“With quick steps I walked through a long “square” of bushes, climbed a hill and, instead of the expected familiar plain (...) I saw completely different places unknown to me” (I. S. Turgenev, “Bezhin Meadow”). Why did Turgenev put the word “square” in quotation marks? Thus, he wanted to emphasize that this word in this meaning is alien to the literary language. Where did the author borrow the highlighted word from and what does it mean? We find the answer in another story of his. “In the Oryol province, the last forests and squares will disappear in five years...” says Turgenev in “Khora and Kalinich” and makes the following note: “Square” are large continuous masses of bushes in the Oryol province.”

Many writers, depicting village life, use words and stable phrases of the folk dialect common in the area (territorial dialect). Dialectal words used as part of literary speech are called dialectisms.

We find dialectisms in A. S. Pushkin, I. S. Turgenev, N. A. Nekrasov, L. N. Tolstoy, V. A. Sleptsov, F. M. Reshetnikov, A. P. Chekhov, V. G. Korolenko, S. A. Yesenina, M. M. Prishvina, M. A. Sholokhova, V. M. Soloukhina, I. V. Abramova, V. I. Belova, V. M. Shukshina, V. G. Rasputina, V. P. Astafiev, A. A. Prokofiev, N. M. Rubtsov and many others.

Dialect words are introduced by the author, first of all, to characterize the character’s speech. They simultaneously indicate the social position of the speaker (usually belonging to a peasant environment) and his origin from a certain area. “There are all these gullies and ravines all around, and in the ravines all the kazyuli are found,” says Turgenev’s boy Ilyusha, using the Oryol word for a snake. Or from A. Ya. Yashin: “I’m walking along the clearings and I see something moving. Suddenly, I think, a hare? - says a Vologda peasant. This reflects the non-discrimination ts And h, inherent in some northern dialects, and also used the local word “osek” - a fence made of poles or brushwood that separates a pasture from a hayfield or village.

Writers with a keen sense of language do not overload the characters’ speech with dialectal features, but convey its local character in a few strokes, introducing either a single word or a phonetic (sound), word-formation or grammatical form characteristic of the dialect.

Writers often turn to local words that name objects and phenomena of rural life and have no correspondence in the literary language. Let us remember Yesenin’s poems addressed to his mother: “Don’t go on the road so often // In an old-fashioned, shabby shushun.” Shushun is the name of women's clothing, such as a jacket, worn by Ryazan women. We find similar dialectisms in modern writers. For example, from Rasputin: “Out of the whole class, I was the only one wearing teal.” In Siberia, chirki are light leather shoes, usually without tops, with edging and ties. The use of such words helps to more accurately reproduce the life of the village. Writers use dialect words when depicting landscapes, which gives the description a local flavor. Thus, V.G. Korolenko, drawing a harsh path down the Lena, writes: “Across its entire width, “hummocks” stuck out in different directions, which the angry fast river threw at each other in the fall in the fight against the terrible Siberian frost.” And further: “For a whole week I have been looking at the strip of pale sky between the high banks, at the white slopes with a mourning border, at the “pads” (gorges) mysteriously creeping out from somewhere out of the Tunguska deserts...”

The reason for using dialectism may also be its expressiveness. Drawing the sound that the moving reeds make, I. S. Turgenev writes: “... the reeds... rustled, as we say” (meaning the Oryol province). Nowadays, the verb “rustle” is a commonly used word in the literary language; a modern reader would not have guessed its dialectal origin if not for this note from the writer. But for Turgenev’s time, this is dialectism, which attracted the author with its onomatopoeic character.

The difference in artistic goals is also associated with different ways of presenting dialecticisms in the author’s speech. Turgenev and Korolenko usually highlight them and give them an explanation. In their speech, dialectisms are like inlays. In Belov, Rasputin, and Abramov, dialect words are introduced on equal terms with literary ones. In their works, both are woven together like different threads in a single fabric. This reflects the inextricable connection of these authors with their heroes - the people of their native land, about whose destinies they write. This is how dialectisms help reveal the ideological content of a work.

Literature, including fiction, serves as one of the conductors of dialect words into the literary language. We have already seen this in the example of the verb “rustle”. Here's another example. The word “tyrant,” well known to all of us, entered the literary language from the comedies of A. N. Ostrovsky. In the dictionaries of that time it was interpreted as “stubborn” and appeared with territorial marks: Pskov(skoe), hard(skoe), ostash(kovskoe).

The entry of dialectism into a literary (standardized) language is a long process. The replenishment of the literary language through dialect vocabulary continues in our time.

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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.

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 ( highway, talk, poneva, potion, wave, healer, boo and 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 willow trees 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.

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 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, they sit[guys] ogonchikov, in local parlance, bake opalihi, that is, potatoes(Abr.) - such 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 A. M. Gorky rightly emphasized, “everyday life needs to be laid in the foundation, and not stuck on the facade. Local flavor is not in the use of words: taiga, zaimka, shanga - He must 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 and captivating; Belozor swam in the distance; The slope with the screw is ant- 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. Shukshin. 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 weakness,” the old woman remarked. - Maybe we'll pull the trigger -

Shall I 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 it's oklema-issya.<...>
• “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 artistic speech.

• Gorky M. Collection. cit.: In 30 volumes - T. 29. - P. 303.
• See: Kalinin A.V. Culture of the Russian word. - M., 1984. - P. 83.

Sometimes, reading works of Russian literature of the 17th-19th centuries, many people are faced with such a problem as misunderstanding of individual words or even entire phrases. Why is this happening? It turns out that it’s all about special dialect words that intersect with the concept of lexical geography. What is dialectism? What words are called dialectisms?

The concept of “Dialectism”

Dialect is a word, which is used in a certain area, understandable to the residents of a certain territory. Most often, dialectisms are used by residents of small villages or hamlets. Interest in such words arose among linguists back in the 18th century. Shakhmatov, Dal, and Vygotsky made a great contribution to the study of the lexical meanings of words in the Russian language. Examples of dialectisms indicate that they can be varied in appearance.

The following types of dialectisms are distinguished:

• Phonetic. For example, only one letter or sound in a word is replaced. “myashki” instead of “bags” or “Khvyodor” instead of “Fedor”;
• Morphological. For example, there is confusion of cases, numerical substitution. “Sister came”, “At my place”;
• Word-forming. The population changes suffixes or prefixes in words when speaking. For example, guska - goose, pokeda - bye;
• Ethnographic. These words are used only in a certain area. They appeared based on natural or geographical features. There are no more analogues in the language. For example, shanezhka - cheesecake with potatoes or “poneva” - skirt;
• Lexical. This group is divided into subsections. She is the most numerous. For example, onions in the southern regions are called tsybul. And needlewort in northern dialects is needles.

Also, dialects are usually divided into 2 dialects: southern and northern. Each of them separately transmits all the flavor of local speech. Central Russian dialects stand apart, as they are close to the literary norms of the language.

Sometimes such words help to understand the order and life of people. Let's look at the word “House”. In the north, it is customary to call each part of the house differently. The canopy and porch are a bridge, the rest rooms are a hut, the attic is a ceiling, the hayloft is a story, and the zhirka is a room for pets.

Dialectisms exist at the syntactic and phraseological levels, but are not studied separately by scientists.

Examples of “local” words in literature

It happens that previously the word was not used at all, only sometimes it could be heard dialectisms in artistic speech, but over time they become commonly used and are included in the Russian language dictionary. Example, verb “rustle”. It was originally used in the work of art “Notes of a Hunter” by I. S. Turgenev. It meant “onomatopoeia.” Another word is “tyrant”. This was the name of the man in the play by A.N. Ostrovsky. Thanks to him, this word is firmly entrenched in our everyday speech. Previously, such nouns as tues, ukhvat and owl were dialectal. Now they have quite confidently occupied their niche in explanatory dictionaries of the modern language.

Conveying the rural life of the Ryazan peasants, S. Yesenin in each of his poems uses any dialectisms. Examples of such words include the following:

• in a dilapidated shushun - a type of women's outerwear;
• kvass in a container - in a wooden barrel;
• Dracheny - food made from eggs, milk and flour;
• popelitsa - ash;
• damper - a lid on a Russian stove.

A lot of “local” words can be found in the works of V. Rasputin. Every sentence from his story is replete with dialectisms. But they are all used skillfully, as they convey the character of the heroes and the assessment of their actions.

• become cold - freeze, cool down;
• pokul - bye, goodbye:
• to party - to rage, to rage.

Mikhail Sholokhov in “Quiet Don” was able to convey all the beauty of Cossack speech through dialect.

• base - peasant yard;
• Gaydamak - robber;
• kryga - ice floe;
• plow - virgin soil;
• zaimishche - water meadow.

In the author’s speech of “The Quiet Don” there are whole phrases that show us the way of life of families. The formation of dialectisms in speech occurs in various ways. For example, the prefix “for” says that an object or action should become the same as the original object. For example, twisted, baited.

Also in “Quiet Don” there are many possessive pronouns that are formed using the suffixes -in, -ov. Natalya's wipe, Christon's back.

But there are especially many ethnographic dialects in the work: savory, Siberian, chiriki, zapashnik.

Sometimes, when reading a work of literature, it is impossible to understand the meaning of a word without context, which is why it is so important to read the texts thoughtfully and completely. What words are called dialectisms, you can find out by looking at the “Dictionary of Russian Folk Dialects”. You can also find such words in a regular explanatory dictionary. Next to them there will be a mark obl., which means “regional”.

The role of dialects in modern language

The role of such words can hardly be overestimated. They are designed to perform important functions:

The dialect is currently mainly spoken only by the older generation. In order not to lose the national identity and value of such words, literary scholars and linguists should do a lot of work; they should look for speakers of dialects and enter the found dialectisms into a special dictionary. Thanks to this, we will preserve the memory of our ancestors and restore the connection between generations.

The significance of works with dialectal usage is very great. Indeed, despite the great difference from the literary language, they, although slowly, but they expand their vocabulary Russian vocabulary fund.

1. The role of dialectisms in works of Russian literature

2. Dialectisms in the works of N. V. Gogol

3. Dialectisms in the works of I. S. Turgenev

4. Dialectisms in the works of S. A. Yesenin

In linguistics, the question of dialectisms in the composition of the language of a work of art is one of the least studied. Separate works of such scientists as V. N. Prokhorov “Dialectisms in the language of fiction”, E. F. Petrishcheva “Extraliterary vocabulary in modern fiction”, P. Ya Chernykh “On the issue of methods of artistic reproduction of folk speech”, O. A Nechaeva “Dialectisms in the fiction of Siberia” and others. A number of works are devoted to the analysis of dialect vocabulary in specific works of Russian writers of the 19th – 20th centuries: dialectisms in the works of I. S. Turgenev, S. Yesenin, M. Sholokhov, V. Belov, F. Abramov.

In works of fiction, the originality of dialects can be reflected to varying degrees. Depending on what specific features are conveyed in dialect words, they can be classified into four main groups:

1. Words that convey the features of the sound structure of a dialect - phonetic dialectisms.

2. Words that differ in grammatical forms from words in the literary language are morphological dialectisms.

3. Features of the construction of sentences and phrases conveyed in the literary language of a work of art, characteristic of dialects - syntactic dialectisms.

4. Words from the vocabulary of the dialect used in the language of fiction are lexical dialectisms. Such dialectisms are heterogeneous in composition. Among the vocabulary contrasted vocabulary, the following stand out:

a) semantic dialectisms - with the same sound design, such words in the dialect have the opposite literary meaning (homonyms in relation to the literary equivalent);

b) lexical dialectisms with a complete difference in terms of content from the literary word (synonyms in relation to the literary equivalent);

c) lexical dialectisms with partial differences in the morphemic composition of the word (lexical-word-formative dialectisms), in its phonemic and accentological fixation (phonemic and accentological dialectisms).

5. Dictionary non-opposed vocabulary includes dialect words, which are names of local objects and phenomena that do not have absolute synonyms in the literary language and require a detailed definition - so-called ethnographisms.

The above classification of the use of dialectisms in the language of a work of art is conditional, since in some cases dialect words can combine the characteristics of two or more groups.

At the beginning of the 19th century, after the formation of the “new syllable of the Russian language”, from which by that time vulgarisms, dialectisms, colloquial words and expressions were excluded, new, more democratic norms of the literary language appeared.

Along with this, there was a process of artistic and speech formation of national characters, which is closely connected with the idea of ​​nationality in the Russian literary language. In linguistic terms, in a few works of art, this was the process of “overgrowing the literary narrative with fresh shoots of living oral speech, its different dialects and styles.” In connection with the development of this process, the question of the meaning of dialectisms in the composition of the language of artistic works, their functions and the limits of their use becomes particularly acute.

2. V.V. Vinogradov in Chapter IX of the book “Essays on the History of the Russian Literary Language” entitled “Gogol’s language and its significance in the history of Russian literary speech of the 19th century” examines the dialectal and stylistic composition of Gogol’s language, the principle of mixing the styles of literary and bookish language with different dialects of oral speech, as well as the breadth of coverage of class, professional and regional dialectisms in the language of N.V. Gogol.

V.V. Vinogradov highlights the reflective (characterological) function of dialectisms in the language of N.V. Gogol’s works, motivating this by the fact that the Ukrainian dialect, whose dialectisms N.V. Gogol skillfully interspersed into literary texts, is considered as the language of local household use. And only in this function could he get into Russian literature of the 19th century, as an expression and reflection of Ukrainian folk types (mainly with a comic overtone).

According to V.V. Vinogradov: “in Gogol’s style, social facets were introduced into the Ukrainian element through forms of mixing it with dialects and styles of the Russian language.”

Thus, N.V. Gogol deliberately Russifies individual words of the Ukrainian dialect, without separating them from the character of the narrators of the story “Evenings on a Farm near Dikanka.” In the works of N.V. Gogol, the conventional literary functions of the Ukrainian vernacular dialect language are sharply emphasized. Pure, non-Russified Ukrainianisms are being introduced into Cossack speech: “That’s it, daddy... ta spasibi mom!..” They are highlighted in italics and commented on by the author in the links.

In the language of “Dead Souls,” lexical dialectisms are widely represented, with the help of which, apparently, the naming function of the lexical level, recreated through ethnographisms and lexical dialectisms, acquires special significance: “The master’s house stood alone on the Jurassic, that is, on a hill open to all the winds.. .”, “Sobakevich hissed as if it weren’t him...”, “he will retire... to some peaceful, out-of-the-way provincial town and there he will hang out forever in a chintz robe, at the window of a low house.” Elements of the relaxed introduction of dialect words into the literary-bookish, descriptive and journalistic language of N.V. Gogol speaks of the writer’s conscious artistic goal: the destruction of the old system of literary-bookish styles. Thus, N.V. Gogol, following A.S. Pushkin, brings literary language closer to living oral folk speech, characteristic of a society of non-aristocratic circles.

3. In the monograph by P. G. Pustovoy “I. S. Turgenev – an artist of words” presents some techniques and functions of dialectisms in the writer’s artistic speech.

1) The main function of dialectisms in the literary texts of I. S. Turgenev, P. G. Pustovoy considers the characterological function: in contrast to Dahl, who sought to literally copy the peasant vocabulary, in contrast to Grigorovich, who, imitating folk speech, created various stylizations, Turgenev (like Gogol) did not strive for naturalistic detail in the description of peasant life, he considered various dialect words and expressions as a characterological means that creates a vivid expression against the background of the linguistic norm of the author's speech.

Language as a characterological means, filled with dialect vocabulary, appears especially clearly in I. S. Turgenev’s “Notes of a Hunter.”

2) The author introduces some local words and expressions into the text for educational purposes, that is, in order to expand the reader’s understanding of the features of the described dialect, he explains them, resorting to a peculiar technique of indirect alienation, in which the explanation of the words is given in footnotes: “buchilo” - deep hole with spring water; “Kazyuli” - snakes; “foresters” - people who iron and scrape paper; “sugibel” - a sharp turn in a ravine; “order” - forest; “top” - ravine and more.

3) P. G. Pustova considers the most characteristic technique of I. S. Turgenev when depicting characters to be the technique of dynamization of speech, due to which elements of syntax predominate in the language of the characters: frequent turns of words; use of dialect vocabulary; omissions of predicates, giving movement to speech; interrogative and exclamatory sentences: “One vat’s form moved, rose, dipped, walked, walked through the air, as if someone was rinsing it, and then fell back into place.” With the help of this technique, the story is enlivened and the listeners are activated: “Do you know why he is so gloomy, keeps silent, do you know? That's why he's so sad. He went once, my father said, - he went, my brothers, into the forest for his nuts. So he went into the forest for nuts, and got lost; I went - God knows where I went..."

4) As a speech characteristic of the characters in “Notes of a Hunter,” according to P. G. Pustovoy, distorted foreign words are used: “shchekolat”, “universities”, “ladekolon”, “feyvirki”, “keatr” and others. However, this phenomenon can also be characterized as a cumulative function of dialectisms, which is carried out through the method of violating the integrity of the graphic image of a word, that is, deviating from the rules of spelling and grammar.

Dialectisms in the essays and stories of I. S. Turgenev are artistically justified, do not lose their independence and constantly interact with the basic vocabulary of the literary language - this gives grounds to assert that I. S. Turgenev multiplied and developed the stylistic richness of Russian artistic speech.

4. Dialectisms actively live in Yesenin’s poetic word. Specially woven into the fabric of his poetic speech, they help create the poet’s unique creative style. Yesenin's dialectal vocabulary is not stylistically marked. Often the reader does not even notice that he has to select the meaning for an incomprehensible word based on its phonetic form and context. The “guessed” value does not always correspond to the actual one. Sometimes dialect words turn a poem into a real puzzle:

In a lake sled over a meadow

Belated call of ducks.

Under the window from slippery fir trees

The shadow holds out its hands.

Quiet waters paragush kvely

Smoking a cradle on the corner.

As N. Shansky writes in the article “Difficult lines of S. Yesenin’s lyrics,” this is “a completely incomprehensible, dark eight-line poem.” It turns out that “in the sled of the lake” means “along the edges of the lake”; the word “paragush” does not mean anything, since it is a typo. The correct name was “karagush kvely” - the name of the bird. It is significant that this typo was reproduced in many publications, since for most readers these lines are just a set of sounds, that is, abstruse. Dialect word-formation models also serve as convenient “building material” for Yesenin’s poems. The stylistic marking of such forms as opposed to the literary norm is usually not emphasized by the poet. Let's give just a few examples: in the evening, after me, blossom (“flower”), apple tree (Tanya walks behind the fence in the ravine in the evening; The river laughed after me; I’ll kiss you drunk, I’ll wear you out like a blossom; Like an apple blossom, gray hair) and many others. etc.

The fact of using S.A. Yesenin's various synonymous constructions can be regarded as a manifestation of a creative artistic approach to the organization of the compositional and speech structure of the text. This approach reveals the author’s orientation towards the selection of means of the national language, the attitude towards the people as the bearer of the spiritual values ​​of Russian culture, which has consolidated in the language centuries-old experience, observation, and figurative mastery of reality. Dialectisms, his native Ryazan speech, organically integrated into the general flow of Yesenin’s poetic word, allow him to “sing in his own way,” in an original way, making his poetry “the best expression of the wide sunsets beyond the Oka and twilight in damp meadows, when either fog falls on them, or else bluish smoke from forest burnt areas” (K.G. Paustovsky).

5. From all of the above it follows that the function of dialectisms in the language of works of art depends on the stage of development of the Russian literary language. And if in works of art of the 18th century dialectisms are inseparable from Slavicisms and are considered the norm of artistic speech, and in the 19th century dialectisms in the language of artistic works are a sporadic phenomenon, since the language of the 19th century strives to be cleansed of dialects, vulgarisms, colloquial words and expressions, then The 20th century is characterized by the multifunctionality of dialectisms in literary texts, which is achieved through the use of a larger number of dialect words by writers, which was determined at the beginning of the 20th century by the desire to give Russian speech a publicly accessible “light” character that coincides with the thinking of people of that time.

Artistic speech differs from colloquial speech not so much in its immanent features as in its given range. This creates a deep difference between these styles: the meaning of dialectisms is modified in artistic speech by sound, while in colloquial speech the sound of dialectisms is modified by their meaning. Thus, the occasional meaning of dialectism, enriched in artistic speech with new meanings, is transformed in the context of the narrative.

In a work of art, dialect vocabulary primarily fills the speech of ordinary people and is used by them in an informal setting, which is due to the conditions of oral communication in which interlocutors choose the most famous ones from a huge number of words, those that are more often perceived by ear. Pavel Lukyanovich Yakovlev (1796 - 1835), brother of his lyceum friend A.S. Pushkin, in order to show the originality of local Russian dialects, wrote an “elegy” in the Vyatka dialect, the content of which must be “translated” into Russian, because it contained many incomprehensible dialectisms. Judge for yourself, here is an excerpt from the “Vyatka Elegy” and its literary translation:

“Everyone was shouting that I was an okish, important kid. Where I am, there was always sugat. And now? I’m no longer a twirl, like a sweat... Oh, when I close my balls and they put a mitten on me..."

“Everyone said that I was a neat kid, well done. Where I am, it's always crowded. And now? I'm no longer frolicking like a bird! ...Oh when, when I close my eyes and they sprinkle juniper on me!”

In the 20th century, when the right of a writer to replace literary words with dialectisms was hotly debated, some young writers tried to defend their “freedom” of choice. It was then, in the 30s, when this linguistic controversy was taking place, that M. Gorky wished novice authors to write “not in Vyatka, not in robes”...

Writers' interest in dialectisms is dictated by the desire to truthfully reflect the life of the people. Many outstanding masters of speech turned to dialect sources - A. S. Pushkin, N. V. Gogol, N. A. Nekrasov, I. S. Turgenev, L. N. Tolstoy. The dialectisms in Turgenev’s “Bezhin Meadow” do not seem inappropriate to us: “Why are you crying, forest potion?” - about the mermaid; “Gavrila said that her voice was so thin”; “What happened to us the other day at Varnavitsy...”; “The elder got stuck in the gateway... she frightened her own yard dog so much that it was off the chain, through the fence, and into the dog.” Local words in the speech of the boys gathered around the fire do not require “translation”.

And if the writer was not sure that he would be understood correctly, he explained the dialecticisms: “He went like a meadow, you know, where he comes out with a bend, there is a storm there; you know, it’s still overgrown with reeds...” And in this phrase some clarifications need to be made: “A bend is a sharp turn in a ravine”; “Buchilo is a deep hole with spring water” - these are the notes of I. S. Turgenev.

Literature

1. Blinova O. I. The language of artistic works as a source of dialect lexicography. Tyumen, 1985: Leningrad State University, 1956

2. Prokhorova V. N. Dialectisms in the language of fiction. Moscow, 1957

3. Language of works of art. Sat. articles. – Omsk, 1966

4. Yesenin S.A., Works / Comp., Intro. article and comment. A. Kozlovsky. – M.: Artist. lit., 1988. – 703 p.

5. Yartseva V. N. Linguistic encyclopedic dictionary. – M.: Soviet Encyclopedia, 1990

Questions and tasks for practical assignments

Practical lesson No. 1.

1. What does Russian dialectology study?

2. What are the main tasks of Russian dialectology?

3. What is called a semi-dialect?

4. What is the source of dialectology?

5. What methods are used in the study of dialects?

6. What is the importance of dialectology in studying the history of the Russian language?

7. Define the terms “dialect”, “adverb”, “dialect”.

8. What dialect differences are called opposed

Practical lesson No. 2

Dialect differences at different levels of the language system: phonetics, word formation, morphology, syntax. Dialect differences c. sphere of phoneme use, positional alternations of stressed phonemes. Transitional types of vocalism between okanye and akanye. The tendency to lose the neuter gender in a dialect language. Declension of nouns. Dialectal differences related to the stress location of nouns. Dialectal differences in the area of ​​syntax: differences in structure, function and meaning, phrases and sentences.

Practical lesson No. 3

Prepare your material for discussion in order to be able to present it publicly and logically trace the connection between different LSG words.

Practical lesson No. 4 Study of vocabulary and semantics based on dialect dictionaries and atlases using the example of Men's clothing

Men's long-skirted clothing, caftan, with gatherings: borchatka, posadka, chapan, chekmen...

Short outerwear, working jacket: bekeshka, ponitok, ponitka shabur, pokhostnik, shugai... Give me a drawing.

Trousers, trousers: braki, gati, gachi, shanks, nadragi, portenki, trousers, port, portets, portochonki, trousers, trousers...

Quilted trousers: quilted trousers, quilted trousers...

Pants leg: overshoe, overshoe, overshoe, belt, porchina, portochina, solopina, solokha, soloshina, solpa, solpina, solpishka, snotlin, snot, stolopa, trouser leg...

Fly: rump, middle, middle, seat, fly...

The back of the trousers: rump, rump, rump, rump, ports, trousers...

Belt of trousers, sewn on the inside: gach, gachi, gachen, gashinka, gashnik, gashen, ogashen, gashnik, lining, edge, edge, sanding, sanding, ochkur, ochkura, girdle, girdle, rib, underbelly...

Belt: danger, danger, girdle, girdle, girdle, girdle, girdle, clasp, belt, strap...

Men's outer shirt: top, verkhovitsa, verkhovnitsa, vershannik...

Kosovorotka: collar, kosovorotka...

The back panel of a man's shirt: the back, the back...

Pelka? Does this word mean: 1) the cut of the collar of a shirt; 2) shirt collar; 3) the front of the shirt; 4) a strip of fabric at the collar of the shirt, where buttons are sewn; 5) where the buttons are fastened...?

A placket made of fabric, which is sewn to a men's shirt, where the buttons are on the inside: flaps, sub flaps...

The slit at the collar of a man's shirt: a hole, a hole...

Side fastening in a men's shirt: half-length...

Lining in the shoulder part of a men's shirt up to half the chest and back: hem, hem, hem, hem, shoulder pad, underarm...

Men's neckerchief: tie, collar, love spell, necklace, necklace, necklace, necklace, necklace...

Men's undershirt: undershirt, undershirt, undershirt, koszul, koszulica, koshulyukhna, nadevakha, nadevashka, vest...

Collar and fastener on a men's undershirt: kondyr, kurtak, kurtysh, kurtyak, collar...

Practical lesson No. 5

A comprehensive, multi-aspect study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection.

The Lexical Atlas program reflects the main links of the lexical system of a dialect language not only on a thematic basis, but also on a lexical-semantic basis, which is based on the lexical-grammatical division of words. This refers primarily to abstract nouns, adjectives, verbs, and adverbs.

Some semasiological categories - objectivity, attribution, procedurality - were partly included in the main thematic sections of the Program. The categories of objectivity (nouns) are better represented, while the categories of attribution (adjectives, adverbs) and procedurality (verbs) are much weaker.

Nouns

Fatherland, homeland: patrimony...

Freedom in the manifestation of something, VOLA: volka, volgota...

The right and opportunity to dispose of someone or something, to subordinate to one’s will, power: power, ruler, will...

Power, strength: dominion, possession, howl...

Prohibition, prohibition: prohibition, prohibition...

Arbitrariness: freemen...

Request: execution...

Merit: length of service...

Happiness:…

Misfortune, trouble: knitting...

Lies, untruths: lies, falsehoods, falsehoods...

Anxiety, excitement: homoza...

Resurrection: risen, rise...

Thought, reflection: thoughtful, disgusting...

Property: estate...

Loss, damage: flaw...

Practical lesson No. 6

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the material of nouns.

Thought, reflection: thoughtful, disgusting...

Fiction: invention, invention...

Loss, damage: flaw...

Meeting: windy, meeting, windy...

Quarrel: nonsense...

Rest, respite: sigh, inhale...

Lack of bread, hunger: sigh...

Light: visible, visible...

Education, upbringing: study…

Punishment: training, removal...

Boasting: boasting, boasting...

Pleasure: contentment...

Desire, intention: faith...

Politeness: veshvo...

Pride: height...

Practical lesson No. 7

Adjectives

Colored.

Gray, ash-colored: beaded, beaded...

Cloudy (about the sky): gray...

White, silver (about the hair of an elderly person): beaded, beaded...

With an admixture of grayish-white fur (about fur): gray...

Grayish-white, whitish (about moss, fog, etc.): gray...

Light-colored, easily soiled (about clothes): visible, easily soiled...

Pure, transparent (about liquid): white, bright, light...

Cloudy, opaque: gray...

Dirty: beady, beady, scruffy, gloomy, shabby...

Practical lesson No. 8

Sound.

Very loud: feverish...

Quiet: thin...

c) Flavoring.

Delicious: basque, basque, kind, okay, gentle, rolling, the best, tasty, sweet, good...

Tasteless: thin, dashing...

Undersalted: unsalted, lightly salted...

Sweet: sweet, sweet...

Unsweetened: plain...

.Practical lesson No. 9

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of adjectives

Characterizing surface properties.

Shiny: shiny...

Rough (to the touch): clumsy, thick, heavy...

Shaggy: shaggy…

Characterizing physical properties, condition.

Lethargic (about a person, animal): morose...

Affectionate: affectionate...

Bad (about a thing): thrown, thrown away, thrown down...

Strong, durable: Kremlin, stocky, powerful,

vigorous…

Practical lesson No. 10

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of verbs

Work a lot, hard, diligently: coo, poke, trumpet, break, break, turn, toss, mint, tumble, hook, soar, work like a guru...

Work poorly: lick your fingers, do the charmak...

Get tired of work, get overworked: get tired of it, get tired of it, get tired of it, get tired of it, get tired of it, get tired of it, get tired of it, get tired of it...

To do something for a long time, slowly: to tangle, to flail, to wallow, to flop, to mumble, to flutter...

To be lazy: to eat, to get busy, to hang around...

To spend time idly, to walk idly, to do nothing: to splurge, to sneer, to wander, to scurry around, to slap, to slander, to blond, to blond, to loiter, to lash...

Speak (o.n.): babble, babble, babble...

Speak slowly, talk: babble, joke, coo, joke, talk, scribble, babble, babble, tell.

Speak uncertainly: bark, babble...

Speak loudly: yawn, yawn, loon, bark, hum, cackle, hum, cackle, cackle, cackle...

To talk a lot: to chat, to bell, to rattle, to babble, to babble, to elbow, to roll, to babble, to babble, to chicken...

Practical lesson No. 11

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of “Living premises and its parts”

Living space: hut, upper room, gorenka, hut, room, five-walled building, front, middle, side, back, shomnosha, kitchen, closet... If there are several residential premises, give their names and indicate the characteristics by which they differ, for example: hut 'living space with a Russian stove'; upper room ‘clean living space’; izba ‘living space with a Russian stove in a five-walled building’; five-wall ‘clean room behind the fifth wall with or without a Dutch oven’; hut ‘part of a living space with a Russian stove’; fence ‘room behind a partition with a bed’; izba ‘a living space heated by a Russian stove or a stove of another (heating) type’; kutya ‘fenced off part with a Russian oven, intended for cooking’; house ‘living space without a Russian stove, in which people live in the summer’; wintering/hut-wintering ‘living quarters with a Russian stove in which they live in winter’, etc.

What do the words mean: a) upper room ‘any room in a multi-room house’, ‘front room’ ‘unheated room for property and sleeping in the summer’...; b) cage ‘an unheated room within a residential building (where?) for property and sleeping in the summer’; ‘a separate unheated building for property and sleeping in the summer’; ‘building for grain storage’…; c) room ‘clean half of the living space (behind the fifth main wall? behind a plank partition? regardless of the type of partition?)’; ‘cold room for storing property, food’; ‘room for sleeping with a bed’…; d) middle ‘separate room near the stove’; ‘a place near the stove, not fenced off from the rest of the hut’...; e) sidewall ‘clean half of the hut’ ‘room behind a partition or curtain with a bed’; ‘winter hut’… f) sholnysha/ shomnysha/ sun ‘part of the hut by the stove (behind the partition)’, ‘front part of the hut’; ‘room like a closet’ (where?)…? Draw a plan of a residential building indicating its parts.

Practical lesson No. 12

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of “household utensils”

The concept of “household utensils” includes a wide range of household items: dishes, kitchen utensils, movable furniture, baskets, bags, bags. The section “Utensils” has been developed in particular detail: utensils (o.n.), kitchen utensils, tableware, tea utensils, glassware, tubs, barrels, utensils for various household needs. Many of the objects of interest have their own ethnographic characteristics in different areas. Therefore, it is very important not only to hear what they are called, but also to indicate their purpose, the material from which they are made (clay, metal, wood).

Dishes

Household utensils for preparing, serving food, storing supplies, etc. (o.n.): dishes, ware, ships, courts…

Pottery (o.n.): gornatik, Cherepinina…

a) Kitchen utensils.

Utensils for cooking (cabbage soup, soups): pot, mahonya, sagan, cast iron... Indicate its dimensions, shape, material from which it is made. Give me a drawing.

Small pot for cooking porridge: pot, makhotka, candy…

Clay pot with narrow neck: glöck, glitch

Clay pot braided with birch bark: birch bark, birch bark... Indicate the purpose, give a drawing.

Large cast iron: garnets, cast iron... Specify the purpose.

Clay or metal object used to cover the pot, cast iron: lid, tire…

Utensils with a handle for cooking food, boiling milk: pot, landerak, lady…

Is the word used and in what meanings? coppersmith? Does this word mean: 1) copper basin; 2) a saucepan...?

Enameled (about dishes): watered, whitewashed…

Metal frying pan with curved edges: Patelnya, pan, chapel…

Clay bowl: dish, lettuce, Bowl, skull...Give me a drawing.

Clayware for milk (narrow neck without handle or spout): glechik, loudmouth, krinka, jug, kushin, pot...Give me a drawing.

Vessels for churning butter: striker, churn, oiler...Give me a drawing.

Pieces of broken pottery: shards…

Metal containers for storing liquids, shaped like a can without a handle: can, candy, flask...Give me a drawing.

Practical lesson No. 13

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using an example »

"home stuff

Dinnerware, teaware.

Tableware (o.n.): dishes…

Round tableware with a flat bottom and raised edges: ticket, bread bowl, chaplashka…

Tableware in the form of a large round plate: saucer, dish, sagan, stavets…

Is the word used and in what meanings? dish. Does this word mean: 1) tea saucer; 2) deep plate...?

Tableware for salt: salt lick, Solnitsa…

Is the word used and in what meanings? SOLANKA? Does it mean: 1) dishes for salt; 2) food

Practical lesson No. 14

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using an example peasant clothes, shoes, hats, mittens, jewelry

Clothes (o.n.): twist, twist, twist, okruta, encirclement, twist, skruje, burst, shoveling, shovel, shovel, lopoteshka, putting on, put on, dressing, Odyovina, dressing, girl, clothes, clothes, Oh baby, paid, wickerwork, payment, pay site, dress, ritual, outfit, ports, shell, wrap yourself around, shell…

Dress: get dressed, get dressed, get dressed, dress, get dressed, bend around, bend around, turn around, cover yourself, wrap yourself around, cover yourself, settle down, turn around, hide, hide, tense up, pounce, dress up, equip yourself, \

Put on clothes: put on, hope, put on, dress, put on shoes, go around, go around, throw on, shell, envelop, envelop…

Getting dressed: odemkoy, dressed, Odemshi…

Wear more than necessary: cuddle, whine, splurge, make fun of, get fucked up, fall asleep…

Wrap up: chow down, wrap yourself up, wrap yourself up, wrap yourself up, get busy, wrap yourself up, have a bite to eat…

Fasten: get shy, button up, button up, get shy, get overwhelmed…

Undress: get carried away, sore elbows, get wet, cover up, get wild, get excited, unwind, spread out, straighten up, hide, catch, seduce, scamper…

Undressing: undressing, undressing, undress, walk undressed, teleshom, with a zigolaika…

Outerwear (o.n.): topman, top, Verkhovik, Verkhovitsa, Verkhoturye, gunya, gunye, gunka, shovel, spade

Practical lesson No. 15

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using an example Women's clothing

Women's clothing (o.n.): ranks, ritual, ritual, row, in a row…

Is the word used and in what meanings? sak? Does this word mean 1) a long, straight-cut coat with wadding with a fur collar; 2) a long summer coat made of thin linen; 3) a coat at the waist, widened at the bottom; 4) women's short coat; 5) long jacket...?

Is the word used and in what meanings? Shugai? Does this word mean: 1) an elegant jacket with wadding with pleats at the back below the waist; 2) a sheepskin coat; 3) a jacket with long sleeves, sewn at the waist; 4) clothes made of silk with fur trim on the sleeves and collar...?

Jacket: short, short, short, shortness, short, shorty, shorty, short man, shorty, Shorty, short…

Long warm (wadding) women's jacket made of plush or velvet: pleating, bun, velvet, velvet…

Is the word used and in what meanings? oversleeve? Does this word mean: 1) a quilted cotton jacket with sleeves; 2) women's clothing such as a jacket with ruching at the waist; 3) a women's jacket, waist-length, with long sleeves, with buttons at the front; 4) sleeves sewn to the sundress; 5) sleeve trim, edging; 6) decorations on the sleeves; 7) an apron with sleeves...?

Short outerwear for women, lined with cotton wool, with a cut-off back and ruching, with long sleeves: bostrock, spanishka, wire rod, while away, short, short, cape, feather, ceiling, dragging, landing, sayar, warmer, yufta…

Sleeveless vest with cotton wool or fur, loose fit: kabat, cadman, while away, short, short, topper, breastplate, shugaika, Sugaian, shugaychik, skimmer…

Sleeveless vest, tight-fitting chest: crimp, swage, crimper, crimp, tight fit, tight fit, clamp, telogrea, car…

Fur trim on clothes: opush, edge, edge

Questions to prepare for the intermediate assessment

1. Key concepts of descriptive dialectology
2.Descriptive and historical dialectology
3. Correlation of the concepts dialect - vernacular - literary language
4.Russian dialectology and historical grammar
5. Basic research methods in dialectology
6. Opposite and non-opposite features of dialects
7.Features of intonation in Russian dialects (characteristic of northern and southern dialects)
8. Percussive vocal systems
9.Changes in the quality of vowels under stress as a result of historical processes
10.Middle-high vowels, features of implementation and origin
11. Unstressed vocalism after hard consonants (types okanya and akanya)
12. Unstressed vocalism after soft consonants (yokan, yak (strong - dissimilative - assimilative-dissimilative), hiccup and hiccup)
13.Features of the consonantal system of Russian dialects
14.Tsokaniye and its varieties
15. The nature of the back lingual (hard and soft) consonants G, K" in southern and northern dialects
16. Reasons for the “weakness” of labial-dental fricatives F and V in Russian dialects
17. Dialect variants of pronunciation of B in strong and weak positions
18. Changes and replacement of smooth sonorants in Russian dialects
19. Complex phonemes Zh"D"Zh" and Ш"T" in northern and southern Russian dialects, general direction of change and possible pronunciation options
20. Possible types of assimilation by hardness-softness in Russian dialects
21.Chopping and cutting

Questions for the exam in Russian dialectology

Dialectisms and their varieties in works of art of Russian literature Type: creative work The words rogach and forks (fork) are widespread in Ukrainian dialects; literary
Dialectisms and their varieties in works of fiction of Russian literature, Dialect words
Dialectisms and their varieties in works of fiction of Russian literature

Dialectisms and their varieties in works of fiction of Russian literature

Type: creative work

The words rogach and vilki (fork) are widespread in Ukrainian dialects; The literary name in the Ukrainian language is rogach.

For a modern urban schoolchild, S. Yesenin’s lines from the poem “In the Hut” sound completely mysterious:

Smells like loose dragon fruits

There's kvass in the bowl at the doorstep,

Over chiseled stoves

Cockroaches crawl into the groove.

Soot curls over the damper,

There are threads of Popelitz in the stove,

And on the bench behind the salt shaker -

Raw egg husks.

The mother can't cope with the grips,

An old cat sneaks up to the makhotka

For fresh milk,

Restless chickens cluck

Above the shafts of the plow,

There is a harmonious mass in the yard

And in the window on the canopy there are slopes,

From the timid noise,

From the corners the puppies are shaggy

They crawl into the clamps.

S.A. Yesenin, according to contemporaries, really loved reading this poem in 1915–1916. in front of the public. Literary critic V. Chernyavsky recalls: “...He had to explain his vocabulary - there were “foreigners” around, - and neither “groove”, nor “dezhka”, nor “ulogiy”, nor “slope” were clear to them.” The poet, a native of the village of Konstantinovo, Ryazan province, often used his own Ryazan words and forms in his works, incomprehensible to the residents of the city, to those who are familiar only with the literary language. Chernyavsky calls them “foreigners.” Most of us are foreigners. Therefore, let us explain the meanings of the highlighted words. Not only Ryazan words are incomprehensible in the text of the poem, i.e. directly dialectisms, but also such expressions that characterize the life of any village (collar, plow, stove, damper).

Drachona (drochena) is the name of a thick pancake, usually made from wheat flour, brushed with egg on top, or potato pancakes. These are the most common meanings in the villages of the Ryazan region. In other Russian dialects, the given word can mean a completely different dish.

Dezhka is a very widespread word in the southern dialect. This wooden tub was made by coopers; there were several tubs on the farm; they were used for pickling cucumbers and mushrooms, and for storing water, kvass, and for preparing dough. As you can see, this bowl is filled with kvass.

Modern youth understands the word pechurka as “small stove.” In fact, a stove is a small recess in the outer or side wall of the stove for drying and storing small items.

Popelitsa - derived from the dialect word popel - ash.

The grabber, a device used to remove pots from the oven (see picture), is a curved metal plate - a slingshot, attached to a handle - a long wooden stick. Although the word denotes an object of peasant life, it is included in the literary language, and therefore is given in dictionaries without the mark region. (regional) or dial. (dialectal).

Mahotka is a clay pot.

Low, sneaking - these words are given with dialect stress.

The words shafts (an element of harness), like the plow (a primitive agricultural implement), are included in the literary language; we will find them in any explanatory dictionary. They are simply not well-known, because they are usually associated with an old, bygone village, a traditional peasant economy. And there is no information about the words skatye (probably sloping) and shumota (noise) in dialect dictionaries. And dialectologists, without special research, cannot say whether there are such words in Ryazan dialects or whether they are inventions of the poet himself, i.e. writer's occasionalisms.

So, a dialect word, phrase, construction included in a work of art to convey local color when describing village life, to create the speech characteristics of characters, is called dialectism.

Dialectisms are perceived by us as something that is outside the literary language and does not correspond to its norms. Dialectisms are different depending on what feature they reflect. Local words that are unknown to the literary language are called lexical dialectisms. These include the words dezhka, makhotka, drachena, popelitsa. If they are listed in dictionaries, then they are marked regional (regional).

In our example, the word pechurka appears, which in literary language means a small stove, but in the dialect it has a completely different meaning. This is semantic (notional) dialectism (from the Greek semanticos - meaning). The word is known to the literary language, but its meaning is different.

A type of lexical dialectisms are ethnographic dialectisms. They denote the names of objects, foods, clothes, characteristic only of the inhabitants of a certain area - in other words, this is a dialect name for a local thing. “Women in checkered coats threw wood chips at slow-witted or overzealous dogs,” writes I.S. Turgenev. Paneva (poneva) is a type of women's clothing such as a skirt, characteristic of peasant women from the south of Russia; it is worn both in Ukraine and Belarus. Depending on the area, panevs differ in their material and colors. Here is another example of ethnography from the story of V.G. Rasputin “French Lessons”: “Even earlier I noticed with what curiosity Lidia Mikhailovna looked at my shoes. Out of the whole class I was the only one wearing teal.” In Siberian dialects, the word chirki means light leather shoes, usually without tops, with edges and ties.

Let us once again draw attention to the fact that many lexical and semantic dialectisms can be found in explanatory dictionaries of the literary language with the mark region. (regional). Why are they included in dictionaries? Because they are often used in fiction, in newspapers, magazines, and in colloquial speech when it comes to village problems.

Often it is important for writers to show not only what the character says, but also how he says it. For this purpose, dialect forms are introduced into the speech of the characters. It is impossible to pass by them. For example, I.A. Bunin, a native of the Oryol region, who brilliantly knew the dialect of his native places, writes in the story “Fairy Tales”: “This Vanya, getting off the stove, puts on a malakhai, girds himself with a sash, puts the edge in his bosom and goes to this very guard.” Kushachkom, krashechkyu - convey the peculiarities of the pronunciation of Oryol peasants.

Dialectisms play a big role in works of Russian literature. Dialectisms are words or combinations of words that are common in a limited area and are used in the literary language, but are not part of its system.

In a work of art, dialect vocabulary primarily fills the speech of ordinary people and is used by them in an informal setting, which is due to the conditions of oral communication in which interlocutors choose the most famous ones from a huge number of words, those that are more often perceived by ear. People's speech can reflect phonetic, word-formation, and grammatical features of the dialect.

Pavel Lukyanovich Yakovlev (1796 - 1835), brother of his lyceum friend A.S. Pushkin, in order to show the originality of local Russian dialects, wrote an “elegy” in the Vyatka dialect, the content of which must be “translated” into Russian, because it contained many incomprehensible dialectisms. Judge for yourself, here is an excerpt from the “Vyatka Elegy” and its literary translation:

“Everyone was shouting that I was an okish, important kid. Where I am, there was always sugat. And now? I’m no longer a whirlwind, like a stream. Oh, when I close my balls and they put a mitten on me..."

“Everyone said that I was a neat kid, well done. Where I am, it's always crowded. And now? I'm no longer frolicking like a bird! . Oh, when, when will I close my eyes and they will sprinkle me with juniper!”

Who would have thought that such familiar words as balls, plant, have a completely different meaning in the Vyatka dialect?

This, of course, does not mean that dialect words are strictly prohibited. No! Artists of words skillfully use expressive dialectisms. M. A. Sholokhov achieved great mastery in this in “Quiet Don”, “Virgin Soil Upturned”, “Don Stories”. From these works, readers learned many Don realities. Remember the Sholokhov bases, Gutorit, kuren and others.

Writers' interest in dialectisms is dictated by the desire to truthfully reflect the life of the people. The dialectisms in Turgenev’s “Bezhin Meadow” do not seem inappropriate to us: “Why are you crying, forest potion?” - about the mermaid; “Gavrila said that her voice was so thin”; “What happened to us the other day at Varnavitsy...”; “The elder is stuck in the gateway. She scared her own yard dog so much that she was off the chain, through the fence, and into the dog.” Local words in the speech of the boys gathered around the fire do not require “translation”.

And if the writer was not sure that he would be understood correctly, he explained the dialecticisms: “He went like a meadow, you know, where he comes out with a bend, there is a storm there; you know, it’s still overgrown with reeds. “And in this phrase some clarifications need to be made: “A bend is a sharp turn in a ravine”; “Buchilo is a deep hole with spring water” - these are the notes of I. S. Turgenev.

In Russian literature of the 19th century. In the use of dialectisms, two traditions were identified: “the tradition of I. Turgenev” and “the tradition of L. Tolstoy.” In accordance with the first, dialecticisms in the text had to be explained (by selecting synonyms, in footnotes, in parentheses, etc.). For example, in “Hunting Stories” by I.S. Turgenev we read: In the Oryol province, the last forests and squares will disappear in five years... (and in the footnote a note is immediately given: “Square” are called large continuous masses of bushes in the Oryol province; the Oryol dialect is generally distinguished by many original, sometimes very accurate, sometimes quite ugly , words and phrases); I, an inexperienced person and not “lived in the village” (as we say in Orel), have heard plenty of such stories; They rejected him as a person unfit for any work - a “lover,” as we say in Orel.

According to the second tradition, dialectisms were not explained; only the context indicated their meaning. Here, for example, is how L.N. plays out dialectisms in the text. Tolstoy:

Is your hut really bad?

What we are waiting for with the woman is that he is about to crush someone,” Churis said indifferently. - The other day, a wave from the ceiling killed my woman!

2.2 Dialectisms and their types in works of art.

There are dialectisms recorded in explanatory dictionaries of the literary language with the mark “regional”, and extraliterary dialectisms known only in dialects. Examples of dialectisms recorded in dictionaries of the literary language with the mark region. (regional word): poskotina - “pasture, pasture, directly adjacent to the village, fenced on all sides by a fence”; brodni - “soft leather boots with long tops”, biryuk - “wolf”. This litter is often combined with others: Dad, simple. and region - “father”; Batozhye, region, obsolete - “batogi”, etc. Wed: “Near the cattle he wanted to turn into the bushes” (M. Perevozchikov); “Friends and comrades, tired from the day, began to stomp their drums to the beat” (N. Volokitin). Examples of extraliterary dialectisms: vekhotka - “a washcloth, sponge or other device for washing in a bathhouse”; tower - “attic”. Compare: “The aunt took the rod off the wall and asked the quiet Senka: “Are you going to wash yourself or should I go with you?”” (M. Perevozchikov); “The tower of the house was distinguished by tense silence” (A. Shcherbakov).

The selection of dialectisms in modern literary language was entirely determined by literary texts, and not by any scientific principle (showing dialect vocabulary of widespread use, contrasting vocabulary, etc.). From acquaintance with folk speech through literature, a person “derives respect for the idea of ​​nationality..., he will see the Russian people in the direct manifestations of their spiritual life” (A.A. Shakhmatov). The dictionaries of the literary language also reflect words that have a territorial restriction in use, but without the mark of region, and vocabulary denoting ancient peasant realities: karbas and karbas - “a cargo rowing or small sailing ship on the White Sea and the rivers flowing into it”; ChaldON - “indigenous Russian inhabitant of Siberia”, pima - “felt boots in Siberia and the Urals”, sorOga - “a widespread name for roach (north of the European part of the country, the Urals, Siberia and other areas)”, as well as kluNya - “room for threshing and folding sheaves", katsaveyka - "Russian women's folk clothing, a type of open outer jacket with cotton wool, fur or lining."

Extraliterary dialectisms are recorded in special dictionaries, usually associated with the work of individual writers.

Dialectisms differ from their correspondences in the literary language. They are:

1) grammatical (i.e., having features manifested in the formation of forms of parts of speech, in the transition from one grammatical gender to another, etc.): lamb - “lamb, lamb, sacrificial animal” (“He personally took the lamb to slaughter to the devil.” A. Cherkasov), meet – “meet” (“I met, saw off - and drink to my sweet soul.” V. Zikunov);

2) phonetic (reflecting the features of the sound system of the dialect), for example, okanye (“Damka! Damka!” she called, “Come on, come on, I’ll give you something!” V. Astafiev);

3) lexical-phonetic (having a different vocalization in individual words: to have breakfast, to tease (“Guys, get up! Let’s have breakfast!” M. Koryakina); “These bundles also appeared on Ovchinnikov’s farms - I ran away from them, don’t tease so as not to get too ambitious.” S. Zalygin);

4) actual lexical ones (local names of objects and phenomena that have synonyms in the literary language: gasnik - “belt” (“Thin, bony, with rags in her split braids, with an old gasnik hanging under her white shirt, the grandmother is leisurely.” V. Astafiev );

5) semantic (popular words with a meaning different from that in the literary language): much - “very” (“The rogue learned much.” A. Chmykhalo); collar - “a guard standing at the gate” (“Overko Shcherbak’s collar then scraped with iron, closing the Spassky Gate with a pood lock.” A. Chmykhalo);

6) word-formative, (differing from the same-root synonyms of the literary language by individual affixes): gorbukha - “a gorbukha, a piece of bread” (“And he also threw a gorbukha to the dogs that broke into the store.” V. Borodin); Gorodchansky - “urban” (“The Vertikhvostka Gorodchanskaya thought of something, huh?”. A. Cherkasov);

7) phraseological (stable combinations found only in dialects): carry baraba - “talk nonsense” (V. Astafiev), tear boloni - “laugh a lot” (“He is a funny man and talks about the adventures that happened to him, so hilariously, that you will tear the bolognese." V. Astafiev);

8) ethnographic (words denoting special objects known only in a limited regional culture; words indicating the specificity of the conceptual division of reality by speakers of the dialect): drachena, or drachona - “grated potatoes, fried with butter” (“Eli drachena, fried kharyuz ". V. Astafiev); lagun - lagukha - la-gushek - lagushka - lagushok - “a small vessel for storing liquid, a small barrel with a hole in the bottom, plugged with a “plug” (“On the sleigh, in orderly order, stood... moonshine lagoons.” P. Astrov; “And you get off, there, in the bottom of the barrel, a log with mash is hidden." V. Astafiev, "I rushed into the closet to the log, where since July... bird cherry tincture had been fermenting." N. Volokitin; "In the middle of the Maidan there was a log, black with dirt, with moonshine." P. Petrov; “I’ll tie a frog with tar around your neck.” K. Sedykh); to help - “the joint work of neighbors and relatives, at the end of which a treat is served” (“The mash was sour in the old lagoon, they were steaming for help in the mowing.” V. Astafiev).

1. Identify the place of dialectisms in the modern Russian literary language..

2. Analyze the works of fiction of the selected authors from the point of view of the use of dialectisms in them.

4. Consider the question of how folk speech affects the expressiveness of the language of the work.

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