The originality of Leskov's poetics
As for his own work, the writer went "against the currents." He loves the genres of short stories and anecdotes, which are based on news, surprise, i.e. something that conflicts with the usual way of looking at things.
Leskov strove not to invent, but to look for interesting plots and characters in life. In this search, he turned to social groups that no one had looked closely at before him: priests, artisans, engineers, managers, Old Believers.
Leskov portrayed the “righteous” hero, in the writer’s terminology.
Reflecting on such a character, Leskov was looking for manifestations of goodness in everyday life, among the hustle and bustle of everyday life. The writer was interested not so much in the presence of an ideal as in the possibility and diversity of its manifestation in specific life situations.
Most importantly, most of his positive characters are not titans or "idiots", they have human weaknesses and eternal human virtues: honesty, kindness, selflessness, the ability to come to the rescue - something that, in general, everyone can do. It is no coincidence that in the works of a large form (especially in "Cathedrals") Leskov surrounds his favorite heroes with close people. Archpriest Tuberozov (“Soboryanye”), for whom the whole city stood up, is still an unsurpassed example of human stamina and courage, spiritual independence and strength. Tuberozov was compared with the famous archpriest Avvakum, but he lived in XIX c., when Avvakum's firm faith was, to put it mildly, out of fashion.
The heroes of "The Sealed Angel" are masons, the hero of "The Enchanted Wanderer" is a groom, a fugitive serf, "Lefty" is a blacksmith, a Tula gunsmith, "Dumb Artist" is a serf hairdresser and a theatrical make-up artist.
In order to put a hero from the people at the center of the story, one must first masterhis language, to be able to reproduce the speech of different strata of the people, different professions, destinies, ages.
The task of recreating the living language of the people in a literary work required special art when Leskov used the form of a tale. skaz in Russian literature comes from Gogol, but in particular skillfully developed by Leskov and glorified him as an artist.The essence of this manner is that the narration is conducted, as it were, not on behalf of a neutral, objective author; the narration is led by a narrator, usually a participant in the reported events. The speech of a work of art imitates the live speech of an oral story. At the same time, in a tale, the narrator is usually a person of a different social circle and cultural stratum to which the writer and the intended reader of the work belong.Leskov's story is led either by a merchant, or a monk, or an artisan, or a retired mayor, or a former soldier. Each narrator speaks according to his education and upbringing, his age and profession, his concept of himself, his desire and ability to impress listeners.
The narrator in a tale usually refers to some interlocutor or group of interlocutors, the narration begins and moves forward in response to their questions and comments. Yes, in"The Enchanted Wanderer"a monastic novice traveling with them is interested in his knowledge and opinions, and at their request he tells the story of his colorful and remarkable life. Of course, not all of Leskov's works are written in "tales", in many the narration, as is usual in fiction, is led by the author himself.
His speech is the speech of an intellectual, lively, but without imitation of oral conversation. In this manner, those parts of the "tale" works, in which the author presents and characterizes his characters, are written. Sometimes the combination of the author's speech and the tale is more difficult. At the core"Dumb Artist"- the story of the old nanny to her pupil, a nine-year-old boy. This nanny is in the past an actress of the Oryol fortress theater of Count Kamensky. (This is the same theater that is described in Herzen's story "The Thieving Magpie" under the name of the theater of Prince Skalinsky). But the heroine of Herzen's story is not only highly talented, but, due to the exceptional circumstances of her life, an educated actress. Leskov's Lyuba is an uneducated serf girl, by natural talent capable of singing, dancing, and playing roles in plays "at a glance" (that is, by hearsay, following other actresses). She is not able to tell everything and reveal what the author wants to tell the reader, and she cannot know everything (for example, the conversations of the master with his brother). Therefore, not the whole story is told on behalf of the nanny; part of the event is described by the author with the inclusion of excerpts and small quotes from the nanny's story.
"Lefty" - not a household tale, where the narrator tells about the events he experienced or personally known to him; here he retells a legend created by the people, as folk narrators perform epics or historical songs.
As in the folk epic, a number of historical figures act in "Levsha": two tsars - Alexander I and Nicholas I, ministers Chernyshev, Nesselrode (Kiselvrode), Kleinmichel, ataman of the Don Cossack army Platov, commandant of the Peter and Paul Fortress Skobelev and others.
The narrator has no name, no personal image. True, in early publications the story opened with a preface in which the writer claimed that "he wrote down this legend in Sestroretsk according to a local tale from an old gunsmith, a native of Tula ...". However, when preparing "Lefty" for the collection of his works, Leskov excluded this preface. The reason for the exclusion could be that all the reviewers of "Levsha" believed the author that he had printed a folklore record, and did not agree only on whether the tale was recorded accurately or whether Leskov added something of his own. Leskov twice had to expose his preface in print as a literary fiction. "... I composed this whole story ... - he wrote, - and Lefty is a person invented by me."
Hero "The Enchanted Wanderer"Ivan Severyanovich Flyagin is a hero in the full sense of the word, and, moreover, "a typical, simple-hearted, kind Russian hero, reminiscent of grandfather Ilya Muromets." He possesses extraordinary physical strength, infinitely bold and courageous, sincere and straightforward to the point of naivety, extremely disinterested, responsive to someone else's grief. Like any folk hero, Ivan Severyanych passionately loves his homeland. This is clearly manifested in mortal longing for his native land, when he has to be a prisoner of the Kirghiz for ten years. By old age, his patriotism becomes wider and more conscious. He is tormented by a premonition of the coming war, and he dreams of taking part in it and dying for his native land.
He is extremely talented. First of all, in the case to which he was assigned as a boy, when he became a postilion with his master. To everything related to horses, he "received a special talent from his nature."
Behind him are not only misdemeanors, but also crimes: murders, intentional and unintentional, horse-stealing, embezzlement. But every reader feels in Ivan Severyanych a pure and noble soul. Indeed, even of the three murders that are told about in the story, the first is an unintentional result of mischievous recklessness and a young force that does not know what to do with itself, the second is the result of the intransigence of the enemy, hoping to "overthrow" Ivan Severyanych "in a fair fight", and the third is the greatest feat of selfless love.
Legendary Southpawwith two of his comrades he managed to forge and attach with carnations horseshoes to the paws of a steel flea made in England. On each horseshoe "the master's name is displayed: which Russian master made that horseshoe." These inscriptions can be seen only in the "microscope, which magnifies five million." But the artisans did not have any microscopes, but only "shooting the eye."
Leskov is far from idealizing the people. The left-hander is ignorant, and this cannot but affect his work. The art of the English masters was manifested not so much in the fact that they cast a flea from steel, but in the fact that the flea danced, wound up with a special key. Grounded, she stopped dancing. And the English craftsmen, welcoming Lefty sent to England with a savvy flea, point out that he is hindered by a lack of knowledge: "... Then you could figure out that in every machine there is a calculation of strength, otherwise you are very much in your hands skillful, but did not realize that such a small machine, as in a nymphosoria, is designed for the most accurate accuracy and cannot carry its horseshoes. Now the nymphosoria does not jump and dance through this."
Lefty loves his Russia with a simple-hearted and unsophisticated love. He rushes home because he has a task that Russia needs to complete; thus she became the goal of his life. In England, Lefty learned that the muzzles of guns should be lubricated, and not cleaned with crushed brick, as was customary then in the Russian army, which is why "bullets hang in them" and guns, "God forbid, they are not good for shooting." With this, he hurries home. He arrives sick, the authorities didn’t bother to provide him with a document, the police completely robbed him, after which they began to take him to hospitals, but they didn’t take him anywhere without a “tugament”, they dumped the patient on the floor, and, finally, his “nape of the parat split” . Dying, Lefty thought only about how to bring his discovery to the king, and still managed to inform the doctor about it. He reported to the Minister of War, but in response he received only a rude shout: "Know your emetic and laxative, and don't interfere in your own business: in Russia there are generals for this."
An important role in the plot of "Lefty" is assigned"Don Cossack" Platov. As in folk historical songs and in Cossack tales about the war with the French, here the ataman of the Don army, General Count M. I. Platov, is called by this name. In the tale of Lefty, Platov, on the orders of Tsar Nicholas I, took an overseas curiosity to Tula so that the Russian masters would show what they were capable of, "so that the British would not exalt themselves over the Russians." He also brings Lefty to St. Petersburg to the royal palace.
in the story "Stupid Artist"the writer displays a rich count with an "insignificant face", revealing an insignificant soul. This is an evil tyrant and tormentor: people who are objectionable to him are torn to pieces by hunting dogs, executioners torment them with incredible torture.
The image of one of the master's servants is vividly depicted in"Toupee artist". This is the priest Arkady, not frightened by the tortures that threaten him, perhaps mortal, trying to save his beloved girl from the abuse of her by a depraved master. The priest promises to marry them and hide them for the night, after which both hope to get into the "Turkish Khrushchuk". But the priest, having previously robbed Arkady, betrays the fugitives to the count's people sent in search of the fugitives, for which he receives a well-deserved spit in the face.
Realizing the place and significance of N.S. Leskov in the literary process, we always note that this is a surprisingly original writer. The outward dissimilarity of his predecessors and contemporaries sometimes forced him to see in him a completely new phenomenon, which had no analogues in Russian literature. Leskov is brightly original, and at the same time, you can learn a lot from him..He is an amazing experimenter who gave birth to a whole wave of artistic searches in Russian literature; he is a cheerful, mischievous experimenter, and at the same time extremely serious and deep, setting great educational goals for himself.
Creativity Leskov, one might say, knows no social boundaries. He displays in his works people of various classes and circles: and landowners - from the rich to the semi-poor, and officials of all stripes - from the minister to the quarter, and the clergy - monastic and parish - from the metropolitan to the deacon, and the military of various ranks and types of weapons, and peasants, and people from the peasantry - soldiers, artisans and any working people. Leskov willingly shows different representatives of the nationalities of the then Russia: Ukrainians, Yakuts, Jews, Gypsies, Poles ... Leskov's versatility of knowledge of the life of each class, estate, nationality is amazing. Leskov's exceptional life experience, his vigilance, memory, his linguistic flair were needed to describe the life of the people so intently, with such knowledge of life, economic structure, family relations, folk art, folk language.
With all the breadth of coverage of Russian life, there is a sphere in Leskov's work, to which his most significant and famous works belong: this is the sphere of the life of the people.
Who are the heroes of Leskov's most beloved works by our readers?
Heroes" The sealed angel- masons workers "Lefty"- blacksmith, Tula gunsmith," Tupey artist"- serf hairdresser and theatrical make-up artist
To put a hero from the people at the center of the story, one must first of all master his language, to be able to reproduce the speech of different strata of the people, different professions, destinies, ages. The task of recreating the living language of the people in a literary work required special art when Leskov used the form of a tale.
The tale in Russian literature comes from Gogol, but in particular it was skillfully developed by Leskov and glorified him as an artist. The essence of this manner is that the narration is conducted, as it were, not on behalf of a neutral, objective author; the narration is led by a narrator, usually a participant in the reported events. The speech of a work of art imitates the live speech of an oral story. At the same time, in a tale, the narrator is usually a person of a different social circle and cultural stratum to which the writer and the intended reader of the work belong. Leskov's story is led either by a merchant, or a monk, or an artisan, or a retired mayor, or a former soldier. . Each narrator speaks according to his education and upbringing, his age and profession, his concept of himself, his desire and ability to impress listeners.
This manner gives Leskov's story a special liveliness. The language of his works, unusually rich and varied, deepens the social and individual characteristics of his characters, becomes for the writer a means of finely assessing people and events. Gorky wrote about the Leskovsky tale: "... The people in his stories often talk about themselves, but their speech is so amazingly alive, so truthful and convincing that they stand before you just as mysteriously tangible, physically clear, like people from the books of L. Tolstoy and others, otherwise say, Leskov achieves the same result, but with a different method of skill.
To illustrate Leskov's tale manner, let's take some tirade from Lefty. Here is how the narrator, based on Lefty's impressions, describes the living and working conditions of English workers : "Each worker is constantly full of them, dressed not in scraps, but on each capable tunic vest, shod in thick anklets with iron knobs so that they don’t cut their feet anywhere; he works not with a boilie, but with training and has himself In front of everyone, a multiplication table hangs in plain sight, and an erasable tablet is at hand: everything that the master does, he looks at the block and checks with the concept, and then writes one thing on the tablet, erases the other and neatly reduces: what is written on the numbers , then it really comes out."
The narrator did not see the English workers. He dresses them according to his imagination, connecting a jacket with a vest. He knows that they work there “according to science”, he himself heard only about the “multiplication dovetail” in this regard, which means that the master, who works not “by eye”, but with the help of “tsifirs”, should compare his products with it. The narrator, of course, lacks familiar words, he distorts unfamiliar words or uses them incorrectly.. "Shoes" become "shoes" - probably by association with panache. The multiplication table turns into a "dolbitsa" - obviously, because the students "hollow" it. Wanting to designate some kind of extension on the boots, the narrator calls it a knob, transferring the name of the extension on a stick to it.
Narrators from the folk environment often change strange-sounding foreign words into Russian., which, with such a rework, receive new or additional values; Leskov especially willingly imitates this so-called "folk etymology ". So, in "Lefty" the barometer turns into a "buremeter", "microscope" - into a "melkoskop", "pudding" - into "studing " etc. Leskov, who passionately loved puns, puns, witticisms, jokes, filled "Lefty" with linguistic curiosities. But their set does not evoke the impression of excess, because the immense brightness of verbal patterns is in the spirit of folk buffoonery. And sometimes a word game not only amuses, but behind it is a satirical denunciation.
The narrator in a tale usually refers to some interlocutor or group of interlocutors., the narrative begins and progresses in response to their questions and remarks. At the core "Toupee artist"- the story of an old nanny to her pupil, a nine-year-old boy. This nanny is a former actress of the Oryol fortress theater of Count Kamensky. This is the same theater that is described in Herzen's story "The Thieving Magpie" under the name of Prince Skalinsky's theater. But the heroine of Herzen's story is not only a highly talented, but, due to the exceptional circumstances of her life, an educated actress... Leskov's Lyuba is an uneducated serf girl, by natural talent capable of singing, dancing, and playing roles in plays "observe" (that is, hearsay, following other actresses ) She is not able to tell everything and reveal what the author wants to tell the reader, and not everything can know (for example, the conversations of the master with his brother). Therefore, not the whole story is told on behalf of the nanny; part of the events are described by the author with the inclusion of excerpts and small quotes from babysitter's story.
In Leskov's most popular work - "Lefty" we meet with a tale of a different kind. There is no author, no audience, no narrator. More precisely, the author's voice is heard for the first time after the end of the tale: in the final chapter, the writer characterizes the story told as a "fabulous legend", an "epos" of masters, "a myth personified by folk fantasy".
(*10) The narrator in "Lefty" exists only as a voice that does not belong to a specific, named person. This is, as it were, the voice of the people - the creator of the "gunsmith's legend".
"Lefty"- not a household tale, where the narrator tells about the events he experienced or personally known to him; here he retells the legend created by the people, as folk narrators perform epics or historical songs. As in the folk epic, in "Lefty" there are a number of historical figures: two kings - Alexander I and Nicholas I, ministers Chernyshev, Nesselrode (Kiselvrode), Kleinmikhel, ataman of the Don Cossack army Platov, commandant of the Peter and Paul Fortress Skobelev and others.
Contemporaries did not appreciate either "Lefty" or Leskov's talent in general.They believed that Leskov was excessive in everything: he overlays bright colors too thickly, puts his heroes in too unusual positions, makes them speak in an exaggeratedly characteristic language, strings too many episodes on one thread and so on.
Most associated with the work of the people "Lefty". At the very basis of its plot lies a comic proverb in which the people expressed admiration for the art of the Tula masters: "Tula people shod a flea". Leskov used and went among the people legends about the skill of Tula gunsmiths. As early as the beginning of the 19th century, an anecdote was published about how an important Russian gentleman showed an expensive English pistol to the workman of the Tula Arms Plant, and he, taking the pistol, "unscrewed the trigger and showed his name under the screw". In "Lefty" Platov arranges the same demonstration to prove to Tsar Alexander that "we have our own house no worse." In the English "armory cabinet of curiosities", (*12) having picked up the especially touted "pistol", Platov unscrews the lock and shows the tsar the inscription: "Ivan Moskvin in the city of Tula".
As you can see, love for the people, the desire to discover and show the best sides of the Russian national character did not make Leskov a panegyrist, did not prevent him from seeing the features of slavery and ignorance that his history imposed on the people. Leskov does not hide these features in the hero of his myth about a brilliant craftsman. The legendary Lefty with two of his comrades managed to forge and attach horseshoes to the paws of a steel flea made in England with carnations. On each horseshoe "the master's name is displayed: which Russian master made that horseshoe." These inscriptions can be seen only in the "microscope, which magnifies five million." But the artisans did not have any microscopes, but only "shooting the eye."
This is, of course, a fabulous exaggeration, but it has real grounds. Tula craftsmen have always been especially famous and are still famous for their miniature products, which can only be seen with a strong magnifying glass.
Admiring the genius of Lefty, Leskov, however, is far from idealizing the people as they were, according to historical conditions, at that time. The left-hander is ignorant, and this cannot but affect his work. The art of the English masters was manifested not so much in the fact that they cast a flea from steel, but in the fact that the flea danced, wound up with a special key. Grounded, she stopped dancing. And the English masters, cordially receiving the one sent to England with a savvy flea, Lefty , indicate that he is hindered by a lack of knowledge: "... Then you could figure out that in every machine there is a calculation of strength, otherwise you are very skillful in your hands, and you didn’t realize that such a small machine, as in a nymphosoria, is designed for the most accurate accuracy and its horseshoes are not Because of this, now nymphosoria does not jump and dance does not dance. "Leskov attached great importance to this moment. In an article devoted to the tale of Levsha, Leskov contrasts Levsha's genius with his ignorance, and his (ardent patriotism) with the lack of concern for the people and homeland in the ruling clique. Leskov writes: one person, and that where "Lefty" stands, one should read "Russian people."
Lefty loves his Russia with a simple-hearted and unsophisticated love. He cannot be tempted by an easy life in a foreign land. He rushes home because he has a task that Russia needs to complete; thus she became the goal of his life. In England, Lefty learned that the muzzles of guns should be lubricated, and not cleaned with crushed brick, as was customary then in the Russian army, which is why "bullets hang in them" and guns, "God forbid war, (...) are not suitable for shooting ". With this, he hurries home. He arrives sick, the authorities didn’t bother to provide him with a document, the police completely robbed him, after which they began to take him to hospitals, but they didn’t take him anywhere without a “tugament”, they dumped the patient on the floor, and, finally, his “nape of the parat split” . Dying, Lefty thought only about how to bring his discovery to the king, and still managed to inform the doctor about it. He reported to the Minister of War, but in response he received only a rude shout: "Know (...) your emetic and laxative, and don't interfere in your own business: in Russia there are generals for this."
In the story" "Dumb Artist" the writer displays a rich count with an "insignificant face", revealing an insignificant soul. This is an evil tyrant and tormentor: people who are objectionable to him are torn to pieces by hunting dogs, executioners torment them with incredible torture. Thus, Leskov opposes truly courageous people from the people of the people, “masters”, rabid from immeasurable power over people and imagining themselves courageous, because they are always ready to torment and to destroy people at their own whim or whim - of course, by proxy. The image of one of the master's servants is vividly depicted in "The Toupee Artist". This is pop. Arkady, not frightened by the tortures that threaten him, perhaps mortal, is trying to save his beloved girl from abuse (* 19) over her by a depraved master. The priest promises to marry them and hide them for the night, after which both hope to get into the "Turkish Khrushchuk". But the priest, having previously robbed Arkady, betrays the fugitives to the count's people sent in search of the fugitives, for which he receives a well-deserved spit in the face.
"Lefty"
SPECIFICITY OF NARRATORY. LANGUAGE FEATURES. When discussing the genre originality of the story, we did not say anything about such a definition of the genre as “skaz”. And this is no coincidence. A tale as a genre of oral prose implies a focus on oral speech, narration on behalf of a participant in the event.. In this sense, "Lefty" is not a traditional tale. At the same time, a skaz can also be called such a way of narration, which involves the “separation” of the narrative from the participant in the events. In “Lefty” such a process takes place, especially since the word “fable” is used in the story, suggesting the skaz character of the narration. The narrator, being neither a witness nor a participant in the events, actively expresses his attitude to what is happening in various forms. At the same time, in the tale itself, one can detect the originality of the position of both the narrator and the author.
Throughout the story, the style of the story changes.. If at the beginning of the first chapter the narrator outwardly ingenuously outlines the circumstances of the emperor's arrival in England, then he successively tells about the events taking place, using vernacular, obsolete and distorted forms of words, different types of neologisms etc., then already in the sixth chapter (in the story about the Tula masters) the narration becomes different. It does not completely lose its conversational character, however becomes more neutral, practically no distorted forms of words, neologisms are used . By changing the narrative manner, the author wants to show the seriousness of the described situation.. It is no coincidence that it occurs even high vocabulary, when the narrator characterizes "skillful people, on whom the hope of the nation now rested." The same kind of narration can be found in the last, 20th chapter, which, obviously, summing up, contains the author's point of view, so its style differs from that of most of the chapters.
In the calm and outwardly impassive speech of the narrator are often introduced expressively colored words(for example, Alexander Pavlovich decided to "travel" around Europe), which becomes one of the forms of expressing the author's position, deeply hidden in the text.
The story itself skillfully emphasizes intonation features of characters' speech(cf., for example, the statements of Alexander I and Platov).
According to I.V. Stolyarova, Leskov “directs the interest of readers to the events themselves”, which is facilitated by the special logical structure of the text: most of the chapters have an ending, and some have a peculiar beginning, which makes it possible to clearly separate one event from another. This principle creates the effect of a fantastic manner. You can also notice that in a number of chapters, it is at the end that the narrator expresses the author’s position: “And the courtiers who stand on the steps all turn away from him, they think: “Platov got caught and now they will drive him out of the palace, because they couldn’t stand him for courage” (end of chapter 12).
It is impossible not to note the use of various techniques that characterize the features of not only oral speech, but also folk poetic creativity in general: tautologies(“shod on horseshoes”, etc.), peculiar prefixed verb forms(“admired”, “send”, “slap”, etc.), words with diminutive suffixes(“palm”, “bubble”, etc.). It is interesting to pay attention to the introduced saying text(“morning is wiser than night”, “snow on the head”). Sometimes Leskov can modify them.
ABOUT the mixing of different manners of narration is evidenced by the nature of neologisms. They can go into more detail describe the object and its function(double carriage) scene(busters - combining the words busts and chandeliers, the writer gives a more complete description of the room in one word), action(whistles - whistles and messengers accompanying Platov), designate foreign curiosities(.merblue cloaks - camel cloaks, etc.), the state of the heroes (waiting - waiting and agitation, an annoying couch on which Platov lay for many years, characterizing not only the inaction of the hero, but also his wounded pride). The appearance of neologisms in Leskov in many cases is due to literary play.
“Thus, Leskov's tale as a type of narration not only transformed, enriched, but also served to create a new genre variety: a tale of tales. A fairy tale is distinguished by a great depth of coverage of reality, approaching in this sense the novel form. It was Leskov's fairy tale that contributed to the emergence of a new type of truth seeker, who can be put on a par with the heroes of Pushkin, Gogol, Tolstoy, Dostoevsky ”(Mushchenko E.G., Skobelev V.P., Kroichik L.E. S. 115). The artistic originality of "Lefty" is due to the task of finding special forms of expression of the author's position in order to assert the strength of the national character.
SCIENTIFIC AND PRACTICAL CONFERENCE
"FIRST STEPS INTO SCIENCE"
LINGUISTIC FEATURES OF N. S. LESKOV'S TALK "LEFT-HANDED".
Completed by a student of 8 "G" class MOBU secondary school No. 4
Mayatskaya Anastasia.
(Scientific adviser)
Dostoevsky is equal - he is a missed genius.
Igor Severyanin.
Any subject, any occupation, any work seems uninteresting to a person if it is incomprehensible. The work of Nikolai Semenovich Leskov "Lefty" is not very popular with seventh graders. Why? I think because it is difficult, incomprehensible to schoolchildren of this age. And when you start to think, understand, assume and get to the bottom of the truth, then interesting moments open up. And personally, the story “Lefty” now seems to me one of the most unusual works of Russian literature, in the linguistic structure of which so much that is new for the modern schoolchild is hidden ...
The linguistic features of the story "Lefty" were subject of study our work. We tried to deal with every word usage unusual for the modern Russian language, if possible, to find the reasons for the differences. We had to track this kind of change in all sections of the language: phonetics, morphemics, morphology, syntax, punctuation, spelling, orthoepy. This is what structure our work is a description of language changes in different sections of the language, although it should be noted right away that this classification is very relative, because some language changes can be attributed to several sections at once (however, like many phenomena of the modern language).
So , target work - to study the work "Levsha" (The Tale of the Tula Oblique Left-hander and the Steel Flea) for its linguistic features, to identify usages unusual for the modern Russian language at all language levels and, if possible, find explanations for them.
2. Causes of inconsistencies in word usage in the tale "Lefty" and modern Russian.
"The Tale of the Tula Oblique Lefty and the Steel Flea" was published in 1881. It is clear that significant changes have taken place in the language over 120 years, and this first reason appearance of discrepancies with modern norms of word usage.
The second is the genre feature. "Lefty" entered the treasury of Russian literature also by the fact that such a stylistic device as a tale was brought to perfection in it.
A skaz is, by definition, "an artistic orientation towards an oral monologue of the narrative type, it is an artistic imitation of monologue speech." If you think about the definition, it becomes obvious that a work of this genre is characterized by a mixture of colloquial (“oral monologue”) and book (“artistic imitation”) speech.
“Skaz”, as a word in Russian, clearly came from the verb “to tell”, the completeness of the meanings of which perfectly explains: “to speak”, “explain”, “notify”, “say” or “bait”, that is, the skaz style goes back to folklore. It is closer not to literary, but to colloquial speech (which means that a large number of colloquial word forms are used, words of the so-called folk etymology). The author, as it were, is eliminated from the narrative and reserves the role of the one who writes down what he heard. (Evenings on a farm near Dikanka are sustained in this style). In "Lefty" imitation of oral monologue speech is carried out at all levels of the language, Leskov is especially inventive in word creation. And this The second reason inconsistencies with modern literary norms.
The sources of the writer's artistic language are diverse - they are primarily associated with the stock of his life observations, a deep acquaintance with the life and language of various social groups. The sources of the language were also ancient secular and church books, historical documents. “On my own behalf, I speak the language of old fairy tales and church folk in purely literary speech,” the writer said. In his notebook, Leskov enters the old Russian words and expressions that interested him in their expressiveness, which he later uses in the text of works of art. Thus, in the texts of the works, the author also used Old Russian and Church Slavonic word forms, rooted in the distant linguistic past. And this third reason mismatches of linguistic word forms in Leskov's work with modern ones.
Igor Severyanin, also distinguished by unusual word creation, once wrote a sonnet dedicated to. There were lines:
Dostoevsky is equal, he is a missed genius.
Enchanted wanderer of the catacombs of language!
It is through these catacombs of the language of Leskov's work "Lefty" that I suggest you go.
VOCABULARY.
Turning to folk vernacular, colloquial language, folklore expressions, using words with folk etymology, Leskov tries to show that Russian folk speech is extremely rich, talented, expressive.
Obsolete words and word forms.
The text of the work "Lefty", of course, is unusually rich in archaisms and historicisms (chubuk, postilion, kazakin, erfix (sobering agent), talma ...), but any modern edition contains the necessary number of footnotes, explanations of such words, so that each student can read them on one's own. We were more interested obsolete forms of words:
Comparative adjective more useful, that is, more useful;
Participle "serving" as a noun from the lost verb "serve": "... showed serving on the mouth."
A short participle of "robes" (that is, dressed) from the disappeared head of the robe.
The participle "hosha", formed from the verb "want" (with a modern, by the way, suffix -sh-)
The use of the word “although” instead of the modern “even though”: “Now, if I had Although one such master in Russia…”
The case form “on numbers” is not a mistake: along with the word “digit”, there was also the now outdated (with a touch of irony) form “tsifir”.
An obsolete form of the adverb " alone" instead of "however." (Like " far away burst out: cheers "y).
The appearance of the so-called prosthetic consonant "v" between vowels
("righteous”) was characteristic of the Old Russian language in order to eliminate the unusual phenomenon of gaping (confluence of vowels).
Vernacular expressions:
- “... a glass of sour suffocated";
- ".. helluva lot I drive, that is, quickly
- "... so watered without mercy,” that is, beaten.
- "... something will take…” that is, distract.
- “... smoked without stop"
poodle poodle
Tugament instead of document
Kazamat - casemate
Symphon - siphon
grandevu - rendezvous
Shoes = shoes
Erasable - erasable
Half-skipper-sub-skipper
Puplection - apoplexy (stroke)
Words with folk timology, usually formed by combining words.
Coach two-seater-combination of the words "double" and "sit down"
There are fluctuations in the gender of nouns in the text, which is typical of the literary norm of that time: “. .shutter slammed"; and unusual for the norm, erroneous forms: “his by force did not hold back", that is, the instrumental case is declined according to the masculine pattern, although the nominative case is a feminine noun.
Mixing case forms. The word “look” can be used both with nouns in V. p., and with nouns in R. p., Leskov mixed these forms: “... in different states miracles look."
- "Everything here is in your mind, - and provide.", i.e. "browse".
- “... Nikolai Pavlovich was terribly what ... memorable." (instead of "memorable")
- “... they look at the girl without hiding, but with all relatedness." (native)
- “... so that not a single minute for the Russian utility did not disappear "(benefit)
Inversion:
- "... now very angry."
- "... you will have something worthy to present to the sovereign splendor."
Mixing styles (colloquial and bookish):
- "... I want to return to my native place, because otherwise I can get a kind of insanity."
- "... no emergency holidays" (special)
- "... wants a detailed intention about the girl to discover ..."
- “.. from here with the left-hander and went foreign species.
- “... we are going to see their weapons cabinet of curiosities., there are the nature of perfection"
- “... each person has everything for himself absolute circumstances It has". In addition, the use of such a form of the verb-predicate is not characteristic of the Russian language (as, for example, English; but the hero is talking about the English).
- “.. I don’t know now for what need Do I need such a repetition?
Conclusion.
As can be seen from the above examples, changes have occurred at all levels of the language. I believe, having familiarized themselves with at least some of them, seventh graders will not only receive new information, but will also be very interested in reading the work “Lefty”.
For example, we offered classmates to work with examples from the "Vocabulary" section, here you can show ingenuity, and language flair, and no special preparation is required. After explaining several variants of words with folk etymology, they offered to deal with the rest on their own. The students were interested in the work.
And I would like to finish my research with the words of M. Gorky: “Leskov is also a magician of the word, but he did not write plastically, but - he told, and in this art he has no equal. His story is a spiritualized song, simple, purely Great Russian words, descending one with the other in intricate lines, now thoughtfully, now laughingly ringing, and a quivering love for people is always heard in them ... "
1. Introduction (relevance of the topic, structure of the work, purpose of the study).
2. The reasons for the occurrence of inconsistencies in word usage in the work "Lefty" and in modern Russian.
3. The study of the features of the language of the tale "Lefty" at all levels:
Vocabulary;
Morphology;
word formation;
Phonetics;
Text science;
Syntax and punctuation;
Spelling.
4. Conclusion.
References.
1. . Novels and stories, - M .: AST Olympus, 1998
2. , . Historical grammar of the Russian language.-M.: Academy of Sciences of the USSR, 1963
3. . Explanatory Dictionary of the Living Great Russian Language (1866). Electronic version.
The writer's work is distinguished by a peculiar manner of presentation using his own style of narration, which makes it possible to convey folk speech motifs with the greatest accuracy.
An artistic feature of the writer's works is the presentation of literary stories in the form of legends, in which the narrator is a participant in the described event, while the speech style of the work reproduces the lively intonations of oral stories. It should be noted that the Leskovsky tale does not have the traditions of Russian folk tales, since it is presented in the form of stories based on folk rumor, allowing one to understand the authenticity of the author's narration.
In the images of narrators in his tales, the author uses various representatives of society who narrate in accordance with their upbringing, education, age, and profession. The use of this manner of presentation makes it possible to give the work brightness, vitality, demonstrating the richness and diversity of the Russian language, which complements the individual characteristics of the characters in Lesk's stories.
To create satirical works, the writer uses a word game when writing them, using witticisms, jokes, linguistic curiosities, combined with incomprehensible-sounding foreign phrases, and sometimes deliberately distorted, outdated and misused words. The linguistic manner of Leskovsky's works is accurate, colorful, saturated with variegation, making it possible to convey numerous simple dialects of Russian speech, thereby differing from the classical forms of the refined, strict literary style of that period of time.
The characteristic logical structure of his works is also distinguished by the originality of the writer's artistic style, in which various literary devices are used in the form of unusual rhymes, self-repetitions, vernacular, puns, tautologies, diminutive suffixes that form the author's colloquial manner of word formations.
In the storylines of Leskov's tales, a combination of everyday, everyday stories about ordinary people and fairy-tale motifs of legends, epics, and fantasies can be traced, which allows readers to present the work as an amazing, unique, charismatic phenomenon.
The peculiarity of the narrative style
Leskov began his own literary activity at a fairly mature age, but it was this maturity that allowed the author to form his own style, his own narrative manner. A distinctive feature of Leskov is the ability to quite accurately convey the folk manner of speech. He really knew how people speak, and he knew incredibly accurately.
Here we should note a very significant fact that readers can observe in the tale of Lefty. There are many so-called folk words that stylize the narrative as a story that one man could tell another. At the same time, Leskov himself invented all these words, he did not take and did not retell folk speech, but he was so competently oriented in this aspect of the language that he himself actually invented some innovations for such speech, moreover, innovations that looked quite harmonious and, perhaps, , after the publication of the work, they really began to be used by ordinary people in their communication.
Also, the genre invented by Leskov for Russian literature deserves special attention, and this genre is a tale. Etymologically, the term goes back to the word fairy tale and the verb to tell, that is, to tell a story.
The tale, however, is not a fairy tale and stands out as a very special genre, which is distinguished by its versatility and originality. It is most similar to a story that one person could tell another somewhere in a tavern, or during a break at work. In general, it is something like such a folk rumor.
Also, the tale, a typical example of which is the work (best known by Leskov) “The Tale of the Tula Oblique Left-hander Who Shod a Flea”, is to some extent an epic work. As you know, the epic is distinguished by the presence of some grandiose hero who has special qualities and charisma. The tale, in turn, is based, as it were, on a true story, but from this story it makes something incredible, epic and fabulous.
The manner of presentation leads the reader to think about some narrator and about the friendly communication that occurs between the reader and this narrator. So the Tale of the Left-hander, for example, comes from the face of some gunsmith from near Sestroretsk, that is, Leskov says: they say, these stories come from the people, they are real.
By the way, such a narrative style, which is additionally supported by the characteristic structure of the work (where there are amazing rhythms and rhymes, self-repetitions that again lead to the idea of colloquial speech, puns, colloquial speech, colloquial word formation) often leads the reader to the idea of the authenticity of history. The tale of the left-hander gave some critics the impression of a simple retelling of the stories of Tula artisans, ordinary people sometimes even wanted to find this left-hander and find out details about him. At the same time, the left-hander was completely invented by Leskov.
This is the peculiarity of his prose, which combines, as it were, two realities. On the one hand, we see stories about everyday life and ordinary people, on the other hand, a fairy tale and epic are intertwined here. In fact, in this way, Lescombe conveys an amazing phenomenon.
Thanks to the tale and his style, Leskov managed to understand how to convey the experience of the consciousness of an entire people. After all, what is it made up of? From legends, legends, tales, fantasies, fictions, conversations, conjectures that are superimposed on everyday reality.
This is what simple people exist and “breathe” with, this is their originality and beauty. Leskov, in turn, was able to capture this beauty.
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The story of N.S. Leskov "Lefty" is a special work. His idea arose from the author on the basis of a folk joke about how "the British made a flea out of steel, and our Tula people shod it and sent it back." Thus, the story initially assumed closeness to folklore not only in content, but also in the manner of narration. The style of "Lefty" is very peculiar. Leskov managed to bring the genre of the story as close as possible to oral folk art, namely to the tale, while at the same time retaining certain features of the literary author's story.
The originality of the language in the story "Lefty" is manifested primarily in the very manner of narration. The reader immediately gets the feeling that the narrator was directly involved in the events described. This is important for understanding the main ideas of the work, because the emotionality of the protagonist makes you experience with him, the reader perceives a somewhat subjective view of the actions of other heroes of the story, but it is this subjectivity that makes them as real as possible, the reader himself, as it were, is transferred to those distant times.
In addition, the fairy tale manner of narration is a clear sign that the narrator is a simple person, a hero from the people. He expresses not only his thoughts, feelings and experiences, behind this generalized image stands the entire working Russian people, living from hand to mouth, but caring about the prestige of their native country. With the help of descriptions of views on the life of gunsmiths and craftsmen through the eyes of not an outside observer, but a sympathetic fellow, Leskov raises an eternal problem: why the fate of the common people, who feed and clothe the entire upper class, is indifferent to those in power, why the craftsmen are remembered only when they need to support "prestige of the nation"? Bitterness and anger can be heard in the description of Lefty's death, and the author especially clearly shows the contrast between the fate of the Russian master and the English half-skipper, who found themselves in a similar situation.
However, in addition to the tale manner of narration, one can note the rather widespread use of vernacular in the story. For example, in the descriptions of the actions of Emperor Alexander I and the Cossack Platov, such colloquial verbs appear as "to drive" and "to pull". This not only once again testifies to the closeness of the narrator to the people, but also expresses his attitude towards the authorities. People are well aware that their pressing problems do not bother the emperor at all, but they do not get angry, but come up with naive excuses: Tsar Alexander, in their understanding, is just as simple a person, he may want to change the life of the province for the better, but he is forced to work more important things. The absurd order to conduct "internecine negotiations" is put by the narrator into the mouth of Emperor Nicholas with secret pride, but the reader guesses Leskov's irony: the naive artisan tries his best to show the significance and importance of the imperial personality and does not suspect how much he is mistaken. Thus, there is also a comic effect from the inconsistency of overly pompous words.
Also, the stylization of foreign words causes a smile, the narrator with the same proud expression talks about Platov's "awe", about how the flea "danse dances", but he does not even realize how stupid it sounds. Here Leskov again demonstrates the naivety of ordinary people, but in addition, this episode conveys the spirit of the time, when a secret desire to be like enlightened Europeans was hidden under sincere patriotism. A particular manifestation of this is the conversion of the names of works of art that are too inconvenient for a Russian person into the native language, for example, the reader learns about the existence of Abolon Polvedersky and is again surprised equally by both the resourcefulness and, again, the naivety of the Russian peasant.
Even Russian words must be used in a special way by fellow Levsha, he again with an important and sedate look reports that Platov "not quite" could speak French, and authoritatively remarks that "he does not need it: a married man." This is an obvious verbal alogism, behind which lies the irony of the author, caused by the author's pity for the peasant, moreover, the irony is sad.
Particular attention from the point of view of the originality of the language is attracted by neologisms caused by ignorance of the thing that the peasant is talking about. These are such words as "busters" (a chandelier plus a bust) and "melkoskop" (named so, apparently, according to the function performed). The author notes that in the minds of the people, the objects of aristocratic luxury have merged into an incomprehensible ball, people do not distinguish busts from chandeliers, their senseless pomposity of palaces leads them to such awe. And the word "melkoskop" became an illustration of another Leskov's idea: Russian masters are apprehensive about the achievements of foreign science, their talent is so great that no technical inventions can defeat the master's genius. However, at the same time, in the finale, the narrator sadly notes that the machines still supplanted human talent and skill.
