Elements of Linguistic Analysis of a Literary Text in the Lessons of Literary Reading. About English with love

I welcome you, students of the Argemony University, to a new lesson!

I want to say right away that the subject involves a deep immersion in the Russian language, deeper than it was in the lessons of the Magic of Language at school. It is very good if you, after reading the lecture material, take your homework seriously. As always, your own reflections on the topic of the lecture, additional research will be welcome. Homework questions will be raised sometimes in the middle of the lecture. Therefore, be careful. There will be no scores on questions, as in school, so that you can express your thoughts without limiting yourself in advance to the numerical framework of the voiced points. If you see a lot of questions for the lecture, then perhaps a choice will be given. Some of the tasks will be mandatory, and from the rest you can choose your favorite. How many questions need to be answered - each time will be different, and this will be reported at the end of the lecture.

During the five courses at the lessons of the Magic of Language at the Argemona School, we tried to touch the magic of the language. The language was considered from different points of view. Learned to see magic in sounds and letters. They climbed deep into the word, into its very root, which carries the very essence of the word. They tried to create magic with the help of suffixes and prefixes. We learned to construct magic words based on the analysis of sounds. Colored words and whole texts. Now it's time to take a closer look at the word itself.

There is an ancient Indian legend that says the following:

The thought said: "I am better than you. After all, you do not say what I have not achieved. Since you imitate me, follow me, I am better than you!"
Then the speech said: "I am better than you. For what you know, I make known, I make clear."

Language and thought are interconnected. Thought crystallizes in language, in verbal form. Is thought possible without language? This question does not make sense, because thinking arises only in a linguistic form and cannot exist "outside of language". Thinking through language improves, takes on a coherent form, although there is such a phenomenon as empty phrases, empty rantings. As Goethe said, "empty speech is always easy to put into words." However, seemingly empty phrases also acquire their meaning. Now this is often called trolling.
The word is a unique phenomenon, because it has a meaning. It can unite, divide, inspire, make me sad, heal, hurt... Therefore, once there was nothing higher than the word. "In the beginning was the Word, and the Word was with God, and the Word was God," says John in the New Testament.

Many words on earth. There are daily words -
The blue of the spring sky shines through them.

There are night words that we talk about during the day
We remember with a smile and sweet shame.

There are words - like wounds, words - like a court, -
They do not surrender with them and do not take prisoners.

Words can kill, words can save
In a word, you can lead the shelves behind you.

In a word, you can sell, and betray, and buy,
The word can be poured into smashing lead.

But there are words for all words in our language:
Glory, Motherland, Loyalty, Freedom and Honor.

I dare not repeat them at every step, -
Like banners in a case, I keep them in my soul.

This wonderful poem was written in 1956 by Vadim Shefner.

Many famous people have written about the word.

The word is the exceptional ability of a person to express his thoughts and feelings; a gift to speak... A combination of sounds that make up one whole, which in itself means an object...; the Son of God is interpreted; truth, wisdom and power... (V.I. Dal)

It's not scary to lie down under the bullets of the dead,
It's not bitter to be homeless,
And we will save you, Russian speech,
Great Russian word.

We'll carry you free and clean
And we will give to our grandchildren, and we will save from captivity
Forever!
(A. Akhmatova)

There is nothing in the world that would not be named, named. The word is the garment of all facts, of all thoughts, and the sound is the garment of the word. (M. Gorky)

The word has, as it were, two beginnings: sound and meaning. They are connected. The word is like a ball. The man takes it and starts unwinding it. Some people will see the point; others - not only the meaning, but also other meanings (figurative); the third - see nothing. It all depends on the person. A person takes a word, introduces it into his speech, and the word begins to speak.

What is the word for you? What words are valuable to you personally? This will be the first task.

The root in the word "word" is the same as in "glory", "repute", "hearing". It is interesting in this case to look at the word "Slavs". The original spelling was "Slovene". The ancient name of the ancestors of the Slavs is Wends. "Slovene" means "reputed to be Wends", that is, having the glory of Wends. And the Wends left traces all over Europe: on the Danube, Vienna bears their name, in Northern Italy - Venice (under Julius Caesar, the Wends lived there), and in the north-west of France - the Vendée, that is, the land where the Wends once lived. And when the Ilmenians were still called Slovenes, then all taken together were already called "Slavs". "Slovene" - the people of glory. The spelling "Slavs" is no longer connected with the root "vein", it fades into the background, and only "glory" remains. This is a very kind word: a nice boy (it is clear that the boy is a good person, although he has not yet earned fame), a nice husband (here this word refers not only to military glory, but also to virtue).

So the word has many meanings. In a narrow terminological sense, a word is a unit of language, which is a sound expression of the concept of any phenomenon of reality. But the word can act in a broader sense:
- "Say the word"; "The word is silver, silence is gold" - a statement, a verbal expression;
- "He knows the word" - a conspiracy, a spell;
- "Sermon on the Law and Grace of Metropolitan Hilarion" - speech, sermon;
- "The Tale of Igor's Campaign" - narration;
- "Having given the word - hold on, and not giving it - be strong" - a promise.

The Italian storyteller Gianni Rodari told how you can penetrate the wonderful world of words.

“If you throw a stone into the pond, concentric circles will go along the water, involving in their movement, at different distances, with different consequences, a water lily and a reed, a paper boat and a fisherman's float. as if coming to life, they are forced to react, to interact with each other.The movement spreads in breadth and depth.The stone, rushing down, pushes the algae, scares away the fish; reaching the bottom, it raises silt, stumbles upon long-forgotten objects; some of them are exposed , others, on the contrary, are covered with a layer of sand.In the shortest moment, many events or micro-events occur.Even with the desire and time, it would hardly be possible to fix them all without exception.
Likewise, a word, accidentally sunk into the head, spreads waves in breadth and depth, causes an endless series of chain reactions, extracting sounds and images, associations and memories, ideas and dreams when it "sinks". This process is closely connected with experience and memory, with imagination and the sphere of the subconscious, and is complicated by the fact that the mind does not remain passive, it interferes all the time, controls, accepts or rejects, creates or destroys.

And now I will invite you to do next task.
Take a walk around your house or just in your room. Or somewhere else - your choice. In Argemon, of course. Write down the names of the objects that surround you, the sounds, noises that fill the selected space. What material are these items made of? How are they dyed?
And now, using the materials received, write a fantastic story in which any object or phenomenon that you "caught" during your walk around the house will be an independent character.
I think the titles of some topics will help you decide: "Mr. desk", "Overheard conversation of a mantle and a hat", "The story of a bed that did not let you sleep", "Offended magic wand".
Of course, you can offer your own topic, but you can also use one of the voiced ones.

Topic: "Elements of linguistic analysis of a literary text in the lessons of literary reading"

The world of words, their combinations and interlacings in our world is complex and multicolored. everyday communication. But more difficult are linguistic phenomena when they get into a literary text, they acquire special aesthetic functions and become facts of one of the most effective arts - literature.

The technology of the modern lesson suggests that the lessons of literary reading in the primary grades are also designed to solve the problem associated with adequate perception and understanding by children of works of art of the word. Therefore, the lessons should include a linguistic analysis of the text. On the pages of a literary text, we constantly encounter such words and phrases that are unusual for our everyday communication. That is why in the process of teaching fiction, linguistic analysis is of great importance, based on taking into account the normativity and historical variability of the literary language, as well as the correct assessment of individual authorial and general linguistic facts.

The importance of linguistic analysis is paramount. Often teachers refer to the lack of time, the child's lack of abstract thinking, and the difficulty of conducting an analysis. But any artistic text is information expressed by certain linguistic means. In the modern elementary school, much attention is paid to the consideration of the psychological perception of fiction by younger students. It has a number of features:

schematism of perception;

one-sided nature of understanding a polysemantic word;

concreteness in the representation of the word-image;

perception of individual details instead of a holistic picture;

inability to present events and images in dynamics;

misunderstanding of the actions of heroes;

incompleteness of experience.

Younger students do not think in abstract categories, so they will have great difficulty capturing the shades of the text. But they will notice the word unusually used by the author immediately, they will feel its figurative meaning.

When considering what examples of literature, a linguistic analysis of a literary text is necessary?

in textbooks elementary school Poetry texts are presented in a large volume. Poems in reading lessons should be considered as works of art, since the main thing here is the process of feeling that the child experiences when perceiving the text. Schoolchildren feel the unusualness of sound writing, find epithets and comparisons. The textbook "Literary Reading" (compiled by L.F. Klimanova and others) presents the poetic works of S. Yesenin, A. Blok, contemporary children's poets. I want to give fragments of lessons that include elements of linguistic analysis of a literary text.

S. Yesenin "Bird cherry".

Teacher. In the midst of spring, when the bright, already quite warm sun begins to warm all living things, a beautiful tree blooms with large fragrant flowers. This is bird cherry. There are many songs and poems about her. And this is no coincidence, because bird cherry is a tree that looks like a slender bride in a white veil. Today I will read you a poem by the great Russian poet Sergei Alexandrovich Yesenin, which is called “Bird Cherry”.

The teacher expressively reads the poem.

Teacher. Let's share our thoughts about the poem. What mood of the author did you feel: joyful, festive, sad, sad? Explain your choice.

Students respond that they felt the joyful mood of the poet.

Teacher. What feelings arose in your heart?

Students. Admiration, joy, sadness...

Teacher. Remember, guys, lyrical poems do not reflect events, but the emotional experience of the poet, his mood. We have read this poem and in our imagination we can draw both bird cherry and a stream, even feel the scent of flowers.

Students read the poem on their own.

Linguistic commentary.

Phrases are given from the text. The teacher orally explains their meaning:

honeydew - fragrant, with the smell of honey;

spicy greens - with a sharp, fragrant smell;

rattling wave - noisy, making loud sounds;

insinuatingly - carefully;

under the steep - under the cliff, etc.

Work with poetic vocabulary.

Teacher. What are these words called?

Students. Epithets.

Teacher. What is an epithet?

Students. These are words that name the characteristic features of objects, phenomena and answer the questions: what? which? which? which?

Teacher. epithet is figurative artistic definition subject. It helps the author to draw, and the reader to present a picture. Let's come up with epithets for the word bird cherry.

Students. Snow-white, fluffy, etc.

Teacher. Find color epithets in the text.

Students. Silver stream, golden green.

Teacher. What do they mean?

Students. Silver - with a steel sheen, golden - with a gold sheen.

Teacher. Find epithets that help describe the properties of objects.

Students. Spicy greens, honey dew, fragrant bird cherry.

Teacher. What do you guys think, what attracts the author's bird cherry?

Students. It is fragrant, there is dew on the bark of the tree, a silver stream near the roots.

Teacher. Who does the bird cherry look like? To whom does the poet compare her?

Students. With a beautiful girl.

Teacher. How do we know?

Teacher. In order for us to imagine the subject more clearly, Yesenin introduces comparisons. In life, we often use comparisons. Huge as a bear, the sun as a yellow ball, etc. The comparison is joined by the words: as, as if, as if, what, exactly. Sometimes it is expressed in the instrumental case: the snow lies in a sheet. Find comparisons in this poem.

Students. “And the branches are golden, that the curls curled ...”

Teacher. Bird cherry is a girl, and whom does the author represent as young men?

Students. Silver stream.

Teacher. How did you guess? Read this passage.

Students.

Brook with thunderous waves.

All branches are covered.

And insinuatingly under the steep

She sings songs.

Teacher. And now let's pay attention to the phrases: it shines in silver, the green burns. The greenery is covered with dew, the dew drops shine like silver. The dew seems to burn in the sun. These are the figurative meanings of words. The transfer of values based on the similarity of the comparison is called a metaphor. Now imagine that you are poets. Pick up comparisons and metaphors for the words: bird cherry, eyes, birch.

Students. Bird cherry is sad, birch is like a princess, eyes are like lakes.

Teacher. Guys, are there objects in this poem that Yesenin depicts as living beings?

Students. Bird cherry, dew, stream.

Teacher. Prove with examples from the text.

Teacher. Words used in a figurative sense and characterizing inanimate objects as living beings are personifications. Personification is a kind of metaphor. At home, come up with a fairy tale about bird cherry. Write examples of epithets, metaphors, comparisons and personifications in a notebook.

The lesson ends with a collective reading of the poem "Bird cherry", summing up the general results.

Reading lessons, which include elements of linguistic text analysis, are very useful for younger students. Firstly, the horizons expand, secondly, the student begins to think figuratively, thirdly, in the future he will correctly evaluate and perceive complex works, fourthly, learning to think in abstract categories, the student begins to speak and write expressively. And this is very important for work on presentation and composition.

I believe that a teacher who works creatively, improves the technology of the educational process, will definitely use linguistic text analysis in the classroom, because this is no longer just a type of work, but an urgent need.

Any science begins with classification. Classification is the basis of orientation in any educational material. Imagine that in a large library there is no catalog, and all the books are piled up in one heap. How to find the right book? The same thing happens with words. A very familiar situation for many: it seems as if I know the word, but at the right moment I can’t find it in my memory. So it is necessary to put things in order in the vocabulary and “put everything in order”.

I remind you that in any language words are divided into groups according to their meaning. These groups of words are called PARTS OF SPEECH. There are basic parts of speech and there are auxiliary words. The main parts of speech are four groups of words. Noun, adjective, verb and adverb.

At the dawn of mankind, when languages were created, names were first given to everything that existed around: river and forest, sky and earth, man and fish, etc. But rivers are different: long and short, deep and shallow, wide and narrow. Therefore, new words appeared - ADJECTIVES, which gave nouns some characteristic. These words themselves could not be used, they were always “attached” to the nouns, describing it, which is why they were called adjectives. In English, the adjective is “ADJECTIVE”, and the meaning of this word, in addition to the grammatical one, can also be translated as “additional”, “non-independent”, “dependent”. That says it all.

Adjectives must be classified according to their meaning, we will definitely deal with this a little later. Now let's clear up the main points in this section on adjectives.

1. The good news about adjectives: in English, the adjective DOES NOT change in number, case and gender, unlike the Russian language, where each adjective agrees in gender, number and case with the noun it defines. This greatly simplifies the matter, because you only need to remember the meaning of the word and do not worry about anything else. Let's look at an example:

Big AND I room = a large room

Big OE field = a large field

Big IE windows = large windows

Big OH house = a large house

2. According to their structure, adjectives are:

a) SIMPLE: these are always one-syllable or two-syllable words, in one word - short.

For example:

big = big;

red = red;

noble = noble;

fair = fair/fair;

bad = bad.

b) DERIVATIVES: these are words that are formed from other parts of speech, that is, with suffixes or prefixes.

For example:

unpleasant = unpleasant;

dishonest = dishonest;

dangerous = dangerous;

useless = useless;

reliable = reliable.

c) COMPLEX: These are words that are made up of two or more words.

For example:

dark-blue = dark blue;

short-sighted = short-sighted;

red-hot = hot;

one-eyed = one-eyed;

hand-knitted = hand-knitted.

2. Features of the texts of Russian translations of Oscar Wilde's fairy tales.

Conclusion. Bibliography.

Introduction

The world of words and their combinations in our everyday communication is complex and multicolored. But linguistic phenomena turn out to be even more complex when they fall into the turbulent element of an artistic text, acquire special aesthetic functions, and become facts of one of the most effective and specific arts - literature.

Linguistic phenomena in works of art always appear to us different than in everyday speech. This is explained by the fact that they are colored in them with various figurative-metaphorical and stylistic shades and are fused by the idea expressed by the writer into a single figurative system.

The material presented in this work is based on an analysis of the fairy tales of Oscar Wilde from the collection " happy prince and Other Tales" (1888) - "The Happy Prince", "The Nightingale and the Rose", "The Selfish Giant", "The Remarkable Rocket". The analyzed works were translated using the Longman dictionary of English Idioms (1980), The Oxford Dictionary of English Etymology edited by C. Anians (1966), The Oxford English Dictionary (OED) edited by J. Murray and G. Bradley (1977).

The object of the study is the stylistic features of the translation, presented in the author's variations by K. Chukovsky, M. Blagoveshchenskaya, V. Chukhno, T. Ozerskaya, A. Sokolov.

1. The style of fairy tales by Oscar Wilde

The tales of Oscar Wilde, which compiled the collections The Happy Prince and Other Tales (1888) and The House of Pomegranates (1891), introduce us to the world of statues, dwarfs, giants, wizards, princes and princesses coming to life. But what the author created is not like what is commonly considered in literary criticism as an oral poetic genre with an orientation towards fiction.

Fairy tales are the most popular of all that Oscar Wilde wrote, and the best of them, as well as his stories, undoubtedly transcend the boundaries of decadent literature, which, in turn, testifies to how narrowly the writer was within the boundaries of the decadent aesthetic.

The tales included in the collection The Happy Prince and Other Tales (1888) include such tales as: The Happy Prince, The Nightingale and the Rose, The Selfish Giant, The Devoted Friend, and The Remarkable Rocket. The tales "The Young King", "The Infanta's Birthday", "The Fisherman and His Soul" and "The Star Boy" are united under the title "Pomegranate House" (1891).

O. Wilde (1856-1990) learned a lot from the Danish writer G.H. Andersen, whose fairy tales appeared in the 30s of the last century and won worldwide recognition. It was G.Kh. Andersen showed how an old folk tale can be adapted to describe modern life.

The author's appeal to the "art of lying" in prose was caused by an active rejection of naturalism and did not mean indifference to real life. His stories have deep moral content. Following the romantic traditions of the first third of the 19th century, in an allegorical, that is, allegorical form, O. Wilde depicts the clash of heroes, carriers of high humanistic ideals, such as friendship, love, fidelity, selflessness with the world of self-interest, class and property prejudices.

In the fairy tales “The Young King” and “The Happy Prince”, the writer speaks of an unjust society in which those who work suffer deprivation and need, while others live happily at the expense of their work. In "The Selfish Giant" and " devoted friend”he shows how the selfishness and greed of this world kill all life around him; in “The Wonderful Rocket” he brilliantly ridicules the emptiness and swagger of the nobles who boast of their nobleness, and in the fairy tale “The Birthday of the Infanta” - the same theme takes on a tragic sound.

In one of the best, most touching and sad tales - in "The Betrayed Friend" - the writer rises to a truly satirical exposure of the greedy and hypocritical morality of the owner. Wilde raises the story of the little worker Hans, robbed and ruined by the rich and cruel Miller, who hypocritically calls himself his devoted friend, to the height of symbolic generalization.

Indeed, it is impossible to read without tears the sad story of Little Hans, who lived carelessly in a modest hut, rummaged day after day among roses, crocuses and violets and smiled at the sun. From the author's point of view, this beautiful but sad tale is ideal for helping to develop a certain system of values for a child. Her moral is too obvious. The diligence, responsiveness and kind heart of Little Hans, the deceitful and lazy Miller, who ruined the unfortunate Baby, is instantly fixed in the children's mind.

Oscar Wilde draws a positive and a negative hero so clearly that the child only has to remember the actions of both and conclude that it does not seem difficult, unlike such fairy tales that are relatively difficult for children to understand, such as “The Nightingale and the Rose”, “Birthday Infanta" and others.

The main thing that gives Wilde's tales their unique "Wilde" originality is the role played in them by the paradoxical form of expression of thought, which is a distinctive feature of the writer's style. Wilde's tales (like all his prose) are saturated and oversaturated with paradoxes. There is a well-established tradition in critical literature to regard his paradoxes as a mere play on words. Nevertheless, according to the author, many of them are based on the writer's skeptical attitude towards a number of generally accepted ethical and aesthetic norms of bourgeois society. The task of Wilde's paradoxes, directed against sanctimonious hypocritical morality, was to call a spade a spade, thereby revealing this hypocrisy.

The originality of the style of Wilde's fairy tales is manifested in their vocabulary and style. An excellent connoisseur of the language (as befits a decent aesthete), he was precise not only in the choice of the word he needed, but also in the intonation construction of the phrase. The construction of the phrase is extremely simple. and is one of the classic examples of English prose. At the same time, the influence of decadent mannerisms makes the writer continually evade the brevity of the narrative and saturate your story with all sorts of exotic such as “pink ibises standing in a long phalanx along the Nile coast” or “black as ebony, the king of the lunar mountains, worshiping a large piece of crystal”.

At the same time, Oscar Wilde is constantly accused of the lack of depth in his judgments about certain aspects of contemporary reality, of the “characteristic” weakness of the endings of his fairy tales, which, as a rule, do not follow from the entire development of the action. For example, ironically over the rich philanthropists, Wilde himself now and then resorts to sentimental-philanthropic denouement in his fairy tales.

It is also important to note Wilde's point of view on this issue: “... I had a high gift; I made art a philosophy, and philosophy an art, whatever I said, whatever I did, everything plunged people into amazement, everything I touched, whether it be a drama, a novel, poetry or a poem in prose, witty or a fantastic dialogue - everything was illuminated by hitherto unknown beauty. I awakened the imagination of my age in such a way that it surrounded me with myths and legends.”

Summarizing all of the above, we can say that Wilde's extreme individualism led to the fact that even those grains of the real truth of life and sincere sympathy for the disadvantaged, which made his fairy tales popular, could not find further development in his work.

2. Features of the texts of Russian translations of fairy tales by Oscar Wilde

In this part of the work, we will comparative analysis translations of O. Wilde's fairy tales from the collection "The Happy Prince and Other Tales" into Russian and give examples of our proposed philological translation of some fragments of O. Wilde's fairy tales.

To study the features of the texts of fairy tales by O. Wilde, 3 books were selected, published in the period from 1990 to 2001. The texts were translated by K. Chukovsky (2nd tales, the first publication of translations - 1912), M. Blagoveshchenskaya (the first publication of the translation - 1912), Yu. Kagarlitsky, T. Ozerskaya, Ya. Yasinsky, 3. Zhuravskaya (the first translation publication - 1912).

The translation of Oscar Wilde's fairy tale "The Happy Prince" made by K. Chukovsky in 1912 is currently perceived by publishers-compilers as canonical. In fact, this translation contains some serious inaccuracies, which, in our opinion, distort the intention of the author of this tale. For example,

a) The Prince, telling the Swallow the story of his happy life, says: "So I lived, and so I died." In the translation of K. Chukovsky, these words sound as follows: "So I lived, and so I died." The result is that the Prince both lived happily and died happily, and it is not clear from this, for example, why he died at such a young age. But everything becomes clear and acquires a deep content if the discussed words of the Prince are conveyed by the phrase “Thus I lived and therefore I died”;

b) At the end of the tale, the Lord says to one of his Angels: “Bring me the two most precious things in the city.” In the translation of K. Chukovsky, these words sound as follows: “Bring me the most valuable thing that you will find in this city”, which is equivalent in meaning to the following phrase: “Bring me the most valuable thing, I don’t know what.” But everything takes on a different meaning if the words of the Lord are conveyed by the phrase “Bring me two things that are the most valuable in this city”: the Lord is omniscient, and, of course, knows in advance what the Angel should bring him;

c) When the Swallow told the Prince about the sorrows of the inhabitants of his city, the Prince said to her: “I am covered with fine gold, you must take it off, leaf by leaf, and give it to my poor; the living always think gold can make them happy."

In the translation of K. Chukovsky, these words sound as follows: “I am all gilded. Take the gold from me, leaf by leaf, and give it to the poor. People think that happiness is in gold.”

Let us note that about 30% of the words of the original text are missing in the translation of K. Chukovsky (see the words underlined by us in the quoted original text) and taking them into account, the words of the Prince acquire a slightly different meaning: “I am covered with the best gold. You must remove it, sheet by sheet, and distribute it to my needy residents of the city. In the world of the living, everyone without exception thinks that gold can make them happy”;

d) The swallow was going to fly to Egypt: ""She (the Reed) has no conversation, - he (the Swallow) said, - and I am afraid that she is a coquette, for she is always flirting with the wind". And certainly, whenever the wind blew, the Reed made the most graceful curtseys.”

In the translation of K. Chukovsky, these words sound as follows: Oh, God, because he (reed) like a mute, you won't get a word from him,- said reproachfully Swallow - and I'm afraid that he is very coquettish: he flirts with every breeze. "Indeed, as soon as the wind, Reed so it bends, so it bows».

In order to make the inaccuracies of this translation visible, we have underlined those words that are not in the original text. Let us also pay attention to the following: in the text of the original fairy tale, the Swallow (male) falls in love with Reed (female). When translating, K. Chukovsky changed the gender of Swallow to female, and Reed to male. But in this case, when translating the fragment under discussion, K. Chukovsky should have changed to female and the gender of the one with whom Reed flirts: every drop of rain. "And there was some truth in this, as the Reed bowed gracefully to any rain drop that he noticed";

e) The words “I don't think I like boys, - answered the Swallow” (see the first day of the Swallow's stay in the city) K. Chukovsky translates as follows: “I don’t really like heart boys, - answered the Swallow.

The inaccuracy here is that the word "heart" is key in Oscar Wilde's fairy tales. Therefore, if this word is absent in the original text, then it should also be absent in the translated text: “I don’t really like boys,” answered the Swallow.

f) The words “I am glad there is some one in the world who is quite happy, - muttered a disappointed man as he gazed at the wonderful statue” (see the beginning of the tale) K. Chukovsky translates as follows: “I am glad that there was at least one lucky person in the world! - muttered the unfortunate, persecuted by fate, looking at this beautiful statue.

There are two inaccuracies in this translation at once: firstly, the words “I am glad that at least one lucky person has been found in the world!” it is impossible to “mutter” and, secondly, there are no words “driven by fate” in the original text: “It’s good that at least someone is happy in this world,” some unfortunate man muttered, looking at this beautiful statue.

A feature of the translation of Oscar Wilde's fairy tale ("The Happy Prince", made by V. Chukhno in 2001) is that it contains a large number of examples confirming the validity of this statement:

"Will you let me love you?" - Asked the Swallow bluntly, not used to beating around the bush;

- “I spent my days in the garden ... and in the evenings I danced in the Great Hall, invariably opening the ball”;

- “This is how my whole life went, and this is how it ended”;

- “That's how - it turns out that it is not all of gold! - thought the Swallow to herself (she was too well brought up to pronounce such personal observations aloud) ";

- “But it’s already winter,” answered the Swallow, “and the icy snow will soon fall”;

- "Okay, I'll stay one more night," said the Swallow, "but how can I peck out your other eye? Then you will become blind." “Swallow, Swallow, little Swallow,” insisted the Prince, “do as you are asked””;

- “Under the arch of the bridge, tightly clinging to each other and thus trying to keep warm, lay two boys. "I am hungry!" - now and then they whimpered ";

“I am covered in pure gold,” said the Prince. ... And then the Swallow began to remove from the Happy Prince, which covered him with pure gold ”;

- “The poor Swallow was getting colder and colder, but she did not even think of leaving the Prince - such was the strength of her love for him”;

- “She (Swallow) lived by what she picked up from a bakery crumb when the baker did not look in her direction”;

- "The frost at that time was really fierce."

Let us analyze some other errors in the translation by V. Chukhno (a) and K. Chukovsky (b), while presenting the author's version of the translation.

“High above the city, on a tall column, stood the statue of the Happy Prince. He was gilded all over with thin leaves of fine gold, for eyes he had two bright sapphires, and a large red ruby glowed on his sword-hilt."

a) "Ha top huge columns, towering over the city, stood a statue of the Happy Prince. It was all covered with the thinnest plates. clean gold, his eyes were of sparkling sapphires, and on the hilt of his sword shone big red ruby".

b) “On a high column, above the city, stood a statue of the Happy Prince. The prince was covered from top to bottom leaflets clean gold. Instead of eyes, he were sapphires, and a large ruby shone on the hilt of his sword.

On a high column, towering above the roofs of city buildings, stood the statue of the Happy Prince. From head to toe the Prince was covered with leaves of the finest gold. Instead of eyes he had pair of sparkling sapphires, and a large ruby glowed on the hilt of his sword.

"I am glad there is some one in the world who is quite happy", -muttered a disappointed man as he gazed at the wonderful statue.

a) "It's nice to know that at least someone is happy in this world," muttered some unfortunate man, without taking your eyes off from a beautiful statue.

b) "I'm glad that in the world found at least one lucky person!" - muttered driven by fate unfortunate, looking at this beautiful statue.

"It's good that at least someone is happy in this world," muttered some unfortunate, looking at this beautiful statue.

""How do you know? - said the Mathematical Master, - you have never seen one". "Ah! But we have, in our dreams, - answered the children; and the Mathematical Master frowned and looked very severe, for he did not approve of children dreaming."

a) “Why did you decide so?” the math teacher was surprised. “After all, you have never seen angels.” " No, we saw- we dream about them," the children answered, and the mathematics teacher frowned sternly: he did not like the habit of children to dream».

b) How do you know this? objected Mathematic teacher. “You have never seen angels.” “Oh, we see them in our dreams!” said the Orphanage Children, and the Math Teacher frowned and looked at them sternly: he did not like that children dream».

"Why did you decide so? - surprised Mathematic teacher. “You have never seen angels.” "Oh, we see them in a dream!" the Orphanage Children replied, and the Math Teacher frowned and looked at them sternly: he disapproved of childish reverie.

"Shall I love you?" - said the Swallow, who liked to come to the point at once, and the Reed made him a low bow".

a) "Will you let me love you?" - asked the Swallow bluntly, not used to beating around the bush, and cane answered her with a low bow.

b) "Do you want me to love you?" - asked the Swallow from the first word, because I loved directness in everything; and Reed bowed to her in return.

"Will you let me love you?" straight away asked the Swallow, and Reed answered her with a low bow.

""She has no conversation, - he said, - and I am afraid thai she is a coquette, for she is always flirting with the wind". "I admit that she is domestic, - he continued, - but I love traveling , and my wife, consequently, should love traveling also"".

A) "" You can never get a word out of him (Reed), - say she (Swallow) hall to herself. Besides, he constantly flirts with river wave"... "It must, of course, be recognized, what he loves his home. - the Swallow continued to reason, - but I love traveling most of all, and therefore my husband should have liked it"».

B) """ God, he's like a dumb, you won’t get a word from him, - she said reproachfully Swallow - and I'm afraid that he is very coquettish: he flirts with every breeze".,. "Let him be a homebody, but I like to travel, and my husband doesn’t it would be crazy love travel too.

"You can’t even chat with him (Reed), - reasoned Swallow- and I'm afraid he's too windy, flirting with every drop of rain"... "I understand that he is a homebody , - she continued (Swallow), but I like to travel , and therefore my chosen one too gotta love travel.

""In the daytime I played with my companions in the garden, and in the evening I led the dance in the Great Hall... So I lived, and so I died. And now that I am dead they have set me up here so high that I can see all the ugliness and all the misery of my city, and though my heart is made of lead yet I cannot chose but weep." "What! Is he not solid gold?" said the Swallow to himself. He was too polite to make any personal remarks out loud."

A) ""I spent my days in the garden, playing all sorts of games with my approximate, and in the evenings danced in the Great Hall, invariably opening the ball... That's how my whole life went, that's how it ended. And now, when I no longer live in the world. I was installed here at such a height that I can see all the horrors and disasters that are happening in my city, and let my heart be made of lead, I can't hold back my tears". "That's how - it turns out, not all of gold!" - Swallow thought to herself(she was too well brought up to utter this kind of personal observation aloud)".

b) "" In the afternoon I having fun in the garden with friends and in the evening I danced in the Great Hall... That's how I lived, that's how I died. And so now, when I was no longer alive, I was placed here, above, so high that I could see all the sorrows and all the poverty of my capital. And although the heart now I have pewter I can't help crying. "Ah, so you're not all gold!" - Thought Swallow, but. of course, not out loud, because she was quite polite».

"During the day I played with my comrades in the garden, a in the evening opened the ball in The Great Hall of the palace... So I lived and therefore I died. And after my death, I was installed here at such a height that I can see all the horrors and disasters that are happening in my city. And although my heart is now made of lead I can't help crying. "That's how! So you're not all gold!" - the Swallow was surprised, but, of course, not aloud, because she was quite polite.

"It is winter, - answered the Swallow, - and the chill snow will soon be here."

BUT) " But it's already winter- answered the Swallow, and soon it will snow.

B) “Now it’s winter,” answered the Swallow, “and soon cold snow will fall here.”

“Dear little Swallow,” said the Prince, “you tell me of marvelous things, but more marvelous than anything is the suffering of men and of women. There is no Mystery so great as Misery."

A) “My dear Swallow,” said the Prince, “you told me about things amazing, but is there anything more amazing than human suffering? The most amazing miracles in the world are nothing compared to the grief of one person.

B) “Dear Swallow,” replied the Happy Prince, “everything you talk about is amazing. But the most amazing thing in the world it is human suffering. Where do you find them a clue?»

"Dear little Swallow," said the Prince, "you have told me wonderful things, but even more amazing suffering of people. There is no greater Mystery than Suffering."

“I am covered with fine gold,” said the Prince, “you must take it off, leaf by leaf, and give it to my poor; the living always think that gold can make them happy.”

A) I am covered clean gold, - said, after listening to her (Swallow), the Prince. - You have to take it off me, plate. behind the plate and give to the poor. people think that with gold comes happiness."

B) "I all gilded, said the Happy Prince. Take the gold from me, leaf by leaf, and give it to the poor. people think that happiness is in gold.

"I'm covered in the finest gold said the Happy Prince. You have to take it off leaf by leaf, and distribute to my needy residents of the city. In the world of the living, everyone without exception thinks that gold can make them happy."

“Bring me the two most precious things in the city,” said God to one of His Angels; and the Angel brought Him the leaden heart and the dead bird. "You have rightly chosen, - said God, - for in my garden of Paradise this little bird shall sing for evermore, and in my city of gold the Happy Prince shall praise me."

a) “Bring me the two most valuable things that you will only find in this city,” the Lord God commanded one of his Angels, and that Angel brought him a dead bird and broken lead heart. "You made the right choice," said the Lord, so let it this little bird sings now and forever in my Garden of Eden, and the Happy Prince let be forever gives me praise in my Golden City.

b) “And the Lord commanded his angel: “Bring Me most valuable what you will find in this city." And an angel brought him pewter heart and dead bird. " You have rightly chosen- said the Lord. “For in my Gardens of Eden this little bird will sing forever and ever, and in my shining hall The happy prince will give me praise."

"Bring me two things, most valuable in this city," the Lord commanded one of His Angels. And the Angel brought Him lead heart and a dead bird. " You chose right- said the Lord, - for this little bird will sing forever and ever in my heavenly gardens, and the Happy Prince will praise Me in My city of gold."

Some inaccuracies made by M. Blagoveshchenskaya in 1912 and V. Chukhno in 2001 when translating Oscar Wilde's fairy tale "The Nightingale and the Rose" are noted and corrected by us further. From the analysis of translations, we can conclude that the translation of M. Blagoveshchenskaya (B) is closer to original text fairy tales than the translation of V. Chukhno (A). In particular, O. Wilde's ironic attitude to the Student is "lost" in V. Chukhno's translation.

“She said that she would dance with me if I brought her red roses... But there is no red rose in my garden, so I shall sit lonely, and she will pass me by. She will have no heed of me, and my heart will break.”

a) She said: Bring me red roses and I will dance with you"... But in my garden there is no red roses, and I will sit alone at the ball, and she will pass by without noticing me and my heart will break from grief».

B) “She said she would dance with me if I brought her red roses. ...But there is no red rose in my garden, and I will have to sit alone, and she will pass by. She is won't even look on me and my heart will break from grief».

"She said she would dance with me if I brought her red roses . ...But there is not a single red rose in my garden. And so I I will be alone and she will never be mine. She is won't pay any attention to me and my heart will break».

"Nege indeed is the true lover," said the Nightingale. – What I sing of, he suffers; what is joy to me, to him is pain. Surely Love is a wonderful thing."

a) “Yes, here he is, a real lover,” said the Nightingale. - What I sing about, he really hurts; then, what is for me joy, for him suffering. Truly love is miracle".

b) “This is a real lover,” said the Nightingale. - What I only sang about, he survived in fact; what is for me happy sti, that is suffering for him. Truly love - uh that miracle».

« Here a true lover,” said the Nightingale. - He cries about what I sing; my inspiration and his experiences have the same source. Truly love is a miracle.

"She sang first of the birth of love in the heart of a boy and a girl."

a) He sang about how in the hearts of boys and girls love is born."

B) " First he sang about how creeps love in the heart of a boy and a girl.

« At first he sang about how love is born in the heart of a boy and a girl.

"...She (the Nightingale) sang of the Love that is perfected by Death, of the Love that dies not in the tomb."

A) “... He sang (Nightingale) about Love that finds its perfection in Death, about the love that does not die in the grave».

B) “... He sang about the love that oh about achieves perfection in death, about the love that does not die in the grave».

“... He sang about Love, which only ends with death lovers, about that Love that does not die even in the grave.

“You said that you would dance with me if I brought you a red rose,” cried the Student. - Here is the reddest rose in all the world. You will wear it to-night next your heart, and as we dance together it will tell you how I love you.”

BUT) " You promised to dance with me if I brought you a red rose! - happily exclaimed the Student. - Here is a red rose for you - the reddest in the world. Pin it up her before the ball at the very heart and as we dance, she will tell you how much I love you."

B) “You promised that you would dance with me if I brought you a red rose! exclaimed the Student. - This is the reddest rose in the world. Pin it up close to her heart in the evening, and when we dance, she will tell you how I love you".

“You promised you would dance with me if I brought you a red rose! exclaimed the Student. - This is the reddest rose in the world. Place in the evening her on a dress closer to her heart, and, when will we dance she will tell you how much I love you."

Some inaccuracies made by T. Ozerskaya (a), Ya. Yasinsky (b) and V. Chukhno (c) when translating Oscar Wilde's fairy tale "The Egoist Giant" are noted below.

""My own garden is my own garden," said the Giant, "Any one can understand that, and I will allow nobody to play in it but myself. So he built a high wall all round it, and put up a notice- board: "TRESPASSERS WILL BE PROSECUTED". He was a very selfish Giant. The poor children had now nowhere to play".

A) "My garden is my garden, - muttered Giant - is it so hard to understand? Not allowed to play nobody. except, of course, myself". And he erected a high wall around the garden, hanging in a conspicuous place a sign with such a hell by letter:« NO ENTRANCE FOR UNAUTHORIZED PEOPLE VIOLATORS WILL BE PROSECUTED ON ZAK ONU. That's how the Giant was selfish. Now the poor children had nowhere to go frolic».

B) "" My own garden is my own garden, - ska Hall yourself Giant. E then everyone should understand and I won't let anyone besides yourself, play in my own garden." And he surrounded it with a high fence and hung out the inscription: " ENTRY STRICTLY PROHIBITED". This giant was such egoist. To poor children since then there was nowhere to play.

C) “My garden is my garden,” said the Giant, “and everyone at it should be clear, and, of course, nobody, except for himself I won't let you play here." And he built a high wall around his garden and nailed announcement: " ENTRY FORBIDDEN N. VIOLATORS WILL BE PUNISHED". He was a big egoist, this Giant. The poor children now had nowhere to play.”

"My garden is my own garden , - said the Giant. Everyone is capable understand this simple truth and no one except yourself I won't let you play here." After that, he surrounded his garden with a high fence and hung a sign: " VIOLATORS WILL BE PROSECUTED". The giant acted like a real egoist. Now the poor children had nowhere to play.”

"Once a beautiful flower put its head out from the grass, but when it saw the notice-board it was so sorry for the children that it slipped back into the ground again, and went off to sleep."

A) one beautiful flower was about to look from grass, but when he saw the sign with the inscription, he was so upset for the children that hastened to slide again into the ground and right fell asleep."

B) “Some beautiful flower picked up was head above the grass, but when he saw this inscription, he was so upset for the children that hid again into the ground and fell into a dream».

C) “Once upon a time, one pretty flower looked out from the grass, but saw the ad and was so upset for the children that immediately hid back on the ground and fell asleep.

"Once upon a time, one beautiful flower stuck his head out from grass, but when he saw the sign with the inscription, he was so upset for the children that returned to the ground and fell asleep.

So the hail came. Every day for three hours he rattled on the roof of the castle till he broke most of the slates, and then he ran round and round the garden as fast as he could go. He was dressed in grey, and his breath was like ice."

A) city didn't keep you waiting either. Every day for three hours in a row he drummed on the roof of the castle until he broke almost all the tiles, and then circled the garden for a long time with all the agility he was capable of. He was dressed in gray, and his breath was icy."

B) “And then the City appeared. Every day he drummed for three hours on the roof of the castle, so broke almost all the tiles, and then running faster and faster, circling around the garden, on how much strength. He was dressed in gray his breath was like ice».

C) “And then the City also appeared. Day after day he pounded for hours on the roof of the castle, until he broke almost all the tiles, and then what was urine rushed around the garden. He wore gray clothes

“And then the City appeared. At first he every day for three hours he drummed on the roof of the castle, until he broke almost all the tiles, and then he transferred his frenzy to the garden. He was dressed in gray and his breath was cold.

A) At the Giant's staring out the window, little by little start melt the heart."

B) “And the heart of the Giant softened, when he saw it».

C) “And the heart of the Giant melted when he looked out the window».

“And from all that he saw, the heart of the Giant melted away».

"But when the children saw him they were so frightened that they all ran away, and the garden became winter again."

A) But the children barely seeing him (the Giant) were so frightened that they rushed to run where the eyes look and into the garden returned again Winter".

B) “But the children, seeing him (the Giant), so shy that everyone fled and winter came again in the garden.

B) But as soon as the children saw Giant, they were so scared that immediately scattered and into the garden came again Winter.

"But when the children saw the Giant, they so scared, what everyone ran away and in the garden again winter came».

From the analysis, we can conclude that T. Ozerskaya's translation is closer to the original text of the tale than the translations of Y. Yasinsky and V. Chukhno.

Some inaccuracies made by T. Ozerskaya (a) and Z. Zhuravskaya (b) when translating Oscar Wilde's fairy tale "The Wonderful Rocket" are noted and corrected further.

"The Prince and Princess sat at the top of the Great Hall and drank out of a cup of clear crystal. Only true lovers could drink out of this cup, for if false lips touched it, it grew gray and dull and cloudy "It"s quite clear that they love each other, - said the little Page, - as clear as crystal!" and the King doubled his salary a second time".

a) "The Prince and Princess sat in places of honor at the table in a large hall and drank from a transparent crystal bowl. From this bowl only humans could drink, sincerely loving each other, for if lying lips touched it, the crystal immediately dimmed, became gray and as if smoky. "It's quite obvious that they love each other," said the little Page. "It's clear as crystal." And the King as a reward doubled his salary again.

B) “The Prince and Princess were sitting at the head of the table in the Great Hall and drank from a transparent crystal cup. Only true lovers could drink from this cup, for as soon as deceitful lips touched it, the crystal became dull, cloudy and gray. "It is quite clear that they love each other," said the little Page. "It is as clear as the crystal of this bowl is clear!" him salary".

The Prince and Princess were sitting in the most honorable place Great Hall and drank from a transparent crystal bowl. Only true lovers could drink from this cup, for as soon as deceitful lips touched it, the crystal became gray, dull and cloudy. “It is quite clear that they love each other,” said the little Page. “It is as clear as the crystal of this bowl is clear!” And the King doubled for the second time his salary".

"Travel improves the mind wonderfully, and does away with all one's prejudices."

A) travel wonderfully beneficial affects the development of the mind and dispels all prejudices.

B) " Trips marvelous ennoble the soul and help free from prejudice."

« Travel great develops the mind and liberates from any prejudices.

A) ""Order! order!" - Cried out a Cracker. He was something of a politician, and had always taken a prominent part in the local elections, so he knew the proper Parliamentary expressions to use.”

B) ""To order! To order!" - shouted one of Burakov. He was in in some way politician and always played a prominent role in local elections, so was able to turn appropriate parliamentary expression."

""Attention attention!" shouted Bengal Fire. He was fond of politics, always took an active part in local elections and therefore very skillfully used all parliamentary expressions.

"Keep in order!" cried Bengal Fire. Was he one of those politicians that I always accept? active participation in local elections and stand out from others his knowledge of parliamentary expressions.

BUT) " I hate people who weep over spilled milk."

B) " Having removed your head, you don’t cry for your hair, and I can’t stand those who do not adhere to this rule.».

« I don't like people who weep over spilled milk."

“The Prince and Princess were leading the dance. They danced so beautifully that the tall white lilies peeped in at the window and watched them, and the great red poppies nodded their heads and beat time.”

A) “The Prince and the Princess opened the ball. They danced so a Sivo that tall white lilies looked into the windows and silt behind him, a big red poppies nodded their heads and rebounded whether tact».

B) “The Prince and the Princess opened the ball, and their dance was to beautiful that tall white lilies, wanting to admire them. stood on tiptoe and looked in the windows, and the big red poppies nodded their heads in time».

“The Prince and Princess opened the ball. They danced so beautifully that they were high white lilies, stealthily looking out the window, could not take their eyes off them, and the big red poppies shook their heads in admiration.

"I have no sympathy myself with industry of any kind, least of all with such industries as you seem to recommend."

A) “I personally do not sympathize with any kind of labor, and least of all those which you recommend.

B) "I personally I have no sympathy for useful activity anyone of any kind, and least of all - to the one you deigned to recommend.

« I don't experience sympathy for any production activity, and least of all to the one which you are pleased to recommend.

From the analysis, we can conclude that T. Ozerskaya's translation is closer to the original text of the tale than Z. Zhuravskaya's translation (of course, with the exception of the translation of the fourth fragment).

The resulting equivalents of the original cannot be considered translations in the proper sense. They are good or bad, more or less successful, but still - variations on a theme. However, a true understanding of the text can be achieved through a set of translations that can complement each other, revealing different aspects of the original being studied. We offer philological approach to the translation of fiction, that is, such an approach when, as a result of comparing all available translations of a given original at all levels of the language, a scientifically based, philological version of the translation is created.

Conclusion

Role literary translation literary works in the exchange of thoughts between different peoples and cultures can not be overestimated. Reading the work translated from English, German or French, we perceive the text precisely as a literary one and do not think about what kind of work was carried out by the translator to achieve the most adequate transfer of all the meanings contained in a literary work.

Complexity translation of texts literary works is also explained by the unusually high semantic "loading" of each word - the translator has not so much to reproduce the text in another language as to create it anew; and different "visions" of the world - and, consequently, specific ways of understanding and reflecting the world in different languages; and the difference between the cultures to which the target and original languages belong: an Arabic reader can easily recognize in the text a hint at the plots of the Koran, while a European may not notice these reminiscences.

Russian literature has been enriched over the centuries of its historical development thanks to the translation activities of a magnificent galaxy of literary figures: starting with Gnedich and Zhukovsky, Russian writers have taken on translation of literary texts from European languages - French, English, German, from ancient languages \u200b\u200b(Latin, Greek), they translated the literature of the East and Asian countries.

Literal literal translation is not only unable to reflect the depth literary work, it often does not convey the general meaning of the text. AT literary translation of the text may or may not be identical to the original. The main thing is that the translation means for the native speakers of the target language the same thing that the original statement meant for the native speakers of their own language. The writer-translator, as a native speaker, presents, in fact, not original text original, but your understanding of this text.

Hence, literary translation is impossible without a comprehensive understanding of the original, and knowledge of a foreign language is not enough here, special skill is needed - the ability to interpret a play on words, a sense of linguistic form, the ability to convey an artistic image. For example, in order to translation from English into Russian to recreate a work as a work of art, it is important to be able to write in Russian, conveying the national English flavor, in addition, translators, like writers, need many-sided life experience and a relentlessly replenished supply of impressions - without knowing life, it is not possible to convey the idea, spirit, life of the work. At the same time, some translators consider it important that the translation correspond to the spirit of the native language and the habits of the domestic reader, while others insist that it is more important to accustom the reader to perceive a different way of thinking, a different culture - and for this even go to violence against the native language. The fulfillment of the first requirement leads to a free translation, the fulfillment of the second leads to a literal, literal translation.

There are two types of equivalence in the translation of a literary text: functional, when only the function of the original is reproduced, and functional-content, when both function and content are reproduced.

Translation equivalence can be achieved by using in the translation process grammatical transformations, lexico-semantic paraphrases and situational transformations.

The semantics of a literary text during translation should be preserved in the unity of all its components, the relationship and interaction of which are determined by the author's intention, which obliges the translator to include the concept of the semantic structure of the text in the sphere of his professional competence.

We offer philological approach to the translation of fiction, that is, such an approach when, as a result of comparing all available translations of a given original at all levels of the language, a scientifically based, philological version of the translation is created. A functionally meaningful function in translation is achieved precisely with this approach to translation, when both the function and the content of the text are reproduced.

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Characteristics of color terms in the poetry of S. Yesenin

Introduction

Language poetic text lives according to its own laws, different from life natural language, it has special mechanisms for generating artistic meanings. The words and utterances of a literary text in their actual meaning are not equal to the same words used in ordinary language. The word in a literary text, due to the special conditions of functioning, is semantically transformed, includes an additional meaning, connotations, associations. "The game of direct and figurative meaning generates both aesthetic and expressive effects of a literary text, makes the text figurative and expressive. A specific characteristic of a poetic text is its semantic load, polysemanticity, metaphoricality, which determine the plurality of interpretations of any artistic text. Thus, “in a poetic text there is a completely unique sign situation, natural language with its own orderliness, stable systemicity acts as a sign system of the first level. Based on this, the language of verbal art is formed as a sign system of the second level. A complete analysis of the language of a literary text, taking into account polyphony linguistic units, individual author's transfers, shifts and associations, acting as a means of revealing the author's intention, is the subject of not only linguistic, but - more broadly - philological study of the text. The main goal of the linguistic analysis of a literary text is to reveal what cannot be seen at first sight and realized with ordinary, superficial perception, to comprehend the depth of the author’s thoughts and feelings, since speech was given to man to hide his thoughts The subject of linguistic analysis of a literary text is the linguistic material of the text. According to N.M. Shansky, “the linguistic analysis of the text includes, first of all, the definition of the linguistic essence of obsolete words and phrases, incomprehensible facts of poetic symbolism, obsolete and occasional paraphrases, unfamiliar modern man dialectisms, professionalisms, argotisms and terms; individual author's new formations in the field of semantics, word formation and compatibility; obsolete or non-normative facts in the field of phonetics, morphology, syntax. Consequently, it is the awareness and characterization of these phenomena in the work that constitute the content of linguistic analysis. artwork».

Linguistic analysis - the study of the language of a work of art at all language levels, determining their role in revealing the content of the text. “Linguistic analysis of a poetic text is absolutely necessary because the language of any work is multifaceted and multilayered, which is why it contains such speech inlays, without knowing which it is either not clear what is being said, or a distorted picture of the figurative nature of words and expressions, artistic the value and novelty of the linguistic facts used, their relationship to the modern literary norm, etc.

Linguistic analysis is reduced to the analysis of language units at all levels, taking into account what specific participation each language unit takes in creating a poetic image. This is how the text describes in turn all levels of the language structure: phonetic and metrical (for poetry), lexical level, morphological and syntactic levels.

In the study of language units, the means and techniques for creating the expressiveness of a literary text are revealed, i.e. a kind of struggle between general linguistic and poetic meanings and meanings. Linguistic analysis allows us to see the picture of the aesthetic whole in its true light, such as the writer created it and wanted to be perceived.

The study of literature cannot be considered a process aimed only at obtaining specific knowledge, educating the soul and expanding the reader's horizons - this is, first of all, penetration into the depths and ascent to the heights of Language - "one of the greatest creations of mankind." Language is "the most important means of communication, a subtle and flexible tool with which human thought is formed and expressed."

Linguistic analysis of a literary text is the foundation of its literary and stylistic study. In order to reveal the ideological content of the work, its artistic features, the correct perception of the work as a whole, not only delivering aesthetic pleasure, but also educating feelings, developing figurative and logical thinking, language competence, it is necessary to acquire the skills of a detailed, in-depth analysis of the text.

One of the most important areas of linguistic analysis is the identification and explanation of the linguistic facts used in a literary text in all their meanings and uses, since they are directly related to understanding the content and ideological and artistic originality of a literary work.

Thus, it is a complex system, while the language of a work of art is also a system built according to its own diverse laws. Each word, each sign in the text carries information that helps to understand the shades of the general meaning, since there are no random details in a literary text. Linguistic analysis is the study of the linguistic aspects of a work of art, revealing the meaning of various elements of the language in order to fully and clearly understand the text.

On the pages of works of art, we meet with words and phrases, linguistic forms and categories that are not characteristic of modern everyday communication. That is why the study of the normativity and historical variability of the literary language, a clear distinction, a correct assessment of individual authorial and general linguistic facts in the process of linguistic analysis acquires such great importance. “When studying a text, it is necessary to identify and interpret such lexical layers in the work as archaisms, historicisms and neologisms, the definition of words related to neutral, reduced and sublime vocabulary, since they play a huge role in creating artistic images: if sublime or reduced vocabulary is used in the speech of the character, then it becomes an essential part of his speech characteristics. In addition, the use of words from the last two groups can give the work a pathetic or mundane sound. With the help of the use of sublime vocabulary, a comic effect can also be achieved. The emotional coloring of the artistic word is also of great importance. Syntactic expressiveness is an important language tool, since the living intonations of the sounding word are embodied in the syntax. Analysis of the syntactic structure of the text is of great importance, since syntactic figures increase the expressiveness of the text and enhance the emotional impact on the reader.

We consider color painting to be one of the main means of expressiveness, which allows penetrating into the depths of the work, since it is known that “every linguistic fact, subject to an artistic task, becomes a poetic device. Preliminary work with color painting does not cause any particular difficulties, and building logical color parallels, correlating them with events and images of heroes, allows you to increase the level of linguistic vigilance and analytical thinking. Linguistic analysis of a literary text makes it possible to see the interaction of figurative and expressive means, which is a dynamic unity and is felt in the living movement of the context.

The world of words, their combinations in our everyday communication is indeed complex and multicolored. But linguistic phenomena turn out to be even more complex when they fall into a stormy element. literary text while receiving special aesthetic functions.

In 1905, Alexander Blok wrote an article “Colors and Words”, in which he regretted that modern writers “stupid with visual perceptions”: “The soul of the writer involuntarily waited among abstractions, became sad in the laboratory of words. Meanwhile, before her blind gaze, a rainbow of colors was endlessly refracted. And isn't the way out for the writer - the understanding of visual impressions, the ability to look? The action of light and color is liberating. Yesenin did not wander among the abstractions, he saw the pure and bright colors of the rainbow, and they, sometimes softly transparent, sometimes blazing bright, blossomed and illuminated his poems. Speaking of color scheme Yesenin's landscapes, the author of the book "The Poetic World of Yesenin" Alla Marchenko notes: "You can clearly feel the connection of his" colors with gamut "pink , that is, an icon cleared of drying oil that has darkened over time, built on the harmony of pure and clear colors - red, yellow, blue or green. The great artist Yesenin attracted his first readers with freshness of perception and not fake, naive bright colors.

Yesenin's landscapes are multicolored and multicolored. Nature plays and shimmers with all colors, the images are picturesque, as if painted in watercolor. Like a national folk poet Sergei Yesenin absorbed into his poetic system a favorite color scale from time immemorial. The color impressions spilled in his sonorous poems largely echo and repeat the colors that we find in folk embroideries, fresco painting, oral folk poetry.

However, specific visual perception of the world not only in luminosity as such. A great artist, Yesenin turned out to be much more difficult. His discovery was that “a color image, just like a figurative image, can absorb a complex definition of thought. With the help of words corresponding to colors, he was able to convey the subtlest emotional nuances, depict the most intimate movements of the soul. Its color scheme contributed to the transfer of various moods, breathed romantic spirituality, and gave freshness to the images. Where the landscape seemed to be ordinary, where light and shadows do not suddenly capture the imagination, where at first glance, there are no catchy, memorable pictures in nature and much has already become familiar, the poet suddenly and boldly opens up new colors. Blue, light blue, scarlet, green, red and gold splashes and shimmers in Yesenin's verses.

According to Potebnya, love for pure and bright colors is a property of a naive mind that has not been spoiled by civilization. Possessing this property, the poet Sergei Yesenin deepened color perception with the finest impressions from real world.

The relevance of studying color designations in the work of S. Yesenin gives us the opportunity not only to determine the color picture of the world in his poetry, but also to deepen the existing idea of his worldview as a whole, which is important for studying the personality and work of the poet.

The purpose of the work is to identify the composition of the color field of the Russian language in the form in which it is presented in Yesenin's poetry and to establish the features of its functioning in the poet's works.

The objectives of the thesis are:

identification of color designations in the poetry of S. Yesenin;

characterization of the features of color designations in relation to their part-of-speech affiliation;

determination of additional associative, connotative, semantic and stylistic meanings inherent in the individual author's use of color designations.

Color designations in S. Yesenin's poetic texts were studied using the methods of observation, description, semantic-stylistic and contextual analysis.

S. Yesenin's poems are given according to the publication: Yesenin S. A. Collected Works. In 5 volumes, / S. A. Yesenin. - M.: Goslitizdat, 1961-1962.

1. The role of color designations in a poetic text

Language is an organized system of signs, which is the most important means of human communication. The vocabulary is divided into microcombinations - words that are connected by certain relationships. “Based on the totality of relations between words, the place of each word in lexical system» .

Determining the place of a word in the lexical system depends on the semantic relations and connections of this word with other words of the given language. A system can be defined as the words of a given language plus the set of relationships between them. If there is a system, then there is also such a thing as the structure of a lexical system: “structure is a set of relationships between words”.

The system organization of vocabulary is manifested in various semantic links between words. These connections can occur in words that denote common realities (by similarity, by function, by purpose) and in words that correlate with one realia (object, property, sign). On the basis of any commonality of realities, thematic groups of words or semantic fields words. “The basis for combining words into groupings are, according to M.M. Pokrovsky, verbal associations that reflect the connections of objects in the surrounding reality, as well as the morphological commonality of words. In the teachings of M.M. Pokrovsky, the systemic nature of vocabulary, from a semantic point of view, was associated with the systemic nature of human ideas, which, in turn, reflected the thematic commonality of phenomena, the social and economic life of people.

In the lexical corpus of any language there is a special fund of vocabulary with emotional connotations included in its meaning. This vocabulary is sociologized and adequately used by all native speakers of the given language. “With a variety of approaches to connotation, we single out emotive connotation, understanding it as emotions accompanying a particular sound complex or semantics, due to which the assessment of what is being said is perceived as emotional approval / disapproval. Singling out the traditionally conceptual component as the semantic core of the word, linguistics forms logical-linguistic, i.e. subject-conceptual and emotional-evaluative, as well as stylistic meanings» . Traditionally, linguists include emotional, expressive, evaluative and functional-stylistic components of the word semantics into the semantic structure of connotation. The emotive semantics of a word consists of emotive meaning, emotive connotation, emotive potential. " general principle The emotive semantics of the word is emotional approval of what is socially assessed as good, emotional disapproval is socially assessed as bad and undesirable. Words - CO in the poetry of S. Yesenin reflect the general semantic principle of emotive semantics - emotional approval / disapproval. COs are connotatives. “A connotative is an emotive, the emotive share of the meaning of which is a component - a connotation, i.e. connotation accompanying the main logical-objective component of the meaning. This is a word, in the semantic structure of which there is either an emotionally colored seme (its sign/concretizer), or a sememe of an emotionally subjective evaluation. The connotation reflects appreciation and emotional relationships. "Emotion is a sign of one or another evaluative attitude of a person to objects or phenomena of real reality."

In the second half of the 20th century, a number of works devoted to the study of color terms appeared. Among the most famous are the works of G. Gerne, 11. Hill, as well as the works of Russian researchers V. A. Moskvich, N. F. Pelevina, N. B. Bakhilina "History of color terms in the Russian language", R. M. Frumkina " Color, meaning, similarity.

Words that name color form a lexico-semantic field of color, with relationships typical of semantic groups. Color designations of the field can be considered in various aspects: formal, functional, semantic, etc. Words with the meaning of color undergo constant development and change. This feature was used and is currently used by poets and writers. At the same time, the masters of the artistic word, referring to the general language meanings and relations of words, rethink them, contribute to the expansion of the lexical-semantic group and create their own color picture of the world.

As a result of the semantic development of color designations, the coexistence in the language of various meanings (direct, figurative and symbolic) appeared, which are actively used in various types of verbal creativity. In the construction of a literary text, a huge role is played by the selection of color terms and their use. The nature of the use of color words in the work reflects the originality of the author's style, his creative individuality and unique worldview.

Color painting is actively used in all genres of literature as a vivid visual means. The main place in the use of color terms is occupied by poetry. A lot of research has been devoted to the problem of color designation in poetic works, the color designations of many Russian poets - A. Akhmatova, N. Gumilyov, M. Bulgakov, M. Tsvetaeva, have been studied, the poetry of Sergei Yesenin is no exception. In our opinion, the use of color terms in the lyrics of S.A. Yesenin deserves great attention, insofar as color symbolism, presented in his poems, is especially rich and bright. "About the poet's ability to reveal images on the basis of the similarity of the phenomena of external-objective and mental life, to use various methods of metaphorization, convex concrete-material expression of experiences, coming most often from folk riddles and songs, a lot has been written in criticism and research literature, the conclusion was substantiated that over the years Yesenis' concrete-subject imagery has changed, enriched and improved qualitatively , replenished with new techniques and forms.

Sergei Alexandrovich Yesenin is a bright and talented poet. In his work, he develops a poetic concept of man in this vast and colorful world. Yesenin's poetry is multicolored, but not just endowed with colors, but organically merged with musicality and color with the inner world of the poet and the surrounding space in which he lives and creates. “The poetry of S. Yesenin is full of colors, he, like no one else, managed to convey the beauty of Russian nature. He left a rich poetic legacy to his readers. Yesenin's lines have a truly magical power, they take the soul, the voice reaches the very depths of the human heart. In the early period of creativity, the strongest side of S. Yesenin's poetic talent becomes apparent - his ability to draw pictures of Russian nature. TsO constitute an integral characteristic of Yesenin's style.

“His early poetry, still very calm and serene, is dominated by blues and greens interspersed with white. snow-covered bird cherry . Russia itself, majestic and unhurried, stepped onto the pages of Yesenin's lyrics. She is still sleeping, serene, illuminated by the golden rays of the moon. But acquaintance with the city brings other colors to Yesenin's poetry - gray and black, the golden color becomes dull yellow, sharp, contrasting colors burst in. The city is alien to the poet, with his love for the breadth and expanse of vast fields. The world of Yesenin's poetry, despite the complexity, diversity and even inconsistency of his work, is an inextricable artistic fabric of images, symbols, paintings, motifs, themes. The same word, repeated many times, turns into a kind of Yesenin symbol, and, combining with other words and images, creates a single poetic world. Researchers of S. Yesenin's poetry drew a parallel with the pictorial work of K. Petrov-Vodkin. The artist fought for a new "color perception", for a return to clarity, to the classic tricolor "red - blue - yellow". He approached color like a master philosopher. Yesenin had an eye that very subtly perceives the "color characteristics of nature." There is no monotony in his poems. As soon as the landscape becomes too monotonous, green, Yesenin introduces a scarlet, red color into the lyrical landscape. She dresses up her “maiden Rus” in scarlet clothes, and does not forget to throw a “green shawl” over her shoulders.

The use of COs, which carry an important semantic load, is one of the characteristic features of Yesenin's poetry. “Yesenin borrowed many colors of his poetry from Russian nature. He does not just copy them, each color has its own meaning, as a result of which a color reflection of the feeling is achieved. Yesenin's landscapes are multicolored and multicolored. Nature plays and shimmers with all the colors of the rainbow, its images are picturesque and bright, as if painted in watercolor.

The use of CO words gives brightness and emotionality to artistic speech. When constructing a literary text, the selection of the CO plays an important role. “The TSO convey the originality of the author's style, his creative individuality and unique worldview. And the fire of the dawn, and the splashing of the waves, and the silvery moon, and the rustle of the reeds, and the immense expanse of heaven, and the blue expanse of the lakes - all the beauty of the native land over the years has been cast into poems full of ardent love for the Russian land. Yesenin captivated his first readers by leading them along the beautiful land they had forgotten, forcing them to save its colors in their eyes, listen to its ringing, its silence, absorb its smells with their whole being.

The use of colors in poetry is a significant means of expressing not so much thoughts as feelings and emotions, and the palette of colors used can recreate the image of the poet and his inner self-awareness. A. Blok predicted that a poet would appear who would bring Russian nature to poetry with amazingly simple colors. Sergei Yesenin became such a poet, who enriched poetry with multi-colored Russian landscapes.

The researchers note that color and light semantics affect the initial nomination of a language unit, giving it additional information, forcing it to enter into complex relationships between the components of the text. As a result, the author's aesthetic function begins to transform the text, enriching language units with "meaning overtones". “The figurative meanings of a word appear in the language as a result of an indirect, or indirect, nomination, i.e. a way of designating objectively existing objects (actions, states, etc.), which is not associated with the name of their essential features (direct nomination), but with the designation of an object (properties, actions, etc.) through non-essential, secondary features of another, already designated object, reflected in its name ". The figurative meaning of a word is connected with the original, direct meaning by two types of links: analogy (metaphorical type of figurative meaning) and adjacency (metonymic type of figurative meaning, with its variety - synecdoche). Metaphor and metonymy are two universal semantic laws.

“Metaphor (from the Greek tetaphora - transfer.) - a type of path, a figurative meaning of a word based on likening an object or phenomenon to another by similarity.” Metaphor is used in everyday and artistic speech. Poetic metaphor differs from familiar household metaphor in its freshness and novelty. In poetry and prose, metaphor is not only a means of lexical expressiveness, but also a way of constructing images. In a broad sense, the term metaphor is applied to any kind of use of words in an indirect sense. It is not only a source of figurative (poetic) speech, but also a source of formation of new meanings of words.

“Metonymy (Greek metonymia - renaming) - replacing the direct name of an object with another by contiguity, imposing the direct meaning of a word on its figurative meaning” The use of words in a figurative meaning finds a natural place in poetic, artistic speech. In poetry, figurative meaning is used, introducing attributive and evaluative connotations into the content. For poetic speech a figurative meaning that arose on the basis of comparison is characteristic. The figurative meaning is designed for non-literal perception and requires the reader to be able to understand and feel the created figuratively - emotional effect. The ability to see the second plane of a metaphor, the hidden comparison contained in it, is necessary for mastering the figurative riches of literature.

The study of the CO of S.A. Yesenin allows you to recreate a vivid color picture of the poet's world, which is formed through the use of various parts of speech with the meaning of color. When studying the role and features of the use of color designations in a literary text, the following is important: 1) the word-color designation is initially emotionally colored, it stubbornly breaks out of the framework of a simple color designation and seeks to express our attitude towards it; 2) color can be expressed explicitly (by direct naming of a color or attribute by color), and implicitly (by naming an object whose color attribute is fixed in everyday life or culture at the level of tradition). When analyzing color-denoting vocabulary in a literary text, it is necessary to take into account all ways of expressing color. “From the point of view of literary criticism, the text should be perceived as an artistic whole, where color is one of the elements of this whole. The study of color in this case involves the analysis of all artistic means in which color is represented, the arrangement of tones in the text. It is necessary to consider the semantics of the tones and color combinations presented in the text, the correspondence of this semantics to the traditional meanings of color or its transformation in the author's work.

Historical study of the vocabulary of the AC shows that the fates of the different words that make up the AC group are very different. Some of them have experienced great changes, others have not changed much. Some develop synonymous rows, enter into one or another relationship with each other, unite in some kind of groups, others keep apart, remain, as it were, isolated. In a certain sense, it can be argued that each word has its own history, lives its own life. “Philological analysis helps to comprehend the relationship between an idea and a word through an image, it helps to understand how phonetics, individual words, metaphors, comparisons, syntax features and other language means and stylistic figures the worldview of the writer, his ideas, thoughts, assessments, emotions, etc. are revealed.”

The language of a poetic text lives according to its own laws, different from the life of a natural language; it has special mechanisms for generating artistic meanings. The words and utterances of a literary text in their actual meaning are not equal to the same words used in ordinary language. The word in a literary text, due to the special conditions of functioning, is semantically transformed, includes an additional meaning, connotations, associations. Color nominations are able to express not only color, but also other concepts: they act as a means of conveying emotions, emotional experiences. Their perception and use in a literary text is largely subjective.

Color designations are an integral component of the individual author's picture of the world. In the culture of mankind, color has always been important, being closely related to the philosophical and aesthetic understanding of the world. Color naming, materially expressed in linguistic form, is at the same time a "sign model". Color epithets are the result of intuitive artistic selection. They perform three main functions in the text of fiction: semantic, descriptive (color epithets are used by the writer to make the description visible) and emotional (a certain image impact on the feeling). The means of expression are artistically ambiguous, complexly interconnected and interdependent.

In the Russian language, there are many means that are used to build images, to form new lexical meanings. Techniques for increasing the energy-intensive potential of a word have long been known. First of all, these are methods of figurative associativity, aimed at destroying the usual stereotypes of perception, giving impetus to the generation of new ideas and allowing us to see long-familiar things in a new light. “The word not only has grammatical, lexical and pragmatic meanings, it at the same time expresses the assessment of the subject. Expressive evaluation often determines the choice and placement of all the main semantic elements of the utterance. The subject-logical meaning of each word is surrounded by a special expressive atmosphere, which fluctuates depending on the context. Expressive power is inherent in the sounds of the word and their various combinations, morphemes and their combinations, lexical meanings. Words are in continuous connection with all our intellectual and emotional life» .

“In poetic speech, the word always appears in its relation to the image, there is a constant interaction of ideas and meanings that arise in the word, which is placed in a poetic context.” Color designations in various contexts, i.e. in relationships with other words, they can carry different meanings. These meanings differ to some extent from the main lexical meanings. With the help of the CoA, one can describe an object, feelings, state, emotions, in other words, an emotional and mental state.

Lyrical poetry is surprisingly rich and multifaceted in its spiritual expression, sincerity of feelings and drama, in its heartfelt excitement and humanity, conciseness and picturesque images. The mood of the poet is based on the colored details of the landscape, and they, in turn, sharpen feelings and thoughts, reveal their deep flow. "In a special way leads a word in poetry, because poetry is such a way of formal organization of words, in which there is an extraordinary multiplication and complication of the semantics of almost each of them, acquiring additional meanings, connotations, after which new meanings are often generated that are not characteristic of a given word in ordinary language. .

Color in S. Yesenin's poetry becomes not so much a carrier of real color as a means of expressing an emotional assessment, it conveys a “subjectively colored” individual image of an object, phenomenon, thought, feeling. In this emotional-subjective world, all real colors acquire many unexpected sounds.

2. The use of adjectives-color terms in the poetry of S. Yesenin

2.1 The use of adjectives-color designations in the direct meaning

The use of CO words gives brightness and emotionality to artistic speech. When constructing a literary text, the selection of the CO plays an important role. TSO convey the originality of the author's style, his creative individuality and unique worldview. And the fire of the dawn, and the splashing of the waves, and the silvery moon, and the rustle of the reeds, and the immense expanse of heaven, and the blue expanse of the lakes - all the beauty of the native land over the years has been cast into poems full of ardent love for the Russian land. Yesenin captivated his first readers by leading them along the beautiful land they had forgotten, forcing them to save its colors in their eyes, listen to its ringing, its silence, and absorb its smells with their whole being.

For adjectives-CO in the poetry of S. Yesenin, the use in a direct color meaning is typical. For the most part, ACs have a subject fixation. The definition of a color is often based on an object that has that color. The meaning of words does not reflect the entire set of known features, objects and phenomena, but only those that help to distinguish one object from another. For a correct understanding of the meaning of words, a broad acquaintance with the social sphere in which the word existed or exists is necessary. Consequently, extralinguistic factors play an important role in the development of the meaning of a word.

By connection, correlation with the subject of reality, i.e. according to the method of naming, or nomination, the meanings are distinguished direct, or basic, and figurative, or indirect.

A direct meaning is one that is directly related to an object or phenomenon, quality, action, etc. A figurative meaning is one that does not arise as a result of a direct correlation with an object, but through the transfer of a direct meaning to another object due to various associations. The connections of words with a direct meaning depend less on the context and are conditioned by subject-logical relations, which are quite wide and relatively free. The figurative meaning depends much more on the context; it has a living or partially extinct imagery.

Yesenin's COs can be divided into thematic groups of their use, such a classification is formed in accordance with what life reality denote color adjectives. The use of the CO in combination with nouns makes it possible to single out specific thematic groups of Yesenin's CO. There is a selection of such thematic groups as: natural phenomena and objects (water, sky, sun, moon, time of day, birds, etc.); CO of a person and his appearance (eyes, hair, clothes); CO of light and brilliance; CO of fire, bonfire.

CO of natural objects and phenomena in combination with the names of natural substances, such as water, sky. S. Yesenin, for the most part, uses real color centers blue and blue. Concepts such as water and sky actually have a similar coloration.

Water as a natural object in the physical sense is colorless and transparent, but in its large volume it has blue or blue colors in their direct meanings. Such a CO of water also takes place in Yesenin:

I hear the sound of a blue shower ...

Reflected in blue are the bays of my distant lakes.

The quiet river is wide blue...

And behind the blue Don,

Cossack villages,

At this time, the vicious wolf

Cuckoo crying.

In the above contexts, the color designations blue, cyan are used. Here COs are used in their direct meaning to describe the realities of nature, in particular water. In the explanatory dictionary, the word blue is given with the following meaning: blue - having the color of one of the primary colors of the spectrum - the middle between purple and green.

Often, depending on the environment and the state of any body of water, Yesenin's straight lines of color blue and blue change to delicate pink, bright yellow and very saturated indigo.

Peace, to the aspens, which spread the branches,

Looking into the pink water...

The sea seems indigo to me...

Golden foliage swirled

In the pinkish water of the pond.

The blue color in its direct lexical meaning is defined as "the color of a clear sky". In Yesenin's poetry, the sky has both a direct CO and a figurative (poetic) designation.

The chintz of the sky is so blue...

The sky chintz metaphor is based on a complex associative transfer: the sky is like chintz.

Lamb curly month

Walking in the blue grass...

This context is quite interesting for its poetic comparisons: the month is compared with a lamb, and the sky with grass.

The variety of shades that the sky and clouds can acquire depending on the time of day (sunrise, sunset) is conveyed by Yesenin with adjectives of yellow and pink.

Knitting lace over the forest

Clouds in the yellow foam..

And you, like me in a sad need,

Forgetting who is your friend, who is your enemy,

You miss the pink sky

And dove clouds.

Such metonymic combinations as blue air, blue cold, blue coolness also found color reflection. Such natural phenomena are perceived not visually, but by touch, but still have their metonymic COs.

Quite a voluminous group is made up of the color centers of the sun and the moon.

For the most part, these natural objects have a direct color designation yellow and figurative gold.

Cold gold of the moon...

The sun with a golden seal

The guard stands at the gate.

Month yellow spell

They pour over the chestnuts into the forest.

To Yesenin comes, in the words of Blok, "understanding of visual impressions, the ability to look," that is, the ability to feel color ".

CO blue and white are used to give emotional mood, in-depth "lyrical feeling" in general:

Moon with a blue horn

The clouds pierced.

So that under this white moonlight,

Taking a happy lot...

The CO of the time of day has received quite frequent and varied use. Color adjectives that denote these realities are: blue, golden, black, red, blue, lilac.

Drowning pastures and fields

In the blue light of the day..

Let me whisper sometimes

Blue evening.

Blue evening, moonlit evening

I used to be handsome and young.

Such metonymic phrases as red evening, black evening, golden evening, lilac nights are poetically figurative.

Quite often in Yesenin's poems one can find the names of plants and animals.

Like the rest, these animate nouns have their COs: black crows, gray crows, black toad, red cows.

Only gray crows

Made a noise in the meadow.

The poet's gift is to caress and scratch,

Fatal seal on it.

White rose with black toad

I wanted to get married on earth.

I see a dream. The road is black.

White horse. The foot is stubborn.

Through contrasting adjectives white - black, the poet expresses thoughts about his life. This is typical for the Moscow Tavern cycle, when the gap between the environment in which Yesenin found himself and the poetic inspiration dictated by the romance of feelings is painfully felt.

my flower,

Poppy flower.

In this case, consider the phrase poppy flower. The explanatory dictionary gives such a lexical meaning of the word poppy - 1) herbaceous plant with a long stem and large, often red flowers, red poppies ; 2) like poppy color (very blush) (outdated). In this context, the adjective poppy is used both as the name of a plant species and as a color term for scarlet or red.

Quite a voluminous subgroup is made up of the CR of such natural objects as: steppe, height, meadows, fields, smooth surface, expanse, distance, edge, valley.

These objects can be called landscape objects. They are such concepts that do not have an exact DO. Yesenin uses the following COs with such locative and abstract nouns: blue, crimson, gold, green, black, blue, white, etc.

Not for the songs of spring over the plains

The road to me is green expanse ...

Pink steppes shine far away...

Oh Russia - raspberry field...

For a long time I began to dream

Fields crimson expanse (7, 24)

Color designations of the time of day: morning, day, night, dawn, sunrise, sunset.

Yesenin ignites his poems, makes them glow and shimmer with various colors. It endows each segment of the day (dawn, sunrise, sunset) with its own unique color: pink sunset, golden dawn, red sunrise, scarlet dawn.

How does the fire stand

Golden Dawn.

The red wings of the sunset are fading...

S. Yesenin is characterized by the use of the color adjective golden when describing the time of day (dawn, dawn, sunset, etc.). S. Yesenin kind of ignites his poems and makes them glow with gold.

May you be gold

The light of dawn sprinkles.

Often, S. Yesenin, when describing the time of day, uses shades of blue. So, in the following context, the adjective blue is used to describe the morning.

From midnight

Until the blue of the morning

Above your Neva

The shadow of Peter wanders.

Color terms for fire and bonfire.

The motif of a bonfire or fire is quite often present in Yesenin's poems. Along with the color of fire, traditional for a person, is red, there is gold characteristic of Yesenin's poetry and such a metaphorical use as a white fire.

Under the windows

White blizzard bonfire...

And there is a birch

In sleepy silence

And the snowflakes are burning

In golden fire

The combination of golden fire, just like the white bonfire discussed above, acts as a metaphorical one, and both of its components are used in a figurative sense: golden - as CO (against the background of the direct meaning of the adjective - made of gold ); fire - like shine, shine.

CO of a person's appearance

When describing a person, it is impossible to do without the AC. In his poetry, the author often uses the CO to describe a person's appearance. Descriptions lyrical hero quite often converge with the self-portrait of the poet himself. It is known that S. Yesenin had a Slavic appearance, as evidenced by his blond hair and eyes. The self-portrait of the lyrical hero is sustained in the same light colors: “blond, almost whitish”, “my blue eyes”. The most important part of the face are the eyes. In the mind of a person, it is the eyes that are directly connected with the inner world of a person, his thoughts, feelings, with his soul. The direct color eyes of the eyes in Yesenin's texts coexist with metaphorical ones that are fixed in the minds of people. Yesenin describes the eyes with shades of blue, blue and cornflower blue.

So that with cornflower blue eyes ...

Oh you blue-eyed boy...

Blue and blue eyes are associated in the human mind with the sky,

water; the same associations arose in Yesenin:

I saw the sea in your eyes

Blazing blue fire.

The adjectives golden, white and black are used to describe hair, as well as the complex adjectives red-haired, yellow-haired, and also uses a comparative-contrastive turnover.

It was only in him

That hair is like night ...

And the wind ruffles under the scarf

Red haired braid.

Through the blue glass, the yellow-haired boy

He shines his eyes on the checkbox game.

Golden hair color symbolizes youth, kindness, fun:

“golden daredevil”, “golden hay hair”, “head like a golden rose”.

When describing human hair, there is an adjective gray reflecting aging, withering of a person, used in the meaning of gray-haired black and gray:

That hair is golden hay

Turns to grey...

In some contexts, color terms appear to describe the portrait of a lyrical hero. As noted above, for the poetry of S. Yesenin, the use of blue color when describing the eyes of a person and golden, yellow when describing the hair is quite characteristic, which may also be associated with the features of the portrait of the author himself.

Do not swear. Such a thing!

I'm not a trader in words.

Tilted over and weighed down

My golden head

I don't know, I don't remember

In one village

Maybe in Kaluga,

Or maybe in Ryazan,

There lived a boy

In a simple peasant family,

yellow-haired,

With blue eyes...

One of the most common stylistic devices in fiction is the use of comparisons. Thus, the comparison, which is based on the color designating component, is also used in poetic and prose texts. In the following context, the girl is compared to lilac May. The phrase lilac May is not accidental, because. It is in May that lilacs bloom. Lilac - having a color of lilac, light purple, light purple.

If so, where is the despair

slim girl

All like purple

All as a darling

Edge.

In the poems of S. Yesenin, the use of the stable combination of the red maiden is noted.

The red maiden told fortunes in seven.

A wave unraveled a wreath of dodder.

If we turn to the history of the word red, we can say that it had its original meaning was beautiful, beautiful. “Already in the monuments of ancient times, the adjective is most often used in its original meaning beautiful , beautiful to describe a person, his beautiful, attractive appearance.

To characterize the lips, red color and its shades are most often used. Yesenin is characterized by the use of archaic mouth when designating lips: “mouth - cherry juice”, “red mouth”, “scarlet mouth”. An integral part of Yesenin's portrait is clothing. Yesenin in his poems uses the names of both ordinary, everyday clothing, modern to the poet: a blue jacket, a red-white sundress, a blue sundress, a red minty, and a religious, church one: scarlet robes, a golden rowan, a blue cloak.

O miracle worker!

Broad-cheeked and red-mouthed…

Blue jacket. Blue eyes.

I didn't tell any truth.

White scroll and scarlet sash

I tear the blushing poppy along the beds.

Thus, we can conclude that the colors that make up the spectrum - red, yellow, green, blue, indigo, violet - in most cases in Yesenin's poetry have a specific - subject relatedness. These DH are used in sustainable traditional combinations. Most combinations of adjectives-CO with nouns are normative for the Russian language. This normativity is reflected in the designation of natural objects and phenomena (moon, sun, day, night, sunset, sunrise, birds, animals, etc.), landscape elements (steppe, field, height, expanse, expanse), in determining such phenomena in people's lives, like fire and bonfire. S. Yesenin also assigned an important role to color designations in describing a person, his appearance and clothes.

2 Figurative meanings and evaluative connotations of color terms

In the Russian language, there are many means that are used to build images, to form new lexical meanings. Techniques for increasing the energy-intensive potential of the word have long been known. These are, first of all, methods of figurative associativity, aimed at destroying the usual stereotypes of perception, giving impetus to the generation of new ideas and allowing us to see long-familiar things in a new light. “The word not only has grammatical, lexical and pragmatic meanings, it at the same time expresses the assessment of the subject. Expressive evaluation often determines the choice and placement of all the main semantic elements of the utterance. The subject-logical meaning of each word is surrounded by a special expressive atmosphere, which fluctuates depending on the context. Expressive power is inherent in the sounds of the word and their various combinations, morphemes and their combinations, lexical meanings. Words are in continuous connection with our entire intellectual and emotional life. The ways of forming the meanings of words are different. A new meaning of a word can arise, for example, by transferring the name according to the similarity of objects or their features, as a result of the similarity of the functions performed, the appearance of associations by adjacency. So the values are portable.

The poetry of S. Yesenin is full of colors, he, like no one else, managed to convey the beauty of Russian nature. He left a rich poetic legacy to his readers. Yesenin's lines have a truly magical power, they take the soul, the voice reaches the very depths of the human heart. In the early period of creativity, the strongest side of S. Yesenin's poetic talent becomes apparent - his ability to draw pictures of Russian nature. As already mentioned, the color centers are an integral characteristic of Yesenin's style.

Words with color meanings in different contexts, i.e. in relationships with other words, they can carry different meanings. These meanings differ to some extent from the main lexical meanings. With the help of the CoA, one can describe an object, feelings, state, emotions, in other words, an emotional and mental state. There are stable color associations, we can talk about the relationship between color and feeling. For example, green is hope, black is fear, pain, anger, white is peace, red is passion, excitement, blue is clarity, etc. Along with these features, color also has a subject load, the semantization of the CO is based on the object, thus the color-object relationship is distinguished, white - "the color of snow, milk, chalk", blue - "having the color of one of the colors of the spectrum, color - "one from the main colors of the spectrum, the color of cornflower flowers", black - "the color of soot, coal", etc.

Depending on the compatibility with other words, TS and acquire a different meaning and semantic-stylistic diversity.

One of the methods of analysis of digital transformations is their description against the background of the context.

With scarlet berry juice on the skin,

Tender, beautiful

You look like a pink sunset

And like snow, radiant and bright ...

The main meaning of the color adjective scarlet - "light red" does not evoke such a feeling of beauty and femininity, as in combination with contextual synonyms tender and beautiful.

2.1 Associative symbolism of color terms-adjectives in the representation of the Motherland, Russia

In his poems, Yesenin, in combination with the words homeland,

Russia, land uses the adjectives gold, blue, blue.

The data of the Central Organ personify the concept of the native land for the poet: the blue country, golden Russia, blue fields, etc. Most often, S. Yesenin uses shades of blue to define Russia: “after all, Yesenin believed that “something blue” was hidden in the very name of Russia, and he said: “Russia! Which good word... And "dew", and "strength", "blue" something! . The love for these color tones has long been noted by the researchers of his work “The most cherished colors of Yesenin are blue and blue. These colors can become personal signs of the poet. Even during the life of Yesenin, researchers of his work argued that supposedly a poet with a very light heart ... deformed the method of folk poetry to combine the same epithet with the same definable (the so-called constant epithet the field is white, the winds are violent) into an extremely original and a strange trick - the combination of the same epithet with any defined (blue mouths, blue soul of God, blue garden, blue Russia, blue field, blue fire, etc.) ..

I wander through the blue villages,

Such a grace

Desperate, cheerful

But I am all in you, mother.

In this context, the phrase blue villages acquires a positive rethinking when interacting with the noun grace: 1) good will, goodness, help, outgoing - according to religious ideas - from God, sent down to them ; 2) state of contentment, peace of mind ; 3) the state of nature, the surrounding world, causing a person to feel a sense of peace, tranquility, bliss ". A positive assessment is also achieved by the use of quality adjectives desperate, cheerful, which enhance the optimistic sound of the whole context.

Inexpressible, blue, tender...

My land is quiet after storms, after thunderstorms,

And my soul is a boundless field -

Breathes the scent of honey and roses.

Blue in this context, combined with adjectives tender and substantiated participle inexpressible, becomes very

calm morning color. The short adjective tih conveys

a feeling of peace and quiet in the soul of a lyrical hero.

The substantiated adjective tender and participle unspeakable, approaching each other lexically, give a positive evaluative meaning to the blue color.

Cold gold of the moon

The smell of oleander and levkoy.

It's good to wander among peace

Blue and affectionate country.

The positive rethinking of the color adjective blue is connected, firstly, with the meaning of the predicative adverb good, and secondly, it is achieved by lexical convergence of the adjectives blue and affectionate, in connection with which they act as homogeneous members and become lexically related. The definition of affectionate contributes to the appearance of the meaning of an abstract positive assessment of the adjective blue.

I praise you blue

filled with stars...

In this context, the verb glorify (praise), combined with the adjective blue, acquires the meaning of gratitude to the motherland, praise to everyone. The creation of the general emotional mood of the context is facilitated by the noun height - "a space located high above the ground; height" and the pronoun you, denoting closeness and kinship. The adjective blue itself also contributes to the overall positive connotation of the context, which means "clean, bright."

Oh you blue lilac

Blue Palisade!

In these contexts, the colors blue and cyan are used. The adjective blue is used in its direct meaning to name the color of lilac, and the adjective blue is used in a metonymic function, most likely from the color of the flowers that grow in it. Palisade - the same as the front garden - small fenced garden, flower garden in front of the house.

As often as the CO is blue and blue, S. Yesenin also uses the adjective golden to characterize his native land.

Ring, ring, golden Russia,

Worry, indefatigable wind!

Blessed is he who celebrates with joy

Your shepherd's sadness.

Ring, ring, golden Russia. [7, p. 109]

The short adjective blessed has lexical meanings 1) - in the highest degree happy ; 2) giving pleasure, enjoyment; extremely pleasant". This adjective, in combination with the predicative part who joyfully noted, contributes to a positive rethinking of the color adjective gold. The noun joy used in this context (as part of the predicative part) is an expression of a positive emotional state person.

My land is golden!

Autumn light temple.

flock of noisy geese

Rushing to the clouds.

The temple, the church in folk poetry is already a symbol of holiness. In this context, the golden land of Russia becomes a bright temple for the poet.

Oh homeland, oh new

With a golden roof of blood,

Trumpet, moo like a cow,

Roar telkom thunders.

In the above contexts, the adjective golden forms a bright figurative meaning, becoming not just brilliant, but "beautiful, happy, auspicious." The resulting associations suggest a vivid evaluative value of positivity.

The palette of S. Yesenin is characterized by the use of non-color words in the function and meaning of color.

Ah, apple

Cute colors!

The phrase cute color refers to the color of juicy, ripe fruit, which can range from pink to yellow. The use of the emotionally expressive interjection ah indicates a positive assessment of the phrase cute color.

2.2 The figurative use of CO-adjectives as a means of conveying the emotional state of the lyrical hero

The blue color in the poetry of S. Yesenin is associated not only with the Motherland, Russia, but also with such a wonderful, all-consuming feeling as love:

Blue fire swept

Forgotten relatives gave.

For the first time I sang about love,

For the first time I refuse to scandal.

“Taken separately, the blue fire seems far-fetched. The word fire contains a certain vital content, and the epithet blue seems to be attached to it arbitrarily. But in this case, the concept of fire has a figurative meaning - love. Blue color in our mind is associated with a clear, pure tone. Using this association, Yesenin boldly paints chaste love that suddenly flared up like a fire in blue. The further movement of the poem enhances the emotional connotation in the image of a blue fire, makes it even more capacious, the beauty of feeling - convincing. In this context, the CoA blue has a clear positive meaning, to a large extent this evaluativeness is manifested through the use of the noun love.

Some adjectives in S. Yesenin's poems have a poetically figurative positive assessment, which is associated with a description of the past, the outgoing, the past. Such meaning in S. Yesenin's poetry is played by gold, pink, white, and in some cases lilac.

Yellow and gold express a complex set of feelings and assessments, often the data of the CoA are associated "with withering, bygone beauty, regret for the past. In these contexts, this meaning is presented:

Oh you, youth, violent youth,

Golden daredevil...!

The phrase golden daredevil becomes one

a synonymous series with the phrase violent youth, thereby obtaining a positive evaluative value. But the use of the emotional interjection eh, brings into the context a sense of sadness, grief, longing and regret. The golden color also receives the same meaning of withering and sadness in some poems:

Withering gold embraced,

I won't be young anymore.

The adjective color designation pink can also be associated with sadness and experience:

Let them not get along, let them not come true

These thoughts of pink days.

The verbs of the past tense did not work out, did not come true, give the poem a color of sadness and regret for the lost. The combination of unfulfilled thoughts is sadness and disappointment. However, against the background of feelings of sadness and disappointment, the very combination of pink days reveals positive evaluative connotations.

In the following contexts, the adjective pink also symbolizes youth, the spring of human life.

The days of my pink dome are pouring.

In the heart of dreams of gold sums.

As if I am a spring resonant early Ride on a pink horse.

Yeseninsky's pink horse becomes a symbolic designation of youth, fun and expanse. Homogeneous definitions of spring and booming become contextual synonyms for the adjective pink, forming one synonymous series with it, and therefore acquiring the same positive meaning.

In many cases, the use of the adjective white deviates from the direct lexical meaning; like other color centers, white acquires its evaluative value. It is impossible to say unambiguously what kind of assessment the lexeme white expresses to a greater extent - positive or negative. In one case, we can talk about a negative rethinking of the white color, which is associated with past youth, sadness:

I'll be back when the branches spread

In spring, our white garden.

I do not regret, do not call, do not cry,

Everything will pass like smoke from white apple trees.

Yesenin's white apple trees have a symbolic meaning of prosperity, youth. At the same time, the Predicative Center will pass everything in conjunction with the structure like smoke from white apple trees, it has a negative meaning, implying some kind of loss or loss. But in combination with homogeneous predicates I don’t regret, I don’t call, I don’t cry, the CO white acquires the meaning of humility, acceptance as a given (everything will pass), some predetermination of life, thereby introducing a note of peace, tranquility, acquiring the estimated value of positivity.

Now do not scatter this sadness

Ringing laughter of distant years.

My white linden has faded,

Nightingale dawn rang out.

White in this case is also associated with past youth. This association becomes especially noticeable against the background of the noun sadness and the verb-predicate has faded. Researchers believe that the “color” word white in S. Yesenin’s poetic texts repels its inherent symbolic meanings of paradise, developed by both world and folk culture, as well as Christianity.

Some ACs in a person's life are associated with feelings of fear, pain, and anger. Such associations form black and gray COs. In Yesenin's poetry, these COs, like no other, take on contradictory coloring, combined with other words.

Black, then reeking howl!

How can I not caress you, not love you!

I will go out to the lake into the blue path,

Evening grace clings to the heart.

In this context, one can also note a certain rethinking and double evaluation of the adjective black. On the one hand, the definition connection is black with participle turnover then smelling howl, conveys a negative perception hard work, black peasant work. But in combination with the construction of how not to caress, not to love, an equal affirmation of the acceptance of this life appears, and hence the positive evaluation of black.

In the following context, the adjective black acts as a stable epithet:

Black crows croaked:

Terrible troubles a wide expanse ..

The combination of black crows is a symbol of misfortune, grief, which is further expressed with the help of a formidable misfortune construction, giving us a clear negative black color.

The same negative associations are also evoked by the CO gray, which is used in the meaning of gray .

And not happy with the ease of victories,

That hair is golden hay

Turns to grey.

The gray color is not loved by the author, for him it becomes a sign of indifference, remoteness. Of particular evaluative value is the comparison of gold and gray in relation to the same reality (hair). This comparison is a contrast with the opposite assessment. One of the lexical meanings of the adjective gray is the description of an unremarkable, content-poor object. In this context of describing hair as golden hay turning into gray, it is precisely the negative rethinking of gray that accompanies aging and withering of a person that is clearly visible.

2.3 Color terms-adjectives as a means of understanding socio-philosophical concepts

The poet sought to further deepen those associations that may arise when using some of the COs. Such adjectives - CO as black, white, red are perceived as symbols. “Any color can be read as a word, or interpreted as a signal, a sign or a symbol. Reading "of color can be subjective, individual, or it can be collective, common to large social groups and cultural and historical regions" .

The fate of black in S. Yesenin's poem "The Black Man" is quite interesting. "The Black Man" is one of the most mysterious, ambiguously perceived and understood works of Yesenin.

The poem expressed moods of despair and horror before an incomprehensible reality, a dramatic sense of the futility of any attempts to penetrate the mystery of being. The tragedy of the self-perception of the lyrical hero lies in the understanding of his own doom: all the best and brightest is in the past, the future is seen as frightening and gloomy hopeless.

Black man

He sits down on my bed,

Black man

Doesn't let me sleep all night.

Black man

Runs a finger over a vile book

And, sneering at me,

Like a monk over the dead

Reads my life

Some scoundrel and bastard,

Bringing sadness and fear to the soul.

Black man

Black, black!

In this context, the adjective black is used in a figurative sense and has a clear negative assessment, as evidenced by the use in the same context with this adjective of such negatively colored words as vile - 1) disgusting, disgusting. 2) very unpleasant, nasty (colloquial) ; nasal (nasal) - speak indistinctly, make unpleasant nasal sounds.

The adjective black itself in Russian is polysemantic: black - 1) soot, coal ; 2) dark, opposite something lighter, called white ; 3) darkened, darkened ; 5) gloomy, gloomy, heavy ; 6) full f., trans. criminal, malicious.

It is known that black and generally dark color is associated with sadness, negativity and suffering. “The black color is essentially the negation of all other colors, therefore, it is chosen in cases where they want to draw attention not to the color, but to the form and content of the object. Along with restraint and secrecy, he is something mystical, containing unknown truths.

Black man

He looks straight at me.

And the eyes are covered

blue vomit,

Like he wants to tell me

That I'm a crook and a thief

So shameless and brazen

Robbed someone.

In addition, black is associated with the use of force and with an intolerance of weakness. “Black color is able to hide what it has. Accordingly, people who prefer this color tend to hide their true nature. Black represents the end and the beginning. Black night - the end of the day, but also the beginning of the next, the beginning of a new unknown life. Black color tends to control everything around and influence the state of things. Perhaps S. Yesenin, using black in his work, wanted to convey precisely all its figurative meanings and meanings.

Here again this black

He sits on my chair,

Raising your top hat

And casually throwing back his coat.

The use of black is very characteristic of ancient Russian literature, where "black" personified the forces of evil. The same association was also reflected in the poem "The Black Man", where the poet singled out the evil forces only with this paint.

No less symbolic in the poetry of S. Yesenin are such contrasting colors as the color designations red and white. So, these color designations were reflected in the revolutionary poems of S. Yesenin “Song of the Great Campaign”, “Country of Scoundrels”, “Inonia”, etc. Yesenin was one of those Russian writers who, from the first days of October, openly sided with the insurgent people . “During the years of the revolution,” Yesenin wrote, “he was entirely on the side of October, but he accepted everything in his own way, with a peasant bias.” Everything that happened in Russia during the years of October was unusual, unique, and incomparable to anything. Sergei Yesenin also foresaw great changes in the life of Russia.

Come down, appear to us, red horse!

Harness yourself to the lands of the shafts.

We are a rainbow to you - an arc,

The Arctic Circle - on the harness.

Oh, take out our globe

On a different track.

It is "the red horse is in the poetry of S. Yesenin a symbol and harbinger of the revolution." The use in this context of the verbs of the imperative mood descend, appear, harness, take out testify to the poet's clearly positive attitude towards the revolution and faith in victory.

And the mare will playfully wave

Above the plain with a red tail.

“October lit up Yesenin's poetry with a new light. “If there hadn’t been a revolution,” the poet later wrote, I might have dried up on useless religious symbols. True, at first the revolutionary theme was solved by Yesenin in a peculiar way. The new world appears in his poems either in the form of utopian pictures of a peasant paradise on earth, or in the form of a romantic "city of Inonia", where the "bliss of the living" lives and "revolutionary" faith dominates. The main thing in these works is the awareness of one's strength, freedom, which, as he believed, October brought to peasant Russia.

Yesenin accepted the revolution with indescribable enthusiasm, and accepted it only because he was already internally prepared for it, that his temperament was in harmony with October. More and more Yesenin captures the "vortex" beginning, the universal, cosmic scope of events.

However, to comprehend deeply, consciously the full significance of the historical and social changes in the life of the people, especially the Russian village, associated with the struggle for the triumph of the ideas of the Great October Revolution, he, of course, could not immediately. Intervention, counter-revolution, blockade, terror, famine, cold fell on the shoulders of the people.

In the white camp a cry,

In a white camp, a groan:

Our army surrounds

them from all sides.

In the white camp there is a cry,

In the white camp delirium.

This context contains the color adjective white, which is used in Russian in following values: 1) colors of snow, milk, chalk ; 2) very light ; 3) clear, bright (about the time of day, about light) ; 4) in the first years of Soviet power: counter-revolutionary, acting against Soviet power or directed against it. 5) in the meaning of a noun ; 6) as an integral part of some zoological and botanical names . The use of such negatively colored nouns as a scream, groan, scream, delirium indicates a negative assessment of the white movement by the poet.

In this case, the color designation white performs a metonymic function, is used in a figurative sense and denotes the army, the socio-political movement that existed during the years of the Civil War. The adjective white is used together with the noun camp - 1) camp, campsite ; 2) trans. belligerent, fighting side, socio-political group (high) . Even during civil war in Russia, the white formed the meaning of “protecting the old, legal system; participating in the armed struggle against the Bolsheviks. Depending on the political position of a person, the semantic content of the word is either negative-evaluative elements autocratic, tsarist, reactionary, counter-revolutionary (in the Soviet language) - or positive-evaluative defending the old regime, anti-revolutionary, aimed at suppressing the revolution (in the language of people who did not accept Soviet power).

After the revolution of 1917, the concept of white had the following content: “associated with autocracy, tsarism; speaking in his defence." The word was evaluated sharply negatively in the Soviet language and - moreover - became one of the designations for the concept of "enemy of the people."

In the red camp snoring,

There is a stench in the red camp.

The stench of a tailor

From the boots of the soldiers.

Tomorrow, barely light,

We need to fight again.

Sleep, my clumsy!

Sleep, my good!

The use of the adjective red in the given context is also quite symbolic. In the given context, the adjective red is also used in a metonymic function to refer to a political movement and an army.

For a more detailed consideration, let's turn to the explanatory dictionary: 1) having the color of one of the primary colors of the spectrum, going before orange ; 2) the color of blood, ripe strawberries, bright poppy flower ; 3) pertaining to revolutionary activity, revolutionary; associated with the Soviet system, with the Red Army ; 4) beautiful, lovely ; 5) joyful, happy ; 5) clear, bright, light ; ceremonial, honorary . The adjective-color designation red is used in this context together with the nouns stench, snoring, stink, battle, but, unlike the context given above, here this color designation is interpreted positively by the poet, this is also evidenced by the clearly positively colored adjectives good and clumsy, which in In this case, they are stylistic synonyms.

In the contexts under consideration, the adjectives white and red are antonymous in their figurative meanings.

Sensitive to the aesthetic richness of existence, S. Yesenin colors phenomena of the surrounding world. But he does not invent these colors, but peeps in his native nature. At the same time, he tends to clean, fresh, intense, ringing tones. E. S. Rogover, in one of his articles, argued that each poet has his own, as it were business card: either this is a feature of poetic technique, or it is the richness and beauty of the lyrics, or the originality of the vocabulary. In his poetry, S. Yesenin also uses color terms only to create a positive mood and a vivid poetic landscape. “The mood of the poet, as it were, is based on the colored details of the landscape, and they, in turn, sharpen feelings and thoughts, reveal their deep course. From relaxed-sad to anxious-dramatic movement of experience. Such use of such COs acts as a means of creating a certain emotional and stylistic coloring.

I'm going through the valley. On the back of the cap,

A swarthy hand in a kid glove.

Pink steppes shine far away,

The quiet river is wide blue.

pouring sun oil

To green hills.

The use of color adjectives in combination with other words that are contextually close to them, i.e. act as contextual synonyms, with qualitative adjectives, with predicative adverbs, with abstract and in some cases concrete nouns, leads to a figurative meaning: a golden head, a blue country, lilac nights, a crimson field, a pink sky, a green expanse, a black howl, a silver wind etc. “Polysemy and ambiguity are in the nature of any image, but Yesenin proved that a color image, like a figurative one, can be “fat”, that is, it absorbs a complex definition of thought, without ceasing to be an image, without turning into an abstraction. , allegory. The fact that Yesenin transferred him from "tow" to indigenous, forcing him to carry a "sled of meaning" along with figurative similitudes, was, in fact, his discovery. With the help of words corresponding to colors, he was able to convey the subtlest emotional nuances, depict the most intimate movements of the soul. Summarizing the observations made in this section, we can say the following. CO-adjectives are more often used figuratively than literally. With such use, they acquire a variety of semantic, associative and evaluative connotations that serve to express the poet's attitude to the phenomena depicted. Color in the poetry of S. Yesenin becomes a means of philosophical understanding of the world.

3. The use of color terms-nouns in the poetry of S. Yesenin

The use of color in poetry is a significant means of expressing not so much thoughts as feelings and emotions, and the palette of colors used can recreate the image of the poet and his inner self-awareness. As noted above, A. Blok wrote in his article “Colors and Words” that a poet would appear who would bring Russian nature to poetry with amazingly simple colors. Sergei Yesenin became such a poet, who enriched poetry with multi-colored Russian landscapes.

In the Russian language there is a certain lexical - semantic group of words denoting color. “The result of the semantic development of such words was the abundance of their direct, figurative and symbolic meanings. This feature was used and is currently used by poets and writers. At the same time, the masters of the artistic word, referring to the general language meanings and relations of words, rethink them, contribute to the expansion of the lexical-semantic group and create their own color picture of the world.

Color in fiction is the subject of attention of both linguists and literary critics. In recent years, more and more works have appeared aimed at synthesizing these two approaches according to the principle of complementarity: a) linguistic analysis of the functioning of color designations makes it possible to obtain correctly selected and systematized material; b) literary data allow constructing meaningful interpretations of the patterns of functioning of color designations in the idiostyle of an author.

Analyzing the works of S.A. Yesenin, one cannot fail to notice his particular predilection for using feminine and masculine nouns as a colorful vocabulary: blue, green, white, black, dark, pink, pitch, turbidity, gloom, rust, etc. Similar color lexemes are often found among other poets, but S.A. Yesenin uses them especially widely, diversely, with exceptional emotionality. Such nouns are formed in a non-affix way (zero suffixation), usually from adjectives, less often from verbs, and there are very few cases of formation from nouns. Their main meaning is an abstract sign, in the analyzed contexts - color.

S. Yesenin is characterized by the use of nouns in the direct lexical meaning, but there are cases of use and figurative meaning. Yesenin's COs can be divided into 3 groups: 1) COs, denoting the immediate natural color of a phenomenon or object; 2) AC, calling not natural color objects, the acquisition of any color under certain conditions; 3) CO used in the metonymic function. "Metonymy is the replacement of the direct name of an object by another by contiguity, the imposition of the direct meaning of a word on its figurative meaning".

When carefully reading the poems of S. Yesenin, you can see that some adjectives have been transformed into nouns. For example, the adjective scarlet was the basis for the formation of the noun scarlet, crimson - crimson, pink - pinkness, blue - blue.

It would be nice, like willow branches,

To tip over into the pink waters.

The noun pinkness is used in its own color meaning and implies an acquired feature, i.e. water from S. Yesenin acquires pink color reflecting the sunset, evening sky. The emotive tone of the poem is positive, as evidenced by the use of a positively colored word in the category of the state of good.

Silly, sweet happiness

Fresh rosy cheeks!

In this context, the noun pinkness is used in a direct lexical meaning and denotes the natural complexion, at the same time this noun, correlating in the context with the word happiness, apparently also expresses a figurative meaning. The noun happiness used in this context, together with the color designation, contributes to the formation of a positive emotional background in the poem.

Ah, motherland! How funny I have become.

A dry blush flies on sunken cheeks.

In this context, the noun blush is also used in a metonymic function. The explanatory dictionary gives the following interpretation of the word blush - pink-red complexion, cheeks . The ruddy color is included in the red color group. The name red color was historically formed from the common Indo-European root "*rudh- (*reudh-, *roudh-) - red , this root has been preserved in the main languages of Europe as a designation for red to the present day. Slavic languages in general did not retain the Indo-European root *rudh- to designate the color red itself, most Slavic languages, having different color centers with the root *rudh-, they call ore not the actual red color, but various shades of reddish-brown and brown. However, the oldest names of the red color with the root *rudh- have not been lost without a trace. So, in the modern Russian language, a group of COs has been preserved, which call different shades of the color red or reddish. [15, p.108] The adjective ruddy also enters the same root group. The word ruddy refers to an indefinite mixed color, it has some qualities of red and white, or rather pink and white. It is known that the ruddy color is used both to describe the appearance of a person and to describe the shade of red of any objects, for example, to indicate the color of plants and fruits, to indicate the color of bread products and to describe natural phenomena.

In modern Russian, the adjective is synonymous with the word pink, but it is the definition of ruddy that is used to denote the complexion of a healthy, young, fresh person, it is a light, delicate shade of red. Etymologists believe that originally the root *rudh- meant "healthy body", "healthy flesh", "muscles", "meat" and so on. Considering the word ruddy, the researchers give the following correspondences: “muscle, muscle meat”, ltsh. raumins "smoked muscle parts". There are also some evaluative connotations in the word ruddy, since a ruddy complexion means reflecting health, beautiful, pleasant , which evokes positive emotions, and also this color is more natural and beautiful for the human face. In the above context, there is a semantic shift in the blush color designation.

Considering this noun in isolation, we can say that it implies distinct positive connotations, but against the background of the context, combined with the adjective dry, which in this case is used in a figurative sense - devoid of sensitivity, gentleness, kindness; devoid of expressiveness, emotionality , expresses a disapproving assessment. At the same time, this is also evidenced by the emotional interjection ah, which expresses sadness, grief, longing and regret.

And there are flowers on the mountain ash,

Flowers are the precursors of berries,

They will fall on the ground like a hail,

Crimson overthrowing from a height.

In the given context, the color noun crimson is presented, for which the following interpretation is given in the explanatory dictionary: 1) vintage silk fabric of crimson color; products made from this fabric. ; 2) the crimson color of something; crimson.

The wattle fence has an overgrown nettle

Dressed in bright mother-of-pearl.

The noun mother-of-pearl is used in a figurative sense. If we turn to the explanatory dictionary, then we will find the following: mother-of-pearl - the hard inner layer of the shells of some mollusks - a valuable substance with an iridescent iridescent color , and pearl color - it is iridescent, silvery pink . In this context, dressed up with a bright pre-pearl, we can talk about an acquired silver color, i.e. became shiny, silvery.

Honey dew all around

Slips down the bark

Spicy greens underneath

Shines in silver.

Here the noun silver is used in a figurative color meaning, and the construction shines in silver can be transformed into the verbs shines, shines. The dictionary gives the following interpretation of the noun silver - precious shiny metal of grayish-white color . If we turn to the word interpretation of the adjective silver, then we will find the following figurative meaning of the adjective silver - brilliant white, silver color . In this context, we meet another color designation: green - green color, green paint, something green; vegetation, plants. Here the noun greenery is used in its direct meaning - vegetation, grass.

But the fight is over...

She with her lemon light

Trees dressed in greenery,

A sonorous radiance will pour.

This context represents the use of the noun greenery in its direct color meaning. The design of trees dressed in green denotes green trees, which indicates the use of the noun green in its direct meaning.

That dog died a long time ago

in the same suit that with a tint of blue,

With barking wildly stunned

I was shot by her young son.

The dictionary contains the following definition of the word xin - the same as blue; blue color, bluish color . In this context, the noun blue is used in its main color meaning, here we can talk about the acquisition of an object of a blue tint, ebb, some kind of radiance. It is known that in the Old Russian language blue could sometimes mean bright blue, dark blue, bluish and even black. In the above context, S. Yesenin uses CO blue precisely to convey the blue-black color of the animal.

Cleans the moon in the thatched roof

Blue-rimmed horns.

If we turn to the history of the appearance of the color word blue, then we can say that blue “at the time of its birth meant” brilliant, shining. This common Slavic word is formed using the suffix -n- from the same stem (si-) as the verb to shine. Kinship blue and shine undeniably. It can be thought that the word blue in origin and in ancient times is close to the designation of light, i.e. it retained the meaning "referring to light, brilliance".

In the modern Russian language Tsin or blue is used to denote vague bluish, bluish hues in descriptions of nature. S. Yesenin does not deviate from these Central Organs in his poems, he uses the word blue when describing the vast expanses.

Goy you Rus, my dear,

Huts - in the robes of the image ...

See no end and end

Only blue sucks eyes.

There is blue and a fire of air

And a lighter veil.

Every evening, as the blue becomes cloudy,

As the dawn hangs on the bridge,

You go, my poor wanderer,

Bow down to love and the cross

O Rus - raspberry field

And the blue that fell into the river.

In these contexts, the use of the noun xin as an abstract concept is observed, we can say that in these cases the noun xin reflects the metonymic transfer of meaning. For S. Yesenin, the color designation blue is an identification of the vast expanses of the Russian land.

For S.A. Yesenin, the blue color was not only a symbol of the motherland, but also a symbol of divinity, spirituality.

Holy and peaceful is your gift,

Blue and song in speeches,

And burns on the shoulders

Irresistible ball!

The color terms blue, presented in this context, personifies the symbol of holiness, spirituality, kindness. The context forms bright positive emotions, thanks to the combination with short adjectives holy and peaceful.

The yellow color in the poetry of S. Yesenin expresses a complex set of feelings and assessments, this CO is associated with the author with withering, bygone beauty, regret for the past. In the given context, such a meaning is presented. This CO expresses the features of the inner emotional state of the lyrical hero, his pessimistic mood.

Grass will not disappear from yellowness.

Like a tree sheds its leaves,

So I drop sad words.

S. Yesenin uses CO to describe a person's appearance. When describing the appearance of a person, it is impossible to do without the AC. In poems, the poet uses different parts of speech to describe appearance. These are the nouns blue and dove for eye color. adjectives used in full and short forms, as well as complex adjectives yellow-haired, blue-eyed.

Who am I? What am I? Only a dreamer

The blue of the eyes lost in the darkness.

I dream of another in your face,

Who has dove eyes.

The guy is brave, blue-eyed

Looked not at laughter.

The noun dove used in this context is the author's occasional formation. In the above context, the noun dove conveys both color and a certain emotionally positive state of the author. This suggests that blue is Yesenin's favorite color, for good reason, and one of his collections of poems has the same name "Dove".

Thus, we can say that the color scheme contributes to the transfer of the finest moods, gives romantic spirituality, freshness to Yesenin's images. The poet's favorite colors are blue and blue. These color tones enhance the feeling of the immensity of the expanses of Russia (“only the blue sucks the eyes”, “the sun shingles block the blue, there is no end in sight, only the blue sucks the eyes”, etc.), create an atmosphere of bright joy of being (“on a moonlit evening , in the evening blue", "predawn, blue, early", "on a summer evening blue"), express a feeling of tenderness, love ("eyes - a dove, blue eyes", "blue-eyed guy", etc.) Epithets, comparisons, metaphors in Yesenin's lyrics do not exist on their own, for the sake of the beauty of the form, but in order to express themselves more fully and deeply.

“Art for me,” Yesenin noted in 1924, “is not the intricacy of patterns, but the very necessary word the language in which I want to express myself. Reality, concreteness, tangibility are characteristic of the poet's figurative structure. The use of colors in poetry is a significant means of expressing not so much thoughts as feelings and emotions, and the palette of colors used can recreate the image of the poet and his inner self-awareness. Color analysis sheds light on the style of the writer, on the poetics of his works, on general and particular questions of the psychology of creativity. The word plays an aesthetic role in the poetic text, and together with the rhythm, the melody of the verse is a means of creating an image. The language that performs an aesthetic function, although it has strong roots in everyday language, is a kind of internal form.

4. The use of verbs with the meaning of color

“Due to the central role that the verb plays in the language, the originality of the very category of verbality, the linguistic meaning of verbal lexemes is a complex phenomenon determined by three factors: 1) correlation with reality, which is not the world of objects, but the world of their relations, state actions; 2) categorical semantics of subject names combined with the verb; 3) the type of semantic relations between the action, its subject and object, and, accordingly, the type of models “subject-action”, “action-object”” [23, p. semantic. “Each field is characterized by a complete list of word forms grouped around word form meanings. The presence in each member of the LSP of such a common set of core components of semantics makes them a paradigmatically correlated group of words and determines the uniformity of their syntamatic properties. This objective similarity in paradigmatics and syntagmatics is the defining principle of the formation of the LSP” 23, p.9].

There are the following lexical-semantic groups of verbs in the language. So, they distinguish 1) verbs of sensation, 2) verbs of desire, 3) verbs of perception, 4) verbs of attention, 5) verbs of emotional state, experiences, attitudes, 6) verbs of thinking, 7) verbs of knowledge, 8) verbs of memory, 9) verbs of action, etc. Along with these groups, a group of color-naming verbs (“color” verbs) can be distinguished.

“The presence of the same determinants in different words is considered as objective evidence of the semantic similarity of words. In the role of such determinants are usually verbs with a fairly general meaning. If several verbs have a common determiner, then these verbs can be defined in LSG. Thus, the verbs to turn white, blush, turn green, silver, turn blue, etc. carry some information and have a common determinant, general meaning- the acquisition by an object of any color, or the designation of any natural phenomenon characterized by a certain color. These verbs are included in a more general semantic group of state verbs.

In the lyrics of S.A. Yesenin, verbs that carry a color meaning are also noted. This group is no less curious than adjectives and nouns, although not numerous. The poet does not have a predilection for any particular form of the verb, so the use of verb forms in his works is very diverse. There are verbs denoting the color characteristics of objects, natural phenomena. For example: silver, turn white, blush, blush, turn golden, turn blue, turn green, etc. Color verbs are used both literally and figuratively, denoting natural colors. In most cases, Yesenin uses natural color terms for any objects, objects, natural substances. For example, the sky turns blue, the mountain ash turns red, the water turns blue, the huts turn white, the shawl turns green. Numerous verb forms "transmit the image of color in the process, in becoming, in revealing" . For example: they turn blue, turn golden, turn white, turn green, etc.

Only visible on the bumps and hollows,

How blue are the skies.

The verb turn blue is also used in its direct meaning and denotes the natural color of the sky.

In the transparent cold, the valleys turned blue,

The sound of shod hooves is distinct.

Verb perfect look indicates the completion of an action. Cold, as a natural phenomenon, is usually associated with the color blue. In the given context, the verb turned blue together with the noun sound gives the poem sonority and melodiousness.

On a cloud branch, like a plum,

A ripe star shines

In this case, the verb is golden, formed from the multi-valued adjective golden (golden), is used in a figurative color meaning: golden color, brilliant yellow . Also, the verb is golden can be replaced stylistic synonym burns, glows, shines, which will give us an indication of the directly figurative use of this verb in the given context. verb form golden, conveys not the color itself, but rather its formation, and possibly only its reflection.

In the morning in a rye nook

Where the bast mats are golden in a row,

Seven puppies bitch

Red seven puppies.

Rogozha - coarse wicker material. The verb golden is used rather not to denote the color of the material, fabric, but to denote the rye that is stored in it.

In a dark grove on green firs

Leaves of sluggish willows are golden.

The verb golden in this context reflects the color of autumn leaves that have turned yellow.

Silver hand.

Silver stream.

silver grass

Irrigated steppes.

In this context, the imperfective verbs silver has the meaning of brilliant, luminous, as indicated by the noun shine. The verbs used give a general positive background to the poem.

Around the village is a green forest.

Gardens bloom. The houses are whitening.

One, like the old one, the mountain turns white,

Yes, by the mountain

Tall gray stone.

In the above contexts, verbs with the meaning of color whiten and whiten have a concrete-subject correlation with the realities of the outside world, and also denote color in the process of its formation and indicate the incompleteness of the action.

Blushed rowan,

Blue water.

The verbs reddened and turned blue in this context have a specific subject correlation with the objects they call: for example, mountain ash has a natural red color, and water as a natural substance is always indicated in blue.

You play, accordion, under the snaffle,

Sleep, dancer, fraction!

A monogram is reddening on a scarf,

Know click, do not be shy!

The verb reddens in the given context is used in its direct color meaning, i.e. denotes the direct color of the monogram on the scarf. This context contributes to the appearance of a positive assessment of the color designation blushes.

Is not your shawl with a border

Green in the wind?

In this context, the verb turns green is used in its direct meaning and has a specific - subject correlation with the word shawl, which, apparently, has a green border.

Light shines on the river backwaters

And blushes the grid of the sky.

In this context, the imperfective verb blush is also used in its direct color meaning. In this case, it is clear that the concept of ruddy can be used not only to designate the appearance, but specifically the face of a person, but also to designate natural phenomena. In this case, it refers to the onset of evening, the time of sunset.

Loose rust blush on the road

The hills are bald and the sand has fallen down.

In the given context, the imperfect verb redden is used, indicating the duration and incompleteness of the action. The combination of the verb blush with the abstract noun rust gives the poem a red-orange color. This context forms negative evaluative connotations, which are due to the use of such words with negative assessment, as an adjective bald and a participle who has come down.

Thus, we can conclude that a literary text is a figurative understanding of the world. Reading the poetic texts of S.A. Yesenin and exploring the color terms he used, we begin to understand his inner world, the images that permeate all his poems. So key concept relating to a literary text is an image. A single word has a meaning, but a word in a literary text already has a meaning. The word in a literary text, due to the special conditions of functioning, is semantically transformed, includes an additional meaning, connotations, associations. The play of direct and figurative meaning generates both aesthetic and expressive effect of a literary text, making it figurative and expressive.

color naming poetry yesenin

Conclusion

“The figurativeness of speech is a category of linguistic and stylistic, it is created with the help of semantic originality, methods of use, ways of arranging various speech means. Language becomes figurative when metaphorical meaning and other semantic layers are activated in words. In such cases, words, denoting concepts and objects, evoke pictures and associations in the mind. The figurativeness of speech implies not only its expressiveness, but also picturesqueness, colorfulness, visibility. A generally accepted method of expressiveness of speech is the use of words in a figurative sense. "The poetic grows in real word how is it special function"just like poetry grows out of the world of reality around us." Indeed, poetic language is constantly projected onto ordinary language, due to which its figurativeness is realized. “At the same time, the elements that make up the artistic whole may have a peculiar “play” of the direct and figurative-figurative meanings of the word as a sign of the mobility of its semantics.”

When constructing a literary text, S. Yesenin paid a huge role to the selection of color designations and their use. The nature of the use of words with the meaning of color in the work reflects the originality of the author's style, his creative individuality. Lyrical poetry is surprisingly rich and multifaceted in its spiritual expression, sincerity of feelings and drama, in its heartfelt excitement and humanity, conciseness and picturesque images. The mood of the poet is based on the colored details of the landscape, and they, in turn, sharpen feelings and thoughts, reveal their deep flow. in a special way leads the word itself in poetry, because poetry is such a way of formally organizing words, in which there is an extraordinary multiplication and complication of the semantics of almost each of them, acquiring additional meanings, connotations, after which new meanings are often generated that are not characteristic of a given word in ordinary language. Color in S. Yesenin's poetry becomes not so much a carrier of real color as a means of expressing an emotional assessment, it conveys a “subjectively colored” individual image of an object, phenomenon, thought, feeling. In this emotional-subjective world, all real colors acquire many unexpected sounds. The nature of the use of color words in the work reflects the originality of the author's style. Analysis of color painting can give new additional characteristics of the features of the poet's style, the color of both one poetic text and all poetry as a whole. Color designations allow you to create a multifaceted image mediated by unforeseen associations that are realized at the connotative level: “Any color sensation very subtly and individually evokes response psychological impulses that are realized in the most unexpected associations, emotions, distractions and complex images.”

Picturesque figurativeness, its semantics and pragmatics within the artistic system largely depends on the general and particular aesthetic orientation of the context, on the intentions of the author, since it is the author's point of view that determines the connection and collision of color adjectives with the rest of the elements of the figurative system of a work of art. In this case, an aesthetic transformation can take place, that is, not only a shift in the conceptual meaning, but also the appearance of emotional-evaluative components in the structure of words. The ability of color words to develop emotional ambiguity in an artistic context predetermined another of the most important functions of color means: conveying changes in feelings, moods, and making assessments.

The literary word, due to its specificity, "causes numerous associations with other words, forms an idea of objects, actions, feelings, one way or another connected with this word in the reader's own life experience" . The whole art of the artist, precisely, consists in directing possible and necessary, albeit fuzzy, associations along a certain path. It was along this path that S. Yesenin directed color designations in his poetry. S. Yesenin uses in his poetry such colors as blue, blue, yellow, pink, green, red, black, etc. The most common colors are blue, blue and gold. For adjectives-CO in the poetry of S. Yesenin, the use in a direct color meaning is typical. For the most part, ACs have a subject fixation. The definition of a color is often based on an object that has that color. Yesenin's COs can be divided into thematic groups of their use, such a classification is formed in accordance with what life reality the color adjectives denote. The use of the CO in combination with nouns makes it possible to single out specific thematic groups of Yesenin's CO. There is a selection of such thematic groups as: CO of natural phenomena and objects (water, sky, sun, moon, time of day, birds, etc.); CO of a person and his appearance (eyes, hair, clothes); CO of light and brilliance; CO of fire, bonfire.

To describe such realities as water, the sky, S. Yesenin more often uses CO, reflecting the real colors of blue and blue. Water as a natural object in the physical sense is colorless and transparent, but in its large volume it has a blue or blue color. The variety of shades that the sky and clouds can acquire depending on the time of day (sunrise, sunset) is conveyed by Yesenin with the adjectives blue, yellow and pink. Such metonymic combinations as blue air, blue cold, blue coolness also found color reflection. Quite a voluminous group is made up of the color centers of the sun and the moon. For the most part, these natural objects have a direct color designation yellow and figurative gold. TSO of the time of day received quite frequent and varied use. Color adjectives that denote these realities are: blue, golden, black, red, blue, lilac. Such metonymic phrases as red evening, black evening, golden evening, lilac nights are poetically figurative. Quite often in Yesenin's poems one can find the names of plants and animals. Like the rest, these animate nouns have their COs: black crows, gray crows, black toad, red cows. Quite a voluminous subgroup is made up of the CR of such natural objects as the steppe, height, meadows, fields, smooth surface, expanse, distance, edge, valley. Yesenin uses the following COs with such abstract nouns: blue, crimson, gold, green, black, blue, white, etc. The color designations of the time of day: (morning, afternoon, night, dawn, sunrise, sunset) also find their own in S. Yesenin's poetry unique reflection. It endows each segment of the day (dawn, sunrise, sunset) with its own unique color: pink sunset, golden dawn, red sunrise, scarlet dawn.

When describing a person, it is also impossible to do without the AC. In his poetry, the author often uses the CO to describe a person's appearance. Descriptions of the lyrical hero quite often converge with the self-portrait of the poet himself. The self-portrait of the lyrical hero is sustained in the same light colors: “blond, almost whitish”, “my blue eyes”. For the poetry of S. Yesenin, the use of blue color when describing the eyes of a person and golden, yellow when describing hair is quite characteristic. An integral part of Yesenin's portrait is clothing. Yesenin in his poems uses the names of both ordinary, everyday clothes, modern to the poet: a blue jacket, a red-white sundress, a blue sundress, a red monisto, and a religious, church one: scarlet robes, a golden rowan, a blue cloak.

Depending on the compatibility with other words, the semantic-stylistic diversity is also rethought.

In his poems, Yesenin, in combination with the words motherland, Russia, land, uses the adjectives gold, blue, blue. For the poet, the data of the Central Organ personify the concept of the native land: the blue country, golden Russia, blue fields, etc. Most often, S. Yesenin uses shades of blue to define Russia. As often as the CO is blue and blue, S. Yesenin also uses the adjective golden to characterize his native land.

In the poetry of S. Yesenin, there is a figurative use of CO-adjectives as a means of conveying the emotional state of the lyrical hero. With the help of CO words, the poet betrays such feelings and states of the lyrical hero as youth, love, joy, regret, melancholy, sadness, etc. These states are most often characterized by adjectives-color designations blue, gold, white and pink. Yellow and gold express a complex set of feelings and assessments, often these colors are associated with withering, bygone beauty, regret for the past. With such negative feelings as pain, anger, fear, the poet uses black and gray CO.

Most of the TSOs in Yesenin's poetry are symbolic.

The poet sought to further deepen those associations that may arise when using some of the COs. Such adjectives - CO, like black, white, red are perceived as symbols. The use of black is very characteristic of ancient Russian literature, where black personified the forces of evil. The same association was also reflected in the poem "The Black Man", where the poet singled out the evil forces only with this paint.

No less symbolic in the poetry of S. Yesenin are such contrasting colors as red and white. So, these color designations are reflected in the revolutionary poems of S. Yesenin “The Song of the Great Campaign”, “The Country of Scoundrels”, “Inonia”, etc. It is the red horse that is the symbol and harbinger of the revolution in S. Yesenin's poetry. The color designation white after the revolution of 1917 had the following content: “associated with autocracy, tsarism; speaking in his defence." The word was evaluated sharply negatively in the Soviet language and - moreover - became one of the designations for the concept of "enemy of the people." This meaning was given to the white color in the poems dedicated to the revolution.

In addition to color adjectives, there are nouns and verbs that carry a color meaning. The most common color designations are blue, green, silver, mother-of-pearl, as well as verbs such as turn blue, turn golden, turn white, turn green, etc. Most of the nouns and verbs of the CO that S. Yesenin uses are used in a direct color meaning: fresh pinkness of the cheeks; trees dressed in greenery; the skies turn blue all around, the mountain ash blushes, etc.

Against the background of compatibility with other words, color designations acquire ambiguity and versatility. In some poems, semantic shifts in color designations are observed, which leads to the emergence of new meanings in the text and the formation of evaluative values. In the poetry of S.A. Yesenin, the associative meanings that the CO acquires most often coincide with general language and symbolic meanings. The use of words with the meaning of color in combination with various words leads to the formation of a figurative meaning: the leaves are golden, the moon is silver, the hand is silver, the stream is silver, the grass is silver, the valleys are blue, it shines in silver, the pinkness of the waters, etc. A special place in the poetics of S. Yesenin occupies blue and blue colors, represented by the nouns blue, dove and the verbs turn blue, turn blue, turn blue, etc., these color designations convey not so much the color as the emotional understanding of the context.

Epithets, comparisons, metaphors in Yesenin's lyrics do not exist on their own, for the sake of the beauty of the form, but in order to express themselves more fully and deeply. In his poetry, S. Yesenin also uses color designations to create a certain emotional mood and a vivid poetic landscape, the use of CO acts as a means of creating a certain expressive and stylistic coloring of the context.

The meaning of a word in a literary text can be realized in a new deep sense, which the word acquires in a given text, that is, in a given poetic text, the meaning is incremented to the main conceptual meaning. None of the dictionaries reflects the lexical meaning of the word to the extent that it can be revealed in the text. The analysis of the word at the level of contextual meaning is most expedient, since it is the semantic side that is closely connected with the ideological and artistic assessment of the text, with its general artistic meaning. Such an analysis of the word helps to trace important connections between the text and subtext, draws attention to implicit information.

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