M. Gorky “They’re going”: A.P. Chekhov "Man to the Case. “When on a moonlit night you see a wide rural street with its huts...: mary_hr5 — LiveJournal When on a moonlit night you see

20.06.2020

From a poetic landscape "thoughtful evening" the story begins. In it, reality is closely intertwined with fiction, fantasy, and the world of legends. The work ends on the same poetic note:

...And after a few minutes everyone in the village fell asleep; only one month swam just as brilliantly and wonderfully in the vast deserts of the luxurious Ukrainian sky. The night breathed just as solemnly in the heights, divine night, burned out majestically. She was just as beautiful land in marvelous silver shine; but no one reveled in them: everything fell asleep.

Thus we see that night landscape frames the story, encloses its action in a kind of frame composition, he fills the characters of Levko and Ganna with poetry.

The image of the moon in a work can be symbolic, that is, it can express various figurative meanings. Since the symbol has many meanings, the lunar landscape can have a variety of interpretations. For example, the moon is often a symbol of death. Thus, the moon as a symbol of death is often found in A.P. Chekhov. Moonlight floods many of Chekhov's landscapes, filling them with a sad mood, peace, tranquility and immobility, similar to what death brings. Behind the story of Belikov's death in the story "Man in a Case" follows a description of a beautiful rural picture, filled with moonlight, which emanates freshness and peace.

It was already midnight. To the right the entire village was visible, the long street stretched far, about five miles. Everything was immersed in a quiet, deep sleep; no movement, no sound, I can’t even believe that nature can be so quiet. When on a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, then my soul becomes quiet; in this peace of hers, hidden in the shadows of the night from labors, worries and grief, she is meek, sad, beautiful, and, Seems that the stars look at her tenderly and with tenderness and that there is no longer evil on earth and everything is fine (Chekhov, Man in a Case).

It is no coincidence that Chekhov uses the word here "Seems", because external well-being and absence of evil after Belikov’s death are deceptive. In fact, with the death of Belikov, case life did not disappear, since he was not its only representative in the city. Life, “not circularly prohibited, but not completely permitted”, continued.

And in fact, Belikov was buried, but how many more such people are left in the case, how many more will there be!(Chekhov, Man in a Case).

The moon illuminates the cold corpse of Doctor Ragin in the story "Ward №6".

There he lay on the table with with open eyes and the moon illuminated it at night(Chekhov, Ward No. 6).

The main character dies, so the author punishes him for his lack of will, for his unwillingness to fight evil. “Chekhov sternly and courageously condemned the position of social indifference, because Oblomov’s attitude to life of Dr. Ragin, his extreme indifference to people turns out to be disastrous not only for his patients, but also for Ragin himself” [Kaplan 1997: 69].

The image of the moon appears even before Ragin’s death: when the hero finds himself in the place of his patients. It is an ominous omen, reflecting the feeling of fear in the soul of the hero.

Andrei Yefimitch went to the window and looked out into the field. It was already getting dark, and on the horizon on the right side was rising cold, purple moon…“This is reality!” - thought Andrei Yefimitch, and he felt scared. The moon was also scary, and the prison, and the nails on the fence, and the distant flame in the bone plant(Chekhov, Ward No. 6).

Then everything became quiet. Liquid moonlight walked through the bars, and on the floor lay a shadow like a net. It was scary (Chekhov, Ward No. 6).

The description of the lunar landscape in this story by Chekhov, and indeed in all others, is very laconic, but Chekhov is different in that, using only catchy, spectacular details, he creates an impressive picture of nature. Chekhov himself spoke about this: “In descriptions of nature, you need to grab hold of small details, grouping them in such a way that after reading, when you close your eyes, a picture is given” [Sokhryakov: 47]. IN in this case such expressive details are "cold, crimson moon", "liquid moonlight"- they are filled with bright expressive colors and paint before us a truly ominous picture that accurately depicts what is happening in the soul of the main character. Ragin feels horror, because he saw the light and realized that all reality is a prison, he realized his guilt before people. Finding himself in a ward, and not in a cozy office, in a patient’s robe, and not in a uniform or a tailcoat, he realized that “it turns out that one cannot despise suffering; indifference is scary!” [Kaplan 1997: 73].

But the idea of the relationship between the moon and death is most clearly expressed in the story "Ionych" when Startsev sees the cemetery “a world where the moonlight is so good and soft, as if its cradle is here”, Where “breathes of forgiveness, sadness and peace”(Chekhov, Ionych).

The moon can also act as a symbol of dark passion. Thus, Chekhov’s moon pushes towards a forbidden feeling, encourages infidelity. In the story "Lady with a Dog" Gurov and Anna Sergeevna take their first steps towards each other, marveling at the unusual lilac sea with a golden stripe running along it from the moon.

They walked and talked about how strangely the sea is lit; the water was lilac in color, so soft and warm, and along it golden came from the moon strip (Chekhov, Lady with a Dog).

Olga Ivanovna from the story "Jumping", enchanted on a quiet moonlit night, decides to cheat on her husband.

- Yes, what a night! - she whispered, looking into his eyes, shining with tears, then quickly looked around, hugged him and kissed him hard on the lips (Chekhov, Jumping Girl).

Inexperienced Anya, the heroine of the story "Anna on the Neck", takes the first step on the path of a spoiled coquette on a moonlit night.

She went out onto the platform, under the moonlight, and stood so that everyone could see her in her new magnificent dress and hat... Noticing that Artynov was looking at her, she she narrowed her eyes coquettishly And spoke loudly in French, and that's why that her own voice sounded so beautiful and that music and the moon reflected in the pond, and because Artynov was looking at her greedily and curiously... she suddenly felt joy...(Chekhov, Anna on the neck).

The main character is a poor girl who, for the sake of her family, marries a rich man who is actually disgusting and disgusting to her. Immediately after the wedding, the newly-made husband takes his young wife to pray at the monastery in order to show her “that in marriage he gives first place to religion and morality.” At the station, Anya is immersed in heavy thoughts about her family, but suddenly moonlight notices interested glances from men and decides that she will certainly be happy. It is in this episode that a turning point occurs in the heroine’s soul; she embarks on the path of her moral decline. We see how Anya gradually turns from an immaculate, pure girl into a shameless socialite.

The moon fuels passion in Startsev in the story "Ionych". He is overcome by erotic fantasies.

...Startsev was waiting, and for sure the moonlight fueled his passion, waited passionately and imagined kisses, hugs. He sat near the monument for half an hour, then walked along the side alleys, hat in hand, waiting and thinking about how many women and girls were buried here, in these graves, who were beautiful, charming, who loved, who burned with passion at night, surrendering to caress... in front of him the pieces were no longer white marble, and beautiful bodies , he saw forms that shyly hid in the shade of trees, felt warmth, and this languor became painful(Chekhov, Ionych).

U I.A.Bunina The image of the moon most often acts as a symbol of unhappy love. So, in his story "Clean Monday" main character and his beloved, on the eve of their unexpected separation, are walking under full moon. The moon foreshadows their separation; it is no coincidence that the heroine associates it with a skull.

On the way she was silent, bowing her head from the bright moonlit snowstorm flying towards her. Full month diving in the clouds above the Kremlin - “some kind of glowing skull", she said(Bunin, Clean Monday).

The story “Clean Monday” repeats the characteristic “formula” of the plot of all Bunin’s stories about love - the meeting of a man and a woman, their rapid rapprochement, a dazzling outbreak of feelings and an inevitable separation. Moreover, in this story the separation is not immediately clear to us; at the beginning it seems strange and mysterious, because there are no visible reasons for it. But this is the peculiarity of Bunin’s love, since it is always tragic, doomed, for only when the heroes part, as Bunin believed, will they preserve this love for the rest of their lives. For Bunin, the sphere of love is a sphere of unsolved mystery, unspokenness, opaque semantic depth. “Love,” as one of his contemporaries wrote, “has always seemed to him perhaps the most significant and mysterious thing in the world” [Mikhailova 2000: 58]. The lunar landscape in the story further emphasizes the mystery of the feelings of two loving people.

Chapter 3 Functions of the lunar landscape in lyrical works

In lyrical works, the landscape is presented more sparingly than in prose. But because of this, the symbolic load of the landscape increases. This function is reflected especially clearly in the poetry of the Symbolists.

Yes, for K. Balmont, like for many other symbolists, the moon is a symbol of the ideal world, the world of dreams, beauty, creativity. The poet shrouds the image of the moon in a haze of mystery, sings of its sad beauty: “The moon is rich in the power of suggestion, // Around her always hovers secret.//…//With her ray, a pale green ray,// She caresses, strange so exciting,//…// But, beckoning us with unforgettable hope,// She herself fell asleep in the pale distance,// Beauty of melancholy unvariable, // Supreme Lady of Sorrow"(Balmont, Luna). The connection between the moon and the ideal world is particularly clear in his sonnet “Moonlight”.

Keywords

LANGUAGE PICTURE OF THE WORLD OF THE WRITER / ARTISTIC SPEECH SYSTEM / FIELD METHODOLOGY / LEXICAL-SEMANTIC FIELD/ LEXEME / SEMA / LANGUAGE PICTURE OF THE WORLD OF THE WRITER/ ART-SPEECH SYSTEM / FIELD METHODS / LEXICAL-SEMANTIC FIELD / LEXICAL UNIT / SEME

Annotation scientific article on linguistics and literary criticism, author of the scientific work - Ksenia Aleksandrovna Kochnova

The article is devoted to research problems the writer's linguistic picture of the world, his idiolect using field techniques. The study of the individual artistic speech system is carried out through the construction lexical-semantic fields. Copyright lexical-semantic field“Night” is distinguished by a more detailed composition than in the common language, the specificity of the semantic structure of the constituents of the field (complication of the semantic structure of the word, the build-up of semes, the restructuring of their hierarchy), the structure of the field itself as a whole, which are influenced by the transformative role of the artistic worldview.

Text of scientific work on the topic “Night in the linguistic picture of the world of A.P. Chekhov”

Vestnik Tomskogo state university. 2015. No. 393. pp. 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 linguistic picture of the world of a writer, his idiolect using field techniques. The study of the individual artistic speech system is carried out through the construction of lexical-semantic fields. The author's lexical-semantic field “Night” is distinguished by a more detailed composition than in the common language, the specificity of the semantic structure of the constituents of the field (complication of the semantic structure of the word, the build-up of semes, the restructuring of their hierarchy), the structure of the field itself as a whole, which is influenced by the transformative role artistic worldview.

Key words: the writer’s linguistic picture of the world; artistic speech system; field methodology; lexical-semantic field; token; sema.

The study of a person’s linguistic picture of the world has recently often forced us to turn to the study of the writer’s language through the study of the lexical-semantic system using field techniques. The field approach allows us to explicate the author’s worldview, identify the specifics of his value orientation and linguistic priorities, the peculiarities of the individual author’s word usage, etc.

The lexical-semantic field (LSF) is of interest for studying the writer’s linguistic picture of the world from the point of view of content, composition (explains a fragment of the writer’s worldview), and structural organization. Structuring and analysis of the author's lexical-semantic field shows how certain categories and concepts are explicated in the writer's individual language system, highlighting their specificity in his artistic worldview.

Let's consider the LSP “Night” in the language of artistic prose by A.P. Chekhov.

The lexeme night, taken as nuclear in the analyzed field, is characterized, firstly, by a high frequency of use (according to the results of a quantitative analysis among keywords with the theme “natural time” the lexeme night takes first place). Secondly, about the significance of this word in the works of A.P. Chekhov is also evidenced by data from 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 an event orientation, E.I. Lelis characterizes the lexeme night in the works of A. P. Chekhov as a key word that occupies a special position in literary text and endowed with specific aesthetic functions, E.A. Polotskaya writes about the special significance of the image of a moonlit night in the works of A.P. Chekhov as a writer’s “obsessive poetic idea.” All this data - quantitative analysis and research materials - particularly distinguishes the lexeme night from the background of other lexemes.

The lexeme night is central in the field of the same name. This word unites around itself in the nuclear part cognate words (night, midnight, midnight) and units of the denotative set that coincide with it in a number of meanings. Let's consider them, starting with the linguistic implementation of the central lexeme night, artistically interpreted by the writer.

The night nature of A.P. Chekhov, as a rule, is filled with mysterious images that represent “something unknown and terrible”, inaccessible to understanding common man: “I breathed deeply, and I wanted to think that not here, but somewhere under the sky, above the trees, far outside the city, in the fields and forests, my life was now unfolding, mysterious, beautiful, rich and holy, inaccessible to the understanding of a weak, sinful person " (Bride) ; “Everyone looks at the sunset and every single one of them finds that it is terribly beautiful, but no one knows or will say what the beauty is” (Beauties). The description of the night includes the lexical units unknown, incomprehensible, inaccessible, mystical, on the one hand, and beautiful, holy, etc., on the other.

On a quiet night, Lipa’s immeasurable grief also subsides; on a quiet and beautiful night, one believes that, no matter how great the evil, “yet in God’s world there is and will be truth, just as quiet and beautiful, and everything on earth is just waiting to merge with truly, how the moonlight merges with the night" (In a ravine), therefore, "when on a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, your soul becomes quiet; in this peace of hers, hidden in the shadows of the night from work, worries and grief, she is meek, sad, beautiful, and it seems that the stars are looking at her tenderly and with tenderness, and that there is no longer evil on earth and everything is fine” (Man in a 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 collision of the “norm” by which nature lives, i.e. existence according to the laws of beauty, harmony, freedom, and man, the weak , a sinner in whose life this “norm” is absent. Therefore, night is “a wonderful, extraordinary time, when everything around is inaccessible to the understanding of a sinful person.” Thanks to the actualization in the semanteme of the night, this is quiet, meek, sad, peace, sleep in an artistic context, it is necessary to highlight in its structure the additional meaning of “a time of peace, peace in the soul.”

The contextual synonym for the word incomprehensible in the text becomes mysterious (“surrounded by mystery, seemingly inexplicable”): “Through the sparse trees a courtyard flooded with moonlight was visible, the shadows were also mysterious and stern...” (Three years). Night in the works of A.P. Chekhov

“... is a special spectacle. The world did not move at night. After all, the real one, the most interesting life every person passes under the cover of secrecy, as if under the cover of night.”

The writer often associates the mysterious with a religious perception of the world. At night, “the earth takes on mysterious shapes” and all everyday objects “are dressed in ideal veils,” distant lights in the field resemble the Philistine camp (Fires); giants and chariots drawn by six wild, mad horses appear; Drawings from the Sacred History (Steppe) come to life, and Lipa asks those he meets in the darkness: “Are you saints?”, and they, not surprised, answer: “No, we are from Firsanov” (In the ravine). On Easter night, Monk Nicholas, a “nice poetic man,” misunderstood and lonely, comes out “to echo Jerome and sprinkle his akathists with flowers, stars and rays of the sun” (Holy Night). The stars from the night sky “look in deep humility” (Ionych), and the field, forest and sun “are going to rest and, perhaps, pray” (Steppe).

In the story “The Student,” the lonely fire of a fire casts its mystical light on the distant, on the past, and on the night close to Easter, another, long-standing, memorable night in the Garden of Gethsemane is resurrected: “I imagine: a quiet, quiet, dark, dark garden, and in the silence one can barely hear muffled sobs,” then Peter weeps, having denied Christ three times. So “the deep, true world of the night destroys all limits of time and space. The past and the present are coming together."

Thus, A.P. Chekhov on the direct meaning of the lexeme night - “part of the day from evening to morning” - through the lexemes mystical, mysterious, holy, humility, cover, fire, Gethsemane, Christ, Peter, Easter, Philistines, akathists in the context the meaning “mysterious, fabulous time", which is often associated with the writer’s religious perception of the world.

Within the meaning of “incomprehensible”, “mysterious”, a shade of the meaning “terrible, eerie” develops: “Everything incomprehensible is mysterious and therefore scary” (Holy Night), “A dark, hopeless haze hung over the earth<...>I was enveloped in an impenetrable cold darkness<...>my soul was filled with an indefinable and inexplicable fear" (Terrible Night).

For A.P. Chekhov's night is "the time of awakening of internal forces in nature and man." “Nature did not sleep, as if she was afraid to oversleep the best moments of her life” (Fears). A time when vision and hearing are heightened. And the soul rushes to where the stars are in the sky, “high, high, far, far away.” According to V.A. Bogdanov, in the world of A.P. Chekhov’s nature, in particular the night, is “the personification of the creative power that his heroes lack. By introducing it into the artistic world of the work, he thereby introduced an evaluative criterion for what is happening and being accomplished in this world by his characters.”

It is at night that “everything around is not conducive to ordinary thoughts” (Steppe). It is with the night that the writer associates philosophical reflections about man, about nature, about the meaning of nature in human life, and vice versa. And then Chekhov’s description of the night goes beyond the framework of a specific natural picture and becomes universal: a world arises where “eternal” life exists, ensuring the “continuous movement of life on Earth”: “The foliage did not move on the trees, the cicadas screamed, and a monotonous, dull noise the sea, coming from below, spoke of peace, of the eternal sleep that awaits us. It was so noisy below, when there was neither Yalta nor Oreanda here, now it is noisy and will be noisy just as indifferently and dully when we are not there” (House with a mezzanine). A.P. Chekhov calls for moral concern, makes us think about how, in essence, “everything is beautiful in this world, everything except what we ourselves think and do when we forget about higher purposes existence, about one’s human dignity” (Lady with a Dog), constantly looking for that elusive, mysterious connection between the eternally existing universe and the brief moment of a person’s stay on earth.

The cosmic principle was not alien to A.P. Chekhov: “At the moment of the highest emotional upheaval, in moments of deeply emotional upsurge, his heroes come face to face with the mysterious, incomprehensible greatness of the cosmos.”

Along with the lexemes incomprehensibility, unknown in a microcontext with the lexeme night are the LSP lexemes “Emotional and physiological state of a person”: anxiety, anxiety, melancholy, horror, despair, indifference, loneliness, etc. “When you look at the deep night sky for a long time, for some reason your thoughts and soul merge into the consciousness of loneliness. You begin to feel irreparably lonely, and everything that you previously considered close and dear becomes infinitely distant and priceless. The stars, looking from the sky for thousands of years, the incomprehensible sky and darkness itself, indifferent to the short life of a person, when you remain with them eye to eye and try to comprehend their meaning, oppress the soul with their silence; the loneliness that awaits each of us in the grave comes to mind, and the essence of life seems desperate, terrible...” (Steppe), “Anxiety and insomnia,” says lyrical hero story “On Holy Night,” I wanted to see in all of nature, starting with the darkness of the night and ending with slabs, grave crosses and trees under which people were fussing.” Hence the individual author’s meaning of the semanteme night in A.P. Chekhov - “the time when a person realizes his loneliness.” Moreover, this is often a feeling of complete loneliness, which is induced in the lexemes loneliness, silence, grave, irreparable, endless through the semes “having no limit”, “extraordinary in the power of manifestation”, “impossible”, etc.

In one context there are lexemes boredom, melancholy, despondency, etc. The word melancholy, i.e. "oppressive boredom, despondent-

", reigning somewhere, caused by something", includes in its meaning the semantic signs of “boredom”, “dejection”. The meaning of the word boredom is concretized by the semantic signs of “sadness”, “spiritual heaviness”: “I was looking at the telegraph poles, about which swirled clouds of dust on the sleepy birds sitting on the wires, and I suddenly became so bored that I began to cry" (Privy Councilor), "A long, lonely, boring night was approaching" (Woman's Kingdom). It is actualized in the word boredom and sema." spiritual loneliness", which is derived from the semantic features of "indifference", "indifference". All words are perceived as synonyms, since the semantic features that make up the meaning of words are duplicated and intersect, which makes it possible for their common existence at the level individual speech. The very words boredom, melancholy, loneliness are an integral part of the writer’s individual style.

The image of a poplar, steadily running through all the writer’s works, becomes in the world of A.P. Chekhov as a symbol of loneliness. IN poetic texts the poplar can be depicted as a knight, like a tree with royal harmony, a silvery underside of the leaves, when the constant fluttering of the foliage, revealing either a dark surface or a light underside, indicates the duality of life itself. Poplar at A.P. Chekhov - tall, sad, stern and... lonely: “It was not uncommon to come across lonely poplar trees” (On Holy Night); “A tall poplar, covered with frost, appeared in the bluish darkness, like a giant dressed in a shroud. He looked at me sternly and sadly, as if, like me, he understood his loneliness” (Wolf); “But on the hill a lonely poplar appears, who planted it and why it is here - God knows. It’s hard to take your eyes off his slender figure and green clothes. Is this handsome man happy? Heat in the summer, cold and snowstorms in the winter, terrible nights in the fall... and most importantly, all my life alone, alone...” (Steppe).

Within the meaning of “time of loneliness”, one can highlight the shade of the meaning of “death”, actualized in the texts of A.P. Chekhov. The symbolic necrological halo of the poplar is indicated by the use of this word in the same microcontext with the lexemes shroud, die, in which the seme “death” is actualized: “The poplar, tall, covered with frost, appeared in the bluish haze, like a giant dressed in a shroud,” “Weather on The yard is magnificent. Silence, not a single leaf moves. It seems to me that everyone is looking at me and listening to me die” (Boring story). That is, in understanding the night as “a time of loneliness, a period of death,” the categories “loneliness” and “death” play an important role, which are among the main ones in the writer’s worldview. Let's compare with the remark found in the notebooks of A.P. Chekhov: “As I lie alone in the grave, so, in essence, I live.”

I. Bunin recalled that A.P. Chekhov “diligently and firmly said many times that immortality, life after death in any form is sheer nonsense... But then several times he said even more firmly

the opposite: “Under no circumstances can we disappear after death. Immortality is a fact.” This is a kind of micromodel of Chekhov’s approach to death, life, immortality. He seems to admit the possibility of two opposite solutions.

In addition, we should talk about the ambivalent nature of the lexeme night. This is also reflected in mutually contradictory statements within the same macro-context: for example, in the story “The Steppe” one night the night sky “looks languidly and beckons to itself, and its caresses make one feel dizzy”, on another it seems “incomprehensible”, “ oppresses the soul with its silence,” as a result of which “the thought comes to the loneliness that awaits each of us in the grave, and the essence of life seems desperate, terrible...”. The same thing in the story “Duel”: “But when the sun set and it became dark, he was overcome with anxiety. It was not a fear of death... it was a fear of something unknown; and fear of the coming night... He knew that the night would be long, sleepless...", "Fears": "I was overcome by a feeling of loneliness, melancholy and horror, as if I had been thrown against my will into this large pit full of twilight."

Thus, the lexeme night has a heterogeneous emotional connotation: indifferent, terrible, terrifying, fearful... and mysterious, enigmatic, beautiful, enchanting.

The latter is associated with the implementation in Chekhov’s works of the traditionally romantic meaning of the lexeme night “the time of dreams and daydreams”, “the time of a love date” (for example, in the stories “Verochka”, “House with a Mezzanine”, “Three Years”, “In the Native Corner” and etc.). In the writer’s work, “love is one of his leitmotifs - love in all its subtlest and most intimate manifestations.” The peculiarity of Chekhov's romantic meetings at night, in the light of the moon, is that they all turn into separation, love does not bring happiness, their dreams turn out to be unfulfilled, the heroes do not understand each other, the tragedy of their loneliness, this old age of the soul in the prime of life. “There is no longer any laughter, no noise, no meetings on quiet moonlit nights” (Case from practice).

The semantic structure of the lexeme night in the idiolect of A.P. Chekhov can be presented as follows:

NIGHT: 1. Part of the day, the time from sunset to sunrise. Dark time of day.

2. A time of peace and quiet.

3. The time when a person realizes his loneliness // complete loneliness// death.

4. The time of awakening of internal forces in nature and man.

5. Something inaccessible to understanding // something terrible.

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

Thus, the lexeme night is characterized by a complex semantic structure, including general linguistic meaning and author’s, symbolic, and is subject to semantic transformations in the context.

The remaining constituents of the field create the image of night, the central lexeme, representing it in the totality of its inherent meanings. In this regard, we note the following.

The adjective night is used in its basic meaning and thereby correlates with the main nuclear seme of the lexeme night. In an uncomplicated direct meaning, the noun midnight and the adjective midnight are used. “The moon, the moon! - he said and looked up. It was already midnight" (Champagne).

In the same synonymous row with the word night are the lexemes darkness (“lack of light, illumination”), darkness, gloom, darkness, haze (“incomplete darkness outside”), twilight (“incomplete darkness in which one can still distinguish objects”). “Twilight and the sound of rain outside the window were conducive to sleep” (Men).

The meaning of the lexeme night - “dark time of day” - is reinforced by adjectives: besprosvetnyy (amplified) (“about darkness, gloom: complete, perfect”), besproglyadny (amplified), impenetrable (amplified) (“about darkness, gloom: impenetrable "), impenetrable (strengthened) ("one that cannot be penetrated by sight, as well as inaccessible to understanding, hidden"), black. These adjectives characterize the semanteme night as a time of day with a complete absence of light, and also through the semes “incompleteness” and “inaccessibility” they form the fifth meaning (“something inaccessible to understanding”, a connotation of the meaning “something terrible”).

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

The moon is the “night celestial body”, the main, most important element of A.P.’s night landscape. Chekhov. Chekhov wrote about the moon very often in his letters: “It’s a beautiful night. There is not a cloud in the sky, and the moon shines all over Ivanovskaya,” etc. The image of a moonlit night was of great importance for Chekhov, and this has been noted more than once by researchers of the writer’s work.

Programmatic significance was attached to the description of the moonlit night in the story “Wolf”. A.P. Chekhov wrote to his brother: “In my opinion, descriptions should be very brief and have the character of a propos. Common passages like: “The setting sun, bathing in the waves of the darkening sea, poured crimson gold,” and so on. “The swallows, flying above the surface of the water, chirped merrily,” such commonplaces must be abandoned. In descriptions of nature, you need to grab hold of small details, grouping them in such a way that after reading, when you close your eyes, a picture is given... Nature is animate if you do not disdain to use comparisons of its 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, but what about the threadbare topic. And it will be interesting. But you still need to see something of your own in the moon, and not someone else’s and not hackneyed.”

Attention to the image of the moon by A.P. Chekhov traditionally: under the sign of “sleepwalking” was the whole contemporary to the writer poetry. Landscapes A.P. Chekhov are filled with the radiance of the pale moon. Moonlight makes the nights magical, mysterious and forces the heroes to comprehend their surroundings in their own way, remember the past, and think about the future.

The lexemes moon and lunar correspond to the first and fifth meanings of the nuclear lexeme night. Following tradition, A.P. Chekhov uses the moon to describe the scene of a love meeting (here the meaning of the word moon is parallel to the meaning of the nuclear word night - “the time of dreams and daydreams”). The image of the moon in descriptions of nature can traditionally help create a romantic atmosphere (and then the lexeme moon has a positive connotation), or be done in an ironic way (usually in early stories): for example, in the story “Summer Residents”, where the moon becomes the central image in all three landscape sketches: “From behind the cloudy fragments the moon looked at them and frowned: she was probably jealous and annoyed at her boring, useless virginity.” , “The moon seemed to sniff tobacco and hid behind a cloud. Human happiness reminded her of loneliness, a lonely bed behind the forests and valleys,” “The moon emerged from behind the clouds again. She seemed to be smiling; it seemed that she was pleased that she had no relatives”, “... the moon, full and solid, like a general housekeeper, floated across the sky” (Tryphon). The poetic meaning of the lexeme moon differs in A.P. Chekhov by its dual emotional connotation. Consequently, the internal antinomy of the moon semante enhances the ambivalence of the image of night.

A.P. Chekhov has few familiar images; most often he gives original images, comparisons, examples of animation that enliven the perception of the story. Chekhov, as a rule, widely used the technique of animation in his early stories, but later it underwent changes. Chekhov wrote to Gorky about this: “frequent likening to man (anthropomorphism), when the sea breathes, the sky looks, the steppe basks - such likenings make the descriptions somewhat monotonous, sometimes sugary, sometimes unclear: colorfulness and expressiveness are achieved only by simplicity, such in simple phrases like “the sun went down”, “it started to rain”, etc.” .

In a number of contexts, A.P. Chekhov uses two epithets for the word moon: pale and poor. There is a certain stylistic difference between them: if the poor moon carries a charge of the author’s emotion, this is an individualized image, then the pale moon is devoid of individuality - this is a traditional image.

Among the two luminaries - the moon and the month - the moon has the highest frequency of use. From the story “In the Ravine,” where the moonlit night is presented in different ways: at times Lipa and her mother imagine that “someone is looking from the heights of the sky, from the blue, from where the stars are” and that “everything on earth is just waiting, to merge with the truth as moonlight merges with the night.” And the same Lipa, who lost her child, feels...

Feeling terribly alone in the world, she sees how “the moon looks down from the sky, also lonely, which doesn’t care whether it’s spring or winter, whether people are alive or dead...”. In the meaning of the lexeme month, when used in the same microcontext with the lexemes lonely, dead, death, the obituary semantics is clearly noticeable, which was assigned to him as the luminary of the world of the dead in the mythological picture of the world. As for the role of these lexemes in the worldviews of other writers and poets, then, according to the observations of A. Bely, who compares the role of these luminaries, for example, A.S. Pushkin and F.I. Tyutchev, the latter gives preference only to the month, which for him is both “god” and “genius”, pouring peace into the soul.

In the night landscape of A.P. In Chekhov, the motive of a dream certainly arises. The lexeme sleep is used in a figurative sense “about a state of complete peace, silence in nature”: “Everything was immersed in a quiet, deep sleep; no movement, no sound, I can’t even believe that nature can be so quiet” (Man in a Case), as well as in the meaning of “vegetation”, correlated with the general linguistic “inactive, passive state”, but having an additional connotation of “meaningless”, “aimless”: “It was one o’clock in the morning - the time when nature is usually immersed in the deepest sleep. This time nature did not sleep, and the night could not be called quiet.<...>Nature did not sleep, as if she was afraid to oversleep the best moments of her life" (Fears).

All objects - the month, stars, clouds, fog, moon - are anthropotomized by A.P. Chekhov. N.K. also spoke about this. Mikhailovsky: “Everything lives with him: the clouds whisper secretly from the moon, the bells cry, the bells laugh, the shadow leaves the carriage with the man. This kind of, perhaps, pantheistic feature greatly contributes to 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: it includes units that are constituents of other LSPs - “Space”, “Sensory perception”, etc.

On the periphery of the LSP “Night” there are units of the LSP “Space”, creating the image of a boundless and boundless night sky. These are lexemes united by the archeme “boundless” - “having no visible or definable boundaries, extremely large in extent”: distance (“distant space visible to the eye”), boundless (“having no limits, limitless, immeasurable”), infinite (“ having no end, limit in space and time"), boundless ("having no visible limits, edges"), boundless ("so wide that the shores are not visible, stretching over an immense space"), immense ("extending a great distance "), boundless ("boundless, immense"), firmament ("sky open on all sides in the form of a vault, a dome"), high, huge, bottomless ("having no bottom, extremely deep"), deep, boundless ("not having visible or definable boundaries, extremely large in extent"), etc.

In all these meanings, the semes “extremely”, “very” are clearly actualized, emphasizing the great strength (degree) of the manifestation of something (large, deep, high, etc.). The general principles of the author's depiction of an object, creating an individual image, emerge from the entire sum of its descriptions. As a result, based on the entire set of lexemes characterizing the image of the night sky, the concepts of “height” and, as a consequence, the associated concepts of “beauty”, “solemnity”, “holiness” are induced in it: “About the immense depth and boundlessness of the sky one can promise only at sea and in the steppe at night when the moon is shining. It is terribly beautiful and affectionate, it looks languidly and beckons to itself, and its caress makes you dizzy” (Steppe).

The meaning of “enormousness”, turning into the meaning of “grandiosity, heroic scope”, is associated in microcontexts with another meaning - “incomprehensibility”, more precisely, “impossibility of understanding, comprehending” (based on this meaning, the intersection of the LSP “Space” and “Night” occurs ): “With its vastness, it [the steppe] aroused bewilderment in Yegorushka and brought him to fabulous thoughts. Who drives on it? Who needs such space? It’s incomprehensible and strange”, “a kite flies over the ground, smoothly flapping its wings, and suddenly stops in the air, as if thinking about the boredom of life, then shakes its wings and rushes over the steppe like an arrow, and it is not clear why it flies and what it needs”, “wide shadows move across the plain, like clouds across the sky, and in the incomprehensible distance, if you peer into it for a long time, foggy, bizarre images rise and pile on top of each other...", "stars that have been looking from the sky for thousands of years, the incomprehensible sky itself and darkness, people indifferent to a short life... oppress the soul with their silence...", "to the right the hills darkened, which seemed to obscure something unknown and terrible..." (Steppe) [Ibid. P. 48].

The implementation of the semes “mysterious”, “incomprehensible”, “mysterious”, “strange” in the lexemes unknown, incomprehensible, bewilderment contributes to the fact that these words become supporting, keywords in solving this semantic topic.

The meaning of “incomprehensibility”, “impossibility of grasping, understanding”, which grew out of the meaning of “enormousness, grandeur”, is associated with another dominant meaning - “uncertainty”, which is expressed by repeated repetition of introductory constructions with the meaning of assumption: “Trembling in the air, like an insect, playing with its variegation, the little bustard rose high up in a straight line, then, probably frightened by a cloud of dust, rushed to the side”; “Now, in all likelihood, the whirlwinds, whirling and carrying dust, dry grass and feathers from the ground, rose to the very sky: probably tumbleweeds were flying near the black cloud itself, and how scary it must have been,” “to the left , as if someone had struck a match across the sky... It was heard that somewhere very far away someone was walking on an iron roof; they were probably walking on the roof barefoot, because the iron grumbled dully” (Steppe) [Ibid. P. 29, 85]. The meaning of "uncertainty" is enhanced by the combination in one micro-

in the context of the indefinite pronoun someone, the indefinite adverb somewhere and the introductory word.

The dominant meaning of “incomprehensibility”, “uncertainty” is directly related to the meaning of “fairy-tale”, “witchcraft” (here again the intersection of the LSP “Space” and “Night” occurs): “To the right were dark hills that seemed to obscure something unknown and terrible"; “I thought, and the sun-scorched plain, the huge sky, the dark oak forest in the distance and the foggy distance seemed to be telling me: “Yes, you won’t understand anything in this world!”” (Lights) [Ibid. P. 105]; “In an incomprehensible distance, if you peer into it for a long time, foggy, bizarre images rise and pile on top of each other.” Adjectives vague, bizarre - contextual synonyms with a general seme directly named in the microcontext: “vague”, “vague”, “incomprehensible” and hence “terrible”. “Previously, lightning was only terrible... Their witchcraft light penetrated through closed eyelids and spread cold throughout the body” [Ibid. P. 124]. The lexeme witchcraft coexists in a microcontext with the lexemes ominous, bizarre, terrible, incomprehensible, unknown, etc. They, these witchcraft forces, on the one hand, are creepy, scary, on the other hand, they beckon and attract to themselves. The sky is “scary, beautiful and affectionate, looks languidly and beckons, and its caress makes you dizzy”, “a little creepy... Nature is on guard and afraid to move: she is terrified and sorry to lose at least one moment of life” (Steppe) [There same. P. 46]. Semantic repetition is creepy... creepy, repetition of its synonym scary in combination with color adjectives black, dark in one microcontext help A.P. Chekhov created a certain mood caused by the mysterious, fabulous forces of night time.

The “Night” LSP also has a direct connection with the “Sensory Perception” LSP, in particular the “Color Designations” LSP, the constituents of which create a special color appearance of the image of the night: black, white, dull, cloudy, faded, dark, gloomy, etc. Thus, the peculiarity of the use of the lexemes black and white is that they, being opposed to each other in the popular language (cf. “having the color of soot, coal, the darkest of all colors (opposite white)” and “having the color of snow, milk, chalk (opposite black)"), in the natural world of A.P. Chekhov is contextually non-oppositional, since both lexemes enter into systemic relationships, uniting on the basis of “light - dark”: “White walls, white crosses on graves, white birch trees and black shadows... lived their own special life” (Bishop), “All the world seemed to consist only of black silhouettes and wandering white shadows" (Verochka), "Such amazing roses, lilies, camellias, such tulips of all kinds of colors, from bright white to soot black... have never been seen anywhere in another place" (Black Monk). Despite their contrast, both colors serve to create an image. The lexeme black is usually used together with the word white and

its equivalents (pale, light, clear, faded, whitish) and vice versa, white next to the lexemes dark, cloudy, gloomy, dull, etc. The most frequent semantic zone for the implementation of the color meanings of black and white flowers and their shades - a moonlit night: “white and black were visible all around in the distance, and sleepy trees bowed their branches over the white” (Ionych). In this description, A.P. Chekhov does not detail what exactly is indicated by black and white, the main thing is color, when the image of a moonlit night is built on the combination, consonance of elements. “On the dam, bathed in moonlight, there was not a single piece of shadow... the neck of a broken bottle shone like a star... on the other bank, above the willow bushes, something similar to a shadow rolled like a black ball” (Wolf). The image of a moonlit night is based on a comparison of light and dark tones. With the help of one or two details, a separate stroke that came into the hero’s field of vision, an individual author’s image of moonlight, built on light and shine, was found, and in contrast with it, the image of a wolf, given in black.

The comparison of black and white tones shows the landscape in the story “Verochka”: the description of the night unfolds using two colors of black and white: white like snow, black silhouettes, white shadows, white smoke, dark shadow, black ditches, black darkness, dark windows, white with fire, whiter. The garden is drawn by contrasting light and shadow. Thanks to this selection of colors, the landscape turns out to be shrouded in a haze of mystery and poetry. “It was quiet and warm in the garden. It smelled of mignonette, tobacco and heliotrope, which had not yet had time to bloom in the flower beds. The gaps between the bushes and tree trunks were full of fog, thin, gentle, saturated through and through with moonlight, and what remained in Ognev’s memory, wisps of fog, like ghosts, quietly but noticeably to the eye, walked one after another across the alleys. The moon stood high above the garden, and below it, transparent foggy spots rushed somewhere to the east. The whole world seemed to consist only of black silhouettes and wandering white shadows, and Ognev, observing the fog on a moonlit August evening, almost for the first time in his life, thought that he was not seeing nature, but a scenery where inept pyrotechnicians, wanting to illuminate filled the garden with white sparkler fire, sat under the bushes and, together with the light, released white smoke into the air” (Verochka).

Thus, A.P. Chekhov uses color lexemes that contradict each other (transparent and foggy) in relation to one object and thereby creates a special image that accurately conveys the author’s intention. It should be noted that the word foggy is most often used in the landscape of A.P. Chekhov in the meaning of “milky”: “... the fog gives the impression of a white wall” (Dead Body), “ thick fog white as milk" (In the ravine), "the fog is white, thick" (Bride).

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

white - black and by the presence in the color lexeme of the seme "bright - dull", "light - dark". The characteristics of color are conveyed by adjectives, indicating the quality of the phenomenon (light) and the characteristics of its perception by a person. The distribution of vocabulary according to the principle “light - absence of light” occurs in such a way that the few lexemes that do not directly indicate light or darkness are evaluated from the point of view of the content of light in the color they denote, i.e., by the presence or absence of semes in the meaning of the word " shine" (reflected light). For example, the lexemes moon - “a celestial body, the closest satellite of the Earth, glowing with reflected sunlight”; silhouette - “the outline of something visible in the dark, fog.”

The lexemes black and white participate in the creation of a special color scheme, creating a feeling of unreality, poetry, and mystery of what is happening, foreshadowing a romantic scene of a declaration of love. Hence the author’s special selection of color lexemes that create a unique picture. In this case, both lexemes carry the meaning of “something witchcraft, mysterious.” At the same time, the lexeme black can be used to express the meaning of “something terrible,” “lifelessness,” “deadness,” “peace.” “But the memory of the dark, gloomy crosses that would certainly meet him on the way, and the lightning flashing in the distance stopped him...”; “To the right the hills darkened, which seemed to obscure something unknown and terrible...” (Steppe); “It was dark: when my eyes little by little got used to the darkness, I began to distinguish the silhouettes of old, but skinny oaks and lindens that grew on the sides of the road. Soon, to the right, a black strip of uneven, steep coastline, intersected here and there by small, deep ravines and gullies, became vaguely visible. Near the ravines huddled low bushes that looked like sitting people. It was getting creepy. I glanced suspiciously at the shore, and the sound of the sea and the silence of the peace unpleasantly frightened my imagination” (Lights) [Ibid. P. 105].

The meaning of “witchcraft”, “mysterious”, “terrible” is reinforced by the following lexical units of different parts of speech: adjectives black, dark, noun blackness, verbs darken, blacken, blacken: “A terrible cloud approached slowly, in a continuous mass; on its edge hung large, black rags” (Lights) [Ibid. pp. 108-109]; “The blackness in the sky opened its mouth and breathed white fire. He glanced sideways at where the moon had been recently, but there was the same darkness there as on the cart” (Steppe) [Ibid. pp. 85, 86]. The specificity of the lexemes white and black is manifested in the fact that their semantic structure in the individual language system of A.P. Chekhov, in addition to the basic color meanings, contains the following: 1. Colors of the night - the time of day, characterized by a romantic worldview. 2. Colors of witchcraft -

sky and mysterious. In addition, the semantic structure of the word black includes the meaning “a color symbolizing the terrible, lifeless, deadness and peace.”

It should be noted that words denoting color occupy an important place in the writer’s language system. A.P. Chekhov takes adjectives beyond their basic meaning, widely using them to create important images. When constructing the most abstract images, a writer often starts from a visual image, including a color one.

The constituents of the LSP “Night” are also associated with the units of the LSP “Sound”. Night is the time when active life activity subsides, which is reflected in the lexemes silence, not a sound, silence, sleep, etc., and is represented in the development of semantic themes “stillness”, “peace”, “monotony”, common to which is The theme is "lifelessness". At the same time, the highlighted meanings directly actualize the concept of “boredom”, which is important for the author and is associated with his worldview.

On the other hand, A.P. Chekhov often uses the lexemes chatter, lullaby, hum, etc., which indicates the specificity of the author’s perception of the night: this is the time of awakening of internal forces in nature and man, “the time when the real, most Every person has an interesting life": "As if because the grass is not visible in the darkness of its old age, a cheerful, young chatter arises in it, which does not happen during the day; crackling, whistling, scratching, steppe basses, tenors and trebles - everything is mixed into a continuous, monotonous hum, under which it is good to remember and be sad” (Steppe) [Ibid. P. 24].

Thus, in the analyzed author’s lexical-semantic field, the lexeme night has a key status, which is confirmed by its high frequency of use, connection with the main categories of the writer’s worldview (melancholy, boredom, loneliness, beauty), and the fact that it is subject to semantic transformations in the context ; is characterized by a complex semantic structure: the lexeme night has both general linguistic meaning and the author’s, symbolic meaning. In the structure of the field itself, nuclear and peripheral parts can be distinguished. The core of the field includes the lexical units night and its derivatives, the lexemes darkness, gloom, darkness, twilight, the constituents of the LSP “Cosmological objects and phenomena” moon, month. On the periphery there are lexical units of other LSPs: “Space”, “Sensory perception”, which includes the LSP “Color designations”, “Sound”. The boundaries of the nuclear and peripheral zones are unclear and blurred. The images of night time are anthropomorphic in nature, which is reflected in the structure of the field, which includes LSP units “Emotional and physiological state of a person” (boredom, melancholy, 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). Email: [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 devoted to the study of A.P. Chekhov's language picture of the world, his idiolect, using field methods. The field approach allows to explain the author's worldview, identify the specifics of his value orientation and language priorities, particularly the author's individual usage, etc. The 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. of interest to study the language picture of the world of the writer from the point of view of its content, composition (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 represented as follows: 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 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 transformations 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 other 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 field that includes units 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), by the overall structure of the field impacted by the transforming role of the artistic worldview.

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...Descriptions of nature are then only appropriate and do not spoil matters, when they are useful, when they help
You tell the reader this or that mood, like music in melodic recitation.

A.P. Chekhov

In the 10th grade, even before studying the works of A.P. Chekhov, I give students the task of collecting material on the topics “Landscape”, “City”, “Portrait” from any of the writer’s works. After this, I divide the class into three groups, each of which receives practical material on one of three topics. And after studying Chekhov’s stories (before dramaturgy), I conduct a lesson on three issues: 1. Landscape in Chekhov’s works. 2. The city as depicted by 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 for the first topic; the teacher will be able to dispose of them at his own discretion.

"Scenery- one of the components of the world of a literary work, an image of an open space. Traditionally, landscape is understood as an image of nature, but this is not entirely accurate, as the etymology itself emphasizes ( fr. paysage, from pays - country, locality).” The Literary Encyclopedic Dictionary gives the following definition of landscape: this is a description of “any open space of the external world.”

In 1889, Chekhov wrote to Suvorin: “Nature is a very good sedative. It reconciles, that is, it makes a person indifferent. Only indifferent people are able to look at things clearly and be fair...” In Chekhov, work and justice are connected with nature. And in May 1894 he writes: “I think that closeness to nature and idleness constitute the necessary elements of happiness: without them it is impossible.” This idea “dissolves” in the subtext of Chekhov’s works. Descriptions of nature are, as a rule, short and concise, so the author gives the reader the opportunity to “finish” the landscape himself.

In early stories Chekhov's nature is most often the background of the action, a description of the situation. The author uses nominative sentences, and it seems that the action is happening in the present tense or will always happen. In addition, the landscape, as a rule, plays the role of exposition, indicating not only the time, but also the place of action: “A sultry and stuffy afternoon. Not a cloud in the sky” (“Jager”), “Clear, winter afternoon. The frost is crackling” (“Joke”), “Summer morning. There is silence in the air” (“Burbot”), “It was a dark autumn night” (“Bet”), “Grey, autumn morning” (“Marriage of convenience”).

Some literary scholars distinguish two types of Chekhov's landscape: landscape with comic function And lyrical landscape. The first is created by moving a phenomenon into a sphere unusual for it, that is, natural phenomena are attributed human qualities. Clouds, sun, moon are immersed in human affairs and concerns:

“...the moon looked at them and frowned: she was probably jealous and annoyed at her boring, useless childhood... The moon seemed to sniff tobacco... The moon appeared from behind a lace cloud... She smiled: she was pleased that she had no relatives ” (“Summer Residents”).

“The sun had already peeked out from behind the city and quietly, without hassle, began its work” (“Steppe”).

“...a large crescent moon stood motionless above the hill, red, slightly shrouded in fog and surrounded by small clouds, which seemed to be looking at it from all sides and guarding it so that it would not leave” (“Enemies”).

Nature has traditionally been considered a sublime subject in literature and for many years has accumulated many “beautiful” epithets that have become banal. Chekhov parodied similar clichés in his descriptions of nature: “It was a quiet evening. There was a smell in the air. The nightingale sang at the top of Ivanovo. The trees were whispering. There was bliss in the air, to use the long language of Russian fiction writers... The moon, of course, was there too. For the completeness of heavenly poetry, the only thing missing was Mr. Fet, who, standing behind a bush, would read his captivating poems publicly” (“Bad History”).

Chekhov's rapprochement between natural phenomena and the world of everyday life had a humorous overtone:

“The winter sun, penetrating through the snow and patterns on the windows, trembled on the samovar and bathed its pure rays in a rinsing cup” (“Boys”).

“Crow’s nests that look like big hats” (“Literature Teacher”).

Chekhov's lyrical landscape also has its own characteristics: it is impressionistic, musical, poetic:

“...the river sparkled, and a view opened onto a wide stretch with a mill and a white bathhouse” (“Gooseberry”).

“The air smelled of snow, snow crunched softly underfoot, the ground, roofs, trees, benches on the boulevards - everything was soft, white, young...” (“Seizure”).

“...there was not a soul on the embankment, the city with its cypress trees looked completely dead, but the sea was noisy and beating against the shore; one longboat rocked on the waves, a flashlight flickered sleepily on it” (“Lady with a Dog”).

Chekhov's landscape, like that of many Russian writers, has pronounced national characteristics:

“Cloudy rainy day. The sky has become cloudy for a long time, and there is no end in sight for the rain. There is slush in the yard, wet jackdaws, and in the rooms it is twilight and so cold that it would drown the stoves” (“Pink Stocking”).

“... the river was cloudy, there was fog here and there, but on the other side on the mountain there was a strip of light, the church was shining, and in the master’s garden the rooks were screaming furiously” (“Men”).

“All nature is like one very large estate, forgotten by God and people” (“The Thinker”).

The atmosphere of the work and its melody are conveyed through the landscape, which is most often drawn at the beginning of the story and creates a certain mood:

“A muggy June morning. You can feel the melancholy behind the thunderstorm. I want nature to cry and drive away her melancholy with rain tears” (“He understood!”).

“It was early April, and after a warm spring day it became cool, slightly frosty, and the breath of spring was felt in the soft cold air” (“Bishop”).

“Evening twilight. Large wet snow lazily swirls around the newly lit lamps and falls in a thin soft layer on the roofs, horses’ backs, shoulders, hats” (“Tosca”).

“The sun was already hiding, and evening shadows stretched across the blooming rye<…>It was quiet and dark. And only high on the peaks here and there a bright golden light trembled and shimmered like a rainbow in the spider’s webs” (“House with a Mezzanine”).

“The landscape, given through the perception of the hero, is a sign of his psychological state at the moment of action.” Chekhov's works are “poetry of moods,” so landscape is a means of reflecting the psychological state of the hero and preparing the reader for changes in the character’s life:

“Autumn was approaching, and in the old garden it was quiet, sad, and dark leaves lay on the alleys” (“Ionych”).

“It was hot, the flies were annoying, and it was so pleasant to think that it was soon evening” (“Darling”).

“She sees dark clouds chasing each other across the sky and screaming like a child” (“I want to sleep”).

“Everything, everything reminded me of the approach of a dreary, gloomy autumn” (“Prygunya”).

Descriptions of nature in Chekhov's works are full contradictions. This is often conveyed through the antithesis “black-white”, service words “but”, “meanwhile”, “still” and others. In addition, the play of light and shadow is clearly expressed:

“The cemetery was indicated in the distance by a dark stripe, like a forest or a large garden<…>and all around you could see white and black in the distance...” (“Ionych”).

“The sun was hiding behind the clouds, the trees and air were gloomy, as if before the rain, but, despite this, it was hot and stuffy” (“Name Day”).

“...the beautiful April sun was very warm, but there was snow in the ditches and in the forest” (“On the Cart”).

“The night is dark, but you can see the whole village with its white roofs and wisps of smoke” (“Vanka”).

“It was already the spring month of March, but at night the trees crackled from the cold, like in December” (“Wolf”).

Chekhov's works describe all seasons, but the most favorite of them is summer:

“The dawn has not yet completely faded, but the summer night has already embraced nature with its tender, soporific caress” (“Agafya”).

“There was a drought, dust flew in clouds through the streets, and the leaves on the trees began to turn yellow from the heat” (“Sister”).

Nature in Chekhov's works, like a living, thinking being, breathes, rejoices, is sad, feels. Animating nature often in a work of art, but in Chekhov it is very close to man, akin to him (cf. the different function of personifications in landscapes of this type and in comic landscapes):

“Old birches<…>the young leaves whispered quietly” (“Not fate!”).

“The earth, dressed in greenery, sprinkled with diamond dew, seemed beautiful and happy” (“Alien Misfortune”).

“A sharp wind was blowing, and outside it was that time of spring when nature itself seems to be undecided: whether to stick with winter or give up on it and move on to summer” (“Criminal”).

“The sun is shining brightly, and its rays, playing and smiling, bathe in the puddles along with the sparrows. The trees are bare, but they already live and breathe” (“In Spring”).

“It was snowing heavily; it was spinning quickly in the air, and its white clouds were chasing each other along the road surface” (“Murder”).

Chekhov has almost none urban landscape , favorite place of action - the estate:

“...the sky, golden and crimson, was reflected in the river, in the windows of the temple and in the whole air, tender, calm, inexpressibly pure, as never happens in Moscow” (“Men”).

“To the right of the city, quietly whispering and occasionally shuddering from an unexpectedly blowing wind, the alder grove darkened; to the left stretched an immense field” (“Agafya”).

“...opposite the house there was a fence, gray, long, with nails” (“Lady with a Dog”).

Nature, living, harmonious, personifying creative power, is often separated from home, city, dead and artificial. The hero's unity with nature speaks of his inner freedom. Chekhov gives the hero a choice: “steppe” - “city”. The awakening of the soul occurs through communication with nature, and most often this is going out into the field, the garden, which become symbols of a person’s liberation from the “case”, leaving the “cabin”:

“When on a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, your soul becomes calm” (“Man in a Case”).

“...a feeling similar to white, young, fluffy snow asked into the soul along with the fresh, light frosty air” (“Seizure”).

Sometimes in Chekhov's landscape in an interesting way"works" vertical dominant. She also outlines the possibility of a “way out”:

“...on the right stretched, and then disappeared far behind the village, a row of hills, and both of them knew that this was the bank of the river, there were meadows, green willows, estates, and if you stood on one of the hills, then from there you could see the same huge field, a telegraph and train<…>and in clear weather you can even see the city from there” (“Gooseberry”).

“The river was a mile from the village, winding, with wonderful curly banks, behind it again a wide meadow<…>then, just like on this side, there is a steep climb up the mountain, and at the top, on the mountain, is a village with a five-domed church and a little further away the master’s house” (“Muzhiki”).

“There was a strong, beautiful thunderstorm outside. On the horizon, lightning like white ribbons continuously rushed from the clouds into the sea and illuminated the high black waves into the distant space” (“Duel”).

The landscape in Chekhov's works is an observer and a “witness of history” (“Steppe”), it leads to philosophical reflections about the eternity of nature, makes heroes and readers think about the meaning and transience of human life, about the problems of existence, reveals the harmony of man with nature or opposition to it:

“The foliage did not move on the trees, the cicadas screamed, and the monotonous, dull sound of the sea coming from below spoke of peace, of the eternal sleep that awaits us...” (“The Lady with the Dog”).

“They walked and talked about how strangely the sea was lit; the water was lilac in color, so soft and warm, and there was a golden stripe running along it from the moon” (“Lady with a Dog”).

“When the first snow falls, on the first day of sledding it’s nice to see the white earth, white roofs, you can breathe easily...” (“Lady with a Dog”).

“...everything in the garden looked uninviting, sad, I really wanted to work” (“Bride”).

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

“Turquoise color of water<…>the sky, the shores, the black shadows and the unaccountable joy that filled her soul told her that she would make a great artist...” (“The Jumper”).

In Chekhov's landscape dynamics prevails over static:

“It was getting light. The Milky Way turned pale and little by little melted like snow, losing its outlines” (“Happiness”).

“The rain had just stopped, the clouds were moving quickly, there were more and more blue gaps in the sky” (“Pecheneg”).

“Cold needles stretched across the puddles, and the forest became uncomfortable, deaf and unsociable. It smelled like winter” (“Student”).

Chekhov's landscape is rich in bright artistic details(remember, for example, the description of a moonlit night through the flashing neck of a broken bottle). The writer said that “in describing nature, you need to grab hold of small details, grouping them in such a way that after reading, when you close your eyes, a picture is given”:

“The rays of the sun fell in bright spots on the forest, trembled in the sparkling river, and in the unusually transparent blue air there was such freshness, as if the whole world of God had just been bathed, which is why it became younger and healthier” (“Alien Misfortune”).

“Every snowflake reflected a clear sunny day” (“Old Age”).

"Morning. Through the icy lace covering the window panes, bright sunlight breaks into the nursery” (“Event”).

K.I. Chukovsky spoke about “as accurate as a shot, comparisons“Chekhov, in which there is “unsurpassed energy of brevity.” And above all, this applies to descriptions of nature:

“...in the swamps something living hummed pitifully, as if blowing into an empty bottle” (“Student”).

“...cirrus clouds, like scattered snow” (“Bubot”).

“...the birch tree is young and slender, like a young lady...” (“Rothschild’s Violin”).

“The shadows become shorter and disappear into themselves, like the horns of a snail...” (“Bubot”).

“The thunder roared as if it wanted to destroy the city” (“Sister”).

Notes

Sebina E.N. Scenery. Introduction to literary criticism. M.: Higher School, 1999. P. 228.

“When on a moonlit night you see a wide rural street with its huts, haystacks, sleeping willows, your soul becomes calm; in this peace of hers, hidden in the shadows of the night from work, worries and grief, she is meek, sad, beautiful, and it seems that the stars are looking at her tenderly and with tenderness and that there is no longer evil on earth and everything is fine...”
A.P. Chekhov. "Man in a Case."

I.I. Levitan. “Moonlit night. Village "

Chekhov especially appreciated Levitan's landscapes, which were simple in theme, depicting unpretentious Russian nature: copses, quiet sunsets, rural huts. He wanted to have one of these works - the painting “Village” - “gray, pathetic, lost, ugly, but it emanates such inexpressible charm that it is impossible to tear yourself away: everyone would look at it and look at it.” Similar landscapes, among which the lives of many take place Chekhov's characters, with the same, one might say, Levitan-like simplicity and understanding of the soul of nature, he writes on the pages of his works: “Far beyond the shore, on a dark hillock, like frightened young partridges, the huts of the village huddled together. The evening dawn was burning behind the hill. Only one pale crimson strip remained, and even that began to twitch with small clouds, like coals with ash” (“Agafya”, 1886).
“The river was sleeping. Some night double flower on a tall stem gently touched my cheek, like a child who wants to make it clear that he is not sleeping” (“Agafya”). In his descriptions of nature, Chekhov deliberately moved away from Turgenev’s beautiful, but lengthy, poetic “landscapes in prose.” Levitan’s landscape is just as simple, laconic, and often as if there is no agreement. The most important thing for him was the choice of motive and its finest pictorial instrumentation. In his laconicism, the painter moves away from the detailed elaboration of landscapes by I.I. Shishkin and the narrative nature of his beloved teacher A.K. Savrasov. Poetic perception of nature and maximum laconicism artistic language brought together Chekhov's prose and Levitan's landscape painting.
This quality was especially evident in the artist’s works of the late 1890s. The defining concept of his later works was the desire for simplicity of motive, extreme laconicism of forms and the exclusion of any narrative from them. During these years, Levitan often painted night, twilight landscapes, which justified and explained the lack of details, as if hidden by a night veil. “Moonlit night. Village" (1897, Russian Russian Museum), "Moonlit Night. The Great Road" (1897-1898, Tretyakov Gallery), "Twilight", "Twilight. Haystacks" (both 1899, Tretyakov Gallery), "Twilight. Moon” (1899; Russian Museum) - each of these landscapes is executed in its own, but uniform color dominant and in a common style that brings Levitan closer to the new, young generation of painters. It was about these works that Chekhov said: “No one has reached such amazing simplicity and clarity of motive, which Levitan has recently reached, and I don’t know if anyone will reach it after.”

Destiny crossing... Chekhov and Levitan

Prose has a place in literature only
thanks to the poetry it contains.
\Akutagawa Ryunosuke\

***
Enjoy the music with me
Chekhov's prose.

Night thoughts.
From the story "The Man in the Case".

“It was already midnight. To the right the whole village was visible; the long street stretched far away, about five miles. Everything was immersed in a quiet, deep sleep, not a movement, not a sound, I can’t even believe that nature could be so quiet. When on the moon at night you see a wide rural street with its huts, haystacks, sleeping willows, then your soul becomes quiet in this peace, hidden in the shadows of the night from work, worries and grief, it is meek, sad, beautiful, and it seems that the stars are watching. at her affectionately and with tenderness, and that there was no longer evil on earth and everything was fine, to the left, from the edge of the village, a field began; it was visible far away, to the horizon, and in the entire width of this field, flooded with moonlight, there was also no movement, no sound.
....................
And we live in the city in a stuffy, cramped environment, among unnecessary and empty papers, talking and listening to all sorts of nonsense...
We see and listen to how they lie... and they consider you a fool for putting up with this lie, we endure insults and humiliation, not daring to openly declare that you are on the side of honest, free people, and lie and smile yourself, and all this because of a piece of bread, because of a warm corner, because of some bureaucrat who is worth nothing."
***
"It was already midnight,
and into deep quiet sleep
the world is immersed.
No sound, no movement...
I can't believe it
how can it be so quiet
in nature on earth.
Filled with moonlight
asleep, the willows breathe in peace...
And my soul is so quiet
and peace in the night.
And the street sat down in the shadows
hiding from work,
from grief and worries,
she is meek, sad
and beautiful. And it seems
that the stars are watching
so affectionately, touchingly
at her.
And there is no more evil...
And everything is fine...
And we all our lives
we spend in the stuffiness,
among the unnecessary and empty
papers...
And we listen to them lie,
and tolerate these lies,
and endure humiliation
and insults, and we ourselves lie,
\not daring to say,
that we are on the side
decent and honest.
And all from around the corner,
because of a piece of daily life,
because of a bureaucrat,
which on the market-
worthless."

Spring picture
From the story "On the Cart"

“At half past eight in the morning we left the city.
the highway was dry, the beautiful April sun was very warm. But there was still snow in the ditch and in the forest. The winter was evil, it was long until recently, spring came suddenly, but for Marya Vasilievna, who was now sitting in the cart, neither the warmth, nor the dark, transparent forests warmed by the breath of spring, nor the black flocks flying in the field represented anything new or interesting. over huge puddles like lakes, nor this wonderful, bottomless sky, where it seems I would go with such joy."
***
Under the beautiful April sun,
even though there is snow in the forest and ditches,
The highway is already dry and clear...
Winter is long and angry
It was just so recently.
Spring came suddenly, unexpectedly.
So warm. And the forests, even if dark,
but warmed by the breath of spring,
so transparent... And black flocks
scattered over a field where there were puddles,
almost like lakes, cool...
And the wonderful sky is bottomless.
It would be so gratifying to go into it..."
***
Thinking out loud.
From the story "Gooseberry".

It is necessary that behind the door of every contented, happy person there should be someone with a hammer and constantly remind him by knocking that there are unhappy people, that no matter how happy he is, life will sooner or later show him its claws,
trouble will strike - illness, poverty, loss, and no one will see or hear him, just as he does not see or hear others. But there is no man with a hammer, the happy one lives for himself, and the small worries of life worry him lightly, like the wind on an aspen, and everything is fine.
***
How quiet it is today
quiet evening...
But for some reason it’s sad
I don't know...
Perhaps because
that we are not eternal,
and happiness is impeccable
doesn't happen...
Or someone with a hammer
fatal
lurking behind the door,
waiting...
And ghostly
his presence
forget about the blizzards
doesn't allow...

M. Gorky “They’re going”: A.P. Chekhov "Man to the Case. “When on a moonlit night you see a wide rural street with its huts...: mary_hr5 — LiveJournal When on a moonlit night you see

Annotation scientific article on linguistics and literary criticism, author of the scientific work - Ksenia Aleksandrovna Kochnova

Related topics scientific works on linguistics and literary criticism, the author of the scientific work is Ksenia Aleksandrovna Kochnova

Text of scientific work on the topic “Night in the linguistic picture of the world of A.P. Chekhov”