Literary Russian language and dialects. Dictionary of obsolete and dialect words

Have there been incidents with you when, while reading the works of Russian classics, you did not understand what they were writing about? Most likely, this was not due to your inattention to the plot of the work, but because of the writer's style, which includes obsolete words, dialectisms.

words this type V. Rasputin, V. Astafiev, M. Sholokhov, N. Nekrasov, L. Tolstoy, A. Chekhov, V. Shukshin, S. Yesenin liked to express themselves. And this is only a small part of them.

Dialectisms: what is it and how many types exist

Dialects are words whose area of distribution and use is limited to some territory. They are widely used in the vocabulary of the rural population.

Examples of dialectisms in Russian show that they are characterized by individual characteristics concerning phonetics, morphology, vocabulary:

1. Phonetic dialectisms.

2. Morphological dialectisms.

3. Lexical:

actually lexical;
lexico-semantic;

4. Ethnographic dialectisms.

5. Word-building dialectisms.

Dialectisms are also found at the syntactic, phraseological levels.

Types of dialectisms as separate features of the original Russian people

In order to recognize the original features of the dialect of the Russian people, it is necessary to consider dialectisms in more detail.

Examples of dialectisms:

The replacement of one or more letters in a word is typical for phonetic dialectisms: millet - millet; Khvedor - Fedor.
Word changes that are not the norm in terms of matching words in sentences are characteristic of morphological dialectisms: at me; spoke to smart people (substitution of cases, plural and singular).
Words and expressions that are found only in a certain locality, which do not have phonetic and derivational analogues. Words whose meaning can only be understood from the context are called lexical dialectisms. In general, in the well-known dictionary use, they have equivalent words that are understandable and known to everyone. The following dialectisms (examples) are typical for the southern regions of Russia: beet - beets; tsibula - onion.
Words that are used only in a particular region, which have no analogues in the language due to their correlation with the characteristics of the life of the population, are called "ethnographic dialectisms". Examples: shanga, shanga, shaneshka, shanechka - a dialectism denoting a certain type of cheesecake with a top potato layer. These delicacies are widespread only in a certain region; they cannot be characterized in one word from general use.
Dialectisms that have arisen due to a special affixal design are called derivational: guska - goose, pokeda - yet.

Lexical dialectisms as a separate group

Due to their heterogeneity, lexical dialectisms are divided into the following types:

Properly lexical: dialectisms that, with general literary ones, have general meaning, but differ from them in spelling. They can be called peculiar synonyms of commonly understood and well-known words: beets - sweet potato; stitch - track.
Lexico-semantic. Practically complete opposite proper lexical dialectisms: they have a common spelling and pronunciation, but differ in meaning. Correlating them, it is possible to characterize as homonyms in relation to each other.

For example, the word "peppy" in different parts of the country can have two meanings.

Literary: energetic, full of energy.
Dialect meaning (Ryazan): smart, neat.

Thinking about the purpose of dialectisms in the Russian language, we can assume that, despite the differences with general literary words, they replenish the stocks of the Russian literary vocabulary along with them.

The role of dialectisms

The role of dialectisms for the Russian language is diverse, but first of all they are important for the inhabitants of the country.

Functions of dialectisms:

Dialectisms are one of the most important means oral communication for people living in the same area. It was from oral sources that they penetrated into written ones, giving rise to the following function.
The dialectisms used at the level of district and regional newspapers contribute to a more accessible presentation of the information provided.
Fiction takes information about dialectisms from the colloquial speech of residents of specific regions and from the press. They are used to convey local features of speech, and also contribute to a more vivid transmission of the character of the characters.

Some expressions slowly but surely fall into the general literary fund. They become known and understood by everyone.

The study of the functions of dialectisms by researchers

P.G. Pustovoit, exploring the work of Turgenev, focused on dialectisms, examples of words and their meaning, he names the following functions:

characterological;
cognitive;
speech dynamization;
cumulation.

V.V. Vinogradov based on the works of N.V. Gogol identifies the following series of functions:

characterological (reflective) - it contributes to coloring the speech of characters;
nominative (naming) - manifests itself when using ethnographisms and lexical dialectisms.

most complete classification functions were developed by Professor L.G. Samotik. Lyudmila Grigoryevna singled out 7 functions for which dialectisms are responsible in a work of art:

Modeling;

nominative;

emotive;

Culminative;

Aesthetic;

phatic;

Characterological.

Literature and dialectisms: what threatens the abuse?

Over time, the popularity of dialectisms, even at the oral level, decreases. Therefore, writers and correspondents should use them sparingly in their work. Otherwise, the perception of the meaning of the work will be difficult.

Dialectisms. Examples of inappropriate use

When working on a work, you need to think over the relevance of each word. First of all, you should think about the appropriateness of using dialect vocabulary.

For example, instead of the dialect-regional word "kosteril" it is better to use the general literary "scold". Instead of "promised" - "promised".

The main thing is to always understand the line of moderate and appropriate use of dialect words.

Dialecticisms should help the perception of the work, and not hinder it. To understand how to use this figure of the Russian language correctly, you can ask for help from the masters of the word: A.S. Pushkin, N.A. Nekrasov, V.G. Rasputin, N.S. Leskov. They skillfully, and most importantly, moderately used dialectisms.

The use of dialectisms in fiction: I.S. Turgenev and V.G. Rasputin

Some works of I.S. Turgenev is difficult to read. Studying them, you need to think not only about the general meaning of the literary heritage of the writer's work, but also about almost every word.

For example, in the story "Bezhin Meadow" we can find the following sentence:

“With quick steps I walked a long “area” of bushes, climbed a hill and, instead of this familiar plain ˂…˃, I saw completely different places unknown to me”

An attentive reader has a logical question: “Why did Ivan Sergeevich put in brackets the seemingly ordinary and appropriate word “area”?”.

The writer personally answers it in another work “Khor and Kalinich”: “In the Oryol province, large continuous masses of bushes are called “squares”.

It becomes clear that this word is widespread only in the Oryol region. Therefore, it can be safely attributed to the group of "dialectisms".

Examples of sentences using terms of a narrow stylistic orientation used in the speech of residents of certain regions of Russia can be seen in the stories of V.G. Rasputin. They help him show the identity of the character. In addition, the personality of the hero, his character is reproduced precisely through such expressions.

Examples of dialectisms from the works of Rasputin:

Cool down - cool down.
To roar - to rage.
Pokul - for now.
Engage - get in touch.

It is noteworthy that the meaning of many dialectisms cannot be understood without context.

Russian folk dialects, or dialects(gr. dialektos- adverb, dialect), have in their composition a significant number of original folk words, known only in a certain area. So, in the south of Russia, the stag is called grip, clay pot- mahotka, bench - condition etc. Dialectisms exist mainly in oral speech peasant population; in an official setting, dialect speakers usually switch to a common language, the conductors of which are school, radio, television, and literature.

The original language of the Russian people was imprinted in the dialects, in some features of local dialects, relic forms of Old Russian speech, which are the most important source restoration of historical processes that once affected our language.

Dialects are different from the vernacular national language various features - phonetic, morphological, special word usage and completely original words unknown to the literary language. This gives grounds to group the dialectisms of the Russian language according to their common features.

1. Lexical dialectisms - words known only to speakers of the dialect and beyond its borders, having neither phonetic nor word-forming variants. For example, in South Russian dialects there are words beetroot (beetroot), tsibulya (onion), gutorit (speak); in the northern sash (belt), peplum (beautiful), golitsy (mittens). In the common language, these dialectisms have equivalents that name identical objects, concepts. The presence of such synonyms distinguishes lexical dialectisms from other types of dialect words.

2. Ethnographic dialectisms - words that name objects known only in a certain area: shanezhki- pies cooked in a special way", others a nk- "special potato pancakes", nardek- "watermelon molasses", man a rka- "kind of outerwear", poneva- "a kind of skirt", etc. Ethnographisms do not have and cannot have synonyms in the national language, since the objects themselves, designated by these words, have a local distribution. As a rule, these are household items, clothes, food, plants, etc.

3. Lexico-semantic dialectisms - words possessing in a dialect unusual meaning: bridge- "floor in the hut", lips- "mushrooms of all varieties except porcini", shout(someone) - "to call", myself- "master, husband", etc. Such dialectisms act as homonyms for common words used with their inherent meaning in the language.

4. Phonetic dialectisms - words that have received a special phonetic design in a dialect cai (tea), chep (chain)- consequences of "clatter" and "clatter", characteristic of northern dialects; hverma (farm), bamaga (paper), passport (passport), zhist (life) and under.

5. word-building dialectisms - words that have received a special affixal design in the dialect: song (rooster), guska (goose), heifer (calf), strawberry (strawberry), bro (brother), shuryak (brother-in-law), darma (for free), forever (always), from where (from where), pokeda (for now), evonny (his), theirs (theirs) etc.

6. Morphological dialectisms - forms of inflection not characteristic of the literary language: soft endings for verbs in the 3rd person ( go, go); ending -am nouns in the instrumental plural ( under the pillars); ending e at personal pronouns in genitive case singular: me, you and etc.

Dialect features are also characteristic of the syntactic and phraseological levels, but they do not constitute the subject of study of the lexical system of the language.

Dialect words, being used in written texts designed for a wide reader, become dialectisms, which in the language of fiction perform special role. In the author's narration, they recreate the local flavor, like exoticisms, and, like historicisms, they are one of the means of a realistic depiction of reality. In the speech of the characters, they serve as a means of speech characteristics of the hero. Dialecticisms are more widely used in dialogues than in the author's narration. At the same time, the use of words, the scope of which is limited to the territory of one or more regions, should be dictated by necessity and artistic expediency.

As dialectologists have established, in the Russian language “depending on their origin, North Russian and South Russian dialects are distinguished, with Central Russian transitional between them” (71, p. 22). The characteristic features of each of these main groups and the specific narrow-territorial dialects included in them are reflected in fiction.

M. Sholokhov, V. Rasputin, V. Astafiev, F. Abramov and other writers skillfully colored the speech of their heroes with local words. Examples of the most successful stylistic use of dialectisms are found in M. Sholokhov's novels "Quiet Flows the Don" and "Virgin Soil Upturned". The writer depicts the life of the Don Cossacks, and it is natural that Don dialectisms are reflected in the speech of the characters and partly in the author's narration. Here are typical examples of the author's narration with appropriately inlaid dialectisms (in order to create local color):

By evening a storm had gathered. Over the farm there was a brown cloud. The Don, tousled by the wind, threw ridged frequent waves onto the shores. Per levadas dry lightning burned the sky, crushed the earth with rare peals of thunder. Under the cloud, opening, a kite was circling, screaming, chasing him with crows. A cloud, breathing a chill, walked along the Don, from the west. Per loan the sky blackened menacingly, the steppe was expectantly silent (“Quiet Flows the Don”, book 1, part 1, ch. 4).

Compare with other passages:

Aksinya cleaned herself off early, raked in the heat, wrapped up the pipe, and, having washed the dishes, looked out of the window, which looked at bases. Stepan stood next to came down, folded by a fire at the wattle fence to Melekhovsky base. In the corner of his hard lips hung an extinct cigarette; he chose from the fire suitable plow. The left corner of the barn collapsed, it was necessary to put two strong plows and cover with the remaining reeds” (ibid., part 2, ch. 12).

in Melekhovsky Kurene Pantelei Prokofievich was the first to wake up from his sleep. Buttoning up the collar of his shirt embroidered with crosses, he went out onto the porch.<…>, released on proulokskotina.

On the sill of the open window, the petals of the cherry blossoms that had faded in the front garden were deathly pink. Grigory was sleeping face down, throwing his arm out.

- Grishka, to fish will you go?

- What are you? - he asked in a whisper and dangled his legs from the bed.

- Let's go, let's sit down.

Grigory, snoring, pulled off pendants everyday bloomers, put them into white woolen stockings and put them on for a long time chirp, straightening the tucked back.

- A bait did mom cook? he asked hoarsely, following his father into the vestibule.

- Cooked. Go to the boat, I at once.

The old man poured steamed odorous life, businesslike swept the fallen grains into the palm of his hand and, falling on his left foot, limped to the descent. Grigory sat in the longboat, puffed up.

- Where to go?

- To the Black Yar. Let's try near entoy karshi, where nadys sat.

The barkas, scribbling the ground with its stern, settled into the water, broke away from the shore. The stirrup carried him, swaying, trying to turn him sideways. Grigory, without arguing, steered with an oar.

- There will be no business, dad ... A month is at a loss.

– Sulfur captured?

- Give me fire.

The old man lit a cigarette, looked at the sun stuck on the other side of the driftwood.

- Sazan, he takes differently. And sometimes it will take damage.

(Ibid., part 1, ch. 2.)

In the works of M.A. Sholokhov, first of all, dialect words are used, which are widespread in the South Russian dialect; many of them are also known to the Ukrainian language. If we write out from the novel the dialectisms most often used in copyright speech, the list will be relatively small. Most often these are words denoting Don realities - the names of household items, household items, clothing, names of animals and birds, natural phenomena: chicken– Cossack house with all outbuildings , bases– a corral for livestock in the yard and the yard itself , upper room- room , stodol- barn , plow- pole, support with a fork , bonfire- woodpile , slightly- thin long pole , farrier- blacksmith , stag- grip , chaplya - frying pan , zhito- grain (any) , beetroot- beet ; gas– kerosene , serrniki- matches , kaymak- cream , bursaki– rolls , zhalmerka- a soldier; on right- Cossack clothes , Chekmen- Cossack military uniform , curtain- apron chirp- a boot without a top, a shoe; bull- bull (breeding), even- rooster ; beam- a ravine in the steppe, loan- a meadow flooded with spring water, levada- a plot of land with a meadow, a vegetable garden and a garden, way- road, Tatar– thistle .

At comparative analysis the frequency and nature of dialectisms in the author's narrative and in the speech of the characters, it turns out that from the lips of the heroes of the novel - the Don Cossacks - dialect vocabulary sounds more often and is presented more diversely. And this is natural, since the speech of the characters reflects not only local names, but also the Don dialect is reproduced, i.e. the speech of the hero becomes a means of his characterization. It freely uses not only nouns, but also dialectal verbs and adverbs; along with proper lexical dialectisms, lexical-semantic, lexical-phonetic and lexical-word-building ones are used: chatter- talk, guess- discover, kohat - to love each other, shout- cry, make noise- shout, rowing- seems, at once- at once, immediately, now, troshki- Little, hefty- very much, nadys- the other day, recently, to fish- fishing (phonetic. dialectism), suspension- a rope on which a curtain is hung, blocking the bed, karsha- a deep place in the river, bait- bait, etc.

At the same time, a comparative analysis of the first and final versions of the manuscripts of the novels “The Quiet Flows the Don” and “Virgin Soil Upturned” shows that M. Sholokhov consistently sought to rid the text of excessive saturation with dialectisms, which he was initially carried away to a greater extent than was required by the artistic challenges facing him. targets and goals. Here is a typical example of the author's editing of the manuscript of the novel "Virgin Soil Upturned":

1. I was carried by the wind.

2. I was emaciated, I won’t get there.

3. Muffledly rattling a balobon tied to his neck, a foal ran.

4. Now you need to fall on the drag. And to be sure to drag in three tracks.

5. The owner looked after the horse with his hands.

1. I was carried by the wind.

2. I'm completely emaciated, I won't make it.

3. A foal ran with a muffled bell tied to its neck.

4. Now you need to fall on the harrowing. And to be sure to harrow in three tracks.

5. The owner stroked the horse with his hands.

The comparison testifies to the author's balanced and thoughtful attitude (based on the general reader) to the selection and use of words from his native Don dialects.

A great master of the artistic use of local words was P.P. Bazhov, author of the tales "Malachite Box". The creation of tales based on working folklore would seem to imply the use of Uralic dialect words; however, the writer selected them carefully, as he adhered to the firm principle: "I should take only such words that I consider very valuable." (7, p.179). Bazhov was looking for words not narrow dialect, but first of all professional, choosing from them the most figurative, emotional, corresponding to the fairy tale style with its melodiousness, slyness and humor. Here is a characteristic of the language and style of P.P. Bazhov excerpt from the tale " Stone Flower»:

The clerk did not believe. He also realized that Danilushka had become completely different: he had recovered, he had a good shirt on, pants, too, and boots on his feet. So let's check Danilushka to do:

- Well, show me what the master taught you?

Danilushka put on a cufflink, went up to the machine and let's tell and show. Whatever the clerk asks, he has an answer ready for everything. How to chip a stone, how to saw it, remove the chamfer, how to glue it, how to color it, how to plant it on copper, like on a tree. In a word, everything is as it is.

The clerk tortured and tortured, and even says to Prokopych:

- This one seems to suit you?

“I’m not complaining,” Prokopich answers.

Examples of moderate and appropriate use of dialectisms are given by the classics: A.S. Pushkin, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, A.P. Chekhov, L.N. Tolstoy and others. For example, dialectisms in the story “Bezhin Meadow” by I.S. Turgenev: “What are you, forest potion are you crying?" (about a mermaid); "Gavrila bail that her voice, they say, is so thin ”; "What the other day something happened to us in Varnavitsy”; “The headman ... the yard dog so frightened that she is off the chain ... ”(all these words in the speech of the boys sitting by the fire do not require translation). If the writer was not sure of the correct understanding of such words by the reader, then he explained them: “I went to Meadows - you know, where he is downfall it turns out there is buchilo; you know, it is still overgrown with reeds ... "( Sugibel- a sharp turn in the ravine; Buchilo- a deep pit with spring water; notes by I.S. Turgenev).

Other writers of the nineteenth century they also often encrusted their compositions with local words, guided by stylistic criteria of measure and conformity. Dialectisms of that time, many of which subsequently entered the literary language (including with the light hand of well-known prose writers who used them), can be found in the works of I.A. Goncharova ( grunted), G.I. Uspensky ( trunk), P.D. Boborykin ( exhibit), L.N. Tolstoy ( beam, dudes) and others. Through the speech of the intelligentsia, they joined the literary language and entrenched in it common words strawberries, swede, tops, spider, village, bird cherry, plow, frail, milk, initiative, life, essence, rogue and hundreds of others.

Dialect words were used not only by writers, but also poets of the 19th v. - Koltsov and Nekrasov, Nikitin and Surikov. There were such words in the poetry of the first third of the 20th century. For example, in the verses of S.A. Yesenin, you can find a noticeable layer of dialect words: howl- earth and fate, kukan- islet mahotka- krinka, gloomy- haze shushun- sweater, fur coat- shower warmer, show off– to flicker, to shriek– run away, run away– very much etc. A comparison of S. Yesenin's early poems with more mature ones reveals that in the initial period of his work, the poet used local vocabulary to a much greater extent - for example, in the poem "In the hut" (1914):

Smells loose jerking off;

At the threshold in bowl kvass,

Above stoves chiseled

Cockroaches climb into the groove.

Soot curls over damper,

Thread in the oven popelits,

And on the bench behind the salt shaker

Husks of raw eggs.

Mother with grips will not cope,

bending low,

old cat k moss sneaking

For fresh milk.

Reference: jerk off- "a dish of a baked mixture of eggs, milk and flour or grated potatoes"; deja, deja- "sourdough, a tub for kneading dough"; stove- "a recess in a Russian oven to dry something"; damper.- "an iron cover covering the mouth of the Russian stove"; popelitsa- "ash, ashes"; moth- "cring".

Written later widely famous poem"Letter to Mother" (1924) can serve as an example of the manifestation of the idea formed in the mind of S. Yesenin about proportionality, a reasonable balance between commonly used words and dialectisms in artistic speech. There are only two regional words in the poem, which are appropriately used both to create a ring structure (in the 2nd and last stanzas), and so that the poetic text, according to the author's intention, is closer to the heart of a peasant mother:

So forget your worries

Don't be so sad helluva lot about me.

Don't go to the road so often

In an old fashioned ramshackle shushune.

Note. Word shushun, which denotes ancient women's outerwear such as quilted jackets, jackets, not all researchers recognize dialectism, especially ethnographic (i.e., naming a household item or clothing used only by residents of a given area and unknown outside of it). For example, N.M. Shansky expresses a completely different opinion about this word:

"At first glance, the word shushun <…>Yesenin is the same dialectism as the dialect helluva lot- "very".

But it's not. This word has long been widely known in Russian poetry and is not alien to it. It is already found, for example, in Pushkin ("I was waiting for you; in the evening silence // You were a cheerful old woman, // And you sat above me in shushune, // In big glasses and with a frisky rattle"), jokingly describing his muse.

Such an exquisite stylist of our era as B. Pasternak did not disdain this word. So, in his small poem or large poem "Bacchanalia", written in 1957, about the noun shushun we "stumble" immediately in his second quatrain ( old women) » (100, p. 382.)

Although the use of narrow words has been declining over time, they can be found in the poems of many Russian poets of the Soviet period. Here are some examples.

A. Tvardovsky:

I knew not only by hearsay,

That his work is in great honor,

What without iron kochesdyshki

And do not really weave the bast shoes.

("Beyond the distance - distance")

A. Prokofiev:

And here on Ladoga

Beats sludge,

Ladozhanok rejoicing,

blooms kuga.

("And here on Ladoga")

L. Oshanin:

The path of the deer is monotonous, long

On the crisp snowy virgin soil,

And already the polar starry cold

Looked under malitsu to me.

("Gorge")

L. Tatyanicheva:

Frost is called here morse code.

are called padera blizzard.

In shells, worn inside out,

Larches dance in the snow.

They dance so that even the snow winds,

My head is spinning with happiness...

yellow-fronted sun deer

Looks from behind each trunk.

Here gray-haired unsmiling-ate

Yolushki they call like a bride...

I came to winter for housewarming

In densely coniferous clarified forest.

("Housewarming")

Native words familiar from childhood

Going out of use:

In the fields Poles- black grouse,

Letyatina- game, mockery- rumor

Zalavok- like a chest of drawers.

Not allowed in dictionaries

From the rural lexicon:

Sugrёvushka, fupiki- bullfinches;

Dezhen, vorkuny outlaw.

Words disappear like pesteri,

How spinners and spindle.

Carriage incomplete sack of grain

Yesterday the miller called

Podnebitsey- ceiling shelf

Cranberries - crane.

Us to these words grafted mother,

They are cute from childhood.

And I don't want to give up anything

From the entrusted inheritance.

But how to defend it, not to lose

And are there such means?

("Native Words")

Reference: kochedyk or crutch- an awl for weaving bast shoes;

sludge- fine loose ice; kuga- lake reeds; maface- outerwear made of deer skins; sugryovushka- "native, sweet, cordial person"; date- "sour milk"; vorkun- “a dove cooing strongly and a lot”; fester- "a device for carrying heavy loads - for example, hay"; spinner- "device for spinning without a spindle."

Note. In the last poem, the text is deliberately saturated with North Russian dialectisms, since the author has set himself the stylistic goal not only to express his reverent, full of filial love and nostalgic sadness attitude towards “native, familiar from childhood” words, but also to arouse empathy in the reader’s soul about their gradual disappearance from everyday speech.

Dialectisms, being a stylistically significant category of vocabulary, are used to create local color, speech characteristics, stylized text, therefore their use without artistic necessity, as well as the injection of a large number of dialectisms in the text, is most often a sign of low speech culture, and an indicator of naturalism in the art of the word.

This was noticed by such masters of the artistic word as L.N. Tolstoy, A.P. Chekhov, M. Gorky and others. For example, L.N. Tolstoy; speaking about the language of books for the people, he advised “not only to use common, peasant and understandable words, but<…>use good, strong words and not<…>use imprecise, obscure, unfigurative words” (81, p. 365 – 366). A.P. Chekhov wrote on May 8, 1889 to Al.P. Chekhov: “The language should be simple and elegant. The lackeys should speak simply, without letting go and now” (95, p. 210). Modern writers who turn to dialectisms should remember the sarcastic saying of M. Gorky “If the word hryndugi is used in the Dmitrovsky district, then it is not necessary that the population of the remaining 800 districts understand what this word means” and his wish for novice authors to write “not Vyatka, not balakhonsky.

In the popular book D.E. Rozental and I.B. Golub "Secrets of Stylistics", as an example of an unjustified oversaturation of the text with dialectisms, an excerpt from the parody "Vyatka Elegy" (written in the Vyatka dialect and requiring translation into a literary language) is given.

Dialect text:

Everyone bakhori that I was an okochnoy kid, important. Where I am, it has always been sugat. And now? I'm not spinning like a stream! ... Oh, when, when I will close my balls and they will put a mitten on me!

Translation into literary language:

Everyone said that I was a neat kid, well done. Where I am, it's always crowded. And now? I no longer frolic like a bird! ... About when, when I close my eyes and they will sprinkle me with juniper!(See 68, p. 52.)

There are wonderful works in Russian literature in which the use of dialect means significantly exceeds the norm to which we are accustomed when reading the stories of I.S. Turgenev or M. Sholokhov's novels. To those who read the Pomor legends of the Arkhangelsk writers B. Shergin and S. Pisakhov, filled with northern music folk speech, it is impossible to imagine them without dialectisms. Try, for example, to replace dialect words and expressions in a short passage from B. Shergin's fairy tale "The Magic Ring" with general literary dialect words.

Vanka lived together with his mother. Zhitishko was the very last thing. No sending, no wrapping, and nothing to put in your mouth. However, Vanka every month went to the city for his pension. I received only one penny. It goes somewhere with this money, sees - a man crushes a dog:

Man, why are you torturing a shshenka?

What's your business? I'll kill you, I'll make veal cutlets.

Sell me a dog.

Bargained for a penny. Brought home:

Mom, I bought shshenochka.

What are you, stupid field?! They themselves lived to the box, and he will buy a dog!

If you took the risk of subjecting this fragment of the text to "literaryization", you could make sure that in this case all the unique imagery , illuminated by the author's good humor and breathing the freshness of the Pomors' lively speech, it immediately disappears.

It is necessary to distinguish from dialectisms and colloquial words folk poetic words borrowed from folklore. Such words are, for example, nouns father - father , potion- I , sweetheart(Darling), merlin- falcon, twist - grief, sadness (hence the verb swirl),ant - grass; adjectives azure- blue, fine- clear , crimson - Red , darling- native, zealous- hot, ardent (heart), etc. There are also many folk poetic phraseological units: like a poppy color, like oak in open field, red sun and red girl, good fellow and valiant prowess, heroic strength, advice and love and others. Folk poetic phraseology in the broadest sense of this term can also include fixed expressions from fairy tales, epics and legends; proverbs, sayings, riddles, jokes, counting rhymes and works of other small folklore genres.

Folk poetic words and expressions, as a rule, have a positive emotional expressive coloring and are included in the fund of figurative means of colloquial speech.

Dialectic words, being used in written texts designed for the general reader, become dialectisms, which play a special role in the language of fiction. In the author's narration, they recreate the local flavor, like exoticisms, and, like historicisms, they are one of the means of a realistic depiction of reality. In the speech of the characters, they serve as a means of speech characteristics of the hero. Dialecticisms are more widely used in dialogues than in the author's narration. At the same time, the use of words, the scope of which is limited to the territory of one or more regions, should be dictated by necessity and artistic expediency.

Compare with other passages:

On the sill of the open window, the petals of the cherry blossoms that had faded in the front garden were deathly pink. Grigory was sleeping face down, throwing his arm out.

- Grishka, to fish will you go?

- What are you? - he asked in a whisper and dangled his legs from the bed.

- Let's go, let's sit down.

Grigory, snoring, pulled off pendants everyday bloomers, put them into white woolen stockings and put them on for a long time chirp, straightening the tucked back.

- A bait did mom cook? he asked hoarsely, following his father into the vestibule.

- Cooked. Go to the boat, I at once.

The old man poured steamed odorous life, businesslike swept the fallen grains into the palm of his hand and, falling on his left foot, limped to the descent. Grigory sat in the longboat, puffed up.

- Where to go?

- To the Black Yar. Let's try near entoy karshi, where nadys sat.

- There will be no business, dad ... A month is at a loss.

– Sulfur captured?

- Give me fire.

The old man lit a cigarette, looked at the sun stuck on the other side of the driftwood.

- Sazan, he takes differently. And sometimes it will take damage.

(Ibid., part 1, ch. 2.)

In a comparative analysis of the frequency and nature of dialectisms in the author's narrative and in the speech of the characters, it turns out that from the lips of the heroes of the novel - the Don Cossacks - dialect vocabulary sounds more often and is presented more diversely. And this is natural, since the speech of the characters reflects not only local names, but also the Don dialect is reproduced, i.e. the speech of the hero becomes a means of his characterization. It freely uses not only nouns, but also dialectal verbs and adverbs; along with proper lexical dialectisms, lexical-semantic, lexical-phonetic and lexical-word-building ones are used: chatter- talk, guess- discover, kohat - to love each other, shout- cry, make noise- shout, rowing- seems, at once- at once, immediately, now, troshki- Little, hefty- very much, nadys- the other day, recently, to fish- fishing (phonetic. dialectism), suspension- a rope on which a curtain is hung, blocking the bed, karsha- a deep place in the river, bait- bait, etc.

1. I was carried by the wind.

2. I was emaciated, I won’t get there.

3. Muffledly rattling a balobon tied to his neck, a foal ran.

4. Now you need to fall on the drag. And to be sure to drag in three tracks.

5. The owner looked after the horse with his hands.

1. I was carried by the wind.

2. I'm completely emaciated, I won't make it.

3. A foal ran with a muffled bell tied to its neck.

4. Now you need to fall on the harrowing. And to be sure to harrow in three tracks.

5. The owner stroked the horse with his hands.

The comparison testifies to the author's balanced and thoughtful attitude (based on the general reader) to the selection and use of words from his native Don dialects.

- Well, show me what the master taught you?

The clerk tortured and tortured, and even says to Prokopych:

- This one seems to suit you?

“I’m not complaining,” Prokopich answers.

Dialect words were used not only by writers, but also by poets of the 19th century. - Koltsov and Nekrasov, Nikitin and Surikov. There were such words in the poetry of the first third of the 20th century. For example, in the verses of S.A. Yesenin, you can find a noticeable layer of dialect words: howl- earth and fate, kukan- islet mahotka- krinka, gloomy- haze shushun- sweater, fur coat- shower warmer, show off– to flicker, to shriek– run away, run away– very much etc. A comparison of S. Yesenin's early poems with more mature ones reveals that in the initial period of his work, the poet used local vocabulary to a much greater extent - for example, in the poem "In the hut" (1914):

Smells loose jerking off;

At the threshold in bowl kvass,

Above stoves chiseled

Cockroaches climb into the groove.

Soot curls over damper,

Thread in the oven popelits,

And on the bench behind the salt shaker

Husks of raw eggs.

Mother with grips will not cope,

bending low,

old cat k moss sneaking

For fresh milk.

The well-known poem “Letter to Mother” (1924), written later, can serve as an example of the manifestation of the idea formed in the mind of S. Yesenin about proportionality, a reasonable balance between commonly used words and dialectisms in artistic speech. There are only two regional words in the poem, which are appropriately used both to create a ring structure (in the 2nd and last stanzas), and so that the poetic text, according to the author's intention, is closer to the heart of a peasant mother:

So forget your worries

Don't be so sad helluva lot about me.

Don't go to the road so often

In an old fashioned ramshackle shushune.

"At first glance, the word shushun <…>Yesenin is the same dialectism as the dialect helluva lot- "very".

Although the use of narrow words has been declining over time, they can be found in the poems of many Russian poets of the Soviet period. Here are some examples.

A. Tvardovsky:

I knew not only by hearsay,

That his work is in great honor,

What without iron kochesdyshki

And do not really weave the bast shoes.

("Beyond the distance - distance")

A. Prokofiev:

And here on Ladoga

Beats sludge,

Ladozhanok rejoicing,

blooms kuga.

("And here on Ladoga")

L. Oshanin:

The path of the deer is monotonous, long

On the crisp snowy virgin soil,

And already the polar starry cold

Looked under malitsu to me.

("Gorge")

L. Tatyanicheva:

Frost is called here morse code.

are called padera blizzard.

In shells, worn inside out,

Larches dance in the snow.

They dance so that even the snow winds,

My head is spinning with happiness...

yellow-fronted sun deer

Looks from behind each trunk.

Here gray-haired unsmiling-ate

Yolushki they call like a bride...

I came to winter for housewarming

In densely coniferous clarified forest.

("Housewarming")

Native words familiar from childhood

Going out of use:

In the fields Poles- black grouse,

Letyatina- game, mockery- rumor

Zalavok- like a chest of drawers.

Not allowed in dictionaries

From the rural lexicon:

Sugrёvushka, fupiki- bullfinches;

Dezhen, vorkuny outlaw.

Words disappear like pesteri,

How spinners and spindle.

Carriage incomplete sack of grain

Yesterday the miller called

Podnebitsey- ceiling shelf

Cranberries - crane.

Us to these words grafted mother,

They are cute from childhood.

And I don't want to give up anything

From the entrusted inheritance.

But how to defend it, not to lose

And are there such means?

("Native Words")

Reference: kochedyk or crutch- an awl for weaving bast shoes;

Dialectisms, being a stylistically significant category of vocabulary, are used to create local color, speech characteristics, stylized text, therefore their use without artistic necessity, as well as forcing a large number of dialectisms in the text, is most often both a sign of low speech culture and an indicator of naturalism in art. the words.

Dialect text:

Translation into literary language:

There are wonderful works in Russian literature in which the use of dialect means significantly exceeds the norm to which we are accustomed when reading the stories of I.S. Turgenev or M. Sholokhov's novels. Anyone who has read the Pomor legends of the Arkhangelsk writers B. Shergin and S. Pisakhov, filled with the music of northern folk speech, cannot imagine them without dialectisms. Try, for example, to replace dialect words and expressions in a short passage from B. Shergin's fairy tale "The Magic Ring" with general literary dialect words.

Man, why are you torturing a shshenka?

What's your business? I'll kill you, I'll make veal cutlets.

Sell me a dog.

Bargained for a penny. Brought home:

Mom, I bought shshenochka.

What are you, stupid field?! They themselves lived to the box, and he will buy a dog!

It is necessary to distinguish from dialectisms and colloquial words folk poetic words borrowed from folklore. Such words are, for example, nouns father - father , potion- I , sweetheart(Darling), merlin- falcon, twist - grief, sadness (hence the verb swirl),ant - grass; adjectives azure- blue, fine- clear , crimson - Red , darling- native, zealous- hot, ardent (heart), etc. There are also many folk poetic phraseological units: like a poppy color, like an oak tree in an open field, the sun is red and the girl is red, a good fellow and valiant prowess, heroic strength, advice and love and others. Folk poetic phraseology in the broadest sense of this term can also include fixed expressions from fairy tales, epics and legends; proverbs, sayings, riddles, jokes, counting rhymes and works of other small folklore genres.

Folk poetic words and expressions, as a rule, have a positive emotional and expressive coloring and are included in the fund of figurative means of colloquial speech.

The vocabulary of the Russian national language includes popular vocabulary, the use of which is not limited either by the place of residence or by the type of activity of people, and vocabulary limited use , which is common within the same locality or in a circle of people united by a profession, common interests, etc.

National vocabulary is the basis of the Russian language. It includes words from different areas of society: political, economic, cultural, everyday, etc. Common words, in contrast to the vocabulary of limited use, are understandable and accessible to any native speaker.

Throughout the history of the Russian literary language, its vocabulary has been replenished with dialectisms. Among the words that go back to dialectisms, there are stylistically neutral ( taiga, hill, eagle owl, strawberries, smile, plow, very) and words with expressive coloring ( boring, clumsy, mumbling, taking a nap, nonsense, hassle). Many words of dialect origin are associated with the life and way of life of the peasantry ( laborer, harrow, spindle, dugout). Already after 1917, the words grain grower, plowing, greenery, steam, mowing, milkmaid, initiative, new settler entered the literary language.

The Russian literary language is enriched with ethnographic vocabulary. Siberian ethnographic words were mastered in the 1950s and 1960s fall, decay, sludge etc. In this regard, in modern lexicography, an opinion is expressed about the need to revise the system of stylistic marks that limit the use of words by indicating their dialectal character.

And yet, for the development of the modern literary language, dialectal influence is not essential. On the contrary, despite isolated cases of borrowing dialect words by the literary language, it subjugates dialects, which leads to their leveling and gradual death.

In artistic speech, dialectisms perform important stylistic functions: they help to convey the local color, the features of the speech of the characters, and finally, the dialect vocabulary can be a source of speech expression.

The use of dialectisms in Russian fiction has its own history. Poetics of the 18th century allowed dialect vocabulary only in low genres, mainly in comedy; dialectisms were distinctive feature non-literary, mostly peasant speech of the characters. At the same time, dialectal features of various dialects were often mixed in the speech of one hero.

Sentimentalist writers, prejudiced against the rude, "muzhik" language, protected their style from the dialect vocabulary.

Interest in dialectisms was caused by the desire of realist writers to truthfully reflect the life of the people, to convey the “common folk” flavor. I.A. Krylov, A.S. Pushkin, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, L.N. Tolstoy and others. Turgenev, for example, often has words from the Oryol and Tula dialects ( high road, talk, poneva, potion, wave, doctor, buchilo and etc.). 19th century writers used dialectisms that corresponded to their aesthetic attitudes. This does not mean that only some poeticized dialect words were allowed into the literary language. Stylistically, the appeal to reduced dialect vocabulary could also be justified. For instance: As if on purpose, the peasants met all shabby(T.) - here dialectism with a negative emotionally expressive coloring in the context is combined with other reduced vocabulary ( willows stood like beggars in rags; the peasants rode on bad nags).

Modern writers also use dialectisms when describing village life, landscapes, and when conveying characters' speech patterns. Skillfully introduced dialect words are a grateful means of speech expression.

It is necessary to distinguish, on the one hand, the “citation” use of dialectisms when they are present in the context as an element of another style, and, on the other hand, their use on an equal footing with the vocabulary of the literary language, with which dialectisms should stylistically merge.

With the "citation" use of dialectisms, it is important to observe a sense of proportion, to remember that the language of the work must be understandable to the reader. For instance: All evenings, and even nights [guys] sit by the fires, speaking locally, and bake opalikhs, that is, potatoes(Abr.) - such use of dialectisms is stylistically justified. When evaluating the aesthetic value of dialect vocabulary, one should proceed from its internal motivation and organic nature in the context. In itself, the presence of dialectisms cannot yet testify to a realistic reflection of local color. As rightly emphasized by A.M. Gorky, “life needs to be laid in the foundation, and not stuck on the facade. Local flavor - not in the use of words: taiga, zaimka, shanga- it should stick out from the inside.

A more complex problem is the use of dialectisms along with literary vocabulary as stylistically unambiguous speech means. In this case, the fascination with dialectisms can lead to clogging the language of the work. For example: All wabit, bewitches; Odal Belozor swam; Slope with screwed up- such an introduction of dialectisms obscures the meaning.

When determining the aesthetic value of dialectisms in artistic speech, one should take into account what words the author chooses. Based on the requirement of accessibility, understandability of the text, the use of such dialectisms that do not require additional explanations and are understandable in context is usually noted as proof of the writer's skill. Therefore, writers often conditionally reflect the features of the local dialect, using several characteristic dialect words. As a result of this approach, dialectisms that have become widespread in fiction often become “all-Russian”, losing touch with a specific folk dialect. The appeal of writers to the dialectisms of this circle is no longer perceived by the modern reader as an expression of the individual author's manner, it becomes a kind of literary cliché.

Writers should go beyond "inter-dialect" vocabulary and strive to non-standard use dialectisms. An example of a creative solution to this problem can be the prose of V.M. Shukshin. There are no incomprehensible dialect words in his works, but the speech of the characters is always original, folk. For example, vivid expression distinguishes dialectisms in the story "How the old man died":

Yegor stood on the stove, slipped his hands under the old man.

Hold on to my neck... That's it! How easy it has become! ..

Got sick... (...)

In the evening I will come and visit. (...)

Don't eat, that's weakness, - the old woman noticed. - Maybe we can chop the trigger - I'll cook the broth? He's a slick, fresh one... Huh? (...)

Do not. And we won’t sing, but we’ll decide the trigger. (...)

At least for a while, don’t be flustered! .. He’s standing there with one foot, but isho shakes something. (...) Are you really dying, or what? Maybe isho oklemaissya.(...)

Agnyusha," he said with difficulty, "forgive me... I was a little dim-witted...

The processes of the increasing spread of the literary language and the dying out of dialects, characteristic of our historical era, are manifested in the reduction of lexical dialectisms in artistic speech.

Dialectisms as an expressive means of speech can be used only in those styles in which going beyond the normative boundaries of the vocabulary of the literary language into folk dialects is stylistically justified. In scientific and official business style dialectisms are not used.

The introduction of dialect vocabulary into works of journalistic style is possible, but requires great care. In journalism, the use of dialectisms along with literary vocabulary is undesirable; dialectisms in the author's narrative are especially unacceptable. For instance: Then Shirokikh saw Lushnikov, and they returned to the gathering place, built a fire and began to shout comrades; The icebreaker was moving quickly, but Stepan hoped to slip to the right bank until the path on the river was destroyed- replacing dialectisms with commonly used words, sentences can be corrected as follows: ... began to call comrades; The icebreaker was moving fast, but Stepan hoped to slip to the right bank while the ice on the river was still intact. (until the ice breaks).

It is absolutely unacceptable to use dialect words, the meaning of which is not quite clear to the author. So, telling about the anniversary flight of a steam locomotive, the journalist writes: Everything was the same as 125 years ago, when the same steam engine passed along the first pass ... However, he did not take into account that the word first pass means "the first winter journey on fresh snow."

It should be borne in mind that the use of dialectisms is not justified even as a characterological means if the author cites the words of the characters spoken in an official setting. For instance: ... It is necessary to look after the animal in a timely manner, inform the veterinary service; Chefs bring food, bridges will be washed, linen will be handed over to the laundry. And sometimes they just come to the evening(speech of the heroes of the essays). In such cases, dialectisms create an unacceptable diversity of speech means, because in a conversation with journalists, the villagers try to speak the literary language. The authors of the essays could write: ... It is necessary to take care of the animal in time; ... the floors will be washed; sometimes they just come in for dinner.

Professional vocabulary includes words and expressions used in various fields of human activity, which, however, have not become common. serve to designate various production processes, production tools, raw materials, products, etc. Unlike terms, which are official scientific names for special concepts, professionalisms are perceived as “semi-official” words that do not have a strictly scientific character. For example, in the oral speech of printers there are professionalisms: the ending is “graphic decoration at the end of the book”, the antennae is “the ending with a thickening in the middle”, the tail is “the lower outer margin of the page, as well as the lower edge of the book, opposite the head of the book”.

As part of the professional vocabulary, it is possible to distinguish groups of words that are different in the sphere of use: professionalisms used in the speech of athletes, miners, hunters, fishermen. Words that are highly specialized names used in the field of technology are called technicalisms.

stand out professional jargon words that have a reduced expressive coloring. For example, engineers use the word yabednik to mean "self-recording device"; in the speech of pilots there are the words nedomaz and peremaz (undershoot and flight of the landing sign), bubble, sausage - “probe balloon”; for journalists - a snowdrop - "a person working in a newspaper as a correspondent, but enlisted in the states in a different specialty"; how to call? - “how to title (article, essay)?”; italicize (in italics).

In reference books and special dictionaries, professionalisms are often enclosed in quotation marks so that they can be distinguished from terms (“ clogged” font - “a font that has been in galleys or stripes for a long time”; “foreign” font - “font letters of a different style or size, erroneously included in the typed text or heading").

Under certain conditions, professionalisms find application in the literary language. So, with insufficient development of terminology, professionalisms often play the role of terms. In this case, they are found not only in oral, but also in written speech. When using scientific-style professionalisms, authors often explain them in the text ( The so-called light hay enjoys a well-deserved notoriety as a low-nutrient food, with a significant use of which cases of brittle bones in animals are noticed.).

Professionalisms are not uncommon in the language of large-circulation, trade newspapers ( Reset the cars after the dissolution of the train and divert maneuvering means for this, ... the dissolution of the train with the thrust of another). The advantage of professionalisms over their commonly used equivalents is that professionalisms serve to distinguish between close concepts, objects that for a non-specialist have one common name. Thereby special vocabulary for people of the same profession, it is a means of precise and concise expression of thought. However, the informative value of narrow professional names is lost if a non-specialist encounters them. Therefore, in newspapers, the use of professionalism requires caution.

Penetrate into the language of the newspaper and professionalism of reduced stylistic sound, very common in colloquial speech. For example, essay writers refer to such expressive professionalisms as “shuttles”, shuttle business, enable counter(increase the percentage of the loan), etc. However, the excessive use of professionalism interferes with the perception of the text and becomes a serious, lack of style. Professional slang vocabulary is not used in book styles. In fiction, it can be used along with other colloquial elements as a characterological tool.

The inclusion of professionalism in the text is often undesirable. Thus, in a newspaper article, the use of highly specialized professionalisms cannot be justified. For instance: At the mine, the leveling of horizons is carried out very untimely, the slope of the roads- only a specialist can explain what he meant

In book styles, professional vocabulary should not be used because of its colloquial vernacular coloring. For instance: It is necessary to ensure that the filling of furnaces does not exceed two hours, and melting in the furnace sat not longer than b hours 30 minutes(it is better: ).

It is also unacceptable to use jargon-professional words in book styles, which are used in oral speech as informal variants of scientific terms and usually have a reduced expressive coloring. Such professionalisms are sometimes misunderstood as scientific terms and included in works of scientific style (they write: dozer instead of dispenser, tweeter instead of tweeter, reciprocity instead reciprocity method, organic instead organic fertilizers ). The introduction of professional slang words into written speech reduces the style and often becomes the cause of inappropriate comedy [ Sandblasting makes it possible to overhaul the painting of cars(it is better: With the help of a sandblaster, the surface of the car is well cleaned, which ensures a high quality of its painting.)]. In the 90s, the Russian literary language was actively replenished colloquial vocabulary, and therefore professional and professional jargon words appear on the pages of newspapers and magazines. Many professionalisms have become widely known, although until recently lexicologists did not include them in explanatory dictionaries. For example, the name black box has ceased to be a narrowly professional one, meaning "protected on-board storage of flight information." When describing air crashes, journalists freely use this professionalism, and comments on it appear only if the author of the article wants to depict the picture of the tragedy clearly:

Among the fragments of the colliding aircraft scattered within a radius of ten kilometers, the emergency commission found two “black boxes” with an Il-76T and one of the same device from a Saudi Boeing.

These sheltered in the strongest metal cases orange color devices withstand without damage a 1000-degree temperature and a hundredfold overload upon impact.

Jargon, in contrast to professional, denotes concepts that already have names in the national language. Jargon is a kind of colloquial speech used by a certain circle of native speakers, united by a common interest, occupation, position in society. In modern Russian, youth jargon, or slang, is distinguished (from the English slang - words and expressions used by people of certain professions or age groups). A lot of words and expressions came from slang into colloquial speech: cheat sheet, cram, tail(academic debt), swim (badly answer the exam), fishing rod (satisfactory grade), etc. The emergence of many jargon is associated with the desire of young people to express their attitude to the subject, phenomenon more vividly, more emotionally. Hence the words of appreciation: awesome, awesome, cool, laugh, go crazy, buzz, fuck, plow, sunbathe etc. All of them are common only in oral speech and are often absent in dictionaries.

However, there are many words and expressions in slang that are understandable only to the initiated. For example, let's take a humoresque from the newspaper "University Life" (09.12.1991).

Abstract of one cool student on one downhole lecture.

Hammurabi was a sickly politician. In nature, he rolled a barrel at the surrounding Kents. First, he ran into Larsa, but specifically broke off. To fight with Larsa was not to show figurines to the sparrows, especially since their Rim-Sin was such a sophisticated closet that he glued Hammurabi's beard without any problems. However, it was not so easy to take on a show off, Larsa became purely purple for him, and he turned the arrows to Marie. He managed to throw noodles on the ears of Zimrilim, who was also a tough man, but in this case he snapped his beak. Cursing, they ran into Eshnuna, Uruk and Issin, who bounced their tail for a long time, but flew by like a flock of rasps.

For the uninitiated, such a set of slang words turns out to be an insurmountable obstacle to understanding the text, so we will translate this passage into literary language.

Hammurabi was skillful politician. He pursued an expansionist policy. First, the ruler of Babylon tried to capture Larsa, but he failed. Fighting Larsa was not so easy, especially since their ruler Rim-Sin was such a dodgy diplomat that he easily forced Hammurabi to abandon his intention. But Hammurabi went on aggressive campaigns in order to expand the territory of their state. And, leaving for a while the attempt to conquer Larsa, he changed the political course, and the Babylonian army rushed to the north. He managed to conclude an alliance with the ruler of Mari, Zimrilim, who was also a good politician, but in this case conceded military force Hammurabi. The combined forces subjugated Eshnunu, Uruk and Issin, who stubbornly defended themselves, but in the end were defeated.

When comparing these so different "editions", one cannot deny the first, saturated with jargon, in liveliness and imagery. However, the inappropriate use of slang in history lectures is obvious.

The expressiveness of jargon vocabulary contributes to the fact that words from jargons turn into common colloquial everyday speech, not bound by strict literary norms. Most of the words that have become widespread outside of jargons can only be considered jargonisms from a genetic point of view, and at the time of their consideration they already belong to the vernacular. This explains the inconsistency of labels for jargon in explanatory dictionaries. So, in the "Dictionary of the Russian language" S.I. Ozhegov to fall asleep in the meaning of “fail” (colloquial), in the meaning of “get caught, be caught in something” (simple), and in “ explanatory dictionary Russian language, ed. D.N. Ushakov, it has marks (colloquially, from thieves' slang). Ozhegov has to cram (colloquial), and Ushakov has a litter for this word (school slang). Many jargons in the newest dictionaries are given with a stylistic mark (simple) [for example, in Ozhegov: ancestors are “parents” (simple, joking); tail - "the remainder, the unfulfilled part of something, such as exams" (simple); salaga - “newbie, recruit, junior in relation to the elders” (simple), etc.].

Slang vocabulary is inferior to literary in accuracy, which determines its inferiority as a means of communication. The meaning of jargon tends to vary depending on the context. For example, the verb kemarit can mean doze off, sleep, rest; verb run into - threaten, extort, pursue, take revenge; adjective good, attractive, interesting, reliable etc.; such is the meaning of the word lethal and a number of others. All this convinces of the inexpediency of replacing the rich, vibrant Russian language with slang.

A special socially limited group of words in modern Russian is camp jargon, which is used by people placed in special conditions life. He reflected the terrible life in places of detention: convict (prisoner), veneer or shmon (search), gruel (stew), tower (execution), informer (informer), knock (inform) and so on. Such jargon is used in the realistic description of camp life by former "prisoners of conscience" who have been given the opportunity to openly recall the repressions. Let us quote one of the most talented Russian writers who did not have time to realize their creative potential for well-known reasons:

If you are called to watch, it means - expect trouble. Either a punishment cell follows, or some other dirty trick ...

True, this time they didn’t put me in a punishment cell and didn’t even “deprive me of a stall”. “Deprive by stall” or “deprive by date” are boss formulas that arose as a result of a tendency to laconism, this is 50% economy of expression. "Deprive the right to use the stall" or "... a date." The authorities, completely tormented by the desire for an ideal, had to resort to saving tongue twisters quite often, and, naturally, they tried to save seconds. So, something unusual awaited me. Entering, I saw several guards and at the head of them - the "Regime". After all, we were also prone to brevity, however, for other reasons: when danger approached, it was easier and more profitable to whisper: “Regime!”, Than to say: “Deputy head of the camp for the regime.”

There was someone else in the room besides Regime, the guards, and me, and I immediately stared at him.

(July Daniel)

From this passage, one can get an idea about the very "mechanism" of the appearance of these strange jargons. I would like to hope that there will be no extralinguistic conditions for their consolidation in the Russian language and that they will quickly pass into the composition of passive vocabulary.

This cannot be said about the language of the underworld (thieves, vagabonds, bandits). This slangy variety of language is defined by the term slang (fr. argot - closed, inactive). Argo is a secret, artificial language of criminals (thieves music), known only to the initiated and also existing only in oral form. Separate argotisms are spreading outside of slang: thieves, mokrushnik, pen(knife), raspberry (stash), split, nix, fraer etc., but at the same time they practically pass into the category of colloquial vocabulary and are given in dictionaries with the corresponding stylistic marks: “colloquial”, “coarse colloquial”.

Many famous writers be wary of jargon. So, I. Ilf and E. Petrov, when reprinting the novel "The Twelve Chairs", abandoned some jargon. The desire of writers to protect the literary language from the influence of jargon is dictated by the need for an uncompromising struggle against them: it is unacceptable that jargon vocabulary be popularized through fiction.

In journalistic texts, it is possible to refer to argotisms in materials on a certain topic. For example, in the section "Criminal plots":

The "cream" of the underworld - "thieves in law" ... Below are the usual thieves, who are called "denial" or "wool" in the colony. The life credo of the “denial” is to counteract the demands of the administration and, conversely, to do everything that the authorities forbid ... And at the base of the colony pyramid is the bulk of the convicts: “muzhiks”, “hard workers”. These are those who sincerely embarked on the path of correction.

In rare cases, jargon can be used in newspaper materials that have a sharp satirical focus.

The appeal to jargon not in satirical contexts, dictated by the authors' desire to revive the narrative, is regarded as a stylistic defect. So, the author was carried away by a play on words, naming his note like this: The artist Dali is completely out of his mind(the note describes an unusual sculpture of the artist - in the form of a lamp, which gave the correspondent grounds for a pun: lantern - lantern). For a reader who does not own jargon, such words become a mystery, and after all, the language of the newspaper should be accessible to everyone.

Deserves censure and enthusiasm for the slang vocabulary of journalists who write about crimes, murders and robberies in a playful tone. The use of slang and slang words in such cases gives the speech an inappropriate, cheerful tone. Tragic events are narrated as a fascinating incident. For modern correspondents of Moskovsky Komsomolets, this style has become familiar. Let's give just one example.

On Tverskaya Street last Thursday, the police picked up two girls who were trying to “push” a VCR to a passer-by. It turned out that the girls cleaned out the night before apartment on Autumn Boulevard. (...) The ringleader was a 19-year-old homeless woman ...

The downward trend in the style of newspaper articles is clearly demonstrated by many newspapers. This leads to the use of jargon and argotism even in serious materials, and for short notes, reports, the style, “colored” with reduced vocabulary, has become common. For instance:

And I will not give you a corridor

There is a new leap in the Kremlin: to give fraternal Belarus access to the sea through Kaliningrad. “We are going to come to an agreement with the Poles and get their consent to build a section of the highway through their territory,” the President of Russia said just now.

However, this “sign of the times” does not meet with sympathy from stylists, who do not approve of the mixing of styles that creates inappropriate comicality in such publications.