What is unique about the language of the left-handed tale? Characteristics of a left-handed person from Leskov’s story. N.S. Leskov. Tale "Lefty" Features of the tale. Platov from Nicholas I. “Terrible secret” of Tula masters

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Story by N.S. Leskova "Lefty"– this is a special work. The author’s idea arose from a folk joke about how “the British made a flea out of steel, but our Tula people shod it and sent it back.” Thus, the story initially assumed closeness to folklore not only in content, but also in the manner of narration. The style of "Lefty" is very unique. Leskov managed to bring the genre of the story as close as possible to oral folk art, namely skaz, while at the same time preserving certain features of a literary author's story.

The originality of the language in the story "Lefty" is manifested primarily in the very manner of narration. The reader immediately gets the feeling that the narrator was directly involved in the events described. This is important for understanding the main ideas of the work, because the emotionality of the main character makes you worry with him, the reader perceives a somewhat subjective view of the actions of other characters in the story, but it is this subjectivity that makes them as real as possible, the reader himself is transported to those distant times.

In addition, the fairy-tale style of narration serves as a clear sign that the narrator is a simple person, a hero from the people. He expresses not only his thoughts, feelings and experiences, behind this generalized image stands the entire working Russian people, living from hand to mouth, but caring about the prestige of their native country. With the help of descriptions of views on the life of gunsmiths and craftsmen through the eyes not of an outside observer, but of a sympathetic fellow, Leskov raises an eternal problem: why the fate of the common people, who feed and clothe the entire upper class, is indifferent to those in power, why are craftsmen remembered only when they need to support "prestige of the nation"? Bitterness and anger can be heard in the description of Lefty's death, and the author especially clearly shows the contrast between the fate of the Russian master and the English half-skipper, who found themselves in a similar situation.

However, in addition to the tale-like manner of narration, one can note the rather widespread use of vernacular in the story. For example, in descriptions of the actions of Emperor Alexander I and the Cossack Platov, such colloquial verbs appear as “to ride” and “to jerk.” This not only once again demonstrates the narrator’s closeness to the people, but also expresses his attitude towards the authorities. People understand perfectly well that their pressing problems do not concern the emperor at all, but they do not get angry, but come up with naive excuses: Tsar Alexander, in their understanding, is the same simple person, he may want to change the life of the province for the better, but he is forced to deal with more important matters. The absurd order to conduct “internecine negotiations” is put by the narrator into the mouth of Emperor Nicholas with secret pride, but the reader guesses Leskov’s irony: the naive artisan is trying his best to show the significance and importance of the imperial personality and does not suspect how much he is mistaken. Thus, a comic effect arises from the incongruity of overly pompous words.

Also, the stylization of foreign words causes a smile; the narrator, with the same proud expression, speaks about Platov’s “aspiration”, about how the flea “dances,” but he doesn’t even realize how stupid it sounds. Here Leskov again demonstrates the naivety of ordinary people, but besides this, this episode conveys the spirit of the times, when sincere patriotism still hid a secret desire to be like enlightened Europeans. A particular manifestation of this is the adaptation of names of works of art that are too inconvenient for a Russian person into the native language; for example, the reader learns about the existence of Abolon Polvedersky and is again surprised in equal measure by both the resourcefulness and, again, the naivety of the Russian peasant.

Even Russian words must be used by fellow Lefty in a special way; he again, with an important and sedate look, reports that Platov “could not quite” speak French, and authoritatively notes that “he doesn’t need it: he’s a married man.” This is an obvious verbal alogism, behind which lies the author’s irony, caused by the author’s pity for the man, and, moreover, the irony is sad.

From the point of view of the uniqueness of the language, special attention is drawn to neologisms caused by ignorance of the thing that the man is talking about. These are words such as “busters” (chandelier plus bust) and “melkoskop” (so named, apparently, according to the function it performs). The author notes that in the minds of the people, objects of lordly luxury have merged into an incomprehensible tangle, people do not distinguish busts from chandeliers, they are so in awe of their senseless pompousness of palaces. And the word “melkoskop” became an illustration of another idea of Leskov: Russian masters are wary of the achievements of foreign science, their talent is so great that no technical inventions will defeat the genius of the master. However, at the same time, in the finale, the narrator sadly notes that machines have nevertheless supplanted human talent and skill.

The writer’s work is distinguished by a unique manner of presentation using his own style of narration, which allows him to convey folk speech motifs with the greatest accuracy.

The artistic feature of the writer’s works is the presentation of literary stories in the form of legends, in which the narrator is a participant in the described event, while the speech style of the work reproduces the lively intonations of oral stories. It should be noted that Leskov’s tale does not have the traditions of Russian folk tales, since it is presented in the form of stories based on popular rumor, allowing one to understand the authenticity of the author’s narrative.

In the images of narrators in his tales, the author uses various representatives of society who lead the story in accordance with their upbringing, education, age, and profession. The use of this manner of presentation makes it possible to give the work brightness and vitality, demonstrating the richness and diversity of the Russian language, which complements the individual characteristics of the characters in Leskov’s stories.

To create satirical works, the writer uses verbal play when writing them using witticisms, jokes, linguistic curiosities, combined with unclear-sounding foreign phrases, and sometimes deliberately distorted, outdated and incorrectly used words. The linguistic manner of Leskov's works is accurate, colorful, and richly variegated, allowing him to convey numerous simple dialects of Russian speech, thereby differing from the classical forms of the refined, strict literary style of that period of time.

The uniqueness of the writer's artistic style is also distinguished by the characteristic logical structure of his works, in which various literary techniques are used in the form of unusual rhymes, self-repetitions, colloquialisms, puns, tautologies, diminutive suffixes that form the author's colloquial manner of word formation.

In the plot lines of Leskov's tales, one can trace a combination of everyday, everyday stories about ordinary people and fairy-tale motifs of legends, epics, and fantasies, which allows readers to present the work in the form of an amazing, unique, charismatic phenomenon.

The originality of the narrative style

Leskov began his own literary activity at a fairly mature age, but it was this maturity that allowed the author to form his own style, his own narrative manner. A distinctive feature of Leskov is the ability to quite accurately convey the folk style of speech. He really knew what people were saying, and he knew it incredibly accurately.

Here it should be noted a very significant fact that readers can observe in the tale about Lefty. There are a lot of so-called folk words that stylize the narrative as a story that one man could tell to another. At the same time, all these words were invented by Leskov himself, he did not take and retell folk speech, but he was so competent in this aspect of the language that he himself actually came up with some innovations for such speech, moreover, innovations that looked quite harmonious and, perhaps, , after publication, the works really began to be used by ordinary people in their communication.

Also worthy of special attention is the genre invented by Leskov for Russian literature, and this genre is the tale. Etymologically, the term goes back to the word fairy tale and the verb to say, that is, to tell a story.

The tale, however, is not a fairy tale and stands out as a completely special genre, which is distinguished by its versatility and originality. It is most similar to a story that one person could tell to another somewhere in a tavern, or during a break at work. In general, it is something like a popular rumor.

Also, a tale, a typical example of which is the work (most famous by Leskov) “The Tale of the Tula Oblique Left-Hander Who Shoed a Flea,” is to some extent an epic work. As you know, the epic is distinguished by the presence of some grandiose hero who has special qualities and charisma. The tale, in turn, is based, as it were, on a true story, but from this story it makes something incredible, epic and fabulous.

The manner of presentation leads the reader to think about some kind of narrator and about the friendly communication that occurs between the reader and this narrator. So the Tale of the Lefty, for example, comes from the persona of some gunsmith from near Sestroretsk, that is, Leskov says: they say, these stories come from the people, they are real.

By the way, such a narrative style, which is further supported by the characteristic structure of the work (where there are amazing rhythms and rhymes, self-repetitions that again lead to the idea of colloquial speech, puns, vernacular, colloquial manner of word formation) often leads the reader to the idea of the authenticity of the story. For some critics, the tale of the left-hander created the impression of a simple retelling of the stories of Tula artisans; ordinary people sometimes even wanted to find this left-hander and find out details about him. At the same time, the left-hander was completely invented by Leskov.

This is the peculiarity of his prose, which combines, as it were, two realities. On the one hand, we see stories about everyday life and ordinary people, on the other hand, fairy tales and epics are intertwined here. In fact, in this way Leskom conveys an amazing phenomenon.

Thanks to the tale and his style, Leskov managed to understand how to convey the experience of the consciousness of an entire people. After all, what does it consist of? From stories, legends, tales, fantasies, fictions, conversations, conjectures that are superimposed on everyday reality.

This is what ordinary people exist and “breathe” with, this is their originality and beauty. Leskov, in turn, was able to capture this beauty.

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Features of the genre of the tale “Lefty” by N. S. Leskova

Nikolai Semyonovich Leskov wrote “The Tale of the Tula Oblique Left-Hander and the Steel Flea” in 1881. The author’s original intention was to “pass off” his work as a folk legend that he had written down. But designated as a story by an old gunsmith, “The Tale ... of a Left-Handed Man” turned out to be so talented that many readers mistook it for a work of oral folk art.

The word “skaz” itself suggests that the story is told orally. Listeners perceive the narrator’s intonation, speech, free from the norms of literary language, filled with colloquial words and phrases.

The first thing readers pay attention to is the lively spoken language of the work. The narrator and the characters use words in the wrong meaning: internecine conversations are conversations among themselves, sounds are distorted (“horny nose” instead of humpbacked, “bow” instead of “bend”). They connect unfamiliar words (“busters” combined busts and “chandeliers”, “Melkoskop” - “microscope” and “finely”). Foreign words are reinterpreted into Russian (“pudding” becomes “studing”, “microscope” becomes “melkoskopom”).

However, Leskov’s neologisms tell the reader more than correctly used words. They evoke whole figurative pictures in our minds. So, the word “busters” did not just combine two words. It’s as if we see a ballroom in a palace, bright and majestic. This speaks of the richness and imaginativeness of people's thinking.

The history of left-handedness itself is closely connected with folklore. After all, even before Leskov’s work, there were legends about Tula masters.

The choice of a man from the people as the main character is also not accidental. Lefty embodied the best national traits: talent, intelligence, honesty, nobility, love for the homeland. However, his death also symbolizes the fate of an ordinary person, unnecessary and forgotten by the state.

The opposition between power and people is characteristic of the folklore tradition. The people are depicted as gifted and brilliant, and the authorities are self-willed and cruel to them. Lefty loves his homeland and, dying, thinks that he shouldn’t clean his gun with a brick, “otherwise<…>they are not suitable for shooting.” The authorities are indifferent to the common man and worry only about their own well-being.

It is no coincidence that readers mistook Leskov’s “Lefty” for a folklore work. Not only the language of the tale, the image of its main character and the main ideas turned out to be understandable to the common man. The author's attitude, indifference and sympathy for the people's lot, perhaps, bring the work closer to the reader than all artistic techniques.

The originality of the language in the story 8220 Lefty 8221

Story by N.S. Leskov’s “Lefty” is a special work. The author’s idea arose from a folk joke about how “the British made a flea out of steel, but our Tula people shod it and sent it back.” Thus, the story initially assumed closeness to folklore not only in content, but also in the manner of narration. The style of “Lefty” is very unique. Leskov managed to bring the genre of the story as close as possible to oral folk art, namely skaz, while at the same time preserving certain features of a literary author's story.

The originality of the language in the story “Lefty” is manifested primarily in the very manner of narration. The reader immediately gets the feeling that the narrator was directly involved in the events described. This is important for understanding the main ideas of the work, because the emotionality of the main character makes you worry with him, the reader perceives a somewhat subjective view of the actions of other characters in the story, but it is this subjectivity that makes them as real as possible, the reader himself is transported to those distant times.

In addition, the fairy-tale style of narration serves as a clear sign that the narrator is a simple person, a hero from the people. He expresses not only his thoughts, feelings and experiences, behind this generalized image stands the entire working Russian people, living from hand to mouth, but caring about the prestige of their native country. With the help of descriptions of views on the life of gunsmiths and craftsmen through the eyes not of an outside observer, but of a sympathetic fellow, Leskov raises an eternal problem: why the fate of the common people, who feed and clothe the entire upper class, is indifferent to those in power, why are craftsmen remembered only when they need to support “prestige of the nation”? Bitterness and anger can be heard in the description of Lefty's death, and the author especially clearly shows the contrast between the fate of the Russian master and the English half-skipper, who found themselves in a similar situation.

However, in addition to the tale-like manner of narration, one can note the rather widespread use of vernacular in the story. For example, in the descriptions of the actions of Emperor Alexander I and the Cossack Platov, such colloquial verbs appear as “to ride” and “to jerk”. This not only once again demonstrates the narrator’s closeness to the people, but also expresses his attitude towards the authorities. People understand perfectly well that their pressing problems do not concern the emperor at all, but they do not get angry, but come up with naive excuses: Tsar Alexander, in their understanding, is the same simple person, he may want to change the life of the province for the better, but he is forced to deal with more important matters. The absurd order to conduct “internecine negotiations” is put by the narrator into the mouth of Emperor Nicholas with secret pride, but the reader guesses Leskov’s irony: the naive artisan is trying his best to show the significance and importance of the imperial personality and does not suspect how much he is mistaken. Thus, a comic effect arises from the incongruity of overly pompous words.

Also, the stylization of foreign words causes a smile; the narrator, with the same proud expression, talks about Platov’s “aspiration,” about how the flea “danse dances,” but he doesn’t even realize how stupid it sounds. Here Leskov again demonstrates the naivety of ordinary people, but besides this, this episode conveys the spirit of the times, when sincere patriotism still hid a secret desire to be like enlightened Europeans. A particular manifestation of this is the adaptation of names of works of art that are too inconvenient for a Russian person into the native language; for example, the reader learns about the existence of Abolon Polvedersky and is again surprised in equal measure by both the resourcefulness and, again, the naivety of the Russian peasant.

From the point of view of the uniqueness of the language, special attention is drawn to neologisms caused by ignorance of the thing that the man is talking about. These are words such as “busters” (chandelier plus bust) and “melkoskop” (so named, apparently, according to the function it performs). The author notes that in the minds of the people, objects of lordly luxury have merged into an incomprehensible tangle, people do not distinguish busts from chandeliers, they are so in awe of their senseless pompousness of palaces. And the word “melkoskop” became an illustration of another idea of Leskov: Russian masters are wary of the achievements of foreign science, their talent is so great that no technical inventions will defeat the master’s genius. However, at the same time, in the finale, the narrator sadly notes that machines have nevertheless supplanted human talent and skill.

The originality of the language of the story “Lefty” lies in the manner of narration, in the use of vernacular and neologisms. With the help of these literary techniques, the author managed to reveal the character of Russian craftsmen; the reader is shown bright, original images of Lefty and the narrator.

Republican open day for school principals.

Guryanova E.P. teacher of Russian language and literature.

Open lesson on literature in 6th grade a.

Subject: N. S. Leskov (1831-1895). Tale "Lefty" Features of the tale

Lesson Objectives : briefly introduce students to the biography and work of Leskov; give an idea of the genre of the tale; to interest students in a non-ordinary narrative.

Lesson equipment: portrait of N.S. Leskov, multimedia lesson on the work of N.S. Leskova

Methodical techniques: teacher’s story, expressive reading, explanation of theoretical issues, conversation on issues.

During the classes

I. Checking homework Working with an interactive whiteboard.Simulator based on the poem by N.A. Nekrasov "Railway"

II. Teacher's word.Open the first page of the media lesson. Portrait and biography of Leskov. (Leskov “Lefty”)

We are turning to the work of one of the most interesting Russian writers, Nikolai Semenovich Leskov, for the first time. But you've probably heard about his famous hero, Lefty. This hero received, with the light hand of the writer, an independent life.

The birthplace of Nikolai Semenovich Leskov is the city of Orel.

The writer was born on February 16, 1831, his father graduated from theological seminary, but did not want to become a priest, but became an official and rose to ranks that gave hereditary nobility.

When N. S. Leskov was seventeen years old, his father died of cholera, and the future writer had to work and serve. He moves to Kyiv to live with his uncle, lives and works there. In Kyiv, he is caught by significant changes for the era: the death of Nicholas I, the lifting of many prohibitions, and the harbinger of future reforms, from which they expected more than they brought. The new era caused a rise in commercial and industrial activity, which required educated, enterprising people, and Leskov began working in a commercial enterprise, for which he moved to the Penza province in 1857. For three years he traveled all over Russia. Later, in response to a newspaper reporter’s question: “Where do you get the material for your works?” - Leskov pointed to his forehead: “From this chest.” Here are the impressions of my commercial service, when I had to travel around Russia on business, this was the best time of my life, when I saw a lot and lived easily.”

III. Tale as a form of storytelling. Heuristic conversation.

The subtitle indicates the genre of the work - tale. Remember what work written in the tale genre we studied last year. Who is its author?

How do we define the genre of a tale?(Tale is a genre of epic based on folk tales and legends. It is characterized by a combination of accurate sketches of folk life and customs with the fabulously fantastic world of folklore. The narration is told on behalf of the narrator, a person with a special character and style of speech)open the “Genre of the work” page

What is the difference between a tale and a fairy tale?(The tale is based on a legend, which in turn arose on the basis of a real event)

So first the real event happens. Then, based on this event, a legend arises among the people, which is told by folk storytellers. The writer gets acquainted with this legend and tells it to the readers, recreating the appearance of the narrator (storyteller). Event - legend - tale.

How do you explain what a narrator's persona is?(The narrator in the tale is not a real person, but an artistic image, but it seems to readers that he has all the features of a real person)

What features does the image of the narrator in Bazhov’s tales have?(The narrator is an old, experienced man who knows the mining business well, lives and works all his life in the same place where his heroes live. He loves and respects his comrades, is attentive to nature, to the feelings and lives of other people. It seems that the storyteller is old, with gray hair, kind eyes and deep wrinkles on his face. He is dressed in the clothes that craftsmen wore. When he tells his stories, he smiles a little sadly.)

What story by Bazhov did we read in class? Was it interesting for you to read it?

Which tales of Bazhov have you read on your own?

Let's return to the topic of the lesson. The story of the slanting left-hander and the lame flea is a fairy tale. What can we assume, knowing the genre of the work?(We can assume that the work was written by Leskov based on a legend he heard from some person. This legend, in turn, arose on the basis of a real event)Open the page “Lefty. History of creation"

And in the first edition of “Lefty,” the author pointed to an allegedly existing person, from whom he heard a legend about a master who shoed a flea. But what makes Leskov’s tale so surprising is that neither the storyteller nor the folk legend existed. There was only one joke: “The British made a flea out of steel, but our Tula people shod it and sent it back to them.”

IV. Working with the textbook. Reading an excerpt from an article by Yu. Nagibin.

The image of the narrator and the images of the heroes created by Leskov turned out to be so convincing that after the publication of this tale, a legend arose in Tula about a left-handed man who shoed a flea.

Reading an excerpt from L.A. Anninsky’s book “Leskovskoye Necklace”. Leskov created the image of the narrator on whose behalf the story is told. When talking about the heroes of the work, we will keep in mind that the narrator is the same hero. He has a special speech and his own special attitude to the events he talks about.

V. Expressive reading and conversation on issues.Open the text “Left-handed” on the interactive board

1. The teacher reads the first chapter of the story.

What elements of folklore did you notice? (INThere is a beginning in a story, there are repetitions. The ending of the tale contains an edification: “And if they had brought the leftist’s words to the sovereign in due time, in the Crimea the war with the enemy would have taken a completely different turn.”)
Who do you think the storyteller, narrator could be?(The narrator is most likely a simple person, a craftsman, a craftsman. In his speech there are many irregularities, colloquialisms, inversions characteristic of folklore works; historical characters - Alexander I and Platov - are shown from the point of view of a commoner.)
When and where does the story take place? (The action takes place in Russia and England shortly after the Napoleonic War, and mentions the Congress of Vienna of 1814-1815. The trip of Alexander I with Platov to London is a historical fact. Mention is made of the Decembrist uprising of 1825, called “confusion.”)

2. Listening to the reading of the second chapter and commentary on it on the interactive whiteboard. “Point of view of the Tula master”

VI. Characteristics of heroesOpen the page “Statesmen and Lefties”

(Alexander Pavlovich: “He traveled to all countries and everywhere, through his kindness, he always had the most internecine conversations with all sorts of people”; “We Russians are no good with our meaning”; etc.

Platov: “And as soon as Platov notices that the sovereign is very interested in something strange, then all the guides are silent, and Platov will now say: so and so, and we have our own at home no worse, - and will take him away with something”; “and Platov maintains his expectation that everything means nothing to him”; and etc.)

Let's pay attention to the new, unusual words of the tale. How are they formed? Give examples. Open the “Speech of Heroes” page.(New words are formed, the narrator or hero encounters words unfamiliar to an illiterate person and changes them so that it is “more understandable.” For example: “melkoskop” - microscope; “kislyarka” - kizlyarka; “Abolon Polvedere” - Apollo Belvedere; “dolbitsa” " - table; "two-seater" - double; "ceramides"- pyramids; “prelamut” - mother of pearl; "Candelabria" - Calabria, etc.)

What is the role of such words? (Such “folk” words create a humorous effect.)

V. Testing at the end of the lesson using an interactive whiteboard.

Homework