What the author makes fun of in the story is the microscope. Reward for conscientious work

(1873-1950) Russian writer

The future writer was born into a patriarchal merchant family and was brought up in an atmosphere of reverence for antiquity and intense religiosity. At the same time, Ivan Sergeevich Shmelev experienced the influence of the “street” - the working people of different provinces, who flocked to the courtyard of his father - a contractor in Zamoskvorechye - and brought with them spontaneous rebellion, a rich language, and folklore. This determined the social urgency best works Shmeleva, on the one hand; on the other hand, attention to the “story”, closeness to literary traditions, coming from Nikolai Semenovich Leskov and Fyodor Mikhailovich Dostoevsky. All this contributed to the fact that Shmelev became a great master of Russian literary language, a prominent representative of critical realism.

After graduating from the law faculty of the university (1898) and a year of military service, he spent 8 years as an official in the remote corners of the Moscow and Vladimir provinces.

During these years, Ivan Shmelev lived close to nature for the first time. He feels and understands it vividly. The impressions of these years prompt him from the pages devoted to nature, starting with the story “Under the Sky” (1910) and ending with his later works.

Ivan Shmelev's first printing experience - a sketch from folk life"At the Mill" (1895). More serious were the essays “On the Rocks of Valaam” published in Moscow in 1897.

The works of Ivan Sergeevich Shmelev, written under the influence of the revolution of 1905-1907, became widely known (the stories “Disintegration”, 1907, “Citizen Ukleikin”, 1908; the stories “Vakhmistr”, 1906, “Ivan Kuzmich”, 1907). Maxim Gorky supported Shmelev in completing work on a significant work - the story “The Man from the Restaurant” (1911).

The main, innovative thing in the story “The Man from the Restaurant” was that the author managed to completely transform into his hero, to see the world through the eyes of a waiter.

A giant cabinet of curiosities unfolds to the music in front of an old waiter. And among the visitors he sees one lackey. Characters the stories form a single social pyramid, the foundation of which is occupied by Skorokhodov with restaurant servants. Closer to the top, lackeyism is performed “not for fifty dollars, but for higher reasons”: thus, an important gentleman in orders throws himself under the table in order to pick up the handkerchief dropped by the minister before the waiter. And the closer to the top of this pyramid, the baser the reasons for servility.

The lackey's court turns out to be cruel. With all this, Ivan Shmelev does not lose his sense of artistic tact: after all, Skorokhodov is an ordinary waiter, whose ultimate dream is his own house with sweet peas, sunflowers and purebred chickens; he is by no means a conscious accuser. His distrust of the masters, the distrust of the common people, is blind. It develops into hostility towards educated people at all.

In “The Man from the Restaurant”, the feeling of distrust towards the “educated” nevertheless does not turn into prejudice. Dark, religious person, Skorokhodov especially singles out revolutionaries who oppose the self-interested world.

The story was a resounding success.

During 1912-1914, stories and novellas by Ivan Shmelev “The Wall”, “Shy Silence”, “Wolf Roll”, “Rosstani”, “Grapes” were published, which strengthened his position in literature as a major realist writer.

The first thing you notice is the thematic diversity of his works. Here comes the decomposition noble estate(“Shy Silence”, “The Wall”); and the quiet life of the servants (“Grapes”); and episodes from the life of the aristocratic intelligentsia (“Wolf Roll”); And last days a wealthy contractor who came to die in his native village (“Rosstani”).

In the story “Rosstani” (which means last date with the departing person, farewell to him and his farewell) the merchant Danila, having returned to die in his native village of Klyuchevaya, in fact, returns to his true, unfulfilled self, discovers in himself the person he has long forgotten. Only now, when there is a small handful of life left, collected from the bottom of the barrel - for the last pancake, does Danila Stepanovich get the opportunity to do good, help the poor and orphaned.

Close attention to national specifics, the “root” of Russian life, increasingly characteristic of Shmelev’s works, did not bring the writer to the brink of chauvinistic patriotism, which gripped most of the writers during the First World War. Shmelev’s mood of these years is perfectly characterized by the collections of his prose - “Carousel” (1916), “ Harsh days" and "Hidden Face" (1916).

Ivan Sergeevich Shmelev did not accept October. The writer's departure from social activities, his confusion, rejection of what was happening - all this affected his work of 1918-1922.

In 1918, Ivan Shmelev wrote the story “The Inexhaustible Chalice.” He branded it “a wild lordship, without feeling, without law,” but the very appeal to the past looked like an anachronism at the time when the Civil War was going on.

The writer’s departure in 1922 was not the result of only ideological differences with new government. The writer loved his only son Sergei more life. In 1920, an officer Volunteer Army Sergei Shmelev, who did not want to go with the Wrangelites to a foreign land, was taken from the hospital and shot without trial. The writer leaves first for Berlin and then for Paris.

Succumbing to the grief of loss, he transfers the feelings of his orphaned father to his social views and creates tendentious stories and pamphlets - “ Stone Age"(1924), "On the Stumps" (1925), "About an Old Woman" (1925). Still, Shmelev did not become embittered against the Russian people, although he cursed many things in his new life. He retained his intransigence during the Second World War, humiliating himself to participate in pro-Nazi newspapers.

From a foreign and “luxurious” country, Ivan Shmelev sees with extraordinary sharpness and clarity old Russia. From the hidden recesses of memory came the impressions of childhood that made up the books “Native”, “Pilgrim” (1935), “Summer of the Lord” (1933).

Until the end of his days, Ivan Shmelev felt a raw pain from memories of Russia, its nature, and people. IN latest books- the strongest infusion of original Russian words, mood landscapes that amaze with their lofty lyricism, the very face of the Motherland - in its meekness and poetry.

Despite the fact that the books “Native”, “Pilgrim”, “Summer of the Lord” are the artistic pinnacle of Shmelev’s creativity, in general the works of the emigrant era are marked by extreme, conspicuous inequality. This was also noted in emigrant criticism. Next to the poetic story “Love Story” (1927), the writer creates a popular popular novel “Soldiers” (1930) based on the material of the First World War; following lyrical essays autobiographical in nature(“Native”, “Old Valaam”) a two-volume novel “Heavenly Paths” (1936-1948) appears - a drawn-out and sometimes clumsy story about the “Russian soul”. The novel “Nanny from Moscow” is based entirely on the tale, where the events are conveyed through the lips of an old Russian woman, Daria Stepanovna Sinitsyna.

Ivan Sergeevich Shmelev spends the last years of his life alone, having lost his wife and experiencing severe physical suffering. He decides to live as a “real Christian” and for this purpose, on June 24, 1950, he goes to the monastery of the Intercession Mother of God, 140 kilometers from Paris. On the same day, a heart attack ends his life.

Ivan Shmelev. Biography of Ivan Sergeevich Shmelev

Ivan Sergeevich Shmelev(September 21, 1873 - June 24, 1950) - the greatest Russian writer. His works reveal unique world a simple Russian person, a believing Christian, whose whole life is imbued with the evangelical spirit, warmed by a childish, simple and deep faith.

The writer was born in the Kadashevskaya settlement of Zamoskvorechye. The writer's father was from the merchant class. Sergei Ivanovich worked as a contractor, owned a large carpentry team, and ran bathhouses. The family was patriarchal and religious. The boy lost his father at the age of seven, and it was him who the writer Shmelev would mention so often in his works.

After graduating from high school, in 1894 Shmelev entered the Faculty of Law Moscow University. Shmelev’s first story, “At the Mill,” appeared in the magazine “ Russian Review"in 1895. In October 1895, together with his young wife Olga Alexandrovna, Shmelev went on a honeymoon to Valaam. After the trip, Shmelev will write a book of essays “On the Rocks of Valaam.” By order of the Chief Prosecutor of the Synod, K. Pobedonostsev, the book was detained by censorship. After the publication of a significantly revised work in 1897 and an unsuccessful sale, Shmelev for some time did not dare to start writing books again. However, before their first honeymoon, Shmelev and his wife visited Elder Barnabas of Gethsemane. And he blessed the writer, foreseeing the future creative work Ivan Sergeevich, who will become his life’s work.

After graduating from university in 1898, he passed military service, later served for several years as an official. Having received his resignation in 1907, Shmelev began to live in Moscow.

His works written in 1906-1907 gained particular popularity. after the events of the first Russian revolution (“On an urgent matter”, “Disintegration”, “Sergeant”). He was published in magazines " Russian wealth", "Russian Thought", in collections of the publishing house "Knowledge", organized by M. Gorky. In 1911, he wrote one of his most striking works, “The Man from the Restaurant,” which was a significant success. Critics compared this success to the debut of Fyodor Mikhailovich Dostoevsky.

In 1912, Shmelev became a contributing member of a new publishing house - “Book Publishing House of Writers in Moscow” (I. Bunin, B. Zaitsev, V. Veresaev were also members there). It was there that a collection of his works was published in eight volumes.

During the First World War, Shmelev wrote a collection of short stories, Harsh Days.

Shmelev accepted February revolution enthusiastically, but by the time the October War began he showed true intransigence. The writer’s confusion, which also overwhelmed him in those days, can be seen in the story “The Inexhaustible Chalice.” At the same time, a cycle of seven fairy tales and the story “Alien Blood” (1918-1923), written on material from the First World War, was created.

In the fall of 1918 he left for Alushta. His son Sergei returned from Denikin’s Volunteer Army in 1920 and was treated for tuberculosis in the Feodosia hospital. In November 1920, he was arrested by security officers and the sick young man spent about three months in stuffy prison cellars. In January 1921, he was shot without trial. For a long time Shmelev did not know about what had happened and hoped for the best, but in 1922 one person witnessed the death of the writer’s son.

The events of this time were reflected in the autobiographical story “ Sun of the dead"(1923). At the end of 1922, Shmelev and his wife Olga Alexandrovna left for Berlin, from where two months later they moved to Paris. He often publishes abroad, his works are published one after another (more than twenty books in total). The writer now has a faithful reader - the believing Russian emigration. In his works, through the description of Russian holidays Orthodox Church, joyful moments of Russian nature and Moscow antiquity, the reader is introduced to Russian spirituality.

However, the writer lived the poorest among the Russian emigration - the family often did not have enough money for heating, new clothes. Ivan Sergeevich did not know how and did not want to curry favor with rich publishers, and did not look for patrons.

In 1934, the writer fell ill with a severe form of gastric disease; he had to be operated on, which he could not decide to do. On the very day when the doctor said that the operation would not be needed, Ivan Sergeevich dreamed of X-ray images and on them the words: “St. Seraphim." Shmelev believed that it was St. Seraphim of Sarov who helped him recover. After this, the writer will write an essay “Mercy St. Seraphim"(1935). The experience of a miracle was reflected in many of the writer’s works.

After the death of his wife in 1936, Shmelev visited the Pskov-Pechersky Monastery, which was then located in Estonia. The writer himself died of a heart attack while visiting the monastery of the Intercession of the Mother of God in Bussy-en-Otte (140 km from Paris) to take a blessing to continue working on the book “Heavenly Paths.” In May 2001, at the initiative of the Russian public, the spouses were reburied in the necropolis of the Donskoy Monastery in Moscow.

Fascinating stories, novels and stories by Ivan Sergeevich were loved and to the modern reader. Publishing house "Russian Pilgrim" with great love refers to the writer’s work and tries to offer you his best creations.

The main characters of Vasily Makarovich want to fulfill their dreams and fantasies, to bring them to life own ideas to transform and improve the world, they dream of helping all people for free and solving serious problems humanity. This is exactly the main character of the parable story “Microscope”. Works about eternal problems the search for the meaning of life and the difficulties of the path of a misunderstood person acting as a prophet. This story is permeated with humor, but it contains the idea of ​​soul-destroying commercialism, of the “material disease” that has become so widespread in our time.

Main character story - Andrey Erin - a carpenter in a small workshop at Zagotzern. Blushing when he lies, but worried when he has to do it, he is a simple, kind, hard-working person who treats people well. He tolerates it when his wife gets angry, calls him names and hits him with a frying pan; he himself gets angry, but does not allow himself to curse in response. And he sincerely rejoices, shines, glows when he manages to accomplish what he has planned. There is no description of Andrei Erin in the story, because it is not important for Shukshin. The main thing is to show the peculiarity of your hero, and it lies in the fact that this weirdo is ready to make sacrifices (receive a terrible head wash from his wife, work for more than a month for one and a half shifts and, most importantly, be able to suppress the pangs of conscience due to deception), only would bring it to life cherished dream- purchase a microscope. Neither his wife nor his friends will ever be able to understand why waste a lot of money on buying an “unnecessary” item, but Andrei does not strive for this, and he does not brag, he does not want to be distinguished by simply having a microscope. His goal is high and humane - he wants to learn how to fight “germs” that shorten a person’s life by almost three times. Thinking about humanity, Andrei is ready to endure suffering and misunderstanding on the part of loved ones. You involuntarily develop respect for this person, even realizing that he took on a task that was beyond his capabilities due to a lack of basic knowledge. The weirdo strives to move forward, he feels involved in everything that is happening in the world, he is able to sincerely rejoice at world discoveries and achievements in the field of technology and science. And Shukshin triumphs when a working person breaks out of the everyday cycle for the sake of knowledge, invention, and reflection.

In addition to all of the above, Andrei Erin, like many of Vasily Shukshin’s heroes, is very sensitive and emotional. “Both curiosity and fear were reflected in Erin’s eyes. His hands, worn out over many years - large, smelling of tar... trembled slightly on his knees.” He worries a lot about people, he gets sick and worries about them. "Andrei sat down and lit a cigarette. - People are dying from such a small creature! - He looked killed..."

It is this desire to help and protect that permeates all the thoughts of the protagonist. The Shukshinsky weirdo dreams of changing people's lives, dreams of doing something worthwhile and necessary for humanity, something that will definitely be useful and help everyone. He does not ask for anything in return, he is even ready to suffer for the sake of people, for the sake of a dream, in order to bring benefit to others. Main character he dreams of his dream, sincerely hopes and believes that it will come true, and he doesn’t need anything else, neither praise nor recognition, because the “weirdo” hero is not like that. He is kind, compliant, sympathetic, tolerant, impressionable, and most importantly, a humane, dreaming person who has a goal in life and tries by all means to realize it.

We are living through a time of total interest in metaphor. Philosophers, logicians, psychologists, psycholinguists, stylists, literary scholars, and semasiologists have focused their attention on the phenomenon of metaphor. This fact is associated with the changes that have occurred in the structure and dynamics modern knowledge about the world, as well as new problem verbalization scientific knowledge. For last decades Many fruitful ideas, interesting interpretations of factual material, and practical developments have been introduced into the study of metaphors. However, the heterogeneous material is not generalized; its analysis contains contradictory conclusions and solutions, as always happens when a phenomenon is studied intensively and multidimensionally. This is the relevance of the work.
The purpose of this work is to explore the use of metaphor in the works of Vasily Shukshin and prove its significance for a more complete understanding of the text.
Object for this study were inspired by V. Shukshin’s stories “Space, nervous system and a shmat of lard”, “In the Autumn”, “Uncle Ermolai”, “How the old man died”, “Microscope”, “Bright Souls”, Stenka Razin”, “Ignakha has arrived”, “Styopka”.
The subject of the study is special cases of the use of metaphor in these stories.
Metaphor, how different it can be! Metaphor is used in everyday life and artistic speech. Artistic metaphor differs from the familiar everyday metaphor in its freshness and novelty. In poetry and prose, metaphor is not only a means lexical expressiveness, but a way of constructing images.

Download:

Preview:

"Features of the use of metaphors in literary texts

V.M. Shukshina"

8th grade student

Municipal educational institution "TSOSH No. 1"

Pribaikalsky district

Republic of Buryatia

Supervisor: Shulgina Oksana Anatolyevna

1. Introduction ___________________________________________________3
2. Chapter I.

§ I Classification of metaphors and metaphorical transfers ___________4

1. § II Language metaphor in the socio-psychological aspect ______6
2. Chapter 2

Features of the use of metaphors in V. Shukshin’s stories ______8

1. Conclusion _________________________________________________11
2. List of used literature _____________________________________12

I. Introduction

We are living through a time of total interest in metaphor. Philosophers, logicians, psychologists, psycholinguists, stylists, literary scholars, and semasiologists have focused their attention on the phenomenon of metaphor. This fact is associated with the changes that have occurred in the structure and dynamics of modern knowledge about the world, as well as with the new problem of verbalization of scientific knowledge. Over the past decades, many fruitful ideas, interesting interpretations of factual material, and practical developments have been introduced into the study of metaphors. However, the heterogeneous material is not generalized; its analysis contains contradictory conclusions and solutions, as always happens when a phenomenon is studied intensively and multidimensionally. This is the relevance of the work.

Target This work is to explore the use of metaphor in the works of Vasily Shukshin and prove its significance for a more complete understanding of the text.

Object For this study, the stories of V. Shukshin “Space, the nervous system and the fat of fat”, “Autumn”, “Uncle Ermolai”, “How the old man died”, “Microscope”, “Bright Souls”, Stenka Razin”, “Ignakha Arrived” were used , "Styopka".

Subject research are special cases of the use of metaphor in these stories.

The purpose, object and subject of the study determined the following tasks:

Identify cases of manifestation of metaphor in the text of the work;

Identify the types of metaphors used by the author;

Analyze the contextual significance of metaphors.

The following were used during the study: methods : contextual analysis method and method stylistic analysis artistic text.

The purpose and objectives of this study determined it structure . This course work consists of an introduction, two chapters, a conclusion and a list of references.

II. Chapter I

§ I. Classification of metaphors and metaphorical transfers

Origins research interest The metaphor is usually associated with the name of Aristotle. In his Poetics, he first described metaphor as a way of reinterpreting the meaning of a word based on similarity. Metaphor, according to Aristotle, gives the opportunity and the right “when speaking about the real, to connect the impossible with it,”in other words, we are talking about a way to call an object “by a name that does not belong to it” through elements of similarity and comparison: “To create good metaphors means to notice similarities.”Aristotle owns one of the first classifications of metaphors, which is referred to almost modern researchers: “metaphor - transferring a word and changing its meaning from genus to species, from species to genus, or from species to species, or by analogy.”

Metaphor symbols show great diversity both in their semantic structure (monosemic, polysemous) and in the nature of the connection between the original meaning and the metaphorical one (more or less direct connection, indirect, etc.). In accordance with these differences, the following types of linguistic metaphors can be distinguished: 1) motivated ML; 2) syncretic NM; 3) associative NM.

It should be borne in mind that this classification is conditional and has methodological goals. It is not always possible to clearly distinguish one type of NM from another - this is facilitated by the unstable and mobile nature of the metaphor symbol.

1. Motivated linguistic metaphor: the formal criterion for selecting such MLs was the data explanatory dictionaries. Example: Caricature. A drawing depicting something in a distorted, funny way. Peren. An unsuccessful imitation, a funny distorted likeness of someone or something. The metaphor is transparent, the mechanism of its formation has been revealed.
2. Syncretic linguistic metaphor: in works on historical poetics A.N. Veselovsky opened psychological foundations formation of metaphors and epithets and showed that most metaphorical transformations modern languages goes back to ancient times when "physiological promiscuity" human consciousness led to the fact that sensory impressions(visual, auditory, olfactory and others) were perceived indivisibly, unitedly, and this unity was fixed in the language in its “everyday formulas”: black melancholy, dead silence.
3. Associative language metaphor: based on the ability of consciousness to find analogies between any objects of reality. For example, the signs “noise, scream” are associated with the perception of such a reality as a bazaar; the qualities of a person “soft, lethargic, weak-willed” are psychologically associated with such a reality as jelly.

A systematic approach to metaphor made it possible to discover and describe the directions of metaphorical transfers in their diversity, covering both material and ideal entities involved in the process of metaphorization, while the metaphorical transfer is carried out in certain directions in a fairly rigid sequence.

Types of regular metaphorical transfers:

1. Subject → item

Waterfall (tears), gold (hair), stream (letters), beads (sweat)

1. Subject → person

a) characteristics of a person

club, splinter, idol, statue, treasure, burdock, etc.

b) designation of parts of the human body

poles (legs), bowler hat (head), mitten (mouth), sign (face)

c) designation of a group of people

sea ​​(of people), clip (of writers), flow (of visitors)

1. Subject → physical world

Hail (of blows, kicks), wave (of light, sounds, smells), wall (of fire)

1. Subject → psychic world

Star (good luck, happiness), granite (science), medicine (for laziness, love), dirt (life, relationships)

1. Subject → abstraction

An abyss (of affairs, questions, worries), a chain (of events, adventures), a grain, a grain (of benefit, joy, meaning, kindness, peace)

In addition to the described regular types of metaphorical transfers, some irregular ones were also discovered. They are calculated in units:

1. Animal → object

Behemoth (heavy weapon), feathers (frost), scales (water surface)

1. Animal → animal

Hippopotamus (about a horse), snake (about a bull)

I washed all the nooks and crannies, all the secluded places - no bull . Well, I think, if only I could find you, snake , I'll show you. (Shukshin “From the childhood years of Ivan Popov)

1. Animal → psychic world

Tail (debt for any academic subject), flock (of thoughts, memories)

1. Man → animal

The cat needs to be whipped. This is not a cat and a bandit . (Bulgakov “The Master and Margarita”)

1. Physical world→ physical world

A flurry (of applause), a flash of (illness, laughter)

1. Physical world → man

Fire (hot, energetic person), slush (spineless), plague, cholera (expletive)

§II. Language metaphor in the socio-psychological aspect

Metaphor plays important role in constructing a linguistic picture of the world and in dividing reality. Linguistic metaphor of reclamation assessment – ​​positive – clear falcon, galaxy, the salt of society. The linguistic metaphor of pejorative evaluation reveals great semantic diversity. Vices are assessed negatively (stupidity, indifference, cruelty, etc.), misbehavior(swagger, pretense), etc.

Table of language metaphor of reclamation assessment

Pejorative Evaluation Metaphor Table

III. Chapter 2

Features of the use of metaphors in V. Shukshin’s stories

Using metaphors found in the stories of V.M. Shukshina “Space, the nervous system and the fat of fat”, “In Autumn”, “Uncle Ermolai”, “How the old man died”, “Microscope”, “Bright Souls”, “Stenka Razin”, “Ignakha has arrived”, “Styopka” I will fill in tables that I wrote about in Chapter 1.

Table No. 1 Linguistic metaphor of reclamation assessment

And the man is like a cucumber. (“Space, the nervous system and fat”)

There are a lot of interesting people,” Stepan continued. - There are such eagles! ("Styopka")

Table No. 2 Linguistic metaphor of pejorative evaluation

You swamp kikimora!.. (“Microscope”)

Crawled... what a reptile. ("In Autumn")

Where for a month? Oh... watercolor! (“Bright Souls”)

... Well, what should I do with you, Kolomenskaya mile? ("Stenka Razin")

... He’s some kind of chick with us - he’s shy about everything. (“Ignaha has arrived”)

Table No. 3 Semantic types of linguistic metaphor

1. The old woman got dressed and went out, letting a white frosty cloud into the hut. (“How the old man died”)

2. Such weakness, as if all the blood had been drained. (“How the old man died”)

3. Better give me half a glass of wine... Maybe the blood will sparkle at least a little (ibid.)

4. Shake all your life over it, but you don’t understand, vodka is the first medicine. Some chests. (ibid.)

5. Then you’ll be rinsing around the village - who wants to fuck around in such cold weather? (ibid.)

6. We threshed early that day because it was raining. ("Uncle Ermolai")

7. The sky was blue, and the wind was blowing. ("Uncle Ermolai")

8. And he, reluctantly, also began to get ready. (ibid.)

9. Swooped strong wind, dust rose. (ibid.)

10. Lightning flashed. (ibid.)

11. Everything seemed to hang in the air for a moment, only darkness swallowed everything. (ibid.)

12. The morning unfolded clear, washed, quiet. (ibid.)

13. A kind wind was blowing on the river. Whipped and pushed. ("In Autumn")

14. My heart cried blood. (ibid.)

15. We will never get out of the darkness. (ibid.)

16. The soul whined for something. (ibid.)

17. My heart will ache and ache at night. (ibid.)

18. Philip finally pulled his legs out of place. (ibid.)

19. The face is still fresh. (ibid.)

20. I broke off a piece of happiness from a young age. (ibid.)

21. I don’t answer such dense questions. (“Space, the nervous system and fat”)

22. Yesterday you deafened your nervous system and slowed down. (ibid.)

23. Others, on the contrary, marinate: they say it will be meatier. (about a pig) (ibid.)

24. Geography... Now we are galloping it. (ibid.)

Types of regular metaphorical transfers in language

1. Subject → person

Let me take your darling away, you crooked nose! ("Microscope")

II. Animal → human

1. Am I the only one who barks like this? (“Space, the nervous system and fat”)

2. Whined like a dog outside the gate (“In Autumn”)

3. He is as healthy as a bull (“How the old man died”)

4. Watched as an eagle (“In Autumn”)

Types of irregular metaphorical transfers in language

1. Physical world → animal

I constantly carried this pain-snake within me. ("In Autumn")

1. Animal → animal

Here they are, dogs! - Andrei Erin whispered. With some kind of eerie delight he whispered: “They’re walking around.” (about microbes) (“Microscope”)

III. Physical world → man

And spring came – kind and stupid, like an immature girl ("Styopka")

IV. Conclusion

Metaphor, how different it can be! Metaphor is used in everyday and artistic speech. An artistic metaphor differs from the familiar everyday metaphor in its freshness and novelty. In poetry and prose, metaphor is not only a means of lexical expressiveness, but a way of constructing images.

I analyzed several stories by V. Shukshin:“Space, the nervous system and a lot of fat”, “Autumn”, “Uncle Ermolai”, “How the old man died”, “Microscope”, “Bright Souls”, “Stenka Razin”, “Ignakha has arrived”, “Styopka”.

Metaphor is the most common means of creating new meanings; most of our everyday concepts are metaphorical in nature. Our everyday speech replete with metaphors: it’s raining, he’s lost his head, he’s dizzy, trading network, the sun rises.

There are several types into which metaphor can be divided: individual-author, expanded and general linguistic. It can be simple, consisting of one expression used in figurative meaning, and expanded. Also, metaphor can be nominal and verbal, each of which is divided into: personified and non-personified.

From the work done, we can conclude that the metaphors used by V. Shukshin are diverse in assessment, semantic types and types of metaphorical transfers. Most of all there are syncretic metaphors in the works. With the help of these metaphors, the author describes nature and weather changes in an unusual, special way: the rain came, the wind whipped and pushed on the river, the morning spread out.

V. List of references

1. Aristotle Poetics. - L., 1927
2. Aryutyunova N.D. Functional types linguistic metaphor ∕∕IAN SLYA 1978 V.37 No. 4
3. Vinogradov V.V. Main types lexical meanings words∕∕VYa 1953 No. 5
4. Vygotsky L.S. Thinking and speech∕∕Vygotsky L.S. Selected psychological research.-M., 1956
5. Gak V.G. On the problem of general semantic laws ∕∕General and Romance linguistics. – M., 1972
6. Gusev S.S. Science and metaphor. – L., 1984
7. Korolkov V.I. Metaphor∕∕Brief literary encyclopedia.- M., 1967
8. Larin B.A. About the varieties of artistic speech∕∕Larin B.A. Aesthetics of the word and the language of the writer. – L., 1969
9. Levin Yu.I. The structure of Russian metaphor∕∕Works on sign systems. - Tartu, 1965
10. Shukshin V.M. Stories Tales. - M., Bustard, 2002

The main characters of Vasily Makarovich want to fulfill their dreams and fantasies, bring to life their own ideas for transforming and improving the world, they dream of helping all people free of charge and solving serious problems of humanity. This is exactly the main character of the parable story “Microscope”. Works about the eternal problems of finding the meaning of life and about the difficulties of the path of a misunderstood person acting as a prophet. This story is permeated with humor, but it contains the idea of ​​soul-destroying commercialism, of the “material disease” that has become so widespread in our time.
The main character of the story is Andrei Erin, a carpenter in a small workshop at Zagotzern. Blushing when he lies, but worried when he has to do it, he is a simple, kind, hard-working person who treats people well. He tolerates it when his wife gets angry, calls him names and hits him with a frying pan; he himself gets angry, but does not allow himself to curse in response. And he sincerely rejoices, shines, glows when he manages to accomplish what he has planned. There is no description of Andrei Erin in the story, because it is not important for Shukshin. The main thing is to show the peculiarity of your hero, and it lies in the fact that this weirdo is ready to make sacrifices (receive a terrible head wash from his wife, work for more than a month for one and a half shifts and, most importantly, be able to suppress the pangs of conscience due to deception), only would make my cherished dream come true - to purchase a microscope. Neither his wife nor his friends will ever be able to understand why waste a lot of money on buying an “unnecessary” item, but Andrei does not strive for this, and he does not brag, he does not want to be distinguished by simply having a microscope. His goal is high and humane - he wants to learn how to fight “germs” that shorten a person’s life by almost three times. Thinking about humanity, Andrei is ready to endure suffering and misunderstanding on the part of loved ones. You involuntarily develop respect for this person, even realizing that he took on a task that was beyond his capabilities due to a lack of basic knowledge. The weirdo strives to move forward, he feels involved in everything that is happening in the world, he is able to sincerely rejoice at world discoveries and achievements in the field of technology and science. And Shukshin triumphs when a working person breaks out of the everyday cycle for the sake of knowledge, invention, and reflection.

In addition to all of the above, Andrei Erin, like many of Vasily Shukshin’s heroes, is very sensitive and emotional. “Both curiosity and fear were reflected in Erin’s eyes. His hands, worn out over many years - large, smelling of tar... trembled slightly on his knees.” He worries a lot about people, he gets sick and worries about them. “Andrey sat down and lit a cigarette. “People are dying from such a small creature!” “He looked like he was dead...”
It is this desire to help and protect that permeates all the thoughts of the protagonist. The Shukshinsky weirdo dreams of changing people's lives, dreams of doing something worthwhile and necessary for humanity, something that will definitely be useful and help everyone. He does not ask for anything in return, he is even ready to suffer for the sake of people, for the sake of a dream, in order to bring benefit to others. The main character dreams of his dream, sincerely hopes and believes that it will come true, and he doesn’t need anything else, neither praise nor recognition, because the “weirdo” hero is not like that. He is kind, compliant, sympathetic, tolerant, impressionable, and most importantly, a humane, dreaming person who has a goal in life and tries by all means to realize it.