Use of color words in M. Bulgakov’s novel "Master and Margarita"

Размещено на http://www.allbest.ru/

Use of color words in M. Bulgakov's novel "Master and Margarita"

Chuvilina A.I.

undergraduate student

Belgorod State National Research University (Belgorod, Russia)

Abstract: in this paper author analyzes use of color words in M. Bulgakov's novel «Master and Margarita». bulgakov master margarita literature

Keywords: Bulgakov, Master and Margarita, literature colors.

Mikhail Afanasyevich Bulgakov is an outstanding and most mysterious writer in Russian literature. The writer's usual technique - the fantastic inside the ordinary - sets the style of the novel. The life habitual for every person in the work is diluted with interspersed text of a different nature: on the one hand, there is a twisted world of cats swinging on a chandelier and beer stalls without beer, on the other hand, it's like a documentary novel about antiquity, the Master's story about his love, flight Marguerites, the narrator's lyrical digressions - from these stylistic contrasts the energy of the work is carved.

Of particular interest are the color terms that the writer uses in one of the most mysterious works in Russian literature. Throughout the work, we can trace the use of color adjectives that reflect the writer's perception of the world around him and give the author's assessment of the phenomena of his contemporary reality. In this article, we will consider the features of the designation words "white", "red" and "yellow"

Often in the context of the novel, color lexemes familiar to us take on meanings that are not familiar to us. Bondarenko I.V.In his article “Transformation of the psychosemantics of the color lexemes “white” and “white” (on the example of demonic novels)”, he writes: “Out of context, the color lexeme “white” in combination with the above nouns has the meaning “pure”, “noble origin” , "beauty", while, given the contextual meaning, it acquires the symbolism of black with the meaning "death", "cruelty", thus transforming the white color into black. For example: out of context, the attributive phrase “white face” from the quote “the white face of a woman wagon driver” means “a clean, beautiful face”, but in the context it occurs in the scene of Berlioz's death, therefore this phrase acquires the symbolism of approaching death. [3, c.1645]

In addition, in this scene, red is woven into the general anxiety of white: “Berlioz did not listen to the regent's beggar and wimp, he ran up to the turnstile and grabbed it with his hand. Turning it, he was about to step onto the rails, when red and white light splashed into his face: the inscription “Beware of the tram!” lit up in a glass box. [4, p. 23] The writer amplifies the effect by using our negative associations: blood, fear, pain, threat, danger.

“A woman in a white clean coat” - the attributive phrase “white coat” usually symbolizes medical workers who bring kindness and help. In the context of the novel, the image of a man in a white coat is the medical staff of the house of sorrow (psychiatric hospital). It becomes a negative symbol of lack of freedom, sadness, hopelessness, therefore, it acquires the psychosemantic meaning of black, indicating illness and bondage; [3, c.1645]

An interesting fact is that color lexemes with the meaning of red, unlike all the others, appear to us in combination with other colors.

“In a white cloak with a bloody lining,” in this phrase the color name “white” means “death”, “murder” due to the distant syntagmat ic connection of the color-lexeme with the word “bloody” in the scene of a conversation between Yeshua and Pilate; [3, p. 1645]

If we consider independent color lexemes with the meaning “red”, then we will see that they basically describe the emotional state of the characters, let us turn to the text of the novel: “In the wings they began to look at each other and shrug their shoulders, Bengalsky stood red, and Rimsky was pale.”[ 4, p. 64] “After somewhat managing himself, all red as a cancer, he announced that he considered it his duty to pick up the shirt, personally bring it ...” [4, p. 130] The strange man at the table even turned purple from tension and said indistinctly again that the secretary was also not there ... when he would come, it was not known ... that the secretary was ill ... [4, p. 106]

We can also see the lexeme crimson in the designation of the color of justice, the color-denunciator: “When the crimson and full moon began to come out towards them from behind the edge of the forest, all the deceptions disappeared, fell into the swamp, the magical unstable clothes drowned in the mists.”[ 204]

Let us turn to the next color lexeme that interests us. Consider the meaning of yellow in the novel. Like the designation indicated above, this lexeme carries a negative connotation of its meaning. This color lexeme acts as a symbol of the unpleasant, sometimes disturbing.

Turbina O. A. in his article “Yellow color in the text matrix of the novel by M.A. Bulgakov's "Master and Margarita"" writes: "Although the flowers that Margarita carried are of a neutral yellow color (obviously, these are mimosas, which "for some reason first appear in Moscow" in the spring), this yellow in the novel is disgusting, disturbing, "bad color" and a harbinger of tragic and sad events in the lives of heroes. These strange and gloomy events begin to develop immediately when the heroes meet, which is emphasized by the discursive components of a yellow dirty wall, a ditch. [1, p. 374]

Like a promise of trouble, "a yellow-bellied thundercloud creeps low." [4, p.59]

We can see this “harbinger” at the beginning of the work: “The apricot gave abundant yellow foam, and the air smelled of a hairdressing salon. Having drunk, the writers immediately began to hiccup, paid off and sat down on a bench facing the pond and with their backs to Bronnaya. [4, c. 2]

Also, this color lexeme reflects the inner experience of the characters: “Varenukha did everything that a person is supposed to do in moments of great amazement. He ran around the study, and twice raised his hands, as if crucified, and drank a whole glass of yellowish water from a decanter, and exclaimed:

- I don't understand! I don't understand!" [4, p.56]

Turbina, O. A. in the article “Yellow color in the text matrix of the novel by M.A. Bulgakov "Master and Margarita"" concludes that Mainly, when recreating the cognitive-semiotic model of the novel "The Master and Margarita" by M.A. Bulgakov refers to the branch of the yellow color spectrum directed towards the pale yellow “pole”, and to the implicit representation of the shades of this branch in discursive components formed by lexical units of a non-color nature ... Cold pale yellow and yellow-green shades are loaded in the text matrix of the novel with not negative, but positive discursive values.[1, p. 377]

Mustakimova, G. V. in the article “Specifics of the use of the lexical-semantic group of color in the work of M. Bulgakov “The Master and Margarita” notices that the bulk of the terms used are the terms “color designation” and “word-color designation” as syno -him, hereinafter "color naming", the rest of the terms are substitute terms[2, p.117]

Thus, we saw how color lexemes affect the reader. Depending on the context, certain colors take on positive or negative shades of their meanings.

REFERENCES:

1. Turbine Yellow color in the text matrix of M.A. Bulgakov "master and Margarita" / Turbina, A. O. - Text: direct // Russian language in a multicultural world: collection of scientific articles of the III International Symposium: 2 volumes. - Yalta: Limited Liability Company "Publishing house Typography "Arial", 2019. - P. 372-378.

2. Mustakimova, G. V. The specificity of the use of the lexical-semantic group of color in the work of M. Bulgakov “The Master and Margarita” / G. V. Mustak imova. -- Text: direct // Bulletin of KSPI. - 2017. - No. 2 (46). - pp. 115-120.

3. Bondarenko, I. V. Transformation of the psychosemantics of the color lexemes "white" and "white" (on the example of demonic novels) / I. V. Bondarenko. -- Text: direct // Philological sciences. Questions of theory and practice. - 2021. - S. 1641-1646.

4. Bulgakov, M. A. "I wanted to serve the people ..." / M. A. Bulgakov. - Moscow: "Pedagogy", 1991. - 712 p. -- Text : direct.

Размещено на Allbest.ru