Perhaps the author's intention is most clearly expressed in dialogue. The role of dialogue in the Russian novel of the 19th century has not been sufficiently studied; the forms and means of identifying the author’s point of view in the dialogue attract almost no attention from researchers. The most interesting theoretical issues were considered in the works of V.V. Vinogradov - “On artistic prose” (1930), “On language fiction” (1959), “ Stylistics.
Dialogue in Pushkin's prose was examined at one time by V. V. Vinogradov. IN last years The dialogues of “Belkin’s Tales” were handled by V. V. Odintsov 2. Special research There is no dialogue in the novel “The Captain's Daughter”. That is why it is necessary to dwell on this topic - however, mainly in terms of identifying the author’s position in the dialogue.
Dialogue is an organic part of the narrative; it is connected with it and at the same time occupies it. special place. This place was not always the same - dialogue as an element of artistic prose developed historically. Development proceeded along the lines of its complication, increasing its role in the development and disclosure of the ideological content and conflicts of the work of art as a whole.
Dialogue in a prose work has many functions, which were also formed historically. It can serve purely informative purposes - to find out the past of the hero, the background of the events being narrated, to characterize characters etc. Dialogue can contribute to the development of the plot, create and reveal secrets and complexities of the characters’ relationships. Dialogue, arising directly from the narrative, in initial stage took the simplest forms: exchange of remarks, questions and answers, auto-characteristics, a story about events, interrupted by replicas-questions from another participant in the dialogue, etc.
The artistic improvement of prose was most clearly manifested in the complication and improvement of dialogue. Highest level he achieved in realistic prose. Thus, Pushkin becomes the beginning of a new stage in the development of dialogue. The realistic character of a person is a complex individuality, a person with his own self-awareness. Her relationships with other persons are not neutral. Plot twists and turns often put her in conflicting relationships with other people. A new type of it is formed - a dialogue-argument, a clash of ideas. It was in such a dialogue that the character was fully revealed, the beliefs, goals, and aspirations of the characters were revealed. The dialogue began to express the main ideological meaning works.
Complicating the structure of the dialogue and enriching it with new functions did not lead to the abandonment of the previous, albeit primitive forms - they continued to be used and fulfill their role in the work (information content, a means of characterization, etc.). This established a kind of hierarchy of dialogues. The central, leading place began to be occupied by a dialogue-dispute, a dialogue in which two truths and two beliefs collided. It was in these dialogues that the author’s position manifested itself. The dialogue of Pushkin’s prose reached its full development - the complication of its structure and the form of revealing the author’s intention - in “The Queen of Spades” and “ The captain's daughter”.
At the same time, it must be taken into account that the dialogue, like the very content of the work - its plot, its ideological concept, its characters, are ultimately determined by reality itself, its contradictions, its conflicts, which it is realism that artistically explores and embodies entirely internally. connected system aesthetic means. In the novel “The Captain's Daughter” this manifests itself especially clearly.
M. Bakhtin saw, researched and described it from Dostoevsky. But for the first time it was created by Pushkin in “The Queen of Spades”. Full of expression, Hermann’s dialogue with the Countess, which turned into a monologue (the Countess responds to all Hermann’s frantic questions and requests with silence), is an action, a crazy, almost delusional act, which for the first time shows Hermann to us as he really is. It is known how highly Dostoevsky appreciated and how deeply he understood this story by Pushkin.
What was revealed in “The Queen of Spades” was developed in “The Captain’s Daughter” and was most fully revealed in the dialogues between Grinev and Pugachev. Grinev’s refusal to recognize Pugachev as sovereign surprised the rebel. A situation was being created that required action: “Pugachev looked at me quickly. “So you don’t believe,” he said, “that I was Tsar Peter Fedorovich? Well, good. Isn't there good luck for the daring? Didn’t Grishka Otrepiev reign in the old days? Think what you want about me, but don’t lag behind me. What do you care about other things? He who is not a priest is a father.”
The complexity of Pugachev’s mental state, his ability to quickly assess the current situation and immediately make a decision are superbly and Pushkin-like, accurately and succinctly conveyed by the colloquial expression - “Well, good.” He boldly refuses to play the sovereign and takes the conversation to a different, serious level - historical. A new Pugachev was opening up - justifying his actions with the philosophy of history, the philosophy of Russian imposture. He only names Grishka Otrepyev, but this is a sign of a huge phenomenon. There were many impostors in Rus'. After all, the game of Pyotr Fedorovich was determined political history Russia. He was killed, and the widow of the murdered man unlawfully sat on the throne, while according to the law the heir, the son, should have reigned Peter III- Paul. In fact, Catherine II was an impostor. This could not be said, but in Pugachev’s philosophy of history and in his desire to “replace” Pyotr Fedorovich, this political phenomenon is present. Grinev’s oath to Catherine II in the light of this philosophy is a fiction!
Pugachev’s philosophy of history also includes a high assessment of man (“Is there no luck for the daring?”). He himself appears to us as such a “daring” person. A daredevil, in his understanding, is a free person, alien to slavish obedience, a rebel who despises humility and fear of death, who knows how. boldly go towards your goal.
Dialogue in prose fiction
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For linguists, dialogue in fiction is valuable primarily as excellent material for research. Linguists study the essence of artistic dialogue, the principles and patterns of its organization, the structure of replicas, their semantic connection in dialogic unity and the entire text. Based on these studies, four distinctive feature artistic dialogue:
1) artistic dialogue must have a certain length, which is not at all necessary for dialogue in life;
2) it is thought out in advance by its creator, which is not the case in spontaneous natural speech;
3) artistic dialogue develops action, all its elements are closely connected and interconnected, which is not necessary for dialogue in life;
4) dialogue in a literary text is subject to the rules of time, rhythm and tempo, outside of which a literary text does not exist.
Artistic dialogue is most fully manifested in drama, since in this genre there is no speech by the narrator (the exception is the author's remarks). Dialogue in modern drama is as close as possible to oral conversation. When analyzing dramatic dialogue, it is necessary to take into account that in drama dialogue performs a textually constitutive function. IN AND. Lagutin notes that “the dialogue in drama always has a double burden: to characterize the characters, develop the action, inform about the external situation, motives and reasons for the behavior of the characters. The author creates a single and whole speech work, but he creates it from heterogeneous, seemingly alien utterances.”
In dramatic works there is a classification of dialogues:
1) by genre (comedy, tragedy, drama);
2) by role in the plot development of a work of art (service, informational, explanatory).
R. Zimmer identified three types of dramatic dialogue:
1) disputable;
2) expressive;
3) situational.
In the discursive type of dialogue, “the message function dominates in communication, non-verbal means (facial expressions, gestures) are used insignificantly, there is no individualization of the characters’ speech, a refined style predominates, the whole drama appears as a mouthpiece of the author’s ideas.”
In an expressive type of dialogue, speech is emotionally charged, the nature of the characters’ actions is individual, the role of extra-speech context increases, and a larger number of author’s remarks appear, compared to the previous type of dialogue, that influence the meaning of the characters’ words and remarks.
The situational type of dialogue is characterized by a predominance spoken language, individually colored speech, which acts as “one of the components of the characters’ existence.” In describing relatively unrelated situational pictures social relations characters play the main role.
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attention to detail. Now I want to talk about those details that are especially
should, it seems to me, be valued in themselves. These are details, little things,
testifying to simple human feelings, about humanity. They can
to be without people - in the landscape, in the life of animals, but most often in relationships between
people.
Old Russian icons are very “canonical”. This
traditional art. And the more valuable in them is everything that deviates from canonicity,
which gives vent to the artist’s human attitude towards what he depicts. In one icon
"The Nativity", where the action takes place in an animal cave, depicts
a small sheep that licks the neck of another larger sheep. Maybe this
daughter caresses her mother? This detail is not at all provided for by strict
iconographic norms of the “Nativity” composition, so it seems especially
touching. Among the very “official” - suddenly such a cute detail...
In the 17th century murals of the Moscow church in
Nikitniki suddenly shows a young birch tree among the stencil landscape, yes
so “Russian”, touching that you immediately believe that the artist knew how to appreciate
Russian nature. Autobiographical works of the Rila monks have been preserved
monastery in Bulgaria. One such 19th-century autobiography tells the life
a monk who collected donations for the monastery. And he's been in some very bad times.
provisions: sometimes the doors of houses were closed in front of him, he was not allowed to spend the night,
often he had nothing to eat (of the money donated to the monastery, he gave himself nothing
didn’t take it), etc. And so he exclaims in one place in his notes: “Oh, the monastery
My monastery, how warm and satisfying it is!” This monk's story ends
a stencil curse to anyone who spoils the book, distorts the text, etc. But
further he writes: “If I write this, then do not think badly of me, that I am evil and
bad!" Isn't it touching? Please note that these “curses”
to the sloppy reader and inattentive copyist were an ordinary stencil, so
Many manuscripts were coming to an end.
It was common to think that in Ancient Rus'
allegedly poorly understood the beauty of nature. This opinion was based on the fact that
ancient Russian works are rare detailed descriptions nature, no landscapes,
which are in the new literature. But here is what Metropolitan Daniel writes in the 16th century:
“And if you want to cool off (that is, take a break from work. - D.L.) - go to
the threshold of your temple (your house - D.L.), and see the sky, the sun, the moon,
stars, clouds, ohvi highest, ohvi lowest, and cool off in them.”
I do not give examples from works
well-known, recognized as highly artistic. How many of these touching
human episodes in War and Peace, especially in everything connected with
the Rostov family, or in Pushkin’s “The Captain’s Daughter” and in any artistic
work. Isn’t it for them that we love Dickens, Turgenev’s “Notes of a Hunter”,
the wonderful “Grass and Ant” by Fyodor Abramov or “The Master and Margarita” by Bulgakov.
Humanity has always been one of the most important phenomena of literature - great and
small. It is worth looking for these manifestations of simple human feelings and concerns. They
precious. And they are especially precious when you find them in correspondence, in
memories, in documents. There are, for example, a number of documents testifying
about how ordinary peasants avoided participating in
construction of a prison in Pustozersk, where Avvakum was to be a prisoner. And this
absolutely everything, unanimously! Their evasions are almost childish, they show
simple and kind people.
A “speaking person” manifests itself in dialogical and monological speech. Dialogues(from other-gr. dialogos - conversation, conversation) and monologues(from other -gr. monos - one and logos - word, speech) constitute the most specific element of verbal and artistic imagery 3 . They are a kind of connecting link between the world of the work and its speech fabric. Considered as acts of behavior and as the focus of a character’s thoughts, feelings, and will, they belong to the objective layer of the work; taken from the side of verbal fabric, they constitute the phenomenon of artistic speech.
Dialogues and monologues have common property. These are speech formations that reveal and emphasize their subjective affiliation, their “authorship” (individual and collective), one way or another intoned, capturing the human voice, which distinguishes them from documents, instructions, scientific formulas and other kinds of emotionally neutral, faceless speech units. Dialogue is made up of statements different persons(usually two) and carries out two-way communication between people. Here, communication participants constantly change roles, becoming for some time (very short) either speakers (i.e. active) or listeners (i.e. passive). In a dialogue situation, individual utterances appear instantly 4 . Each subsequent replica depends on the previous one, constituting a response to it. Dialogue, as a rule, is carried out by a chain of laconic statements called replicas.
Dialogues can be ritually strict and etiquette-ordered. The exchange of ceremonial remarks (which tend to expand, becoming like monologues) is characteristic of historically early societies and traditional folklore and literary genres. But the most complete and vivid dialogical form of speech manifests itself in an atmosphere of relaxed contact between a few people who feel themselves equal to each other. As linguists have repeatedly noted, dialogic speech historically primary in relation to monologue and constitutes a kind of center of speech activity.
Hence the responsible role of dialogues in fiction. In dramatic works they undoubtedly dominate; in epic (narrative) works they are also very significant and sometimes occupy most text. The relationships of the characters outside of their dialogues cannot be revealed in any specific or vivid way.
Monologue is also deeply rooted in life, and therefore in literature. This is a detailed, lengthy statement that marks the activity of one of the participants in communication or is not included in interpersonal communication. Monologues are distinguishable converted and secluded 8 . The former are included in human communication, but differently from dialogues. Addressed monologues have a certain impact on the addressee, but in no way require an immediate, momentary verbal response from him. Here one of the communication participants is active (acts as a continuous speaker), all others are passive (remain listeners). In this case, the addressee of the addressed monologue can be an individual person, and unlimited big number people (public speeches of politicians, preachers, court and rally speakers, lecturers). Addressed monologues (as opposed to dialogue lines) are not limited in volume, as a rule, they are thought out in advance and clearly structured. They can be reproduced repeatedly (with full preservation of meaning), in different life situations. For them, both oral and written forms of speech are equally acceptable and favorable. single monologues are statements made by a person either alone (literally) or in psychological isolation from others. These are diary entries that are not aimed at the reader, as well as “speaking” for oneself: either out loud, or, which is observed much more often, “to oneself.” Solitary monologues are an integral facet of human life. According to a modern scientist, “to think means, first of all, to talk to oneself.”
Monologue speech forms an integral part of literary works. A statement in lyric poetry is a monologue of the lyrical hero from beginning to end. An epic work is organized by a monologue belonging to the narrator-storyteller, to which the dialogues of the depicted persons are “connected”. The “monologue layer” is also significant in the speech of characters in epic and dramatic genres. This includes inner speech in its specificity, which is quite accessible to stories and novels (remember the heroes of L.N. Tolstoy and F.M. Dostoevsky), and conventional “remarks to the side” in plays.
A literary work can rightfully be characterized as a monologue of the author addressed to the reader. This monologue is fundamentally different from oratory speeches, journalistic articles, essays, philosophical treatises, where the direct author's word undoubtedly and necessarily dominates. He is a kind of supraverbal education is like a “super-monologue”, the components of which are dialogues and monologues of the persons depicted.
Dialogue speech is part Everyday life people, both in everyday life and on television, radio, and the Internet.
As part of the verbal and artistic text, it dominates in drama and is also present in epic works.
The linguistic material for this work is the work of the Russian writer of the first half of the 19th century V. F. Odoevsky, the little-known “Tales of Grandfather Irenaeus”. Almost all tales from this cycle consist only of dialogue. Therefore, the writer’s work is an ideal epic material for the study of dialogical speech.
Relevance:
Dialogical speech, which is the main form of colloquial functional-stylistic variety of the national language, is a clear manifestation of the communicative function of language, since it is in dialogical speech that the message is formalized into continuous mutual communication between people.
Identification of the main patterns of the use of dialogic speech in the works of V. F. Odoevsky, highlighting various types dialogue and understand different functions and the possibilities of dialogue in this work.
In the fairy tales of V.F. Odoevsky, dialogue can be divided into the following types: dialogue-explanation, dialogue-clarification, dialogue-argument, dialogue-quarrel, dialogue-duel, dialogue-monologue, dialogue of complete mutual understanding.
Explanatory dialogue is the most common type of dilogical communication in “The Tales of Grandfather Irenaeus.” Dialogue-explanation especially dominates in the fairy tales “Excerpts from Masha’s Journal” and “Town in a Snuff Box.” These are conversations between little heroes and their parents:
What kind of town? – Misha asked.
“This is the town of Tinkerbell,” daddy answered and touched the spring.
Daddy! Dad, is it possible to enter this town? I wish I could!
Wise, my friend. This town is not your size.
It's okay, daddy, I'm so small. Just let me in there, I'd really like to know what's going on there
Really, my friend, it’s cramped there even without you.
But who lives?
Who lives there? Bluebells live there.
Also from this fairy tale “Town in a Snuff Box” this type of dialogue includes Misha’s conversations with the boy - the bell, the guy - the hammer, with the warden and with the spring. In the fairy tale "Excerpts from Masha's Journal" the dialogue between the main character Masha and her dad (conversation about geographical map, history, etc. etc.) Masha and her mothers (about the introduction of a magazine, housekeeping, etc.) undoubtedly also belong to this type of dialogue.
This type of dialogue is educational in nature with an educational purpose.
The clarification dialogue includes Masha’s conversation with her mother while purchasing material for a dress:
Can I buy this? – I asked my mother.
Teshi herself,” she answered, “How much is an arshin?” - continued the mother, turning to the merchant.
Ten rubles arshin, ()
“You need four arshins,” my mother noted, “that will be forty rubles, which is more than what you assigned for two dresses.”
Why, mamma, am I obliged to spend only thirty rubles on my dress?
Obliged because we must keep the word we give ourselves. Tell me, what will be the benefit if, after long deliberation, we decide to do something and then, out of the blue, suddenly change our thoughts?
These two tales can be said to be imbued with these types of dialogue. A parent teaches his child how to run a household, rules of conduct, introduces him to various new cognitive phenomena, etc. This is a calm, fairly peaceful conversation, which most likely will not turn into a dialogue - a conflict.
Dialogue-interrogation. This type of dialogue is quite simple to analyze, since it occurs quite often in everyday speech. There are few such examples in “The Tales of Grandfather Irenaeus.” Here is the most typical example: the dialogue between the watchman and the main character Vanya in the fairy tale “The Organ Grinder.”
Dialogue-duel. This type of dialogue is an interesting object for research, since it is here that linguistic problems are more highly intertwined with psychological ones. The fairy tale “Excerpts from Masha’s Journal” presents a dialogue-duel, which shows the rivalry between little girls based on their relationships, opposing interests, and different social status. The interlocutors try to suppress, “destroy” each other:
“Oh, how you smell like the kitchen!” “I’m surprised at this,” Tanya answered very simply, “because I left the dress I wear in the kitchen at home, and this is different.” - “So, do you go to the kitchen?” - everyone shouted with laughter. “Yes,” Tanya answered, “don’t you go? My daddy says that every girl needs to get used to housekeeping.” “But you and I are completely different,” said one of the young ladies.” “What is the difference between us?” - asked Tanya. “Oh, great one,” answered the proud young lady, “your father is a teacher, and mine is a general; look: in large epaulettes, with a star, your father hires himself, and mine hires; do you understand this?
Dialogue-confession. It can be called a monologue, full of inserted short stories, combined with short remarks of interest, understanding and sympathy. Confession can be pronounced with the goal of impressing, influencing the interlocutor, or without any goals, simply out of a spiritual need to speak out. An example is Nastya’s conversation with the priest in the fairy tale “The Orphan”.
Dialogue-quarrel. This type of dialogue is not so often found in Odoevsky’s fairy tales, since it is characteristic of everyday situations, which receive very little attention in this work. One such dialogue is the dialogue between four deaf people in the fairy tale “About Four Deaf People”. But here the situation is completely different: the dialogue-quarrel is of a comic nature, since the four heroes are completely deaf, therefore they understand each other as they wish and naturally, because of this, a quarrel arises between them.
Dialogue of complete mutual understanding. Such dialogues are found quite often in Fairy Tales. This is due to the educational aspect of the content of the work. Thus, in the fairy tales “Excerpts from Masha’s Journal”, “Town from a Snuffbox”, “Moroz Ivanovich”, “Silver Ruble” the heroes communicate with complete respect for each other, and from here a dialogue of complete mutual understanding arises.
So, dialogical speech occupies a significant place in the text of this work, since it is cognitive and educational in nature.
With the help of dialogic communication, verbal images were successfully created, since dialogue plays a huge role in the characteristics of the characters. Thus, the speech of a cab driver, a fat gentleman (Poor Gnedko) or Lenivitsa (Moroz Ivanovich) characterizes them as illiterate and illiterate people. The speech of Masha and Misha and their parents, the speech of Orphan, as well as the speech of the author himself, reveals them high culture, education and intelligence.
V. F. Odoevsky created “remarkable stylistic experiments” in his fairy tales, indicating that the artistic prose of the 19th century is the greatest unknown achievement of Russian literary classics.
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