Write out the features of the language from the story of the left-hander. Linguistic features of the tale "Lefty

The linguistic features of the tale "Lefty" were the subject of study of our work. The structure of our work is a description of language changes in different sections of the language, although it should be noted right away that this classification is very relative, because some language changes can be attributed to several sections at once (however, like many phenomena of the modern language). The purpose of the work is to study the work of N. S. Leskov "Levsha" (The Tale of the Tula Oblique Left-hander and the Steel Flea) for its linguistic features, to identify usages unusual for the modern Russian language at all language levels and, if possible, to find explanations for them.

2. Causes of inconsistencies in word usage in N. S. Leskov's tale "Lefty" and modern Russian. The first reason - "The Tale of the Tula Oblique Lefty and the Steel Flea" was published in 1881. The second reason is the genre feature. Skaz is, according to the definition of V. V. Vinogradov, "an artistic orientation to an oral monologue of the narrative type, it is an artistic imitation of monologue speech." The third reason is that the sources of the language of N. S. Leskov were also old secular and church books, historical documents. “On my own behalf, I speak the language of old fairy tales and church folk in purely literary speech,” the writer said.

Colloquial expressions: - "... so they watered without mercy", that is, they beat. - "... with something will take away ...", that is, it will distract. -“English masters” Replacement of letters: -busters - chandeliers -ceramides -pyramids -butt-bay Words with folk etymology, most often formed by combining words: -waterproof cables - waterproof clothing -melkoskop-microscope + finely -multiplication-table + hammer - buremeters (barometers) - measure + storm

Obsolete words and word forms. Participle "serving" as a noun from the lost verb "serve": "... showed the servant to the mouth." An outdated form of the adverb "one" instead of "however." "get together in a couple." (“... and they envy one (the weaver with the cook) the sovereign's wife” A. S. Pushkin). “... they run, they run, but they don’t look back” (it must be “run”).

Word formation. The use of the VZ- prefix (as a feature of the book style): - “swinged” - swung; - “shoved” his shoulders - moved - “overcoming” from the verb “overcome”; - "oncoming" - one who goes towards - "mean" - from the middle: "Do not drink a little, do not drink a lot, but drink moderately." Words that exist in the language, but with a different meaning: “they called from a nasty pharmacy”, that is, a pharmacy opposite; “... in the middle in it (a flea) is a plant” (mechanism, something that starts up, and not in the meaning of “enterprise”

Phonetic features: - “ears” instead of “ears”, the old form is presented in the text, non-palatalized; Syntax: - ".. I'll try what your tricks are"; - "... I wanted to have a spiritual confession .." Textual criticism: - "... no emergency holidays" (special); "... wants a detailed intention to discover about the girl ...". Paronyms: "... Nikolai Pavlovich was so terribly ... memorable" (instead of "memorable") Tautology: "..with one delight of feelings." Oxymoron: "close mansion".

The peculiarity of the language in the story 8220 Lefty 8221

The story of N.S. Leskov "Lefty" is a special work. His idea arose from the author on the basis of a folk joke about how “the British made a flea out of steel, and our Tula people shod it and sent it back.” Thus, the story initially assumed closeness to folklore not only in content, but also in the manner of narration. The style of "Lefty" is very peculiar. Leskov managed to bring the genre of the story as close as possible to oral folk art, namely to the tale, while at the same time retaining certain features of the literary author's story.

The originality of the language in the story "Lefty" is manifested primarily in the very manner of narration. The reader immediately gets the feeling that the narrator was directly involved in the events described. This is important for understanding the main ideas of the work, because the emotionality of the protagonist makes you experience with him, the reader perceives a somewhat subjective view of the actions of other heroes of the story, but it is this subjectivity that makes them as real as possible, the reader himself, as it were, is transferred to those distant times.

In addition, the fairy tale manner of narration is a clear sign that the narrator is a simple person, a hero from the people. He expresses not only his thoughts, feelings and experiences, behind this generalized image is the entire working Russian people, living from hand to mouth, but caring about the prestige of their native country. With the help of descriptions of views on the life of gunsmiths and craftsmen through the eyes of not an outside observer, but a sympathetic fellow, Leskov raises an eternal problem: why the fate of the common people, who feed and clothe the entire upper class, is indifferent to those in power, why the craftsmen are remembered only when they need to support "prestige of the nation"? Bitterness and anger can be heard in the description of Lefty's death, and the author especially clearly shows the contrast between the fate of the Russian master and the English half-skipper, who found themselves in a similar situation.

However, in addition to the tale manner of narration, one can note the rather widespread use of vernacular in the story. For example, in the descriptions of the actions of Emperor Alexander I and the Cossack Platov, such colloquial verbs appear as “ride” and “pull”. This not only once again testifies to the closeness of the narrator to the people, but also expresses his attitude towards the authorities. People are well aware that their pressing problems do not bother the emperor at all, but they do not get angry, but come up with naive excuses: Tsar Alexander, in their understanding, is just as simple a person, he may want to change the life of the province for the better, but he is forced to work more important things. The absurd order to conduct “internecine negotiations” is put by the narrator into the mouth of Emperor Nicholas with secret pride, but the reader guesses the irony of Leskov: the naive artisan tries his best to show the significance and importance of the imperial personality and does not suspect how much he is mistaken. Thus, there is also a comic effect from the inconsistency of overly pompous words.

Also, the stylization of foreign words causes a smile, the narrator with the same proud expression talks about Platov’s “awe” and how the flea “dances”, but he does not even realize how stupid it sounds. Here Leskov again demonstrates the naivety of ordinary people, but in addition to this, this episode conveys the spirit of the time, when a secret desire to be like enlightened Europeans was hidden under sincere patriotism. A particular manifestation of this is the conversion of the names of works of art that are too inconvenient for a Russian person into the native language, for example, the reader learns about the existence of Abolon Polvedersky and is again surprised equally by both the resourcefulness and, again, the naivety of the Russian peasant.

Even Russian words must be used in a special way by fellow Levsha, he again with an important and sedate look reports that Platov “not quite” could speak French, and authoritatively remarks that “he doesn’t need it: a married man”. This is an obvious verbal alogism, behind which lies the irony of the author, caused by the author's pity for the peasant, moreover, the irony is sad.

Particular attention from the point of view of the originality of the language is attracted by neologisms caused by ignorance of the thing that the peasant is talking about. These are words such as “busters” (a chandelier plus a bust) and “melkoskop” (named so, apparently, according to the function performed). The author notes that in the minds of the people, the objects of aristocratic luxury have merged into an incomprehensible ball, people do not distinguish busts from chandeliers, their senseless pomposity of palaces leads them to such awe. And the word “melkoskop” became an illustration of another Leskov’s idea: Russian masters are apprehensive about the achievements of foreign science, their talent is so great that no technical inventions can defeat the master’s genius. However, at the same time, in the finale, the narrator sadly notes that the machines still supplanted human talent and skill.

The originality of the language of the story "Lefty" lies in the manner of narration, in the use of vernacular and neologisms. With the help of these literary techniques, the author managed to reveal the character of Russian craftsmen, the reader is shown vivid, original images of Lefty and the narrator.

The writer's work is distinguished by a peculiar manner of presentation using his own style of narration, which makes it possible to convey folk speech motifs with the greatest accuracy.

An artistic feature of the writer's works is the presentation of literary stories in the form of legends, in which the narrator is a participant in the described event, while the speech style of the work reproduces the lively intonations of oral stories. It should be noted that the Leskovsky tale does not have the traditions of Russian folk tales, since it is presented in the form of stories based on folk rumor, allowing one to understand the authenticity of the author's narration.

In the images of narrators in his tales, the author uses various representatives of society who narrate in accordance with their upbringing, education, age, and profession. The use of this manner of presentation makes it possible to give the work brightness, vitality, demonstrating the richness and diversity of the Russian language, which complements the individual characteristics of the characters in Lesk's stories.

To create satirical works, the writer uses a word game when writing them, using witticisms, jokes, linguistic curiosities, combined with incomprehensible-sounding foreign phrases, and sometimes deliberately distorted, outdated and misused words. The linguistic manner of Leskovsky's works is accurate, colorful, saturated with variegation, making it possible to convey numerous simple dialects of Russian speech, thereby differing from the classical forms of the refined, strict literary style of that period of time.

The characteristic logical structure of his works is also distinguished by the originality of the writer's artistic style, in which various literary devices are used in the form of unusual rhymes, self-repetitions, vernacular, puns, tautologies, diminutive suffixes that form the author's colloquial manner of word formations.

In the storylines of Leskov's legends, a combination of everyday, everyday stories about ordinary people and fairy-tale motifs of legends, epics, fantasies can be traced, which allows readers to present the work as an amazing, unique, charismatic phenomenon.

The peculiarity of the narrative style

Leskov began his own literary activity at a fairly mature age, but it was this maturity that allowed the author to form his own style, his own narrative manner. A distinctive feature of Leskov is the ability to quite accurately convey the folk manner of speech. He really knew how people speak, and he knew incredibly accurately.

Here we should note a very significant fact that readers can observe in the tale of Lefty. There are many so-called folk words that stylize the narrative as a story that one man could tell another. At the same time, Leskov himself invented all these words, he did not take and did not retell folk speech, but he was so competently oriented in this aspect of the language that he himself actually invented some innovations for such speech, moreover, innovations that looked quite harmonious and, perhaps, , after the publication of the work, they really began to be used by ordinary people in their communication.

Also, the genre invented by Leskov for Russian literature deserves special attention, and this genre is a tale. Etymologically, the term goes back to the word fairy tale and the verb to tell, that is, to tell a story.

The tale, however, is not a fairy tale and stands out as a very special genre, which is distinguished by its versatility and originality. It is most similar to a story that one person could tell another somewhere in a tavern, or during a break at work. In general, it is something like such a folk rumor.

Also, the tale, a characteristic example of which is the work (best known by Leskov) “The Tale of the Tula Oblique Left-hander Who Shod a Flea”, is to some extent an epic work. As you know, the epic is distinguished by the presence of some grandiose hero who has special qualities and charisma. The tale, in turn, is based, as it were, on a true story, but from this story it makes something incredible, epic and fabulous.

The manner of presentation leads the reader to think about some narrator and about the friendly communication that occurs between the reader and this narrator. So the Tale of the Left-hander, for example, comes from the face of some gunsmith from near Sestroretsk, that is, Leskov says: they say, these stories come from the people, they are real.

By the way, such a narrative manner, which is additionally supported by the characteristic structure of the work (where there are amazing rhythms and rhymes, self-repetitions that again lead to the idea of ​​colloquial speech, puns, colloquial speech, colloquial word formation) often leads the reader to the idea of ​​the authenticity of history. The tale of the left-hander gave some critics the impression of a simple retelling of the stories of Tula artisans, ordinary people sometimes even wanted to find this left-hander and find out details about him. At the same time, the left-hander was completely invented by Leskov.

This is the peculiarity of his prose, which combines, as it were, two realities. On the one hand, we see stories about everyday life and ordinary people, on the other hand, a fairy tale and epic are intertwined here. In fact, in this way, Lescombe conveys an amazing phenomenon.

Thanks to the tale and his style, Leskov managed to understand how to convey the experience of the consciousness of an entire people. After all, what is it made up of? From legends, legends, tales, fantasies, fictions, conversations, conjectures that are superimposed on everyday reality.

This is what simple people exist and “breathe” with, this is their originality and beauty. Leskov, in turn, was able to capture this beauty.

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The first writer that comes to his mind is, of course, Fyodor Mikhailovich Dostoevsky. The second portrait that appears before the inner gaze of the Russian book reader is the face of Leo Tolstoy. But there is one classic that, as a rule, is forgotten (or not mentioned so often) in this context - Nikolai Semenovich Leskov. Meanwhile, his writings are also saturated with the "Russian spirit", and they also reveal not only the features of the domestic national character, but also the specifics of all Russian life.

In this sense, Leskov's story "Lefty" stands apart. It reproduces with extraordinary accuracy and depth all the flaws in the arrangement of domestic life and all the heroism of the Russian people. People, as a rule, do not have time now to read the collected works of Dostoevsky or Tolstoy, but they should find time to open the book, on the cover of which is written: N. S. Leskov "Lefty".

Plot

The story begins presumably in 1815. Emperor Alexander the First, making a trip to Europe, visits England. The British really want to surprise the sovereign emperor, and at the same time show off the skills of their masters and take him around different rooms for several days and show all kinds of amazing things, but the main thing that they have in store for the final is filigree work: a steel flea that knows how to dance. Moreover, it is so small that it cannot be seen without a microscope. Our tsar was very surprised, but his escort, the Don Cossack Platov, was not at all. He, on the contrary, kept bawling all the time that ours, they say, could be no worse.

He soon died, and ascended the throne, who accidentally discovered an outlandish thing and decided to check Platov’s words by equipping him to visit the Tula masters. The Cossack arrived, instructed the gunsmiths and went home, promising to return in two weeks.

The masters, among whom was Lefty, retired to the house of the main character of the tale and did something there for two weeks, until Platov returned. Local residents heard an uninterrupted knock, and the craftsmen themselves never left the Lefty's house during this time. They became recluses until the job was done.

Platov arrives. They bring him the same flea in a box. In a rage, he throws into the carriage the first craftsman that came to hand (he turned out to be a left-hander) and goes to St. Petersburg to the tsar "on the carpet." Of course, Lefty didn’t get to the tsar right away, he was beaten beforehand and kept in prison for a short time.

Bloch appears before the bright eyes of the monarch. He looks and looks at her and cannot understand what the Tula people have done. Both the sovereign and his courtiers fought over the secret, then the tsar-father ordered to invite Lefty, and he told him that he should, they say, take and look not at the whole flea, but only at her legs. No sooner said than done. It turned out that the Tula people had shod the English flea.

Immediately, the curiosity was returned to the British, and the following was conveyed in words: “We can also do something.” Here we will pause in the plot presentation and talk about what the image of Lefty is in the tale of N. S. Leskov.

Left-handed: between a gunsmith and a holy fool

Lefty's appearance testifies to his "supremacy": "an oblique left-hander, on the cheek and on the temples the hair was torn out during the teaching." When Lefty arrived at the tsar, he was also dressed in a very peculiar way: “in shawls, one trouser leg is in a boot, the other is dangled, and the ozyamchik is old, the hooks do not fasten, they are lost, and the collar is torn.” He spoke to the king as he was, without observing manners and without sycophancy, if not on an equal footing with the sovereign, then certainly without fear of power.

People who are at least a little interested in history will recognize this portrait - this is a description of the ancient Russian holy fool, he was never afraid of anyone, because Christian Truth and God stood behind him.

Dialogue between Lefty and the English. Plot continuation

After a short digression, we will again turn to the plot, but at the same time we will not forget the image of Lefty in Leskov's tale.

The British were so delighted with the work that they demanded the master to submit to them, without a second's hesitation. The tsar respected the British, equipped Lefty and sent him with an escort. There are two important points in the main character's voyage to England: a conversation with the British (Leskov's story "Lefty" is perhaps the most entertaining in this part) and the fact that the ancestors, unlike the Russians, do not clean the muzzle of guns with bricks.

Why did the British want to keep Lefty?

The Russian land is full of nuggets, and no one pays much attention to them, while in Europe they immediately see “rough diamonds”. The English elite, having once looked at Lefty, immediately realized that he was a genius, and the gentlemen decided to keep our man at home, to learn, clean, enrich, but it wasn’t there!

The left-hander told them that he didn’t want to stay in England, didn’t want to study algebra, he had enough of his education - the Gospel and the Half Dream Book. He does not need money, women, too.

The left-hander was hardly persuaded to stay a little longer and look at Western technologies for the production of guns and other things. The latest technologies of that time were of little interest to our craftsman, but he was very attentive to the storage of old guns. Studying them, Lefty realized: the British do not clean the muzzle of their guns with bricks, which makes the guns more reliable in battle.

Despite this discovery, the protagonist of the tale was still very homesick and asked the British to send him home as soon as possible. It was impossible to send by land, because Lefty did not know any languages ​​​​except Russian. It was also not safe to sail on the sea in autumn, for it is restless at this time of the year. And yet they equipped Lefty, and he sailed on a ship to the Fatherland.

During the journey, he found himself a drinking buddy, and they drank with him all the way, but not out of fun, but out of boredom and fear.

How bureaucracy killed a man

When friends on the ship were put ashore in St. Petersburg, the Englishman was sent to where all foreign citizens were supposed to be - to the "messenger's house", and Lefty was allowed in a sick state through the bureaucratic circles of hell. Not a single hospital in the city could attach him without documents, except for the one where they were taken to die. Moreover, various officials said that Lefty needed help, but here's the problem: no one is responsible for anything and no one can do anything. So the left-hander died in a hospital for the poor, and on his lips he had only one phrase: “Tell the tsar-father that guns cannot be cleaned with bricks.” He nevertheless told it to one of the servants of the sovereign, but it never reached the Almighty. Guess why?

This is almost everything on the topic “N.S. Leskov "Lefty", the content is brief.

The image of Lefty in Leskov's tale and the model of the fate of a creative person in Russia

After reading the work of the Russian classic, the conclusion involuntarily suggests itself: there is simply no hope for a creative, brilliant person to survive in Russia. He will either be tortured by non-Christian bureaucrats, or he will destroy himself from within, and not because he has some unresolved problems, but because a Russian person is not able to simply live, his share is to die, burning up in life, like a meteorite in the atmosphere of the earth . This is the image of Lefty in Leskov's tale that is contradictory: on the one hand, a genius and craftsman, and on the other hand, a person with a serious destructive element inside, capable of self-destruction in conditions when you least expect it.

1880s - the heyday of the work of N. S. Leskov. He spent his whole life and all his strength to create a "positive" type of Russian person. He defended the interests of the peasants, defended the interests of the workers, denounced careerism and bribery. In search of a positive hero, N. S. Leskov often turns to people from the people. "Lefty" is one of the pinnacles of the writer's artistic creativity. N. S. Leskov does not give a name to his hero, thereby emphasizing the collective meaning and significance of his character. “Where “Levsha” stands, it is necessary to read “Russian people”,” the writer said. He loves his hero, but does not idealize him, showing that with diligence and skill he did not study the sciences and instead of the four rules of addition from arithmetic, he takes everything from the Psalter to the Half Dream Book.

The narration is conducted by the narrator, his speech is full of neologisms. "N. S. Leskov ... is a magician of the word, but he did not write plastically, but told, and in this art he has no equal to himself, ”M. Gorky noted. And it's hard to disagree with that. That is why N. S. Leskov was constantly looking for "living faces" with a rich spiritual content that could interest others. To do this, N. S. Leskov uses the memoir form of a fictional work of art. "Memoir" is only an artistic means, since most of Leskov's heroes did not have prototypes.

The language of the story is “real, condo Russian”, it required a lot of painstaking work from the author. However, in the story it is perceived simply and clearly. It contains obsolete words (“the English flea”, “Yashsky”, “spindle”), vernacular (“rumour”, “nonsense”, “sour”, “tapping with hammers”), borrowed words, often distorted (“melancholy”, "melkoscope", "nymphosoria", "danse").

At the end of the story, Pushkin's statement sounds - "the affairs of bygone days" and "traditions of antiquity."

The story has "a fabulous warehouse of legend" and "the epic nature of the protagonist". The real (proper) name of the left-hander is not called, it, like the names of many geniuses, is forever lost for posterity. N. S. Leskov created a myth personified by fantasy.

In the last chapter, the writer regrets that with the development of technology, machines have replaced manual labor. Machines, according to the author, "do not favor aristocratic prowess, which sometimes exceeded the measure, inspired popular imagination to compose such current fabulous legends." N. S. Leskov shows that the workers appreciate the benefits that mechanics bring to them, but they remember the old, old times with pride and love.

N. S. Leskov himself, assessing the artistic originality of "Lefty", complains that the creation of a language is a very laborious task. In his opinion, only one love for one's work can induce a person to take on such a mosaic work. N. S. Leskov writes: “This very “peculiar” language was blamed on me, and yet they forced it to spoil and discolor a little.”

"Lefty" is a work in which the writer has achieved great strength and depth of artistic generalization. It so accurately recreates the speech coloring of the depicted environment that when reading the story, the illusion of the authenticity of events and the reality of the image of the narrator arises.