I.I. Sreznevsky wrote: “Each word is a representative of a concept that existed among the people: what was expressed in words was in life; what did not happen in life, there was no word for it. For a historian, every word is a witness, a monument, a fact of the life of the people, the more important the more important the concept it expresses. Complementing one another, they together represent a system of concepts of the people, the more important the more important the concept they express. Complementing one another, they together represent a system of concepts of the people, convey stories about the life of the people” [Sreznevsky 1887: 35].
The stylistic and stylistic functions of archaisms and historicisms in modern language are defined as:
A) a reflection of the linguistic style of the era;
B) creating solemnity and poetry of speech;
C) stylization - recreating the language of the era;
D) lowering of stylistic assessment (ironic, joking, mocking, contemptuous, disapproving, etc.).
Of the listed functions, the most important is the first (recreating the color of a historical era), since a historical description is impossible without the use of outdated vocabulary. Unlike some other groups of vocabulary of limited use (for example, special vocabulary), the meanings of obsolete words are rarely subject to figurative rethinking in the text of historical prose. Historicisms and archaisms are usually used in their direct meaning. Therefore, such a stylistic device as the introduction of outdated vocabulary into an artistic context is of particular importance. A writer who uses this technique is faced with the fact that many historicisms or archaisms are incomprehensible to readers. This requires additional explanation in the text. If the author uses obscure words without explanation, then they sound “in vain” [Larin 1974: 237] and do not perform an aesthetic and informational function.
Historicisms and archaisms fall into two groups from the point of view of understanding their meanings by speakers of the modern Russian language: outdated words, used quite often, preserved in famous works of Russian classics, used in modern literature and therefore understandable to a wide range of readers (och, warrior, prince, thief , vervie, dlan, etc.), and obscure historicisms and archaisms that require mandatory explanation when used for stylization purposes.
Interpretation in footnotes and dictionaries is quite common, although this method of introducing obscure words into context is far from the most successful, since this violates the perception of the integrity of the literary text. As B.A. Larin wrote about dialectisms (to which he classified various groups of words of limited use): “... this is an unprofitable, awkward way of enriching the literary language, it is borrowed from scientific practice, but is rarely appropriate in fiction” [Larin 1974 : 234].
Another way of introducing outdated vocabulary into context seems more successful: correlating the meanings with the meanings of commonly used words in the modern lexicon directly in the text of the narrative, using semantic parallels, synonyms - the entire “environment” that helps clarify the meaning of the outdated word:
And whoever doesn’t buy is a perpetrator, an accomplice to the enemies.
An acquaintance took pity on the boy.
Lyubava in leather protrusions on bare feet...
In the texts of fiction there are words/meanings of words that are archaic from a modern point of view. But here it is necessary to distinguish:
archaization of our linguistic time - the end of the 20th and beginning of the 21st century;
archaization of the linguistic time of text creation.
Therefore, there are two aspects to the analysis of lexical archaization: archaization of the time the work was written and archaization of the modern reading of the work.
When stylizing, the language of a bygone era is not reproduced absolutely accurately. Sometimes, in order to achieve the desired effect, the author only needs a few words that fit into the outline of the narrative, reflecting the old word order. It is interesting that very often such words are pronouns and function words: this, that, so that, because, etc.
Speaking about the role of outdated words in works telling about events of the past, it should be emphasized that, in contrast to archaisms, which carry a purely stylistic load, historicisms, in addition, perform a nominative function, being the only possible designations for those things about which the author writes.
G.O. Vinokur wrote about the use of outdated vocabulary in historical novels [Vinokur 1991]. Aesthetically justified, in view of the impossibility of complete stylization of the language of the depicted time, G.O. Vinokur recognized the principle of greater or lesser approximation to the language of the era, which should be based on the understanding that “there is no strict parallelism between the history of language and the history of life” [Vinokur 1991 : 411]. In this regard, he put forward a very important thesis about the creative expediency of relying in linguistic stylization not on the “fluid”, changeable, but on the “eternal” and general - i.e. on what can make the language of a historical work understandable and aesthetically satisfactory for the reader, while simultaneously responding to his desire to feel the flavor of the era. You should pay attention to the following statement to the following statement by Vinokur: “... I have the right to say that, without any doubt, it is possible to write a novel on any historical topic without a single linguistic archaism, exclusively by means of a neutral language stock...” [Vinokur 1991: 414-415 ].
It is also important here that the concept of neutrality is conceptualized as absolute. The author did not see any obstacles to expanding the boundaries of this concept, believing that everything is dictated by the needs of aesthetic conformity. And in this sense, G.O. Vinokur’s distinction between language anachronisms and material anachronisms is fundamental. If writers are looking for a style that is not content with a neutral layer of language, but requires material evidence taken from the language of the era depicted, then the language itself is included in the circle of those objects that are depicted in these works. And then the actual poetic task arises: the correspondence of the language to what is depicted ceases to be an external, technical problem. It, according to the author’s view, “becomes a pressing artistic problem of representation” [Vinokur 1991: 415], when the aesthetic criterion turns out to be equal to the criterion of credibility and persuasiveness.
G.O. Vinokur notes: “For a whole century now, two main styles have been competing in realistic fiction: 1. Imitating and 2. Non-imitating. This is the new contradiction that realism brought with it” [Vinokur 1991: 417]. A differentiating feature of the “non-imitating” style is a sharp distinction between the speech of the author and the character, which can be replaced by the fact that the character speaks like the author, and not vice versa. The differential feature of the “imitating” style is the inevitable merging of the author and the character in character speech, “certainly associated with the “molded”, “ornamental” feeling of the language, and not with its strict geometric pattern.”
A historical novel must certainly be written in the language of the author and his environment, and at the same time it must be the language not of the author and his environment, but of the era that he depicts. Consequently, we can only talk about a greater or lesser approximation to the language of the depicted environment and era, i.e. about a certain selection of imitated or quoted facts of language. This can only be achieved through a certain selection of the means available to the author who studies the era that serves as his theme.
Subject. Stylistic functions of obsolete forms of the word
Target lesson:
Reveal the causes of active processes occurring in vocabulary, morphology, orthoepy, consolidate the skills of lexical analysis;
Create conditions for developing the ability to determine the role of words with a limited scope of use in fiction, lexicology, lexicography;
- to develop interest in philological analysis as a special type of creative activity.
During the classes
Organizing time.
Checking homework
Updating of reference knowledge
I. Teacher's word. (Students make the necessary notes.)
Words, like people, are born, live, grow old, retire, and never go out of active use and even “die”...
Today, for example, when measuring length no one uses words"arshin", "sazhen". But our great-grandmothers could say: “I bought three arshins of cloth" or "six miles to the city." Indeed, they have changedtimes, and only on the pages of works of art, proverbs and sayings can these words be found.
(serious changes in the Russian language also occurred at the phonetic level; in linguistics they are called phonetic archaisms.
Put emphasis on the words:
enlightened, red-hot, ghost, epigraph, doomed Outdated standards:enlightened [uh], red-hot [uh], ghost, epigraph, doom [e]
Similar changes occurred in the sound of some words,For example, incomplete combinations of sounds.
Compare: gold - gold, breg - shore, hail - city, vran - raven, mladoy - young, country - side etc. These include those found in the works of writers and poetsXIX centuries of words klob - club(modern), number - number (modern), curtain support(owl.), hospital - hospital(modern) and others.
Thus, many writers and poets used phonetic archaisms as a means of stylization.
Such changes occur not only in orthoepy, but also at other levels of language. Thus, in works of fiction there are words with outdated suffixes and prefixes!museum - (modern museum), thank - (modern thank you), fisherman - (modern fisherman). Such archaisms are called word-formative.
More often among archaisms there are words that are obsolete not less in some part, but completely as a lexical unit
Determine the meaning of the words:eye - eye, mouth - lips, cheeks - cheeks, right hand - right hand, shuytsa - left hand, right hand - W on the right, left hand - on the left.
From these examples it is clear that obsolete words differ from each other in the degree of archaism: some are still found in speech, others are known only from the works of writers of the last century, and there are others that are no longer used at all.
The fate of words is determined not by “age”, but by their use in speech. Changes occur in social phenomena, in the system of relationships between people in society, and many concepts that were designated by these words disappear. Words that served as names for disappeared objects, concepts, and phenomena are called historicisms.
Now we do not bow to the volost elders and clerks. We can find these words in historical literature, in works of art telling about our paston kind. They help to recreate the flavor of the era, giving a description of the past and features of historical authenticity.
2. Work on an excerpt from A. N. Tolstoy’s novel “Peter the First” (The text for analysis is written down by dictation).
Previously, at every boyar's courtyard, at the gate, arrogant courtyard serfs with hats pulled down over their ears would sneer, play piles, throw money, or simply not allow passage for either horse or foot - laughter, self-indulgence, grabbing with hands. Today the gates are tightly closed, it’s quiet in the wide courtyard, the little people are taken to war, the boyar’s sons and sons-in-law in the regiments are non-commissioned officers, or sent overseas, the young ones are sent to schools - to learn navigation! mathematics and fortification, the boyar himself sits idle at the open window - he is glad that, at least for a short time, Tsar Peter, after his departure, does not force him to smoke tobacco, scrape his beard, or wear knee-length white stockings, wear a wig made of woman's hair - until navel - believing your aunts and jerking your legs.
Questions to consider
Explain the punctuation in the first sentence.
Read the passage from the text carefully. Do you understand all the words found in the text?
Scoff - to mock someone, as well as to laugh and joke in general.
Pile: 1) an old Russian game in which a large nail is thrown so that its sharp end hits the middle of a ring lying on the ground; 2) nail for this game.
Minor: 1) in Russia XVIIcentury, a young nobleman who had not reached the age of majority and had not entered the public service; 2) (translated) a stupid young man - a dropout.
Serf: 1) in Ancient Rus', a dependent person, a serf, a servant; 2) (translated) a person who is ready to do anything out of servility, sycophancy.
Fortification: 1) military engineering science about strengthening terrain for combat; 2) military engineering structures.
Write down historicisms. Let's determine their role in the text.(Boyarsky yard, courtyard serfs, wide yard, boyar sons, learn navigation, fortification, boyar, tsar, non-commissioned officers, underage.)
Find outdated words in the text.(Pile, throwing money.)
- Why did A. Tolstoy use historicisms and archaisms in his work?(The era of Peter the Great is recreated, giving the opportunity to paint a picture of the past.)
III . Independent work of students
The texts are written on the board.
1) Be afraid, O army of foreigners! The sons of Russia moved; Both old and young rebelled;
They fly at the daring, Their hearts are set on fire with vengeance.
(A. S. Pushkin “Memories of Tsarskoe Selo”)
- Find archaisms in the text and determine their type.(Phonetic archaisms: both old and young, foreign, daring, vengeance.) What other archaisms did you come across in this passage?(Word-forming.)
For what purpose did the poet use archaisms?(The ancient versions in this passage give the text a sublime sound.)
2) In the crowd of mighty sons,
With friends, in the high grid, Vladimir the Sun feasted; He married his youngest daughter to the brave prince Ruslan. And drank honey from a heavy glass for their health
■ (A. S. Pushkin poem “Ruslan and Lyudmila”)
- Highlight historicisms and archaisms in this passage, indicateRaya their personal types. (Historicisms: gridnitsa, prince. Phonetic archaism: lesser, word-formative archaism: heavy, semantic archaism: honey [uh].)
What function do archaisms andista rhisms? (These words create a flavor of antiquity when depicting antiquity, recreate a picture of life in the era of the Kievan Russils
Do you think there are cases of a return to modern language! outdated words and historicisms?(So, the words soldier, ensign, minister, adviser in modern language will receive a new life, since in the first years of the revolution they became apt chaisms, but then again acquired a new meaning; the following words are also born: state Duma> lyceum, gymnasium, labor exchange and others.)
Homework
1. Prepare a coherent story about archaisms and historicisms.
archaisms completely disappear from the language. This was the case, for example, with the Old Russian words komon - “horse”, usnie - “skin” (hence the hangnail), cherevye - “a type of shoe”. Individual obsolete words sometimes return to the vocabulary of the active vocabulary. For example, words that have not been used for some time soldier, officer, ensign, gymnasium, lyceum, bill of exchange, exchange, department are now actively used in speech again.
The special emotional and expressive coloring of obsolete words leaves an imprint on their semantics. “To say that, for example, the verbs rake and march (...) have such and such meanings without defining their stylistic role,” wrote D.N. Shmelev, “this means, in essence, to abandon precisely their semantic definition, replacing it with an approximate formula of subject-conceptual comparisons.” This places obsolete words in a special stylistic framework and requires a lot of attention to them.
The archaic vocabulary includes historicisms and archaisms. Historicisms include words that are the names of disappeared objects, phenomena, concepts ( chain mail, hussar, tax in kind, NEP, October(a child of primary school age preparing to join the pioneers), NKVD officer (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc.). Historicisms can be associated both with very distant eras and with events of relatively recent times, which, however, have already become facts of history ( Soviet power, party activist, general secretary, Politburo). Historicisms do not have synonyms among the words of the active vocabulary, being the only names of the corresponding concepts.
They are names of existing things and phenomena, for some reason supplanted by other words belonging to the active vocabulary (cf.: every day - always, comedian - actor, gold - gold, know - know).
Obsolete words are heterogeneous in origin: among them there are native Russian (full, shelom), Old Slavonic ( smooth, kiss, shrine), borrowed from other languages (abshid - “retirement”, voyage - “travel”).
Of particular interest stylistically are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms assimilated on Russian soil and stylistically merged with neutral Russian vocabulary ( sweet, captivity, hello), but there are also Old Church Slavonic words that in modern language are perceived as an echo of high style and retain its characteristic solemn, rhetorical coloring.
The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols ( lyre, ellisium, Parnassus, laurels, myrtles), artistic images of ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavicisms, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already among the successors of A.S. Pushkin's poetisms are archaized.
Writers often turn to outdated words as an expressive means of artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily non-vocal ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. as “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech ( I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air.- Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:
« Land of Ottic and Dedich- these are the banks of deep rivers and forest clearings where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined many things - difficult and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipsi, and the Terrible Tsar, who parted united, henceforth indestructible, the limits of the earth from Siberia to the Varangian Sea...".
The use of outdated words without taking into account their expressive coloring becomes the cause of gross stylistic errors. For example: Sponsors were greeted with joy at the boarding school; The laboratory assistant came to the boss and told him about what happened . The young entrepreneur quickly saw the efficiency of his manager- in these sentences Slavicisms are archaic. The word welcome is not even included in S.I.’s “Dictionary of the Russian Language.” Ozhegov, in “Explanatory Dictionary of the Russian Language,” ed. D.N. Ushakov it is given with the mark (obsolete, poetic); the word to tell Ozhegov marked (obsolete), and Ushakov - (obsolete, rhetorician); see has a mark (old). A context in which there is no attitude towards a humorous coloring of speech does not allow the use of outdated words; they should be replaced by synonyms ( greeted, told, saw[noted]).
Sometimes authors, using an outdated word, distort its meaning. For example: As a result of a stormy meeting of household members, renovation of the house began- the word household, which has the mark (obsolete) in Ozhegov’s dictionary, is explained as “people who live in a family as its members,” and in the text it is used in the meaning of “tenants.” Another example from a newspaper article: At the meeting, even the most unpleasant shortcomings in work were revealed. The word impartial means “impartial”, moreover, it has limited lexical compatibility possibilities (only criticism can be impartial). The incorrect use of archaisms is very often complicated by a violation of lexical compatibility: Andreev was certified as a person who had worked in this path for a very long time(they choose the path, they follow the path, but they don’t work on it).
Sometimes the meaning of an outdated grammatical form of a word is distorted. For example: He refuses to testify, but that's not the point. The essence is the third person plural form of the verb to be, and the subject is singular, the connective must be consistent with it.
Outdated words can give the text a clerical feel. ( Similar buildings that are not needed on one construction site are needed on another; Classes must be conducted in an appropriate room). In business papers, where many archaisms have become established as terms, the use of such special vocabulary should be appropriate. It is impossible, for example, to consider it stylistically justified to resort to outdated figures of speech at your discretion, I enclose herewith, the above-mentioned violator, upon receipt of such and so on.
Stylists note that recently obsolete words that are outside the boundaries of the literary language have become widespread; and often they are given a new meaning. For example, the word vtune, which has the mark (obsolete) in Ozhegov’s dictionary and is explained by synonyms, is used incorrectly fruitlessly, in vain [Intentions to find a reasonable compromise remained in vain; The issues of creating crop rotations and using complex fertilizers remain in vain(better: It was not possible to find a reasonable compromise; ...Crop rotation has not been introduced and fertilizer complexes have not been applied)]:
With frequent repetition, outdated words sometimes lose the archaic connotation that previously distinguished them. This can be observed in the example of the word now. In Ozhegov this adverb is given with the stylistic marks (obsolete) and (high) [cf.: ... now there, along the renovated banks, slender masses of palaces and towers crowd together...(P.)]. Modern authors often use this word as stylistically neutral. For example: Many MIMO graduates have now become diplomats; Nowadays there are not many students at the faculty who would be content with a scholarship- in the first sentence the word now should have been omitted, and in the second it should have been replaced with the synonym now. Thus, neglecting the stylistic coloring of outdated words inevitably leads to speech errors.
STYLISTIC PROPERTIES OF WORDS CONNECTED WITH THEIR ASSIGNMENT TO THE ACTIVE OR PASSIVE COMPOSITION OF THE LANGUAGE
Lecture No. 6
I. Archaisms and historicisms, their stylistic functions.
II. Stylistic functions of neologisms
III. Stylistic use of words of foreign origin.
Words, like people, are born, live and serve us, grow old, retire and even die. Yes, they are dying! Because we ourselves do not use them, we turn away from them, we forget...
What words are called old? And is this definition applicable to words? This question is not as simple as it might seem. It is no coincidence that linguists prefer a more precise definition to this: outdated words. Their selection is not connected with our idea of “age”: words do not deteriorate, like things, from prolonged use, and do not grow old over the years. There are words that are thousands of years old, but they have not “aged” at all. Take for example these: earth, water, sea, sky, mother, daughter, son, after all, they were born in ancient times, and yet these words are “forever young.”
The fate of words is determined not by “age”, but by their use in speech; those who name vital, necessary concepts do not grow old for centuries; others become archaic quite quickly, we stop using them, because the very concepts that these words denote disappear. The education system in Russia has changed - the words have disappeared from our speech Institute of Noble Maidens, classy lady, realist (student of a real school), schoolgirl.
Obsolete words included in the passive composition of the language include historicisms (names of disappeared objects, phenomena, concepts, etc.) and archaisms (names of existing objects and phenomena, supplanted, however, by their synonyms - words of active use).
Historicisms are used mainly in specialized literature, where they perform a nominative function - they serve as names for the realities of past eras. At the same time, the ability to use historicisms to paint a picture of the past, saturating it with a specific description, attracts the attention of authors of works of art to them. In historical literature, in works of art telling about the past of our people, it is impossible not to use historicisms. They help to recreate the flavor of the era and give the description of the past a touch of historical authenticity. This is how, for example, in the novel by A.K. Tolstoy’s “Prince Silver” depicts distant events from the time of Ivan the Terrible - preparation for a fist fight in which the hero’s fate is decided:
The day appointed for judgment duel. Even before sunrise, people crowded into Red Square... the place to which the guslar pointed was prepared for the king It consisted of a plank platform covered scarlet cloth. The royal chairs were placed on it, and the spears and spears sticking out there belonged to the guardsmen surrounding the platform... Inside the cordoned off place they were walking guarantors and solicitors both sides. They stood right there boyar and okolnichy, assigned to the field, and two clerk, who together with him were supposed to observe the order of battle. One of the clerks held an unfolded judge.
In addition to historicisms, other types of obsolete words are distinguished in our language. Have you ever observed how this or that word for some reason “falls out of favor”? We use it less and less in speech, replace it with another, and so it is gradually forgotten. For example, actor once called actor, comedian; they didn't say journey, A voyage, Not fingers, A fingers, Not forehead, A brow. As we see, such outdated words name completely modern objects, concepts that are now usually called differently. New names have replaced the old ones, and they are gradually forgotten. Obsolete words that have modern synonyms that have replaced them in the language are called archaisms. The stylistic functions of archaisms in fiction are diverse. First of all, they, along with historicisms, are used to create the historical flavor of the era, and this applies not only to the speech of characters, where their use is quite natural, but also to the author’s speech, in which they play the role of a means of stylization. Archaisms are used to characterize the speech of characters, for example, when conveying the speech of clergy. Wed. Pimen's remarks in A.S.'s tragedy Pushkin "Boris Godunov":
And his son Theodore? On the throne
He sighed for a peaceful life
Silent man. He is the royal palace
Converted it into a prayer cell;
There are heavy, sovereign sorrows
The holy souls did not outrage him.
God loved the king's humility,
And Rus' with him in serene glory
I was consoled - and at the hour of his death
An unheard of miracle happened:
To his bed, the only visible king,
The husband appeared unusually bright,
And Theodore began to talk with him
And call him a great patriarch.
And everyone around was filled with fear,
Having understood the heavenly vision,
Zane the holy lord before the king
I was not in the temple at that time.
Archaisms can give speech a touch of solemnity and pathos. They are widely used in poetic works. Most often, archaisms of Old Church Slavonic origin (historical Church Slavonicisms) are used for this purpose. This function is performed only by those Slavicisms that are outdated for our era and are not found in wide use, while their Russian version belongs to general use (cf.: voice - voice, young - young, daughter - daughter, etc. ) and such Old Church Slavonicisms are perceived as special poetic words, sublime and beautiful. Many of them have become an integral part of the poetic vocabulary of Russian classical literature. Old Slavonic synonyms of Russian words, often differing from them only by incompleteness, were especially convenient for poets, because they allowed them to choose a shorter word if the conditions of versification required it. For example, K.N. Batyushkova:
I'll sigh and voice my languid one,
Quietly in the air he will die.
Decembrist poets, contemporaries of A.S. Pushkin, used Old Church Slavonic vocabulary to create civil-patriotic pathos of speech. A great interest in outdated words was a distinctive feature of their poetry. The Decembrists were able to identify a layer in the archaizing vocabulary that could be adapted to express freedom-loving ideas. It is Slavicisms that carry the main stylistic load in the famous satire by K. F. Ryleev “To the Temporary Worker.” They contain the main distinctive meaning of the work ( villain, treachery, bribe, poverty), act as expressive epithets ( painful, arrogant, enraged); archaic verbs give speech a tense rhetorical sound: Your deeds will expose the people; Then tremble, O arrogant temporary worker!
A.S. Even in the later period of his work, Pushkin turned to archaic vocabulary as an irreplaceable source of the sublime sound of speech. Who will be left indifferent, for example, by the lines from Pushkin’s “Prophet” imbued with Slavism?
Arise, prophet, and see and listen,
Be fulfilled by my will
And, bypassing the seas and lands,
Burn the hearts of people with the verb.
Often in artistic prose, archaisms are used as a means of creating irony, satire, and parody. Typically, a similar effect is achieved by using archaisms against the background of everyday or reduced vocabulary. For example, Saltykov-Shchedrin has the following combinations: a host of ignorant and evil street loafers; the high priest of literary chatter; the order of service loudly cried out for soap and lye; the sanctuary of fun called the club; the underworld of Foolov's stomachs and so on.
Many funny examples of the ironic use of archaisms in the works of I. Ilf and E. Petrov: One-Eye did not take his only eye off the grandmaster's shoes; Father Fyodor became hungry. He wanted wealth.
For the same purpose, obsolete words are used in journalistic works, in newspaper feuilletons, etc. Wed: the unplanned coming of the holy messiah; buyers of the Slavic cabinet are Soviet Slavs, namely the Drevlyans, Polyans, Krivichi and Dregovichi; This press, not content with the round-the-clock work of the entire metallurgical industry, every day rushes to complete the construction of the giants of metallurgy. In the epistolary style, archaisms can give speech a humorous character, cf. in letters to A.P. Chekhov: impoverished very much ; crucian carp and tench, that is to say pond fish.
There is a type of archaism that deserves special mention. Let's start with a simple example. Let us remember the line from “Eugene Onegin”: “ With a dream, sometimes sad, sometimes charming, he is disturbed by late sleep" At the present stage of the existence of the language, the phrase “ a dream, sometimes sad, sometimes lovely" After all, a modern author will never combine the words sad and dream, because a dream inspires, pleases, inspires faith, gives hope... However, during the time of A.S. Pushkin, such a combination was possible. In addition, we find in the poet even more amazing definitions for the word dream. For example, in “Poltava”: ...Perhaps (what a terrible dream), I am cursed by my father. What's the matter? Obviously, for A.S. Pushkin's word dream did not mean “object of desires, aspirations.” As in modern language, but something else is “creation of imagination, vision, thought.” This gave the right to write, for example, in “Gypsies”: ...I saw terrible dreams!
In modern language these meanings of the word dream forgotten, although the word itself is used. We find a modern interpretation of this word already among writers of the late 19th century. So, A.P. We meet Chekhov: Little by little his melancholy turned into a dream of buying himself a small estate somewhere on the banks of a river or lake.
The archaization of one of the meanings of a word is a very interesting phenomenon. The result of this process is the emergence of semantic, or semantic, archaisms, that is, words used in an unusual, outdated meaning for us. Knowledge of semantic archaisms helps to correctly understand the language of classical writers. And sometimes their use of words cannot but make us think seriously...
A comic example comes to mind. Famous writer and poet V.K. Trediakovsky, in the preface to one of the books most dear to him, addressing the reader, expressed the hope that “this book will be at least a little vulgar,” using the last word with its inherent meaning at that time: he wanted to say that he wanted his work became popular, received recognition, aroused interest among contemporaries... But since words sometimes “grow old” even faster than people, not even a few decades had passed before readers misinterpreted V.K.’s preface. Trediakovsky, and many are still perplexed when reading this “strange” wish.
You can't joke with archaisms! We shouldn’t neglect them either: they say, they disappear from the language, well, let’s forget them! Do not rush to pass judgment on outdated words.
There are cases when they return to the language and become part of the active vocabulary again. So, for example, it happened with the words soldier, officer, warrant officer, minister, adviser, which received a new life in modern Russian. In the first years of the revolution, they managed to become archaic, but then returned, acquiring a new meaning. The number of examples of the return of obsolete words could be increased, especially since in recent years this process has sharply intensified: for example, State Duma, lyceum, gymnasium, labor exchange and others. And yet, cases of the revival of “old words” and their transformation into modern names are not so frequent, while a huge number of outdated words retain their inherent shade of archaism.
The appeal to outdated vocabulary, since it stylistically stands out very much in comparison with the usual, neutral one, of course, must be justified. Imagine this scene. Your sister returned, flushed, from the skating rink, and you, meeting her in the corridor, exclaim: “ With open neckline you'll catch a cold! Is it appropriate to use archaism in this case? The answer is clear. Well, if your sister has a sense of humor, then she will laugh. Otherwise, she may be seriously afraid for your sanity, your use of an old poetic word will seem so absurd to her...
In conclusion, I would like to wish you to master the art of stylistic use of historicisms and archaisms and not allow lapses that make your interlocutor smile.
Writers often turn to outdated words as an expressive means of artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily non-vocal ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the basis of “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air. - Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:
“The land of Ottich and Dedich are those banks of deep rivers and forest glades where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined many things - difficult and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipus, and the Terrible Tsar, who pushed apart the united, henceforth indestructible , the limits of the earth from Siberia to the Varangian Sea...".
Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Church Slavonic vocabulary performed this function even in ancient Russian literature. In poetic speech of the 19th century. Old Russianisms, which also began to be used to create the pathos of artistic speech, became stylistically equal to the high Old Slavonic vocabulary. The high, solemn sound of outdated words is also appreciated by writers of the 20th century. During the Great Patriotic War, I.G. Ehrenburg wrote: “By repelling the blows of predatory Germany, it (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which goodness will shine. Our people showed their military virtues..."
Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an understanding, balanced child who grasps everything literally on the fly. But attempts to turn your child into a “miracle” tragically often end in failure (from the gas). The ironic rethinking of outdated words is often facilitated by the parodic use of elements of high style. In a parody-ironic function, outdated words often appear in feuilletons, pamphlets, and humorous notes. Let us cite an example from a newspaper publication during the preparation for the day the president took office (August 1996):
The new head of the working group preparing the celebration, Anatoly Chubais, set to work with enthusiasm. He believes that the script of the ceremony should be developed “for centuries”, and therefore there is no place in it for “temporary”, mortal delights. The latter included an ode already written for the holiday, which could conditionally be called “On the day of President Yeltsin’s accession to the Kremlin.” The work suffered a bitter fate: Chubais did not approve it, and on August 9 we will not sing:
Our proud state is great and majestic.
The whole country is full of strength, she made the choice!
("Inauguration is not a game")
There is an opinion that outdated vocabulary is common in official business style. Indeed, in business papers certain words and figures of speech are used, which in other conditions we have the right to consider as archaisms [for example, the legal terms act, capable, deed, punishment, retribution in dictionaries are accompanied by the mark (arch.)]. In some documents they write: this year, attached to this, the undersigned, the above, etc. These special official business words do not have an expressive connotation within “their” functional style. Such outdated vocabulary in an official business style does not carry any stylistic load.
Analysis of the stylistic functions of archaisms in a particular work requires knowledge of general linguistic norms in force in the era being described. For example, in the works of writers of the 19th century. There are words that were archaized at a later time. So, in the tragedy of A.S. Pushkin’s “Boris Godunov”, along with archaisms and historicisms, there are words that became part of the passive vocabulary only in Soviet times (tsar, reign, etc.); Naturally, they should not be classified as outdated vocabulary that carries a certain stylistic load in the work.
Golub I.B. Stylistics of the Russian language - M., 1997