Учебное пособие 1773

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

And right there, in a lobby, knowing that my wife can hear me, I insisted that he would arrive with a violin tonight [1*, p. 58].

The violin is a source of diverse emotions: joy, pleasure, jealousy and even fear. So, the opportunity to play a violin causes exclusively positive emotions in the main character of the story, Lisa; in axiological aspect valid values are fixed: joy, love, pleasure represented by the following lexical units: I was delighted, have pleasure to play a violin, I loved very much. However in two other contexts such “anti-values” as jealousy and fear are observed. The persistent invitation to bring a violin to play with the wife (knowing that my wife can hear me, I insisted), serves in psychological aspect as demonstration of quasi absence of jealousy of the husband who actually suffers from jealousy and is afraid of losing against the talented violinist (I am jealous, I am afraid of).

The word violin is used in the text also for designation of “sounding of this instrument” [1**], for example:

Suffered I especially because I saw undoubtedly, <…> that this person, <…>, due to the undoubted great talent for music, the rapprochement arising from the joint playing, on the influence made on impressionable natures by music, especially a violin, that this person had not to be just pleasant, but undoubtedly without the slightest fluctuation had to win, crumple, overwind her, twist from her a rope, make of her everything that he would wish [1*, p. 59].

The main character of the story makes the assumption that the talented violinist possesses the unsurpassed force to have the impact on people’s feelings, and especially, on “impressionable natures”; this assumption is shown on the example of a modality (he had to be pleasant, had to win, crumple, etc.). In this context the violin is represented as the means of manipulation which the person allocated with “the great talent for music” has. The awareness of his quality of the musician causes suffering of the main character that is reflected by means of a verb suffered. According to “The Small Academy Dictionary of the Russian Language” to suffer means “to feel torments, physical or moral sufferings; to suffer” [2**].

The violin sounds connect people, promote creation of the special mood. String instruments, a violin in particular, are connected with strong emotional experiences, the positive or negative emotional-psychological state of the person, with so-called love energy, and also with feeling of compassion, tenderness, etc. Cf.: “Sound of a violin develops feeling of compassion” [19]. However the violin can also cause depression. If a person listens to a violin for a long time he or she has a feeling of pity, worries and thinks of something deep and internal. In the given context “violin” is used as the instrument of the strongest psychological influence on another person. The violin in hands of the real musician is capable to change an inner world of another person, is capable to make them obedient, to subordinate their will, to influence their ideas of life, love, human values, etc.

The lexical item piano meaning “the string keyboard instrument: a grand piano and a piano; sounding of such an instrument” [1**] are present in 6 tokens. The realization is traced in the contexts:

She began to devote herself passionately to the piano, which was absolutely forgotten before [1*, p. 51];

Obviously, the sounds are made on the piano purposely to muffle their words, kisses, perhaps [1*, p. 60];

He sat at the piano, did these arpeggio by his bent-up big white fingers [1*, p. 60];

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I remember how my wife sat down with the false air sat down at the grand piano, and usual la on the piano, pizzicato of the violin, arrangements of notes began [1*, p. 66]; I remember how she was smiling weakly, plaintively and blissfully, wiping sweat from her reddened face when I approached the piano [1*, p. 70];

His eyes met mine, he suddenly turned pale as a cloth, to his lips, his eyes sparkled somehow especially, and that I also didn’t expect in any way, he slipped under the piano, through the door [1*, p. 80].

In the aristocratic circles in the XIX century playing musical instruments was treated as the opportunity to feel physical proximity. The piano belonged to those few musical instruments which were suitable for a decent girl to play. If a girl could play the piano her chances of a successful marriage increased. It is noted also that often wards fell in love with their music teachers [120, p. 46]. Lisa, the wife of the main character of the story, once played the piano, however the hobby was in the past long ago until there appeared a musi- cian-violinist. When Lisa met him she was interested in playing the piano again (She began to devote herself passionately to the piano). So, we can claim that playing the piano was only a pretext for her meetings with the musician.

The arising proximity of the wife and the violinist engenders the feeling of jealousy in the main character, he considers that music serves only as the cover for their agreement (the sounds are made on the piano purposely). The adverb purposely means “on purpose, with a certain intention”, and also “for show” [2**]. Pozdnyshev is convinced that the purpose of their musical rehearsals is only to create the visibility, and actually his wife and the violinist conceived to deceive him.

Further succession of events proves his suspicions, behind the seeming ordinary process of playing music (usual la on the piano) he sees the hidden meanings (purposely, with a pretended face), as well as generates more and more negative emotions in relation to the musician. The main character notices all physical features of the musician (bent-up big white fingers) which cause his increasing disgust, contemptuous tone of a narration also testifies to it: “He sat at the piano, did these arpeggio by his bent-up big white fingers” [1*, p. 60].

Pozdnyshev perceives the intercepted look of his wife at the piano, her smile as the fact of her treason: she was smiling weakly, plaintively and blissfully.

The main character’s thirst of revenge didn’t remain unnoticed by the musician; when he met his gaze, his “eyes sparkled somehow especially”, and looking for the protection and shelter he “slipped under the piano”. To slip, according to “The Small Academic Dictionary of the Russian Language”, means “imperceptibly to leave, disappear; to whisk” [2**].

So, the piano becomes the witness and the accomplice of the agreement between Pozdnyshev’s wife and the musician. It mediates and promotes the arising proximity; the piano sounds hide their secret, intimate plans; and under the piano the unlucky lover looks for protection.

Sounds of a piano influence a person soothingly. They give internal confidence, harmony and serenity. However in the story “The Kreutzer Sonata” the piano does not promote the creation of the atmosphere of serenity at all, it acts as the object of passions kindling, brings the main character into a state of constant alarm and, eventually, playing the piano causes the murder. In the given contexts the idea of alternation of statics (he sat at the piano) and dynamics (I approached the piano, he slipped under the piano), rest and the movement is represented. Nevertheless, the movement prevails that reflects the psychological tension of heroes, heat of their emotional experiences.

Also we fix the word grand piano (3 tokens) in the text. The grand piano belongs to a category “A string percussion-keyboard musical instrument – a piano with the triangular case and horizontally tense strings standing on legs; sounding of such an instrument” [1**].

Сf:

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

She was standing in the corner of a grand piano above the open notes [1*, p. 60];

I remember how my wife sat down with that false indifferent air under which I saw that she hid her great shyness – shyness mainly before her ability, – with the false air sat down at the grand piano… [1*, p. 66];

…listening to the sounds, he pulled on strings with his careful fingers, and the grand piano answered him [1*, p. 66].

In these contexts deception and pretense are actualized (with that false indifferent air, with the false air), Lisa tries to hide her shyness arisen because of her proximity with the violinist; she hides the feelings behind a mask of indifference. False, according to “The Small Academic Dictionary of the Russian Language”, means “given out for the present, sincere”, “hypocritical, feigned” [2**]. Despite forced sincerity, Lisa is not able to deceive her husband, he understands her hypocritical, false nature.

In the last of the given contexts there is a metaphor “the grand piano answered”, the grand piano represents the pianist, the wife of the main character. It should be noted that in the 13th version of the story the writer made a mistake, playing musical instruments started in the “wrong” order: “She struck the first chord <…>, and he answered the grand piano”. S.A. Tolstaya corrected the mistake, and in the 14th edition the sonata was played as Beethoven had written it: “He struck the first chord <…>, and the grand piano answered him”.

He and She were important for Tolstoy in his story (the main character, the violinist, the wife of the main character – the pianist). However there also existed anonymous He and She for the writer in the musical space of Beethoven’s work. Betkhoven’s He and She led their intense, passionate life, and not only feelings, but also sensuality filled it. She and the feminine are embodied in a violin part for Tolstoy, He and the masculine – in a part of a grand piano. E. Isaeva writes, “fragility of a violin, “sensual”, thanks to live vibration of the performer, sounding and monumentalism of a grand piano, its more “objective” sounding are only the few factors which unconsciously influence the perception” [21]. Thus, Tolstoy could make a mistake because he changed “his” characters with the Betkhoven’s.

The word a harp is noted in the text of the story once:

And that one knows mathematics more, and another is able to play a harp, will change nothing. A woman is happy and reaches everything that she could wish when she fascinates a man. And therefore the main task of the woman is to be able to fascinate him

[1*, p. 39].

A harp is “a string plucked musical instrument in the form of a big triangular frame with vertically tense strings” [1**]. The harp is a widely known musical instrument, which origin history goes to the Ancient world. The harp always had the special status. In Egypt it was associated with the divine instrument. The instrument was considered as a soul symbol, as a set of all types of emotions. A harp was associated with motherhood and the birth of posterity [22].

In the analyzed context the harp acts as the instrument which mission is drawing men’s attention. The harp helps a woman achieve her purpose – to fascinate a man, and as a result to find happiness.

1.2. LSG “The Details of Musical Instruments and Subjects Connected with Musical

Instruments” in a literary discourse of L.N. Tolstoy is presented by 3 lexical items: string, lectern, page, which are used in the text of the story once.

The nomination string means “in a musical instrument: it is an elastic tense thread making a sound of a certain height at fluctuations” [1**]; we fix the token in the following context:

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…listening to the sounds, he pulled on strings with his careful fingers, and the grand piano answered him [1*, p. 66].

The monosemic lexical item lectern (1 token), according to “The Russian Semantic Dictionary”, means “a support for notes and books in the form of an inclined board on a leg” [1**]. We also register the word page used in plural (pages) in the story. A page is “a side of a sheet of paper in a book, a notebook” [1**]. It is obvious from the context that there is the seme “music” in the meaning of the word pages as it is about musical pages. The following realization of these nominations in an example comes to light:

I loved music very much and felt for their playing, arranged a lectern for him, turned pages… [1*, p. 58].

This context is full of positive emotions, namely love to music, approval (loved, felt for). The lexical item “to feel for” means in this context “to be kindly favorable disposed to someone, something; to approve” [2**]. The emphasis is placed on the arising feeling of a unification of performers which is represented by means of the pronoun their (their playing). The main character of the story feels the participation in the events, he helps musicians (I arranged a lectern, turned pages), feels involved in the process (felt for). Thus, music serves the spiritual rapprochement and unification of people.

In the considered microfield the most frequently used are the nominations a violin (47%) and a piano (32%) (9 and 6 tokens of 19). This tendency results from the fact that Beethoven’s “The Kreutzer Sonata” was composed for a violin and a piano. The violin is a special musical instrument which sounding is most approached to a human voice which possesses ability to reproduce melodies of big breath, and also to make strong emotional impact [23, p. 119]. Tolstoy’s story is also based on the dialogue of two characters: at first the narration is led on behalf of the story-teller, and then the narration represents a confession of the main character. Also the violin and the piano (the grand piano) symbolize the characters, Trukhachevsky and Lisa, and the musical parts represent their difficult and contradictory emotional and psychological relations. In some contexts a piano is replaced with a grand piano (16%), the grand piano is a kind of a piano and therefore also characterizes the main character, Lisa. The harp (5%) is used only in one context and acts as the means of attraction and achievement of female happiness. The listed details of musical instruments and subjects relating to music serve for more detailed description of process of preparation for playing the pieces of music.

The quantitative ratio of the specified lexical-semantic groups is reflected in table 1.

Table 1 The quantitative ratio of lexical-semantic groups of the microfield “The Nominations

of Musical Instruments and Subjects”

The following by the quantity of lexical units with the seme “music” microfield is the microfield “The Nominations of the Places and Actions Connected with Playing Pieces of Music” (30%).

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

2. The nominations of the places and actions connected with playing pieces of music

Such the words as evening (11 tokens), concert (1 token), theater (1 token), conservatory (1 token) belong to this lexical-semantic group.

2.1. The nominations of the actions connected with playing pieces of music: evening, concert

We will address to lexical-semantic versions of the word evening. It should be noted that the lexical item evening, as well as the hyperonymical lexical item music, is used in 20 contexts in the text of the story. The reason for this is that the culmination events of the Tolstoy’s story occur in the evening, namely during and after social event (musical evening) in the house of the main character. Thus, we allocated a temporal paradigm – evening. According to “The Russian Semantic Dictionary”, evening is “a part of ф day between daytime and night” [1**], in the specified meaning the lexical item evening is used in 8 of 20 contexts, for example:

In the evening he arrived with a violin, and they played [1*, p. 58];

I though pretended to be interested in music, all the evening kept suffering from jealousy [1*, p. 58].

In the given example Pozdnyshev perceives the evening as an incredibly long period since for all the evening the hero suffered from jealousy (I kept suffering from jealousy), hiding it behind quasi interest for music (I pretended to be interested in music).

The second LSV of the word evening is “a show, representation, literary or musical meeting in the second half of day” [1**]. 11 tokens are noted, for example:

…I was engaged tastefully in the arrangement for the lunch and the evening with music… [1*, p. 65] – preparation for the musical evening causes energy inflow in the main character, he wants to create the favorable atmosphere in his house (I was engaged tastefully).

I felt relaxed, cheerful all the evening [1*] – during the evening (all the evening) Pozdnyshev stayed in high spirits, he felt “relaxed” and “cheerful”.

I never saw my wife as she was this evening. These shining eyes, this severity, strictness of expression, when she was playing, and this certain absolute melting, a weak, pathetic and blissful smile after they finished [1*, p. 65].

After performance of the Beethoven’s sonata Pozdnyshev noted huge changes to the best in his wife, he as though saw her anew. Perhaps, it is connected with the changes which happened in him during listening to the sonata. Never before Lisa looked (and it is possible, Pozdnyshev himself) so strict, there was such a gloss in her eyes, which the main character noticed, as it was during her playing. Thus, music promotes spiritual and moral development of the person.

However O. Yappinen points out the connection with an erotic discourse in this example, the researcher writes: “Certainly, the same words [certain absolute melting, a weak, pathetic and blissful smile] can be used to describe the person after intimate making love. <…>

The semiotics wins in Pozdnyshev’s monologue, the text turns in poetic, musical. <…> In spite of the fact that sexual passions submit to “censorship” of culture and society, the person is capable to endure and learn pleasures of a semiotics discourse through the symbolical: gesticulation, a vocal and kinetic rhythm, voice timbres, gaps in the text …” [20, p. 48].

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The evening came to an end safely, and everybody left [1*, p. 68]; Both of us, my wife and I, were very pleased with the evening [1*, p. 69].

Despite the pleasure the heroes felt of their party, there is a hint on the emotional pressure which was present during the mentioned action in these examples. Pozdnyshev, apparently, says the phrase with relief: “Evening came to an end safely”. In one of its lexicalsemantic variants a verb to come to an end means “to have any outcome, result, to come to the end with something”. So, the evening in Pozdnyshev’s house came to the end safely.

In the given examples there is the sign “music” in the meaning of a lexical item evening that is caused by a contextual environment of the word (the evening with music).

The key events in the story are developed when the musical evening is being prepared and carried out. The evening is connected with character’s pleasant feelings that a syntagmatic of this word confirms (I was engaged tastefully; I felt relaxed, cheerful; smile; safely; were very pleased), the characters of the story are excited, they are happy with a private concert. The temporal paradigm of evening is actual as the evening is the end of day, it’s time when a person is inclined to spend time with the family, to carry on sincere talk or to plunge into the thoughts. Evening is the time of rest, wellbeing and pacification after the passions of the day.

The word concert is used in the first LSV “public execution of a number of musical, literary works, choreographic, variety, circus acts” [1**], we fix 1 token:

…he entered the conservatory because he had a talent for music, and he graduated as a violinist and played in concerts [1*, p. 52].

The function of a concert is to show that the violinist is a gifted character who got a good education and allocated with the gift to influence people’s feelings through music.

2.2. The nominations of the places connected with playing the pieces of music: theater, conservatory

The word theater in its fourth lexical-semantic variant “the spectacular event which is engaged in preparation and display of drama or musical and scenic representations; the building, the room where such representations are given” [1**] is used in the following context:

…she was delighted that she will have pleasure to play the violin that she loved very much so she employed a violinist from the theater, and there was a look of pleasure on her face [1*, p. 57].

In this context the emotional aspect of musical lexis is represented. Playing musical instruments gives joy and pleasure not only to listeners, but also to performers. The lexical item theater is a part of the following lexical-semantic row: a violin – the violinist – a theater – pleasure – love – pleasure. Thus, all maxims concerning music have the meliorative coloring.

We find a mention of the monosemic unit conservatory meaning “the highest musical educational institution” in the text of the story [1**]. We fix this lexical item in the following example:

…he entered the conservatory because he had a talent for music, and he graduated as a violinist and played in concerts [1*, p. 52].

The conservatory is used as a background, as the specifying detail in the violinist’s characteristic as the talented personality who achieved certain heights; it is indicated with

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the fact that he plays in concerts. The number of the people who study in conservatories is quite great, but only the few have the gift and persuasion which allow them to attract listeners.

The dominating lexical item in the microfield “The Nominations of the Places and Actions Connected with Playing the Pieces of Music” is the polisemic lexical item evening – 11 tokens. The reason for this is that all nominations in the story connected with music are interfaced to preparation for the musical evening, and also to its carrying out. The lexical items concert, theater, conservatory are mentioned in the text once and serve as a background for the characteristic of heroes and events. So, the conservatory is an indicator of a good education of the violinist Trukhachevsky, and a concert shows the level of the creative heights he reached.

The quantitative ratio of lexical-semantic groups of the analyzed microfield is presented in table 2.

Table 2 The quantitative ratio of lexical-semantic groups of the microfield “The Nominations

of the Places and Actions Connected with Playing Pieces of Music”

The third place is taken by the microfield “The Nominations of the People Connected with Musical Activity” – 23% of the total number of tokens of the lexical items with the meaning “music”.

3. The nominations of the people concerning music

From semantic-cognitive positions classification of names of the people connected with music is carried out on their professional accessory, specialty, nature of their activity, their realization in musical art (3.1) and on the intellectual-and-emotional criterion (3.2).

3.1. By profession, specialty, occupation, nature of activity and the related actions, the relations the following lexical items are pointed out: musician and violinist.

3.1.1. We find a lexical unit musician in the general designations of the musical and artistic activity. Musician is the polisemic word; one LSV of this word belongs to this subgroup: “the creative specialist who is engaged in musical art (the composer, the performer, the conductor)” [1**]. 5 tokens of 6 of the analyzed word in this meaning are noted:

…not the professional musician, but semi-professional, semi-public person… [1*, p. 51].

We will consider this context at the axiological level: Pozdnyshev gives a negative assessment to the musician who appeared in his house, he characterizes him as “not professional”, but “semi-professional”, and, moreover, the “semi-public” person. The prefix semi- according to Ozhegov’s dictionary, means “1) a half of something, in a half size; 2) not quite or nearly; 3) not up to the end, not fully” [3**, p. 453]. Thus, this prefix in the characteristic of the person has thoroughly negative connotation.

Her relations with this musician whatever they were, for me it does not make sense, and for her too [1*, p. 52];

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How there could not be that simple and clear for the sake of what I married her, that for the sake of what I have lived with her, that one in her what was necessary both for me and that therefore also was necessary for the other and this musician [1*, p. 70].

In the presented contexts a lexical item musician is used with a demonstrative pronoun “this” (with this musician, for this musician) which “serves for expression of the emotional relation to the defined subject, to the phenomenon, etc.” [2**]. Z.E. Fomina claims that emotions are directly connected with the attitude of one person towards another (love, hatred, respect, pity, envy) [24, p. 348‒371]. In these examples the negative deixis is traced, as the attitude of the main character towards the musician Trukhachevsky is crucially negative.

In the following contexts the emotional assessment is also noted:

He will see how the musician kisses his mother [1*, p. 73];

And now! five children, and she embraces the musician, because he has red lips! No, it’s not a person! [1*, p. 78].

The numerous exclamations testify to Pozdnyshev’s indignation, he is revolted by the infantility of his wife who was fond of, in his opinion, the inconspicuous musician, whose only advantage is his “red lips”. He is in the sheer bewilderment how mother of five children can behave in this way (she embraces the musician). He says about the musician: “No, it’s not a person!”, thereby showing the extreme extent of contempt and disgust.

3.1.2. The names of musicians-instrumentalists: musician, violinist.

The word musician belongs to this subgroup in its second LSV: “the actor playing a musical instrument and also the person who plays music” [1**]. In this meaning the word musician is used in the text of the story only once in the same context with the word violinist. Violinist, according to “The Russian Semantic Dictionary”, means “the musician playing a violin” [1**]. We will study this example:

Well, he was the musician, the violinist… [1*, p. 51].

Thus, the lexical item musician considered in the given meaning correlates with the word violinist.

Besides the given context the word violinist occurs in L.N. Tolstoy’s story “The Kreutzer Sonata” 3 times, for example:

There he entered the conservatory because he had a talent for music, and he graduated as the violinist and played in concerts [1*, p. 52];

…she was delighted that she will have pleasure to play the violin that she loved very much so she employed a violinist from the theater… [1*, p. 57];

Someone like the hired violinist, known for the worthless person, and suddenly the reputable woman, the respectable mother of the family, my wife! What an absurd! [1*, p. 70].

It is necessary to pay attention to the features of the syntagmatic paradigms. So, the violinist is the subject of action – the violinist played in concerts; in the following context the violinist is the object of action which is expressed implicitly – have pleasure to play the violin, the violin in this case is understood as the violinist; also the violinist is the object of action in a context – to employ a violinist from the theater.

At the axiological level the violinist is characterized from a positive side as the talented, gifted person (he had a talent for music), however, at the same time, the main character

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of the story draws an analogy to the hired violinist who had the reputation of “the worthless person”.

The semantic-axiological analysis allows to draw a conclusion that the violinist (as a subject) is a noble, sublime profession that the person who has the talent for music plays in concerts, spiritualizing people. Whereas the violinist-person (as an object) often has the negative reputation of the worthless person who thinks of the profit.

The emotional component is traced on the example of the exclamatory sentences. Pozdnyshev rejects even the thought of the possibility of the relations between his wife and the violinist (What an absurd!). The contrast is so striking: “the reputable woman, the respectable mother of the family” can never have any intimate relations with the “worthless” violinist. We observe the polar characteristics of the heroes: Lisa, the wife of the main character – the positive character, she is described as a decent person having only the complementary qualities, such as honor, respect, decency; whereas the violinist Trukhachevsky is compared by Pozdnyshev to the hired musician – the nasty, unworthy person.

3.2. By the intellectual-and-emotional criterion in L.N. Tolstoy’s story the lexical item admirer is allocated which is used in the meaning: “the person having tendency, addiction to something, who is enthusiastic about something” [1**]. The seme “music” is strengthened in the phrase “the music admirers” with the seme “enthusiasm”; 1 token is noted:

…I will call some of my acquaintances, the music admirers… [1*, p. 59].

In this example the sign of enthusiasm, love, the approving relation to music is staticized.

The considered fragment of LSF “Music” covers the nominations of people not only directly concerning the process of playing music (musician, violinist), but also the names connected with the various aspects of correlation of music and the creative person: enthusiasm (admirer).

The quantitative hierarchy of a ratio of lexical-semantic groups of the analyzed microfield is presented in table 3.

Table 3 The quantitative ratio of lexical-semantic groups of the microfield “The Nominations

of the People Concerning Music”

Thus, having revealed the linguistic means of the explication of the phenomenon “Music” on the lexical-semantic analysis basis of the keywords of LSF “Music” in L.N. Tolstoy’s story “The Kreutzer Sonata” and having studied them in linguoculturological aspect, we can state the big importance of this concept for the Russian linguoculture in general.

We allocated three microfields which are a part of LSF “Music”:

1)“The nominations of musical instruments and subjects” (47% of total of the studied contexts);

2)“The nominations of the places and actions connected with playing pieces of music” (30%);

3)“The nominations of the people concerning music” (23%).

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The microfield “Nominations of Musical Instruments and Subjects” is dominating. This microfield is subdivided into two lexical-semantic groups: “Musical instruments” (86% of the total number of the lexical items of the analyzed microfield) and “The details of musical instruments and subjects connected with musical instruments” (14%). Indisputable prevalence of the lexical units relating to LSG “Musical instruments” is explained by the fact that the musical instruments (a violin, a piano, a grand piano and a harp) convey the semantic meanings whereas the details of musical instruments and subjects which are used for playing pieces of music are mentioned only for the better reader’s understanding of the described situation. Among the listed musical instruments the key role in the story is played by a violin (47%) and a piano (32%). The violin in hands of the talented performer can affect a person’s inner world, make him or her obedient, can subordinate their will, change their ideas of human values, etc. Contrary to the common opinion that sounds of a piano have the calming effect on a person, make people feel confident and relaxed, in the analyzed story of L.N. Tolstoy a piano melody becomes the reason of storming, fatal passions and plunges the main character into a state of alarm. In some contexts a piano is replaced with a grand piano (16%) which also serves for the main hero’s wife characteristics. Besides, the violin and the piano (the grand piano) represent the main characters of the story, and the parts performed on these musical instruments symbolize the difficult and contradictory emotional and psychological relations of the literary characters. The harp (5%) is used only in one context and acts as the means of men’s attraction and female happiness achievement.

The small number of the tokens including the details of the musical instruments and subjects connected with musical instruments (a string, a lectern, a page – 1 token) is caused by the fact that they are not the sense-making, self-sufficient categories, and serve for more detailed description of the process of playing music.

The microfield “The Nominations of the Places and Actions Connected with Playing Pieces of Music” take the second place on the rate of the lexical units tokens (30% of the total number of the analysed contexts). In the considered microfield two lexical-semantic groups are allocated: “The nominations of the actions connected with playing pieces of music” (86%) and “The nominations of the places connected with playing pieces of music”

(14%). The reason for this is that the lexical item evening in the meaning “a show, representation, literary or musical meeting in the second half of day” [1**] relating to LSG “The Nominations of the Actions Connected with Playing Pieces of Music” occurs in the text of the story in 11 contexts whereas other lexical items are used once. All culmination events in the life of the main characters of the story occur during the musical evening when the melody is sounding. The flowing melody engenders the mixed feelings, forces people to look at the world in a new way. Other places and actions connected with playing pieces of music (concert, theater, conservatory) are represented only as a background for the characteristic of characters and events of the story. So, a conservatory is mentioned as the demonstration of a good education of the violinist Trukhachevsky, and a concert – for the representation of his achievements in the musical art.

The evening as a temporal category has the fatal value in the main characters’ life: Pozdnyshev invites the musician to come and play with his wife in the evening (I invited him to bring a violin sometime in the evening to play with my wife), the rehearsals to a house concert are carried out in the evening (In the evening he arrived with a violin), a concert also occurs in the evening.

The microfield “The Nominations of the Persons Concerning Music” is on the third place (23%) on the rate of cases of the use of lexical items with the seme “music”. We divided the lexical units of this microfield in two groups: by profession, specialty, occupation, nature of activity and related actions (91%) and by intellectual-and-emotional relation and perception (9%). Among the nominations reflecting an occupation, a profession, the lexical item musician (60%) prevails whereas the use of the lexical item violinist was fixed in 4

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