Dialectisms, or dialect words, are vocabulary whose use is limited to a certain territory. These are words that are used in certain folk dialects and are not part of the literary language.
For example:
Pskov lUskalka- insect, bug;
Vladimirskoe alert– smart, quick-witted;
Arkhangelsk galIt- play pranks;
Ryazan I'm glad– a well-fed person or a well-fed animal;
Orlovskoe hryvnia- warm.
Dialectisms and words of the literary language
Dialectisms can be related to words in a literary language in different ways. Some may differ from literary words by one or two sounds ( gloomy- cloudy), others - with prefixes or suffixes (Ryazan conversational- talkative, Onega grow old- grow old). There are dialect words that do not have the same meaning in dialects as in the literary language (Ryazan mermaid- garden scarecrow), or roots unknown to the literary language (Voronezh bootie- basket).
How dialectisms become common words
Dialectisms can penetrate into the literary language, and thus become all-Russian. This occurs as a result of their use in fiction texts. Writers introduce figurative folk words into their works in order to convey local speech characteristics, more vividly characterize the characters, and more accurately express concepts associated with folk life. We can find examples of the use of dialectisms in I. S. Turgenev, N. S. Leskov, L. N. Tolstoy and other prose writers of the 19th century, as well as in writers of the 20th century: M. A. Sholokhov, V. M. Shukshin, V. P. Astafiev and others. Thus, in the 19th century, words such as reckless, rescue, jerk, crawl, inveterate, beg, awkward, ordinary, savor, rustle, puny and others.
Dialectisms in various dictionaries
Dialect vocabulary is described in dialect dictionaries and is also reflected in writers’ dictionaries. For example, in the dictionary of M. A. Sholokhov: Goat- jump when playing leapfrog, like a kid ( Along the alleys, barefoot and already tanned Cossacks leapfrogged. The word is used in the author's speech).
Dialectisms that are widespread in dialects and appear on the pages of standard dictionaries of a literary language have the marks regional or local and examples of their use in literary texts.
For example:
In the 4-volume academic “Dictionary of the Russian Language” there are words big ear- eldest in the house, mistress, shout- talk, converse and others.
Dialect vocabulary is widely represented in the “Dictionary of the Living Great Russian Language” by Vladimir Ivanovich Dahl. It reflects the Russian folk worldview, Russian folk culture, imprinted in the language.
Dialect words of different areas
Lesson summary in 6th grade
Note:
The summary was compiled according to the textbook by L. M. Rybchenkova.
Common words and dialectisms.
Lesson objectives:
- learning new material;
- development of skills to work with a dictionary, find in the text and explain the meaning of dialectisms;
- to cultivate interest in learning the vocabulary of the Russian language, an attentive and careful attitude to the word.
- Cognitive: searching for information, determining the meaning of information, constructing statements, reflecting on activities;
- Regulatory: goal setting, activity planning;
- Communicative: ability to express thoughts;
- Personal: self-determination, meaning formation, moral assessment.
- Organizing time.
- Spelling warm-up (p. 86) with an explanation of the lexical meanings of words, repetition of material from the previous lesson (archaisms, historicisms, neologisms) with examples.
- Technique “Attractive goal”: - reading a fragment from the story by I.S. Turgenev “Bezhin Meadow”;
(Click on the plus sign to read the text.)Fragment of the story
“Did you guys hear,” Ilyusha began, “what happened to us in Varnavitsy the other day?”
- At the dam? - asked Fedya.
- Yes, yes, on the dam, on the broken one. This is an unclean place, so unclean, and so deaf. There are all these gullies and ravines all around, and in the ravines all the kazyuli are found.
- Well, what happened? tell me...
- problematic situation: is the text clear? What words are unclear? What are these words? (Exit to the interpretation of terms common and restricted words; recording the lesson topic; distinguishing between what is known and what needs to be known; motivation of educational activities).
- setting the goal of the lesson: to study dialectisms, determine why they are used in a literary text. - Working with V. I. Dahl’s dictionary, explaining the meanings of dialectisms.
- Searching for information in a textbook, structuring information, constructing a statement according to a diagram (pp. 86, 87).
- Distribution letter (exercise 166): words of common use and words of limited use (for the second group of words, indicate dialectisms, terms and jargon).
Exercise 167 orally (draw a conclusion about how the meaning of dialectism can be given in the text itself).
Exercise 168 in writing (with morphemic analysis); a conclusion about what features were used as the basis for the data in the exercise of words in different dialects, about the accuracy and imagery of the folk language. - Game “Find a Pair”: who can quickly find matches between dialect and common words from exercise 169.
- Working with an explanatory dictionary: find and write down 3 words with local marks. or region, explain their meanings.
- Working with the text “On a Visit to the Pomors” (exercise 171): searching for evidence of theoretical material on p. 88: “Dialect vocabulary is used in works of art to describe the area, everyday life, and characteristics of the characters’ speech” (work in pairs).
Student responses; conversation on questions after the text. Conclusion about the purposes of using dialectisms in the text. Why can the meanings of some dialect words be understood without special explanations and without dictionaries? Which of the dialect words correlates with a commonly used colloquial verb cook- cook food? Which dialect word can be replaced with a commonly used synonym bridesmaid- an ancient ritual of introducing the groom and his relatives to the bride? Indicate what other dialect words you can find commonly used synonyms for. Determine in what meaning the word is used in the text red. - Reflection of activity.
Analysis of homework: §21, exercise 170. Read a fragment of A. Astafiev’s story and find dialectisms in it. Copy the last paragraph, inserting the missing letters and adding missing punctuation marks.
Dialectisms are linguistic features characteristic of a particular area. These can be individual words, as well as phrases and expressions.
The term comes from the Greek word dialektos - “talk, dialect”.
There are phonetic, grammatical, word-formation and lexical dialectisms.
Lexical dialectisms
Lexical dialectisms are heterogeneous; several groups can be distinguished: ethnographisms, lexical dialectisms proper, semantic and word-formative dialectisms.
Ethnographisms They name objects and concepts that are characteristic of everyday life and the economy of a given area, but do not have synonyms in the literary language.
Poneva
For example: poneva- a type of skirt (an element of Russian folk costume, a women's woolen skirt for married women made from several pieces of fabric).
Tues- a small birch bark box with a lid. The classic tub has a cylindrical shape. Shalonik- the name of one of the winds among the Pomors. Zybka- cradle.
Actually lexical dialectisms have corresponding synonyms in the literary language: kochet(rooster), basque(Beautiful), hefty(Very), beetroot(beet).
Semantic dialectisms have their own meaning, different from the meaning of the literary language: in a word "bridge" in some areas it is called a canopy; word "thin" means "bad" (thin person = bad person).
Grammatical dialectisms
In some areas, verbs in the 3rd person are pronounced with a soft [t]: he go, They take etc.
In the endings of nouns the letter changes: no longer(instead of his wife); from my sister(instead of from my sister).
The control of prepositions changes: came from Moscow; go to the house.
Word-formation dialectisms
In some areas the berry is called blueberry "blueberry"», « Cherniga", i.e. invent a new word based on a literary one. The calf is also called by its own name: heifer, heifer, heifer.
Phonetic dialectisms
The peculiarity of such dialect words is their specific pronunciation. For example, clicking: do[ts]ka, but[ts]; yak: [core], [five]; pronunciation [x] in place of [g] at the end of the word: sleep[x], other[x].
The use of dialectisms in fiction
In fiction, dialectisms are used to characterize the speech of characters, to create local color, i.e. for a realistic depiction of reality. If we read how the Cossack speaks in pure Moscow dialect, we would not believe the author of the work, we would deny his truthfulness. Elements of dialect speech (dialectisms) are found in the works of classical and modern literature by many Russian writers: V. I. Belov, V. G. Rasputin, V. P. Astafiev, M. A. Sholokhov, P. P. Bazhov, B. V. Shergin and others. The diversity of Russian dialects is reflected in numerous works of Russian folklore. Folklore is also used in modern art: folklore recordings in Russian dialects form the basis of the work of the Ivan Kupala group.
Group "Ivan Kupala"
But sometimes dialect words can be found in the speech of people who have not fully mastered the norms of the literary language.
A dialect is a layer of language that often does not have a written language.
French linguists, along with the term “dialecte”, use the term “patois”, which also denotes the locally limited speech of certain groups of the population, mainly rural.
History of dialects
Modern Russian dialect groups were formed as a result of interactions, transformations and regroupings of dialects of the Old Russian language. The Russian northern dialect developed as a result of contacts between Novgorod and Rostov-Suzdal settlers who settled the Russian North from the 12th-13th centuries. Western and eastern Central Russian dialects developed within the more ancient parts of the territory of the Novgorod and Rostov-Suzdal lands. A decisive role in the development of the “transitional character” of these dialects was played by their interaction with the southern Russian dialect region, which separated the southern Novgorod and Rostov-Suzdal territories from the northern ones.
The Smolensk-Polotsk dialects gradually entered the sphere of influence of the southern Russian Akaya dialect, as a result of which the modern area of the southern dialect of the Russian language was formed, connected by a wide band of transitional dialects with dialects of the Belarusian language.
Have any incidents ever happened to you when, while reading the works of Russian classics, you did not understand what they were writing about? Most likely, this was not due to your inattention to the plot of the work, but because of the writer’s style, which included outdated words and dialectisms.
V. Rasputin, V. Astafiev, M. Sholokhov, N. Nekrasov, L. Tolstoy, A. Chekhov, V. Shukshin, S. Yesenin liked to express themselves in words of this type. And this is only a small part of them.
Dialectisms: what is it and how many types are there?
Dialects are words whose distribution and use are limited to a certain territory. They are widely used in the vocabulary of the rural population.
Examples of dialectisms in the Russian language show that they are characterized by individual characteristics relating to phonetics, morphology, and vocabulary:
1. Phonetic dialectisms.
2. Morphological dialectisms.
3. Lexical:
- actually lexical;
- lexical-semantic;
4. Ethnographic dialectisms.
5. Word-forming dialectisms.
Dialectisms also occur at the syntactic and phraseological levels.
Types of dialectisms as individual features of the original Russian people
In order to find out the original features of the dialect of the Russian people, it is necessary to consider dialectisms in more detail.
Examples of dialectisms:
- Replacing one or more letters in a word is typical for phonetic dialectisms: pshono - millet; Khvedor - Fedor.
- Changes in words, which are not the norm from the point of view of the agreement of words in sentences, are characteristic of morphological dialectisms: in mene; spoke to smart people (substitution of cases, plural and singular).
- Words and expressions that are found only in a certain area and have no phonetic or word-forming analogues. Words whose meaning can only be understood from the context are called lexical dialectisms. In general, in the known vocabulary they have equivalent words that are understandable and known to everyone. The southern regions of Russia are characterized by the following dialectisms (examples): beet - beet; cibula - bow.
- Words that are used only in a specific region and have no analogues in the language due to their correlation with the characteristics of the life of the population are called “ethnographic dialectisms.” Examples: shanga, shanga, shaneshka, shanechka - a dialectic denoting a certain type of cheesecake with a top potato layer. These delicacies are widespread only in a certain region; they cannot be described in one word from common usage.
- Dialectisms that arose due to a special affixal design are called word-formative: guska - goose, pokeda - bye.
Lexical dialectisms as a separate group
Due to their heterogeneity, lexical dialectisms are divided into the following types:
- Actually lexical: dialectisms that have a common meaning with general literary ones, but differ from them in spelling. They can be called peculiar synonyms of generally understood and well-known words: beets - sweet potatoes; stitch - path.
- Lexico-semantic. Almost the complete opposite of lexical dialectisms themselves: they have a common spelling and pronunciation, but differ in meaning. Correlating them, they can be characterized as homonyms in relation to each other.
For example, the word "cheerful" can have two meanings in different parts of the country.
- Literary: energetic, full of strength.
- Dialectal meaning (Ryazan): elegant, neat.
Thinking about the purpose of dialectisms in the Russian language, we can assume that, despite the differences with common literary words, they replenish the Russian literary word fund on an equal basis with them.
The role of dialectisms
The role of dialectisms for the Russian language is varied, but first of all they are important for the inhabitants of the country.
Functions of dialectisms:
- Dialectisms are one of the most important means of oral communication for people living in the same territory. It was from oral sources that they penetrated into written ones, giving rise to the following function.
- Dialectisms used at the level of district and regional newspapers contribute to a more accessible presentation of the information provided.
- Fiction takes information about dialectisms from the colloquial speech of residents of specific regions and from the press. They are used to convey local features of speech, and also contribute to a more vivid transmission of the character of the characters.
Some expressions slowly but surely find their way into the general literary stock. They become known and understandable to everyone.
Researchers studying the functions of dialectisms
P.G. Pustovoit, exploring the work of Turgenev, focused on dialectisms, examples of words and their meaning, he names the following functions:
- characterological;
- educational;
- dynamization of speech;
- cumulation.
V.V. Vinogradov based on the works of N.V. Gogol identifies the following series of functions:
- characterological (reflective) - it helps color the characters’ speech;
- nominative (nominal) - manifests itself when using ethnographisms and lexical dialectisms.
The most complete classification of functions was developed by Professor L.G. Samotik. Lyudmila Grigorievna identified 7 functions for which dialectisms in a work of art are responsible:
Modeling;
Nominative;
Emotive;
Culminative;
Aesthetic;
Phatic;
Characterological.
Literature and dialectisms: what are the dangers of abuse?
Over time, the popularity of dialectisms, even at the oral level, decreases. Therefore, writers and correspondents should use them sparingly in their works. Otherwise, it will be difficult to perceive the meaning of the work.
Dialectisms. Examples of inappropriate use
When working on a work, you need to think through the appropriateness of each word. First of all, you should think about the appropriateness of using dialect vocabulary.
For example, instead of the dialect-regional word “kosteril” it is better to use the common literary word “scold”. Instead of “promised” - “promised”.
The main thing is to always understand the line between moderate and appropriate use of dialect words.
Dialectisms should help the perception of the work, and not complicate it. To understand how to correctly use this figure of the Russian language, you can ask for help from word masters: A.S. Pushkina, N.A. Nekrasova, V.G. Rasputina, N.S. Leskova. They skillfully, and most importantly, used dialectisms moderately.
The use of dialectisms in fiction: I.S. Turgenev and V.G. Rasputin
Some works by I.S. Turgenev is difficult to read. When studying them, you need to think not only about the general meaning of the literary heritage of the writer’s work, but also about almost every word.
For example, in the story “Bezhin Meadow” we can find the following sentence:
“With quick steps I walked through a long “square” of bushes, climbed a hill and, instead of this familiar plain ˂...˃ I saw completely different places unknown to me.”
An attentive reader has a logical question: “Why did Ivan Sergeevich put the seemingly usual and appropriate word “square” in brackets?”
The writer personally answers it in another work, “Khor and Kalinich”: “In the Oryol province, large continuous masses of bushes are called “squares.”
It becomes clear that this word is widespread only in the Oryol region. Therefore, it can safely be attributed to the group of “dialectisms”.
Examples of sentences using terms of a narrow stylistic focus, used in the speech of residents of certain regions of Russia, can be seen in the stories of V.G. Rasputin. They help him show the character's originality. In addition, the hero’s personality and character are reproduced precisely through such expressions.
Examples of dialectisms from Rasputin’s works:
- To become cold - to cool down.
- To make a fuss is to rage.
- Pokul - for now.
- Engage - get in touch.
It is noteworthy that the meaning of many dialectisms cannot be understood without context.
Instructions
Dialectisms have certain features that distinguish them from national language constructions, for example, phonetic, morphological, special meaning of word usage and word usage unknown to the literary language. Depending on these features, dialect words are divided into several groups.
Lexical dialectisms are words that are used in speech and writing by speakers of a certain dialect, and which most often do not have word-formation and phonetic variants. For example, the southern Russian dialects are characterized by the words “tsibulya” (onion), “buryak” (beets), “gutorit” (to speak), and for the northern ones - “golitsy” (mittens), “sash” (belt), baskoy (beautiful) etc. Moreover, dialectisms usually have equivalents in common language. The presence of synonyms is the main difference between lexical dialectisms and other varieties of dialect words.
Ethnographic dialectisms are words that denote objects known to residents of a certain area: “shanezhki” (pies prepared according to a special recipe), “shingles” (potato pancakes), “manarka” (a type of outerwear), “nardek” (watermelon molasses), etc. Ethnographisms do not have , since the objects designated by these words have an exclusively local distribution. Usually, the names of household items, clothing, plants and dishes act as ethnographic dialectisms.
Lexico-semantic dialectisms are words with an unusual meaning. For example, the floor in a hut can be called a bridge, mushrooms - lips, etc. Such dialectisms are most often homonyms for common words that are used in the language with their inherent meaning.
Phonetic dialectisms are words with a special phonetic design in the dialect: “chep” (chain), “tsai” (tea) - in northern dialects; “zhist” (life), “passport” (passport) - in the southern dialects.
Word-forming dialectisms are distinguished by a special affix design: “evonny” (him), “pokeda” (for now), “otkul” (from where), “darma” (for free), “zavsegda” (always) and others.
In addition, there are morphological dialectisms, which are inflections not typical of the literary language: the presence of soft endings for verbs in the third person (to go, to go); ending -e: for you, for me; ending -am in the instrumental u in the plural (under the pillars), etc.
In linguistics, the term “dialectism” has two main meanings. Firstly, this term is sometimes used to refer to a set of narrower terms such as “vulgarism”, “professionalism”, etc. Secondly (and this concept of dialectism is much more established), it is a collective name for the territorial features of speech.
There are a huge number of dialects and dialects on the territory of Russia. This is explained by the multinationality of the state, historical events and even natural conditions. There are so many dialects that even in the same locality there can be completely different names for the same thing. There is, for example, a book “Dialects of Akchim”, where in the territory of just one village dialectologists identified about forty dialects.
So, these are linguistic features characteristic of a particular territory and used in literary speech.
There are several types of dialectisms.
Lexical dialectisms are words that are used exclusively in a given territory and do not have any phonetically similar analogues in other territories. For example, in southern Russian dialects “on horseback” is called a ravine. Despite the fact that these words are used only in one territory, their meaning is familiar to everyone.
But ethnographic dialectisms name concepts that are in use only in a certain area. As a rule, these are the names of household items, dishes, etc. For example, paneva (poneva) is a woolen skirt, which is exclusively in the southern Russian provinces. There are no analogues of such a concept in all-Russian language.
Lexico-semantic dialectisms are words that change their usual meaning in a dialect. Like, for example, “bridge” - in some dialects this is what the floor in a hut is called.
Phonetic dialectisms are the most common phenomenon in dialects. This is a distortion of the familiar sound of the word. For example, “bread” in southern Russian dialects is called “khlip”, and in northern dialects you can hear “zhist” instead of “life”. Most often, such dialectisms arise due to the fact that the word is difficult to pronounce. For example, older people may call a radio “radivo” because it’s easier for the articulatory apparatus.
There are also word-formation dialectisms - these are words formed differently than in the literary language. In dialects, for example, a calf can be called “telok”, and a goose can be called “goose”.
Morphological dialectisms are forms of words for a literary language. For example, “me” instead of “me”.
Video on the topic
Dialect words, when used in written texts intended for a wide readership, become dialectisms, which play a special role in the language of fiction. In the author's narration, they recreate local color, like exoticisms, and, like historicisms, are one of the means of realistic depiction of reality. In the speech of the characters, they serve as a means of speech characterization of the hero. Dialectisms are used more widely in dialogues than in the author's narration. At the same time, the use of words, the scope of which is limited to the territory of one or several regions, should be dictated by necessity and artistic expediency.
As dialectologists have established, in the Russian language, “depending on their origin, northern Russian and southern Russian dialects are distinguished, with transitional Central Russian dialects between them” (71, p. 22). The characteristic features of each of these main groups and the specific narrow-territorial dialects included in them are reflected in fiction.
M. Sholokhov, V. Rasputin, V. Astafiev, F. Abramov and other writers skillfully colored the speech of their heroes with local words. We find examples of the most successful stylistic use of dialectisms in M. Sholokhov’s novels “Quiet Don” and “Virgin Soil Upturned.” The writer depicts the life of the Don Cossacks, and it is natural that Don dialectisms are reflected in the speech of the characters and partly in the author’s narration. Here are typical examples of the author's narration with appropriately inlaid dialecticisms (in order to create local color):
In the evening a thunderstorm gathered. A brown cloud appeared over the farm. The Don, tousled by the wind, threw frequent, ridged waves onto the banks. Behind Levada Dry lightning scorched the sky, thunder crushed the earth with rare peals. A kite wheeled about under the cloud, opening up, and was chased by crows screaming. The cloud, breathing a chill, moved along the Don, from the west. Behind loan the sky turned black menacingly, the steppe was expectantly silent (“Quiet Don”, book 1, part 1, chapter 4).
Compare with other passages:
Aksinya finished cooking early, grabbed the heat, wrapped up the pipe and, having washed the dishes, looked out the window, looking at bases. Stepan stood near slightly, piled by the fire near the fence to Melekhovsky base. An extinguished cigarette hung in the corner of his hard lips; he chose a suitable one from the fire plow. The left corner of the barn had collapsed, it was necessary to install two strong plow and cover with the remaining reeds” (ibid., part 2, chapter 12).
In Melekhovsky kuren Pantelei Prokofievich was the first to tear himself away from sleep. Buttoning the collar of his shirt embroidered with crosses as he walked, he went out onto the porch<…>, released on the proulokskotin.
On the sill of the open window, the petals of the cherry tree that had bloomed in the front garden were deathly pink. Grigory was sleeping on his face, throwing his hand outwards.
- Grishka, go fishing will you go?
- What are you? - he asked in a whisper and dangled his legs from the bed.
- Let's go and sit until dawn.
Grigory, snoring, pulled off his pendants everyday trousers, took them into white woolen stockings and put them on for a long time tweet, straightening the turned-up backside.
- A bait Did mom cook? - he asked hoarsely, following his father into the hallway.
- Cooked. Go to the longboat, I at once
The old man poured steamed odorous stuff into the jar lively, like a businessman, he swept the fallen grains into his palm and, falling on his left leg, limped towards the descent. Grigory, ruffled, sat in the longboat.
- Where to go?
- To the Black Yar. Let's try it near entoy karshi, Where nadys sat.
The longboat, scratching the ground with its stern, settled into the water and took off from the shore. The stirrup carried him, rocking him, trying to turn him sideways. Grigory, without worrying, steered the oar.
- There will be no business, dad... A month has been lost.
– Serniki captured?
- Give it fire.
The old man lit a cigarette and looked at the sun stuck on the other side of the snag.
– Sazan, he takes differently. And sometimes it will take the damage.
(Ibid., part 1, chapter 2.)
In the works of M.A. Sholokhov primarily uses dialect words that are widespread in the southern Russian dialect; many of them are also known to the Ukrainian language. If we extract from the novel the dialecticisms most often used in copyright speech, the list will be relatively small. Most often these are words denoting Don realities - names of household items, household items, clothing, names of animals and birds, natural phenomena: chicken– Cossack house with all outbuildings , bases– cattle pen in the yard and the yard itself , upper room- room , stodol– barn , plow– pole, support with a fork , bonfire– woodpile , slightly- thin long pole , farrier– blacksmith , stag– grip , chaplya – frying pan , lively– grain (any) , beetroot- beet ; extinguished– kerosene , sulfur- matches , kaymak- cream , students– rolls , sorry- soldier; on right– Cossack clothing , chekmen- Cossack military uniform , curtain- apron, tweet- a boot without a top, a shoe; bull– bull (breeding), counts- rooster ; beam- a ravine in the steppe, loan- meadow flooded with spring water, levada– a plot of land with a meadow, vegetable garden and garden, way- road, Tartar– thistle .
In a comparative analysis of the frequency and nature of dialectisms in the author’s narration and in the speech of the characters, it turns out that from the lips of the heroes of the novel - the Don Cossacks - dialect vocabulary sounds more often and is more diverse. And this is natural, since the speech of the characters reflects not only local names, but also reproduces the Don dialect, i.e. the hero's speech becomes a means of characterizing him. It uses freely not only nouns, but also dialectal verbs and adverbs; Along with the actual lexical dialectisms, lexical-semantic, lexical-phonetic and lexical-word-formative ones are used: drone- speak, guess- to know, wobble – to love each other, scream- cry, make noise- scream, rowing- Seems, at once- immediately, immediately, now, troshki- A little, hefty- very much, nadys- the other day, recently, go fishing– fish (phonetic dialectism), suspension- a rope on which a curtain is hung to block the bed, karsha- a deep place in the river, bait– bait, etc.
At the same time, a comparative analysis of the first and final versions of the manuscripts of the novels “Quiet Don” and “Virgin Soil Upturned” shows that M. Sholokhov consistently sought to rid the text of excessive saturation with dialectisms, which he initially became interested in to a greater extent than was required by the artistic challenges facing him. goals and objectives. Here is a typical example of the author’s editing of the manuscript of the novel “Virgin Soil Upturned”:
1. I was carried away by the wind.
2. I’m exhausted, I won’t get there.
3. The foal ran, muffledly rattling the balloon tied to its neck.
4. Now you need to lean on the drag. And to be sure to drag in three tracks.
5. The owner looked after the horse with his hands.
1. It was as if I was being carried by the wind.
2. I’m completely exhausted, I won’t make it.
3. The foal ran, muffledly rattling the bell tied to its neck.
4. Now you need to lean on the harrowing. And to be sure to harrow in three tracks.
5. The owner stroked the horse with his hands.
The comparison testifies to the author’s balanced and thoughtful attitude (with a view to the general reader) to the selection and use of words from his native Don dialects.
P.P. was a great master of the artistic use of local words. Bazhov, author of the tales “The Malachite Box”. The creation of tales based on working folklore would seem to involve the use of Ural dialect words; however, the writer selected them carefully, as he adhered to a firm principle: “I should take only those words that I consider very valuable.” (7, p.179). Bazhov was looking for words that were not narrowly dialectal, but first of all professional, choosing from them the most figurative, emotional, corresponding to the fairy tale style with its melodiousness, slyness and humor. Here is characteristic of the language and style of P.P. Bazhov excerpt from the tale “The Stone Flower”:
The clerk didn't believe it. I also realized that Danilushka had become completely different: he had gained weight, he was wearing a good shirt, pants too, and boots on his feet. So let’s check Danilushka:
- Well, show me what the master taught you?
Danilushka put on the donut, went up to the machine and let’s tell and show. Whatever the clerk asks, he has an answer ready for everything. How to bevel a stone, how to saw it, remove a chamfer, how to glue it, how to color it, how to attach it to copper, like to wood. In a word, everything is as it is.
The clerk tortured and tortured, and he said to Prokopich:
- Apparently this one suits you?
“I’m not complaining,” replies Prokopich.
Examples of moderate and appropriate use of dialectisms are given by the classics: A.S. Pushkin, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, A.P. Chekhov, L.N. Tolstoy and others. For example, dialectisms in the story “Bezhin Meadow” by I.S. do not seem superfluous. Turgenev: “What are you doing, forest potion"Are you crying?" (about the mermaid); "Gavrila bail“that her voice is so thin”; "What just the other day something happened to us in Varnavitsy”; “The elder... a yard dog like that intimidated, that she’s off the chain…” (all these words in the speech of the boys sitting by the fire do not require translation). If the writer was not sure of the reader’s correct understanding of such words, then he explained them: “I went through the meadow - you know, where it is death it turns out it's there rumbled; you know, it’s still overgrown with reeds..." ( Sugibel– a sharp turn in a ravine; Buchilo– deep hole with spring water; notes I.S. Turgenev).
Other writers of the 19th century. They also often inlaid their works with local words, guided by stylistic criteria of proportion and conformity. Dialectisms of that time, many of which subsequently entered the literary language (including with the light hand of famous prose writers who used them), can be found in the works of I.A. Goncharova ( grunted), G.I. Uspensky ( trunk), P.D. Boborykina ( exhibit), L.N. Tolstoy ( beam, dudes) etc. Through the speech of the intelligentsia, common words merged into the literary language and became entrenched in it strawberries, rutabaga, tops, spider, village, bird cherry, plow, frail, milk, initiative, life, essence, rogue and hundreds of others.
Dialect words were used not only by writers, but also by poets of the 19th century. – Koltsov and Nekrasov, Nikitin and Surikov. Such words were also found in the poetry of the first third of the 20th century. For example, in the poems of S.A. Yesenin, one can detect a noticeable layer of dialect words: howl- earth and fate, kukan- island, makhotka- krinka, gloomy- haze, shushun- sweater, fur coat- soul warmer, shine– to seem, to move– run away, really bad– very much and so on. A comparison of S. Yesenin’s early poems with more mature ones reveals that in the initial period of his work the poet used local vocabulary to a much greater extent - for example, in the poem “In the Hut” (1914):
Smells doughy jerking off;
At the threshold in dezka kvass,
Above stoves chiseled
Cockroaches crawl into the groove.
Soot curls over flap,
There are threads in the stove Popelitz,
And on the bench behind the salt shaker
Raw egg husks.
The mother can't cope with the grips,
Bends low
Old cat mohotka sneaks
For fresh milk.
Reference: jerked off– “a dish made from a baked mixture of eggs, milk and flour or grated potatoes”; dezhka, dezha- “kneading bowl, tub for kneading dough”; stove– “a recess in a Russian oven for drying something”; damper– “an iron lid covering the mouth of a Russian stove”; Popelitsa- “ash, ashes”; mohotka- “krinka”.
The later widely known poem “Letter to Mother” (1924) can serve as an example of the manifestation of the idea of proportionality, a reasonable balance between commonly used words and dialectisms in artistic speech, formed in the mind of S. Yesenin. There are only two regional words in the poem, which are appropriately used both to create a ring structure (in the 2nd and last stanzas) and so that the poetic text, according to the author’s intention, is closer to the heart of the peasant mother:
So forget about your worries,
Don't be so sad awesome about me.
Don't go on the road so often
In an old fashioned shabby shushune.
Note. Word shushun, which denotes ancient outerwear for women such as a padded jacket, sweater, is not recognized by all researchers as dialectism, especially ethnographic (i.e., naming a household item or clothing used only by residents of a given area and unknown outside its borders). For example, N.M. Shansky expresses a completely different opinion about this word:
"At first glance the word shushun <…>is in Yesenin the same dialecticism as the adverb awesome- "Very".
But that's not true. This word has long been widely known in Russian poetry and is not alien to it. It is already found, for example, in Pushkin (“I was waiting for you; in the evening silence // You appeared as a cheerful old lady, // And you sat above me in shushune, // With big glasses and a frisky rattle"), jokingly describing his muse.
Such an exquisite stylist of our era as B. Pasternak did not disdain this word. So, in his short poem or large poem “Bacchanalia”, written in 1957, about the noun shushun we “stumble” immediately in its second quatrain ( old women whispering)" (100, p. 382.)
Although the use of local words has declined over time, they can be found in the poems of many Russian poets of the Soviet period. Here are some examples.
A. Tvardovsky:
I knew not only by hearsay,
That his work is a great honor,
What without iron Kochedyshki
And you can’t really weave bast shoes.
(“Beyond the distance – the distance”)
A. Prokofiev:
And here on Ladoga
Beats sludge,
Delighting Ladozhanok,
Blooms Kuga.
(“And here on Ladoga”)
L. Oshanin:
The path of the deer is monotonous and long
On the crisp virgin snow,
And already the polar star cold
Looked under Malitsa to me.
("Gorge")
L. Tatyanicheva:
Hoarfrost's name is here Morse code.
Called padera blizzard
In casings worn inside out,
The larches dance in the snow.
They dance so that the drifting snow is blowing,
My head is spinning with happiness...
Yellow-fronted fawn sun
Looks from behind every trunk.
Here are the gray-haired unsmiling spruces
Yolushki they are calling like a bride...
I came to winter for a housewarming party
In a dense coniferous lighted forest.
("Housewarming")
Native words familiar from childhood
Going out of use:
In the fields Poles- black grouse,
Letatina- game, mocking- rumor,
Zalavok- like a chest of drawers.
Not allowed in dictionaries
From rural vocabulary:
Sugrevushka, fypics– bullfinches;
Dezhen, cooers outlaw.
Words disappear like pesteri,
How gingerbread and spindles.
By cart incomplete bag of grain
Yesterday the miller's wife called
Podnebitsa- a shelf under the ceiling,
Cranberries - crane-fly.
Us to these words got the hang of it mother,
They have been cute since childhood.
And I don't want to give anything away
From an entrusted inheritance.
But how to defend it and not lose it?
And are there such means?
("Native words")
Reference: kochedyk or crutch– an awl for weaving bast shoes;
sludge– fine loose ice; kuga– lake reeds; maface– outerwear made of deer skins; snowdrift- “dear, dear, warm-hearted person”; money– “fermented milk”; Vorkun– “a dove cooing loudly and a lot”; pester– “a device for carrying heavy objects, such as hay”; gingerbread- “a device for spinning without a spindle.”
Note. In the last poem, the text is deliberately saturated with North Russian dialectisms, since the author has set himself a stylistic goal not only to express his reverent attitude towards “native, familiar from childhood” words, full of filial love and nostalgic sadness, but also to evoke empathy in the reader’s soul about their gradual disappearing from everyday speech.
Dialecticisms, being a stylistically significant category of vocabulary, are used to create local color, speech characteristics, and stylized text, therefore their use without artistic necessity, as well as the influx of a large number of dialecticisms into the text, is most often both a sign of low speech culture and an indicator of naturalism in art words.
This was noticed by such masters of artistic expression as L.N. Tolstoy, A.P. Chekhov, M. Gorky and others. For example, L.N. Tolstoy; speaking about the language of books for the people, he advised “not only to use common, peasant and understandable words, but<…>use good, strong words and not<…>use imprecise, unclear, unimaginative words” (81, pp. 365 – 366). A.P. Chekhov wrote on May 8, 1889 to Al.P. Chekhov: “The language should be simple and elegant. Lackeys should speak simply, without further ado” (95, p. 210). Modern writers turning to dialectisms should remember the sarcastic saying of M. Gorky “If the word hryndugi is used in the Dmitrov district, it is not necessary that the population of the remaining 800 districts understand what this word means” and his wish for novice authors to write “not in Vyatka, not in robes.”
In the popular book by D.E. Rosenthal and I.B. Golub “Secrets of Stylistics” provides an excerpt from the parody “Vyatka Elegy” (written in the Vyatka dialect and requiring translation into a literary language) as an example of the unjustified oversaturation of the text with dialectisms.
Dialect text:
Everyone said that I was an okish kid, important. Where I am, there was always sugat. And now? I’m no longer a whirlwind, like a stream! ...Oh, when, when will I close my balls and they will put a mitten on me!
Translation into literary language:
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!(See 68, p. 52.)
There are wonderful works in Russian literature in which the use of dialectal means significantly exceeds the norm to which we are accustomed when reading the stories of I.S. Turgenev or the novels of M. Sholokhov. It is impossible for anyone who has read the Pomeranian tales of the Arkhangelsk writers B. Shergin and S. Pisakhov, filled with the music of northern folk speech, to imagine them without dialectisms. Try, for example, replacing dialect words and expressions in a short excerpt from B. Shergin’s fairy tale “The Magic Ring” with general literary ones.
Vanka lived alone with his mother. Life was the last thing. There’s nothing to send, nothing to put in your mouth. However, Vanka went to the city every month to collect his pension. I only received one kopeck. As he walks with this money, he sees a man crushing a dog:
Man, why are you torturing the little bastard?
What's your business? I'll kill you and make veal cutlets.
Sell me the dog.
We bargained for a penny. Brought home:
Mom, I bought a little one.
What are you, fool's field?! They themselves lived to see the box, and he will buy a dog!
If you risked subjecting this fragment of text to “literariness,” you could be convinced that in this case all the unique imagery , illuminated by the author’s good humor and breathing with the freshness of the living speech of the Pomors, it immediately disappears.
It is necessary to distinguish from dialectisms and colloquial words folk poetic words, borrowed from folklore works. Such words are, for example, nouns father - father , potion- I , sweetheart(darling), merlin– falcon, sadness - grief, sadness (hence the verb get twisted),murava - grass;adjectives azure– blue, fine– clear , crimson – red , darling- native, zealous– hot, ardent (heart), etc. There are also many folk poetic phraseological units: like a poppy blossom, like an oak tree in an open field, a red sun and a beautiful maiden, a good fellow and brave prowess, heroic strength, advice and love etc. Folk poetic phraseology in the broad sense of this term can also include stable expressions from fairy tales, epics and legends; proverbs, sayings, riddles, jokes, counting rhymes and works of other small folklore genres.
Folk poetic words and expressions, as a rule, have a positive emotional and expressive connotation and are included in the fund of figurative means of colloquial speech.