Why are dialectisms used in fiction? Questions to prepare for the intermediate certification. Examples of “local” words in literature

“With quick steps I passed a long “area” of bushes, climbed a hill and, instead of the expected familiar plain (...), I saw completely different ones, I didn’t Famous places"(I. S. Turgenev," Bezhin Meadow "). Why did Turgenev put the word "square" in quotation marks? Thus, he wanted to emphasize that this word in given value alien to literary language. Where did the author borrow the highlighted word from and what does it mean? The answer is found in another story. “In the Oryol province, the last forests and squares will disappear in five years ...” - Turgenev says in “Khora and Kalinich” and makes the following note: “Squares” are called large continuous masses of bushes in the Oryol province.

Many writers, depicting village life, use words and set phrases folk dialect common in the area (territorial dialect). Dialect words used in literary speech are called dialectisms.

We meet dialectisms in A. S. Pushkin, I. S. Turgenev, N. A. Nekrasov, L. N. Tolstoy, V. A. Sleptsov, F. M. Reshetnikov, A. P. Chekhov, V. G. Korolenko, S. A. Yesenina, M. M. Prishvin, M. A. Sholokhova, V. M. Soloukhina, I. V. Abramova, V. I. Belova, V. M. Shukshina, V. G. Rasputin, V. P. Astafiev, A. A. Prokofiev, N. M. Rubtsov and many others.

Dialect words are introduced by the author, first of all, to characterize the character's speech. They point at the same time social status speaker (usually belonging to a peasant environment) and his origin from a particular area. “All around are such gullies, ravines, and in the ravines all the cases are found,” says Turgenev’s boy Ilyusha, using the Oryol word for a snake. Or from A. Ya. Yashin: “I’m walking along the oseks once, I look - something is moving. Suddenly, I think, a hare? - says the Vologda peasant. Here is the indistinction c And h, inherent in some northern dialects, as well as the local word "osek" - a fence of poles or brushwood that separates a pasture from a hayfield or village.

Writers who are sensitive to language do not overload the speech of the characters with dialectal features, but convey its local character with a few strokes, introducing either a single word or a phonetic (sound), derivational or grammatical form characteristic of the dialect.

Often writers turn to such local words that name objects, phenomena of rural life and do not have correspondences in the literary language. Let us recall Yesenin's poems addressed to his mother: "Don't go on the road so often / In an old-fashioned shabby husk." Shushun - name women's clothing type of jacket worn by Ryazan women. We find similar dialectisms in modern writers. For example, in Rasputin: "Of the whole class, only I went in teals." In Siberia, chirki are light leather shoes, usually without tops, with edging and ties. The use of such words helps to more accurately reproduce the life of the village. Writers use dialect words when depicting a landscape, which gives the description local flavor. So, V. G. Korolenko, drawing a harsh path down the Lena, writes: “Across its entire width, “hummocks” stuck out in different directions, which fast river threw each other in the fall in the fight against the terrible Siberian frost. And further: “For a whole week I have been looking at a strip of pale sky between high banks, at white slopes with a mourning border, at “padi” (gorges) mysteriously creeping out from somewhere in the Tunguska deserts ... "

The reason for the use of dialectism may also be its expressiveness. Drawing the sound that reeds being moved apart, I. S. Turgenev writes: "... the reeds ... rustled, as we say" (meaning the Oryol province). In our time, the verb "rustle" is a common word of the literary language, the modern reader would not have guessed about its dialectal origin if it were not for this note of the writer. But for the time of Turgenev, this is dialectism, which attracted the author with its onomatopoeic character.

With the difference in artistic tasks are connected and different ways presentation of dialectisms in the author's speech. Turgenev, Korolenko usually single them out and give them an explanation. In their speech, dialectisms are like inlays. For Belov, Rasputin, Abramov, dialect words are introduced into equal rights with literary. In their works, both are intertwined like different threads in a single fabric. This reflects the inextricable connection of these authors with their heroes - the people of their native land, about the fate of which they write. So dialectisms help to reveal ideological content works.

Literature, including fiction, serves as one of the conductors of dialect words into the literary language. We have already seen this with the example of the verb "to rustle". Here's another example. The word "tyrant", well known to all of us, entered the literary language from the comedies of A. N. Ostrovsky. In the dictionaries of that time, it was interpreted as "stubborn" and appeared with territorial marks: Pskov(skoe), tver(skoe), ostash(kovskoe).

The entry of dialectism into the literary (standardized) language is a long process. Replenishment of the literary language at the expense of dialect vocabulary continues in our time.

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Dialect words are not uncommon in fiction. Usually they are used by those writers who themselves come from the village, or those who are well acquainted with folk speech: A.S. Pushkin, L.N. Tolstoy, S.T. Aksakov I.S. Turgenev, N.S. Leskov, N.A. Nekrasov, I.A. Bunin, S.A. Yesenin, N.A. Klyuev, M.M. Prishvin, S.G. Pisakhov, F.A. Abramov, V.P. Astafiev, A.I. Solzhenitsyn, V.I. Belov, E.I. Nosov, B.A. Mozhaev, V.G. Rasputin and many others.

A dialect word, phrase, construction included in a work of art to convey local flavor when describing village life, to create speech characteristics characters is called dialectism.

More A.M. Gorky said: "In every province and even in many districts we have our own dialects, our own words, but a writer must write in Russian, and not in Vyatka, not in balakhonsky."

No need to understand these words of A.M. Gorky as a complete ban on the use of dialect words and expressions in a literary work. However, you need to know how and when you can and should use dialectisms. At one time, A.S. Pushkin wrote: "True taste does not consist in the unconscious rejection of such and such a word, such and such a turn, but in a sense of proportionality and conformity."

In "Notes of a hunter" I.S. Turgenev, you can find quite a lot of dialectisms, but no one will object to the fact that this book is written in excellent Russian literary language. This is primarily due to the fact that Turgenev did not oversaturate the book with dialectisms, but introduced them prudently and cautiously. For the most part dialectisms are used by him in the speech of characters, and only occasionally does he introduce them into descriptions. At the same time, using an obscure dialect word, Turgenev always explains it. So, for example, in the story "Biryuk" I.S. Turgenev, after the phrase: “My name is Thomas,” he answered, “and nicknamed Biryuk,” he makes a note: “In the Oryol province, a lonely and gloomy person is called Biryuk.” In the same way, he explains the dialectal meaning of the word "top": "Horseback" is called a ravine in the Oryol province.

Turgenev replaces in the author's speech a number of dialect words with literary ones that have the same meaning: instead of a stump in the meaning of "trunk", the writer introduces a literary trunk, instead of a plant ("breed") - breed, instead of separate ("push apart") - push apart. But in the mouths of the characters there are such words as fershel (instead of "paramedic"), a songwriter, and so on. However, even in the author's speech, all dialectisms are not eliminated. Turgenev retains those that designate objects that have not received an exact name in the literary language (kokoshnik, kichka, paneva, amshannik, greenery, etc.). Furthermore, sometimes in later editions he even introduces new dialectisms into the author's speech, trying to increase the figurativeness of the narrative. For example, he replaces the literary "mumbled ... voice" with the dialectal "mumbled ... voice", and this gives the old man's speech a clearly visible, felt character.

How masterfully used dialect words and expressions L.N. Tolstoy to create Akim's speech characteristics in the drama "The Power of Darkness".

In the 50-60s of the XIX century. widely used dialectisms in the works of art by I.S. Nikitin. In his poems, he used dialect vocabulary mainly to display local conditions life and life of the people about whom he wrote. This circumstance led to the presence among dialect words of most nouns denoting individual objects, phenomena and concepts. Such, for example, according to the study of S.A. Kudryashova, names of household items: gorenka, konik (shop), gamanok (purse), such concepts as izvolok (elevation), adversity (bad weather), buzz (buzz). It can be seen that these dialect words are mainly belonging to the South Great Russian dialect, in particular the Voronezh dialects.

In the works of D.N. Mamin-Sibiryak, belonging to the 80-90s of the XIX century, the dialect vocabulary of the Urals has found its wide reflection. In them, according to the study of V.N. Muravyova, dialectisms are used in the speech of the characters and in the language of the author's narration to create a kind of local color, realistic display of the life of the Ural population, descriptions of agricultural work, hunting, etc. In speech actors dialectisms are also a means of speech characteristics. You can name some of these dialectisms used in the stories of Mamin-Sibiryak: a plot is a fence, an oak is a type of sundress, a stand is a barn for cattle, feet are shoes, a stomach is a house (as well as an animal), battle is torment.

Perfectly used the dialect vocabulary of the Urals P.P. Bazhov. In his tales "Malachite Box" researchers, such as A.I. Chizhik-Poleiko noted about 1200 dialect words and expressions. All of them perform certain functions in the work: or designate specific objects (povet - a room under a canopy in a peasant yard); or they characterize the narrator as a representative of the local dialect (in these cases, from the synonyms of the literary language and dialectisms, Bazhov chooses dialect words: log - ravine, plot - fence, pimy - felt boots, midges - mosquitoes, juice - slag); or introduced to describe the phenomena of the past (kerzhak - Old Believer); or reflect local detail in the designation of some objects (urema - small forest), etc.

In Soviet literature, all researchers noted the brilliant use of dialectal features of the Don language by M.A. Sholokhov. The speech of the heroes of "The Quiet Flows the Don" and "Virgin Soil Upturned" is extremely colorful and colorful precisely because it is saturated with dialectisms to the right extent. The published chapters from the second book of "Virgin Soil Upturned" once again testify to the skill of M.A. Sholokhov as an artist of the word. It is important for us to note now that in these chapters M.A. Sholokhov introduced a fairly significant number of dialect words and forms that give the speech of the characters a peculiar local flavor. Among the dialectal features noted here, one can also find words unknown in the literary language (provesna - the time before the beginning of spring, cleanup - pasture for livestock, arzhanets - a cereal plant similar to rye, cut - hit, lyta - run away, ogina - carry out time, at once - immediately, etc.), and especially often - the dialect formation of individual forms of various words (nominative, genitive and accusative plural: blood; educate orphans; did not give out the killers; without nit-picking; there were no napkins; there is no evidence; verb forms: crawling instead of "crawling", moaning instead of "groaning", dragging instead of "dragging", ran instead of "running", lie down instead of "lie down", get off instead of "get off"; adverbs on foot and top instead of "on foot", "on horseback", etc.), and a reflection of the dialectal pronunciation of individual words (vyunosha - "young man", protchuyu - "other", native, etc.).

In the story “The Pantry of the Sun”, M. Prishvin repeatedly uses the dialect word elan: “Meanwhile, it was precisely here, in this clearing, that the interlacing of plants stopped altogether, there was elan, the same as an ice hole in the pond in winter. In an ordinary elani, at least a little bit of water is always visible, covered with large, white, beautiful kupava, water lilies. That is why this spruce was called Blind, because it was impossible to recognize it by its appearance. Not only does the meaning of the dialect word become clear to us from the text, the author, at the first mention of it, gives a footnote-explanation: "Elan is a swampy place in a swamp, it's like a hole in the ice."

Thus, dialectisms in the works of art of Soviet literature, as well as in the literature of the past, are used for various purposes, but they always remain only an auxiliary means for fulfilling the tasks assigned to the writer. They should only be introduced in contexts where they are needed; in this case, dialectisms are an important element of artistic depiction.

However, even in our time literary works sometimes words and forms taken from dialects penetrate, the introduction of which into the fabric of an artistic narrative does not seem legitimate.

A. Surkov in the poem "Motherland" uses the participial form of the verb to yell (plow): "Not wounded by grandfather's plows", - this is justified by the poet's desire to recreate the distant past of the Russian land in the reader's mind and by the fact that such a use of a word formed from a dialect verb, gives the whole line a solemn character, corresponding to the whole character of the poem. But when A. Perventsev in the novel "Matrosy" uses in the author's speech the form of the 3rd person singular of the present tense from the verb "sway" - sways instead of the literary sway, then such an introduction of dialectism is not justified in any way and can only be considered an unnecessary clogging of the literary language.

In order for the word to become clear, no boring explanations or footnotes are needed at all. It's just that this word should be put in such a connection with all neighboring words so that its meaning is clear to the reader immediately, without the author's or editorial remarks. One incomprehensible word can destroy for the reader the most exemplary construction of prose.

It would be absurd to argue that literature exists and acts only as long as it is understood. Incomprehensible deliberately abstruse literature is needed only by its author, but not by the people.

The clearer the air, the brighter sunlight. The more transparent the prose, the more perfect its beauty and the stronger it resonates in the human heart. Leo Tolstoy expressed this thought briefly and clearly:

"Simplicity is a necessary condition for beauty."

In his essay Dictionaries, Paustovsky writes:

“Of the many local words spoken, for example, in Vladimirskaya

and Ryazan regions, some, of course, is incomprehensible. But there are words that are excellent in their expressiveness. For example, the old word "okoeom" that still exists in these areas is the horizon.

On the high bank of the Oka, from where a wide horizon opens, there is the village of Okoyomovo. From Okoemovo, as they say locals, you can see half of Russia. The horizon is everything that our eye can grasp on earth, or, in the old way, everything that “the eye can see”. Hence the origin of the word "okoe". The word "Stozhary" is also very harmonious - this is how people call star clusters in these areas. This word consonantly evokes the idea of a cold heavenly fire.

Dialectisms are borrowings of words from dialects of the same language. Being by nature the same barbarisms (since the boundaries between dialects and languages cannot be precisely established), they differ only in that they take words from dialects that are more familiar and predominantly non-literary, i.e. without their own written literature. At the same time, two cases should be distinguished: the use of dialects of ethnic groups, or regional (“provincialisms”), and the use of dialects of individual social groups.

Ethnic dialectisms, borrowed from different dialects, are usually used to give "local color" to the expression. In addition, given the fact that they are taken from the dialects of people who are far from literary culture, here we everywhere notice a certain “decrease” in the language, i.e. the use of forms of speech neglected in the dialect of the average "literary educated" person.

These dialectisms flowed into Russian literature in a broad stream in the 1930s in the works of Dahl, Pogorelsky, and especially Gogol.

“And so we dumped this whole misfortune off our shoulders, calmed down, as they say in Ukraine.”

“So, my Cossack leaned back from the girl with whom he was getting married ...”

With these Ukrainianisms or Little Russianisms, Dal, in the examples cited, not only tries to convey the local flavor of what is happening, but also imitates the tale-like manner of a fictitious Ukrainian narrator:

“I have already said that it was in Ukraine, let them not blame me for the fact that my fairy tale is full of Ukrainian speeches. This tale was sent to me by the same Cossack: Gritsko Osnovyanenko, if they knew him.

(Dal. "Witch".)

In the same way, Gogol motivates Ukrainianisms with the dialect of the narrator Rudy Pank.

Provincialisms are close to dialectisms (i.e., words that are not normally used in the dialect of people speaking the common Russian literary language). words and sayings that have penetrated into the dialect of literary-speaking citizens, but have not received distribution throughout the territory and are used only in any one locality. Many examples can be found, for example, in local names animals, birds, fish and plants. Ostrovsky in the play "Mad Money" characterizes his provincial hero Vasilkov as follows:

“He speaks slightly “o”, uses sayings belonging to the inhabitants of the cities of the middle reaches of the Volga: when not, instead of yes; nor my God! instead of negation, a scraper instead of a neighbor.

Borrowings from the dialects of various social groups have a slightly different function. Such, for example, is the characteristic use of the so-called "philistine dialect", i.e. the dialects of urban strata occupying an intermediate position between the strata using the literary language and the strata speaking a pure dialect.

Merchant characters in Ostrovsky's comedies usually use a philistine dialect.

Turning to the petty-bourgeois dialect, writers usually note the following feature of the vocabulary: petty-bourgeois layers tend to assimilate purely literary words(“educated”), but, assimilating them, they distort and rethink. Such a change in the word with its rethinking is called folk etymology. Works that use the vocabulary of petty-bourgeois dialects usually widely use the vocabulary of folk etymologies. For example:

Balzaminova. Look, Misha, there are such French words that are very similar to Russian ones; I know a lot of them, you should at least memorize them when at your leisure. Sometimes you listen at name days, or where at a wedding, how young gentlemen talk to young ladies - it's just lovely to listen.

Balzaminov. What are these words, mother? After all, who knows, maybe they will benefit me.

Balzaminova. Of course, for the benefit. Here listen! You keep saying: "I'll go for a walk!" This, Misha, is not good. Better say: "I want to make a prominage!"

Balzaminov. Yes, mama, that's better. You are speaking the truth! Prominage is better.

Balzaminova. About whom they speak badly, this is morality.

Balzaminov. This I know.

Balzaminova. If a person or some thing is not worth attention, some insignificant thing - how to say about it? Rubbish? It's kind of awkward. Better in French: "Goltepa".

Balzaminov. Goltepa. Yes it's good.

Balzaminova. But, if someone puts on airs, dreams very much about himself, and suddenly they force him down, - this is called “asage”.

Balzaminov. I didn’t know this, mother, but this word is good, Asage, asage ... "

(Ostrovsky. “Your own dogs are biting - don’t pester someone else’s.”)

“A left-hander sat down at the table and sits, but he doesn’t know how to ask something in English. But then he guessed: again, he would simply knock on the table with his finger and show himself in his mouth - the British guess and serve, but not always what is needed, but he does not accept what is not suitable for him. They served him their preparation hot studing on fire; - he says: I don’t know that this can be eaten, - and he didn’t eat - they changed him and put another dish. Also, I didn’t drink their vodka, because it’s green - it seems like it’s seasoned with vitriol, but I chose what’s most natural and waits for the courier in the cool for an eggplant.

And those persons to whom the courier handed over the nymphosoria, that very minute they examined it in the most powerful small scope and now in the public list of descriptions, so that tomorrow it will be slandered to the general public.

(Leskov. "Lefty". The Tale of the Tula Oblique Lefty and the Steel Flea.)

Here, a peculiar vocabulary serves, firstly, to create a characteristic skaz background. The lexicon itself (as well as the syntax) characterizes the narrator. On the other hand, "folk etymologies" give scope for semantic comparisons ("slander" equals feuilleton, etc.), producing a comic effect. Particularly rich in these neoplasms, motivated by "folk etymology", Leskov's language: "Abolon Polvedersky", "buremeters", "agitation", "probability", "bite", "water-eye", "tugament", "Count Kiselvrode", "Solid Sea", "multiplication dolly", etc.

It should be noted that “folk etymologies” that really circulate in the dialect relatively rarely give an example of the contamination of words by their meaning. So, if instead of “kerosene” they say “crucian”, bringing this word closer to the word “crucian”, then no one sees any connection between kerosene and crucian carp. For artificial, literary "folk etymologies" it is precisely the contamination in meaning that has a comic effect due to the unexpected convergence of two concepts: "feuilleton - slander" (i.e., feuilleton as a form of newspaper slander). This semantic contamination is possible without being motivated by petty-bourgeois dialect, for example:

"Dorogoychenko, Gerasimov, Kirilov, Rodov - what a one-dimensional landscape."

(V. Mayakovsky.)

The same class of stylistic phenomena based on the distortion of speech includes the imitation of the Russian dialect of foreigners who do not speak Russian well. Here, the predominantly phonetic and morphological change of words is usually emphasized, as well as the introduction of foreign vocabulary into Russian speech:

“Vee receives state-owned apartments, with firewood, with licht (Licht - light) and with servants, which you are unworthy of, - Krestyan Ivanovich answered sternly and terribly like a sentence.”

(Dostoevsky.)

Wed the opposite is the distortion of foreign speech in the mouths of Russians:

“Purkua vu touche, purkua vu touche,” Anton Pafnutich shouted, conjugating the Russian verb carcass in the French way with a sin in half. "I can't dormir in the dark."

The area of varieties of dialectisms should also include the use of the vocabulary of professional groups, as well as dialects that arise in a certain everyday environment - the so-called jargons (thieves' jargon, street "argot", etc.). Examples of this kind of dialectism can be found in the sea stories of Stanyukovich, in the tramp stories of Maxim Gorky, etc. Here is an example of imitation of professional vocabulary (medical) in one of early stories Chekhov:

Doctor's novel. If you have reached manhood and finished science, then the recipe: feminam unam and dowry quantum satis. I did just that: I took feminam unam (it is not allowed to take two) and a dowry. Even the ancients condemned those who, when marrying, do not take a dowry (Ichthyosaurus, XII, 3). I prescribed horses for myself, mezzanine, began to drink vinum gillicum rubrum and bought myself a fur coat for 700 rubles. In a word, the lege artis has healed. Her habitus is not bad. Growth is average. The color of the skin and mucous membranes is normal, the subcutaneous cellular layer is developed satisfactorily. The chest is correct, no wheezing, vesicular breathing. Heart sounds are clear. In the sphere of psychic phenomena, only one deviation is noticeable: she is talkative and noisy. Thanks to her talkativeness, I suffer from hyperesthesia of the right auditory nerve, ”etc.

The so-called "vulgarisms" are also adjacent to jargonisms, i.e. the use in the literature of rude words of vernacular ("bastard", "bitch", etc.).

For example:

Us
lyrics
with hostility
repeatedly attacked
Looking for speeches
accurate
and naked.
But poetry is
prettiest thing,
Exists -
and not in the tooth with a foot.

(V. Mayakovsky.)

Strictly speaking, it is in this area of various "jargon" that the stylistic diversity of prose works lies, which in artistic purposes use those forms of life spoken language, which, as it were, "settled" and are familiar in certain conditions of life and in certain layers. An idea of its living conditions is associated with such speech, and the artist resorts to this means, either to characterize the environment being described, or to describe the characters of his narrative with a tone of speech, or, in parodic usage, to give the impression of comic or grotesque by the contrast between theme and style ( ugly, morbid comedy).

Tomashevsky B.V. Theory of Literature. Poetics - M., 1999

Sometimes, when reading works of Russian literature of the 17th-19th centuries, many people are faced with such a problem as a misunderstanding of individual words or even entire phrases. Why it happens? It turns out that the whole point is in special dialect words that intersect with the concept of lexical geography. What is dialectism? What words are called dialectisms?

The concept of “dialectism”

Dialect is a word, which is used in a certain area, understandable to the inhabitants of a certain territory. Most often, dialectisms are used by residents of small villages or villages. Interest in such words arose among linguists as early as the 18th century. Chess, Dal, Vygotsky made a great contribution to the study of the lexical meanings of words in the Russian language. Examples of dialectisms indicate that they can be diverse in their appearance.

There are the following types of dialectisms:

Phonetic. For example, only one letter or sound in a word is replaced. “bears” instead of “bags” or “Khvedor” instead of “Fyodor”;
Morphological. For example, there is confusion of cases, numerical substitution. “Sister came”, “I have”;
Word-building. The population during the conversation changes suffixes or prefixes in words. For example, goose - goose, pokeda - yet;
Ethnographic. These words are used only in a certain area. They appeared on the basis of natural or geographical features. There are no more analogues in the language. For example, shanezhka - a cheesecake with potatoes or "ponyova" - a skirt;
Lexical. This group is divided into subsections. She is the most numerous. For example, onions in the southern regions are called tsybuls. And the needle in the northern dialects is needles.

It is also customary to divide dialects into 2 dialects: southern and northern. Each of them separately conveys the whole flavor of local speech. Central Russian dialects stand apart, as they are close to the literary norms of the language.

Sometimes such words help to understand the order and life of people. Let's analyze the word "House". In the north, it is customary to call each part of the house in its own way. The canopy and the porch are the bridge, the rest rooms are the hut, the attic is the ceiling, the hayloft is the wind, and the fat is the room for pets.

There are dialecticisms at the syntactic and phraseological levels, but they are not studied separately by scientists.

Examples of “local” words in literature

It happens that previously the word was not used at all, only sometimes it was possible to hear dialectisms in artistic speech , but over time they become common and are included in the dictionary of the Russian language. Example, the verb "to rustle". It was originally used in work of art“Notes of a hunter” by I.S. Turgenev. It meant "onomatopoeia". Another word is "tyrant". That was the name of the man in the play by A.N. Ostrovsky. Thanks to him, this word is firmly entrenched in our everyday speech. Dialectal used to be such nouns as - tues, grip and owl. Now they have quite confidently occupied their niche in the explanatory dictionaries of the modern language.

Passing on the rural life of the Ryazan peasants, S. Yesenin in each of his poems uses any dialects. Examples of such words are as follows:

in a dilapidated shushun - a type of women's outerwear;
in a bowl kvass - in a barrel made of wood;
dracheny - food from eggs, milk and flour;
popelitsa - ashes;
damper - a lid on a Russian stove.

A lot of "local" words can be found in the works of V. Rasputin. Each sentence from his story is replete with dialectisms. But they are all skillfully used, as they convey the character of the heroes and the assessment of their actions.

to freeze - to freeze, to cool;
pokul - bye, goodbye:
to roar - to rage, to rage.

Mikhail Sholokhov in " Quiet Don” was able to convey all the beauty of the Cossack speech through the dialect dialect.

base - peasant yard;
haidamak - robber;
kryga - ice floe;
chill - virgin soil;
occupancy - water meadow.

In the author's speech of "Quiet Flows the Don" there are whole phrases that show us the way of families. The formation of dialectisms in speech occurs different ways. For example, the prefix “for” says that the object or action should become the same as the original object. For example, twisted, harried.

Also in the "Quiet Don" are many possessive pronouns, which are formed with the help of suffixes -in, -ov. Natalya's duck, Christon's back.

But there are especially many ethnographic dialects in the work: savory, Siberian, chiriki, zapashnik.

Sometimes, when reading a work of literature, it is impossible to understand the meaning of a word without context, which is why it is so important to read texts thoughtfully and completely. What words are called dialectisms, you can find out by looking at the Dictionary of Russian Folk Dialects. In normal explanatory dictionary you can also find such words. Near them there will be a mark of the region, which means “regional”.

The role of dialects in the modern language

The role of such words can hardly be overestimated. They are designed to fulfill important features:

The dialect is now mainly spoken only by the older generation. In order not to lose the national identity and value of such words, literary critics and linguists should great job, they should look for speakers of dialects and add the found dialectisms to a special dictionary. Thanks to this, we will preserve the memory of our ancestors and restore the link between generations.

The significance of works with dialect usage is very great. Indeed, despite the great difference with the literary language, they, although slowly, but replenish lexicon Russian vocabulary fund.

The lexical composition of the Russian language is diverse and very interesting. It contains many original words known only to a narrow circle of people. In lexicology, they are called limited in use and are classified into special groups. These include professional, obsolete and dialect words.

The latter are most commonly heard in countryside. They exist mainly in living colloquial speech and usually reflect the realities existing there. Moreover, for the name of the same object, residents can equally use different variants: and "local", commonly used.

Dialect word - what is it?

"Selets graze behind the house." Not many, having heard this phrase, will understand what in question. It is understandable. Seletcom in Russian village sometimes called a foal.

Dialectisms are words that are actively used by residents of a certain area and are not included in any of the lexical groups literary language. Their distribution may be limited to a few settlements or the whole area.

Interest in the "local" word in Russia arose in the 18th century. Since then, leading linguists and linguists, including V. Dahl, A. Potebnya, A. Shakhmatov, S. Vygotsky and others, have done a lot of work in this direction. They considered various options and examples of the use of the word dialect. In the literature, both domestic and foreign, this word today intersects with such concepts as linguistic geography (specific vocabulary in different territories), social dialectology (age, profession, social status of speakers of local dialects are taken into account).

Groups of dialects in Russian

In Russia, there are several variants of dialects. The basic principle of combining dialect words into groups is territorial. In accordance with it, the southern and northern dialects are distinguished, which, in turn, include several dialects. Between them are Central Russian dialects, which became the basis for the formation and therefore are closest to the literary norm.

Each group has its own dialect words. Examples of their relationships (including commonly used ones): house - hut (northern) - hut (southern); to speak - to bait (northern) - to gutarit (southern).

Formation of dialect words

Each dialect usually has its own features. In addition, it is customary in science to distinguish several groups, which include dialect words of different ways of formation (examples are given in comparison with the norm).

Actually lexical. They either have no connection at all with words in the literary language (for example, a squirrel in the Pskov region is a veksha, a basket in the Voronezh region is a sapetka), or they are formed from an existing root and retain its basic meaning (in the Smolensk region: to bathe means to bathe).
Lexical and derivational. They differ from commonly used words in only one affix: poor man - troubled on the Don, talkative - talkative in Ryazan, etc.
Phonemic. Difference from existing literary norm consists in one phoneme (sound): andyuk instead of turkey, pakhmurny - i.e. cloudy.
Osemantic. Completely identical to common words in sound, spelling and form, but differ lexical meaning: cross-country in the Smolensk region - agile, noodles in Ryazan region is the name for chicken pox.

Detailing life through dialect words

Many territories have their own peculiarities of life, customs, relations between people, which are most often expressed in speech. It is possible to recreate a complete picture of life in such cases precisely through dialect words. highlighting individual details in the general way of everyday life:

ways of stacking hay or straw sheaves ( common name- baburka) in the Pskov region: soyanka - small laying, odonok - large;
the name of a foal in the Yaroslavl area: up to 1 year old - suckling, from 1 to 2 years old - strigun, from 2 to 3 years old - uchka.

Designation of ethnographic or geographical features

Another option is when dialects and their meaning always arouse interest among “strangers”) help to understand the very structure of life. So, in the north it is customary to build a house and all outbuildings under one roof. From here a large number of“local” words denoting different parts of the same building: bridge - canopy and porch, hut - living room, ceiling - attic, tower - living room in the attic, lead - hayloft, fat - a place in the barn for cattle.

In the Meshchersky Territory, the main economic sector is forestry. Associated with her large group names, which form dialect words. Examples of words: sawdust - sawdust, needles - needles, cut down places in the forest - cutting, a person involved in uprooting stumps - peneshnik.

The use of dialect words in fiction

Writers, working on a work, use all available means to recreate the appropriate atmosphere and reveal the images of the characters. Dialects play an important role in this. Examples of their use can be found in the works of A. Pushkin, I. Turgenev, S. Yesenin, M. Sholokhov, V. Rasputin, V. Astafiev, M. Prishvin and many others. More often, writers whose childhood passed in the countryside turn to dialect words. As a rule, the authors themselves provide footnotes containing the interpretation of words and the place of their use.

The function of dialectisms in a work of art can be different. But in any case, they give the text originality and help to realize the author's idea.

For example, S. Yesenin is a poet for whom Ryazan dialect words are the main means of recreating rural life. Examples of their use: “in an old-fashioned dilapidated shushun” - a type of women's clothing, “at the threshold in a bowl of kvass” - for the test.

V. Korolenko uses local words when creating a landscape sketch: “I look ... at the padi” - the gorge. Or I. Turgenev: "the last ... squares (large thickets of bushes) will disappear."

The so-called "village" writers have one of the ways to create literary image- the hero's speech, which includes dialect words. Examples: “God (God) helped (helped) you” by V. Astafiev, “they (they) ... will spoil (spoil) the earth” - by V. Rasputin.

The meaning of dialect words can be found in the dictionary: in the explanatory they will be marked region. - regional or dial. - dialect. The largest special dictionary is the Dictionary of Russian Folk Dialects.

The entry of dialectisms into the literary language

Sometimes it turns out that a word that was once used only by a certain group of people passes into the category of general use. This is a long process, especially in the case of "local" words, but it also takes place in our time.

So, few people would think that enough famous word"Rustle" is dialectal in origin. This is indicated by a note by I.S. Turgenev in the “Notes of a Hunter”: “the reeds rustled, as we say,” i.e. in the writer the word is used for the first time as an onomatopoeia.

Or no less common - a petty tyrant, which in the time of A. Ostrovsky was a dialect in the Pskov and Tver provinces. Thanks to the playwright, it has found a second birth and today no one raises questions.

These are not isolated examples. The dialect words used to be owl, tues, tong.

The fate of dialect words in our time

Due to the increase in last years migration processes within the country, dialects are now spoken mainly by the older generation. The reason is simple - their language was formed in those conditions when the integrity of the people in the individual was strong. The more significant is the work of people who study dialect words, which today are becoming one of the ways to study ethnographic and cultural development, the identity of the Russian people, emphasize its individuality and uniqueness. For the modern generation, this is a living memory of the past.