Stylistic use of archaisms, historicisms, neologisms. Functions of obsolete words and neologisms

The role of archaizing vocabulary is diverse. Firstly, historicisms And archaisms perform a proper nominative function in scientific and historical works. When characterizing this or that epoch, it is necessary to name its basic concepts, objects, details of life with words corresponding to the given time.

In artistic and historical prose, outdated vocabulary performs nominative and stylistic functions. Contributing to the reconstruction of the color of the era, it at the same time serves as a stylistic means of its artistic characterization. For this purpose, use historicisms And archaisms. A.S. Pushkin in the drama "Boris Godunov", A.N. Tolstoy in the novel "Peter I" and others.

The actual lexical obsolete names of people according to their position, occupation and in the novel by A.N. Tolstoy: bedding- the boyar who looked after the royal bedroom; bell- bodyguard, squire and others.
The temporal characteristic is promoted lexico-semantic and lexical-derivational archaisms.

obsolete words(especially archaisms) also perform their own stylistic functions. So, they are often a means of creating a special solemnity, loftiness of the text - in A.S. Pushkin:
... Chain mail and swords sound!
Fear, O army of foreigners
Russia's sons moved;
Both old and young have risen: they fly on the daring.
They are also used as a figurative and expressive means, especially in combination with new words - in E. Yevtushenko: ... And the elevators are cold and empty. Raised above the earth, like God's fingers.
Archaizing vocabulary can serve as a means of creating humor, irony, satire. In this case, such words are used in a semantically alien environment.

Neologisms perform mainly a nominative function. However, in texts for which they are not objectively necessary, their use is already conditioned by stylistic goals.

Archaizing vocabulary often today has a special emotional and stylistic coloring ( sculptor- creator, question- ask, pride subjugular- bonded and others). Therefore, the use of such words in texts (in particular, when translating them) should be approached in much the same way as the vocabulary, stylistically colored or fixed in a stylistic sense. Translation of archaizing vocabulary and Russians proper neologisms(type collective farm) is often carried out by an exact literal translation of the composition of the Russian word, followed by a note ( kokoshnik - kokoshnik in English).
However, in any case, it is necessary first of all to understand the meaning of the words used (or translated) that denote objects that have long disappeared and are incomprehensible to modern speakers of the language.

Writers often turn to obsolete words as an expressive means of artistic speech. The history of the use of Old Slavonic vocabulary in Russian is interesting. fiction especially in poetry. Stylistic Slavisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary a source of sublimely romantic and "sweet" sounding of speech. Slavicisms that have consonant variants in Russian, primarily non-vowel ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the rights of "poetic liberties": poets could choose from two words one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp's voice, will die quietly in the air. - Bat.). Over time, the tradition of "poetic liberties" is overcome, but outdated vocabulary attracts poets and writers as a strong means of expression.

Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the color of distant times. In this function, they were used, for example, by A.N. Tolstoy:

“The land of Ottich and Dedich are those banks of full-flowing rivers and forest clearings where our ancestor came to live forever. (...) he fenced his dwelling with a fence and looked along the path of the sun into the distance of centuries.

And he imagined a lot - hard and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears installed under Dmitry's banners on the Kulikovo field, and the blood-drenched ice Lake Peipsi, and the Terrible Tsar, who parted the united, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea ... ".

Archaisms, especially Slavicisms, give speech an elevated, solemn sound. Old Slavonic vocabulary acted in this function back in ancient Russian literature. In the poetic speech of the XIX century. with the high Old Slavonic vocabulary, Old Russianisms were stylistically equalized, which also began to be involved in creating the pathos of artistic speech. High, solemn sound obsolete words writers of the 20th century also appreciate it. During the years of the Great Patriotic War I.G. Ehrenburg wrote: “Having repulsed the blows of predatory Germany, she (the Red Army) saved not only the freedom of our Motherland, she saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which good will shine. Our people showed their military virtues…”

Outdated vocabulary can acquire an ironic connotation. For example: Which of the parents does not dream of a smart, balanced child who grasps everything literally on the fly. But attempts to turn your child into a "miracle" catastrophically often end in failure (from the gas.). The ironic rethinking of obsolete words is often facilitated by the parodic use of elements of high style. In the parodic-ironic function, obsolete words often appear in feuilletons, pamphlets, and humorous notes. Let us refer to an example from a newspaper publication during the preparations for the day the president took office (August 1996):

The new head of the working group for the preparation of the celebration, Anatoly Chubais, enthusiastically set to work. He believes that the script of the ceremony should be developed "for centuries", and therefore there is no place in it for "temporary", mortal delights. The latter included an ode already written for the holiday, which could conditionally be called "On the day of the ascension of President Yeltsin to the Kremlin." The work suffered a bitter fate: Chubais did not approve it, and on August 9 we will not sing:

Our proud state is great and majestic.

The whole country is full of strength, she made the choice!

("Inauguration is not a game")

There is an opinion that outdated vocabulary is common in official business style. Indeed, business papers use individual words and turns of speech, which in other conditions we have the right to consider as archaisms [for example, legal terms act, capable, deed, punishment, retribution in dictionaries are accompanied by a mark (arch.)]. In some documents they write: this year, attached to this, the undersigned, the above named, etc. These special official business words do not have an expressive coloring within their “own” functional style. Such outdated vocabulary in an official business style does not carry any stylistic load.

An analysis of the stylistic functions of archaisms in a particular work requires knowledge of the general language norms in force in the era being described. For example, in the works of writers of the XIX century. there are words that archaized at a later time. So, in the tragedy of A.S. Pushkin "Boris Godunov", along with archaisms and historicisms, there are words that have become part of the passive vocabulary only in Soviet time(king, I reign, etc.); Naturally, they should not be classified as obsolete vocabulary that carries a certain stylistic load in the work.

Golub I.B. Stylistics of the Russian language - M., 1997

State educational institution

higher professional education

Branch of RSSU in Sochi
abstract
Department: “Translation and Translation Studies”
By discipline: "Stylistics of the Russian language and culture of speech"
On the topic: « Stylistic functions obsolete words in artistic speech
Made by: Student I course

Babaeva Leyla Vagifovna
Specialties: "Linguist translator"

Lecturer: Lozhnikova G.P.
Sochi 2010

Content:
Introduction…………………………………………………………………………… 1
1.Archaic vocabulary in the system of the Russian language……………………………2
1.1 The concept of archaisms. The processes of archaization and updating of Russian vocabulary………………………………………………………………………………….2-7
1.2 Linguistic science of archaisms and their stylistic use………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………7-12
Conclusion………………………………………………………………………….13
List of used literature

Introduction
Each word in the Russian language has its own "life", some of the words forever disappear from everyday life due, for example, to the disappearance of the concept itself, which was denoted by one or another word. Obsolete words - words that are not used in modern Russian, are divided into two groups: archaisms and historicisms. Distinctive feature of these concepts is that historicisms are the names of objects that have disappeared from life forever over time, and archaisms are obsolete names of objects and concepts that are still present in modern life, but for one reason or another received a different name.

Understanding the concept of "obsolete words" is necessary in order not to make mistakes in the style of the text, while errors in the use of historicisms or archaisms are associated with ignorance of them lexical meaning. In other words, historicisms do not have synonyms, but archaisms do.

Historicisms - obsolete words that do not have synonyms include the following names and phrases: armyak, camisole, bursa, oprichnik, classy lady, arshin, attorney, general-in-chief, your excellency, mademoiselle, chinkhonets, seamstress, potbelly stove, partykhohaktiv, etc. .

With archaisms, the situation is somewhat more difficult. Obsolete words of this group have synonyms and are divided into three categories:

1. phonetic - obsolete words that differ from modern synonyms in terms of sound, for example: young - young; shore - shore; gold - gold; number - number; hospital - hospital; hall - hall, etc.

2. derivational - archaisms in which an outdated suffix is ​​used that is not applicable to modern vocabulary, for example: museum - museum; assistance - assistance; to flirt - to flirt; here - in general, etc.

3. lexical - obsolete words that have completely gone out of use, which have been replaced by modern synonyms, for example: eye - eye; mouth - lips; lanitis - cheeks; right hand - right hand; stogna - area; rescript - decree; this - this one; to speak - to speak; face - face, etc.

Despite the fact that archaisms and historicisms are leaving our everyday life, they should not be completely forgotten, since they help to achieve the necessary color and historical coloring in the text.
1. Archaic vocabulary in the Russian language system

1.1 The concept of archaisms. Processes of archaization and updating of Russian vocabulary

Archaisms (from the Greek "ancient") - words, individual meanings of words, phrases, as well as some grammatical forms and syntactic constructions, obsolete and out of active use.

Among the archaisms, a group of historicisms stands out, the disappearance of which from the active dictionary is associated with the disappearance of certain objects and phenomena from public life, for example, “podyachy”, “petition”, “mail”, “konka”, “nepman”. Usually, archaisms give way to other words with the same meaning: “victoria” - “victory”, “stogna” - “square”, “rescript” - “decree”, “face”, “eye”, “vezhda”, “young ". "hail", giving the speech a color of solemnity. Some non-archaic words lose their former meaning. For example, “Everything that scrupulous London sells for a plentiful whim” (A.S. Pushkin, “Eugene Onegin”); here "scrupulous" has for the present time the archaic meaning of "haberdashery". Or: “For the last time, Gudal mounted a white-maned horse, and the train started moving” (M.Yu. Lermontov, “Demon”). "Train" is not "a set of railway cars", but "a row of horsemen riding one after another". In some cases, archaisms can come back to life (compare in Russian XX in. The history of the words "council", "decree" or "general", "officer"). Sometimes archaic words that have become incomprehensible continue to live in some stable combinations: “You can’t see a thing” - “you can’t see anything at all”, “The cheese forest caught fire” - “a commotion began”.

In fiction, archaisms are widely used as a stylistic means to give solemnity to speech, to create the color of an era, and also for satirical purposes. The masters of using archaisms were A.S. Pushkin ("Boris Godunov"), M.E. Saltykov-Shchedrin (“History of one city”), V.V. Mayakovsky ("Cloud in Pants"), A.N. Tolstoy ("Peter the Great"), Yu.N. Tynyanov ("Kyukhlya") and others.

Language, as a system, is in constant motion, development, and the most mobile level of language is vocabulary: it primarily reacts to all changes in society, replenishing with new words. At the same time, the names of objects and phenomena that are no longer used in the life of peoples are falling out of use.

In each period of development, words belonging to the active vocabulary, constantly used in speech, and words that have gone out of everyday use and therefore have acquired an archaic coloring function in it. At the same time, new words are distinguished in the lexical system, which are just entering it and therefore seem unusual, retain a shade of freshness, novelty. Obsolete and new words are two fundamentally different groups in the vocabulary of the passive vocabulary.

Words that have ceased to be actively used in the language do not immediately disappear from it. For some time they are still understandable to speakers of a given language, they are known from fiction, although everyday speech practice no longer needs them. Such words make up the vocabulary of the passive stock and are given in explanatory dictionaries marked "obsolete".

According to researchers, the process of archaization of a part of the dictionary of a particular language, as a rule, takes place gradually, therefore, among obsolete words there are those that have a very significant “experience” (for example, child, vorog, speech, scarlet, therefore, this); others are isolated from the vocabulary of the modern Russian language, as they belong to the Old Russian period of its development. Other words become obsolete in the shortest period of time, appearing in the language and disappearing already in the newest period. For comparison: Shkrab - in the 20s. replaced the word teacher, rabkrin - workers' and peasants' inspection; Enkavedist - an employee of the NKVD. Such nominations do not always have corresponding marks in explanatory dictionaries, since the process of archaization of a particular word may be perceived as not yet completed.

The reasons for the archaization of vocabulary are different: they can be extralinguistic (extralinguistic) in nature, if the refusal to use the word is associated with social transformations in the life of society, but they can also be due to linguistic laws. For example, the adverbs oshchuyu, odesnuyu (left, right) disappeared from the active dictionary, because the generating nouns shuytsa became archaic - “ left hand"and the right hand -" right hand ". In such cases, the systemic relations of lexical units played a decisive role. So, the word shuytsa fell out of use, and the semantic connection of the words united by this historical root also fell apart (for example, the word Shulga did not stay in the language in the meaning of "left-handed" and remained only as a surname ascending to a nickname). Antomic pairs (shuytsa - right hand, oshyuyu - right hand), synonymous connections (oshyuyu, left) were destroyed.

By its origin, the outdated vocabulary is heterogeneous: it contains a lot of primordially Russian words (lzya, so that, this, semo), Old Slavonicisms (smooth, kiss, loins), borrowings from other languages ​​(abshid - “resignation”, voyage - “journey”, politeness - "politeness").

There are known cases of the revival of obsolete words, their return to the active vocabulary. So, in modern Russian, such nouns as soldier, officer, warrant officer, minister and a number of others are actively used, which after October became archaic, giving way to new ones: Red Army soldier, commander, people's commissar, etc. In the 20s. the word leader was extracted from the composition of the passive vocabulary, which even in the Pushkin era was perceived as obsolete and was cited in the dictionaries of that time with the appropriate stylistic mark. Now it is archaic again.

Analyzing the stylistic functions of obsolete words in artistic speech, one cannot ignore the fact that their use in some cases (as well as the use of other lexical means) may not be associated with a specific stylistic task, but is due to the peculiarities of the author's style, individual preferences of the writer. So, for M. Gorky, many obsolete words were stylistically neutral, and he used them without a special stylistic setting: “People passed us slowly, dragging long shadows behind them ...”.

In the poetic speech of Pushkin's time, the appeal to dissonant words and other Old Slavonic words with consonant Russian equivalents was often due to versification: in accordance with the requirement of rhythm and rhyme, the poet preferred one or another variant (on the rights of "poetic liberties"): "I will breathe, and my languid voice, like a harp’s voice, will die quietly in the air” (Bat); “Onegin, my good friend, was born on the banks of the Neva ... - Go to the Neva shores, newborn creation ...” (Pushkin). By the end XIX centuries, poetic liberties were eliminated and the amount of obsolete vocabulary in the poetic language decreased sharply. However, even Blok, and Yesenin, and Mayakovsky, and Bryusov, and other poets began to XX centuries paid tribute to obsolete words traditionally assigned to poetic speech (although Mayakovsky already turned to archaisms mainly as a means of irony and satire). Echoes of this tradition are found even today: “Winter is a solid regional city, and not a village at all” (Yevtushenko).

In addition, it is important to emphasize that when analyzing the stylistic functions of obsolete words in a particular work of art, one should take into account the time of its writing, to know the general language norms that were in force in that era. After all, for a writer who lived a hundred or two hundred years ago, many words could be quite modern, commonly used units that have not yet passed into the passive vocabulary.

The need to refer to an outdated dictionary also arises among the authors of scientific and historical works. To describe the past of Russia, its realities that have gone into oblivion, historicisms are involved, which in such cases act in their own nominative function. So, academician D.S. Likhachev in his works “The Tale of Igor's Campaign”, “The Culture of Russia in the Time of Andrei Rublev and Epiphanius the Wise” uses many words unknown to a modern native speaker, mainly historicism, explaining their meaning.

Sometimes the opinion is expressed that obsolete words are also used in official business speech. Indeed, in legal documents sometimes there are words that, under other conditions, we have the right to attribute to archaisms: deed, punishment, retribution, deed. In business papers they write: this is attached, this kind, the undersigned, the above named. Such words should be treated as special. They are fixed in an official business style and do not carry any expressive and stylistic load in the context. However, the use of obsolete words that do not have a strict terminological meaning can cause unjustified archaization of the business language. In highly stratified developed languages, such as English, archaisms can serve as professional jargon, which is especially true for jurisprudence. Archaism is a lexical unit that has fallen into disuse, although the corresponding object (phenomenon) remains in real life and receives other names (obsolete words that have been supplanted or replaced by modern synonyms). The reason for the appearance of archaisms is in the development of the language, in updating its vocabulary: one word is replaced by another.

Displaced words do not disappear without a trace, they are preserved in the literature of the past, they are necessary in historical novels and essays - to recreate the life and language coloring of the era. Examples: forehead - forehead, finger - finger, mouth - lips, etc.

Any language is constantly changing over time. New words appear, and some lexical units quietly disappear into the past, cease to be used in speech. Words that are out of use are called archaisms. Their use when writing poetic works is highly undesirable - for some readers, as a result of this, the meaning may be partially lost.

However, for certain categories of texts, archaisms are quite acceptable and even desirable. Among them are works written on historical and religious themes. In this case, skillfully used archaism will allow the author to more accurately describe events, actions, objects, or his feelings. Archaisms include the names of currently existing objects and phenomena, for some reason displaced by other, more modern names. For example: every day - “always”, a comedian - “actor”, it is necessary - “it is necessary”, Persian - “chest”, verb - “to speak”, to know - “to know”. Some scholars do not recommend confusing archaisms with historicisms. If not only the word is outdated, but also the very phenomenon denoted by this word, then this is historicism, for example: veche, endova, onuchi, etc. Other scholars consider historicisms a subspecies of archaisms. If we adhere to this, simpler position, then a logical and easy-to-remember definition of archaisms is as follows: archaisms are obsolete and obsolete names or names of obsolete objects and phenomena that have gone down in history.

Among the archaisms proper, which have synonyms in the modern language, a distinction must be made between words that are already completely obsolete and therefore sometimes incomprehensible to members of the community who speak the given language, and such archaisms that are in the process of becoming obsolete. Their meanings are clear, however, they are almost never used.

Thus, it seems appropriate to divide archaisms into words ancient or forgotten, which are terms of antiquity and are resurrected only for special stylistic purposes in the modern literary language, and obsolete words, i.e. that have not yet lost their meaning in the vocabulary of the modern literary language.

Archaisms should also include obsolete forms of the word, although the latter should be considered not in the vocabulary section, but in the morphology section. However, since the very form of the word gives a certain archaic connotation to the whole word and therefore is often used for stylistic purposes, we consider them together with lexical archaisms. The role of archaizing vocabulary is diverse. First, historicisms and archaisms perform their own nominative function in scientific and historical works. When characterizing this or that era, it is necessary to name its basic concepts, objects, details of life with words corresponding to the given time. In artistic and historical prose, outdated vocabulary performs nominative and stylistic functions. Contributing to the reconstruction of the color of the era, it at the same time serves as a stylistic means of its artistic characterization. For this purpose, historicisms and archaisms are used. Lexico-semantic and lexical-derivative archaisms contribute to the temporal characteristic. Obsolete words also perform proper stylistic functions. So, they are often a means of creating a special solemnity, loftiness of the text - in A.S. Pushkin:

... Chain mail and swords sound!

Fear, O army of foreigners

Russia's sons moved;

Both old and young have risen: they fly on the daring.

They are used as a figurative and expressive means, especially in combination with new words - y. E. Yevtushenko: “... And the elevators are cold and empty. Raised above the earth, like God's fingers. Archaizing vocabulary can serve as a means of creating humor, irony, satire. In this case, such words are used in a semantically alien environment.
1.2 Linguistic science of archaisms and their stylistic use

At different stages of its development, poetic language seeks to appropriate for itself those forms that "are not mastered by the practice of everyday concrete-referential use, that is, they have a weak halo of connection with the denotative extralinguistic space." Here we include a mythological dictionary, occasional names, various kinds archaisms, which are the subject of our study.

“In terms of their meaning, they can completely coincide with their synonyms accepted in the language of everyday communication, in other forms of speech activity, but differ precisely in the fact that in the mind of the speaker they are not associated with objects familiar to them and in their familiar mastered non-linguistic space.

In pairs, eyes - eyes, forehead - forehead, lips - mouth and under. the original opposition lies primarily in the referential sphere.

The specific phenomena of poetic language are thus a signal and confirmation of that special denotative space with which the poetic text is associated.

Archaisms occupy a special place in the Russian vocabulary. The question of what is considered archaic vocabulary in the language system, as well as what is the scope of the concept of "archaism" itself, how it correlates, for example, with the concepts of "Slavicism" and "traditional poetic vocabulary", which were separately studied by a number of researchers, seems to be difficult.

And archaisms, and Slavicisms, and traditional poetic words belong to the passive vocabulary. “Everything that in one way or another falls out of active linguistic use is archaized, and the degree of archaization is determined by time and the living linguistic consciousness of the speakers.” We believe that the relationships between these concepts are generic. Let us stipulate here that by traditional poetic words (including those of non-Slavic origin) and stylistic Slavisms we will understand proper lexical archaisms. Thus, archaism is wider than Slavicism, since it can be represented both by a word of non-Slavic origin (Russianism “vorog”), and wider than a traditional poetic word as a proper lexical archaism, since in addition to this group there are lexico-phonetic archaisms, lexico- derivational and grammatical. (There is no difficulty in defining the latter, since the sign of archaization is seen very clearly).

O.S. Akhmanova gives the following definition of archaism:

"one. A word or expression that has gone out of everyday use and is therefore perceived as obsolete: Russian sculptor, widow, widow, healing, in vain, giving, from ancient times, covetousness, slander, incite.

2. Trope, consisting in the use of an old (ancient) word or expression for the purpose of historical stylization, giving speech an elevated stylistic coloring, achieving a comic effect, etc. Russian finger of fate.

Here we consider grammatical and lexical archaisms. To grammatical, or morphological, we include obsolete forms of the word (wings, flame, trees, etc.).

In the group of lexical archaisms, we single out, following N.M. Shansky, three subgroups: proper-lexical, lexical-derivative and lexical-phonetic.

“In one case, we are dealing with words that are now forced into the passive vocabulary by words with a different non-derivative stem. For example: voshe (in vain), ponezhe (because), sail (sail), neck (neck), etc.

In another case, we are dealing with such words, which now, as a linguistic shell of the concepts they express, correspond to words of a single-root character, with the same non-derivative stem. For example: shepherd - shepherd, answer - answer, ferocity - ferocity, etc.

In this case, the word currently used in the active dictionary differs from archaism only in terms of word-formation structure, only by suffixes or prefixes, the non-derivative basis in them is the same, and they are formed from the same word< … >

In the third case, we are dealing with words that are currently replaced in the active dictionary as the language shell of the corresponding concepts by words of the same root, but with a slightly different linguistic appearance. For example: mirror (mirror), smooth (hunger), crow (raven), etc.

Poetry is always built on the language base of the traditional and the new.

"The interaction of tradition, the heritage of the past with the affirmation of the new, the eternal interaction that the aesthetic act lives on." Researchers

“The artistic expressiveness of a lyrical work, its aesthetic potential largely depends on how the poet is able to adapt the linguistic means inherited by modern poetic speech from past eras of the development of the literary language to the expression of new content, pressing problems of our time, personal spiritual experience.”

In this regard, we can easily explain the interest in those lexical elements of the modern poetic language, with the help of which it is connected with the historical past of the literary language and the language of poetry itself, that is, with the vocabulary of high, poetic, archaic.

It is necessary to note the difference between the norm of the modern literary language (as it is reflected in the explanatory dictionaries of the modern literary language) and the norm of modern poetic speech. “The latter is more open to archaic vocabulary that has gone out of active speech use. What is obsolete for the literary language is often “high” or “poetic” in poetry due to the isolation of the lyrical text, the expressive-stylistic function of speech material and the way it is organized.

Proper lexical archaisms (and this is a very significant point) can only include those words that are forced out of modern speech practice or are actively used synonyms, or the realities called by these words (historicisms) go into the past.

“A number of words that go back to the Church Slavonic source, having become obsolete in their direct nominative meaning (as a rule, it has been supplanted by the Russian doublet, which is actively used), actively functions in poetry, as well as in the literary language, in their figurative meanings. However, the archaic direct meanings of these words, forgotten by speech usage, find use in modern poetry if they correspond to the poet's stylistic attitude.

Many words that we now perceive as obsolete were used in their direct meaning in literature XVIII-XIX centuries. The scope of their use was limited, and this was reflected in their future fate: they began to be perceived as "specific signals of the conditions for their use." Thus, a number of poeticisms were formed, many of which are distinguished by the fact that they have limited opportunities combine with other words.

Based on the foregoing, let's say, following the researchers, that the literature of past centuries has enriched the speech practice of modern poets big amount vocabulary, which was distinguished by a specific book application. The degree of archaization of this vocabulary is different. It depends on the stylistic coloring of words, the nature of their connection, the content of the text in which it is implemented. Today, such vocabulary is perceived by us as archaic high, high bookish or poetic. Such a perception opens up wide possibilities for “emotionally contrasting use of the named layer of vocabulary – playful, ironic, satirical – as a result of the incompatibility of the stylistic coloring established in the language with the name of this particular object or with the author’s sharply negative attitude towards it.

Naturally, the creation of a high tonality of a poetic work is achieved not only by the inclusion of archaic vocabulary in it.

However, no one denies its enormous pictorial and expressive potential, which makes it possible to enrich the images created by the poet in a poetic work of a certain thematic orientation, and to achieve a variety of emotional shades. The appropriateness of referring to this vocabulary is determined, firstly, by the emotional and stylistic possibilities of linguistic phenomena, secondly, by the individual author's perception of archaic words, and, thirdly, by the author's consideration of their specific contextual position.

Despite the opinion of some linguists who believe that high-style archaisms in the poetry of our days are a very rare occurrence (and O.S. Akhmanova considers their use as evidence of almost bad taste), observations show that this category of words is used by many modern poets. So E.A. Dvornikova gives the following data:

“Only in thick magazines published in Moscow and Leningrad in 1972, this vocabulary is used by 84 poets published in them: I. Avramenko, P. Antokolsky, A. Voznesensky and others.”

Dvornikova also speaks about the reasons for its use, defining the poetic background of this period. “In the 60-70s, and possibly in the second half of the 50s, there was a revival in the use of words of this category. This is largely due to the expansion of the subject matter of poetic genres, with greater attention to antiquity, more frequent appeal to intimate lyrics, the development philosophical lyrics and creative use of the traditions of Pushkin, Tyutchev, Yesenin.

Further, she notes: “When considering the place of traditional poetic vocabulary in the history of the poetic language Soviet period it is important to separate the individual, the author's from the characteristic of the language of the era, due to the theme from the deliberately intended to achieve stylistic and technical goals.

The very fact of turning to the archaic, high vocabulary of many modern authors suggests that they perceive this vocabulary as one of the means of stylistic expression. Thus, all of the above does not allow us to consider the lexical layer under consideration as a phenomenon alien to the language of modern poetry.

In the use of this linguistic layer of vocabulary, modern poets are not limited to referring to specific words. They also resort to archaic grammatical forms of individual words, to archaic word-formation models, which allows them to recreate the lost or create new words according to old patterns.

One can note the special activity of individual authors in the use of this lexical material. For example, the naming of obsolete realities and signs (in particular, the vocabulary of the "cult" thematic field) is widely used by A. Voznesensky.

Consider the functional orientation of the studied words:

1. Most often, the vocabulary of the series under consideration is used as a means of giving the text or part of it a high, solemn coloring or ironic emotional coloring. “The expression of vocabulary through the word is transmitted to an object, phenomenon, sign, action, which in this way is “poetically” affirmed, exalted or (with irony) denied, ridiculed, ridiculed.”

This function is also carried out in such conditions when the words of interest to us are combined with the vocabulary of a different series, formed by vernacular, the names of "low" (related to everyday life) realities, signs, actions.

Such mixed texts, according to researchers, are a specific feature of modern times.

2. A characterological function associated with the property of the lexicon under consideration to convey to the text the flavor of an epoch or to demonstrate a connection with the literary past.

3. Writers and publicists use archaic vocabulary in a parodic way to reduce the style of speech, to create a comic effect, for the purposes of irony, satire. This function is also considered the main one and is highlighted by all researchers.

4. In the language of modern poetry, archaisms are also a means of poetizing speech. With their help, an expression of lyricism, sophistication, sincerity, musicality is created. The vast majority of modern poetic words go back to the traditional poetic vocabulary that takes shape as a stylistic category at the turn of the 18th-19th centuries and is historically assigned to poetic genres. "Being "carriers of experienced emotions", poetisms are sometimes used in the spirit of the traditions of the 19th century."

5. In modern poetic speech, there is also the use of the studied words without a specific stylistic goal setting. The use of such tokens is determined by versification goals. In the verses of modern poets there are traditional rhymes-stamps (eyes-nights).

Let us say, in conclusion, a few words about the history of the studied lexical layer in the 20th century, based on the works of linguists devoted to Slavicisms and traditional poetic vocabulary.

1. Compared to the Pushkin era, the volume of archaic vocabulary has drastically decreased. The reduction occurred due to words that do not have stylistic expressiveness (stop, preciousness, etc.), words that are artificially created variants of commonly used names (combine, hide, etc.), and, finally, the number of words decreased , which differed from their commonly used synonyms by the presence of a phonetic sign of disagreement (mraz, smooth, etc.).

Another way of changing archaisms, mostly of Old Slavonic origin, is that it was joined by primordially Russian words, which at one time were forced out of the language in general or in some cases from poetic speech by Old Slavonic equivalents: vorog, full, the shape of a tree is close to them. The researchers note that the revival of this category of words is mainly associated with the theme of the poetry of the Great Patriotic War.

2. The changes also affected the semantics of some words. For example, the word "canopy", which had a generalized meaning (cover), in the use of modern poets narrows the semantics and means (leaf cover of trees). The vocabulary of the category under consideration, denoting the names of parts of the human face and body, is often used in modern poetry in metaphorical contexts. Most often, the words of this group are used when personifying the forces of nature (the cheeks of spring, the right hand of the wind, etc.).

3. From a functional point of view, the former role of the studied lexemes is basically preserved, but they are especially often involved in cases when it comes to the literary past. Then even those poets who usually do not use them turn to them. This is especially evident in the poems dedicated to Pushkin. Just as in the literature of the 18th-19th centuries, there is a combination of the versification and stylistic functions of archaisms.

4. The composition and use of archaic vocabulary in different stages the histories of the Russian language of the Soviet era are different.

In the works of poets of the 1920s and 1930s (the time of “linguistic devastation”, the denial of the authorities and traditions of the past, the years of the subsequent domination of the neutral style in poetry), the words of this group are used with minimal frequency.

This is largely due to the predominance of social topics. During the war years and the first post-war decade, due to the predominance of patriotic themes and a general spiritual upsurge, the traditions of the sublime style are resurrected to a certain extent, and the traditional vocabulary of the poetic language reappears in poetry, mainly its rhetorical variety, enriched with archaic words of ancient Russian origin.
Conclusion
We have studied and described the features of the lexical system, namely the obsolete vocabulary in L.N. Tolstoy "Childhood".

We have examined and described the archaic vocabulary in the language of L.N. Tolstoy; the material of archaic phenomena was collected and combined into thematic groups; the process of archaization by thematic groups was analyzed; a bibliography on the subject has been compiled.

There are two similar groups of words in Russian vocabulary - archaisms and historicisms. Their proximity lies in the fact that they are practically not used in the modern language, although for another hundred or two hundred years they used them no less than other words. Both archaisms and historicisms call words obsolete.

It is known that archaisms give the flavor of antiquity. Without them, it would be impossible to reliably transmit the speech of people who lived several hundred years ago. In addition, archaisms often have a sublime, solemn tone, which is not superfluous in poetic language, but completely unnecessary in the language of official documents and often redundant in journalism. Of course, it is absolutely impossible to discard archaisms, however, one must be very careful to decorate speech with them - there are enough pitfalls here.

In conclusion, I would like to note that, by studying archaisms, we can enrich both passive and active reserves, increase language culture, to add a "zest" to oral and written speech, to make it even more expressive and to take advantage of the wealth that our fathers and grandfathers have saved for us. It should not be forgotten that archaisms are a linguistic treasury - the richest heritage that we have no right to lose, as we have already lost a lot.
Bibliography:
1. Akhmanova O.S. Dictionary of linguistic terms. M.: Soviet Encyclopedia, 1966. - 608 p.

2. Biryukov S. The amplitude of the word. About the language of poetry // Literary Review. 1988. No. 1. S. 18-21.

3. Vinogradov V.V. Selected works. Poetics of Russian literature. M.: Nauka, 1976. 512 p.

4. Vinogradov V.V. Problems of Russian stylistics. M.: Higher school, 1981. 320s.

5. Vinokur G.O. Legacy of the 18th century in the poetic language of Pushkin // Vinokur G.O. About the language of fiction. M.: Higher school, 1991. p. 228-236.

6. Vinokur G.O. About language learning literary works// Vinokur G.O. . About the language of fiction. M.: Higher school, 1991. p. 32-63.

7. Vinokur G.O. About Slavicisms in the modern Russian literary language // Vinokur G.O. Selected works on the Russian language. Moscow: Uchpedgiz, 1959.

8. Ginzburg L. About lyrics. M.-L.: Soviet writer, 1964. 382 p.

9. Grigorieva A.D. On the main vocabulary and vocabulary of the Russian language. M.: Uchpedgiz, 1953. 68 p.

10. Grigoryeva A.D., Ivanova N.N. The language of poetry of the XIX - XX centuries. Fet. Modern lyrics. M.: Nauka, 1985. 232 p.

11. Dvornikova E.A. Problems of studying traditional poetic vocabulary in modern Russian // Questions of Lexicology. Novosibirsk: Nauka, 1977. pp. 141-154.

STYLISTIC PROPERTIES OF WORDS ASSOCIATED WITH THEIR RELATION TO THE ACTIVE OR PASSIVE COMPOSITION OF THE LANGUAGE

Lecture #6

I. Archaisms and historicisms, their stylistic functions.

II. Stylistic functions of neologisms

III. Stylistic use of words of foreign origin.

Words, like people, are born, live and serve us, grow old, retire and even die. Yes, they are dying! Because we ourselves do not use them, we turn away from them, we forget ...

What words are called old? And does this definition apply to words? This question is not as simple as it might seem. It is no coincidence that linguists prefer a more precise definition to this definition: obsolete words. Their selection is not connected with our idea of ​​"age": words do not deteriorate, like things, from prolonged use, they do not grow old over the years. There are words that are thousands of years old, but they have not “aged” at all. Take, for example, these: earth, water, sea, sky, mother, daughter, son, because they were born in an ancient era, and yet these words are "forever young."

The fate of words is determined not by "age", but by their use in speech; those who name vital, necessary concepts do not grow old for centuries; others archaize quite quickly, we stop using them, because the very concepts that these words denote disappear. The education system in Russia has changed - words have left our speech institute for noble maidens, cool lady, realist (student of a real school), college student.

Obsolete words that are part of the passive composition of the language include historicisms (names of disappeared objects, phenomena, concepts, etc.) and archaisms (names of existing objects and phenomena, displaced, however, by their synonyms - words of active use).

Historicisms are used mainly in specialized literature, where they perform a nominative function - they serve as names for the realities of past eras. At the same time, the ability to draw a picture of the past with the help of historicisms, saturating it with a specific description, attracts the attention of authors of works of art to them. In historical literature, works of art narrating about the past of our people, it is impossible not to use historicisms. They help to recreate the color of the era, give the description of the past features of historical authenticity. Here is how, for example, in the novel by A.K. Tolstoy "Prince Silver" depicts distant events from the time of Ivan the Terrible - preparation for a fistfight in which the fate of the hero is decided:

The day has come for doomsday. Even before sunrise, people crowded on Red Square ... the place indicated by the gusler was prepared for the king. It consisted of a plank platform covered with scarlet cloth. Royal chairs were placed on it, and the spears and horns sticking out there belonged to the guardsmen who surrounded the platform ... Inside the cordoned off place guarantors and solicitors both sides. Here they stood boyar and roundabout attached to the field, and two clerk who, together with him, were to observe the order of the battle. One of the clerks held an unfolded sudnik.

In addition to historicisms, other types of obsolete words are distinguished in our language. Have you ever seen how this or that word for some reason "falls out of favor"? We use it less and less in speech, we replace it with another, and so it is gradually forgotten. For example, actor once called actor, comedian; said no travel, but voyage, not fingers, but fingers, not forehead, but forehead. As you can see, such obsolete words are called completely modern objects, concepts that are now commonly called differently. New names have replaced the old ones, and they are gradually being forgotten. Obsolete words that have modern synonyms that have replaced them in the language are called archaisms. The stylistic functions of archaisms in fiction are diverse. First of all, they, along with historicisms, are used to create the historical flavor of the era, and this applies not only to the speech of the characters, where their use is quite natural, but also to the author's speech, in which they play the role of a means of stylization. Archaisms are used for speech characteristics characters, for example, when transmitting the speech of persons of the clergy. Wed replicas of Pimen in the tragedy of A.S. Pushkin "Boris Godunov"

And his son Theodore? on the throne

He sighed for a peaceful life

Silent. He is the king's palace

Transformed into a prayer cell;

There are heavy, sovereign sorrows

The holy souls did not revolt him.

God loved the king's humility,

And Russia with him in serene glory

Consoled - and at the hour of his death

An unheard of miracle happened:

To his bed, the only visible king,

The husband appeared unusually bright,

And Theodore began to talk to him

And call the great patriarch.

And all around were seized with fear,

Understanding the heavenly vision,

Zane the holy lord before the king

He was not in the temple then.

Archaisms can give speech a shade of solemnity, pathos. They are widely used in poetry. Most often, archaisms of Old Slavonic origin (historical Church Slavonicisms) are used for this purpose. This function is performed only by those Slavic words that are outdated for our era and are not widely used, while their Russian version belongs to general use (cf .: voice - voice, young - young, daughter - daughter, etc. ) and such Old Slavs are perceived as special poetic words, sublime and beautiful. Many of them have become an integral part of the poetic vocabulary of Russian classical literature. The Old Slavonic synonyms of Russian words, which often differed from them only in disagreement, were especially convenient for poets, because they allowed them to choose more short word, if the conditions of versification required it. For example, K.N. Batyushkov:

I take a breath and voice my languid

Quietly in the air will die.

Decembrist poets, contemporaries of A.S. Pushkin, used Old Slavonic vocabulary to create a civil-patriotic pathos of speech. Great interest in obsolete words was hallmark their poetry. The Decembrists were able to single out in the archaic vocabulary that layer that could be adapted to express freedom-loving ideas. It is the Slavicisms that bear the main stylistic load in the famous satire of K. F. Ryleev “To the temporary worker”. They contain the main distinctive meaning of the work ( villain, perfidy, bribe, poverty), act as expressive epithets ( oppressive, arrogant, enraged); archaic verbs give speech a tense rhetorical sound: Your deeds will expose the people; Then tremble, O haughty temporary worker!

A.S. Pushkin, even in the late period of his work, turned to archaic vocabulary as an indispensable source of the sublime sound of speech. Who will be left indifferent, for example, by the lines from Pushkin's "Prophet" permeated with Slavism?

Arise, prophet, and see, and listen,

Fulfill my will

And, bypassing the seas and lands,

Burn people's hearts with the verb.

Often in fiction archaisms are used as a means of creating irony, satire, parody. Usually, a similar effect is achieved by using archaisms against the background of everyday or reduced vocabulary. For example, Saltykov-Shchedrin has the following combinations: a host of ignorant and evil street loafers; high priest of literary chatter; the order of the service loudly cried out for soap and lye; the sanctuary of fun called the club; the underworld of foolish stomachs etc.

Many funny examples of the ironic use of archaisms in the works of I. Ilf and E. Petrov: The one-eyed man did not take his one eye off the grandmaster's shoes; Father Fyodor was hungry. He wanted wealth.

For the same purpose, obsolete words are used in journalistic works, in newspaper feuilletons, etc. Wed: the unplanned coming of the holy messiah; the buyers of the Slavic cabinet are the Soviet Slavs, namely the Drevlyans, Polans, Krivichi and Dregovichi; This press, not content with the round-the-clock work of the entire metallurgical industry, rushes every day with the completion of the construction of the giants of metallurgy. In the epistolary style, archaisms can give speech a playful character, cf. in letters to A.P. Chekhov: impoverished green ; carp and tench, that is to say pond fish.

There is such a variety of archaisms, which should be discussed separately. Let's start with a simple example. Recall the line from "Eugene Onegin": " A dream, sometimes sad, sometimes lovely, his late sleep is disturbed". On the present stage the existence of a language, the phrase seems strange to us - " a dream, sometimes sad, sometimes lovely". After all, a modern author will never combine the words sad and dream, because a dream inspires, pleases, inspires faith, gives hope .... However, in the time of A.S. Pushkin, such a combination was possible. In addition, we find in the poet even more amazing definitions for the word dream. For example, in "Poltava": ... Perhaps (what a terrible dream), I am cursed by my father. What's the matter? Obviously, for A.S. Pushkin's word dream did not mean "object of desires, aspirations." As in modern language, but something else - "the creation of imagination, vision, thought." This gave the right to write, for example, in "Gypsies": ... I saw terrible dreams!

In modern language, these meanings of the word dream forgotten, although the word itself is used. We find the modern interpretation of this word already among the writers late XIX century. So, A.P. We meet Chekhov: Little by little, his longing turned into a dream to buy himself a small estate somewhere on the banks of a river or lake.

The archaization of one of the meanings of a word is a very interesting phenomenon. The result of this process is the emergence of semantic, or semantic, archaisms, that is, words used in an unusual, outdated meaning for us. Knowledge of semantic archaisms helps to correctly understand the language of classical writers. And sometimes their word usage cannot but make us think seriously...

A comic example comes to mind. The famous writer and poet V.K. Trediakovsky, in the preface to one of his most dear books, addressing the reader, expressed the hope that "this book will be at least a little vulgar", using the last word with its then inherent meaning: he wanted to say that he wanted his work became popular, received recognition, aroused interest among contemporaries... But since words sometimes “age” even faster than people, it didn’t take even a few decades for readers to misinterpret V.K. Trediakovsky, and many are still perplexed when reading this “strange” wish.

You can't joke with archaisms! They should not be neglected either: they say, they are leaving the language, so be it, let's forget them! Do not rush to pass judgment on obsolete words.

There are cases when they return to the language, re-integrate into the composition of the active vocabulary. So, for example, it was with the words soldier, officer, warrant officer, minister, adviser, who received a new life in modern Russian. In the first years of the revolution, they managed to become archaic, but then they returned, having acquired a new meaning. The number of examples of the return of obsolete words could be increased, especially since in last years this process has been drastically intensified: for example, The State Duma, lyceum, gymnasium, labor exchange and others. And yet, the cases of the revival of the "old words", their transformation into modern names are not so frequent, while a huge number of obsolete words retain their characteristic shade of archaism.

The appeal to obsolete vocabulary, since it stands out stylistically in comparison with the usual, neutral, of course, must be justified. Imagine such a scene. Your sister returned, flushed, from the skating rink, and you, meeting her in the corridor, will exclaim: “ With open vyey you'll catch a cold!" Is it appropriate to use archaism in this case? The answer is clear. Well, if your sister has a sense of humor, then she will laugh. Otherwise, she may be seriously afraid for your reason, it will seem so ridiculous to her that you use an old poetic word ...

In conclusion, I would like to wish you to master the art of stylistic use of historicisms and archaisms and avoid blunders that cause a smile on your interlocutor.

Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the color of distant times. In this function, they were used, for example, by A.N. Tolstoy: “The land of Ottich and Dedich are those banks of full-flowing rivers and forest clearings where our ancestor came to live forever. (...) he fenced his dwelling with a fence and looked along the path of the sun into the distance of centuries. And he imagined a lot - hard and difficult times: Igor's red shields in the Polovtsian steppes, and the groans of Russians on Kalka, and peasant spears installed under Dmitry's banners on Kulikovo field, and the blood-drenched ice of Lake Peipsi, and the Terrible Tsar, who pushed the united, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea ... ".

Archaisms, especially Slavicisms, give speech an elevated, solemn sound. Old Slavonic vocabulary performed this function even in ancient Russian literature. In the poetic speech of the XIX century. with the high Old Slavonic vocabulary, Old Russianisms were stylistically equalized, which also began to be involved in creating the pathos of artistic speech. The high, solemn sound of obsolete words is also appreciated by writers of the 20th century. During the Great Patriotic War, I.G. Ehrenburg wrote: “Having repulsed the blows of predatory Germany, she (the Red Army) saved not only the freedom of our Motherland, she saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which good will shine. Our people showed their military virtues…”

Outdated vocabulary can acquire an ironic connotation. For example: Which of the parents does not dream of a smart, balanced child who grasps everything literally on the fly. But attempts to turn your child into a "miracle" catastrophically often end in failure (from the gas.). The ironic rethinking of obsolete words is often facilitated by the parodic use of elements of high style. In the parodic-ironic function, obsolete words often appear in feuilletons, pamphlets, and humorous notes. Let us refer to an example from a newspaper publication during the period of preparation for the day the president took office (August 1996): The new head of the working group for preparing the celebration, Anatoly Chubais, enthusiastically set to work. He believes that the script of the ceremony should be developed "for centuries", and therefore there is no place in it for "temporary", mortal delights. The latter included an ode already written for the holiday, which could conditionally be called "On the day of the ascension of President Yeltsin to the Kremlin." The work suffered a bitter fate: Chubais did not approve it, and on August 9 we will not sing:

Our proud state is great and majestic.

The whole country is full of strength, she made the choice!

(“Inauguration is not a game”) There is an opinion that outdated vocabulary is common in official business style. Indeed, certain words and turns of speech are used in business papers, which in other conditions we have the right to consider as archaisms [for example, legal terms deed, capable, deed, punishment, retribution in dictionaries are accompanied by a mark (arch.)]. In some documents they write: this year, attached to this, the undersigned, the above named, etc. These special official business words do not have an expressive coloring within their “own” functional style. Such outdated vocabulary in an official business style does not carry any stylistic load.

An analysis of the stylistic functions of archaisms in a particular work requires knowledge of the general language norms in force in the era being described. For example, in the works of writers of the XIX century. there are words that archaized at a later time. So, in the tragedy of A.S. Pushkin "Boris Godunov", along with archaisms and historicisms, there are words that became part of the passive vocabulary only in Soviet times (tsar, reign, etc.); Naturally, they should not be classified as obsolete vocabulary that carries a certain stylistic load in the work.

No. 20Slavicisms - words borrowed from Old Church Slavonic or (later) from Church Slavonic languages. In the general case, these are words that have a Russian synonym in the literary language.

Lomonosov singled out "unintelligible" Slavicisms ( clear, I love) and generally accepted ( horse, eyes). The stylistic effect of Slavicisms also depends on the degree of assimilation.

Already Lomonosov's theory of styles was based on the relationship between two funds of the Russian literary language - the fund of the so-called "Slovene" (Old Slavonic or Church Slavonic) words and the fund of purely Russian words.

Do not confuse Slavicisms and archaisms. Old Church Slavonic is not an ancient form of the Russian language. They coexisted together, and Old Church Slavonic was a source of constant borrowing. Words clothes, sky, head(in the book) do not give the impression of obsolescence. Archaisms are words that are dying out, falling into disuse, but the same cannot be said about Slavicisms in general. Slavonicisms cannot be attributed to barbarism either, since the Old Slavonic language, in that part of it in which it was assimilated into Russian, was not a foreign language.

Phonetic signs of Slavicisms

1. Disagreement

Oro / ra (enemy / enemy), ere / re (shore / shore), olo / le, la (full / captivity, parish / power).

It must be remembered that one can speak about full agreement / disagreement only when there are pairs of words.

Words can change their meaning: gunpowder / dust. Only one word from a pair can be saved (full-vowel or non-vowel): peas/grah, time/ time. For the literature, the most interesting case is when both words of the pair are preserved. Then Slavicisms are perceived as high words. The poet is a high or low word depending on the style. It also happens vice versa: Slavicism remained in the language, and the disappeared Russian word is perceived as high (helmet / helmet).

2. Alternation of consonants

Slav. Russian

Zhd (alien, clothes) w (alien, clothes)

Щ (night, oven) h (night, oven)

3. The use of participles in -usch, -yushch, -ashch, -yashch.

4. There is no transition e o with softening of the subsequent consonant under stress. For example, sky/sky.

Morphological features of Slavicisms

1. Form of the nominative case male adjectives: oh (rus.f. good) / yy (st.-sl. good).

2.Truncation of adjectives (sleepless, supportive).

3. The form of the genitive case of feminine nouns: yya (slav.f. wise) / oy (wise).

Declension of nouns according to the paradigms of the Old Church Slavonic language. For example, tows (plural from “eyes”), miracles (plural from “miracle”), sons (instead of “sons”).

Lexical signs of Slavicisms

1. A large number of service words belong to Slavicisms.

How long / how long - until when, until then - not yet, if - how much, ugly - after all.

Stylistic functions of Slavicisms

1. Slavonicisms are used to stylize the speech of past times.

2. The use of Slavonicisms in the translation of ancient texts.

3. The comic function of Slavisms (a low subject is spoken of in a high style).

4. Slavonicisms - the professional language of the clergy. A means of characterizing the hero if a priest or pious person is depicted. The function of depicting a professional language can be combined with an ironic function.