking ability, mental beginning in a person) and mind (the ability to think logically and creatively; the highest level in human cognitive activity; mind, intellect) remain functioning. the general semantic structure of which is similar to the meaning of the archaic sensibility.
The semantics of the root with the synonymous meaning of word-forming affixes does not correspond to the nuclear part of the general semantic structure of the word in archaisms sosoprosnik (interlocutor, debater), collaborator (rival), vzlizina (bald patch), black man (monk), non-evening (non-extinguishing, non-fading), lying ( siege, encirclement), departing (remote), translator (immigrant), povalush (common bedroom), podblyudnik (saddle), predecessor (predecessor) and many others.
Motivation by non-primary (secondary or connotative) meanings of active deriving words awakens figurativeness and expressiveness in derivative lexical archaisms proper, which allow the derived name to function in various styles of speech, but at the same time require certain
context, with the greatest completeness revealing the semantics of an obsolete word (for example: peacock - "take an arrogant, arrogant look"; "proud, swagger"; vynit - "cleverly run from place to place, slipping imperceptibly"; star - "make sparkle, sparkle " and etc.).
Properly lexical archaisms motivated by obsolete words can be grouped into three groups. In this case, the structural and semantic features of the generating basis become a qualifying feature.
The first group includes words motivated by lexemes with a high degree of obsolete, either already dropped out of the vocabulary of the language, or on the verge of exit. In most cases, such generating bases are non-derivative (initial). They can be different in their origin: duvan (Turk.) "booty" -> duvanit "distribute the booty among the participants"); ferlacur (fr.) "red tape" -> ferlakurit "take care of women, be a red tape, ladies' man", frishtik (German) "breakfast" -> frisch tick "breakfast", etc.
Ashurkova T.G. - 2009
VENDINA T. I. - 2010