Dialectisms in literary language (using the example of tales). Dialectisms in literary works

In artistic speech, dialectisms perform important stylistic functions: they help convey local flavor, the peculiarities of the characters’ speech, and finally, dialect vocabulary can be a source of speech expression.

Sentimentalist writers, prejudiced against coarse, “peasant” language, protected their style from dialect vocabulary.

Interest in dialectisms was caused by the desire of realist writers to truthfully reflect the life of the people, to convey the “common” flavor. Dialect sources were consulted by I.A. Krylov, A.S. Pushkin, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, L.N. Tolstoy and others. In Turgenev, for example, words from the Oryol and Tula dialects are often found (bolshak, gutorit, poneva, potion, wave, lekarka, buchilo, etc.). Writers of the 19th century used dialectisms that corresponded to their aesthetic attitudes. This does not mean that only some poeticized dialect words were allowed into the literary language. Stylistically, the use of reduced dialect vocabulary could have been justified. For example: As if on purpose, the peasants met all shabby (T.) - here dialectism with a negative emotional-expressive connotation in the context is combined with other reduced vocabulary (the willows stood like beggars in rags; the peasants rode on bad nags).

Modern writers also use dialectisms when describing rural life, landscapes, and when conveying the characters’ speech pattern. Skillfully introduced dialect words are a grateful means of speech expression.

When using dialecticisms in quotation terms, it is important to maintain a sense of proportion and remember that the language of the work must be understandable to the reader. For example: All evenings, and even nights, [the guys] sit at the fires, speaking in the local language, and bake opalihi, that is, potatoes (Abr.) - this use of dialectisms is stylistically justified. When assessing the aesthetic meaning of dialect vocabulary, one should proceed from its internal motivation and organic nature in the context. The mere presence of dialectisms cannot yet indicate a realistic reflection of local color. As rightly emphasized by A.M. Gorky, “everyday life needs to be laid in the foundation, and not stuck on the façade. Local flavor is not in the use of words: taiga, zaimka, shanga - it should stick out from the inside.”

A more complex problem is the use of dialectisms along with literary vocabulary as stylistically unambiguous speech means. In this case, a passion for dialectisms can lead to clogging of the language of the work. For example: Everything is amazing, bewitching; Belozor swam in the distance; The slope with a twist is antagonizing - such an introduction of dialectisms obscures the meaning.

When determining the aesthetic value of dialectisms in artistic speech, one should take into account what words the author chooses. Based on the requirement of accessibility and understandability of the text, the use of dialectisms that do not require additional explanation and are understandable in context is usually noted as proof of the writer’s skill. Therefore, writers often conditionally reflect the features of the local dialect, using several characteristic dialect words. As a result of this approach, dialectisms that have become widespread in fiction often become “all-Russian”, having lost connection with a specific folk dialect. The appeal of writers to the dialecticisms of this circle is no longer perceived by the modern reader as an expression of the author’s individual manner; it becomes a kind of literary cliche.

Writers should go beyond “interdialectal” vocabulary and strive for non-standard use of dialectisms. An example of a creative solution to this problem can be the prose of V.M. Shukshina. There are no incomprehensible dialect words in his works, but the speech of the heroes is always original and folk. For example, vivid expression distinguishes dialectisms in the story “How the Old Man Died”:

Yegor stood on the stove and put his hands under the old man.

Hold on to my neck... That's it! How light it has become!..

I threw up... (...)

I'll come by in the evening and check on you. (...)

“Don’t eat, that’s why you’re weak,” the old woman remarked. - Maybe we’ll chop the trigger and make some broth? It's delicious when it's fresh... Eh? (...)

No need. And we won’t eat, but we’ll decide to eat. (...)

At least don’t fidget now!.. He’s standing there with one foot, and he’s making some noise. (...) Are you really dying, or what? Maybe he's gotten better.(...)

Agnusha,” he said with difficulty, “forgive me... I was a little alarmed...

The processes of increasing spread of the literary language and the extinction of dialects, characteristic of our historical era, are manifested in the reduction of lexical dialectisms in literary speech.

Dialectisms, or dialect words, are vocabulary whose use is limited to a certain territory. These are words that are used in certain folk dialects and are not part of the literary language.

For example:

Pskov lUskalka- insect, bug;

Vladimirskoe alert– smart, quick-witted;

Arkhangelsk galIt- play pranks;

Ryazan I'm glad– a well-fed person or a well-fed animal;

Orlovskoe hryvnia- warm.

Dialectisms and words of the literary language

Dialectisms can be related to words in a literary language in different ways. Some may differ from literary words by one or two sounds ( gloomy- cloudy), others - with prefixes or suffixes (Ryazan conversational- talkative, Onega grow old- grow old). There are dialect words that do not have the same meaning in dialects as in the literary language (Ryazan mermaid- garden scarecrow), or roots unknown to the literary language (Voronezh bootie- basket).

How dialectisms become common words

Dialectisms can penetrate into the literary language, and thus become all-Russian. This occurs as a result of their use in fiction texts. Writers introduce figurative folk words into their works in order to convey local speech characteristics, more vividly characterize the characters, and more accurately express concepts associated with folk life. We can find examples of the use of dialectisms in I. S. Turgenev, N. S. Leskov, L. N. Tolstoy and other prose writers of the 19th century, as well as in writers of the 20th century: M. A. Sholokhov, V. M. Shukshin, V. P. Astafiev and others. Thus, in the 19th century, words such as reckless, rescue, jerk, crawl, inveterate, beg, awkward, ordinary, savor, rustle, puny and others.

Dialectisms in various dictionaries

Dialect vocabulary is described in dialect dictionaries and is also reflected in writers’ dictionaries. For example, in the dictionary of M. A. Sholokhov: Goat- jump when playing leapfrog, like a kid ( Along the alleys, barefoot and already tanned Cossacks leapfrogged. The word is used in the author's speech).

Dialectisms that are widespread in dialects and appear on the pages of standard dictionaries of a literary language have the marks regional or local and examples of their use in literary texts.

For example:

In the 4-volume academic “Dictionary of the Russian Language” there are words big ear- eldest in the house, mistress, shout- talk, converse and others.

Dialect vocabulary is widely represented in the “Dictionary of the Living Great Russian Language” by Vladimir Ivanovich Dahl. It reflects the Russian folk worldview, Russian folk culture, imprinted in the language.

Dialect words of different areas

Lesson summary in 6th grade

Note:

The summary was compiled according to the textbook by L. M. Rybchenkova.

Common words and dialectisms.

Lesson objectives:

learning new material;
development of skills to work with a dictionary, find in the text and explain the meaning of dialectisms;
to cultivate interest in learning the vocabulary of the Russian language, an attentive and careful attitude to the word.

Cognitive: searching for information, determining the meaning of information, constructing statements, reflecting on activities;
Regulatory: goal setting, activity planning;
Communicative: ability to express thoughts;
Personal: self-determination, meaning formation, moral assessment.

Organizing time.
Spelling warm-up (p. 86) with an explanation of the lexical meanings of words, repetition of material from the previous lesson (archaisms, historicisms, neologisms) with examples.
Technique “Attractive goal”: - reading a fragment from I.S. Turgenev’s story “Bezhin Meadow”;
(Click on the plus sign to read the text.)
Fragment of the story
“Did you guys hear,” Ilyusha began, “what happened to us in Varnavitsy the other day?”
- At the dam? - asked Fedya.
- Yes, yes, on the dam, on the broken one. This is an unclean place, so unclean, and so deaf. There are all these gullies and ravines all around, and in the ravines all the kazyuli are found.
- Well, what happened? tell me...

- problematic situation: is the text clear? What words are unclear? What are these words? (Exit to the interpretation of terms common and restricted words; recording the lesson topic; distinguishing between what is known and what needs to be known; motivation of educational activities).
- setting the goal of the lesson: to study dialectisms, determine why they are used in a literary text.
Working with V. I. Dahl’s dictionary, explaining the meanings of dialectisms.
Searching for information in a textbook, structuring information, constructing a statement according to a diagram (pp. 86, 87).
Distribution letter (exercise 166): words of common use and words of limited use (for the second group of words, indicate dialectisms, terms and jargon).

Exercise 167 orally (draw a conclusion about how the meaning of dialectism can be given in the text itself).

Exercise 168 in writing (with morphemic analysis); a conclusion about what features were used as the basis for the data in the exercise of words in different dialects, about the accuracy and imagery of the folk language.
Game “Find a Pair”: who can quickly find matches between dialect and common words from exercise 169.
Working with an explanatory dictionary: find and write down 3 words with local marks. or region, explain their meanings.
Working with the text “On a Visit to the Pomors” (exercise 171): searching for evidence of theoretical material on p. 88: “Dialect vocabulary is used in works of art to describe the area, everyday life, and characteristics of the characters’ speech” (work in pairs).

Student responses; conversation on questions after the text. Conclusion about the purposes of using dialectisms in the text. Why can the meanings of some dialect words be understood without special explanations and without dictionaries? Which of the dialect words correlates with a commonly used colloquial verb cook- cook food? Which dialect word can be replaced with a commonly used synonym bridesmaid- an ancient ritual of introducing the groom and his relatives to the bride? Indicate what other dialect words you can find commonly used synonyms for. Determine in what meaning the word is used in the text red.
Reflection of activity.
Analysis of homework: §21, exercise 170. Read a fragment of A. Astafiev’s story and find dialectisms in it. Copy the last paragraph, inserting the missing letters and adding missing punctuation marks.

Dialectisms are words used only by residents of a particular area. Nowadays, dialect words are rare even in the speech of rural residents. The most commonly used dialect words in our time are included in explanatory dictionaries of the Russian literary language. A mark is given next to the word region(regional).

There are special dialect dictionaries. In V. I. Dahl's "Explanatory Dictionary of the Living Great Russian Language" there are many dialect words collected by him in different parts of our homeland.

Dialect words are sometimes used in literary works to convey the speech characteristics of residents of a certain area. The given dictionary contains many examples of dilatory words that children can write down for a Russian language lesson in the 6th grade.

Dictionary of dialectal and obsolete words and phrases for 6th grade schoolchildren.

Altyn is a three-kopeck coin.
Andel is an angel.
Archandel - archangel.
Arshin is a measure of length equal to 0.71 meters.
Badag – batog, stick, staff, whip.

Bazheny – beloved, from the word “bazhat” – to love, to desire.
The story is a lullaby song, a refrain when putting a child to sleep; from the verb baykat - to lull, rock, lull.
Balamolok - talker; from balamolit - to chat.
Balki are sheep.
Barenki are sheep.
Basalai is a dandy, a dandy, a rake, a braggart.
Basque - beautiful, handsome, elegant.
Bayat - talk, tell.
Bozhatka - godmother, named mother.
Birch, non-resected, birch bark - made from birch bark.
Painful - painful.
Brazumentochka, prozumentochka, prozument - from the word braid - braid, ribbon, usually embroidered with gold or silver, galloon.
Brany - woven with patterns.
It will be, it will be - full, enough, enough.
Buka is a fantastic creature that is used to scare children.

Vadit, to take care of - to educate, to feed.
Vasilyev's evening - New Year's Eve, December 31st according to Art. Art.
Vasiliev's Day is a Christian holiday in honor of Basil of Caesarea, coinciding with the New Year (January 1, Art.).
In a row - a second time, another time, a second time.
Vereyki, verey - one of the pillars on which the gates are hung.
Lent is a seven-week fast before Easter.
Vsemirenochok, Vsemirshonok - a child born out of wedlock.
Vyaziga is a picky or quarrelsome person; dorsal string (chord) of red fish, used as food.

Gaitan - a cord on which a pectoral cross is worn; generally a lace, braid.
To hit - here: to serve a ball or a ball in a game.
Govena - to fast: fast, eat nothing, prepare for church confession.
Gogol is a bird from the breed of diving ducks.
To live for a year - to live, stay, stay somewhere for a whole year.
Golik is a broom without leaves.
Golitsy - a leather glove without lining.
A penny is a coin worth half a penny.
Gulyushki are pigeons.
Threshing floor - a place for storing bread in sheaves and threshing, covered floor.
Granatur, set – thick silk fabric.
Hryvnia is a silver ingot that served as a monetary and weight unit in Ancient Rus'.
Gunya - shabby, torn clothes.

Dolon - palm.
Doselny – past.
Woody - small.
To stretch, to stretch - to grow, thicken, become healthier, become stronger.

Yegariy, Yegoryev Day is a holiday in honor of the Christian saint George the Victorious. People celebrated two Egoriyas: autumn (November 26) and spring (April 23, O.S.).
Hedgehog is food.
Elen is a deer.
Elha, slokha - alder.

Belly – livestock, wealth, life.
Harvest - harvest time, time to harvest grain from the field; a field from which grain has been harvested.

Fun - beloved, dear.
Zavichat (bequeath, covenant) - command, strictly punish or command.
Zagovene is the last day before fasting when you can eat fast food.
Zaroda, zarod - a stack, a stack of hay, straw, sheaves, elongated.
Zaugolnichek is a nickname for an illegitimate child.
Matins is an early morning church service.
Winter Christmastide - the time from Christmas to Epiphany: from December 29 to January 6 according to Art. Art.
Zipun is a peasant working caftan. Zybka - cradle, cradle.

And mother - to catch.
If only - if.
Kamka is a silk patterned fabric.
Loaf is a large round loaf of bread.
Cast - to dirty, dirty, harm.
Wire rods - felt boots.
Kaftan is an ancient men's outerwear.
Chinese is a type of cotton fabric.
Koval is a blacksmith.
Peel, peel - skin.
Kolyada is a mythological creature.
Kokoshnik is the headdress of Russian women.
Kolobok, kolobok is a round, spherical dough product.
Box - a chest woven from bast or curved from shingles; sleigh covered with bast.
Braid, braid - here: the tail of a rooster.
Rump is the hard bark of plants suitable for yarn (hemp flax).
Kostroma, Kostromushka is a mythological creature depicted by a girl or a stuffed animal.
Cats are women's shoes, a type of ankle boots, boots, shoes with high fronts.
Kochedyk is an awl, a tool for making bast shoes.
Kochet is a rooster.
Kroma - a loaf of bread, a crust; beggar's bag.
Kuzhel, kuzhen - tow, a bunch of flax prepared for yarn.
Kuzhnya - basket, wickerwork, box.
Kulazhka, kulaga – a delicious dish: steamed malted dough.
Kumach is scarlet-colored cotton fabric.
Kunya (fur coat) - made from marten fur.
Show off - mock, mock.
Kut is a corner of a peasant hut.
Kutia is a cult food served at funerals and on Christmas Eve (porridge made from barley, wheat, rice with raisins or other sweets).

Gusset, gusset - quadrangular multi-colored inserts in the sleeves of women's shirts.
Lying under images (icons) - dead people were placed under icons.
Bowl - wooden utensils for household needs.
Lubya, bast, bast - the subbark layer of linden and some other trees, from which baskets are made and bast shoes are woven.
Onion - arc, bow.
Bast is the fibrous inner part of the bark of linden and some other deciduous trees.
Lying - avoiding work, running away from work.
Lyadina, lyada - wasteland, abandoned and overgrown land.

Malek - from small: little guy, child,
Maslenitsa is a holiday of farewell to winter among the ancient Slavs, dedicated by the Christian Church to the week before Lent; During Maslenitsa, they baked pancakes, ate plenty of cheese and butter, and organized various entertainments.
Mizgyro is a spider.
Myschatoye (tree) – possibly distorted: mast (tree).

Nadolba - a pillar, a curbstone by the road.
Nadolon, nadolonka - a piece of fabric or leather sewn onto a mitten from the palm side.
A daughter-in-law is a married woman in relation to her husband's relatives.
Stayed overnight - last night.
Needed, needed - poor, beggarly, wretched, meager.

Mass is a church service for Christians.
Drop - drop, lose.
A barn is a building in which sheaves were dried.
Ovsen (Avsen, batssen, tausen, usen, the personification of the New Year.
Clothes - the remains of hay from a stack or the bottom layer of hay, straw in luggage
Winter winter is a field sown with winter crops.
Ozorbdy - a seed, a stack. To die is to die.
Opara is a leaven for bread dough.
Oprbska - from overgrown; empty - here: free.
Yelling means plowing the ground.
Ochep (Otsep) - a flexible pole on which a cradle was suspended.

To dirty - to harm, to pollute.
Dad, folder - bread (children's language).
Brocade – gold or silver fabric; silk fabric woven with gold and silver.
Parchyovnik - ancient clothing made of brocade.
Easter is a Christian spring holiday in honor of the Resurrection of Jesus Christ.
Plow (floor, hut) - sweep, sweep.
Pedaling - fidgeting with your fingers, moving your hands in vain.
Perezh, perezhe - before, in advance, earlier, first
Perelozhek, fallow land - a field that has not been plowed for several years.
A pestle is a pusher for grinding something in a mortar.
Pester is a basket woven or sewn from birch bark or bast.
Petun is a rooster.
Povet - a flooring over a barnyard where hay was stored, a roof over a barnyard.
Povoinik is the headdress of a married woman.
Drive - whip.
Pogost - cemetery, burial ground.
Podgrebica is a building above the cellar.
Pozhnya is a meadow during haymaking.
Polptsa - a shelf for storing food and dishes.
Polushka is an old quarter-kopeck coin.
To commemorate - to participate in the rite of remembrance of the deceased.
A funeral is a ritual meal in memory of the deceased.
More honest - more honest: friendly, courteous.
Pryadushka - weddings, get-togethers, parties; good spinner.
Helper - helper.
Delivery - each individual dish at the table, meal, break.
Pochepochka is a chain.
Honor - respect.
Ice hole - ice hole.
Pulanok – according to the performer’s explanation – is a sparrow.
The bullet is snot.

To wake up - to have fun, to disperse, to take a walk.
Undressed, undressed - a clergyman, deprived of rank or title.
Ripachok ribachok - from rpbusha: rags, rags, torn clothes, cast-offs.
Christmas is a Christian holiday (December 25, Old Art.) dedicated to the birth of Jesus Christ.
Horn - a dressed cow horn with a dried teat from a cow's udder attached - for feeding a baby.

Sazhen is an old Russian unit of length equal to 2.13 m.
To go crazy - to be cowardly, to go backwards, to lie.
Semik is a national holiday celebrated on Thursday of the seventh week after Easter.
Sennaya girls are courtyard serf girls, maids.
Sibirka - a short caftan at the waist with a stand-up collar.
Skolotochek, skolotok - a child born out of wedlock.
Malt is a grain of bread sprouted in a warm place, dried and coarsely ground; used for making beer, mash, kvass.
Solop, salop - women's outer clothing, a type of cloak.
Magpies - a holiday in honor of the forty martyrs, March 9 according to Art. Art.
Christmas Eve is the eve of the church holidays of Christmas and baptism.
Candlemas is a Christian holiday in honor of Christ (February 2, O.S.).
Stret - towards.
The wall is a shadow.
A pod is a pod.
Sugreva - dear, sweet, warm-hearted.
Susek - a chest for grain in a barn.
Wort is a sweet brew made from flour and malt.
To cheat, to cheat - to deceive, to deceive, from a cheat: a deceiver, a swindler.
Full - water sweetened with honey, honey decoction.

Tiun – clerk, manager, judge.
Oatmeal – crushed oatmeal; oatmeal food.
Tonya is a seine, a fishing net.
Sharpened - peasant canvas, whole tube, in a piece.
Trawls are trawls, bag-shaped nets for catching fish.
Reeds are marsh thickets or marsh plants.
Tuesok, tues - a type of bucket with a lid made of birch bark.
Tukachok, tukachok - a beaten, threshed sheaf.
Tickmanka - a poke in the head with your knuckles.
Tur is a stove pillar in a hut, the base of which is painted.

Ustoek, Ustoi – cream on established milk.
A grip is a type of iron fork used to place pots in and out of the oven.
Flail - threshed, a tool for threshing sheaves.
Child - child, child.
Scabs - scabs, scabs, rashes.
Shendrovat - distorted: to generous - to go from house to house singing on New Year's Eve, receiving rewards from the owners for this.
Shtofnik - silk sundress.
Brother-in-law is the wife's brother.
Yalovitsa is a non-pregnant cow or heifer.
Yarka – young sheep

In artistic speech, dialectisms perform important stylistic functions: they help convey local flavor, the specifics of life and culture; features of the characters’ speech; finally, dialect vocabulary can be a source of speech expression and a means of satirical coloring.

The use of dialectisms in Russian fiction has its own history. Poetics of the 18th century. allowed dialect vocabulary only in low genres, mainly in comedy; dialectisms were a distinctive feature of the characters’ non-literary, predominantly peasant speech. At the same time, dialect features of various dialects were often mixed in the speech of one character. Sentimentalist writers, prejudiced against coarse, “peasant” language, protected their style from dialect vocabulary. Interest in dialectisms was caused by the desire of realist writers to truthfully reflect the life of the people, to convey the “common” flavor. Dialect sources were consulted by I.A. Krylov, A.S. Pushkin, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, L.N. Tolstoy and others. In Turgenev, for example, words from the Oryol and Tula dialects are often found (bolshak, gutorit, poneva, potion, wave, lekarka, buchilo, etc.). Writers of the 19th century used dialectisms that corresponded to their aesthetic attitudes. Stylistically, the use of reduced dialect vocabulary could have been justified. For example: As if on purpose, the peasants met all shabby (I.S. Turgenev) - here dialectism with a negative emotional-expressive connotation in the context is combined with other reduced vocabulary (the willows stood like beggars in rags; the peasants rode on bad nags).

It is necessary to distinguish, on the one hand, from the “quotational” use of dialectisms, when they are present in the context as a different style element, and, on the other hand, their use on equal terms with the vocabulary of the literary language, with which dialectisms should stylistically merge. When using dialecticisms in quotation terms, it is important to know when to stop and remember that the language of the work must be understandable to the reader. For example: All the evenings, and even nights, [the guys] sit at the fires, speaking in the local language, and bake opalikhs, that is, potatoes (V.F. Abramova) - this use of dialectisms is stylistically justified. When assessing the aesthetic meaning of dialect vocabulary, one should proceed from its internal motivation and organic nature in the context. The mere presence of dialectisms cannot yet indicate a realistic reflection of local color. As rightly emphasized by A.M. Gorky, “everyday life needs to be laid in the foundation, and not stuck on the façade. Local flavor is not in the use of words: taiga, zaimka, shanga - it should stick out from the inside.”

A more complex problem is the use of dialectisms along with literary vocabulary. In this case, a passion for dialectisms can lead to clogging of the language of the work. For example: Everything is amazing, bewitching; Belozor swam in the distance; The slope with a twist is antagonizing - such an introduction of dialectisms obscures the meaning. When determining the aesthetic value of dialectisms in artistic speech, one should take into account what words the author chooses. Based on the requirement of accessibility and understandability of the text, the use of dialectisms that do not require additional explanation and are understandable in context is usually noted as proof of the writer’s skill. As a result of this approach, dialectisms that have become widespread in fiction often become “all-Russian”, having lost connection with a specific folk dialect.

Yegor stood on the stove and put his hands under the old man.

Hold on to my neck... That's it! How light it has become!..

I threw up... (...)

I'll come by in the evening and check on you. (...)

“Don’t eat, that’s why you’re weak,” the old woman remarked. - Maybe we’ll chop the trigger and make some broth? It's delicious when it's fresh... Eh? (...)

No need. And we won’t eat, but we’ll decide to eat. (...)

At least don’t fidget now!.. He’s standing there with one foot, and he’s making some noise. (...) Are you really dying, or what? Maybe he's gotten better.(...)

Agnusha,” he said with difficulty, “forgive me... I was a little alarmed...

For the modern language of fiction, the widespread use of dialectisms is uncharacteristic. This is due to the intensification of the process of dissolution of local dialects in the literary Russian language, their rapprochement with it. This process captures the entire speech system, but vocabulary turns out to be the most permeable. At the same time, a complex, multi-stage restructuring of dialect vocabulary is observed: from narrowing the scope of use of individual dialectisms to their complete disappearance from the dialect dictionary due to changes in agricultural methods, the extinction of individual crafts, the replacement or disappearance of many social and everyday realities, and the like.

Dialectisms are words borrowed from dialects of the same language. Being by nature the same barbarisms (since the boundaries between dialects and languages cannot be established precisely), they differ only in that they take words from dialects that are more familiar and mostly non-literary, i.e. who do not have their own written literature. In this case, two cases should be distinguished: the use of dialects of ethnic groups, or regional (“provincialisms”), and the use of dialects of individual social groups.

Ethnic dialectisms, borrowed from different dialects, are usually used to give “local flavor” to an expression. In addition, given the fact that they are taken from the dialects of people far from literary culture, here we notice everywhere a certain “decrease” in the language, i.e. the use of forms of speech that are neglected in the dialect of the average “literary educated” person.

These dialectisms entered Russian literature in a wide stream in the 30s in the works of Dahl, Pogorelsky and especially Gogol.

“And so we shrugged off all this trouble, put it to rest, as they say in Ukraine.”

“So, my Cossack turned away from the girl with whom he was getting married...”

With these Ukrainianisms or Little Russianisms, Dahl in the cited examples not only tries to convey the local flavor of what is happening, but also imitates the fairytale style of the fictional Ukrainian narrator:

“I already said that it happened in Ukraine, so don’t let them blame me for the fact that my fairy tale is full of Ukrainian speeches. This fairy tale was also sent to me by a Cossack: Gritsko Osnovyanenko, if you knew him.”

(Dahl. “The Witch.”)

In the same way, Gogol motivates Ukrainianisms with the dialect of the narrator Rudy Panka.

Close to dialectisms (i.e. to words that are not normally used in the dialect of persons speaking a common Russian literary language) are provincialisms, i.e. words and sayings that have penetrated into the dialect of literary-speaking townspeople, but have not become widespread throughout the territory and are used only in one area. Many examples can be found, for example, in the local names of animals, birds, fish and plants. Ostrovsky in the play “Mad Money” characterizes his provincial hero Vasilkov:

“He speaks slightly with an “o”, uses sayings belonging to residents of the cities of the middle Volga: when there is no, instead of yes; Oh my God! instead of denial, scraper instead of neighbor.”

Borrowings from dialects of various social groups have a slightly different function. This is, for example, the characteristic use of the so-called “philistine dialect”, i.e. dialect of urban strata occupying an intermediate position between the strata that use the literary language and the strata that speak a pure dialect.

Merchant characters in Ostrovsky's comedies usually use bourgeois dialect.

Turning to the bourgeois dialect, writers usually note the following feature of the vocabulary: the bourgeois strata gravitate towards the assimilation of purely literary words (“educated”), but, having assimilated them, they distort and reinterpret them. Such a change in a word with its reinterpretation is called folk etymology. Works that use the vocabulary of bourgeois dialects usually widely use the vocabulary of folk etymologies. For example:

Balzaminova. Here's what, Misha, there are some French words that are very similar to Russian ones; I know a lot of them, you should at least memorize them in your spare time. Sometimes you listen at name days, or at a wedding, how young gentlemen talk to young ladies - it’s just a delight to listen to.

Balzaminov. What words are these, mama? After all, who knows, maybe they will do me good.

Balzaminova. Of course, for the good. Listen here! You keep saying: “I’ll go for a walk!” This, Misha, is not good. Better say: “I want to make a prominence!”

Balzaminov. Yes, mama, this is better. You are telling the truth! Prominage is better.

Balzaminova. About whom they speak badly, this is morality.

Balzaminov. I know that.

Balzaminova. If a person or some thing is not worth attention, some insignificant thing, how can one say about it? Rubbish? It's kind of awkward. Better in French: "Goltepa".

Balzaminov. Goltepa. Yes it's good.

Balzaminova. But if someone gets presumptuous, has a lot of dreams about himself, and suddenly his force is knocked down, this is called “asage.”

Balzaminov. I didn’t know this, mama, but this word is good, Asazhe, asazhe...”

(Ostrovsky. “Your own dogs are biting - don’t bother someone else’s.”)

“Here a left-hander sat down at the table and sat there, but he didn’t know how to ask something in English. But then he realized: again he would simply tap on the table with his finger and show it to himself in his mouth - the English guess and serve, but not always what is needed, but he will not accept anything that is not suitable for him. They served him hot cooking on fire; - he says: “I don’t know that you can eat something like that,” and he didn’t eat it - they changed it for him and served him another dish. Also, I didn’t drink their vodka, because it was green - it seemed like it was seasoned with vitriol, but I chose what was most natural, and waited for the courier in the cool behind the eggplant.

And those people to whom the courier handed over the nymphosoria immediately examined it with the strongest microscope and now included it in the public records of the description, so that tomorrow it would be publicly known as slander.”

(Leskov. “Lefty”. The Tale of the Tula Oblique Lefty and the Steel Flea.)

Here, the peculiar vocabulary serves, firstly, to create a characteristic fairytale background. The vocabulary itself (as well as syntax) is characterized by the narrator. On the other hand, “folk etymologies” provide scope for semantic comparisons (“slander” equals feuilleton, etc.), producing a comic effect. Leskov’s language is especially rich in these new formations, motivated by “folk etymology”: “Abolon Polvedersky”, “buremets”, “agidation”, “veroyatsiya”, “bite”, “water-eye”, “tugament”, “Count Kiselvrode”, “Solid Earth Sea”, “multiplication dot”, etc.

Let us note that the “folk etymologies” actually used in dialects relatively rarely provide an example of the contamination of words according to their meaning. So, if instead of “kerosene” they say “crucian carp,” bringing this word closer to the word “crucian carp,” then no one sees any connection between kerosene and crucian carp. Artificial, literary “folk etymologies” are characterized by contamination in meaning, which has a comic effect due to the unexpected convergence of two concepts: “feuilleton - slander” (i.e. feuilleton as a form of newspaper libel). This semantic contamination is possible even without the motivation of bourgeois dialect, for example:

“Dorogoychenko, Gerasimov, Kirilov, Rodov - what a uniform landscape.”

(V. Mayakovsky.)

The same class of stylistic phenomena based on speech distortion includes the imitation of the Russian dialect of foreigners who do not speak Russian well. Here, predominantly phonetic and morphological changes in words are usually emphasized, as well as the introduction of foreign vocabulary into Russian speech:

“You receive government apartments, with firewood, with litht (Licht - light) and with servants, which you are not worthy of,” Krestyan Ivanovich’s answer sounded sternly and horribly like a sentence.”

(Dostoevsky.)

Wed. the opposite is the distortion of foreign speech in the mouths of Russians:

“Pourquois vu touche, purquois vu touche,” shouted Anton Pafnutich, conjugating the Russian verb touche in the French manner. “I can’t sleep in the dark.”

The area of varieties of dialectisms should also include the use of vocabulary of professional groups, as well as dialects that arise in a certain everyday situation - the so-called jargons (thieves' jargon, street "argot", etc.). Examples of this kind of dialectism can be found in the sea stories of Stanyukovich, in the tramp stories of Maxim Gorky, etc. Here is an example of imitation of professional vocabulary (medical) in one of Chekhov’s early stories:

"A novel by a doctor. If you have reached manhood and graduated from science, then the recipe: feminam unam and dowry quantum satis. I did just that: I took feminam unam (it is not allowed to take two) and the dowry. Even the ancients condemned those who, when getting married, did not take a dowry (Ichthyosaur, XII, 3). I prescribed horses, mezzanine, began drinking vinum gillicum rubrum and bought myself a fur coat for 700 rubles. In a word, lege artis has healed. Her habitus is not bad. Average height. The coloring of the skin and mucous membranes is normal, the subcutaneous layer is well developed. The chest is normal, there are no wheezes, vesicular breathing. Heart sounds are clear. In the sphere of psychic phenomena, only one deviation is noticeable: she is talkative and loud. Thanks to her talkativeness, I suffer from hyperesthesia of the right auditory nerve,” etc.

The so-called “vulgarisms” are also related to jargon, i.e. the use in literature of rude words of common parlance (“bastard”, “bitch”, etc.).

For example:

Us
lyrics
with hostility
repeatedly attacked
Looking for speeches
accurate
and naked.
But poetry -
most disgusting thing
Exists -
and not even a kick.

(V. Mayakovsky.)

As a matter of fact, it is precisely in this area of various “jargon” that the stylistic diversity of prose works lies, which for artistic purposes use those forms of living spoken language that are, as it were, “established” and familiar in certain living conditions and in certain strata. With such speech is associated an idea of her everyday conditions, and the artist resorts to this means, either to characterize the environment being described, or to describe the characters of his narrative by the way of speech, or - in parodic use - to create the impression of comedy or grotesque by the contrast between theme and style ( ugly, morbid comedy).

Tomashevsky B.V. Theory of literature. Poetics - M., 1999