Language Means of Creating a Comic Effect in A. Chekhov's Felicity

The relevance of the work is determined by the interest in the feuilleton as a genre of journalism and the linguistic means of creating a comic effect in the early works of the writer. The period of journalism in the works of A.Chekhov and his influence on further work is a field that has been little studied.

The purpose of the study is to describe the main language tools for creating comic color in A.Chekhov's feuilletons.

Methods of research - linguistic observation and description and component analysis.

Chekhov comes to the literature, beginning to cooperate in humorous weeklies. "As a true artist of the word Chekhov grew up and formed largely on the pages of periodicals, his whole life was closely connected with the press, her interests. And this affected his work as well as his work had an impact on journalism "[1; 7].

Using such feuilleton features as elements of satire and humor, figurative and emotionally-colored language, Chekhov creates a whole cycle of sketches and parodies called "Shards of Moscow Life" [1883-1885] Under the influence of publishers' demands, the young writer develops a laconic and Capacious style, new images are born, then moved to the pages of his mature works. The search for the necessary verbal image is gradually turning into his law of creativity.

Analysis of the functioning of language facilities in Chekhov's feuilletons made it possible to identify certain methods for creating a comic effect:

1. Collision of the different vocabulary within one microcontext: You read and feel that this clumsy, incoherent nonsense is written by a person inspired (Shards of Moscow life). Further examples are given from this cycle;

2. Putting words from different semantic series into one context: The largest ruff, which has become across the throat, does not produce on my nerves such a strong impression as the Moscow funeral; There is something between the lines in this unfortunate brochure. Rarely anyone read, and there is no need for this product of thoughtlessness.

3. Reception of synonymy. The components of the Chekhov synonymous series have a great emotional and semantic load: The associative aspect of the contextual synonyms makes it possible to create a bright comic effect. Attractive. However, one circumstance: the beginning of the season was met by the public and our press is too cold. Last year, about this beginning, they thundered, cracked and drummed in all the drums.

4. Use of comparisons. He is thin, pale and skinny, like the shadow of Macbeth. The associations that underlie Chekhov's comparisons are expressive and contribute unexpectedly to the creation of comic color.

5. Personification. Red summer sings its swan song. Nature behaved magnificently. The sky was crying all the time. Wind direction was fashionable, northeast ...

6. Adoption of convergence. Combining in one context several language tricks: Some meteorologists say that the sky was crying only to please Colonel Petrashkevich, who kindly took on the irrigation of Moscow streets for the sake of a juniper for children. The colonel put in his pocket only 50,000.

An important advantage of the language of Chekhov's feuilletons was the formation of their artistic expressive system, which was then developed in his humorous prose and laid the foundation for the writer's creative laboratory. Analysis of the language of Chekhov's feuilletons is also interesting in terms of comparison with the language of modern feuilleton.

LITERATURE

1. Ermilov V.V. Chekhov. - M., 1959. - 495 p.

2. Yesin B.I. Chekhov is a journalist. - Publishing house of the Moscow University, 1997. - 103 p.