The language of fiction, its originality, linguistic means

language feature fiction in that it is an open system and is not limited in the use of any language features. The author of a literary text boldly uses all the resources of the language, and the only measure of the legitimacy of such use is only artistic expediency. Not only those lexical and grammatical features, which are typical for business, journalistic and scientific speech, but also the features of non-literary speech - dialectal, colloquial, jargon - can be accepted by an artistic text and organically assimilated by it.

On the other hand, the language of fiction is more sensitive to the literary norm, it takes into account large quantity prohibitions (the meaning of the gender of inanimate nouns, subtle semantic and stylistic shades, and much more). In ordinary speech, the words "horse" and "horse" are synonymous, but in a poetic context they are irreplaceable: Where do you gallop, proud horse, and where will you lower your hooves? In the poem by M.Yu. Lermontov "A golden cloud spent the night on the chest of a giant's cliff ..." the gender of the nouns cloud and cliff is contextually significant, serves as the basis not only for personification, but also for creating the artistic image of the poem, and if we replace them with synonyms, for example, mountain and a cloud, you get a completely different poetic work. The linguistic fabric in a literary text is created according to more stringent laws, which require taking into account the smallest stylistic and expressive properties of a word, its associative links, the ability to divide into constituent morphemes, and have an internal form.

A work of art may include such words and grammatical forms that are outside the literary language and in not artistic speech are rejected. A number of writers (N. Leskov, M. Sholokhov, A. Platonov and others) widely use dialectisms in their works, as well as rather rude turns of speech characteristic of colloquial speech. However, replacing these words with literary equivalents would deprive their texts of the power and expressiveness that they possess.

Artistic speech allows any deviations from the norms of the literary language, if these deviations are aesthetically justified. There are an infinite number of artistic motives that allow the introduction of non-literary linguistic material into a literary text: this is the recreation of the atmosphere, the creation of the necessary color, the "decrease" of the object of narration, irony, means of designating the image of the author, and others. Any deviations from the norm in a literary text occur against the background of the norm, require the reader to have a certain "sense of the norm", thanks to which he can assess how artistically significant and expressive the deviation from the norm is in this context. The "openness" of a literary text brings up not disregard for the norm, but the ability to appreciate it: without a keen sense of common literary norm there is no full-fledged perception of expressive-tense, figurative texts.

The "mixing" of styles in fiction is due to the author's intention and the content of the work, i.e. stylistically marked. Elements of other styles in a work of art are used in an aesthetic function.

Based on the functional purpose of the language of fiction, a number of its main features can be distinguished.

1) The language of fiction is inherent syncretic 2 the nature of the composition of language means national language. Within the framework of a literary text, the entire set of linguistic means is built into a coherent system due to the organizing action of the general constructive principle of the language of fiction.

Figurative display of reality. V.V. Vinogradov noted that in this style “any ratios of elements change dramatically, as if shifting and thereby acquiring a new meaning and a new figurative and expressive power. common system language"3.

2) All involved by the author artwork language tools must be motivated not only from a communicative point of view, i.e. elementary must be understood by the addressee, but also aesthetically, since the aesthetic function is the main function of the language of fiction (see above about this). The latter is the main, necessary condition only for a literary text.

3) Artistic and figurative speech concretization in the language of fiction - a qualitatively special property of precisely artistic speech. Actually speech concretization peculiar and colloquial speech, and book speech. It consists in the fact that the speaker/writer, knowing a specific language, correlates the abstract categories of a specific language with the real content of his thought, which he needs to express. Let's say the speaker, seeing the flight of a bird, says: The bird is flying. Such language design (noun. bird, a verb in the indicative mood, in the form of present. temp. flies) helps convey specific content.

In a literary text abstract categories of language not only convey certain content, they recreate This content. For example, in M. Sholokhov's "Quiet Don" we read:

Aksinya leaned over to Grigory, brushed a strand of hair from his forehead, softly touched her cheek with her lips.

- My dear, Grishenka, how many gray hairs you have in your head ... - and with a sad half-smile she looked into Grigory's face.

Compare with the text of a regular conversation: She leaned over (to Gregory) and said... or even: She said...

concretization, image plasticity in Sholokhov's text is created to a large extent by verbs, which reproduce the gradualness of the action, depict the movements the character "fractionally", as it is realized in time, is forced to "survive the doing of a thing" (V.B. Shklovsky). This sequence of verbs is aesthetically conditioned. The writer, as it were, "paints with words." Moreover, in this passage there are no traditional figurative and expressive means.

4) The organization, selection and principles of organizing linguistic means in a literary text are focused exclusively on literary norms, although, as already mentioned, in this functional version of the literary language, it is fundamentally possible to use literally the entire fund language units, speech phenomena functioning within the framework of the national language. The orientation of literary texts to the norm finds its expression in the fact that incomprehensible phenomena (dialectisms, jargon, professionalism, special terms, etc.), grammatical, phonetic deviations from literary norms are usually explained in one way or another in a literary text.

5) A distinctive feature of the speech structure of a work of art are figurative and expressive means - paths and stylistic figures. Paths and stylistic figures are an organic component of the general figurative system of a literary text, "participating" in the implementation of the aesthetic function of language (for more on paths and figures, see the material "Qualities of Speech Culture").

The language of a work of art is interpreted in literary criticism as language means that are used in this particular work of art. Each text is written special language, which depends on many factors: the personality of the writer, the era in which he creates, the goals he pursues. As main properties artistic language It is customary to single out emotionality, figurativeness, allegoricalness, author's originality.

Specificity

The question of the stylistic status of artistic speech has not yet been fully clarified. Some linguists include artistic speech in the classification of "functional styles of the literary language." In this case, it is legitimate to single out the following features of artistic speech:

Ultimately, the use of linguistic means in a work is subject to the author's intention, the content of the work, and the creation of the image. The main task of the writer is to convey any thought, feeling, reveal the hero's spiritual world, create an image, atmosphere, event. Not only normative facts, but also all "deviations" from stable norms are subject to this author's desire for certainty. Nevertheless, one should not forget that each such deviation must be justified: firstly, by the target setting of the creator of the text, and secondly, by the context of the work. In addition, one should remember about aesthetic motivation. Thus, each language element carries a certain functional load.

Speech style is traditionally understood as a system speech means that find application in various areas of interpersonal communication. Sometimes they are also called functional varieties of the language. In total, several varieties are distinguished: journalistic, artistic, colloquial, scientific, official. All of them are different from each other. For example, the features of the journalistic style are the use of words with socio-political meaning, because its main task is to influence the masses. Each style is applied in a separate area.

Plan:

1. Language is a means of creation artistic images.

2. Language actors- a means of typification and individualization of characters.

3. Synonyms and antonyms.

4. Special lexical resources of the language.

5. Special visual means of language. epithet and comparison. Trails.

6. The originality of poetic syntax.

Keywords: Language of a work of art, poetic measure, typification and individualization of language, synonyms, archaisms, historicisms, neologisms, professionalisms, vulgarisms, barbarisms, epithet, metaphor, tropes, comparison, metanymy, synecdoche, hyperbole, irony, sarcasm, litote, paraphrase, repetition.

In a work of art, the main means by which the artist achieves the individualization of the image of life is language. Language is a form public consciousness covering all sides human environment reality. The creation of living pictures or a living expression of human experiences, feelings, emotionally colored thoughts is possible only if the writer has mastered all the richness of his national language. Only under this condition will he be able to find those few or even the only ones, as they say, words and expressions that will most adequately convey what he depicts. Language, playing a colossal role in the creation of artistic images, can only be understood in connection with the figurative system that underlies the work.

The figurative system determines the motivation and selection of lexical, intonational-syntactic, sound means, with the help of which this or that image is created. In this sense, language is a form in relation to an image, just as an image is a form in relation to the ideological content of a work. Therefore, to study the language of a poetic work means to understand its images - ideas - in a new way, more subtle and more accurately. The language of a person characterizes the features of his life experience, culture, mindset, psychology.

The individualization of the language of the characters serves at the same time as a means of its typification. It is very important to understand the relationship between the typical and the special in the language of the characters. Hak in the work of the great writer tangibly appears in the language of the protagonist, the interpenetration of the general and the individual, the typical and the special. The organizing role in the linguistic design of the work is played by the author's speech, often a special intonation, which affects the pronunciation of the characters. Sometimes, in order to most directly express the author's attitude to the depicted, writers act as storytellers as characters.

Sometimes writers make narrators people of a different social profile than theirs, a different culture, a different psychological make-up. This is done to create the right angle of vision or internal interaction between the voices of the narrator and the writer himself. Finding the right word for a writer is not an easy task. Draft manuscripts of poetic works convincingly demonstrate the thoroughness, painstaking, and sometimes grandiosity of ideas. Enter into consideration of all verbal riches - hence, understand what is called the language of a work of art.

Synonyms are words that are close in meaning. The creation of synonyms fixes various shades in close, but not identical concepts. The use of synonymous words and expressions helps the writer diversify speech, avoid repetition.

Antonyms- Words that are opposite in meaning. They are used in cases where the writer needs to sharply oppose various phenomena to each other, to create the impression of a contrast. As a means of figurative reproduction of reality, writers use special lexical resources of the language. The historical past is the source from which obsolete, obsolete words - archaisms - come from.

Archaisms are used in works depicting the distant past and contribute to the creation of an appropriate historical flavor. Historicisms are words denoting the phenomena of the past that no longer exist (archer, blunderbuss, clerk, etc.).

Neologisms- new words that did not previously exist in the language: airplane, car (it is also necessary to note the author's neologisms: new words created by the writers themselves).

The means of artistic representation are dialectisms, or provincialisms, i.e. words that are not used in the literary language, but are characteristic only for residents of certain regions. Professionalisms- words and expressions characteristic of representatives of certain social groups and people of certain professions.

barbarisms- words and phrases foreign origin which have not yet entered the national language of the writer, or cannot enter. Vulgarisms- words of a rude everyday nature, curses, etc.

Artistic expressiveness epithets, comparisons, metaphors, metonymy, hyperbole also contribute to the literary image.

Epithet - artistic definition, which distinguishes an essential, from the point of view of the author, feature in the depicted phenomenon. For example: Pyc lonely turns white, etc. Epithets are pictorial (... "In the fog of the blue sea" ...), lyrical (here the attitude of the writer to the depicted "Divine night! Charming night!") the field is clean, etc.). Epithesis is an extremely essential means for individualization, concretization by the writer of a phenomenon or its particular property.

The simplest type of trail is comparison, i.e. - the convergence of two phenomena in order to clarify one another with the help of its secondary features. For example: eyes like stars, etc. Writers resort to it when the selection of essential features in the depicted can be expressively carried out by comparing it with something. A classic example of a comparison that runs through all works is the famous Lermontov poem "The Poet", in which, through the comparison of the poet with a dagger, the state of the poet and poetry is revealed.

Metaphor- a trope based on the similarity of two phenomena, a hidden comparison. Unlike a simple comparison, where there is something, it is compared and with what it is compared, the metaphor has only the second. Thus, the phenomenon that in question, is only implied in the metaphor. Allegory (allegory) is close to metaphor.

Allegory can cover the entire work, under the beings, phenomena, objects depicted in allegorical works - other persons, facts, things are always understood.

Metonymy- is created not by comparing similar objects and their features, but by bringing together native objects that are in one or another external or internal connection with each other.

Synecdoche- a special kind of metonymy. It is based on the transfer of value according to the attribute ratio between these events.

Hyperbola artistic exaggeration, litotes- artistic - an understatement. The functions of hyperbole and litotes are to focus attention on the exaggerated or downplayed signs of phenomena as essential.

Irony- an expression of mockery in which the external form is opposite to the internal meaning.

Sarcasm- evil or bitter irony. Irony reveals the essence of the depicted object and clearly reveals the author's attitude towards it.

paraphrase- replacement own name or names with a descriptive expression.

The syntactic structure of the language of each writer is very peculiar. The general nature of the writer's work leaves a certain imprint on the poetic syntax. L.N. Tolstoy sought to show people in all "the details of thoughts and feelings: to reveal the dialectics of the soul." This inner attitude determined the phrases so characteristic of him, outwardly very complex, but extremely accurate in meaning. A.S. Pushkin in his prose works revealed the characters of people, depicting mainly their actions and behavior. That is why Pushkin's phrases are short, concise: the facts are conveyed with transparent clarity. M. Lermontov mastered Pushkin's manner of conveying facts in short sentences, but at the same time he was inclined to more complete disclosure psychological states actors. Thus, general principles artistic depiction of reality, which this writer adheres to, are the basis of those syntactic means needed for a more complete image of the surrounding world. Repetition is a syntactic construction based on the repetition of individual words that carry the main semantic load. The repetition of initial words and phrases in sentences, verses or lines is called anaphora. Epiphora - repetition of final words and expressions in verses or lines.

Literature:

1. B.V. Tomashevsky Stylistics and versification - L., 1990.

2. Russian writers About the language of fiction. - M., 1989.

3. S.Ya. Marshak Education with a word. - M., 1981.

4. A.V. Fedorov Language and style of a work of art. - M, 1988.

6. M.M. Bakhtin Aesthetics of verbal creativity. - M., 1989.

7. O. Sharafuddinov Features of poetic language and style. - T., 1988.

LECTURE 6. POETRY

Plan:

1. Poetry.

2. Versification.

3. Auxiliary rhyme elements of the verse

4. Rhyme. Ways to rhyme

5. Strophic.

Keywords: Poetry, versification, verse, prose, measure, rhythm, foot, tonic versification, syllabic versification, syllabic-tonic versification, meter, iambic, trochee, dactyl, anapaest, amphibrach, rhyme, types of rhymes, rhyming methods, stanza, types of stanzas .

Poetry - the branch of literary criticism that studies the sound form of literary works. The main material in such a study is poetry, i.e. speech is the most organized in terms of sound.

The essay is divided into three parts: phonics(euphonics) - the doctrine of combinations of sounds: actually metric(rhythm) - the doctrine of the structure of the verse: stanza- the doctrine of combinations of verses.

Initially, poetry was a normative science, a system of rules and "liberties" that taught how poetry "should" be written. Only in the 19th century did it become a research science, studying how poetry was actually written and written. The ultimate goal of versification is to establish the place of the sound series in the general structure of the work.

Versification is a way of organizing the sound composition of poetic speech studied by poetry. The study of poetry allows you to answer three questions:

What is the difference between poetry and prose?

What is the difference between a verse in one language and a verse in another language or era?

What is the difference between a verse in one poem and a verse in another?

The word "verse" in Greek means "row", i.e. speech, clearly divided into relative segments, correlated and commensurate with each other. Each of these segments is also called a verse and is usually allocated in a separate line in a letter. Of course - and prose, when read intelligently, is also divided into segments, speech beats; but this articulation is syntactically arbitrary.

- The difference between poetic speech and prose was successfully defined by B. Tomashevsky: poetic speech is divided into comparable units, and prose is continuous speech;

Verse has an internal measure, but prose does not.

For modern perception The first point is more important than the second. Both features give rhythm to speech. The first sign is international. In the languages ​​of all peoples, it is customary to print each verse on a separate line, thereby highlighting it as the main unit of poetic speech. The second sign is purely national and depends on the phonetic structure of the given language, primarily on the rhyming of neighboring verses:

– cross called the rhyming of the first verse with the third, the second with the fourth.

– Annular called rhyming, in which the first verse rhymes with the fourth, and the second with the third.

– steam room called rhyming, in which the first verse rhymes with the second, and the third with the fourth.

Such a complex rhythmic unit as a stanza is based on the arrangement of rhymes in verses. Stanza is a group of poems with a certain arrangement of rhymes. A stanza is a complete syntactic whole. The most elementary stanza - couplet, where the lines rhyme with each other. The elegiac distich consisted of two lines: the first is a hexameter, the second is a pentameter.

Quatrain (quatrain) - rhyme can be varied.

An octave is an octave, in which the first verse rhymes with the third, the second verse with the fourth and sixth, the seventh with the eighth. Tercina - three lines with original way rhymes.

A sonnet is a fourteen-line poem divided into two quatrains and two final three-line verses.

Nine lines - gives different kinds the arrangement of rhymes, among which the famous Spencer stanza.

Rubai is an aphoristic quatrain with rhyming and energetic development of thought.

Literature:

1. L.I. Timofeev Essays on the theory and history of Russian verse. - M., 1988.

2. V.E. Kholshevnikov Fundamentals of poetry. Russian versification. - M., 1992.

3. V.A. Kovalenko Practice of modern versification. - M., 1982.

4. B.V. Tomashevsky Verse and language Philological essays. - M., 1989.

5. M. Bakhtin Aesthetics of verbal creativity. - M., 1989.

6. B.V. Tomashevsky Stylistics and versification. - L., 1989.

|7. L.I. Timofeev Fundamentals of the theory of literature. - M., 1983.

8. M.B. Khrapchenko Creative individuality of the writer and the development of literature. - M., 1985.

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1.1 Features of the style of fiction

Artistic speech is a special style of speech, historically established in the system of the English literary language, which has a number of common features, also historically variable, and a wide variety of particular features that change depending on the forms of manifestation of this style (sub-style), on the era, on the individual style of the author.

The style of artistic speech is a complex unity of heterogeneous features that distinguish this style from all other styles of the modern English literary language. The fact that this style allows the use of elements of other styles, although processed according to the general, typical features of this style, puts it in a somewhat special position in relation to other speech styles. Moreover, the style of artistic speech allows the use of such elements of the language that are unacceptable at this stage in the development of the literary norm of the language. Thus, in the language of works of art by modern English writers, one can find linguistic facts that go beyond the norms of the literary language, for example, jargon, vulgarism, dialectism, etc. True, these elements in the style of artistic speech appear in a processed, typified, selected form. They are not used here in their, so to speak, natural form; such use of non-literary words would litter the language and would not contribute to the enrichment and development of the literary norm of the language.

“In fiction,” writes Acad. V. V. Vinogradov, - a nationwide, national language with all its grammatical originality, with all the richness and diversity of its vocabulary is used as a means and as a form of artistic creativity. In other words, all the elements, all the qualities and features of the national language, including its grammatical structure, its vocabulary, the system of its meanings, its semantics, serve here as a means of artistic generalized reproduction and illumination of social reality" [Vinogradov 1951]

Thus, the main function of the style of artistic speech is, through the use of linguistic and specific stylistic means, to contribute, respectively, to the author's intention and a deeper disclosure to the reader. internal causes conditions of existence, development or death of this or that fact of this reality. What are the means of style of artistic speech, with the help of which this goal is realized? These means are “figurative-aesthetic transformation” of the national language.

System of stylistic means in English very rich in journalistic style, especially in the oratorical style, and continues to be enriched in the style of artistic speech. It is no coincidence that the main stylistic means language were studied in the theory of literature.

The style of artistic speech, sometimes called poetic language, is primarily characterized by figurativeness. The image created by various linguistic means causes a sensory perception of reality and, thereby, contributes to the creation of the desired effect and reaction to what has been said.

The style of artistic speech has the following varieties: poetic speech, artistic prose and the language of dramaturgy. When we use the term "style of artistic speech", we mean purely linguistic categories, such as words, their meanings, their combinations, syntactic constructions, the nature of figurativeness and other features of the language, specific in terms of their selection and interdependence in a given style of speech. The term "poetry", under which the concepts of poetic speech, artistic prose and dramaturgy are often combined, is much broader. This is a literary term. It is understood not only as the language of works of art in its relation to the expressed content, but, most importantly, as a form of art. When reading the statements of revolutionary democrats and Russian classic writers about poetry, it must be remembered that the term "poetry" is used in a very broad sense. This becomes especially obvious if we quote the following statement by V. G. Belinsky about poetry:

“What is poetry? - you ask, wanting to hear a solution of a question that is interesting to you as soon as possible, or, perhaps, slyly wanting to embarrass us from the consciousness of our impotence to solve such an important and difficult issue ... One or the other is all the same; but before we answer you, we will ask you a question in turn. Say: how to call what distinguishes a person's face from wax figure which, the more it is done with great art, the more it resembles the face of a living person, the more it arouses disgust in us? What is the difference between the face of a living person and the face of a dead person? ... The point is clear: in the first there is life, and in the second it is not.” [Belinsky, Sobr. soch, 1948: t 1. 634]

In the course of linguistic stylistics, of course, we are only interested in the linguistic side of poetry, which we call the style of artistic speech.

So, the most essential characteristic of this style of speech is figurativeness. Along with a purely logical way of expressing thought, in which words are used in their subject-logical meanings, in the style of artistic speech, there are often different shades meanings: contextual meanings, emotional meanings of words - conductors of the author's subjective and evaluative views. O. Walzel is to some extent right when he states that “the word is a means of purely logical, i.e., scientific expression. Poetry, as a verbal art, must use the word, i.e., a means that always remains to a certain extent akin to expression in concepts. Only insofar as words affect us sensually, poetry is an art. The artistic appearance of a poetic work is created from the auditory influence of words and then from all sensory representations caused by the word. [Walzel 1928: 3]

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphor, figurativeness of language units of almost all levels, the use of synonyms of all types, ambiguity, different stylistic layers of vocabulary. "All means, including neutral ones, are called upon to serve here to express the system of images, the artist's poetic thought." AT art style(compared to other functional styles) there are their own laws of perception of the word. The meaning of a word is largely determined by the author's target setting, genre and compositional features of that work of art, of which this word is an element: firstly, it is in the context of a given literary work can acquire artistic ambiguity that is not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is evaluated by us as beautiful or ugly, sublime or base, tragic or comic

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of the image and the impact through it on the addressee. Writers in their works proceed primarily from the fact that they correctly convey thoughts, feelings, truthfully reveal spiritual world hero, realistically recreate the language and image. Not only the normative facts of the language, but also deviations from general literary norms are subject to the author's intention, the desire for artistic truth.

However, any deviation from the norm must be justified by the purpose of the author, the context of the work, the use of one or another language means in fiction must be aesthetically motivated. If linguistic elements that are outside the literary language perform a certain functional load, their use in the verbal fabric of a work of art can be fully justified [Kozhina 1983].

comic effect. Let us dwell in more detail on certain aspects of colloquial speech. The study of styles To identify the frequency of figurative and expressive means in various functional styles of the Russian language, we will consider examples of texts of each of the styles separately and analyze them. The analysis consists in identifying tropes and figures in all styles and comparing their number in relation to ...

Not only a representation of a fabulous picture of the world, for which magic is an ontological core, but also a special linguistic stylization of the text itself, its surface structure. An integrated approach to solving this problem is presented in the fundamental work of M.M. Lipovetsky "Poetics literary fairy tale"[Lipovetsky, 1992]. For him, the problem of the relationship between LS and NS, as well as the problem ...