Gogol evenings on a farm near Dikanka problematic. Analysis of an excerpt from the work of N.V. Gogol "Evenings on a farm near Dikanka". One of these masterpieces was the collection “Evenings on a Farm near Dikanka”. This lesson is dedicated to the story “The Night Before Christmas”

“Evenings on a farm near Dikanka” by N.V. Gogol

The publication of the first part of “Evenings on a Farm near Dikanka” in 1831, and the second in 1832, witnessed the emergence of a new writer - N.V. Gogol, who came to the forefront of Russian and European romanticism. The inimitable originality of “Evenings” for a long time created its reputation as an artistic phenomenon that has no analogies. Belinsky wrote in 1840: “Indicate in European or Russian literature at least something similar to these first experiences of a young man, at least something that could give rise to the idea of ​​writing like this. Isn’t this, on the contrary, a completely new, unprecedented world of art?” Created by Gogol, a Ukrainian by origin, it flowed into the mainstream of the widespread interest in Ukrainian folk art, everyday life, and way of life in Russian society. “Everyone here is so interested in everything Little Russian,” the author wrote in a letter to his mother.

The publications of “Evenings” evoked an open and enthusiastic response from Pushkin. Friendship with the great poet became happiness for Gogol and the greatest creative success for all Russian literature. Their spiritual closeness and creative community expressed the wonderful law of continuity in the artistic process. Belinsky characterized it this way: “Pushkin’s main influence on Gogol lay in that nationality, which, in the words of Gogol himself, “consists not in the description of the sundress, but in the very spirit of the people.”

Gogol's discovery was that he discovered the poetry of natural life in people who stood closest to the origins of natural existence. It was maximum naturalness. “Evenings” is a celebration of the people’s spirit. But there is no hint of naive sentimental delight in them. It is enough to pay attention to the image of the “publisher” Pasichnik Rudy Panka, in whose fantastic intonation irony constantly sounds. This is that laughter where there is as much innocence as there is natural wisdom. “The cheerful trickery of the mind,” which Pushkin considered a characteristic of the people, found varied expression in “Evenings.” It is not for nothing that almost every story has its own narrator, an original artistic type. This picturesque diversity of styles is close to the complex and cheerful range of feelings and passions of Ukrainian boys, girls and their fathers, united by “Evenings” in a festive round dance.

The feeling of pride and admiration for his homeland is expressed by the writer with exceptional insight, becoming close and accessible to any sensitive reader, at any historical time. Let us recall the famous beginning of one of the chapters of “May Night”: “Do you know the Ukrainian night? Oh, you don’t know Ukrainian night! Look at her."

For many years now, Russian and European readers have been peering with great responsiveness at the young heroes of the Sorochinskaya Fair, Paraska and Gritsko, singing tender and naive songs to each other in front of the entire crowd.

It is impossible to tear yourself away from Foma Grigorievich’s folk tale in “The Evening on the Eve of Ivan Kupala,” where Gogol’s discovery lies in the unprecedented psychological complexity of the narrator - a simple-minded sexton and an almost romantic poet.

The world of folk thinking is rich. In it, folklore is combined with sobriety in the perception of the real, the everyday principle does not contradict the national-historical feeling.

Therefore, in the second part of “Evenings” the theme of the liberation struggle sounds quite naturally. Of course, “Terrible Revenge,” where this sound is strongest, is a semi-legend in its plot, but thanks to the image of Danila Burulbash, the story claims to be a completely realistic interpretation of the theme.

But to complete the picture of the Ukrainian night, Gogol needed in “Evenings...” a story like “Ivan Fedorovich Shponka and his Aunt.” The mood of the story is born of popular thinking, which cannot help but notice and accordingly evaluate the dull emptyness of prosaic vegetation. The “cunning of the mind” here is in the apt depiction of types representing the insignificant life of a landowner. This is how the sketch of “Dead Souls” is outlined.

The time of creation of “Evenings on a Farm near Dikanka”, their publication and discussion among the reading public was the happiest in Gogol’s life. It is full of grandiose plans, many of which were later realized.

Analysis of folklore elements of the collection “Evenings on a farm near Dikanka” and the story “Viy”

folklore gogol creativity folk

The basis of folklore elements in the stories included in the collection “Evenings on a Farm near Dikanka”, as well as the story “Viy”, is the carnival principle discussed above, which manifests itself in the violation of various norms and rules.

The stories in the collection “Evenings on a Farm near Dikanka” and the work “Viy” reflect the implementation of ritual culture at the plot and thematic level. The ritual itself is devoid of practical meaning, but is a symbol of certain social relations, a form of their visual expression and consolidation. The ritual is often associated with a change in a person’s social status (initiation, wedding, funeral, and so on), as well as with actions that unite people (prayer, fair, and so on). All rituals should be divided into calendar (and therefore repeating) and non-calendar (or family). Each type of ritual has certain characteristics and traditions of holding ceremonies. It should be pointed out that the tradition of fortune telling as a way to predict one’s destiny and create a channel of communication with the other world, was captured more than once by N.V. Gogol, also needs to be positioned as a ritual.

Folklore has a unique feature of preserving images that are ancient in origin and meaning; considering works of folk culture as an information channel, one can use unique, sacred knowledge. It was precisely this significance of folklore works that N.V. probably appreciated. Gogol above all, this is how folklore complemented the material and spiritual world of the people created by the writer.

Next, we will briefly look at the stories included in the collection “Evenings on a Farm near Dikanka” and the story “Viy” in order to analyze the folklore traditions captured by the writer. Examining the stories in the collection “Evenings on a Farm near Dikanka”, we will move in the order of their arrangement and the reader’s familiarity with them, then the story “Viy” will be analyzed.

Analysis of folklore elements in the story “Sorochinskaya Fair”

The plot of the story “Sorochinskaya Fair” reflects the tradition of holding fairs as a way to sell goods, as well as a platform for the development of folk crafts. That is, the event presented as plot-forming is a traditional folklore element. Already at the beginning of the work, demonic features appear in the plot. A strange incident comes into focus: a “red scroll” appeared between the goods. This devilish clothing, even “cut into pieces,” does not give people peace: “just during the fair, the devil with a pig’s face walks throughout the square, grunting and picking up pieces of his scroll” Gogol N.V. Evenings on a farm near Dikanka: Stories , published by the pasichnik Rudy Panko // Gogol N.V. Complete works: [In 14 volumes] T. 1. 1940. P. 106.. It should be noted that the place where the fair took place is “cursed” it was there, according to legend, that the damned scroll was cut, that is, indicated by M.M. According to Bakhtin, a “fun place” initially begins to combine the features of amusement and fear.

The motif of a certain demonic curse is traditional in works of folklore. The people of Ancient Rus' believed in the demonic power of the spoken curse and endowed words with magical power. The idea of ​​the terrible and strange power of objects belonging to evil spirits and bringing misfortune seems to be characteristic of the people.

Correspondence to this plot can be found in the literature. Thus, Aulus Gellius, an ancient Roman writer and philologist, captured in his work “Attic Nights” the story of the horse of a certain Sejanus, condemned to death by Mark Antony. All subsequent owners of this horse also died a violent death. The gold looted by the consul Gnaeus Servilius Caepio (late 2nd century BC) from the Druid temple in Toulouse brought misfortune to all who received their share of the loot. Or the novel by R.L. Stevenson's "The Last Deal", which tells the story of a mysterious diabolical bottle that can grant the wishes of its owners. But the owner of the bottle is under a curse: if he cannot get rid of the bottle, then his soul will go to hell, but the bottle cannot be thrown away or broken.

Thus, it should be recognized that the motif of a demonic curse is traditional both in folklore and literature. At the beginning of the work, the Sorochinskaya Fair is compared to a waterfall: “You probably happened to hear a distant waterfall lying somewhere... Isn’t it true, aren’t those very feelings instantly engulfing you in the whirlwind of a rural fair?..” Gogol N.V. Decree. op. P.104. In the worldview of the Slavs, the water element occupied a significant place.

The idea that water separates the earthly world from the afterlife and serves as a boundary that the soul overcomes on its way to the “other” world is known to many peoples. For example, the ancient Greek myth about Charon, who melted souls through the Styx. Water washes away sins and illnesses, takes away with it all the dirt, for example, the Baptism procedure, which takes place in water. Water is the cradle of life, but at the same time it is closely associated with death and oblivion, water is ambivalent, it is a borderline substance. Therefore, the comparison of the Sorochinsky fair with the water element (despite the fact that this is only a sound comparison) should be interpreted as an indication of the special significance of the fair. The fair is a special chronotope where anything is possible; this is a kind of border area, a kind of portal through which evil spirits can penetrate into everyday life, which is what it takes advantage of. It should be noted that the “red scroll” cannot appear at another time and in another place; this is a feature of the idea of ​​a curse.

The red color of the scroll also seems to be traditional for folklore works. Red is the color of blood and fire, it is something bright, and therefore it is very difficult to get rid of the scroll, hide it or tear it.

The story ends with a wedding. Such an ending is traditional for works of folklore, where the vast majority of work schemes assume a wedding feast at the end.

Evenings on a farm near Dikanka" is a work filled with folk beliefs, fantasy, and fabulous events, but the important thing is that ordinary human truths, faith in goodness and earthly power are present in it.

Good here always defeats evil, selfishness and stinginess are punished, love triumphs over evil forces, meanness and baseness are ridiculed.

The writer proves to us that the power of money does not lead to happiness, that earthly passions only help a person fall under the power of dark forces, that faith and Christian virtues will always save a person, no matter what difficult situation he finds himself in.

We read this work and stories about devils and evil spirits are perceived as superstition, and the human qualities of the heroes, their advantages and disadvantages, come to the fore.

The main goal of science fiction here is to more clearly highlight subtle psychologism and promote the idea of ​​the victory of good over evil, proving that everything secret becomes clear, and sins are punished sooner or later.

Gogol presents all this in comic form. Remember, no matter how hard Solokha tried to hide the fact that men from all over the neighborhood were visiting her, the deception was revealed, and how comically it was revealed!

Gogol's devilry is always contrasted with the true Christian faith. The lives of people who believe and carry in their souls the great and simple truths of love, compassion and honesty are always beautiful.

Nature in “Evenings...” seems to be a reflection of the inner world of the heroes. All parts of the work are united by the theme of the greatness and beauty of the natural world, which is as beautiful and mysterious in Gogol as the human world.

Gogol's humor does not burn us with evil irony, it is light and kind. The shortcomings of the heroes make the writer and readers laugh; they do not require indignation and censure, since all bad deeds are punished, and their heroes are aware of their guilt.

In “The Evening on the Eve of Ivan Kupala” the theme of the moral fall of man under the destructive influence of gold and money is heard. The treasure obtained by the hero of the story through a crime becomes an obstacle to happiness; wealth turns out to be illusory and leads to death.

It is no coincidence that this idea and the very motives of the story go back to numerous folk tales and legends. In his desire to establish a world of bright harmony and happiness, Gogol found support in popular thought. That is why its closeness to folklore is not only in its appeal to folk poetic means, but in its similar to folk awareness of the basic issues of life. The very thinking of the writer is akin to popular thought.

For a number of stories in “Evenings,” it is possible to establish plot sources that go back to the records of both Ukrainian and Russian folklore. The everyday comic characters of the stories are endowed by Gogol with features that go back to Ukrainian folklore, in particular to the interludes of puppet nativity scenes. A simpleton husband, a roguish gypsy, a boastful Cossack, a clerk courting someone else's wife, a lively, eloquent woman like Khivri are the favorite characters of the Ukrainian puppet theater. "Evenings" sparkles with Gogol's inexhaustible humor, caustic when he ridicules such characters as the broken Solokha or the smug and cruel head; soft, lyrical when he talks about the capricious beauty Oksana or the daring adventures of the blacksmith Vakula.

Just as in folk legends and fairy tales, true pictures of everyday life in Gogol’s stories, colorful genre scenes that reveal the customs of village life, are closely intertwined with fantastic motifs. The fabulousness of “Evenings” is fundamentally different from the mystical fiction of the German romantics - Tieck, Hoffmann and others - in whose works folk tales and legends appeared only as proof of the unreality and illusory nature of reality.

Fantasy in Gogol's stories expresses the ideas of the people themselves, their naive belief in supernatural beings. Just as in folk poetry and fairy tales phenomena hostile to man are shown in the form of “evil spirits,” the carriers of evil in Gogol’s stories are fantastic characters - devils, witches, mermaids. They are endowed with the same negative moral traits that are characteristic of the “highest lackeys,” provincial bureaucrats, and local nobility.

“Evil spirits” are depicted in most of the stories in “Evenings” in an everyday, real sense; there is nothing demonic in it; The fantastic itself is most often used by Gogol as a kind of artistic device for a comic depiction of everyday life and morals. The devil in “The Night Before Christmas” looks like a provincial attorney not only in his appearance, but also in all his habits; Characteristic in this sense is the author’s ironic remark that not only the devil, but the entire district “nobility” is meddling with “people.” In Gogol’s stories - “The Night Before Christmas”, “May Night”, “The Enchanted Place” - “the folk-fantastic so wonderfully merges, in artistic reproduction, with the folk-real,” wrote Belinsky, “that both of these elements form a concrete poetic reality , in which you can’t recognize that it’s true and that it’s a fairy tale, you inevitably take it for true” (V. G. Belinsky, vol. II, .). “Sorochinskaya Fair” is a vital story, full of folk humor, about how the stupid Cherevik decided, in defiance of his wayward and stubborn wife, to marry his daughter to the boy Gritsko. The mysterious “red scroll” and the miraculous appearance of a pig’s snout do not contain anything fantastic, but are the tricks of the gypsies, fooling and frightening Solopy and his wife. In “The Missing Letter” the grandfather’s adventures are conveyed by the narrator as the drunken obsession of a Cossack who went on a spree, etc.

The nationality of Gogol's stories, as already noted, lies not only in the fact that he uses folklore plots, but in the ethnographic accuracy of the reproduction of life and customs, but in his deep penetration into the national character, into the very essence of people's life. It was these features that brought Gogol’s stories closer to Pushkin’s works. “Evenings on a Farm near Dikanka” has similarities with Pushkin’s fairy tales, for example, with “The Tale of the Priest and His Worker Balda,” and apt folk humor, imagery and colorful language, and an appeal to fantasy as an effective means of satirical depiction. “A distinctive feature in our morals,” wrote Pushkin, “is some kind of cheerful cunning of the mind, mockery and a picturesque way of expressing itself” (A. S. Pushkin, vol. XI, .) “Fairytale” is important for both Gogol and Pushkin just as a vivid expression of the national identity of the people's character.

Just as in folk poetry, “Evenings” coexisted the comic and tragic, fervent folk humor, the soulful lyrics of Ukrainian songs and the heroic epic pathos of Cossack “thoughts”. In this versatility of shades, colors, motifs, in the harmonious fusion of the epic and lyrical principles - the originality, strength and charm of Gogol's stories.

“Ivan Fedorovich Shponka...” - a story from the small-scale life of landowners - stands out among the stories of “Evenings” not only for its theme, but also for the maturity of the artistic method, the typical generalization of images. Shponka begins a gallery of Gogol’s “existents” - from him there is a direct path to the heroes of “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”, then to Podkolosin in “Marriage”. Pettiness of thoughts and feelings, sadness and mediocrity, fear of life characterize the appearance of this Gogol character.

While preserving the image of a simple-minded, crafty narrator in the story about Shponka, Gogol, however, makes him not a representative of the village environment, but a bearer of a different social consciousness, a petty “punk” living in Gadyach. This story has already fully demonstrated the power of Gogol’s irony, Gogol’s “humor,” as Belinsky says. The story is written in a manner typical of Gogol's mature works, when the satirical sharpness of the work arises as a result of the sharp contrast between the “epic” thoroughness and seriousness with which the story is told, and the emptiness of the life described. The story about Shponka, included in the second book of “Evenings”, anticipated, in fact, the next cycle of Gogol’s stories - “Mirgorod”.

In 1831-1832, the stories were published in two collections under the general title “Evenings on a Farm near Dikanka.”

When creating his stories, Gogol skillfully and widely used folk art, drawing from there not only plots, but also many images (a funny devil, an evil woman, a simpleton peasant, a gypsy scoundrel), the character and techniques of folk humor, apt folk words, the very nature of speech.

“Evenings” are valuable because in them Gogol showed the spiritual strength of the people, their deep humanity, the depth and completeness of their feelings, the richness of their language.

The boys and girls who live a simple and integral life are beautiful. The living embodiment of people's strength and true patriotism are brave, determined fighters for their homeland, like Danila Burulbash from the story “Terrible Revenge.”

But the life of the people does not flow smoothly and happily. The natural desire of the people for a full life in their native land is hampered by hostile forces. They are embodied in Gogol in terrible images. Such, for example, are Basavryuk and the witch in the story “The Evening on the Eve of Ivan Kupala”, who with the power of gold killed a working man - the farm laborer Petrus, a sorcerer who sells his homeland to his enemies (“Terrible Revenge”).

And as long as there are evil forces in the world, there cannot be true happiness and a cloudless life, real fun for the people. The serfdom reality surrounding Gogol clearly spoke to him about the difficult fate of man in this cruel world, about life’s hardships, about human grief. That is why even in such cheerful stories of “Evenings” as “Sorochinskaya Fair”, notes of sadness and sorrow are heard. “And the heart becomes heavy and sad, and there is nothing to help it” - with these words Gogol ends the story “Sorochinskaya Fair”.

And it is no coincidence that at the end of the second part of “Evenings” there is a story “Ivan Fedorovich Shponka and his Aunt”, which in its themes and strictly realistic character is completely different from the fairy-tale-poetic stories of “Evenings”. Here Gogol first appears as a satirist, exposing the spiritual squalor and serfdom of the landowners.

“Evenings on a Farm near Dikanka” was an important stage in Gogol’s creative path. They became the seed from which the subsequent works of the great writer grew. Here Gogol’s ideological orientation was determined: love for the people, the source of beauty and fullness of life, and hatred of the “vulgarity of a vulgar person,” “a sky-smoker,” “an existent.”

"Evenings" was a great success. Already upon receipt of the first part of the collection, Pushkin wrote in one of his letters: “I have just read “Evenings near Dikanka.” The Okies amazed me. This is real gaiety, sincere, relaxed, without affectation or stiffness. And in places what poetry! What sensitivity! All this is so unusual in our current literature that I still haven’t come to my senses.”

Alogism is a type of logical (speech) error, consisting of violations of logical connections in the text, in logical breaks, in unsubstantiated, incorrect conclusions.

In Gogol's tale, the technique of inconsistent grouping in enumeration is often used. This can be observed in “The Overcoat,” where the narrator tries to explain the origin of the main character’s surname: “The official’s surname was Bashmachkin. Already from the name itself it is clear that it once came from a shoe; but when, at what time and how it came from the shoe, none of this is known. “And father, and grandfather, and even brother-in-law, and all the completely Bashmachkins, walked in boots, changing the soles only three times a year.” In this passage, the comic effect is achieved through an inconsistent listing of the hero’s parents: after the words both father and grandfather, the reader logically expects great-grandfather, but the expected word is imperceptibly replaced by the author with brother-in-law, who falls out of the “all Bashmachkins” group.

Typical Gogolian techniques for creating a comic effect, which are based on alogism, can also be seen in the texts of the cycle “Evenings on a Farm near Dikanka”.

For example, a discrepancy between cause and effect: “It was the Cossack Sverbyguz. This could no longer be hidden in a bag, because such a bag could not be found. He was heavier in body than his head and taller than Chubov's godfather. And so Solokha took him out into the garden to hear from him everything that he wanted to explain to her.”

Or the inconsistency of premises and conclusions: Vakula explains to Oksana that he is going to drown himself “in an ice hole”: “Lost soul! - an old woman passing by muttered piously, “go and tell me how the blacksmith hanged himself.” Or: Patsyuk, despite his small stature, was quite heavy in width...

Alogism in “speaking names”: the names of two drunkards - Hoffmann and Schiller.

“Sitting in front of him was Schiller, not the same Schiller who wrote “William Thel” and “The History of the Thirty Years’ War,” but the famous Schiller, a tinsmith on Meshchanskaya Street. Standing next to Schiller was Hoffmann, not the writer Hoffmann, but a rather good shoemaker from Officers Street, a great friend of Schiller... These worthy artisans were drunk, like shoemakers.”

From numerous examples it is clear that alogism is a striking feature of Gogol’s style, one of the techniques for creating a comic effect.

"Christmas Eve"

Nowadays it is difficult to meet a person who would not be familiar with the characters of N.V. Gogol’s book “Evenings on a Farm near Dikanka” and especially the story “The Night Before Christmas”. They have become an integral part of our lives, they help us to better know and understand the past and present. The main theme of N.V. Gogol’s work was the theme of the people. He lovingly reflected the same theme in the story “The Night Before Christmas”; he picturesquely recreated in his work the way of life of Ukrainians, their way of life, traditions and customs. The story describes Christmas Eve - the evening before Christmas. According to the Bible, Christmas marks the birth of Jesus Christ. Since ancient times, people have considered Christmas Eve a magical time. At this time, the birth of another, unknown life took place, and people always attribute extraordinary properties to everything new and unknown. Likewise, the night before Christmas is credited with the ability to endow ordinary objects with magical powers. In addition, it was believed that on this evening all evil spirits manifest themselves most fully. It is no coincidence that Gogol depicts on this very night the appearance of a witch and a devil in the sky, the theft of the month by the devil. Gogol, who knew the traditions of the Ukrainian people well, very accurately, with all the details, describes the celebration of Christmas. For a long time, this event has been accompanied by various folk rituals, such as fortune telling, caroling and others. People believed that if you make a wish that evening, it will certainly come true. Every family set a festive table, where kutia was always present - a sign of a rich harvest, as well as fish, borscht, dumplings, all kinds of pies, “varenukha, saffron-distilled vodka and a lot of other edibles.”

The whole story is filled with a joyful, bright holiday atmosphere. The great master of words, N.V. Gogol so vividly depicted the Christmas customs of the people that, reading his work, we ourselves seem to plunge into the atmosphere of the national holiday, becoming its participants. The story “The Night Before Christmas” allows you to better understand folk traditions and the entire way of life of the Ukrainian peasantry.

“Terrible Revenge” is the only historical story in “Evenings on a Farm.” The writer depicts in it the turbulent era of the struggle of the Ukrainian people for their independence with the Polish feudal lords - a struggle in which the Ukrainian people turned to the weakness and support of the Russian people. In this story, Gogol conveys an ancient folk legend, telling about the terrible crime of a traitor to his homeland - a disgusting sorcerer. Despite the fantastic element, the story reflected the real historical events of the struggle of the Cossacks against foreign invaders and the Polish gentry. Gogol, using the motifs of folk legends, exposes the black, disgusting nature of the traitor, whose crimes cannot find forgiveness and oblivion even after centuries. Using the bright epic colors of the folk arctic foxes, Ukrainian “dumas,” Gogol paints the image of Danila Burulbaid - a valiant patriot, a courageous fighter for his homeland.

In our work we will focus on the analysis of an excerpt from the text by N.V. Gogol “Evenings on a farm near Dikanka,” a famous description of the Ukrainian night.

Do you know Ukrainian night? Oh, you don’t know Ukrainian night! Take a closer look at it. The moon is looking down from the middle of the sky. The vast vault of heaven opened up and spread even more vastly. It burns and breathes. The earth is all in a silver light; and the wonderful air is cool and sultry, and full of bliss, and an ocean of fragrances breathes. Divine night! Charming night! The forests, full of darkness, became motionless and inspired, and cast a huge shadow from themselves. These ponds are quiet and peaceful; the cold and darkness of their waters are gloomily enclosed in the dark green walls of the gardens. The virgin thickets of bird cherry trees timidly stretched out their roots into the spring cold and occasionally babble with their leaves, as if angry and indignant, when the beautiful anemone - the night wind, creeping up instantly, kisses them. The entire landscape is asleep. And above everything is breathing, everything is marvelous, everything is solemn. But the soul is both immense and wonderful, and crowds of silver visions harmoniously appear in its depths. Divine night! Charming night! And suddenly everything came to life: forests, ponds, and steppes. The majestic thunder of the Ukrainian nightingale rains down, and it seems as if the month was listening to it in the middle of the sky...

As if enchanted, the village sleeps on the hill. Crowds of huts shine even more, even better during the month; Their low walls are cut out of the darkness even more dazzlingly. The songs fell silent. Everything is quiet. Godly people are already asleep. Where - where only narrow windows glow. Before the thresholds of some huts only a belated family makes its late dinner.

The above passage belongs to the artistic style, this is indicated by the following features highlighted by us.

• 1. Individual author's style. The language of Gogol’s works is specific; with its help, the writer conveys the life and customs of Ukraine.
• 2. Wide use of figurative and expressive means that convey the feelings and mood of the writer, also emphasizing the stylistic affiliation.
• 3. The presence of artistic images. The central image of this passage is the image of the Ukrainian night; the author, using various techniques and linguistic means, tries to convey his admiration to the reader: Do you know the Ukrainian night? Oh, you don’t know Ukrainian night!
• 4. Analysis of speech forms showed that specific masculine and feminine nouns are used more often than neuter nouns with an abstract meaning. We found only one abstract noun of the neuter gender: the village is dozing on a hill.
• 5. The use of polysemantic words, for example, dark green walls of gardens, crowds of huts, an ocean of fragrances.
• 6. The use of elements of colloquial speech, vernacular, which contribute to the creation of an individual style, cf.: but in the soul it is immense and wonderful, it seems miraculous.