Учебное пособие 1434

[8]Stepanov A.D. Problemy kommunikacii u Chehova / A.D. Stepanov. — M.: Jazyki slavjanskoj kul'tury, 2005. — 400 s.

[9]L'vov-Rogachevskij V. A.P. Chehov v vospominanijah sovremennikov i ego pis'mah / V. L'vov-Rogachevskij. — M.: Centrosojuz, 1923. — 250 s.

[10]Chehov A.P. v vospominanijah sovremennikov. Jelektronnaja biblioteka URL: www.e-libra.su. Vremja obrashhenija 12.01.2021.http : //www.e-libra.su/read/521518-a-p- chehov-v-vospominaniyah-sovremennikov.html.

[11]Derman A.B. O masterstve A.P. Chehova / A.B. Derman. — M.: Sovetskij pisatel', 1959. — 207 s.

Analyzed sources

[1*] Chehov. A.P. Polnyj spisok proizvedenij. Internet-biblioteka Alekseja Komorova. Ilibray.ru. URL : http://ilibray.ru/author/chekhov/l.all/index.html. Vremja obrashhenija 12.01.2021.

[2*] Pis'ma Chehova za 1875-1904 goda. A.P. Chehov. URL : htt://antonchehov.info.Vremja obrashhenija 12.01.2021.

[ 3*] Anton Pavlovich Chehov «Rasskazy». Izdatel'stvo: AST, 2016 g. Serija: Russkaja klassika. Redaktor: Shishkova.

[4*] Chehov A.P. «Izbrannye» sbornik. Izdatel'stvo: Astral', 2009 g. Serija: Zolotaja klassika.

[5*] Polnyj spisok izdanij proizvedenij Antona Pavlovicha Chehova. URL : www.livelib.ru>book>editions. Vremja obrashhenija 12.01.2021.

[6*] Chehov A.P. «Pjostrye rasskazy». Izdatel'stvo: Azbuka, 2010 g. Serija: Sobranie sochinenij. Chehov. Redaktor: Stepanov A.

[7*] Chehov A.P. «Ivanov i drugie». Izdatel'stvo: Azbuka, 2010 g. Serija knig: k 150letiju so dnja rozhdenija A.P. Chehova.

[8*] Anton Pavlovich Chehov «Povesti i rasskazy». Izdatel'stvo: Nikeja, 2014 g. Serija: Klassika russkoj duhovnoj prozy.

[9*] Chehov A.P. «Ostrov Sahalin» Izdatel'stvo: Azbuka, 2010 g. Serija: Azbukaklassika.

[10*] Chehov A.P. «P'esy» Izdatel'stvo: Rech', 2019 g. Serija: Obraz rechi.

[11*] Chehov A.P. «Vishnjovyj sad». Izdatel'stvo: Jeksmo, 2009 g. Serija: Russkaja klassika. Redaktor: Bezotosnaja T.

[12*] Chehov A.P. «Kashtanka». Izdatel'stvo: Jeksmo, 2019 g. Serija: Pravil'noe chtenie. [13*] Chehov A.P. «Rasskazy». Izdatel'stvo: Strekoza, 2010 g. Serija: Shkol'naja klassi-

akademija nauk. Moskva. 2001. - 944 s.

84

THEORY AND PRACTICE OF TRANSLATION

DOI 10.36622/MLMDR.2021.32.1.009

UDC 82.091

LINGUISTIC AND LITERARY ANALYSIS

OF BUNIN’S SHORT STORY «DARK ALLEYS»

M.R. Miloud

____________________________________________________________________________

Algiers University 2 named after Abu Elkassem Saad Allah,

Doctor of Philology, Associate Professor of Turkish and Russian Languages Department, Teacher of Russian as Foreign Language,

Expert at the ministry of higher education and scientific research in Algeria Miloud Mohamed Rachid

e-mail: medrachid.miloud@univ-alger2.dz

____________________________________________________________________________

Problem statement. The article is devoted to the linguistic and linguistic-and-literary analysis of the short story

«Dark alleys» by I.A. Bunin aiming at mastering the methods of such type of analysis of an art work. The article aims to consider the linguistic structure of the story in terms of vocabulary, translation, word formation, morphology and onomastics. Special attention is paid to the linguistic basis and lexical base of this story.

Results. This paper highlights and describes the features of outdated, non-equivalent, borrowed and calque words, which are used to express the historical space of the story «Dark alleys» by I.A. Bunin. The author's means of information coding concerning important historical events are analyzed. It is found out by what language means the author expresses the ideological and emotional sides of his story and linguistically significant information about the language units used to reflect the real character in the story is revealed.

Conclusion. Analyzing the short story of I.A. Bunin, we came to the conclusion that the onomastic material of the story plays a specific role: the name of the main character was chosen by the author in honor of the Russian officer

— Nikolai Alekseevich Kireev, and the name of Job in parallel to the "unhappiness" of the author for his whim. As a result, we prove that the text of the story cannot be covered with any quick reading. This story was written using the tools of different language sections: vocabulary, word formation, morphology and onomastics. The story should be read carefully, because placing it in the collection «Dark alleys», the author thus emphasizes that he describes not only love, but also history, and not one, but two at once.

Key words: short story, linguistic-and-literary, borrowing, calque words, word formation, onomastics.

For citation: Miloud M.R. Linguistic and literary analysis of Bunin’s short story «Dark alleys» / M.R. Miloud // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2021. - № 1 (32). – P. 85-93.

Introduction.

The study of literary texts as an object of linguistic and cultural analysis is becoming an important area of research. Any literary text is a combination of a lot of secret and explicit. Linguistic analysis becomes an invaluable way of learning the secret in the explicit. And this involves a vast amount of knowledge to learn the hidden facts behind the words and a higher culture to understand the deep psychological meaning of literary texts.

The methodology of linguistic-and-literary studies of literary works has long been in the field of view of researchers. In literary-and-linguistic analysis of the literary texts, it will inevitably have to take into account many additional features of lexical units at all levels of the language. To penetrate the text and successfully conduct a deep analysis of artistic creativity, it is not enough to read the works, you also need to get acquainted with the author, his life, work and world view. Genius and wisdom of I.A. Bunin is an important stimulus for this analysis to reveal what was hidden behind his story.

____________________

© Miloud M.R., 20201

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This article attempts to uncover the main linguistic and cultural features of the story

“Dark Alleys” by I.A. Bunin [1 *]. The study aims to consider the use of stylistic capabilities of such language levels as vocabulary, translation, word formation, morphology and onomastics in this short story. Special attention is paid to the linguistic basis and lexical base of the text.

Research methodology.

The object of the research is the story "Dark Alleys". The subject of the study is the lin- guistic-and-literary analysis of language levels (vocabulary, translation, word formation, morphology and onomastics) of the short story "Dark alleys" by I. A. Bunin [1*].

The purpose of this study is a comprehensive study of the literary text from a linguistic- and-literary angle, the study of the laws of the structure of the literary text as a linguistic phenomenon, the consideration of the linguistic aspects of Bunin's story and the disclosure of the meaning of obsolete lexical units in order to fully understand the text. This study is related to the following tasks:

1)to explore the basics of linguistic-and-literary analysis of literary text;

2)to acquaint with the biography of the writer, the text of the story and highlight the meaning-forming lines of the work;

3)draw a parallel between the biography of the writer and the plot of the story "Dark Al-

leys»;

4)identify and describe the types of borrowed vocabulary;

5)determine the language means by which the author expresses the ideological and emotional sides of his story;

6)substantiate the specific role of proper names as a means of linguistic and literary interpretation of works of art.

The material of this study was the short story of I.A. Bunin "Dark Alley" [1 *].

The main methods of this work are the method of analyzing aesthetic onomastics, the statistical method and the method of semantic, quantitative and qualitative analysis.

The results of the study.

There is no doubt that the methods of linguistic and literary analysis are different. In our article we will aim to conduct a comprehensive, multi-dimensional philological analysis of the story by I.A. Bunin "Dark Alley". This involves the disclosure of the figurative structure of the text in close unity with the ideological content and the system of linguistic graphic means.

This approach to the analysis of a literary text includes three main aspects. The first aspect is the knowledge of the author's intention, identifying ways to translate ideas into images. Here, special attention should be paid to the epoch, historical events that have become the subject of artistic expression. The second aspect is the study of the compositional structure of the story, i.e. analysis of the organization of the text, the system of images and language tools. The third aspect is the analysis of the aesthetic function of language means in conjunction with the ideological content of the short story.

October 22, 2020 marks the 150th anniversary of the birth of the remarkable Russian writer, poet and translator Ivan Alekseevich Bunin. In 1881, after the publication of the first story “The Village Sketch”, his literary activity began, but fame came to him only in 1900, after the publication of the story “Antonov apples”.

I.A. Bunin was acquainted with A.P. Chekhov, with M. Gorky, who gave him the opportunity to cooperate in the publishing house "Knowledge", which contributed to the career development of the young writer. A few years later, his first collection was published in this publishing house. In 1909, Bunin received the Pushkin Prize, and in 1933 he became the first Russian Nobel Prize in Literature. In the last years of his life, Ivan Alekseevich Bunin worked on the book “On Chekhov,” published after his death in Paris.

Each artistic text is unique in its semantic and formal structure. In prose I.A. Bunin exclusively fully embodies his rich spiritual life, intertwining with his experiences, mood, feelings and thoughts, his attitude towards people, to the surrounding nature.

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The short story "Dark Alleys" was written on October 20, 1938 in France, where the writer lived with his wife Vera Nikolaevna. In most of the stories devoted to the theme of love,

Bunin wrote about “the tragic and about many tender and beautiful” [1, p. 378]. The short story "Dark Alleys" held a special place in the writer's work, since the collection, published in 1943, received the same name. The author created it in the days of spiritual experiences after separation from his beloved GN. Kuznetsova: “Terrible thoughts about her. If I live, suddenly I can be completely alone in the world ”[2, p. 150]. The creation of this short story “helped to transfer the intolerable” [1, p. 369].

To analyze the short story "Dark Alleys" under the linguistic-and-literary angle, we consider in detail the plot: the reverse side of love and the tragedy of its nature. Already in the title, the problem of dark nooks of human memory and lost happiness is posed, since both heroes have lived different lives for thirty years. The main character has a second chance for happiness, but he did not use it.

Two heroes are involved in the narrative — General Nikolai Alekseevich and Nadezhda. Nikolai Alekseevich arrives at the “government post station” and meets Nadezhda, the former beloved, after many years of separation. He failed to save his family, as his wife “changed, quit” [1 *], and the son grew up a scoundrel and insolent “without a heart, without honor, without conscience” [1 *].

Nadezhda, meanwhile, became the mistress of the “private room” [1 *] at the post office. She could not stop loving the one whom she once “Nikolenko called” [1 *] and to whom she gave “her beauty, her fever” [1 *]. Hope remained faithful to him and never married. “As I didn’t have anything more precious than you in the world at that time, there wasn’t” [1 *]. For

Nikolai Alekseevich — the picture is completely different “vulgar history, ordinary” [1 *]. He even barely recognized Hope.

As we can see, the simplicity of the plot is internally complicated. Each hero passes through tests that radically change their destinies. The author here raises the problem of the irrevocability of the past and its power over the present. Nadezhda keeps love for Nikolai Alekseevich, sacrificing personal happiness, Nikolai Alekseevich turned out to be indifferent to the love of Nadezhda. Probably, disappointment deprived him of his taste for life, killed his will in him. So, the possibility of genuine happiness turns into a tragedy for both heroes.

Embodying his love story in the short story “Dark Alleys”, the author immerses the reader in the 70s of the XIX century, the historical realities of the Russian society of that era such as, for example, the abolition of serfdom in 1861: “the similarity with Alexander II, which was so common among the military at the time of his reign" “Gentlemen, shortly after you, gave me my freedom” [1 *].

To immerse the reader in the historical and cultural context, Bunin introduces into the narrative language a number of obsolete words, such as gornica, tarantas, armjak, kartuz, bakenbardy, «prevoshoditel'stvo», sency, sudar' [1 *]. The total amount of such words was 08 lexical units (0.62% of the total).

In this analysis, we found that all of the above obsolete words are non-equivalent. According to the classification of non-equivalent vocabulary proposed by E. M. Vereshchagin and V. G. Kostomarov, non-equivalent vocabulary is divided into: words of foreign origin, folklore words, Sovietism, vocabulary of phraseological units and historicism [3, p. 47-51]. Scholars have argued that this "classification can be synchronous and historical, however we do offer a

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mixed view of the separation of the vocabulary, where the genetic bases of classification are combined with thematic" [3, C. 46].

Analyzing the short story of I. A. Bunin, we came to the conclusion that most of the above-mentioned obsolete words are historicism. According to A. I. Fedorov, historicism is considered to be those "words, the semantics of which indicates the classes of disappeared objects, activities, outdated processes of labor, the concept of spiritual and material culture, customs, etc." [4, p. 7].

A. I. Fedorov, E. M. Vereshchagin, V. G. Kostomarov claimed that historicism is "words denoting objects and phenomena of the preceding historical periods, for example, sazhen', arshin, versta, zolotnik, funt, pud; lapti, kaftan, kushak, armjak, soha; volost', uezd, gubernija, zemstvo etc. a historicism of the disappeared belong to public institutions, to outdated traditions, realities: obrok, barshhina, pomeshhik, krepostnoj, kupchaja krepost'; burlak, izvozchik, korobejnik; bojarin, duma, dvorjanin, mestnichestvo, terem, usad'ba; strelec, opolchenec, druzhina, voevoda; kirillica, glagolica, ustavnoe pis'mo; gorodnichij, predvoditel' dvorjanstva, popechitel' uchebnyh zavedenij, pristav, gorodovoj; veche, chelobitnaja; raznochinec, narodovolec; voennyj kommunizm, njep, kulak, raskulachivanie etc." [3, p. 50].

We share the opinion of researchers who believe that "in order to successfully convey the national culture of a meaningful word, a translator must have a certain Fund of knowledge related to both the norms of speech behavior and extralinguistic knowledge of various kinds" [5, p. 163].

At the same time, "if you translate obsolete words into another language, then in the target language, they certainly should indicate the culture of the source language. The task of the translator is difficult during the transfer of cultural lexical units" [6, p. 174], because "historicism is directly related to the "cultural memory" of the word, are directly related to the background knowledge, embodying the national specificity of the picture of the world and changing over time, and, as a group of non-equivalent vocabulary, require special attention in the translation" [5, p. 164].

In our opinion, the reader of the translation of fiction indirectly is a participant in the creation of any work as the addressee of creativity. The reader's fate of the work largely depends on it, so a foreign reader needs a special linguistic and cultural training to be able to understand the ideological and artistic originality of the work.

There is no doubt that each epoch enriches the language with new lexical units, as a result of which many languages have significantly expanded their vocabulary. "Languages contact and represent the result of centuries-old interaction of many languages of the world, while people tend to borrow their sets of words, expressions and, of course, terms" [7, p. 43].

V. I. Kotukhov believes that "needed borrowed words enrich the vocabulary of the language; they are new knowledge, and therefore untranslatable" [8, p. 194]. Borrowing is interpreted as "an appeal to the lexical Fund of other languages for the expression of new concepts, further differentiation of existing and designation of previously unknown objects" [1**, p. 146147].

In the "Dark alleys" we found many borrowed words, starting with the title of the story: from the French language allées → alleys (narrow passage; alley), chenille → overcoat "morning suit" [2**]; from the Arabic language kazjonnyj — (from the Arab. ةنزخ), Takht — "(a platform), تخ ت", from the Turkic language armyak "swing top long-skirted clothing... in the past, Russian peasants wore" [2**]; from the german language kardoes → kartuz — "bag for artillery powder charge (military. East)" [2**]; from the German language backenbart → backenbart — "the Name of this vegetation on the male face, we borrowed from German, which contains the following elements: Vaske – cheek and Bart – beard (English learners know the word beard – beard, related to German)" [2**], kutscher → kutscher — "driver, managing a team horse" [2**]; from the French language by the German monture → montur → mondir — "monotonous clothing for employees, military and civilian" [2**].

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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 1 (32), 2021 ISSN 2587-8093

It is interesting to note that the word “skatert” used in the story evokes controversy over its origin. Some scientists believe that the source is the Russian word "skat", and ''rt'' is considered as a suffix. Others believe that this word is borrowed from the German schëter, schëtter

“thin paper matter”. Some researchers argue that this word was borrowed from the East Slavic by the Lithuanian language skõtertė, skõtertis [3 **, p. 635].

E. I. Yanovich argues that "as a result of questioning as non-derivative words in the modern language are used historically derived words formed by the addition of two bases or forms of different words, for example:.... skatert' (from d'ska and doska), etc." [9, p. 97].

Based on the classification of borrowings according to the degree of assimilation proposed by S. V. Grinev-Grinevich [10, p. 159-160], in the course of linguistic analysis we found that the above words are exotic. Exoticism is interpreted as "words with a clearly recognized and fixed belonging to a particular country or nationality and used in the description of national realities. The names of national institutions and organizations — bundestag, sejm, medzhlis, etc., currency frank, dollar, iena, taler, etc., types of clothing — turban, tunic, poncho, kimono, etc d., dishes — satsivi, sherbet, lagman, etc., positions and titles — Sheriff, policeman, curate, mull, etc., dances and musical instruments — Gopak, zurna, cantele, etc., landscapes — Savannah, Prairie, jungle, etc., villages and dwellings — aul, Yurt, bungalows, etc. Exoticism have formal signs of assimilation, included in the system of grammatical categories, usually mastered phonetically" [10, p. 160].

In the analyzed story we found 10 exoticism (0.78 % of the total number of words).

Despite the fact that linguists define calque as "a word or expression created on a foreign language model... and representing a hidden borrowing" [11, p. 175], we consider calque in this article as a separate lexical technique.

In the special literature, calque is considered as "the formation of new words on certain patterns (models). However, unlike the word formation itself, the models of the source language are used in the calque" [12, p. 576].

S. V. Grinev-Grinevich asserts that when calque "not the material form of the lexical unit is borrowed, but only its structure or meaning" [10, p. 155], for example, the Russian word participle is formed according to the Latin model participium. Similarly, the combination of the adjective name has been calculated with the Latin nomen adjectivum.

The analysis showed the presence of one calque in the story of I. A. Bunin. The word Excellency was a trace of the Latin language. On the model of the Latin word excellentia was built Russian obsolete word Excellency, which means "honorary title and appeal to aristocrats or persons of exceptional high position. The title "Excellency" was worn until the XIV century by the kings of the Franks" [2**].

This word was formed by calque word-formation, "which borrowed the structure of a foreign lexeme: in the Russian language, hydrogen on the Latin model of hydrogen, the poluostrov on the German model Halbinsel, neboskreb on the English model skyscraper, in English chainsmoker — Kettenraucher, self-criticism — samokritika" [10, p. 155].

In the course of linguistic analysis of the story, we considered various forms of words. We have discovered when reading this story one abbreviated word formed by compounding and used to accelerate the transmission of information, ne bouissa: → nebos. "This process is caused by the tendency to save language resources, due to the need to convey to readers social and psychological facts that require reduction" [6, p. 176].

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The analysis showed that the writer used a large number of verbs (208) and nouns (193) in connection with the need to convey actions and facts. The most used and repeated verbs are: byt' (19 times); skazat' (ten times); prohodit', moch', dumat' (six times); govorit', prostit' (five times); otvetit' (four times); imet', izvolit', penjat', prikazat', pocelovat', zhit' (three times); kriknut', pokrasnet', uhodit', podojti, podavat' (twice). The number of verbs is 16.32 % of the total number of words and nouns 15.14 % of the total number of words. The frequency nouns are: gornica (seven times); glaza (six times); ruka (five times); Bog, tarantas, golovoj, loshad' (four times); samovar, sudar', sency, shinel', hozjajka, vremja, zhizni, gospoda (three times); zhenshhina, delo, molodost', istorija, minuty (twice). The author used a large number of adjectives to describe the space and circumstances. The author used both full and short forms of adjectives (114) in describing his characters, situation, locality, actions and historical events, which is 08.94 % of the total number of words. Repeated adjectives were poshlaja and obyknovennaja (twice).

Table 3

Number of verbs, nouns and adjectives in I. A. Bunin's story Dark Alleys

The study of onomastic vocabulary has long attracted the attention of scientists. Proper names are an important part of common vocabulary in human life. People take them from time immemorial from the existing onomastic material. For the study of proper names in linguistics stands a separate discipline — onomastics.

Along with this, the dictionary of linguistic terms O. S. Akhmanova treats the lexeme of onomastics as: "1. Section of linguistics, studying personal names (names, surnames, nicknames of people and animals). 2. The set (system) of personal names as a special subject of linguistic study" [1**, p. 288].

Currently, onomastics has several subsections depending on the linguistic peculiarities of proper names. An important sub-section is the literary onomastics, which studies the onyms and the specifics of their use in works of art.

One of the most relevant areas of onomastic research is the study of proper names in the literary text, as "the study of the functioning of proper names allows a deeper understanding of the artistic world of the author, what is considered an important step towards the comprehension of his work as a whole" [6, p. 178].

Selecting the onyms as a marked means of language for a work of art, the author encodes the details that characterize the character. N. V. Merkulova asserts that "along with the ability to transmit important information to the recipient, aesthetic names have the ability to make the same information closed to "uninitiated" or foreign cultural recipients" [13, p. 144].

During the analysis of I. A. Bunin's story "Dark alleys" we found that all onomastic units are significant and systematically organized. Bunin no wonder chose for his characters such names as Nikolai Alekseevich and Nadezhda. For a minor character — the name of Klim. Using them, the author was able to illustrate many historical events. Let us pay attention to the words in the story: "resemblance to Alexander II" [1*]. Alexander II (1818-1881), the eldest son of Nicholas I, was Emperor of Russia from 1855. During his reign he abolished serfdom in 1861 and carried out a number of reforms in the late XIX – early XX century. Thus contrib-

90

uting to the liberation movement of the Slavic peoples, Alexander II participated in the Rus- sian-Turkish war (1877-1878). In the official literature he was called the Liberator [2**].

After the analysis of the Russian above-mentioned names, we note that the name Nikolai Alekseevich was chosen by the author in honor of the Russian officer — Nikolai Alekseevich Kireev (1841-1876), the younger son of the Tula landowner Alexei Nikolaevich Kireev, hero of the Russian-Turkish war and godson of the Russian Emperor Nicholas I. N. Kireev together with his brother Alexander graduated from the corps of pages in 1860. In 1876, N. A. Kireev organized sending volunteers to the Russian-Turkish war, where he participated in a number of victorious battles, then was killed in Bulgaria in the same year [2**]. It is important to note that the homeland of this officer "Tula" was mentioned in the story: "on one of the big Tula roads" [1*].

At the same time, Klim was the Patriarch of Constantinople, who occupied the Ecumenical throne only a few days in 1667. "This appointment followed without a conciliar election ...

the bishops filed a complaint against the wrong actions of the Grand vizier Sultan Mohammed IV, who recognized the appointment as incorrect. K. had to leave the Patriarchal throne, on which he stayed for several days and which occupied Methodius III, and retired to the iconic Metropolitan chair, which he occupied before his appointment as Patriarch" [2**].

Analysis of the names shows that the text of the story is quite cryptological. We came to the conclusion that the phrase "resemblance to Alexander II" [1*] serves as a guide for the choice of the hero's name. In addition, the name of Alexander II can act as evidence of kinship with Nikolai Alekseevich. The use of the name of the Patriarch of Constantinople strengthens the spiritual connection between Nicholas Alexeevich and Alexander II, indicates a close relationship between them and reflects the temporary and short-term life of the hero, as he died at the beginning of the Russian-Turkish war.

Let us pay attention to the expression quoted by Bunin from the Bible: "as it is said in the book of job? "as waters gone by" [1*] (that was directly quoted from the Bible "You will surely forget your trouble, recalling it only as waters gone by" (Bible | job. 11:16)). Job "Ayoub" is considered a model of patience and faith in both Christianity and Islam. The book of job raises an existential question: "can we assume that man's misfortune comes at the will of God?". In the Bible, three of his friends claimed that misfortune was a divine punishment. Job and his wife believed that misfortune was not a punishment, but another proof of God's work on a simple whim. In the Quran, the story of Ayoub (peace be upon him) begins with the test of Allah by his prophet, He deprived him of his health and family. However, Ayoub (peace be upon him) showed incredible patience, remaining confident that Allah will cure him. All that he had lost was returned to him: "And We granted him his family and a like [number] with them as mercy from Us and a reminder for those of understanding" (Holy Quran | Sura Sad. verse 43). The story gives the name of job as an example of faith and patience in the parallel of the author's "unhappiness" for the sake of his whim.

Despite the fact that an important event in the story is the parting of the General with his beloved, his turning point is the death of the hero in the battle with the Turks for the salvation of foreign lands, because the name of nadezhda ''hope'' was chosen to refer to other Slavic lands. It is interesting to note that the name Nadezhda, although considered to be a native Russian name, was borrowed from the old Slavic language, "where it appeared as a calque from

Greek. Elpis → nadezhda"[2**]. The hero at the end of the story again remembered his wife.

The image of the wife in the story can be interpreted as the image of the Motherland. So, the main idea of the story — you can not leave your homeland for the sake of saving other (foreign) lands.

Conclusion.

From the above, we can conclude that the story was written in an extremely difficult time for the writer, associated with a dramatic break with the beloved; this, in our opinion, is also

91

indicated by the deprivation by the author of the happiness of his characters. This story has a special meaning for Bunin, because the entire collection, published in 1943, received its name.

Analyzing the story of I.A. Bunin, we came to the conclusion that the plot of the story is multi-layered: the reverse side of love and the tragedy of its nature; irrevocability of the past and its power over the present; dark corners of human memory and lost happiness.

To convey the historical realities in the "Dark alleys", the writer used a number of outdated words to reveal the specific features of Russian culture of the 70s of the XIX century. (we recall that the story was written in 1938). We have found that Bunin reveals historical details, also using historicism. It was found that most of the borrowed words in the story are exotic.

In the course of linguistic analysis, we found that the author used a large number of verbs and nouns in connection with the need to convey actions and facts. To describe the space and circumstances, the writer used both full and short forms of adjectives.

The onomastic material of the story plays a specific role, because, choosing a certain number of proper names, the author was able, firstly, to express the ideological and emotional sides of the story, and secondly - to tell the readers another real story.

This article has been prepared exclusively using free and open source software.

References

[1]Bunin I. A. Sobr. soch.: V 9 t. T. 7. — M.: Hudozhestvennaja literatura, 1966. —

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[2]Bunin I. A. Lish' slovu zhizn' dana... — M.: Sovetskaja Rossija, 1990. — 288 s.

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Analyzed sources

[1*] Bunin I.A. Sobr. soch.: V 6 t. — T. 5. — M.: Hudozh. lit., 1988. — 639 s. — S. 5 -

9.

Dictionaries Used

[1**] Ahmanova O.S. Slovar' lingvisticheskih terminov. — M.: Sovetskaja jenciklopedija, 1966. — 598 c.

[2**] Goldendict Gnu-Linux Ubuntu versija jelektronnyj slovar', URL: https://packages.ubuntu.com/bionic/goldendict/ (vremja obrashhenija – 07.12.2018)

[3**] Fasmer M. Jetimologicheskij slovar' russkogo jazyka: V 4-h t.: Per. s nem. — 2-e izd., stereotip. — M.: Progress, 1987. — T. 3. — 832 s.

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