What stylistic coloring do phraseological units have? Signs of the genre

At the very beginning of his speech, Jenkins warned that the measures he proposed would be “harsh”, that the new budget would be “tough”... “Such a tough budget is necessary to put England on its feet,” Jenkins argued. “We don’t know about England, but he knocks us Englishmen off our feet,” the man on the street bitterly sneers.

Most phraseological units are unambiguous: they always have the same meaning. For example: have your head in the clouds- "indulging in fruitless dreams" at first sight- “at first impression”, to baffle - “to lead to extreme difficulty, confusion.” But there are phraseological units that have several meanings. For example, wet chicken can mean: 1) “a weak-willed, simple-minded person, a weakling”; 2) “a person who looks pitiful, depressed, upset about something”; fool around - 1) “do nothing”; 2) “behave frivolously, fool around”; 3) “do stupid things.”

The polysemy of phraseological units most often arises as a result of the consolidation of their figurative meanings in the language. For example, the phraseological unit baptism of fire - “the first participation in battle” - received another meaning in the language due to its figurative use - “the first serious test in any matter.” Most often, figurative meanings appear in phraseological units of a terminological nature ( reduce to one denominator, center of gravity, specific gravity, fulcrum, birthmark). It is easier to develop polysemy in phraseological units that have an indivisible, holistic meaning and are correlated in their structure with phrases.

Homonymy of phraseological units arises in the case when phraseological units, identical in composition, have completely different meanings [cf.: to take the floor - “to speak at a meeting on one’s own initiative” and to take the floor (from whom) - “to receive a promise from someone, sworn assurance of something"].

Homonymous phraseological units appear as a result of a figurative rethinking of the same concept, when its different features are taken as a basis. For example, phraseology let the (red) rooster in the meaning of “to start a fire, to set something on fire” goes back to the image of a fiery red rooster, reminiscent of a flame in color; phraseological unit let (give) a rooster in the meaning of “to make squeaky sounds”, it was created on the basis of the similarity of the sound of a singer’s voice, breaking on a high note, with the “crowing” of a rooster. Such homonymy arises due to the random coincidence of the components that formed the phraseological units. In other cases, phraseological homonyms are a consequence of the final break in the meanings of polysemantic phraseological units. For example, the figurative meaning of a phraseological unit tiptoe- “walk on the tips of your toes” - served as the basis for the appearance of its homonym tiptoe- “to curry favor, to please someone in every possible way.”

Phraseologisms can have correspondences among free phrases. For example, bite your tongue can be used as a combination of words that have free meanings ( I wanted to have a conversation with my driver, but... I was tossed up and I bit my tongue.- Kind), but more often this expression acts as a phraseological unit with the meaning “to shut up, refrain from speaking” ( Then Ivan Ignatich noticed that he had let it slip and bit his tongue.. - P.). In such cases, the context suggests how one or another expression should be understood: as a phraseological unit or as a combination of words that have their usual lexical meaning. For example: A heavy and strong fish rushed... under the shore. I started to bring her to clean water.(Paust). Here no one will attach a metaphorical meaning to words that in other conditions may be part of a phraseological unit bring to clean water.

Writers turn to the phraseological riches of their native language as an inexhaustible source of verbal expression. Let us remember Ilf and Petrov, how expressive their speech is, thanks to the authors’ frequent use of proverbs and sayings! Here are some examples: There is no need to disdain any means here. Hit or miss . I choose the gentleman, although he is clearly a Pole; He still had a vague idea of ​​what would follow after receiving the orders, but he was sure that everything it will go like clockwork: “And with butter,” for some reason it was spinning in his head, “ you won't spoil the porridge" Meanwhile the porridge was brewing big. In artistic and journalistic speech, phraseological units are often used in their usual linguistic form with their inherent meaning. The introduction of phraseological units into the text, as a rule, is due to the desire of journalists to enhance the expressive coloring of speech. For example:

The imagery inherent in phraseological units enlivens the narrative, often giving it a humorous, ironic overtone:

Humorists and satirists especially like to use phraseological units; they value colloquial, stylistically reduced phraseology, often resorting to mixing styles to create a comic effect [ It is not simple shot sparrow(about a graphomaniac occupying a high official position), but rather sparrow taking aim at others. If you don’t publish it, it won’t publish you... As we see, chronic graphomania is fraught with printing complications; If you feel the urge to issue a review of the mountain, do it like this... If you get it into your head to praise the above, you shouldn’t think for a long time about why you’re dragging your feet, the inspector likes to stick his nose into every crevice. Oh, and he is a master at plotting!(from gas.)]. Colloquial phraseology acts as a means of linguistic characterization of characters [ Excuse me generously,” Marya Ivanovna fussed, “I’m busy in the kitchen, and my mother is hard of hearing and can’t hear anything.” Have a seat...- Shat.]; to stylize the author's speech, which is perceived as a casual conversation between a conventional narrator and the reader, and in this case, reduced phraseological units recreate the picture of live communication [ “Hmm,” chuckled the director, who was struck by this idea; Western advertisers not eager share with the Russian budget(from gas.)].

A striking stylistic effect is created by the parodic use of book phraseological units, often used in combination with other style lexical and phraseological means. The very nature of phraseological units, which have vivid imagery and stylistic overtones, creates the prerequisites for their use in expressive, and above all in artistic and journalistic speech. The aesthetic role of phraseological means is determined by the author’s ability to select the necessary material and introduce it into the text. This use of phraseological units enriches speech and serves as an “antidote” against speech cliches.

However, the possibilities for using phraseological units are much wider than simply reproducing them in speech. The phraseological riches of the language come to life under the pen of talented writers and publicists and become a source of new artistic images, jokes, and unexpected puns. Word artists can treat phraseological units as “raw materials” that are subject to “creative processing.” As a result of the phraseological innovation of writers and publicists, original verbal images arise, based on “played out” stable expressions. Creative processing of phraseological units gives them a new expressive coloring, enhancing their expressiveness. Most often, writers transform phraseological units that have a high degree of lexical stability and perform an expressive function in speech. At the same time, the changed phraseological units retain the artistic merits of the national ones - imagery, aphorism, rhythmic and melodic orderliness. Let's consider some techniques of phraseological innovation by writers and publicists.

In artistic speech, for a specific stylistic purpose, you can change the lexical composition of a phraseological unit, updating one or more of its components: “ Laughter through bullets" - the title of an article about the Fifth International Humor Festival "Ostap" (its co-founder was killed the day before). The one who shoots first laughs. For the sake of a nice word the communists did not spare the Russian brothers from Transnistria(Wed: For the sake of words, I don’t feel sorry for either my brother or my father).

TO replacing dictionary components Feuilletonists often resort to phraseological turns. This stylistic device was masterfully used by Ilf and Petrov: Everyone the fibers of your suitcase he was heading abroad. New times suggest other jokes to our satirists: Sausage as a mirror of the Russian revolution; At the end of the tunnel eat hot soup; A Mystery Shrouded in Collapse; From the world one line at a time; It's time to the viewer - “Vremechko”(headlines of newspaper articles).

Updating the composition of phraseological units enhances their expressive coloring, but may not affect their meaning ( She fainted from resentment and grief.), however, more often the meaning of a phraseological unit changes [ I would be glad to serve, to be waited on too(“LG”)].

More often, authors replace components of phraseological units in order to radically change their meaning and create a sharp satirical effect: A good place will not be called a socialist camp; Critics honored the novel with silence; He laughs well who laughs without consequences; Have you come? Saw? Shut up! The technique of transforming the composition of a phraseological unit is appreciated by poets; Mayakovsky’s phraseological innovation is known: In cramped conditions, but didn’t have lunch...

Using this technique, the authors strive to preserve the sound organization of phraseological units as accurately as possible: What is written by the opera...(article about crime in Moscow); Though goal on my mother's head(about a football player who masterfully scores goals with his head).

The transformation of phraseological units in artistic speech may consist in changing grammatical forms their components. For example, V.V. Mayakovsky replaces in the phraseological unit black as a Negro an adjective in the positive degree with a form of comparative degree: Raising their baked potato faces, blacker than a Negro who had never seen a bath, six pious Catholic women climbed aboard the steamship Espany..

The transformation of phraseological units may consist in changing the order words in stable circulation. Inversion in a phraseological unit that has a stable word order often completely updates its meaning ( The further you go, the quieter you will be.- “LG”).

Sometimes the integrity of the composition is compromised phraseological unit, and it is quoted in parts ( - By God, I don’t know how and in what way I am related to him; it seems that the seventh water, maybe not even on jelly, but on something else... Simply, I call him uncle: he responds.- Ven.).

A peculiar stylistic device of the author’s processing of phraseological units is contamination of several phraseological units. For example: Walking on foot is no companion for the hungry (a man on foot is not a companion to a horseman, a well-fed man does not understand a hungry man).

Often writers and publicists resort to the contamination of phraseological units to express thoughts in an unusual, witty formulation [ Share other people's opinions and conquer(“LG”); Isn't it because silence is golden because it is a sign of consent?(“LG”); Lived your life at someone else's expense(“LG”); Turned rivers back so as not to swim against the current(“LG”)]. Contamination of phraseological units is often accompanied by their reinterpretation. For example: There is so much space for thoughts that there are no words; You can’t take away his humor: what’s not there is not there!- the comic effect of these jokes is based on the collision of incompatible statements: the second phraseological unit denies the thought contained in the first.

Based on the transformation of phraseological units, writers create artistic images that are perceived as the development of the theme specified by the phraseological unit. Yes, the saying The soul knows when to stop reason for the poet to say: Report everything in the form, hand over the trophies, slowly, and then they will feed you, the soul will be the measure(Tward.). The poet only hinted at a well-known phraseological unit, but it is already present in the reader’s mind, creating a kind of subtext. The destruction of the old meaning of a phraseological unit, the “emancipation” of the image inherent in it, sometimes creates an unexpected artistic effect. For example: The world knows how - you'll become naked, you'll droop like a willow, you'll melt like a slide(Vozn.). Based on the proverb From the world by thread - naked shirt, the poet gives it the opposite meaning.

Ignorance of the exact meaning of phraseological units, its lexical and grammatical composition, expressive and stylistic features, scope of use, compatibility, and finally, inattention to the figurative nature of phraseological units lead to speech errors. When using phraseological units, errors may not be related to the specificity of phraseological units as reproducible stable phrases. Unsuccessful choice of phraseological synonym, use of phraseological units without taking into account its semantics, violation of the compatibility of phraseological units with words of the surrounding context, etc. - all these errors, in essence, do not differ from similar speech errors when using individual words.

The use of a phraseological unit without taking into account its semantics distorts the meaning of the statement. So, A.S. Pushkin, after reading “Answer to Gnedich” by K.N. Batyushkova, against the lines Your friend will forever give you his heart with his hand remarked: “Batyushkov is marrying Gnedich!” The use of phraseological units with a certain stylistic connotation may conflict with the content and style of the work. For example: He rushed about, looking for salvation. I came up with a touching story to justify myself, but it sounded like the swan song of this hardened scoundrel. Phraseologism swan song, which contains a positive assessment, a sympathetic attitude towards the one being spoken about, is stylistically inappropriate in this context. You cannot combine phraseological units with a contrasting stylistic coloring in one sentence, for example, reduced, colloquial, and bookish, solemn: He promised that won't lose face and will work to match professional drivers steppe ships. The combination of expressively colored phraseological units with official business vocabulary is also unacceptable. The Chairman showered me with golden showers worth eighty thousand rubles; emotionally vivid, poetic phraseological units with speech cliches going back to “clerical eloquence”: Happy is he who and live in a hurry and feel in a hurry by and large. The mixture of styles that arises when they are combined gives the speech a parodic sound.

Let us analyze the errors that occur when using stable figures of speech incorrectly and are associated with an unjustified change in the composition of a phraseological unit or with a distortion of its figurative meaning.

The composition of a phraseological unit in specific speech situations can change in different ways.

1. There is an unmotivated expansion of the composition of phraseological units as a result of the use of qualifying words: For livestock breeders, the main highlight of the program is the breeding of valuable livestock breeds. There is a phraseological unit that is the highlight of the program, but the definition of main is inappropriate here. The authors, not taking into account the impenetrability of phraseological units, try to “supplement” them, color them with epithets, which gives rise to verbosity. More examples: Let's hope that Volkov will have his say in coaching; With all her long legs she started to run.

In irregular speech, combinations of a pleonastic nature, formed from phraseological units and redundant definitions for their components, are quite common: suffer a complete fiasco, a random stray bullet, hard Sisyphean work, cheerful Homeric laughter. In other cases, the expansion of the composition of a phraseological unit is not associated with pleonasm. For example: Unenviable palm in terms of crime growth it belongs to the Southern Administrative District; Commercial organizations found themselves at the height of the new challenges facing them. Phraseologisms palm, to be on top are not allowed to spread.

2. There is an unjustified reduction in the composition of the phraseological unit as a result of the omission of its components. So, they write: this is an aggravating circumstance(instead of aggravating circumstance). Erroneously truncated phraseological units lose their meaning; their use in speech can lead to the absurdity of the statement [ This student's progress wish you much better(instead of: leaves much to be desired); Coach Williamson put on a good face(omitted: when playing poorly)].

3. Often there is a distortion of the lexical composition of phraseological units [ Master more than once interpreted heart to heart with his charges(need: said)]. An erroneous substitution of one of the components of a phraseological unit can be explained by the synonymous similarity of words [ The path led from the gate to the outbuilding from which Antoshin had just barely moved his feet(followed: carried away)] and even more often by mixing paronyms [He came into my own(need: left); came out of his mouth(need: broke); swipe around your finger(need: circle); ...Not lost heart(need: did not fall)]. In other cases, instead of one of the components of a phraseological unit, a word is used that is only vaguely reminiscent of the repressed [ Well, as they say, books are in their hands(instead of: cards in hand); The organizers of this trip themselves ruined it by plopping into a bucket of honey a drop of tar(instead of: add a fly in the ointment to the ointment)]. False associations sometimes give rise to very funny and absurd mistakes [Now go figure out which one of them hides an ax in his bosom(phraseologism: keep a stone in your bosom); Half an hour later he looked scalded chicken before the administration(phraseological unit is distorted: wet chicken)].

4. A change in the composition of a phraseological unit can be caused by updating grammatical forms, the use of which in stable phrases is fixed by tradition. For example: The children killed the worms and had fun, - you cannot use the plural instead of the singular. An unjustified replacement of the grammatical form of one of the components of a phraseological unit is often the cause of inappropriate comedy: the unusual, strange form of familiar stable phrases is surprising ( It remains a mystery how four people could erect such a colossus, even if seven spans in the forehead and oblique fathoms in the shoulders). In other cases, a new grammatical form of a word as part of a phraseological combination affects the semantic aspect of speech. Thus, using an imperfect present tense verb instead of a perfect past tense verb makes the statement illogical: A veteran has been crossing the threshold of the 100th police station for more than twenty years.. Phraseologism cross the threshold is used only in the meaning of “to perform some important act” and excludes repeated repetition of the action, therefore it is possible to use the verb only in the perfective form; replacing the specific form leads to absurdity.

As part of phraseological units, it is also impossible to allow distortion of prepositions [ He never thought that these words would come true in his destiny to the fullest extent(instead of: fully)]. Such careless handling of prepositions and case forms makes speech illiterate. However, some phraseological units are truly “unlucky” - they are constantly replaced by prepositions: to put periods on and; seven spans on the forehead; Michael I quickly got dressed and hurried to the call. The inability to correctly choose case forms and prepositions as part of phraseological units gives rise to the following “strange” errors: creaking his heart, the powers that be, this is a fraught matter with consequences, good riddance to him, his head is spinning. To avoid such mistakes, it is necessary to take into account the specific context.

The context can not only reveal the non-figurative meaning of phraseological units, but also reveal the inconsistency of their metaphorical structure if the author imprudently “collides” stable combinations that are incompatible in meaning. For example: These people stand firmly on their feet, so you won't be able to clip their wings. The first phraseological unit, as it were, “attaches” the image to the ground, and this makes it impossible to use the second phraseological unit, which is based on the idea of ​​flight: to clip the wings means to “deprive the ability to fly.” One phraseological unit excludes another.

The contradictory images underlying phraseological units and tropes also do not coexist in such a sentence: Aviators on their wings are always on time come to the rescue(they don’t come on wings, but fly). No matter how accustomed we are to the figurative meaning of phraseological units, their metaphorical nature immediately makes itself felt if their imagery comes into conflict with the content. Therefore, for example, sentences in which the owner says about a hunting dog are unsuccessful: This one won't come with empty hands, - and a science fiction writer, drawing Martians with tentacles instead of hands, notices that the alien "pulled himself together" .

Violation of the unity of the figurative system of phraseology and context gives the speech a comic quality. For example: The speaker spoke in a loud and shrill voice, like the trumpet of Jericho. It turns out that the trumpet of Jericho speaks and even has a shrill voice. The words surrounding a phraseological unit are usually involved in a figurative context. Therefore, it is unacceptable to use them in a figurative meaning, which does not take into account the figurative nature of phraseological units associated with them. For example: The decision of the meeting is stated in black and white.... Or: A difficult life path befell Vasily Timofeevich. Black and white you can write, path - they pass, choose. The choice of verbs in such cases “undermines” the imagery of phraseological combinations.

A prerequisite for the correct use of phraseological units is strict adherence to the peculiarities of their compatibility with the words of the context. So, phraseology publish can only be used in combination with the names of printed publications. Therefore, the sentence is stylistically incorrect The Musical Theater released the ballet “The Lonely Sail Whitens”; in this case you should have written staged a ballet... or prepared the premiere... The following phrase is stylistically incorrect: Life, passed in full view in public(phraseologism clearly requires the word visible).

When using phraseological units, various errors are often combined. Thus, a change in the lexical composition of a phraseological unit is accompanied by a distortion of figurative meaning. For example, in the sentence Oblomov was sign of the times phraseological unit is distorted sign of the times- “a social phenomenon typical of a given era.” Substituting the image underlying a phraseological unit radically transforms its meaning. Some errors associated with distortion of the composition (phraseologism and its figurative meaning) are widespread in speech [ Even if you scratch the stake on your head(necessary: teshi - from the verb to tesha); Bring to the white knee(need: (from pay attention And attach importance), make a difference(from influence and attach importance)]. Such stylistic errors are explained by false associations. Some errors caused by the contamination of elements of various phraseological units are repeated so often that we perceive them as expressions that have become established in common parlance ( play main violin).

Contamination of elements of various phraseological units can make speech not logical: Many, knowing about these outrages, look at the tricks of enterprising businessmen carelessly (work - carelessly, A look through your fingers); This business not worth a penny(a mixture of phraseological units - not worth a penny And not worth a jigger). In other cases, the semantic side of the speech does not suffer, but the sentence still needs stylistic editing ( We could ring all the bells, but first we decided to think it over calmly- contamination of phraseological units should be eliminated, sound the alarm and ring all the bells).

Contamination of elements of various phraseological units can cause the speech to sound comical (grated sparrow, shot kalach, not all the cat has a hangover, Maslenitsa at someone else’s feast). Examples of contamination of elements of various phraseological units can be found in the Krokodil magazine in the section “You can’t invent it on purpose” ( So I stayed overboard a broken trough).

When considering stylistic errors associated with the incorrect use of phraseological units, we should also touch upon those cases when involuntary puns arise in speech due to the fact that the speaker uses words in their direct meaning, but listeners perceive their combination as a figurative expression of a phraseological nature, so the statement is given a completely unexpected meaning. The so-called external homonymy of phraseological units and free combinations, which became the cause of the error, can lead to the most unexpected puns, giving the speech an inappropriate comedy. For example, an agitated speaker talks about a disturbance at a construction site: Three times we wrote down in the protocol the decision on the need to reserve slate for the landfill, but the time has come - there is nothing to cover it with. Against the background of an emotionally charged statement, the last two words are perceived not in the literal sense, but as a phraseological unit meaning “there is nothing to say in response, nothing to object.” Thus, phraseology, being a source of imagery and expressiveness of speech, can also create significant difficulties if you are not careful about the word.

An analysis of the stylistic features of phraseological units as components of synonymous series compiled from the poetic works of G. Matyukovsky in the Mountain Mari language was carried out. Stylistic coloring is formed under the influence of two components: functional and expressive-emotional coloring. When determining functional coloring, belonging to one of the functional styles is taken into account. Based on this criterion, phraseological units in the poetry of G. Matyukovsky can be divided into two main groups: interstyle, or commonly used, and functionally fixed. Interstyle phraseological synonyms in the works of G. Matyukovsky constitute a small part of the total number of all phraseological units. Functionally fixed components of synonymous series consist of colloquial, colloquial and book words and stable phrases. From the point of view of expressive-emotional coloring, affectionate, approving, playful, ironic and disapproving phraseological synonyms, characteristic mainly of colloquial and artistic styles, stand out in the works of G. Matyukovsky.

expressive-emotional coloring

functional coloring

stylistic coloring

phraseological synonym

Mountain Mari language

1. Bertagaev T.A. On the synonymy of phraseological phrases in the modern Russian language // Russian language at school. – M.: Uchpedgiz, 1960. – No. 3. – P. 4-9.

2. Buzakova R.N. Synonymy of Mordovian languages. – Saransk: Mordovian book. publishing house, 1977. – 248 p.

3. Gracheva, F.T. Synonymous relations between phraseological units and words // Questions of the Mari language. – Yoshkar-Ola, 1975. – P. 148-164.

4. Zhukov, A.V. Lexical and phraseological dictionary of the Russian language: more than 1400 phraseological units. – M.: Astrel Publishing House LLC: AST Publishing House LLC, 2003. – 603 p.

5. Matyukovsky, G.I. Far East // Aiyren n³lm¿ lydyshvl³ d³ poem³ / I.I. Mountain Don E.Ya. Queen Pogent. – Yoshkar-Ola, 1996. – P. 57-59.

6. Matyukovsky, G.I. Kym erg¿. Poem / G.I. Matyukovsky // Aiyren n³lm¿ lydyshvl³ d³ poem³ / I.I. Mountain Don E.Ya. Queen Pogent. – Yoshkar-Ola, 1996. – P. 212-248.

7. Matyukovsky, G.I. Petya. Poem / G.I. Matyukovsky // Aiyren n³lm¿ lydyshvl³ d³ poem³ / I.I. Mountain Don E.Ya. Queen Pogent. – Yoshkar-Ola, 1996. – P. 270-283.

8. Matyukovsky, G.I. S¿ng¿m³sh¿n corny don. – Yoshkar-Ola: Mary books³ publishing house, 1986. – 180 p.

9. Molotkov, A.I. Phraseological dictionary of the Russian language / A.I. Molotkov, V.P. Zhukov. – M.: Rus. lang., 1986. – 543 p.

10. Tolikina, E.N. On the nature and character of synonymous connections between a phraseological unit and a word // Essays on the synonymy of the modern Russian literary language. – M.-L.: Nauka, 1966. – P. 96-117.

Introduction

When describing the work of G. Matyukovsky, they most often analyze it from the point of view of literary criticism: they consider the idea and themes of his works. Stylistic characteristics of the linguistic means used by the poet are rarely given.

G. Matyukovsky uses expressive means with different stylistic colors in accordance with the nature of the entire work. In his poetry there are means of expression that have a functional and expressive coloring; words or figures of speech used in figurative meanings in order to achieve greater expressiveness: metaphors, personification, synecdoche, euphemisms and cacophemisms, periphrases, epithets, phraseological units, etc. One of the main ways to diversify speech, allowing you to vary the use of words with different colors and figurative meanings are synonyms, of which a sufficient number is found in the poetry of G. Matyukovsky.

Components of synonymous series can be both individual words and stable phrases, to denote which the terms are used phraseological unit, phraseological unit, phraseme, phraseological phrase, idiom, idiomatic expression.

Phraseological synonyms, as defined by V.P. Zhukov, are phraseological units with a similar meaning, denoting the same concept, usually correlative with the same part of speech, having partially coinciding or (less often) the same lexical and phraseological compatibility, but differing from each other in shades of meaning, stylistic coloring, and sometimes both at the same time.

The purpose of the study is to describe the stylistic coloring of phraseological synonyms in the Mountain Mari language. The material for the study was the poetic works of G. Matyukovsky. The work used hypothetico-deductive, component methods, the method of equipollent opposition and the method of gradual opposition.

According to the observations of T.A. Bertagaev and V.I. Zimin, “phraseological units most readily enter into stylistic rather than ideographic synonymy with individual words,” since they “mostly express concepts not in a neutral-logical form, but in an emotionally expressive one.” E.N. Tolikina believes that “none of the phraseological units of the synonymous series is a neutral carrier of the corresponding conceptual content.” F.T. Gracheva, using the example of the Meadow Mari language, shows that compared to words, phraseological units have greater expression, consisting in the transmission of emotionality, imagery and intensity. In Mordovian languages, according to R.N. Buzakova, the vast majority of phraseological units that are semantically equivalent to a word act as figurative synonyms, having either a reduced or increased expressive-emotional coloring.

A significant part of phraseological units are stylistically marked, i.e. has certain stylistic characteristics. To describe the stylistic features of phraseological synonyms, let us consider their functional and expressive-emotional colors.

The functional (or functional-style, functional-stylistic) coloring of a lexical unit indicates its use in a particular functional style. From this point of view, two main groups of phraseological units are distinguished: interstyle, or commonly used, and functionally fixed, including colloquial, colloquial and bookish.

Interstyle phraseological synonyms in the Mountain Mari literary language, judging by the examples from the poetry of G. Matyukovsky, as in other languages, constitute an insignificant part of the total number of all phraseological units. They can be used in all styles of language, therefore, in synonymous series they appear as stylistically neutral. However, neutral phraseological units act as such in functional and stylistic terms, but are not necessarily neutral in emotional and expressive terms. The selection of neutral phraseological units is very conditional, since the connotative meanings manifested in them also participate in giving them a stylistic coloring. The lexico-stylistic feature of neutral phraseological units are the neutral words used as part of these phraseological units.

In the Mountain Mari language, inter-style phraseological units include the phrase shamakim poash, which is a component of the synonymous series:

Sºr³sh, shamakim poash, sworn poash(book., auction.).

Give some promise, undertake to do something, do something. Sºр³ш- the main word for expressing the meaning of ‘promise someone.’; shamakim poash‘give your word’; sworn poash‘to swear, to swear’.

M¿n¿ t¿sht¿ ylym, snake, / Yogysh pish s¿nzav¿d³t, / D³ shamakim eche pushym / Shaiyshtash t³l³nd³³t. ‘I was there, I saw how bitter tears flowed, and I gave my word to tell you too.”

A number of commonly used synonyms and phraseological units complement stable phrases corny l³kt³sh‘grow up, become an adult, independent’ , y³ng vasht And sh¢m vasht‘from the bottom of my heart’, which are components of synonymous series with corresponding meanings.

If the main part of the vocabulary consists of stylistically neutral units, then phraseological units are dominated by colloquial phrases. A.I. Molotkov considers phraseological units to be a phenomenon of colloquial speech, and therefore does not see the point of accompanying colloquial phraseological units in the dictionary with the mark . However, colloquial phraseological units stand out against the background of commonly used reduced expressive-stylistic coloring (affection, abuse, irony, contempt, jokes, familiarity, etc.). Colloquial phraseological units are used mainly in oral form, and commonly used ones - in written form.

In the poetry of G. Matyukovsky, phraseological units have a bright coloring of conversational style the wind began to blow in the air- component of the synonymous series:

Tyrlash, ladnangash, sh¿pl³n³sh, sh¿p li³sh, the wind blew sh¿nd³sh, tyng lin koltash.

Become calm, stop moving, stop making noise. Tyrlash‘to subside, subside, calm down, calm down, stop"; ladnangash‘calm down, calm down, come, come back to normal’; sh¿pl³n³sh‘to fall silent, to subside, to subside; freeze; calm down"; sh¿p li³sh‘become quieter, shut up’; the wind began to blow in the air‘take water into your mouth’; tyng lin koltash ‘ quiet down" .

Vujta The air was blowing in the air, / Shalga halyk - ik yukat. ‘It’s as if you’ve filled your mouth with water, / People are standing there - not a sound’.

In the works of G. Matyukovsky, phraseological units of everyday colloquial style include k¢s¿m pºr¿kt³sh‘to take revenge, to punish someone.", moch g¿ts ken‘exhausted’ ik sh¿rt¿ d³ng¿n‘to the skin (get wet)’, uten ke³sh‘very, until I drop’, y¿lm¿m nel¿n koltet‘you’ll swallow your tongue’ vuyim s³k³sh‘hang your head’ and others, which are components of synonymous series with corresponding meanings.

The signs of colloquial phraseological units are the everyday colloquial and colloquial words that are part of these phraseological units.

Colloquial phraseology is characterized by greater reduction. For example, in the poetry of G. Matyukovsky, synonyms-phraseological units have a colloquial tone of speech loger k¿r³sh, loger tsits, p¿l¿sh shel³sh - components of the synonymous series:

Ch¿n, sir¿p¿n, uly yukyn, uly yuk don, kytse kerdm¿n, sh¿rg¿ kuzash(decomposition.),loger k¿r³sh(simple, unapproved),logger tzits(simple, unapproved.), p¿l¿sh shel³sh(simple.).

About voice volume: strong sounding. Ch¿n loud"; sir¿p¿n‘loudly, boomingly’; uly yukyn, uly yuk don‘loudly, at the top of my voice’; Kytse-Kerdman‘with all your might’; sh¿rg¿ kuzash(lit.: so loud that the forest is about to rise) ‘that there are forces’; loger k¿r³sh, logger tzits‘at the top of my lungs’; p¿l¿sh shel³sh(lit.: so that the ears can crack) ‘very loud’.

Anzylvl³zh¿ ylyt y¢ksh¿ / D³ lypshaltylyt pishok, / Ik¿zh³k-ikt¿n kech³lt sh¢shk¿, / ¢rl³t loger k¿r³shock --- . ‘Those in front are drunk and swaying violently, hanging on each other’s necks, screaming at the top of their lungs ---". Vara, logger tzits ongyreshenen, / S¿g¿r³l sh¿nd³ lit¿m³sh. ‘Then, laughing at the top of his lungs, he shouted at the top of his lungs. Sasnaig¿ tagyshtaken / P¿l¿sh shel³sh torgyzhesh. ‘Somewhere a pig is squealing very loudly.’

There is no clear boundary between phraseological units of colloquial and vernacular substyles, so determining their functional coloring is often difficult.

Book phraseology includes scientific, journalistic and official business phraseological units related to scientific, terminological and professional layers of vocabulary. Special phraseological units (scientific, official business) are devoid of additional connotative meanings. Book phraseological units make up an extremely small part of the total number of all phraseological units. In the “Phraseological Dictionary of the Russian Language”, edited by A.I. Molotkov only 1% (one percent) (40 out of 4000) of phraseological units have the “book” mark. Phraseological units of book style capable of entering into synonymous relationships are even fewer.

In the poetry of G. Matyukovsky there are isolated examples of phraseological units of book style. Phraseological units of scientific style include cyl³ parallel‘on all parallels’, cil³ meridian mochan‘along all meridians’, which are components of the synonymous series:

Kymdykesh, y¿r, y¿rv³sh, y¿r¿mv³sh, y¿r-y¿rv³sh(vernacular-simple.), at least-kyshty, tsil³ parallelesh(book.),cil³ meridian mochan(book.).

Everywhere, in all places, wherever. Kymdykesh‘everywhere, all around’; y¿r, y¿rv³sh, y¿r¿mv³sh‘all around, around’; y¿r-y¿rv³sh used in folk poetic speech; cil³ vel³n ‘ in all corners, everywhere"; at least‘anywhere, anywhere’; cyl³ parallel‘on all parallels’; cil³ meridian mochan‘along all meridians’.

Lizh ok cylinder parallel, / Cyl³ meridian moo --- . ‘Let there be peace on all parallels, along all meridians ---".

We did not find phraseological synonyms of journalistic and official business styles in the poetry of G. Matyukovsky.

Artistic style occupies a special place in the system of other styles. It uses the means of all other styles, varied in semantic and expressive characteristics, but they act in a modified function - aesthetic, pursuing the artistic goals of creating imagery, speech characteristics of heroes, etc. According to its specific stylistic characteristics, the artistic style as a type of book style is opposed not only to conversational style, but also to all other book styles. In artistic speech, phraseological units of colloquial, colloquial, scientific and journalistic styles are used to stylize the statement. Phraseologisms of the artistic style themselves are distinguished by an upbeat, solemn, poetic, pathetic tone. Phraseologisms of artistic style include the expression sworn poash‘to swear, to swear’.

The functional and stylistic consolidation of phraseological units, as well as words, in synonymous rows is complemented by an expressive-emotional coloring, which is associated with the ability of speech to influence the emotions of the speaker, evoke certain feelings in him and convey the emotions of the speaker, as well as enhance expressiveness, i.e. . expressiveness of speech.

When determining the types of expressive-emotional coloring of synonyms, various components of expressiveness are considered, such as emotionality, evaluativeness, imagery and intensity. Moreover, they are closely interconnected, overlap each other, define each other and can appear in various combinations with each other, so sometimes distinguishing shades of meaning is difficult and leads to the parallel use of terms: emotional, evaluative, expressive, emotional-expressive vocabulary; expressive-emotional, expressive-evaluative, expressive-stylistic meanings of words, etc.

The phraseological units of colloquial and artistic styles in the works of G. Matyukovsky are characterized by the following types of expressive and emotional coloring:

1. affectionate, for example, mamik vui(lit.: dandelion; head covered with down) ‘child, child’, synonym for the word aunt‘child, child’ - used mainly in dealing with children and in children’s speech;

2. approving, for example, y³ng semesh li³sh, y³ngesh pizh³sh(lit. to be to one’s liking, to catch the soul) ‘to like’;

3. humorous, for example, scientific tsatkydyn pyryshtash(lit. to gnaw hard at science) ‘persistently acquire knowledge’ - a synonym for the word you're changing'study";

4. ironic, for example, pachim kiyirtash(lit. wag tail) ‘hide’ - a synonym for the word sh¿l³sh‘to hide, hide’;

5. disapproving, for example, rear shiralash(lit. throw fire) ‘set fire’ - a synonym for the word oltash (rear)‘to kindle, make a fire’; etc.

The types of expressive colors of phraseological synonyms differ in positive or negative, elevated or reduced emotional assessments. Affectionate, approving and humorous phraseological units receive a positive emotional assessment. Ironic and disapproving have a negative assessment.

The distinction between elevated and reduced vocabulary correlates with the belonging of words to functional styles. The elevated style is often identified with the bookish style, and the reduced style with colloquial and vernacular style. Elevated and decreased emotional connotations are the result of the fastening of words in the minds of native speakers to texts of high or low styles.

The considered examples confirm that phraseological units, which are components of synonymous series, are distinguished by a bright stylistic coloring, indicating their belonging to one of the functional styles and their additional expressive-emotional meaning. Among the phraseological synonyms that have a functional and stylistic affiliation, commonly used and functionally fixed set expressions were identified, the latter of which consist of colloquial, colloquial and book phraseological units. In the works of G. Matyukovsky, the predominance of phraseological synonyms of the colloquial style is noted. Phraseologisms of book styles are extremely rare; thus, we did not find any official business or journalistic stable phrases. Expressive-emotional coloring is formed under the influence of affectionate, approving, playful shades of meaning, which have a positive emotional assessment, as well as ironic and disapproving shades of meaning, characterized by a negative assessment.

Reviewers:

Zorina Z.G., Doctor of Philology, Professor of the Department of Intercultural Communication of the Mari State University, Yoshkar-Ola.

Kuklin A.N., Doctor of Philology, Professor of the Department of the Mari Language of the Federal State Budgetary Educational Institution of Higher Professional Education "Mari State University", Yoshkar-Ola.

Bibliographic link

In this chapter, we examined the use of phraseological units in journalistic and artistic speech, the phraseological innovation of writers and speech errors associated with the use of phraseological units.

Stylistic coloring of phraseological units

Phraseological means of language, like vocabulary, are used in various functional styles and, accordingly, have one or another stylistic coloring.

The largest stylistic layer is colloquial phraseology (without a week, in all Ivanovo, you can’t spill water), it is used mainly in oral communication and in artistic speech. Colloquial phraseology is close to Colloquial, more reduced (straighten your brains, scratch your tongue, in the middle of nowhere, tear your throat, turn up your nose).

Another stylistic layer is formed by book phraseology, which is used in book styles, mainly in written speech. As part of book phraseology, one can distinguish scientific (center of gravity, thyroid gland, periodic system), journalistic (shock therapy, live broadcast, Black Tuesday, law of the jungle), official business (minimum wage, consumer basket, testify, confiscation of property).

We can also highlight a layer of commonly used phraseology, which is used both in book and colloquial speech (from time to time, each other, matter, keep in mind, keep your word, New Year). There are few such phraseological units. In an emotionally expressive sense, all phraseological units can be divided into two groups; a large stylistic layer consists of phraseological units with a bright emotional and expressive coloring, which is due to their imagery and the use of expressive linguistic means in them. Thus, phraseological units of a colloquial nature are colored in familiar, playful, ironic, contemptuous tones (neither fish nor fowl, sit in a puddle, only your heels sparkle like out of the blue, out of the frying pan and into the fire); books have a sublime, solemn sound (to stain one’s hands in blood, to pass away from life, to elevate creatures to pearls).

Another stylistic layer consists of phraseological units that are devoid of emotional and expressive coloring and are used in a strictly nominative function (punch a ticket, railroad, military-industrial complex, explosive device, agenda). Such phraseological units are not characterized by imagery, they do not contain evaluation. Among phraseological units of this type there are many compound terms (securities, currency transactions, specific gravity, magnetic needle, punctuation marks, viral flu). Like all terms, they are characterized by unambiguity; the words that form them have direct meanings.

Stylistic use of phraseological units in journalistic and artistic speech

In artistic and journalistic speech, phraseological units are often used in their usual linguistic form with their inherent meaning. The introduction of phraseological units into the text, as a rule, is due to the desire of journalists to enhance the expressive coloring of speech. For example:

At the opening of yesterday's meeting, neither the speaker of the Duma nor any of the six vice-speakers were in the hall. Members of the Duma Council took the reins of government. Anatoly Lukyanov shook things up and, presiding at a parliamentary meeting, gave the floor to Viktor Ilyukhin without the necessary discussion of the agenda.

The imagery inherent in phraseological units enlivens the narrative, often giving it a humorous, ironic overtone.

Humorists and satirists especially like to use phraseological units; they value colloquial, stylistically reduced phraseology, often resorting to shifting styles to create a comic effect (this is not just a shot sparrow (about a graphomaniac occupying a high official position), but rather a sparrow taking aim at others). To stylize the author’s speech, which is perceived as a casual conversation between a conventional narrator and the reader, and in this case, reduced phraseological units recreate the picture of live communication (“Hn,” whined the director, who was struck by this idea; Western advertisers are not eager to share with the Russian budget ).

A striking stylistic effect is created by the parodic use of book phraseological units, often used in combination with foreign-style lexical and phraseological means. The very nature of phraseological units, which have vivid imagery and stylistic coloring, creates the preconditions for their use in expressive, and above all in artistic and journalistic speech. The aesthetic role of phraseological means is determined by the author’s ability to select the necessary material and introduce it into the text. This use of phraseological units enriches speech.

The possibilities for using phraseological units are much wider than simply reproducing them in speech. Word artists can treat phraseological units as “raw materials” that are subject to “creative processing.” As a result of the phraseological innovation of writers and publicists, original verbal images arise, based on “played out” stable expressions. Creative processing of phraseological units gives them a new expressive coloring, enhancing their expressiveness. Most often, writers transform phraseological units that have a high degree of lexical stability and perform an expressive function in speech. At the same time, the changed phraseological units retain the artistic merits of the national ones - imagery, aphorism, rhythmic and melodic orderliness.

Functions of phraseological units in different styles of speech

The rich phraseology of the Russian language contains great synonymic possibilities, which serve as the basis for its stylistic use.

1. Many phraseological units are synonymous with individual words: nap- nod off; to be offended - to pout; set fire - let loose a red rooster etc. (against the background of neutral words, these phraseological units stand out due to their colloquial character). Most often, phraseological units and adverbs are synonymous, and in some cases phraseological units have a bookish character (cf.: forever and ever- forever; with visor raised- open), in others - colloquial (cf.: to the fullest extent- fast; swear words- loud).

2. Phraseological units form a number of ideographic synonyms, differing in shades of meaning. So, phraseological units (work) roll up your sleeves- by the sweat of his brow- tirelessly with the general meaning of "diligently" differ in that rolling up my sleeves conveys the value of intensity in work, by the sweat of his brow is associated with the meaning of “earning with difficulty” (i.e. “working to live”), and tirelessly- meaning “tirelessly, diligently, enthusiastically.”

3. Phraseological phrases form a number of stylistic synonyms; Wed book order to live long and simple, stretch your legs(with the general meaning "to die").

Phraseological units are widely used in all speech styles, but in different functions. If in scientific and official business speech, as a rule, general literary, inter-style stable phrases are used, acting in a nominative function, then in fiction, in journalistic works, in colloquial speech, the expressive and stylistic side of bookish and colloquial phraseological units often comes to the fore. everyday character with their great expressive capabilities.

The methods of using phraseological units in fiction and journalism are especially diverse. Writers not only use phraseology in the form in which it exists in the language, but also change it, updating the semantics, structure and expressive-stylistic properties of phraseological units. As a result of a creative approach to the riches of language, phraseological units acquire new semantic shades, and word connections are enriched. Often, individual phrases are created by analogy with existing idioms in the language. Wed: I love the zemshchina, but with a strange love(S.-Sch.); Your pronoun[appeal by type Your Honor](Ch.); Be healthy, Happy New Year, new happiness, new great successes, new trousers and boots(Ch.); With all his puppy strength the beggar puppy began to cry(M.); Comb your hair? Why? It's not worth the trouble for a while, but it's impossible to be combed forever(M.); The matches were ready to burn out of shame for the factory that produced them, but they could not light up.(E.K.)

Stylistic use of proverbs, sayings, “winged words”

In stylistic terms, not only stable phrases in their varieties are used (phraseological adhesions, phraseological unities, phraseological combinations), but also other phraseological means, to which proverbs, sayings, and “winged words” belong. Just like the phraseological expressions discussed above, they are used in fiction, journalism, and colloquial speech.

The figurative power of proverbs was noted by N.V. Gogol: “In our proverbs... one can see the extraordinary completeness of the people’s mind, which knew how to make everything its weapon: irony, mockery, clarity, accuracy of pictorial representation...” M. Gorky