IX Международная студенческая научная конференция Студенческий научный форум - 2017

Individually-author Mikhail Lermontov manner of writing poetry has become fundamental to the formation of species in his work of art functional style. Emotional, emotional and rhetorical and realistic styles define the essence of style writer's hand.

Emotionally Lermontov style reinforced the emotional intensity of the transmitted experienced poet and hero of the content that comes from the influence of "the romantic culture of artistic expression." The passion, sensuality, inner tension and secret confession passed special techniques in the use of language units and emotionally evocative language means. For Lermontov important is not accuracy, brevity of a single word, and the emotional effect of poetic speech. Emotional style written works such as: "I go out alone on the road", "Prayer", "Neighbours", "In memory of A.I. Odoevskogo "" And bored and sad "," Letter "," Stanzas "," My future in the Fog, "" Song "," Sounds "," To a friend "," Dagger "et al., As well as some excerpts from poem "Mtsyri", "Demon", "Ismail Bey".

The basis of emotional style make abstract nouns and verbs state, relationships and properties. These units of language in the emotional style of Lermontov used not only as a means of nomination and predication, but as a descriptive and expressive means.

In an emotional style of Lermontov's a special place among the words of feature character takes the epithet. As figurative-expressive means of poetic speech adjective, it is undoubtedly one of the priorities of the emotional resources of the Russian language. The writer epithet, unlike other writers and poets of the first half of the nineteenth century, is subjectively estimated. By means of his poet conveys different degrees Estimated feature or object of action, person. It can be positive, negative and neutral. For emotional style is characterized by allegorical content transmitted, followed by the embodiment, by comparison, parallelism.

Я знал одной лишь думы власть.Одну — но пламеннуюстрасть:Она, как червь, во мне жила,Изгрызла душу и сожгла.

strengthens the emotional side of syntax:

Он был похож на вечер ясный:Ни день, ни ночь, — ни мрак, ни свет!

deepens the formation of an image:

Люблю, когда, борясь с душою,Краснеет девица моя:Так перед вихрем и грозоюКраснавечерняязаря.

In an emotional style, Lermontov uses fuzzy, blurry syntax, a structure in which there are no necessary of the sentence, why sometimes it is impossible to determine the location of the main and secondary parts of the sentence in relation to each other. Typically, in such designs is observed transfer one part of speech of words with different functional significance.

Thus, based on Pushkin's tradition of organizing the poetic text, Lermontov discovered new laws in the selection of emotional language means, he "... was able to produce a synthesis of diverse and at the same time the most valuable achievements of the romantic culture of artistic expression and to create on the basis of this synthesis of the original style of emotional confession - in the field of poetry and drama and deep style of psychological realism - in both verse and prose narrative".

Oratorical or emotional oratorical style and declamatory verse, "iron verse," by definition, the author, was intended to express not only the strongest personal feeling, but also a political protest against the existing order of the world order, fight against modern society, dissatisfaction with the established tradition among individual and the state. "It seeks to invest in the stock of literary phraseology, in the forms of syntactic constructions, means of poetic organization in the arsenal of rhetorical devices, generally in the national culture of artistic expression more modern concrete everyday richness, strengthen ideological style saturation and emotional diversity," [4] - writes V.V. Vinogradov an oratorical style of Mikhail Lermontov.

Oratorical style written such works as "Death of a Poet", "think", "The Poet," "How often surrounded by a motley crowd," "Last housewarming", "Farewell, unwashed Russia", "complaint Turk", "I look at the future with fear"; "Do not believe Me," "The day will come - and the world of the convicted." "And bored and sad", as well as excerpts from the poem "The Novice" and "Demon", etc. In the works of oratorical style Lermontov enhances not only the emotional side of poetic speech, but also its ideological motivation.

Emotive and interrogative sentences create the background hidden polemic:

А вы что делали, скажите, в это время, Когда в полях чужих он гордо погибал? Вы потрясали власть избранную, как бремя, Точили в темноте кинжал!

oratorical intonation:

Погиб Поэт! — невольник чести — Пал, оклеветанный молвой, С свинцом в груди и жаждой мести, Поникнув гордой головой!..

the tone of indignation:

Не вы ль сперва так злобно гнали Его свободный, смелый дар И для потехи раздували Чуть затаившийся пожар?

However, the main means of accusatory oratorical style of Lermontov is a metaphor. "Lermontov wrote formulas that seemed to hypnotize him - he no longer feels they semantic nuances and details, they are there for him as abstract verbal education as alloys of words, and not as their interface. It is important overall emotional effect ... "[2] - wrote B.M. Eichenbaum. The novelty of the figurative and metaphorical use of words associated with the development in the writer of new, previously unknown methods of effective oratory, which are based on the selection and combination of Russian national language units for the image of the new content.

Emotional and oratorical side of the text is amplified opposition of the depicted object or action to another. Antithesis, speaking accusatory brightest tool in the oratorical style of Lermontov, according to this feature of the entire context - it becomes declamatory organized and stylistically very colored. For example:

Погиб Поэт! —невольник чести—Пал, оклеветанный молвой,С свинцом в груди и жаждой мести,Поникнув гордой головой!..А вы,надменные потемкиИзвестной подлостью прославленных отцов,Пятою рабскою поправшие обломкиИгрою счастия обиженных родов;

Realistic style, or the style of the subject of accuracy of words ("Tambov Treasurer", "neighbor", "Borodino", "Song about Tsar Ivan Vasilyevich, a young guardsmen and swashbuckling Merchant Kalashnikov", "Vadim", "Hero of Our Time", "Sasha" "The Princess Ligovski", excerpts from the poem "Mtsyri", "Ismail Bey", etc.), has its roots in the works of A. Pushkin. The same use of the precision and accuracy of the meaning of words:

Вам не видать таких сражений!..Носились знамена, как тени,В дыму огонь блестел,Звучал булат, картечь визжала,Рука бойцов колоть устала,И ядрам пролетать мешалаГора кровавых тел.

However, the realistic style of M. Yu. Leromontov number of features different from the realistic style A.S. Pushkin. First, it occurs folklorization artistic style. Secondly, it reflects the development of the Russian literary language conversational vernacular elements. Third, in the realistic style of the writer prevails the psychological factor in the image picture of the world.

Folklorisation artistic style is most clearly reflected in the "Borodino" works, "Song of the Merchant Kalashnikov ...". Studying the works of folklore (epics Kirsa Daniel), Lermontov, they are not copied, but on a new basis, in the spirit of the new time creating new masterpieces of Russian literature. "His works are being organically permeated folk poetics, nevertheless remains the creation of a high literary skill, poeturealistu inherent nineteenth century." [3]. The novelty touches, ideological and artistic side, and images, and the use of units of the Russian language. For example, you can draw a parallel between the Merchant Kalashnikov ( "Song of the Merchant Kalashnikov ...") and Pushkin ( "Death of a Poet"), and he and the other defended the honor of their wives abused, the honor of their families; and he and the other died. This ideological closeness of the two different works of Lermontov left a mark on the formation of images, motivating action heroes, the final outcome of the story works, but a means of expression and images in song and verse - different.

"Song of the Merchant Kalashnikov ..." is based on the models Russian epics: it has a solo, intonation, and the outcome of the story:

Не сияет на небе солнце красное,Не любуются им тучки синие:То за трапезой сидит во златом венце,Сидит грозный царь Иван Васильевич.

Figurative-expressive side, "Song of the Merchant Kalashnikov ..." corresponds to the canons of Russian epic epic. Here are found: the constant epithets (the sun red, blue clouds, honey foam, red wine, dashing fighter, strong thought, exuberant little head, black eyebrows, gilded ladle and others.); comparisons (shook like an aspen leaf, goes smoothly - though swan; your speech - like a sharp knife, like the dawn sky on bozhiim_); parallelisms (On one of us will sing a requiem, and not later than tomorrow at noon hour, and one of us will boast With friends remove piruyuchi ...); tautological units (marvel, cry cry, a banquet feast, joke joke, the free will, cry klikat_); repetition of words, etc.

The value of the great writer and poet Mikhail Lermontov for the formation and development of the modern Russian language is great and productive. It is in the development of the poetic language of the writer's style (emotional, rhetorical) is a straight line to creativity Nekrasov and his prose (style subject words exactly) Lermontov prepared the way in the literature realist writer Turgenev, Tolstoy, Dostoevsky. "Every great writer appeared again - wrote V.G. Belinsky, - opens up new means of expression in their own language for a new sphere of contemplation In this respect, thanks to Lermontov, the Russian language is far progressed after Pushkin, and so he does not cease to move forward as long as the stop in Russia appear great writers "[1].

References

1. Belinsky V.G., Grammatical of searching V.A. Vasilyeva. - Full. cit. cit, ie, 9. -. M .:. USSR Academy of Sciences, 1956.

2. Eichenbaum B.M., Lermontov. - L .: State. Publishing House, 1924 .

3. Meshchersky N. A., The history of Russian literary language. - Publishing House of Leningrad University. - 1981.

4. Vinogradov V.V., Essays on the history of Russian literary language XVII - XIX centuries. - M .: Higher School, 1982.

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