River on the lunar night. M. Gorky "Rout": A.P. Chekhov "Man to a case when you see in the moon night

Keywords

Language painting world writer / Speech system / Field technique / Lexico-semantic field / Lexeme / Sema / Language Picture of the World of the Writer / ART-Speach System / Field Methods / Lexical-Semantic Field / Lexical Unit / SEME

annotation scientific article on literal literature, author of scientific work - Kochenov Ksenia Aleksandrovna

The article is devoted to the problems of research. language Paintings of the World Writer, his idiolate with field technique. The study of the individually-artistic speech system is conducted through the construction lexico-semantic fields. Copyright lexico-semantic field "Night" is characterized in more detailed than in a common language, the composition, the specifics of the semantic structure of the constituents of the field (the complication of the seven structure of the word, the extension of this, restructuring their hierarchy), the structure of the field itself as a whole, to which the transformative role of the artistic worldview is affected.

Text of scientific work on the topic "Night in the language picture of the world A. P. Chekhov"

Bulletin of Tomsk State University. 2015. № 393. P. 28-36. B0! 10.17223 / 15617793/393/4

K.A. Kochnova

Night in the language picture of the world A.P. Chekhov

The article is devoted to the problems of studying the language picture of the world of the writer, his idiology with the help of a field technique. The study of the individually-artistic speech system is conducted through the construction of lexico-semantic fields. The copyright lexico-semantic field "Night" is characterized in more detailed than in a common language, the composition, the specifics of the semantic structure of the constituents of the field (the complication of the seven structure of the word, the extension of this, restructuring their hierarchy), the structure of the field itself as a whole, to which the informative artistic worldview.

Keywords: language picture of the world of the writer; artistic and speech system; Field technique; lexico-semantic field; lexeme; sem.

The study of the language picture of the world of personality recently often makes it necessary to refer to the study of the writer through the study of the lexico-semantic system using the field methodology. The field approach allows the explication of the author's worldview, to identify the specifics of its value orientation and language priorities, the features of individual-copyright formulation, etc.

The lexico-semantic field (LSPs) is of interest to study the language painting of the writer's world in terms of content, composition (explicates a fragment of the writer's worldview), a structural organization. Structuring and analysis of the copyright lexico-semantic field show how certain categories or other categories are explicated, the concepts in the individual language system of the writer are highlighted by their specificity in his artized worldview.

Consider the LSP "Night" in the language of art prose A.P. Chekhov.

Lexeme Night, taken for nuclear in the analyzed field, is characterized, first, high frequency of use (according to the results of a quantitative analysis among keywords with the theme "Natural Time" of a lexem night ranks first). Secondly, the significance of this word in the work of A. P. Chekhov also shows the data of various studies. In particular, V. N. Ryabova highlights the dominant position of the landscape with a description of the night among other types of landscape with event orientation, E.I. Lelis characterizes a lexing night in the work of A. P. Chekhov as a key word that occupies a special position in the artistic text and endowed with specific aesthetic functions, E.A. Polotsk writes about the special significance of the image of the lunar night in the work of A.P. Chekhov as a "obsessive poetic idea" of the writer. All these data - a quantitative analysis and research materials - especially allocate the night with a lexing against the rest of the lexeme.

Lexeme night is central in the field of the same name. This word unites around himself in the nuclear part. Single words (night, midnight, full-time) and units of denotative sets that coincide with it for a number of values. Consider them starting with the language implementation of the central lexeme night, the artistically interpreted writer.

Night nature, A. P. Chekhov, is usually filled with mysterious images, representing "something unknown and terrible", inaccessible to understanding a simple person: "I breathed deeply, and I wanted to think that not here, and somewhere under the sky , above the trees, far beyond the city, in the fields and forests now, now has its own life, the mysterious, beautiful, rich and holy, inaccessible understanding of a weak, sinful person "(bride); "Everyone is looking at the sunset and all before one find that it is terribly beautiful, but no one knows and does not say what is the beauty" (beauties). The description of the night turns on lexical units unknown, incomprehensible, inaccessible, mystical, on the one hand, and beautiful, holy, etc. - on the other.

Fucking night ducks and immeasieled mountain linden, in a quiet and beautiful night I believe that, no matter how big evil, "Nevertheless, there is a truth in God, it will be, the same quiet and beautiful, and everything on earth is only waiting to merge with True, as the Moonlight merges from at night "(in the ravine), so" when you see a wide rural street with her outstands, stacks, asleep, then it becomes quiet; In this her rest, accumulating in the night shades from work, worries and grief, she is a mantle, sad, beautiful, and it seems that the stars look like her affectionately and with the loss, and that evil is no longer on Earth and everything is safely "(person In the case) [ibid. P. 51]. At the heart of this conflict - the world of nature and the world of man, good and evil - according to A. P. Chekhov, lies the clash of the "norms", according to which nature lives, i.e. existence on the laws of beauty, harmony, freedom, and man, weak , sinful, in whose life this "norm" is absent. Therefore, the night is "the time is beautiful, extraordinary when everything surrounds is not available for understanding a sinful person." Thanks to the actualization in semanthum, the night is silent, meek, sad, peace, sleep in an artistic context, should be allocated in its structure an additional meaning "time of peace, peace in the shower."

The contextual synonym for the word incomprehensible in the text becomes a mysterious ("surrounded by the secret, seemingly inexplicable"): "There was a courtyard, filled with moonlight through the rare trees, was also mysterious and strict shadows ..." (three years). Night in the work of A.P. Chekhov

"... is a special sight. At night, the world did not go. After all, the real, the most interesting life of every person passes under the cover of the mystery, as under the cover of the night. "

The mysterious is often connected with the writer with the religious perception of the world. At night, "The Earth takes mysterious outlines" and all the everyday items "dressed in perfect covers", distant lights in the field resemble the camp of the Philistines (lights); The giants and chariots are raised, harvested by the six wild horses; The drawings from the sacred history (steppe) are moving, and the oncoming in darkness asks Lipa: "Are you saints?", And those who are not surprised, answer: "No, we are from Firsanov" (in the ravine). In the Easter night, the monk Nikolai, a "sympathetic poetic person", incomprehensible and lonely, coming out "to echo with the Jero-Nim and spend your akathists with flowers, stars and rays of the sun" (holy night). Stars from the night sky "look in deep humility" (Ionch), and the field, forest and the sun "are going to relax and, perhaps, pray" (steppe).

In the story "Student", the lonely fire of the fire throws his mystical light on the distant, for the past, and on the night, close to Easter, the other, long-standing, memorable world night in the Garden Garden is resurrected: "I imagine: quiet-quiet, dark-dark garden, And in the silence barely hears the deaf sobs, "Peter spares, thrice renounced from Christ. So "deep, true world Night destroys all the limits of time and space. Concluded past and present. "

Thus, A.P. Chekhov on the direct meaning of the lexemem night - "part of the day from the evening to the morning" - through the lexemes mystical, mysterious, holy, humility, cover, fire, hethymansky garden, Christ, Peter, Easter, Philistines, Akathists in context associatively enjoy the meaning "mysterious, Fabulous time, "which is often connected with a writer with the religious perception of the world.

As part of the values \u200b\u200b"incomprehensible", the "mysterious" development is developing the meaning of the meaning of the "terrible, creepy": "All incomprehensible mysterious and therefore scary" (Holy Night), "Dark, hopeless darkness hung over the Earth<...> I was enveloped impenetrable cold darkness<...> My soul was filled with an indefinite and inexplicable fear "(terrible night).

For A.P. Chekhov Night is the "time of awakening internal forces in nature and a person." "Nature did not sleep, I was exactly afraid to sleep the best moment of your life" (fears). Time when vision and hearing are exacerbated. And the soul rushes to where the stars in the sky, "highly high, far-far." According to V.A. Bogdanova, in the world A.P. Chekhov Nature, in particular the night, - "The personification of the creative power, which lacks his heroes. Introducing it in the artistic world of the work, it introduced the evaluation criterion of the accomplished and achieved in this world of his characters. "

It was at night "everything around does not have to ordinary thoughts" (steppe). It is with a writer that the writer is connected by philosophical reflections on a person, about nature, about the importance of nature in a person's life, and vice versa. And then the description of the night in Chekhov goes beyond the concrete natural picture and becomes universal: the world arises, where there is a "eternal" life, providing a "continuous movement of life on Earth": "The foliage did not move on the trees, shouting cicadas, and monotonous, deaf noise The sea, who came from the bottom, spoke about the rest, about the eternal dream, which awaits us. So noisily was at the bottom, when there was no Yalta, no Oreanda, now she is noise and will make noise as indifferent and deaf when they are not "(a house with mezzanine). A.P. Chekhov calls for moral anxiety, makes think about how, in essence, "everything is fine in this light, everything, except that we yourself think and do when we forget about the highest goals of being, about our human dignity" (lady with A dog), is constantly looking for the eliminating, mysterious relationship between the ever-existing universe and a brief moment of a person's stay on earth.

Space start was not alien to A.P. Chekhov: "At the time of the highest spiritual shocks, in minutes of deeply emotional lifting of his heroes come closely with mysterious, incomprehensible cosmos's greatness."

In one row with lexemes, incomprehensibility, the unknown in the microcontext, with a lexy night, stand the lexemes of LSP "Emotional and physiological state of man" anxiety, anxiety, longing, horror, despair, indifference, loneliness, etc. "When you look at the deep night sky for a long time, for some reason thoughts and soul merge into the consciousness of loneliness. You begin to feel irreparable lonely, and all that I believed before close and relatives, it becomes infinitely distant and having no prices. Stars, looking from the sky for thousands of years, the incomprehensible sky itself and the blades that are indifferent to the short life of a person, when you stay with them with an eye on the eye and try to comprehend their meaning, oppose the soul with your silence; It comes to the idea of \u200b\u200bloneliness, which is waiting for each of us in the grave, and the essence of life seems desperate, terrible ... "(steppe)," anxiety and insomnia, "says the lyrical hero of the story" Holy Night, "- I wanted to see in all of nature Starting from the night darkness and ending with plates, grave crosses and trees, under which people fussed. " Hence the individually-copyright of semanthemia Night in A.P. Chekhov - "Time when a person is aware of his loneliness." Moreover, it is often a feeling of complete loneliness, which is induced in the lexemes loneliness, silence, grave, irreparable, endless through semes "not having a limit", "emergency for manifestation", "impossible", etc.

In one context, the lexemes are boredom, longing, despondency, and others. Word of longing, i.e. "The oppressive boredom, united

remaining anywhere, caused by something ", includes in its value semantic signs of" boredom "," despondency ". The meaning of the word boredom is specified by semantic signs of" sadness "," spiritual gravity ":" I looked at the telegraph poles, about whose clouds of dust were spinning, on sleepy birds sitting on wires, and suddenly it became so boring that I was crying "(the secret adviser)," the long, lonely, boring night "(poor kingdom) is updated in the word boredom and sem" Spiritual loneliness ", which is derived from semantic signs of" indifference "," indifference ". All words are perceived as synonyms, since the semantic signs that constitute the meaning of words are duplicated, intersect, which makes them a common existence at the level of individual speech. Words of boredom , longing, loneliness are an integral part of the individual style of the writer.

The image of a poplar, steadily passing through all the works of the writer, becomes in the world A.P. Chekhov symbol of loneliness. In the poetic texts, the poplar can be depicted in the form of a knight, like a tree with royal harness, silver withdrawal of leaves, when the constant fluttering of foliage, which opens the dark surface, then light off, indicates the duality of life itself. Topolu in A.P. Chekhov - High, dressed, harsh and ... Lonely: "It was not uncommon to meet lonely sticking tops" (holy at night); "Topol high, covered by the Andy, seemed to be in a bluish Mol, as a giant, dressed in a savan. He looked at me harshly and sadly, just like me, understood his loneliness "(wolf); "But the lonely poplar is shown on the hill, who planted it and why he knows him here. From his slim figure and green clothes it is difficult to tear the eyes. Is this handsome happy? In the summer, heat, in winter, sizzles and blizzards, in the fall of terrible nights ... And most importantly -all life One, one ... "(steppe).

As part of the "time of loneliness" value, you can select the tint of the "death" value, actualized in the texts of A. P. Chekhov. The symbolic necrological halo of poplar indicates the use of this word in one microcontext with the Saban lexemes, to die in which the sema death "is actualized:" Poplar, high, covered by the Andy, seemed in a bluish MGL, as a giant, dressed in Savan "," Weather on The yard is gorgeous. Silence, no sheet will watch. It seems to me that everything looks at me and listens as I will die "(boring story). That is, in understanding the night as "the time of loneliness, the death period" the categories "loneliness" and "death" play an important role, which are among the main things in the globalism of the writer. Compare with the comment found in the notebooks A.P. Chekhov: "As I will lie in the grave one, so, in essence, I live."

I. Bunin recalled that A.P. Czechs "Many times diligently firmly said that immortality, life after death in whatever form - a divine nonsense .... but then he said several times

the opposite: "In no case can we disappear after death. Immortality is fact." This is a peculiar micromodel approach Chekhov to death, life, immortality. It seems to allow two opposite solutions.

In addition, it is necessary to talk about the ambivalent character of the lexeme night. This is reflected in mutually contradictory statements in the framework of one macrocontext: so, in the story "steppe" the night sky in one night "Looks Tomno and manits to himself, and his head is spinning from his caress," the other seems to be "incomprehensible", " The soul oppresses his silence, "then the loneliness comes to the thought, which is waiting for each of us in the grave, and the essence of life seems desperate, terrible ...". The same in the story "Duel": "But when the sun went down and it became dark, anxiety was worried. It was not a fear of death ... It was a fear of something unknown; And the fear of the coming night ... He knew that the night would be a long, sleepless ... "," fears ":" I was covered by a sense of loneliness, longing and horror, for sure I was thrown against the will thus thrown into this big, full twilight pit. "

Thus, Lexeme night has a heterogeneous emotional color: indifferent, terrible, inspiring, fear ... and mysterious, mysterious, beautiful, charming.

The latter is associated with the implementation in the work of Chekhov traditionally romantic meaning Lexemes Night "Time of dreams and dreams", "Time of a love date" (for example, in the stories "Verochka", "House with mezzanine", "three years", "in the native corner", etc.). In the work of the writer, "love is one of his leitmotifs - love in all the thinnest and innermost manifestations." A feature of romantic meetings at night, with the light of the Moon, Chekhov is that they all turn around the separation, love does not bring happiness, their dreams are faithful, the heroes do not understand each other, the tragedy of their loneliness, this old-age soul in the flourishness of the forces. "No already laughter, no noise, no dates in the quiet moon nights" (case from practice).

The semantic structure of the Lexemem Night in Idiolekt A. P. Chekhov can be represented as follows:

Night: 1. Part of the day, time from sunrise to sunrise. Night time.

2. Time of pacification, rest.

3. Time when a person is aware of her loneliness // full loneliness // Death.

4. The time of the awakening of the domestic forces in nature and man.

5. Something inaccessible understanding // Something terrible.

6. Mysterious, fabulous time, dreams, dreams // Time of a love date.

Thus, the lexeme is the night is characterized by a complex semantic structure, including the general language and copyright, symbolic, exposed to semantic transformations in the context.

The remaining constituents of the field create an image of the night, the central lexeme, represent it in the entire combination of values \u200b\u200binherent in it. In this regard, we note the following.

The adjective night is used in its main value and thereby correlates with the main nuclear seed of the Lexeme night. In an uncomplicated direct value, a noun midnight and adjective impact are used. "Moon, Moon! He said, looked up. It was midnight "(champagne).

In one synonymous series, with the word Night, there are dark lexemes ("Lack of light, lighting"), darkness, darkness, darkness, dark ("incomplete darkness outdoors"), dusk ("incomplete darkness, at which you can still distinguish between objects"). "Twilight and the noise of rain outside the window have to sleep" (peasants).

Value of Lexeme Night - "Dark Time" - adjectives: hopeless (effort) ("On Darkness, Mraka: Full, Perfect"), Straightened (effort), impenetrable (effort) ("About darkness, darkness: impenetrable "), impenetrable (effort) (" Such, where you can't get a look, as well as inaccessible understanding, hidden "), black. These adjectives characterize the night of the night as the time of day with the complete lack of light, as well as through semen "infidel" and "unavailability" form the fifth value ("something inaccessible understanding", the shade of the value of "something terrible").

In the nuclear part of the field there are lexical units of LSP "Cosmological objects and phenomena", characterizing the image of the night: the moon, sky, stars, fog, their connection with nuclear word is established on the basis of common ses.

Moon - "Night Heavenly Lighting", the main, the most important element of the night landscape A.P. Chekhov. The Chekhov wrote very often about the moon and in their letters: "Beautiful night. In the sky neither the cloud, and the moon shines in the whole Ivanovo "and others. The image of the moon night for Chekhov was of great importance, and this repeatedly noted researchers of the writer's creativity.

The program value was attached to the description of the lunar night in the story "Wolf". A.P. Chekhov wrote to her brother: "In my opinion, the descriptions should be very brief and have character and Propos. General seats like: "The setting sun, swimming in the waves of the indiffered sea, poured with crimson gold" and so on. "Swallows, flying above the surface of water, fun tweet," such common places should be thrown. In the descriptions of nature, it is necessary to grab the minor particular, grouping them in such a way as to read when you close your eyes, a picture was given ... Nature is animate, if you do not disappear to use comparisons of her phenomena with human actions. " A.P. Chekhov tried to update the means of poetic expressiveness of the night landscape. He wrote like this: "And you can write well about the moon, and what the topic is scattered. And it will be interesting. Just need to see anything in the moon, and not someone else's and not beaten. "

Attention to the image of the moon in A.P. Chekhov traditionally: under the sign of "Lunatism" was the entire modern Poetry writer. Landscapes A.P. Chekhov is full of radiance of the pale moon. Moonlight makes the nights of cords, mysterious and forces the heroes every time to understand the surrounding surrounding, remember the past, think about the future.

Lexemes Moon and Moon are correlated with the first and fifth value of a nuclear lexeme night. Following the tradition, A.P. Chekhov uses the moon to describe the scene of a love date (here the meaning of the word moon parallel to the value of the nuclear word night is "time of dreams and a dream"). The image of the moon in the descriptions of nature can traditionally contribute to the creation of a romantic situation (and then the Luna's lexeme bears positive color), or be performed in an ironic key (as a rule, in early stories): for example, in the story "Dachniks", where the moon becomes centrally in All three landscape sketches: "From behind cloud scraps, I looked at them the moon and frowned: it was probably enviable and annoyed to her boring, nobody had the necessary virginity," Luna sniffed tobacco, hid behind the cloud. Human happiness reminded her about loneliness, lonely bed behind forests and dollars, "" Because of the clouds, the moon was falling out. It seemed, she smiles; It seemed to her it was nice that she had no relatives, "" ... The moon, full and solid, as the general housekeeper sailed over the sky "(Trifon). The poetic value of the Luna's lexeme is different at A. P. Chekhov dual emotional pain. Consequently, the inner antibodies of the semanty of the moon enhances the ambivalence of the image of the night.

The usual images of A. P. Chekhov little, most often he gives original images, comparisons, examples of an animation, reviving the perception of the story. Receiving an animation of Czechs, as a rule, widely used in the early stories, after it has undergone changes. About this Chekhov wrote bitter: "Frequently like a person (anthropomorphism), when the sea breathes, the sky looks, the steppe is inappropriate - such likelihoods make descriptions somewhat monophonic, sometimes sufficient, sometimes unclear: colorfulness and expressiveness are achieved only by simplicity, such simple phrases as" The sun went down, "" Rain went ", etc." .

In a number of contexts, A. P. Chekhov varies two epithets to the word moon: pale and poor. Between them there is a specific style difference: if the poor moon carries the charge of author's emotion on himself, this image is individualized, then the pale moon is deprived of individuality - this is a traditional image.

Among the two shining - the moon and the month - the highest frequency of use has the moon. From the story "in the ravine", where the moonlight night is presented in different ways: at times lipa and her mother it seems that "someone looks from the height of the sky, from the blue, from there, where the stars" and that "everything is only waiting for To merge with the truth, as the moonlight merges at night. " And the same Lipa, who lost the child, feel

he myself scary lonely in the world, sees how a month looks from the sky, too lonely, which is still - now or winter, people are alive or dead ... ". In the meaning of the lexemem month when it is used in one microcontext with a lonely, dead, death is clearly noticeable non-corporate semantics, which was fixed behind him as the luminous world of the dead back in the mythological picture of the world. As for the role of these data with a lexeme in the paintings of the world of other writers and poets, then, according to the observations of A. White, which compares the role of these luminaries, for example, A. S. Pushkin and F.I. Tyutchev, the latter gives preference only a month, which for him and "God", and "Genius", pouring peace to the soul.

In the night landscape A.P. Chekhova will certainly arise a dream of sleep. A dream lexeme is used in a portable meaning "On the state of complete rest, silence in nature": "Everything was immersed in a quiet, deep sleep; Not a movement, no sound, it can not even believe that in nature maybe so quietly "(a person in a case), as well as in the meaning of" stagnation ", correlated with a general language" inactive, passive state ", but having an additional shade of" bad ", "Aimeden": "There was an hour of night, the time when nature is usually immersed in the strongest dream. In the same time, nature did not sleep, and the night could not be called quiet.<...> Nature did not sleep, it was precisely afraid to sleep the best moment of his life "(fears).

All objects - a month, stars, clouds, fog, moon - Antripomizes A.P. Czech. This was spoken by N.K. Mikhailovsky: "Everything lives in him: the clouds secret from the moon whispering, the bells cry, the bubber laughs, the shadow along with a man comes out of the car. This kinda, perhaps, the pantheistic trait is very promoted by the beauty of the story and testifies to the poetic mood of the author. "

The composition of the peripheral part of the LSP is presented as follows: this includes units that are constituent of other LSPs - "space", "sensual perception", etc.

On the periphery of LSP "Night" there are units of LSP "Space", creating the image of a limitless and boundless night sky. These are lexemes, the combined archemboble "limitless" - "having no visible or defined boundaries, extremely large in length": Dal ("distant space visible to the eye"), infinite ("Unlimited, unlimited, immense"), infinite (" no end, limit in space and in time "), endless (" not having visible limits, edges "), boundless (" such a wide one, which is not visible shores extending to the unreasonable space "), immense (" extending for a long distance "), unwarked (" infinitive, immense "), the sky (" open from all sides of the sky in the form of an arch, domes "), high, huge, bottomless (" not having a bottom, extremely deep "), deep, limitless (" not having visible or defined borders, extremely large in length ") and others.

In all these values, semen "Extremely", "very", emphasizing the greater power (degree) of the manifestation of something (large, deep, high, etc.) are clearly updated. General principles The copyright image of the subject creating an individual image is outlined from the entire amount of its descriptions. As a result, based on the entire totality of the lexemes characterizing the image of the night sky, it induces the concepts of "height" and, as a result, the concepts of "beauty", "solemnity", "Holyness": "On the immense depth and infinity of the sky can Slow only on the sea and in the steppe at night when the moon shines. It is terribly beautiful and affectionately, Looks languidly and manits to himself, and his head is spinning from his caress "(steppe).

The value "Greatness", moving into the value "Grandness, Bogatyr Rambam", is associated with microcontexts with one value - "incomprehensibility", more precisely, "the inability to understand, comprehend" (based on this value, the LSP "Space" and "Night" ): "With its scoring, she [steppe] opened bewilderment in the neighbor and brought him to fabulous thoughts. Who drives her? Who needs such a space? It's not clear and strange, "the Korshun flies above the ground, smoothly having swamped wings, and suddenly stops in the air, exactly thinking about the boredom of life, then shakes the wings and the arrow rushes over the steppe, and it is not clear why he flies and what he needs," "Wide The shadows walk along the plain as the clouds in the sky, and in the incomprehensible gave, if they are pepped up for a long time, the foggy, bizarre images ... "," Stars, Looking from the sky for thousands of years, the incomprehensible sky itself and The mound, indifferent to the short life of a person ... oppress his soul with his silence ... "," The right of the hills, which seemed to be unknown something unknown and terrible ... "(steppe) [ibid. P. 48].

The implementation of this "mysterious", "incomprehensible", "mysterious", "strange" in the lexemes an unknown, incomprehensible, perplexity contributes to the fact that these words become supporting, keywords in solving this semantic theme.

The meaning of "incomprehensibility", "the inability to cover, understand", which has grown out of the value "Greatness, Grandness", is associated with another dominant value - "uncertainty", which is expressed by repeated repetition of introductory structures with the meaning of the assumption: "Shiven in the air like an insect, Playing with her Multi-Street, Strept rose highly up in a straight line, then, probably, the frightened dust cloud, rushed to the side "; "Now, in all likelihood, vortex, circling and fascinating dust from the ground, dry grass and feathers, climbed the sky: probably, near the black clouds flew the river-field, and how, it should be scared," left As if who chirped on the sky with a match ... heard, as somewhere far away, someone walked over the iron roof, probably walked barefoot on the roof, because the iron grudge grudge "(steppe) [there. P. 29, 85]. The value of "uncertainty" is enhanced by a combination in one micro

the context of an indefinite pronoun is someone, an indefinite adverium somewhere and input words.

The dominant meaning "non-understanding", "uncertainty" is directly related to the meaning of the "fabulous", "witchcraft" (the LSP "Space" and "Night") occurs here: "Rightose the hills that seemed to be unknown something unknown and terrible "; "I thought, and the plain scorched by the sun, a huge sky, the indiffered by the oak forest and a foggy distance as if they told me:" Yes, you will not understand anything in this world! "" (Lights) [ibid. P. 105]; "In the incomprehensible gave, if you look at it for a long time, the foggy, bizarre images will come together and are praying for each other. Adjustable foggy, bizarre - contextual synonyms with a common seed, directly called in a microcontext: "Unclear", "undefined", "incomprehensible" and from here "scary". "Previously, the zipper was only scary ... Their witchcraft penetrated through the closed eyelids and flowed cold throughout the body" [ibid. P. 124]. Writch lexeme is adjacent to the microcontext with the ominous, fancy, terrible, incomprehensible, unknown, etc. They, these witchcraft forces, on the one hand, are terrible, terrible, on the other, are sitting and attracted to themselves. The sky is "scary, beautiful and affectionately, Looks languidly and manits to himself, and the head is spinning him", "Slightly terribly ... Nature is on the chance and is afraid to move: she is terribly and sorry to lose at least one moment of life" (steppe) [there same P. 46]. Semantic repetition is terribly ... Correctly, the repeat of his synonym is scary in combination with a color adjective black, dark in one microcontext help A.P. Chekhov create a certain mood caused by mysterious, fabulous forces of night time.

LSP "NIGHT" has a direct connection with LSP "Sensual perception", in particular LSP "Colonation", whose constitutions create a special color appearance of the night image: black, white, dim, muddy, faddy, dark, gloomy, etc. So, the feature of the use of a lexing black and white is that they, being opposed in a nationwide language to each other (Wed "having a color of soot, coal, the darkest of all colors (proth. White)" and "having a snow color, Milk, chalk (anti-black) "), in the natural world, A.P. Chekhov contextually not opposition, since both lexemes enter into a system relationship, uniting on the basis of "light - dark": "White walls, white crosses on graves, white birch trees and black shadows ... lived with their special life" (bishop), "All The world seemed to consist only from black silhouettes and wandering white shadows "(Verochka)," such amazing roses, lilies, camellius, such tulips of all sorts of flowers, starting with bright white and ending with black like soot ... did not happen to see anywhere in another place "(black monk). Despite its contrast, both colors serve to create an image. The lexeme is black, as a rule, is used together with the word white and

its equivalents (pale, light, clear, faded, whiten) and on the contrary, the white next to the lexemes is dark, muddy, gloomy, dim, etc. The most frequency meaning zone of the realization of the color - values \u200b\u200bof black and white colors And their shades are -lunny night: "There were often white and black, and sleepy trees were visible, and the sleepy trees were inclined their branches over white." (Ionch). In this description, A. P. Chekhov does not detail that it is indicated under black and white, the main thing is the color when the image of the moon night is built on the combination of elements. "On a dam, filled with lunar light, there was neither a piece of shadow ... glistened with a star of the neck from a broken bottle ... on the beach, higher than the bushes of an egg, something similar to the shadow rolled with a black ball" (wolf). The image of the lunar night is based on a comparison of light and dark tones. With the help of one or two parts, a separate stroke in the field of view of the hero was found individually-author's image of the moonlight, built on the light and glitter, and in contrast with it - the image of the wolf given in black.

On comparison of black and white tones, a landscape in the story "Verochka" is shown: the description of the night unfolds when using two black flowers - white: white as snow, black silhouettes, white shadows, white smoke, dark shadow, black ditches, black dots, dark windows, White fire, whirlwind. On the opposition of light and shade there is a garden. Thanks to this selection of the scenery, the landscape is shrouded in the smoke of mystery, poeticity. "The garden was quiet and warm. It smelled by a rescue, tobacco and heliotrope, which have not yet managed to fond on the flower beds. The gaps between the bushes and trunks of the trees were full of fog, a rigorous, gentle, impregnated with the moonlight, and, that remained in the memory of Ognev, shreds of fog, similar to the ghost, quietly, but noticeably for her eyes, went for each other across the alley. The moon was standing high above the garden, and the transparent foggy spots were launched below it east. The whole world seemed to consist only from black silhouettes and wandering white shadows, and the fire, who watched fog in the lunar August evening, almost for the first time in his life, thought that he sees not a nature, but a scenery, where inept pyrotechnics, wishing to light The garden with white Bengali fire, settled under the bushes and together with the light were frightened into the air of white smoke. "(Verochka).

Thus, A. P. Chekhov consumes color lexemes that contradict each other (transparent and foggy), in relation to one object and thereby creates a special image that exactly transmitting the author's intent. It should be noted that the word foggy is most often used in the landscape of A.P. Chekhov in the meaning of "Milk": "... Fog gives the impression of a white wall" (dead body), "thick fog white, like milk" (in a ravine), "White, dense" (bride).

A.P. Chekhov widely uses transparent lexemes, matte, pale, foggy, dark and others. Contrast is created using specific colors.

white - black and in the presence in color lexeme seminal "bright - dim", "light - dark". The color characteristic is transmitted by adjective names indicating the quality of the phenomenon (light) and the peculiarities of the perception of his person. The distribution of vocabulary on the principle "Light - Lack of Light" occurs in such a way that few lexemes that do not indicate directly on light or dusk are estimated from the point of view of the content in the color of light indicated by them, i.e., according to the presence or absence of the word seed Glitter "(reflected light). For example, the Lexemes of the Moon - "Heavenly Body, the closest satellite of the Earth, glowing reflected sunlight"; Silhouette - "The outlines of something visible in the dark, fog."

The lexemes are black and white participate in the creation of a special color color, creating a feeling of unreality, poeticity, mysteriousness of what is happening, foreshadowing a romantic scene of recognition in love. Hence the special selection by the author of the color lexing, creating a unique picture. In this case, both lexemes carry the value "Something Witchcraft, mysterious." At the same time, the lexeme is black can be used to express the meaning of "something terrible", "lifelessness", "deaderness", "peace". "But the memory of dark, sullen crosses, who will certainly meet him on the way, and the sparkling in the distance of Lightning stopped him ..."; "Rightose the hills, which seemed to be obscured by something unknown and terrible ..." (steppe); "It was dark: when my eyes got little of little to the dark, I began to distinguish the silhouettes of old, but skinny oaks and Lipa, which grew on the parties. Soon the black strip of uneven, rippled shore, crossed by some somewhat, deep ravines and promoines, was unclear. Night bushes, similar to sitting people, nodded near ravines. It became terribly. I suspiciously mowed ashore, and the noise of the sea and the silence of peace unpleasantly scared my imagination "(lights) [ibid. P. 105].

The meaning of "witch", "mysterious", "terrible" strengthen the following lexical units of different parts of speech: adjectives black, dark, noun black, verbs Dark, black, black: "The terrible cloud did not hurry, with a solid mass; In her region hung large, black rags "(lights) [ibid. P. 108-109]; "Black on the sky opened his mouth and breathed with white fire. He glanced there, where she was recently the moon, but there she was so black, as in the WHO "(steppe) [ibid. P. 85, 86]. The specificity of the lexeme white and black manifests itself in the fact that in their semantic structure in the individual language system A. P. Chekhov, in addition to the main color values, are as follows: 1. Colors of the night - the time of day characterized by a romantic worldview. 2. Color witch

and mysterious. In addition, in the semantic structure of the word black, the value is included "Color, symbolizing terrible, lifeless, omensions and peace."

It should be noted that words denoting color occupy an important place in the writer's linguistic system. A. P. Chekhov displays adjectives beyond the bulk, widely using them to create important images. Building the most distracting images, the writer is often repelled from the image of the visual, including the color.

Constitutions LSP "Night" are connected with units of LSP "Sound". Night is the time when the active livelihood subsides, which is reflected in the lexemes silence, no sound, silence, sleep, etc., and is represented in the development of semantic topics "immobility", "peace", "monotony", the common for which is Theme "lifelessness". At the same time, the dedicated values \u200b\u200bdirectly actualize important for the author associated with his worldview, the concept of "boredom".

On the other hand, A. P. Chekhov often uses the lexemes of a craccot, a lullaby song, a hum, etc., which indicates the specificity of the copyright of the night: this is the time of awakening internal forces in nature and man, "time when the real, the most Interesting life for every person ":" It's as if the grass is not visible in the darkness of your old age, a fun, young crackle rises in it, which does not happen during the day; Crack, lowering, scratching, steppe bass, tenor and discounts - everything interferes in a continuous, monotonous hum, which is well remembered and sad "(steppe) [ibid. P. 24].

Thus, in the analyzed copyright leek-sico-semantic field, the night has a key status, which is confirmed by its high frequency of use, communication with the main categories of the writer's worldview (longing, boredom, loneliness, beauty), the fact that it is exposed to semantic transformations in context ; It is characterized by a complex semantic structure: a lexeme is the night has both a general language and copyright, symbolic. In the structure of the field itself, the nuclear and peripheral part can be highlighted. The core of the field includes lexical units of night and its derivatives, darkness leks, darkness, darkness, dusk, constituents of LSP "Cosmological objects and phenomena" of the moon, month. On the periphery there are lexical units of other LSPs: "Space", "sensual perception", including LSP "Ceat Recognition", "sound". The boundaries of nuclear and peripheral zones are fuzzy, blurred. Night time images are anthropomorphic, which is reflected in the structure of the field, which includes the units of LSP "Emotional and Physiological State" (boredom, longing, despondency, horror, despair, indifference, loneliness).

LITERATURE

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Night in a.p. Chekhov "S Language Picture of the World

TOMSK STATE UNIVERSITY JOURNAL, 2015, 393, 28-36. DOI 10.17223 / 15617793 / 393/4

Kochnova Kseniya A. Nizhny Novgorod State Agricultural ACADEMY (Nizhny Novgorod, Russian Federation). E-mail: [Email Protected]

Keywords: Language Picture of the World of the Writer; ART-SPEECH SYSTEM; Field Methods; Lexical-semantic field; Lexical Unit; SEME.

The Article IS Devuted to the Study of A.P. Chekhov "s Language Picture of the World, His Idiolect, using Field Methods. The Field Approach Allows to Explicate The Author" s WorldView, Identify The Specifics of His Value Orientation and Language Priorities, Particularly The Author "S Individual Usage, etc. analysis of the individual language system through the study of lexical-semantic fields in fiction, of a network of partially overlapping lexical-semantic fields gives the most complete and objective view of the art-speech system of the writer. A lexical-semantic field is Of The World of The Writer from The Worldview of the Writer from The Worldview of the Writer from The Writer (Explicit Fragment of the Writer "S WORLDVIEW), Structural Organization. The Semantic Structure of the Lexeme "Night" in the ART-Speech System of A.P. Chekhov Can Be Repretesented As Followows: 1. Part of the Day, The Time From Sunset to Sunrise. The Dark Time of The Day. 2. TIME OF PEACE, OF REST. 3.Time WHEN PEOPLE REALIZE THEIR LONELINESS 11 Total Loneliness 11 Death. 4. The Wake-Up Time of the Internal Forces in Nature and Man. 5. Something Beyond Comprehension 11 Something Terrible. 6. Mysterious, Fabulous Time of Dreams 11 Time Of A Love Date. IN THE THE ANALYZED LEXICAL-SEMANTIC FIELD, THE WORD "NIGHT" HAS A KEY STATUS, Which is confirmed by Its High Frequency of Use, Connection with The Main Categories of the Writer "S View of Life (Sadness, Boredom, Loneliness, Beauty) The Fact That It Undergoes Semantic Transforms in Context. The Word "Night" is characterized by A Complex Semantic Structure: It Has Both A Regular And The Author "S Symbolic Meanings. The Structure of The Field Itself Has Nuclear and Peripheral Parts. The Nucleus of the Field IS The Lexical Unit "Night" and Its Derivatives, Words "Time", "Period", "Darkness", "Moon", etc. The Periphery Are Lexical Units of Oter Lexical-Semantic Fields: "Space", "Cosmological Objects and Phenomena", "Atmospheric Phenomena", "Sensory Perception", Including "Color Names" and "Sound". The Boundaries of The Nuclear And Peripheral Zones Are Blurred. The Images of Nighttime Are Anthropomorphic, Which Is Reflected in the Structure of the Lexical-Semantic Field "Emotional and Physiological State of The Person" and "Person". The Author "S Lexical-Semantic Field" Night "Is More Detailed Than In The National Language by The Composition, Specific Semantic Structure of Field Constituents (Complication of the Seme Patterns of the Word, Development of Semes, Reorganization Of their Hierarchy) The Overall Structure of The Field Impacted by The Transforming Role of the Artistic Worldview.

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"When you see the widespread rural street on the lunar night with her outstands, stacks that were asleep, then the soul becomes quiet; In this, in his rest, hiding in the night shades from the work, worries and grief, she is a muggy, sad, beautiful, and it seems that the stars look like her affectionately and with moutigation and that evil is no longer on earth and everything is safe .. "
A.P. Chekhov. "Man in a case."

I.I. Levitan. "Moonlight night. Village "

Chekhov especially appreciated the simple landscapes of Levitan, depicting an unassuming Russian nature: transfer, quiet sunsets, rural leaves. He wanted to have one of these works - the painting of the "village" - "Serious, wondering, lost, ugly, but such from her blows an inexpressible charm that it is impossible to break away: he would have watched and looked at her." Similar landscapes, among which the lives of many Chekhov characters take place, with the same, can be said, Levitanovskaya simplicity and understanding of the soul of nature, he brings on the pages of his works: "Far behind the shore, on a dark bug, like frightened young partridges, stood together to each other Vegetted village. Behind the hillside the evening dawn. Only one pale-bug strip remained, and she began to twitch with small clouds, like coal ashes "(Agafya, 1886).
"The river slept. Some night terry flower on a high stem gently touched my cheek, like a child who wants to make it clear that he is not sleeping "(" Agafya "). In the descriptions of the nature of Chekhov deliberately left the beautiful, but long-poetic "landscapes in prose" Turgenev. It is also simple, a few, and often as if not agreeable, the landscape of Levitan. The most important for him was the choice of motive and his finest scenic tool. In his a little resistance, the painter leaves the detailed design of the landscapes of I.I. Chishkin and the narratives of his beloved teacher A.K. Savrasov. The poetic perception of nature and the maximum laconism of the artistic language came closer to Chekhov prose and landscape painting Levitan.
This quality was especially revealed in the works of the artist of the late 1890s. The decisive concept of its late works was the desire for simplicity of the motive, limiting laconism of the forms and the exception of them from all the narration. During these years, Levitan often wrote night, twilight landscapes, which justified and explained the absence of details as if hidden in the night curtain. "Moonlight night. Village "(1897, timing)," Moonlight. Big Road "(1897-1898, GTG)," Twilight "," Twilight. Stacks "(both - 1899, GTG)," Twilight. Moon "(1899; timing) - Each of these landscapes is executed in its own, but uniform color dominant and in general stylistics, brought off Levitan with a new, young generation of painters. It was about these works by Chekhov: "To such an amazing simplicity and clarity of the motive, to which Levitan recently recently recently reached him, but I don't know if anyone comes after"

Fate crossed ... Chekhov and Levitan

... descriptions of nature then only appropriate and do not spoil the case when they by the way when they help
You inform the reader to you or another mood as music in melodiclamation.

A.P. Chekhov

In the 10th grade, even before the study of the creativity of A.P. Chekhov, I give a task to students to collect material on the topic "Landscape", "City", "Portrait" from any works of the writer. After that, I share a class into three groups, each of which receives practical material on one of three topics. And after studying the stories of Chekhov (in front of the drama), I spend the lesson on three issues: 1. Landscape in the works of Chekhov. 2. City in the image of Chekhov. 3. Portrait in the artistic world of Chekhov. The guys use additional literature, but still their main work is an independent generalization of observations. I offer materials to the first topic; The teacher will be able to dispose of them at its discretion.

"Scenery - One of the components of the world of the literary work, an image of an open space. Traditionally, under the landscape it is understood as an image of nature, but it is not exactly exactly that the etymology itself emphasizes ( fr. Paysage, from Pays - country, terrain) ". The literary encyclopedic dictionary gives the following definition of the landscape: a description of "any unlocked space of the outside world."

In 1889, Chekhov wrote Suvorin: "Nature is a very good sedative. She is mit, that is, makes a man indifferent. Only indifferent people are able to clearly look at things, be fair ... "work and justice are connected in Chekhov with nature. And in May 1894 he writes: "I think that the proximity to nature and idleness make up the necessary elements of happiness: it is impossible without them." This thought "dissolves" in the subtext of Chekhov's works. Descriptions of nature, as a rule, brief, laconic, so the author provides the reader the opportunity to "add" the landscape itself.

In early storyChekhov Nature is most often actions, a description of the situation. The author uses nominative suggestions, and it seems that the action takes place in the present time or will always occur. In addition, the landscape, as a rule, plays the role of exposure, denoting not only time, but also a place of action: "Sultious and silent noon. In the sky or the cloud "(" Hunts ")," clear, winter noon. Frost cracks "(" joke ")," Summer morning. In the air silence "(" Nalim ")," There was a dark autumn night "(" Parish ")," gray, autumn morning "(" Marriage by calculation ").

Some literary critics allocate two types of Chekhov landscape: Landscape with comic function and lyrical landscape. The first is created by moving the phenomenon to the unusual scope of it, that is, human qualities are attributed to the phenomena of nature. Clouds, sun, the moon is immersed in human affairs and care:

"... I looked at them the moon and frowned: she probably was enviable and annoyed on his boring, no one needs a childhood ... Luna sniffed ... Due to the lace cloud, the moon appeared ... She smiled: she was nice that she had no relatives "(" Dachnings ").

"The sun has already looked out from behind because of the city and quietly, without having trouble, began for his work" ("Steppe").

"... Above the hill was fixedly a big crescent, a red, slightly terched fog and surrounded by small clouds, which seemed to look around him from all sides and erased so that he would not leave" ("enemies").

Nature was traditionally considered in the literature the subject elevated and for long years I had accumulated a lot of "beautiful" epithets that became banal. Chekhov paroded similar cliches in the description of Nature: "was a quiet evening. In the air smelled. Solovy sang in the whole Ivanovo. Trees whispered. In the air, expressing the long language of Russian fiction, hung Nega ... The moon, of course, was also. For the completeness of paradise poetry, only the city of Feta, who, standing behind a bush, would have read his captivating poems in all "(" bad story ").

The humorous color of Chekhov had a convergence of nature phenomena with the world of life:

"Winter sunshine, penetrating the snow and patterns on the windows, trembled on a samovar and caught their pure rays in a riser cup" ("boys").

"Vorony Nestzda, similar to big caps" ("Teacher of Literature").

Lyrical landscape Chekhov also has its own characteristics: he is impressionistic, music, poetic:

"... Skorel River, and opened a view of a wide film with a mill and white bathing" ("Gooseberry").

"In the air smelled in the air, the snow, earth, roofs, trees, benches on the boulevards - everything was soft, white, young ..." ("Plumba") under his feet.

"... There was no soul on the embankment, the city with its cypressions had a completely dead look, but the sea was noisy and beat about the shore; One Barcass swung on the waves, on it sleepily frozen a flashlight "(" Lady with a dog ").

Landscape in Chekhov, like many Russian writers, has pronounced pronounced national features:

"Cloudy rainy day. The sky for long clouded clouds, and the rain of the end is not foreseen. In the courtyard to slush, wet daws, and twilight rooms and such a cold, that even though fop furnaces "(" Pink stocking ").

"... The river was overcast, the fog walked into the way, but on the other side on the mountain the string of light stretched, the church shone, and the Graci cried in the Garden of the Garden" ("Men").

"All nature is similar to one very big, forgotten by God and the manor" ("Thinker").

The atmosphere of the work and its melody is transmitted through the landscape, which is most often drawn at the beginning of the story and creates defined mood:

"Stuffy Jun Morning. Felt longing behind a thunderstorm. I want to ask the nature and drove your longing for a rainy tear "(" He understood! ").

"There was April at the beginning, and after a warm spring day it became cool, slightly hardy, and in the soft cold air he felt the breath of spring" ("bishop").

"Evening twilight. Large wet snow is lazily circling around just lit lights and a thin soft layer falls on the roofs, horsepower, shoulders, hats "(" longing ").

"The sun was already hiding, and evening shadows stretched on the blooming rye<…> It was quiet, dark. And only high on tops in some places trembling bright golden light and shimmer the rainbow in the network of spider "(" House with mezzanine ").

"The landscape, given through the perception of the hero, is a sign of his psychological state at the time of action." The works of Chekhov is a "poetry of moods", so the landscape is means of reflection of the psychological state of the hero and preparation of the reader to changes in the life of the character:

"Autumn approached, and in the old garden was quiet, sad, and the dark leaves were lying on the alley" ("Ionch").

"It was hot, the flies were unimportantly, and it was so nice to think that soon for the evening" ("Dressing").

"She sees dark clouds that chase each other across the sky and shout as a child" (I want to sleep).

"Everything, everything reminded about the approachment of the dreary, gloomy of the autumn" ("Pumping").

Nature descriptions in the works of Chekhov full contradictions. Often it is transmitted through the antithesis "Black-White", the official words "but", "meanwhile", "still" and others. In addition, the game of light and shadow is pronounced:

"The cemetery was indicated by the dark stripe as a forest or a large garden.<…> And the circle was often seen white and black ... "(" Ionch ").

"The sun hid behind the clouds, trees and the air frowned, as before the rain, but despite this, it was hot and stuffy" ("Name Day").

"... The beautiful April sun is greatly warming, but the snow lay in the ditch and in the forest" ("(" at the vein ").

"Night is dark, but you can see the whole village with its white roofs and streams of smoke" ("Vanka").

"It was already spring month March, but at night the trees quit from the cold, as in December" ("Wolf").

In the works of Chekhov, all seasons are described, but the most favorite one is summer:

"Dawn still did not quite go out, and the summer night has already covered its gentle, sleeping caidal nature" (Agafya).

"Standing drought, dust clouds were walking through the streets, and on the trees from the heat began to yellow the leaves" ("Sister").

Nature in the works of Chekhov, as a lively thinking creature, breathes, rejoices, sadness, feels. An animation of nature Often B. artistic workBut Chekhov, she is very close to a person, relative to him (Wed. Miscellaneous features of personification in the landscapes of this type and in comic landscapes):

"Old Beroes<…> Quietly whispering with young foliage "(" not destiny! ").

"The land, dressed in greens, sprinkled with diamond dew, seemed beautiful and happy" ("Alien trouble").

"Cooked a sharp wind, and in the courtyard there was the time of the spring fracture, when the nature itself, it seems, as if it is not solved: whether they still have winter or wait for her with hand and go to the summer" ("Criminal").

"The sun shines brightly, and his rays, playing and smiling, bathe in the puddles together with sparrows. Trees goal, but already live, breathe "(" spring ").

"Fucked large snow; He quickly spinned in the air, and his white clouds chased each other by the roadside of the road "(" Murder ").

Chekhov almost no urban landscape, favorite place of action - Manor:

"... The sky, gold and the bugger, reflected in the river, in the windows of the temple and in the whole air, gentle, deceased, is inexpressible pure, as never happens in Moscow" ("Men").

"To the right from the city, quietly departing and occasionally shuddering from the unfounded wind, the alder grove was dark, the unbarrous field was left to the left" (Agafya ").

"... opposite the house stretched the fence, gray, long, with nails" ("Lady with a dog").

Nature, alive, harmonious, personifying creative power, is often separated from the house, city, dead and artificial. The unity of the hero with nature speaks of his inner freedom. Chekhov provides a hero choice: "steppe" - "City". The awakening of the soul occurs through communication with nature, and most often it is an output in the field, a garden that become symbols of the liberation of a person from "case", exit from "cabins":

"When you see a wide rural street with her outstands, stacks, asleep, then get quiet," man in a case ").

"... in the soul, together with the fresh, light frosty air was asking a feeling similar to white, young, fluffy snow" ("Flip").

In Chekhovsky landscape, sometimes in an interesting way "works" vertical dominant. It also occurs the possibility of "output":

"... the right stretched, and then disappeared far behind the village a number of hills, and both of them knew that this is the river bank, there is a meadow, green willow, manor, and if you become one of the hills, then from there you can see the same huge field, telegraph and a train<…> And in clear weather, even the city is visible "(" Gooseberry ").

"The river was in the verst from the village, winding, with wonderful curly shores, for her again a wide meadow<…> Then, just like on this side, a steep rise to the mountain, and at the top, on the mountain, the village with the five-headed church and a bit, a little, the Lord's house "(" Men ").

"There was a strong, beautiful thunderstorm. On the horizon of lightning, white ribbons were continuously rushed out of clouds in the sea and covered on the distant space of high black waves "(" Duel ").

Landscape in the works of Chekhov - Observer and "Witness of History" ("Steppe"), he leads to philosophical reflections On the eternity of nature, the heroes and readers think about the meaning and frequency of human life, over the problems of being, reveals human harmony with nature or confrontation to it:

"The foliage did not move on the trees, shouted the cicadas, and the monotonous, deaf noise of the sea, who came from the bottom, spoke of peace, about the eternal dream, which awaits us ..." ("Lady with a dog").

"They walked and talked about how strangely lit the sea; The water was lilac, such a soft and warm, and on it from the moon there was a gold strip "(" Lady with a dog ").

"When the first snow goes, on the first day of driving on a sleigh nice to see white ground, white roofs, breathing easily ..." ("Lady with a dog").

"... Everyone in the garden looked untidishly, sadly, I wanted to actually work" ("Bride").

"... it was quiet, not hot and boring ..." ("Gooseberry").

"Turquoise water color<…> The sky, the shores, black shadows and the urgent joy that filled her soul, told her that the great artist would come out of her ... "(" Pumping ").

In the landscape Chekhov dynamics dominated above static:

"Light. The Milky Way was pale and little melted, like snow, losing her outlines "(" Happiness ").

"The rain just stopped, the clouds fled quickly, the blue lumens became more and more in the sky" ("Pecheneg").

"Cold needles stretched on the puddles, and it became uncomfortable, deaf and indisputable in the forest. Forest in winter "(" Student ").

Chekhov landscape is rich bright art details(Recall, for example, the description of the lunar night through the blustering of the bored bottle of the neck). The writer said that "in the description of nature it is necessary to grab the minor particular, grouping them in such a way as to read when you climb the eyes, the picture was given."

"The rays of the sun bright stains lay on the forest, trembled in a sparkling river, and in an unusually transparent blue air stood such freshness, just the whole world of God had just bought out, which became younger and healthy" ("Alien trouble").

"In every snowflake reflected a clear sunny day" ("Old age").

"Morning. Through the ice laces, covering window windows, makes it easy to children's bright sunlight "(" Event ").

K.i Chukovsky spoke of "Tag, like a shot, comparisons"Chekhov, in which -" unsurpassed brevity energy. " And, above all, this refers to the descriptions of nature:

"... In the swamps, something living is complaints about buzzing, accurately blowing into an empty bottle" ("Student").

"... Curish clouds similar to the scattered snow" ("Nalim").

"... Birching is a young and slender, like a lady ..." ("Violin Rothschild").

"The shadows are in short and go to themselves as a snail horns ..." ("Nalim").

"Thunder thundered as if I wanted to destroy the city" ("Sister").

Notes

Sebin E.N. Scenery. Introduction to literary studies. M.: Higher School, 1999. P. 228.

Examination in Russian 4 Quarter

Grade 6 dictation with grammatical task

Spring arrival.

The lead sky is still frowning, but in the lumens of the clouds for a while makes his way with a sword of the ray of the sun. Spring is gaining speed.
In the morning, light chill keeps in lowlands, and on the south side of the hill, the yellow lights of some plants have already caught fire. This is a coltsfoot. I do not confuse yellow baskets of her flower.
This is something shine in the pink beams. It gently merges with glitter and snow remnants. Translate sunshine.
Some of the bushes comes from the bushes, as if silver bell rings. Oatmeal! In winter, they are sluggish, inconspicuous, and now they spoke full voice. Any week will pass, and the Gomani Gomon, and the Lark songs will announce the victory of spring. Other birds will be returned. Many difficulties will have to overcome them on the way to native places, but no obstacles will stop them. (118 words)

Clause text. Perform a syntactic analysis of 1 sentences.

Disassemble words in composition: lights, dial, chill.

The lead sky is still frowning, but in the lumens of the clouds for a while makes his way with a sword of the ray of the sun.

Grade 7 dictation with grammatical task

By the sea

Petka and Bear were tired of the deserted seashore, dying with pebbles, polished by the waves. From the barely pegless sea on the boys, I was looking strange afraid and silence. The rays that did not argue behind the sun horizon slipped on light waves running ashore.
The long steppe road that pulled to the sea from the distant city was impregnated with a long-standing smell, remained behind, and there was no boundaries in front of the entire distance. And the guys seemed to have reached the very edge of the world, which is no longer anything. There is one quietly sparing the sea, and above it is as endlessly sky, only in some places covered with pale pink clouds.
Boys, tired long, walked silently. Their heads were hidden behind the tears of dry bouran, assembled by them for the future fire. (117 words)

Perform a syntactic analysis of the sentence, build a scheme.

Boys, tired long, walked silently.

Find in the text of dictation 3 involved turnover, highlight them.

Dictation grade 10.

About the battery Tushina was forgotten, and only at the very end of the case continued to hear the canonad in the center, the prince of Bagration was sent there to Prince Andrew, to be told the battery to retreat as soon as possible. The cover that was raised by Tushina's guns, left for someone's orders, in the middle of the case, but the battery continued to shoot and was not taken by the French only because the enemy could not assume the boldness of the shooting four, nobody protected guns.
All tools without orders beat in the direction of fire. As if customizing, twisted the soldiers to each shot: "Clever! So so! " The fire, the wind, quickly spread. The French columns, who spoke behind the village, went back, but, as if, in the punishment for this failure, the enemy put up the right of the village of ten tools and began to beat them on Tushina.

In the smoke, stunned by uninterrupted shots, forced him to shudder each time, Tushin ran from one to the gun to another, then aiming, then counting shells.
As a result of this terrible buzz and noise, the needs of attention and activity, Tushin did not experience the slightest feeling of fear, and the thought that he could kill or hurt him, did not occur to him. On the contrary, he became all fun and more fun.

Perform a syntactic analysis of the sentence, build a scheme. Specify the types of communication and type of apparent.

Grade 11 Test

Test number 1 (Option I)

Mark the word number in which the letter is written at the site and:
1) circle_
2) lily of the valley;
3) essay;
4) Fondum.
2. Mark the word number where writing with non-mnifnia:
1) made (not) so;
2) I (not) is hot;
3) a lot (not) of successive in mathematics;
4) No one (no) famous story.
3. Mark the offer number in which the comma puts on the site:
1) Girls and boys_ and their young teacher lost in the forest.
2) The wind blew with a black cloud, carrying a cloud of dust and the smell of rain_ and wet earth.
3) Large white birds are circling over the water_ or sit down on the stones.
4) Facepiece_ Yes, the non-blacksmith.
4. Mark the number of the word, where the letter is written on the site, transmitting a ringing consonant sound:
1) in order;
2) sweet_a;
3) be_trept;
4) Pro_ba.
5. Mark the word number where writing separate:
1) (by) morning I always feel better.
2) Flowers stretch (on) a meeting of the sun.
3) Nasty conversation postpone (for) tomorrow.
4) (by) I am here that I miss.
6. Mark the word number with a double consonant:
1) UP (P) etit;
2) count (l) of the Her;
3) them (m) idat;
4) MRI (M) of ACA.
7. Specify the number of the variant that does not correspond to the stylistic standards of the language:
1) kilogram sugar;
2) one thousand nine hundred and eighty-fourth year;
3) with three scissors;
4) Contrary to him.
8. Mark the number of complex words with a connecting vowel:
1) Cook;
2) Teleigue;
3) athletic;
4) izostudia.
9. In which row in all the words I miss?
1) does not depend on the (b) of those, syriol (b) ka, wave (b)
2) beech (b), solosh (b), klyan (b) read;
3) not cry (b), after (b), naval (b);
4) Soles (b) other, WHO (B) Mita, from pears (b).
10. The text below refers to the following speech style:
1) official-business;
2) artistic;
3) journalistic;
4) Scientific.
The State Commission was commissioned by the Novosibirsk Metro. While he is the only one for all the Siberia, Siberia and the Far East. The high-speed transport highway connected the areas of the half-and-half-million city, located on both banks of Ob. She was erected in unprecedented short time: in just six and a half years. Such paces still did not know the domestic practice.
11. In which example is NN in the suffix?
1) grilled patty;
2) the inventions are patented;
3) scholar_ boy;
4) The words of the girl are frivollen.
12. In which sentence at the place of the pass, you need to put a dash?
1) I trust loving_ because they are generous.
2) Round land on it do not hide secrets.
3) I love cheerful art of nature_ flowers, butterflies, tropical plants, waterfalls, fountains.
4) I hear I_links the tit out of the zhulent fields.
13. Orphographic error is allowed in the word:
1) decorate;
2) forceps;
3) spotted;
4) Fencing.
14. In what word letter t, imprisoned in brackets, is not written?
1) chrus (T) to be missed;
2) Zasholus (T);
3) rus (T);
4) Yaros (T).
15. In fact, is it possible only one writing?
1) (from) that;
2) (before) tomorrow;
3) approx (e, and) rhine;
4) Kos (T).
16. In which sentence at the point of passing the comma does not put?
1) Wait for happiness. Yes, misfortune helped.
2) Life is given once. And I want to live it cheerfully, meaningful, beautifully.
3) Answer me. And then I will worry.
4) Already completely dawn_ and the people began to rise when I returned to my room.
17. In what word emphasis falls on the second syllable?
1) anchor;
2) deepen;
3) dyeing;
4) consolidation.
18. In which case is not written separately?
1) (not) invented by me;
2) talk (not) restrained;
3) (not) friendly with me;
4) Completely (no) thoughtful solution.
19. In which sentence is incorrectly decorated?
1) The official did not answer, he closed his face with his hands, his chest was worried, in his abrupt words, despair was glanced, it seemed that he was sobbing, and finally he exclaimed: "No, I can't, I can't ship it!" - And running.
2) "Strange ... - thought Dyakon, without recognizing the gait of Laevsky. - As if the old man."
3) "Grandma," said Egorushka, "I want to sleep."
4) "What are they doing?" - thought Prince Andrei, looking at them. "Why doesn't the red-haired artillery run, when he has no weapons? Why doesn't his Frenchman?"
20. Mark the word number with the prefix prefabit
1) pr_set;
2) pr_RUB;
3) PR_BERS;
4) pr_vdnaya.
21. The lexical meaning of which word is defined incorrectly?
1) Banality - ordinary, beaten opinion.
2) Factor - the cause, driving force, the necessary condition of any process, phenomena that determine its character or individual features.
3) Revelation - sincerity, comprehensive, truthfulness, straight.
4) spectacular - producing a strong impression, effect; Designed to make an effect.
22. In what word is the letter yu?
1) vetere winds;
2) GMUR_ Father;
3) foster wave;
4) believers molding.
23. In which example is written?
1) Which of us N_ find a warm welcome in this house?
2) It was N_ who other than my faithful friend.
3) Nobody other than the faithful friend, H_ will help you in a difficult moment.
4) who H_ cried over this novel, everyone explained their tears in different ways.
24. We need commas on the spot numbers:
The rain is crushed into windows windows (1). Gulko blows wind (2) and (3) when (4) Glass dusk Street lights lightning flashes (5) Flowers from the windowsill (6) seems (7) fall.
1) 1, 2, 3, 4, 5, 6, 7.
2) 1, 2, 3, 5, 6, 7.
3) 1, 2, 4, 5.
4) 1, 2, 5.
25. In what word the letter is missing?
1) uch_lock;
2) pass_;
3) j_ardochka;
4) Dressing.
26. Mark the offer number with a punctuation error.
1) When you see a wide rural street with its bends, stacks, asleep, then it becomes quiet in the soul.
2) The forest in which we entered was extremely old.
3) How nicely that it is snow and what she came, and that tomorrow I will lead her to my favorite places.
4) Empty never happens in the forest, and if it seems empty, then it is guilty.
27. In what word the same number of letters and sounds?
1) Arship;
2) Casual;
3) Buncher;
4) cabin.

Grade 9 presentation with essay elements

N 5.

Dog jealousy

They returned here later in the morning, but without taking a gun.

Since everything was perfectly visible (not that once in Sularmets), Bim began to act bolder: he was brought together in the woods, not forgetting to follow the owner. Everything went as it is impossible.

197 Baim won the weak smell of Waldshnepa and made a classic rack. "Forward," Ivan Ivanovich commanded, only he had nothing to shoot. He ordered to lie down, as it believes when the bird takeoff. Bima became incomprehensible, sees the owner or not? And he became a spark at him to look until he was convinced - he sees.

The situation was repeated with the second Valdshnepe. But in the movements Bim now slip offended. Dissatisfaction was looking for an outdoor outlook, jogging by a side, even in trying to disobedience. It was pushed by Bim to break through the third already boiling Waldshnepe, as if he, Bim, was an ordinary mongrel. But Waldshnepa persecutes will not be chasing: he flashed in the branches and the next second has already disappeared. Now, to the fact that Bim was punished, discontent with the results of hunting was added. Well, well, he moved to the side, lay down and took a deep breath.

Ivan Ivanovich stopped, inspecting and sniffing the air. Then he stepped down, sat down and gently stroked the growing flower, tiny such (almost not smelling to Ivan Ivanich, and for Bim scary stinky). And what did he find in this flower? Sits and smiles. And, exclusively, from respect to the personality of the owner, Bim pretended that he was also fun and good. In fact, he was very surprised. And in the meantime, the owner said to him: "You look, see-ka, Bim," and touched the nose of the dog to the flower.

I could not even endure to BIM and turned away, immediately moved away and lay down on the clearing, expressing one thing: "Well, and sniff your flower!" Such a discrepancy required an urgent clarification of relations, but the owner of Bim only happily laughed into his eyes. Bima was hurt: "I also laugh!"

And the owner from the flower is now talking to him: "Hello, first!", - And "Hello," this is not exactly said to him, Bim. And it happened that jealousy began to creek in the dog, if you could say so. And although the at home, the relationship as if they were improved, but this day Bim was considered unsuccessful: the game was not shot, chasing the bird - they punished, and even - the flower is one.

Yes, still happens to the dog's dog's dog, because she lives under hypnosis of three "whales": "you can not", "back", "good".

Express about the problem of human and animal relationships.

Prose takes place in the literature only
Thanks to the poetry contained in it.
\\ Akutagawa RyunKe \\

***
Enjoy with me music
Chekhov prose.

Night media.
From the story "man in a case".

"It was midnight. It was right that everything was seen; a long street stretched far away, lay on five. Everything was immersed in a quiet, deep sleep, nor movement. Neither sound, I can not even believe that in nature it may be so quiet. When in the moon night you see a wide rural street with her outstands, stacks, asleep, then it becomes quiet; In this, it is in the soul, hiding in the night shades from work, worries and grief, she is a mantle, sad, beautiful, and it seems that the stars are watching She is affectionately and with mony and that evil is no longer on Earth and everything is safe, the field began to left from the edge of the village; it was visible far to the horizon, and in full swing of this field, filled with lunar light, neither movement, no sound.
....................
And we live in the city in Dukhot, in Tensic, among unnecessary and empty papers, we speak and listen to different nonsense ...
We see and listen to how lgut, .... and you are considered a fool for you to lose this lie, demolish the resentment, humiliation, not daring to openly declare that you are on the side of honest, free people, and lie yourself and smile And all this because of a piece of bread, because of a warm corner, because of some roshikh, which is a penny-price. "
***
"It was midnight,
and in the deep quiet sleep
The world is immersed.
No sound nor movement ...
I can not believe
what could be so quiet
In nature on earth.
Filled with moonlight
Asleep, the rest breathe willow ...
And in the soul so quiet
And deceased in the night.
And the street village, in the shade
Touching the work
from grief and worries,
she is the kard, sad
And beautiful. And it seems
What stars are watching
so affectionately, low
on it.
And there is no evil ...
And everything is safe ...
And we all life
We carry out in a slightness,
among unnecessary and empty
Papers ...
And listen to how Lgut,
and tolerate this lie,
And demolish the humility
and insults, and lounce themselves,
\\ not dare to declare
What are we on the side
decent and honest.
And all - because of the corner,
Due to the piece of urgent,
Because book
which on the market
Gross Price. "

Spring picture
From the story "At the submarine"

"In the midst of the ninth morning left the city.
The highway was dry, the beautiful April sun was very warm. But in the ditch and in the forest there was still snow. Winter is evil, the long was still so recently, Spring suddenly came, but for Maryia Vasilyevna, who was now in the cart, did not imagine anything new and interesting neither heat, nor dark, stentered spring, transparent forests, no black flocks flying in the field Over huge puddles similar to the lakes, neither this sky, a wonderful, bottomless, where, it seems to be gone with so joy "
***
Under the beautiful April sun,
Although in the forest and in the ditch snow,
The highway is dry and pure ...
Winter long, evil
It was still so recently.
Spring came suddenly, suddenly.
So warm. And forests, even dark,
But the warmth of the Spring Spring,
so transparent ... and black flocks
scattered above the field where the puddles,
Almost like lakes, cool ...
And the wonderful sky is bottomless.
Would go to it - so gratifying ... "
***
Thinking out loud.
From the story "Gojberry".

It is necessary that someone with a hammer stand behind the door of each satisfied, and constantly reminded the knock that there is unhappy that no matter how happy, life will sooner or later show him his claws,
The trouble will shave, the disease, poverty, loss, and no one will see him and will not hear how he does not see and hears others. But there is no man with a hammer, happily lives, and small everyday worries worry him slightly, like the wind ash, and everything is safe.
***
What is the quiet,
quiet evening...
But sad about it,
I dont know...
Perhaps
that we are not eternal
And happiness is impeccable
can not be...
Ile someone with a hammer
Rocky
Behind the door attached
Suitable ...
And ghostly
Presence of mine
about blizzards forget
Does not allow ...

annotation scientific article on literal literature, author of scientific work - Kochenov Ksenia Aleksandrovna

Similar topics scientific Publication and Literary Relations, Science author - Kochnova Ksenia Aleksandrovna

Text of scientific work on the topic "Night in the language picture of the world A. P. Chekhov"