1880s - the heyday of N. S. Leskov’s creativity. He spent his whole life and all his strength trying to create a “positive” type of Russian person. He defended the interests of peasants, defended the interests of workers, denounced careerism and bribery. Looking for positive hero N. S. Leskov often addresses people from among the people. “Lefty” is one of the peaks artistic creativity writer. N. S. Leskov does not give a name to his hero, thereby emphasizing the collective meaning and significance of his character. “Where “Lefty” stands, you should read “Russian people,” the writer said. He loves his hero, but does not idealize him, showing that despite his hard work and skill, he was not trained in science and, instead of the four rules of addition from arithmetic, he takes everything from the Psalter to the Half-Dream Book.
The narration is conducted by a narrator, his speech is full of neologisms. "N. S. Leskov... is a wizard of words, but he did not write plastically, but told stories, and in this art he has no equal,” noted M. Gorky. And it’s hard to disagree with this. That is why N. S. Leskov was constantly looking for “living faces” who had rich spiritual content and could interest others. To do this, N. S. Leskov uses the memoir form of a fictional work of art. "Memoir" is only artistic medium, since most of Leskov’s heroes did not have prototypes.
The language of the story is “real, stupid Russian”; it required a lot of painstaking work from the author. However, in the story it is perceived simply and clearly. It contains outdated words(“Aglitskaya flea”, “yashcheisky”, “vereta”), vernacular (“rumour”, “trifle”, “kislyarka”, “peppered with hammers”), borrowed words, often distorted (“melancholia”, “melkoskop”, “ nymphosoria", "danse").
At the end of the story, Pushkin’s statement sounds - “things days gone by" and "legends of antiquity."
The story has the "fabulous texture of a legend" and the "epic character of the protagonist." The real (proper) name of the left-hander is not given; it, like the names of many geniuses, is forever lost to posterity. N. S. Leskov created a myth personified by fantasy.
In the last chapter, the writer regrets that with the development of technology, machines replaced manual labor. Machines, according to the author, “do not favor aristocratic prowess, which sometimes exceeded the limit and inspired folk imagination to compose such fabulous legends as today.” N. S. Leskov shows that workers value the benefits that mechanics provide them, but about the former, old times they remember with pride and love.
N. S. Leskov himself, assessing artistic originality“Lefties” complains that creating a language is a very labor-intensive task. In his opinion, only love for his work can motivate a person to take up such mosaic work. N. S. Leskov writes: “It was this very “peculiar” language that they blamed me for and finally forced it to spoil and discolor a little.”
“Lefty” is a work in which the writer achieved great strength and the depth of artistic generalization. It so accurately recreates the speech coloring of the depicted environment that when reading the story, the illusion of the authenticity of the events and the reality of the narrator’s image arises.
Literature lesson 6th grade
Features of the language of the tale by N.S. Leskova "Lefty".
GOAL: Improve text analysis skills; develop creative features students; instill a love of reading the works of N.S. Leskov. Develop universal learning activities of students.
TASKS:
Help students conceptualize artistic content tale;
- teach schoolchildren language analysis literary work;
- develop annotated reading skills.
- develop students’ search and research skills;
- expand horizons by enriching schoolchildren’s speech with new words.
Lesson progress
Survey
What work did we meet in class?
Name the genre of this work. (tale)
What is skaz? (The epic genre based on folk legends and legends. The narration is told on behalf of the narrator, a person with a special character and style of speech)
2. Vocabulary work.
There are cards in front of you. Let's read these words, which are taken from the tale
Kunstkamera – museum, collection of rare things;
Kizlyarka – grape sour wine;
Nymphosoria – something outlandish, microscopic;
Dance – dance;
Small scope – microscope;
Whistling - messengers sent to convey news;
Tugament – document;
Ozyamchik – peasant
cloth
like a coat;
Grandevu – meeting, date;
Dolbitsa – table.
These words are ordinary, do we use them in our speech?
How can you characterize and name these words?
Now, having answered my questions, think about what is the topic of our lesson?
Let's write down the topic of our lesson: Linguistic features of the tale by N.S. Leskova "Lefty".
What is the purpose of our lesson? pay attention to the genre features of the tale, to the connection between the tale and folk art; to comprehend the originality of Leskov’s depiction of the features of the Russian national character.
Why are there so many unusual, distorted words in the text of the work?
(The narrator is a simple man, illiterate, who cheats foreign words, to make it “clearer”. Many words acquired a humorous meaning in the spirit of popular understanding.)
The author's unusual style and manner of narration give the work originality. Let's pay attention to the new, unusual words of the tale.
What elements folklore works did you notice?
Initiation: the king “wanted to travel around Europe and see wonders in different states; replays: the emperor is surprised by miracles, and Platov remains indifferent to them; motive roads:“got into the carriage and drove off”; The ending of the tale contains edification: “And if they had brought Levshin’s words to the sovereign in due time, in the Crimea the war with the enemy would have taken a completely different turn.”
Theory of literature.
The plot of the work is simple. Yuri Nagibin defines it this way: “The British made a flea out of steel, but our Tula people shod it and sent it back to them.”
Say that....
What is the plot of a work of art?
- Name the elements of the plot.
- What is the plot, exposition, climax, denouement?
Fill out the diagram for constructing a work of art
PHYSICAL MINUTE.
All the guys stood up together
And they walked on the spot.
Stretch on your toes
And they turned to each other.
We sat down like springs,
And then they sat down quietly.
4. Game “Scattered Postcards”.
Here are illustrations that depict the main episodes from the work. Restore their plot sequence.
“The British give the Russian Emperor a flea”
“Nikolai Pavlovich sends Platov to Tula”
"The work of Tula masters"
"Lefty at the Royal Reception"
"Lefty in England"
“The return of Lefty to St. Petersburg and his inglorious death”
5. Working with a table
Observations on the language of the tale:
“Use of vocabulary and phraseology of other styles:
| vernacular | outdated words | borrowed words | phraseological units characteristic of oral speech |
| jerked, adjusted, from where, I'll back off, nonsense, | cab drivers | ajidation, plaisir, postilion, Zeyhauz | give it a miss out of the blue |
Conclusion
Let's draw a conclusion from the work we have done according to the plan that is in front of you:
In the tale "Lefty" vocabulary is widely used colloquial style, which is explained by genre features works.
Syntactic constructions, which are used in the tale, are characteristic of colloquial style: there's a lot here incomplete sentences, particles, addresses, interjections, introductory layers, lexical inversions. All this creates: the illusion of absence preliminary thinking about a statement that is characteristic oral speech.
Write this conclusion in your notebook.
7. Self-assessment
Guys, now you can evaluate your work in class:
1. During the lesson I worked ... actively / passively
2. I am ... satisfied / not satisfied with my work in class
3. The lesson seemed... short / long
4. During the lesson I ... got tired / not tired
5. My mood has become... better / worse
6. The lesson material was... clear / not clear to me
7. Homework it seems... easy / difficult to me
Crossword.
1) What book did Lefty use to study literacy in Russia?
2) What did Lefty give up, not wanting to meet an English girl?
3) What science did Lefty not know at all?
4) Who accompanied Lefty to England?
5) Where did Lefty settle in England?
6) To which city in England was Lefty brought?
7) Who did the British promise to send money to if Lefty stayed with them?
8) What did the English masters offer to Lefty so that he would remain in England and become an amazing master?
9) What did the English masters promise to show Lefty in England?
10) How did Lefty return to Russia?
11) What feeling is characteristic of Leskov’s heroes: Lefty, Platov, Emperor Nikolai Pavlovich?
The writer’s work is distinguished by a unique manner of presentation using his own style of narration, which allows him to convey folk speech motifs with the greatest accuracy.
The artistic feature of the writer’s works is the presentation literary stories in the form of legends in which the narrator introduces himself as a participant in the event being described, while the speech style of the work reproduces lively intonations oral histories. It should be noted that Leskov’s tale does not have the traditions of Russian folk tales, since it is presented in the form of stories based on popular rumor, allowing one to understand the authenticity of the author’s narrative.
In the images of narrators in his tales, the author uses various representatives societies that lead the story in accordance with their upbringing, education, age, profession. The use of this manner of presentation makes it possible to give the work brightness and vitality, demonstrating the richness and diversity of the Russian language, which complements the individual characteristics of the characters in Leskov’s stories.
To create satirical works When writing them, the writer uses verbal play using witticisms, jokes, linguistic curiosities, combined with unclear-sounding foreign phrases, and sometimes deliberately distorted, outdated and incorrectly used words. The linguistic manner of Leskov’s works is accurate, colorful, and richly variegated, making it possible to convey numerous simple dialects of Russian speech, thereby differing from classical forms refined, strict literary style that period of time.
Identity artistic style The writer is also distinguished by the characteristic logical structure of his works, in which various literary devices in the form of unusual rhymes, self-repetitions, colloquialisms, puns, tautologies, diminutive suffixes that form the author’s colloquial manner of word formation.
IN storylines Leskov's legends reveal a combination of everyday, everyday stories about ordinary people and fabulous motifs of legends, epics, fantasies, which allows readers to present the work in the form of an amazing, unique, charismatic phenomenon.
The originality of the narrative style
Leskov started his own literary activity at a fairly mature age, but it was precisely this maturity that allowed the author to form his own style, his own narrative manner. Distinctive feature Leskov is the ability to quite accurately convey the folk style of speech. He really knew what people were saying, and he knew it incredibly accurately.
Here it should be noted a very significant fact that readers can observe in the tale about Lefty. There are many so-called folk words, which stylize the narrative as a story that one man could tell to another. At the same time, all these words were invented by Leskov himself, he did not take and retell folk speech, but he was so competent in this aspect of the language that he himself actually came up with some innovations for such speech, moreover, innovations that looked quite harmonious and, perhaps, , after publication, the works really began to be used by ordinary people in their communication.
Also worthy of special attention is the genre invented by Leskov for Russian literature, and this genre is the tale. Etymologically, the term goes back to the word fairy tale and the verb to say, that is, to tell a story.
The tale, however, is not a fairy tale and stands out as a completely special genre, which is distinguished by its versatility and originality. It is most similar to a story that one person could tell to another somewhere in a tavern, or during a break at work. In general, it is something like a popular rumor.
Also, a tale, a typical example of which is the work (most famous by Leskov) “The Tale of the Tula slanting left-hander who shoed a flea,” represents to some extent 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 true history, but from this story he makes something incredible, epic and fabulous.
The manner of presentation leads the reader to think about some kind of narrator and about the friendly communication that occurs between the reader and this narrator. So the Tale of the Lefty, for example, comes from the persona 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 narrative style, which is further reinforced 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, vernacular, colloquial manner of word formation) often leads the reader to the idea of the authenticity of the story. For some critics, the tale of the left-hander created 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 seems to combine two realities. On the one hand, we see stories about everyday life and ordinary people, on the other hand, fairy tale and epic are intertwined here. In fact, in this way Leskom 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 does it consist of? From stories, legends, tales, fantasies, fictions, conversations, conjectures that are superimposed on everyday reality.
This is what ordinary people exist and “breathe” with, this is their originality and beauty. Leskov, in turn, was able to capture this beauty.
Several interesting essays
- The image and characteristics of Tolstoy in the story Thick and Thin by Chekhov essay
One of the main characters of the work is a gentleman named Mikhail, presented by the writer in the image of Tolstoy.
- Characteristics and image of Milon in the comedy Nedorosl Fonvizin essay
In Fonvizin’s comedy “The Minor,” the ignorant nobles, of whom there were a lot in Russia, are ridiculed. Such characters seem even funnier against the backdrop of well-mannered and noble people, such as Milo.
- Essay on the work War and Peace by Tolstoy
Yours famous work Lev Nikolaevich wrote “War and Peace” in the 60s of the last century. The final edition was created in the 70s, when in Russian society in full swing discussed further development Russia
- The theme of art in Gogol's story Portrait
The theme of art in N.V. Gogol’s story “Portrait” plays a dominant and connecting role. In “Portrait” Gogol raises the question of what is true art and what is only the appearance of art
- Essay-reasoning Dog is man's best friend
Man is inextricably linked with pets. For decades, pets have lived under the same roof as people. Dogs are the most loyal and devoted friends.
Realizing the place and significance of N.S. Leskov in the literary process, we always note that he is an amazingly original writer. The external dissimilarity of his predecessors and contemporaries sometimes made him see in him a completely new phenomenon, which had no parallel 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 himself great educational goals.
Leskov’s creativity, one might say, knows no social boundaries. He brings out 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 quarterly, and the clergy - monastic and parish - from the metropolitan to the sexton, and military men of various ranks and types of weapons, and peasants, and people from the peasantry - soldiers, artisans and every working person. Leskov willingly shows different representatives of the nationalities of Russia at that time: Ukrainians, Yakuts, Jews, Gypsies, Poles... Leskov’s versatility of knowledge of the life of each class, estate, and nationality is amazing. Leskov's exceptional life experience, his vigilance, memory, and his linguistic flair were needed to describe the life of the people so closely, with such knowledge of everyday life, economic structure, family relationships, folk art, and the 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 life of the people.
Who are the heroes of Leskov’s most beloved works by our readers?
Heroes" Sealed angel" - mason workers, "Left-handed" - blacksmith, Tula gunsmith, " Toupee artist"- serf hairdresser and theatrical make-up artist
To place a hero from the people at the center of the narrative, it is necessary First of all, master his language, be able to reproduce the speech of different segments 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 skaz.
The tale in Russian literature comes from Gogol, but was especially skillfully developed by Leskov and glorified him as an artist. The essence of this manner is that the narration is not conducted on behalf of a neutral, objective author; the narrative is narrated by a narrator, usually a participant in the events being reported. The speech of a work of art imitates the living speech of an oral story. Moreover, in a fairy tale, the narrator is usually a person from a different social circle and cultural layer to which the writer and the intended reader of the work belong. Leskov’s story is told by either a merchant, or a monk, or an artisan, or a retired mayor, or a former soldier. . Each narrator speaks in a way that is characteristic of his education and upbringing, his age and profession, his concept of himself, his desire and ability to impress his 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 heroes, and becomes for the writer a means of subtle assessment of people and events. Gorky wrote about Leskov's tale:"...The people of his stories often talk about themselves, but their speech is so amazingly alive, so truthful and convincing that they stand before you as mysteriously tangible, physically clear, as people from the books of L. Tolstoy and others, otherwise to say, Leskov achieves the same result, but with a different technique of mastery."
To illustrate Leskov’s storytelling style, let’s take some tirade from "Lefty" This is how the narrator describes, based on Lefty's impressions, the living and working conditions of English workers : “Every worker they have is constantly well-fed, is not dressed in rags, but each one is wearing a capable tunic vest, shod in thick boots with iron knobs, so as not to get his feet on anything; he works not with a boilie, but with training and has for himself concepts. In front of everyone, in plain sight, hangs a multiplication dot, and under his hand is an erasable board: all the master does is look at the dot and compare it with the concept, and then he writes one thing on the board, erases another, and neatly puts together what is written on the numbers. , that’s what actually happens.”
The narrator did not see any English workers. He dresses them according to his imagination, combining a jacket with a vest. He knows that they work there “according to science”; in this regard, he himself has only heard about the “multiplication dot”, which means that a master who works not “by eye”, but with the help of “digits”, must check his products with it. The narrator, of course, does not have enough familiar words; he distorts or uses unfamiliar words incorrectly. “Shiblets” become “schiglets” - probably by association with panache. The multiplication table turns into a “chicken” - obviously because the students “knock” it out. Wanting to designate some kind of extension on the boots, the narrator calls it a knob, transferring to it the name of the extension on a stick.
Popular storytellers often reinterpret strange-sounding foreign words into Russian., which, with such alteration, receive new or additional meanings; Leskov especially willingly imitates this so-called “folk etymology” ". Thus, in “Lefty” the barometer turns into a “storm meter”, the “microscope” into a “melkoskop”, the “pudding” into a “studying” "etc. Leskov, who passionately loved puns, wordplay, witticisms, and jokes, filled “Levsha” with linguistic oddities. But their set does not give the impression of excess, because the immense brightness of the verbal patterns is in the spirit of folk buffoonery. And sometimes a verbal game not only amuses, but behind it there is a satirical denunciation.
The narrator in a tale usually addresses some interlocutor or group of interlocutors, the narrative begins and progresses in response to their questions and comments. 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 serf 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 a highly talented, but, due to exceptional life circumstances, also an educated actress. Leskov’s Lyuba is an uneducated serf girl, with natural talent capable of singing, dancing, and performing roles in plays “by sight” (that is, by hearsay, following other actresses). She is not able to tell and reveal everything that the author wants to tell the reader, and not everything can be known (for example, the master’s conversations with his brother). Therefore, not the entire story is told from the perspective of the nanny; part of the events are presented by the author with the inclusion of excerpts and small quotes from the story. nanny's story.
In the very popular work Leskova - "Lefty" we encounter a tale of a different kind. There is no author, no listeners, no narrator. More precisely, the author’s voice is heard for the first time after the completion of the tale: in the final chapter, the writer characterizes the story told as a “fabulous legend,” an “epic” of the 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 legend”.
"Lefty"- not an everyday tale, where the narrator narrates events he has experienced or personally known to him; here he retells a legend created by the people, as folk storytellers perform epics or historical songs. As in folk epic, in "Lefty" a number of historical figures act: two kings - 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.
Contemporaries did not appreciate either “Lefty” or Leskov’s talent in general.They believed that Leskov was excessive in everything: he applied bright colors too thickly, put his characters in too unusual positions, forced them to speak in an exaggeratedly characteristic language, and strung too many episodes onto one thread. etc.
Most associated with the creativity of the people "Lefty". At the very basis of its plot lies a comic saying in which the people expressed admiration for the art of Tula masters: "The Tula people shoed a flea". Used by Leskov and popularly used legends about the skill of Tula gunsmiths. Back in early XIX century, an anecdote was published about how an important Russian gentleman showed an expensive English pistol to a craftsman at the Tula Arms Factory, 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 at home just as well.” In the English “armoury cabinet of curiosities”, (*12) taking the especially praised “pistol” in his hands, Platov unscrews the lock and shows the tsar the inscription: “Ivan Moskvin in the city of Tula.”
As we see, love for the people, the desire to discover and show the best sides of the Russian folk character they 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 traits in the hero of his myth about the brilliant master. The legendary Lefty and his two comrades managed to forge and attach horseshoes with nails to the legs of a steel flea made in England. On each horseshoe “the artist’s name is displayed: which Russian master made that horseshoe.” These inscriptions can only be seen through a “microscope that magnifies five million times.” But the artisans did not have any microscopes, but only “shot eyes.”
This is, of course, a fabulous exaggeration, but it has a real basis. Tula craftsmen have always been especially famous and are still famous for their miniature products, which can only be seen with the help of 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. Lefty is ignorant, and this cannot but affect his creativity. The art of the English craftsmen was manifested not so much in the fact that they cast the flea from steel, but in the fact that the flea danced, wound up with a special key. Savvy, she stopped dancing. And the English masters, cordially welcoming Lefty, sent to England with a savvy flea , indicate that he is hampered by a lack of knowledge: "...Then you could have realized that in every machine there is a calculation of force, otherwise you are very skilled in your hands, but you did not realize that such a small machine, like in the nymphosoria, is designed for the most accurate accuracy and does not have shoeings cannot. Now the nymphosoria does not jump and dance through this.” Leskov attached great importance to this point. In an article devoted to the tale of Lefty, Leskov contrasts Lefty’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: “The reviewer of “New Time” notes that in Lefty I had the idea to bring out not one person, and that where it says “Lefty”, you should read “Russian people”.
Lefty loves his Russia with a simple-hearted and ingenuous love. He can't be seduced easy life in a foreign land. He is eager to go home because he is faced with 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 bricks, as was customary in the Russian army then, - which is why “bullets dangle in them” and guns, “God bless war, (...) are not suitable for shooting ". With this he hurries to his homeland. He arrives sick, the authorities did not bother to provide him with a document, the police completely robbed him, after which they began to take him to hospitals, but they did not admit him anywhere without a “tugament”, they threw the patient onto the floor, and finally, “the back of his head split on the paratha” . 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 with your own business: in Russia there are generals for that.”
In the story" Stupid artist" the writer depicts a rich count with an “insignificant face” that exposes an insignificant soul. This is an evil tyrant and tormentor: people he dislikes are torn to pieces by hunting dogs, executioners torment them with incredible tortures. Thus, Leskov contrasts truly courageous people from the people with “gentlemen”, maddened by immense power over people and imagining themselves courageous, because they are always ready to torment and to destroy people at their own whim or caprice - of course, with the hands of others. There were enough such “foreign hands” at the service of the masters: both serfs and civilians, servants and people appointed by the authorities for all kinds of assistance.” strong of the world this." The image of one of the master's servants is vividly depicted in "The Stupid Artist." This is pop. Arkady, undaunted by the torture that threatens him, perhaps fatal, tries to save his beloved girl from the abuse (*19) of her by a depraved master. The priest promises to marry them and hide them at his place 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 to search for the escaped ones, for which he receives a well-deserved spit in the face.
"Lefty"
ORIGINALITY OF NARRATION. LANGUAGE FEATURES. While discussing the genre uniqueness of the story, we said nothing about such a definition of the genre as “skaz”. And this is no coincidence. The 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, skaz can also be called such a way of storytelling, which involves “separation” of the narrative from the participant in the events himself. In “Lefty” exactly this process occurs, especially since the word “fable” is used in the story, suggesting the fairy-tale nature of the narrative. The narrator, being neither a witness nor a participant in the events, actively different forms expresses his attitude to what is happening. 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 narration changes. If at the beginning of the first chapter the narrator outwardly ingenuously sets out the circumstances of the emperor’s arrival in England, then he consistently talks about the events taking place, using colloquialisms, outdated and distorted forms of words, different types of neologisms etc., then already in the sixth chapter (in the story about Tula masters) the narrative becomes different. It does not completely lose its colloquial character, however becomes more neutral, distorted forms of words and neologisms are practically not used . By changing the narrative style, the author wants to show the seriousness of the situation described.. It doesn't happen by chance even high vocabulary, when the narrator characterizes “the skilled people on whom the hope of the nation now rested.” The same kind of narrative can be found in the last, 20th chapter, which obviously, to summarize, contains the author's point of view, so its style differs from the style of most of the chapters.
The narrator’s calm and apparently dispassionate speech often includes expressively colored words(for example, Alexander Pavlovich decided to “travel around Europe”), which becomes one of the forms of expression author's position, deeply hidden in the text.
The narrative 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 readers’ interest 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 kind of beginning, which makes it possible to clearly separate one event from another. This principle creates the effect of a fantastic manner. It can also be noted that in a number of chapters, it is at the end that the narrator expresses the author’s position: “And the courtiers who are standing on the steps all turn away from him, thinking: “Platov got caught and now they’ll drive him out of the palace,” that’s why they couldn’t stand him for bravery” (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 poetry in general: tautologies(“they shod on horseshoes”, etc.), peculiar forms of verbs with prefix(“I admired”, “send”, “clap”, etc.), words with diminutive suffixes(“palm”, “little belly”, etc.). It is interesting to pay attention to the entered text of the saying(“morning is wiser than night”, “snow on your 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 an object and its function(two-seater carriage), scene(busters - combining the words busts and chandeliers, the writer gives a more complete description of the room in one word), action(whistles - whistle and messengers accompanying Platov), designate foreign curiosities(marble coats - camel coats, etc.), the state of the characters (waiting - waiting and agitation, an annoying couch on which for many years lay Platov, characterizing not only the hero’s inaction, but also his wounded pride). The appearance of neologisms in Leskov is in many cases due to literary play.
“Thus, Leskov’s tale as a type of narration was not only transformed and enriched, but also served to create a new genre variety: the tale. A fairy tale story is distinguished by its 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 determined by the task of searching for special forms of expressing the author’s position to assert the strength of national character.
SCIENTIFIC AND PRACTICAL CONFERENCE
"FIRST STEPS INTO SCIENCE"
LANGUAGE FEATURES OF N. S. LESKOV’S TALE “LEFT-HANDED.”
Completed by a student of grade 8 "G" MOBU secondary school No. 4
Mayatskaya Anastasia.
(Scientific supervisor)
Dostoevsky's equal - he is a missed genius.
Igor Severyanin.
Any subject, any activity, any work seems uninteresting to a person if it is not clear. The work of Nikolai Semenovich Leskov “Lefty” is not very popular among seventh graders. Why? I think because it is complex and incomprehensible to schoolchildren of this age. And when you start to think about it, figure it out, assume and get to the bottom of the truth, then things open up. most interesting moments. And personally, I now think the story “Lefty” is one of the most extraordinary works of Russian literature, in the linguistic structure of which so much is hidden for a modern schoolchild...
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, and, if possible, find the reasons for the differences. We had to track changes of this kind in all sections of the language: phonetics, morphemics, morphology, syntax, punctuation, spelling, orthoepy. This is what it's all about structure our work is a description of linguistic 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 modern language).
So , target work - study the work “Lefty” (The Tale of the Tula Oblique Lefty and the steel flea) on the subject of it linguistic features, identify word usages unusual for the modern Russian language at all language levels and, if possible, find explanations for them.
2. The reasons for the occurrence of inconsistencies in word usage in the tale “Lefty” and the modern Russian language.
“The Tale of the Tula Oblique Lefty and the Steel Flea” was published in 1881. It is clear that in the language over 120 years there have been significant changes and This first reason the appearance of discrepancies with modern norms of word usage.
The second one is genre feature. “Lefty” entered the treasury of Russian literature also because it brought to perfection such a stylistic device as the skaz.
A tale is, by definition, “an artistic orientation towards an oral monologue of a narrative type; it is an artistic imitation of monologue speech.” If you think about the definition, it will become obvious that a work of this genre is characterized by a mixture of spoken (“oral monologue”) and book (“artistic imitation”) speech.
“Skaz”, as a word in the Russian language, clearly comes from the verb “skazat”, the full meaning of which is perfectly explained by: “speak”, “explain”, “notify”, “say” or “bayat”, that is fantastic style goes back to folklore. It is closer not to literary, but to colloquial speech (which means it is used large number colloquial word forms, words of so-called folk etymology). The author, as it were, is eliminated from the narrative and reserves the role of recording what he hears. (Evenings on a Farm near Dikanka is in this style). In "Lefty" the imitation of oral monologue speech carried out at all levels of language, Leskov is especially inventive in word creation. And this second reason discrepancies with modern literary norms.
Sources artistic language The writer's experiences are varied - they are primarily associated with his stock of life observations, deep acquaintance with the life and language of various social groups. The sources of the language were ancient secular and church books and historical documents. "On my own behalf I speak with the tongue old fairy tales and church-folk in purely literary speech,” said the writer. In his notebook, Leskov records ancient Russian words and expressions that interested him for their expressiveness, which he later uses in the text. 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 discrepancies between language word forms in Leskov’s work and modern ones.
Igor Severyanin, also distinguished by his unusual word-creation, once wrote a sonnet dedicated to him. There were lines:
Dostoevsky's equal, he is a missed genius.
Enchanted wanderer of the catacombs of language!
It is through these catacombs of language in Leskov’s work “Lefty” that I suggest you go.
VOCABULARY.
Turning to popular vernacular, spoken language, folklore expressions, using words with folk etymology, Leskov tries to show that Russian folk speech is extremely rich, talented, and expressive.
Obsolete words and forms of words.
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 required quantity footnotes, explanations of such words, so that each student can read them independently. We were more interested obsolete forms of words:
Adjective comparative degree more useful, that is, more useful;
The participle “servant” as a noun from the lost verb “serve”: “... showed to the servant on the mouth."
The short participle of “blankets” (that is, dressed) from the disappeared blanket.
The participle “hosha”, formed from the verb “to want” (with the modern suffix –sh-, by the way)
The use of the word “although” instead of the modern “though”: “Now if I had Although there is one such master in Russia..."
The case form “on digits” is not a mistake: along with the word “digit”, there also existed the now obsolete (with a touch of irony) form “tsifir”.
Obsolete form of the adverb " alone" instead of "however".(Like " far away burst out: hurray "y).
The appearance of the so-called prosthetic consonant “v” between vowels
(“right-wingers") was characteristic of the Old Russian language in order to eliminate the unusual phenomenon of gaping (confluence of vowels).
Colloquial expressions:
-“...a glass of sour milk choked out";
-“..great I’m driving”, that is, quickly
-“...so watered without mercy,” that is, they beat.
-“...something will take..." that is, it will distract.
-“...smoked without stop"
Pubel poodle
Tugament instead of document
Kazamat - casemate
Symphon - siphon
Grandevu - rendezvous
Schiglets = boots
Washable – washable
Half skipper-sub skipper
Puplection - apoplexy (stroke)
Words with folk zytymology, most often formed by combining words.
Coach two-seater– a combination of the words “double” and “sit down”
The text shows fluctuations in the gender of nouns, which is typical of the literary norm of that time: “. .shutter slammed"; and unusual, erroneous forms: “his by force did not hold back", that is, the instrumental case according to the model masculine declined, 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 sight,” and provide.”, that is, “view”.
- “... Nikolai Pavlovich was terrible... memorable." (instead of “memorable”)
- “...they look at the girl without hiding, but with all relatedness.”(relatives)
-“... so that not a single minute for the Russian usefulness didn’t disappear” (benefits)
Inversion:
- “...now very angry.”
- “...you will have something worthy of presenting to the sovereign’s splendor.”
Mixing styles (colloquial and bookish):
- “...I want to go to my native place as soon as possible, because otherwise I might get a form of insanity.”
-“...no emergency holidays” (special)
- “...wants a detailed intention to discover about the girl...”
-“..from here with the left-hander and foreign species have come.”
-“...we’re going to look at their weapons cabinet, there are such nature of perfection"
- “...every person has everything for himself absolute circumstances has." In addition, the use of such a form of the predicate verb is not typical of the Russian language (as, for example, English; and it is the English that the hero is talking about).
-“.. I don’t know now , for what need Is this kind of repetition happening to me?
Conclusion.
As can be seen from the examples given, changes have occurred at all levels of language. I believe that having become acquainted 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 invited our classmates to work with examples from the “Vocabulary” section, here you can show your ingenuity, your linguistic flair, and no special preparation is required. Having explained several variants of words with folk etymology, they offered to figure out the rest on their own. The students were interested in the work.
And I would like to end my research with the words of M. Gorky: “Leskov is also a wizard of words, but he did not write plastically, but told stories, and in this art he has no equal. His story is an inspired song, simple, purely Great Russian words, descending one after another into intricate lines, sometimes thoughtfully, sometimes laughingly, ringing, and you can always hear in them a reverent love for people...”
1.Introduction (relevance of the topic, structure of the work, purpose of the study).
2. Reasons for the occurrence of inconsistencies in word usage in the work “Lefty” and in the modern Russian language.
3. Study of the language features of the tale “Lefty” at all levels:
Vocabulary;
Morphology;
Word formation;
Phonetics;
Textual criticism;
Syntax and punctuation;
Spelling.
4. Conclusion.
Literature used.
1. . Novels and stories, M.: AST Olimp, 1998
2. . . Historical grammar of the Russian language.-M.: Academy of Sciences of the USSR, 1963
3. . Dictionary living Great Russian language (1866). Electronic version.