Subject: Speech characteristics of Osten. The speech characteristic of the heroes of the play by M. Gorky “Children of the Sun”

In recent years, more and more studies have appeared in which the linguistic personality in artistic discourse is studied through the artistic image of the character, his individual speech structure, and the discourse is called the character. One of the first studies carried out under the influence of this approach to the character of a work of art can be considered the work of E.N. Baybulatova [Baybulatova 1998].

Despite the fact that each approach has its own rationale and its supporters, it should be noted that the author and the character of a work of art cannot be studied in isolation from each other.

The linguistic identities of the characters of a work of art are studied for a deeper understanding of the artistic component and for the study of the linguistic identity of the author as well. It is in the system of characters that the author develops his view of the world, the essence of human characters and the laws of their relationship with each other.

The study of the author’s linguistic personality through the prism of the character segment is becoming more widespread. The character’s direct speech is studied as a way of expressing the author’s image [Skibina 1999], the stratification and juxtaposition of the author’s “I” and the “I” of the character is interpreted as a genre-forming marker [Loktionova 1998], the writer’s linguistic personality is studied as a source of character’s speech characteristics [Menkova 2005], and so on. .P.

The appearance of the concept of “speech personality” is due to the fact that the speech activity of a person in a situation of real communication acts as an accessible research material. A speech personality is a linguistic personality at the moment of real communication [Krasnykh 2002: 22; Maslova 2004: 119; Prokhorov 2004: 106]. When studying the speech personality, a large number of linguistic and extralinguistic parameters are taken into account: the communicative situation, its goals, the topic of communication, its axiological significance for communication participants, social and age statuses of participants, their psychological state. Thus, the concept of a speech personality includes a social image that a person assumes during communication with others, depending on the situation.

Traditionally, the character’s linguistic personality is studied on the basis of the totality of the hero’s statements throughout the text space. However, some researchers take into account only the direct speech of the character [Treschalina 1998], while others consider it necessary to take into account improperly direct speech [Salmina 2005].

Psychological analysis in a work of art involves various means of depiction: direct author’s reflections, introspection of the hero, others’s statements about him, as well as actions, gestures, facial expressions, i.e. indirect characteristics. A special place belongs to the hero’s speech and his internal monologues: “A character’s word can become a condensed reflection of his character, feelings, impulses, a kind of focus of the artistic interpretation of the image. But it took a long development, the work of many great artists, so that these possibilities of the word could come true ”[Ginsburg 2009: 97].

The character of the character, his internal motives, external circumstances, the situation of the current moment are most often manifested in a dialogical word; it gives an idea of \u200b\u200bthe properties of the hero, analyzes, supplements, and often reveals his nature.

Such qualities as narcissism, pride, passion, hypocrisy, coldness of soul, inability and unwillingness to understand another person are often combined in life and in a literary text. In novel prose, every word, cue, monologue, dialogue performs a complex artistic task: characterize the hero, his time, environment, his thoughts and experiences, contain information about events concerning the character, develop the plot of the work, introducing additional dynamics into it, and sometimes an unexpected turn. But often the word goes beyond the character of the hero and the plot of the work, and then it carries philosophical generalizations about the life and place of man on earth.

When depicting the hero’s experiences in a dramatic situation (deep excitement, special mental or physical condition - illness, injury, proximity to death), irrational elements can be used in his speech. A similar technique for the most delicate display of the inner life of heroes was often used by L.N. Tolstoy (War and Peace, Anna Karenina, Sunday, as well as his short stories and stories).

The inner speech of the hero opens up wide possibilities for analyzing his psychological state: a person "reveals" himself, dreams, admits his weaknesses and mistakes, etc. According to L. Vygotsky, inner speech - “is not speech minus sound”, is a special structure that is characterized by its content and purposefulness [Vygotsky 2009: 178].

The study of the character’s linguistic personality is impossible without taking into account the entire paradigm of his speech characteristics, since they are based on the discursive characteristics of the communicant and are the main means of expressing the pragmatic potential of the artistic literary work. The presence of the speech characteristics of the characters is key in creating artistic images both by the author and the reader who later interprets the discourse. The language means chosen and used by the author for the verbal behavior of a character in a work of art are essential for describing the linguistic personality of a literary hero.

An important role in the organization and production of statements is played by the individual component of the personality, which is due to the uniqueness of each language personality. The character’s speech portrait includes the basic concepts of a picture of the world reflected in the speech, marking the time and space of the hero’s life, social aspects, his individual manner of expressing his thoughts through certain communicative strategies and their lexical design, etc. Language features the character’s speech and the emotionally expressive coloring contained in the speech parties represent the character’s attitude to the world, his state of mind, give an idea of \u200b\u200bhis attitudes and values, the goals of the society in which he lives.

Introduction

darcy language speech

Jane Austen (1775-1817), a writer who grew up in the traditions of Richardson and Fielding, Thomson and Gray, Goldsmith and Crabb, Cowper and Stern, Fanny Burnie and Maria Edgeworth, was an unsurpassed master of the image of provincial England. Her works are the highest examples of the English novel, are a unique phenomenon in fiction and have a special linguistic potential, which is revealed in the speech characteristics of the characters of the novels created by the creative imagination of this author. Speech characteristic   the character or his speech portrait is one of the main means of the artistic image of the hero, which is a picture of individual speech behavior for each character of the novels.

In order to identify the characteristics of the speech characteristics of the heroes of the novel “Pride and Prejudice” by Jane Austen, we turn to the analysis of this work.

Relevance   of this study is determined by a kind of artistic resolution in the work of J. Osten of ways and methods of creating the image of heroes.

The degree of investigation of the problem. In the domestic literary criticism of J. Osten, much attention has always been paid, and her novels were very popular with the simple reader. Among the scientific publications devoted to the creativity and analysis of individual works of the writer, it is worth highlighting, first of all, the works thanks to which the domestic reader not only met, but also “discovered” his Jane Osten. In 1967, in the series “Literary Monuments”, the novel “Pride and Prejudice” was published. The articles of leading literary scholars - I.S. Marshak, N.M. Demurova, E.Yu. Genius, as well as an article by E.Yu. The genius "Jane Austen (1775-1817)" in the work "Writers of Foreign Countries. Jane Austen: A Bibliographic Index ”(1986). The article by the researcher Miracle Jane Austen is repeated in the publication of the novels of the English writer in 2004.

Speaking about the work of the English writer in the article “From a translator into Russian of the novel“ Pride and Prejudice ”, I.S. Marshak correlates it with the work of M.Yu. Lermontov.

The appreciation of the creative heritage of J. Osten is given by N.M. Demurova, describing in detail the life path of the writer.

E. Genieva noted the features of the world of J. Osten: the world of ordinary men and women devoid of mystery, but the world is far from cloudless, full of passions and mistakes. Hence, according to the researcher, the irony of J. Osten [Genieva 1986: 6].

Among modern works on the work of J. Austen, the monograph by A. Paly “The main features of Jane Austen's poetics and the problems of the aesthetic value of her works” should be especially emphasized [Paly 2003]. The book makes an attempt from a language point of view to comprehend the artistic innovation of the writer.

In the 1970s and 2000s, several dissertations were written that analyzed the writer's work in various aspects. So, one of the fundamental works devoted to the work of the writer was the dissertation of M.V. Chechetko “The Realistic Novel of Jane Osten” (1979), about E. Austen wrote E.A. Sokolova in connection with the analysis of the traditions of romanticism in the works of Charlotte Bronte (1995), on the material of the works of J. Osten, the types of stylization were studied in the dissertation of L. A. Baranova (1998). The semantics of lexical interpretations in the language of Jane Austen’s novel “Pride and Prejudice” and their translations into Russian were analyzed in the work of O.E. Artyomenko (2003). N.V. Shamina's work by J. Austen analyzes in the context of women's issues in the Victorian novel of the 1840-1870s (2006). In a word, the work of Jane Austen is still interesting for philologists, it remains modern and relevant for researchers of the history of the English novel.

It is impossible not to mention the new direction in the study of the work of J. Osten - journalistic and electronic. On the pages of many modern "glamorous" magazines, such as "Cosmopolitan", J. Osten appears as one of the interesting women of his century. And on the Internet there is a site dedicated to the work of an English writer. On it you can get acquainted not only with the classical texts of Russian literary critics, but also modern ones, for example A. Kulba.

At the same time, analysis of sources to date has shown that there are still many gaps that need to be filled. One of them - the features of the speech characteristics of the heroes of J. Osten - to date, is only partially covered in the pages of the preface to the editions of the novels, in the monograph by A. Paly, in the thesis of ON Shchenina, considering the features of the language and style of the writer, etc.

Therefore, in this term paper, it seems relevant to study the speech characteristics of the heroes of the novel by J. Osten “Pride and Prejudice”.

Purpose of work   is a study of the characteristics of the speech characteristics of the characters in the novel by J. Osten "Pride and Prejudice."

Object of study   - Jane Austen's novel Pride and Prejudice.

Subject of study   - speech characteristics of the main characters of the novel.

Tasks of work:

1)consider speech as a means of characterizing a literary hero;

2)to reveal the linguistic features of the speech characteristics of the heroes;

)to analyze the characteristics of the speech of the heroes of the work.

Study material   are the text of the novel “Pride and Prejudice” by Jane Austen in the original language and translated into Russian by I. Marshak.

The following are used in the work methods   as a conceptual, descriptive, comparative analysis.

Practical significancethe work consists in the fact that the materials presented can be used in the practice of university teaching in the development of courses on the history of English literature of the 19th century.

The structure of the work.Course work consists of introduction, two chapters, conclusion and list of sources used.

1. Speech as a means of characterizing a literary hero

In recent years, more and more studies have appeared in which the linguistic personality in artistic discourse is studied through the artistic image of the character, his individual speech structure, and the discourse is called the character. One of the first studies carried out under the influence of this approach to the character of a work of art can be considered the work of E.N. Baybulatova [Baybulatova 1998].

Despite the fact that each approach has its own rationale and its supporters, it should be noted that the author and the character of a work of art cannot be studied in isolation from each other.

The linguistic identities of the characters of a work of art are studied for a deeper understanding of the artistic component and for the study of the linguistic identity of the author as well. It is in the system of characters that the author develops his view of the world, the essence of human characters and the laws of their relationship with each other.

The study of the author’s linguistic personality through the prism of the character segment is becoming more widespread. The character’s direct speech is studied as a way of expressing the author’s image [Skibina 1999], the stratification and juxtaposition of the author’s “I” and the “I” of the character is interpreted as a genre-forming marker [Loktionova 1998], the writer’s linguistic personality is studied as a source of character’s speech characteristics [Menkova 2005], and so on. .P.

The appearance of the concept of “speech personality” is due to the fact that the speech activity of a person in a situation of real communication acts as an accessible research material. A speech personality is a linguistic personality at the moment of real communication [Krasnykh 2002: 22; Maslova 2004: 119; Prokhorov 2004: 106]. When studying the speech personality, a large number of linguistic and extralinguistic parameters are taken into account: the communicative situation, its goals, the topic of communication, its axiological significance for communication participants, social and age statuses of participants, their psychological state. Thus, the concept of a speech personality includes a social image that a person assumes during communication with others, depending on the situation.

Traditionally, the character’s linguistic personality is studied on the basis of the totality of the hero’s statements throughout the text space. However, some researchers take into account only the direct speech of the character [Treschalina 1998], while others consider it necessary to take into account improperly direct speech [Salmina 2005].

Psychological analysis in a work of art involves various means of depiction: direct author’s reflections, introspection of the hero, others’s statements about him, as well as actions, gestures, facial expressions, i.e. indirect characteristics. A special place belongs to the hero’s speech and his internal monologues: “A character’s word can become a condensed reflection of his character, feelings, impulses, a kind of focus of the artistic interpretation of the image. But it took a long development, the work of many great artists, so that these possibilities of the word could come true ”[Ginsburg 2009: 97].

The character of the character, his internal motives, external circumstances, the situation of the current moment are most often manifested in a dialogical word; it gives an idea of \u200b\u200bthe properties of the hero, analyzes, supplements, and often reveals his nature.

Such qualities as narcissism, pride, passion, hypocrisy, coldness of soul, inability and unwillingness to understand another person are often combined in life and in a literary text. In novel prose, every word, cue, monologue, dialogue performs a complex artistic task: characterize the hero, his time, environment, his thoughts and experiences, contain information about events concerning the character, develop the plot of the work, introducing additional dynamics into it, and sometimes an unexpected turn. But often the word goes beyond the character of the hero and the plot of the work, and then it carries philosophical generalizations about the life and place of man on earth.

When depicting the hero’s experiences in a dramatic situation (deep excitement, special mental or physical condition - illness, injury, proximity to death), irrational elements can be used in his speech. A similar technique for the most delicate display of the inner life of heroes was often used by L.N. Tolstoy (War and Peace, Anna Karenina, Sunday, as well as his short stories and stories).

The inner speech of the hero opens up wide possibilities for analyzing his psychological state: a person "reveals" himself, dreams, admits his weaknesses and mistakes, etc. According to L. Vygotsky, inner speech - “is not speech minus sound”, is a special structure that is characterized by its content and purposefulness [Vygotsky 2009: 178].

2. The main part

2.1 Language features of the speech characteristics of the main characters

Jane Austen's works are characterized by three ways of characterizing heroes: direct description, characterization through direct speech and through improperly direct speech. The problems of determining the ways of characterization in the novels of the writer were dealt with by L.V. Sidorchenko, I.I. Burova, A.A. Astvatsaturov and V. Nabokov.

In her work, J. Osten followed the main aesthetic principle - objectivity. Author's commentary in the novel by J. Osten is practically absent (she does not evaluate the hero, his actions), the narrative basically keeps a masterfully built dialogue in which the behavior of the actors, their psychology, moral struggles are revealed.

The personality of J. Osten - her wit, irony - is manifested only in the author's aphorisms and maxims, through the dialogues of heroes.

Osten’s innovation, the basis of the language of her poetics and the means of expressing the author’s point of view, as E.Yu. Genius, became a dialogue developed by the novelist, which carries a very important subtext. Such a dialogue may turn out to be “external” when the words of the heroes do not correspond to their thoughts and feelings, and “internal”, reflecting the true mood and condition of the speaker.

In the language of the novel, each storyline receives a resolution appropriate for its importance; each image, even a secondary one, is filed by the author in accordance with his presentation.

All this can be explained by the desire of the novelist to objectively show life, and not to talk about it. That is why the replicas of her characters are so well combined in the dialogue, and her novels can be compared with the plays. Preferring not to declare her own position and attitude to what is happening, Osten tries to leave the story, does not try to influence the reader, and her characters do not act as “mouthpieces” of the writer’s ideas.

The speech of the heroes in the works of Jane Austen is always determined and, on the one hand, is, as it were, a mirror of their behavior. Objectivizing his narrative with the help of self-disclosure of the characters in their speech, the author selects those verbal contacts of the characters in which, in the understanding of the writer, most characteristically reflect their essence, and thereby reflect the artist’s subjective perception of the world. Thus, no matter how the author hides behind the objectivity of the narrative by means of transmitting the speech relationships of the heroes, his idea of \u200b\u200bwhat seems to him insignificant, unacceptable or vicious, and what is valuable, inevitably finds a way out in the writer’s principle of selecting those and not other dialogical illustrations speech.

With the advent of realistic prose of the mid-19th century, a new important property of dialogic speech is revealed - it acquires a psychological character. However, the character of the character, his internal motives, external circumstances, impressions and impacts of this moment - the combination of all these causative factors began to be refracted in the dialogical word in the novels of the beginning of the century, in the works of Jane Osten. For example, in the novel Pride and Prejudice, in the first chapter we come across a dialogical form of narration:

"My dear Mr. Bennet, ”said his lady to him one day,“ “have you heard that Netherfield Park is let at last?”. Bennet replied that he had not.

"But it is," returned she; "" For Mrs. Long has just been here, and she told me all about it. ". Bennet made no answer.

“Do not you want to know who has taken it?” Cried his wife impatiently, ““ You want to tell me, and I have no objection to hearing it. ”Was invitation enough.

"Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week, ”

"What is his name?"

"Bingley."

"Is he married or single?"

“Oh! single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls! "

"How so? how can it affect them? ”

"My dear Mr. Bennet, "replied his wife," "how can you be so tiresome! You must know that I am thinking of his marrying one of them. ”

“Dear Mr. Bennet,” Mrs. Bennet once said to her husband, “have you heard that Netherfield Park will finally be empty?”

Mr. Bennet replied that he had not heard this.

Nevertheless, this is so, she continued. “Mrs. Long just came in and told me the news!”

Mr. Bennet said nothing.

Would you like to know who will be our new neighbor? - impatiently asked his wife.

I’m ready to listen to you if you really want to tell me about this.

More was not required of him.

Well, listen, my dear, ”continued Mrs. Bennet. “Netherfield, according to Mrs. Long, is filmed by a very wealthy young man from Northern England.” On Monday, he arrived there in a carriage drawn by four horses, examined the estate and was so delighted that he immediately agreed on everything with Mr. Morris. He moves to Mikhailov’s day, and at the end of next week some of his servants will come there.

And what is his name?

Bingley.

Is he married or single?

How so? Does this have anything to do with them?

Dear Mr. Bennet, his wife replied, today you are simply unbearable. Of course, you understand that I mean his marriage to one of them.

This form of narration prevails throughout the novel. Most dialogs (and whole chapters sometimes consist of them) are accompanied by a minimum of authorial intrusions. In the given passage, the narrator’s mean explanations serve not so much as a commentary on what the characters said, but rather serve as remarks characteristic of works written for the scene. Only at the very beginning of the chapter does Osten add his author's remarks, and then only with the aim of pointing out to the reader who is delivering the remark and his way of speaking, for example:   said his lady to him one day ... (once said Mrs. Bennet to her husband ...), Mr. Bennet replied ... (Mr. Bennet replied ...), returned she ... (she answered ...), Mr. Bennet made no answer ... (Mr. Bennet said nothing), cried his wife impatiently ... (his wife eagerly asked ...).

In some chapters on the model of ordinary everyday conversation, Jane Austen without any authorial pressure sheds light on the character traits of several characters at once. Such techniques of indirect characterization are of primary importance for the novel Pride and Prejudice. It is in the dialogical speech of the heroes that certain properties of their character are manifested. Sometimes even a single statement of the Osten character becomes to the limit a compressed reflection of his nature.

Dialogue Osten, which carries the emotional, psychological characteristics of its participants, is deeply social in nature and purpose. The speech of the actors, given in its multifaceted determination, with all its structure and content always includes a certain social coloring. In the novel, the writer devotes a lot of space to conversations of people who belong to different social strata or social groups. According to the degree of activity of the speakers, their role during the conversation, the reader can comprehend the social essence of the interlocutors, the essence of the social relations between them, since everyone’s speech represents his social consciousness.

Jane Austen constantly forces his reader to unravel the verbal expressions of mental states in their diverse conditionality, in their double meaning - for the context of the situation and for the internal psychological context.

Thus, in an outwardly unremarkable dialogue, the author penetrates into the very essence of feelings and motives dictating replicas of characters, and, consequently, their behavior. In a dialogical speech, Osten always combines the real conditioning of the conversation with a given situation, its external determinism with the motives of every speaker that are invisible on the surface. Dialogue Jane Austen is the key to the psychological state of heroes, the main means of psychological interpretation of images, as well as an illustration of what interests and excites the author most in the artistic recreation of human nature - a study of the psychology of people.

The double conditioning of Osten’s dialogical speech significantly distinguishes the direct speech of her characters from the less psychologically rich speech of the characters of the previous and modern prose.

Reflecting reality in all its complexity and inconsistency, Osten consistently reveals the drama of life that comes to light in clashes of opposing interests, desires, and goals of people. Deep experiences, emotional stress of individual characters are reproduced by the novelist also mainly in dialogical speech. It most vividly and concentratedly reflects the dialectical processes and contradictions in the lives of the actors, the dramatic conflicts in which they enter.

It is also significant that the dialogue has a plot-forming value. It is a system of events. The history of character, all the main points of the plot are determined precisely in connection with their importance for the development of character. The dialogue in the works of Jane Austen inevitably represents one or another structural element of the plot, in the dialogue the main eventuality of the novels of the writer.

“Pride and Prejudice” opens with a dialogue between the Bennett spouses, which serves as the exposition and the plot of the work. In the continuation of the novel in a dialogical speech, the development of action is repeatedly carried out (Elizabeth’s conversation with Darcy in Pemberley, talk about Lydia’s escape, Elizabeth’s explanation with Mr. Collins, Wickham, Lady de Boer, etc.). The decisive clash of opposing characters and life views of the heroes, i.e. the culmination of the work also comes in a dialogue - in a dramatic explanation of Elizabeth and Darcy in Rosings. The denouement of the novel lies in the last dialogue of the heroes, when they, having traveled a long path of error and established themselves in their moral principles, finally find out their relationship.

The process of moral insight, the spiritual growth of the protagonists, the assertion of moral ideals defended by the author occurs in most cases in the explanations of the characters, persons holding sharply opposite views on the same things. Dialogue, therefore, becomes the main engine of the plot, part of its structure.

Dialogue, quantitatively and functionally, is of primary importance for Osten's novel as a language material, especially amenable to observation by the narrator and as a way of analyzing the characteristics of the people around him. The novelist peers into the external and internal springs of conversation, into the logic and conditioning of each of his motives. The mechanism of dialogues indirectly reveals psychology, social ties, and character traits of all interlocutors; they reflect contradictions and complex dialectical processes of the private lives of heroes. With the help of dialogic speech, the complex structure of the work is carried out, and, consequently, the implementation of the author’s idea.

Heroes of Osten loom in conversation about the subject of their mental, business, domestic interests. But the writer penetrates beyond this layer further, into the most deep-seated topics, lurking beyond objective interests. The speech of the Osten characters is given in psychological characterization, in its external and internal determinism.

Consider an example.

Elizabeth listened in silence, but was not convinced. Their behavior at the assembly had not been calculated to please in general; and with more quickness of observation and less pliancy of temper than her sister, and with a judgment, too, unassailed by any attention to herself, she was very little disposed to approve them - Elizabeth listened to her silently, but in her heart did not agree with her . Mr. Bingley's sisters' behavior at the ball was by no means intended to be universally approved. With more observation than Jane, not so good-natured and not bound by a personal feeling, Elizabeth could not admire them.

Between him and Darcy there was a very steady friendship, in spite of a great opposition of character. ~ Bingley was endeared to Darcy by the easiness, openness, ductility of his temper, though no disposition could offer a greater contrast to his own, and though with his own he never appeared dissatisfied. On the strength of Darcy "s regard Bingley had the firmest reliance, and of his judgment the highest opinion. In understanding, Darcy was the superior. Bingley was by no means deficient, but Darcy was clever. He was at the same time haughty, reserved, and fastidious, and his manners, though well bred, were not inviting. In that respect his friend had greatly the advantage. Bingley was sure of being liked wherever he appeared; Darcy was continually giving offence - Despite the difference in characters, he was close to Darcy’s close friendship, Darcy appreciated Bingley for his light, open, and supple nature, although these qualities sharply contradicted his own disposition, which he was by no means dissatisfied with. Bingley relied heavily on Darcy’s friendship Believing his judgments deeper than his own, although Bingley was not at all a diminutive man, Darcy was truly smart. At the same time, Darcy was proud, reserved and difficult to please. His manners, although they testified to good education, not too disposed to others. In this regard, his friend had a significant advantage over him. Wherever Bingley appeared, he immediately evoked friendly feelings for himself. Darcy kept pushing everyone away from him. Manner in which they spoke of the Meryton assembly was sufficiently characteristic. Bingley had never met with pleasanter people or prettier girls in his life; every body had been most kind and attentive to him, there had been no formality, no stiffness; he had soon felt acquainted with all the room; and as to Miss Bennet, he could not conceive an angel more beautiful. Darcy, on the contrary, had seen a collection of people in whom there was little beauty and no fashion, for none of whom he had felt the smallest interest, and from none received either attention or pleasure. Miss Bennet he acknowledged to be pretty, but she smiled too much - Everyone’s attitude towards the Meriton ball was quite characteristic. Bingley had never met such a sweet society and such charming women in his life; everyone was kind and attentive to him, he did not feel any tension and soon came close with everyone who was in the hall. As for Miss Bennet, he could not have imagined a more charming angel. Darcy, on the contrary, saw around him a crowd of people who were quite ugly and completely tasteless, to whom he had not the slightest interest and from whose side he did not notice either attention or location. He admitted that Miss Bennett was not bad by herself, but found that she was smiling too much.

All paragraphs of this passage are composed of several difficult sentencesbuilt in accordance with the rules of English syntax. Common Austen sentences with direct word order are observed. It is possible that in order to enhance the expressiveness of the speech of his characters, Osten widely uses inversion, although, on the other hand, the presence of inversion, ... .Miss Bennet he acknowledged to be pretty (He admitted that Miss Bennet is not bad by herself)) can also be explained by the syntax that was not well established at the beginning of the 19th century, since the norms of the language had not yet developed by the time the novel “Pride and Prejudice” was written.

The punctuation diagram of the passage shows that, compared to the number of all punctuation marks used here, Osten uses the dot sign least of all. This may be due to the fact that the writer widely uses improperly-direct speech, into which indirect speech is imperceptibly interwoven, requiring the use of additional punctuation marks.

A stylistic analysis of the passage also clearly shows that Jane Austen predominantly uses neutral phrases, which are built and based, in most cases, on colloquial vocabulary, which is characteristic of that period of time, for example: to be convinced, to please, to be disposed to approve smb., to be a fine lady, to be pleased, to be proud, to be conceited, to be handsome, to be educated, to have a fortune, to be in the habit of doing smth., to be entitled to do smth., to think well of smb., to be of a respectable family, to inherit property, to purchase an estate, to be provided with smth., to be doubtful, easiness of smb "s temper, to be anxious, to be established, to consider smth., to marry a man, etc.However, the language of the novel also contains phrases inherent in the literary style of that time, for example: to entertain hopes of being admitted (to hope for permission to be admitted to someone), to be more fortunate (to be somewhat more fortunate), to be in general circulation (to become known to many), to have the advantage of ascertaining (fortunate to see), being unworthy to be compared to.

The analysis of the language of the heroes of the novel “Pride and Prejudice” highlights the overwhelming number of phrases that correspond to the use of words, grammatical constructions, phraseological phrases, etc. accepted in the language collective of the Jane Austen era.

The heroes of the novel often use the grammatical constructions of the passive voice (was not convinced, had not been calculated, was very little dispose, had been educated, were entitle to think, was now provided with a good house, was tempted by an accidental recommendation, was pleased with the situation, was therefore established),   non-personal forms of the verb (there had been no formality),   the use of infinitive and modal constructions (calculated to please, disposed to approve, were entitled to think, intended to purchase, did not live to do it, leave to purchase, unwilling to preside, disposed to consider, recommendation to look, acknowledged to be pretty, allowed it to be so, pronounced her to be, authorized to think, more than they ought, could not conceive)and gerundial turns (in the power of being agreeable, in the habit of spending more, in the habit of associating with people, anxious for his having an estate, sure of being liked), not only gives the narrative style additional features of conciseness and conciseness, but also refers to the peculiarities of the style of the writer.

In order to more accurately convey the relations that arise between the characters, the writer uses verbs, nouns, adjectives, as well as modal verbs that convey feelings: had not been calculated to please, being proud and conceited, were very anxious, was pleased with, was satisfied with, appeared dissatisfied, had the firmest reliance, had the highest opinion, felt presented with all the room, felt the smallest interest, receive pleasure they admired her and liked her, felt authorized, commendation to think of smb.,   etc.

Thus, the individualization of the character language is carried out by the writer not only by transmitting the characteristic content of each speaker, the ideological meaning of the statements. It is created by means that are not always noticeable to the reader: here the lexical, vocabulary composition of speech, its syntactic and stylistic structure, its intonation play a role. By introducing into the speech of the actor specific features for him, one or another of his favorite words, the manner of constructing a phrase, the words associated with his occupation or his favorite pastime, Osten achieves a distinct sound of the voices of the heroes, of great artistic specificity.

2.2 Speech Characteristics of Jane Bennett

To create the image of Jane Bennett - the elder sister and girlfriend of the main character Elizabeth - the author uses not only the speech of Jane herself, but also her thoughts, a description of her experiences. N.M. Demurova noted that Jane Austen refused to divide the heroes into villains, victims and resonators, thereby showing a realistic vision of the characters. It is embodied in the novel at a stylistic level. One of the innovative techniques of J. Austin, the researcher calls the use of improperly direct speech. This technique can be traced on the example of the image of Jane.

So, for example, when describing a girl’s feelings for Charles Bingley, the author uses both direct and indirect speech:

When Jane and Elizabeth were alone, the former, who had been cautious in her praise of Mr. Bingley before, expressed to her sister just how very much she admired him.

When Jane and Elizabeth were left alone, Jane, who had been very restrained about Mr. Bingley before, confessed to her sister how much she liked him.

Often, Osten generally excludes direct dialogues from Miss Bennet’s characteristics, using only an improperly direct speech:

Jane pictured to herself a happy evening in the society of her two friends, and the attentions of her brother

Jane imagined a happy evening that she would spend in the company of two friends, taking attention from Mr. Bingley.

She accounted for it, however, by supposing that her last letter to her friend from Longbourn had by some accident been lost.

Jane explained this by saying that her letter sent to a friend from Longbourne was lost for some reason.

She endeavored to persuade herself that she did not regret it; but she could no longer be blind to Miss Bingley "s inattention.

Jane tried to assure herself that she was not at all upset by this, but she could not help noticing his sisters' inattention to herself.

In accordance with these examples, Jane appears before the reader as a girl who is capable of self-hypnosis and loves to dream.

Jane's remarks testify to her love for her sister and concern for her fate:

“Good Heaven! can it be really so! Yet now I must believe you, ”cried Jane. "My dear, dear Lizzy, I would-I do congratulate you-but are you certain? forgive the question-are you quite certain that you can be happy with him? ”

- Good God! - exclaimed Jane. “Could this have happened?” And, however, I must now believe you. Lizzy, dear, I would like, I would be glad to sincerely congratulate you. But are you sure — forgive me this question — are you completely convinced that you will be happy with him?

This is evidenced by the numerous introductory constructions presented in the example: Good Heaven! My dear, dear Lizzy, I do congratulate you, forgive me this question.

The heroine's speech as a whole is characterized by an abundance of exclamation structures, which indicates her emotionality and activity:

"He is just what a young man ought to be," said she, "sensible, good-humored, lively; and I never saw such happy manners! - so much ease, with such perfect good breeding! ”

“He is exactly what a young man should be,” she said, “smart, kind, funny.” And I have never seen such manners - so much freedom and at the same time how good education is felt!

"Oh, that my dear mother had more command over herself!"

- How I would like our dear mother to know how to better control herself!

Now I am quite happy! ”Said she,“ for you will be as happy as myself.

“Now I'm really happy!” - she said. “Your life will be as joyful as mine.”

Thus, when creating the image of Jane Bennet, the author uses various tricks, among which improperly direct speech is widely represented, as well as expressive and introductory constructions.

2.3 Speech Characterization by Elizabeth Bennett

The protagonist of the novel appears before the reader, being an already formed personality. Elizabeth Bennett Austen does not give any background to the reader.

Elizabeth is not like the representatives of the surrounding society. Her aspirations are not limited to marriage, despite the fact that being a dowager, with marriage, she could get a certain social status.

The lack of a dowry made Elizabeth uncompetitive in the so-called "brides market." Also, Elizabeth does not have a sufficiently attractive appearance, which, again, would facilitate the process of marriage. Mother in her conversation with Mr. Bennett speaks about Elizabeth is not very flattering:

Lizzy is not a bit better than the others; and I am sure she is not half so handsome as Jane, nor half so good-humored as Lydia.

Lizzy is no better than your other daughters. I am sure that she is half as beautiful as Jane, and much less good-natured than Lydia.

Father partly agrees with her:

"They have none of them much to recommend them," replied he; "They are all silly and ignorant like other girls; but Lizzy has something more of quickness than her sisters. ”

None of my daughters are particularly noteworthy, ”he replied. “They are just as stupid and ignorant as all the other girls at this age.” It's just that Lizzy is a little more helpful than her sisters.

The writer herself refrains from characterizing the heroine, perhaps in order to create the full authenticity of the heroine's perception through the eyes of her environment.

The lack of attractiveness and dowry puts Elizabeth in a certain social framework, and, at first glance, it seems that a young girl, being in a similar position, should accept any marriage proposal. But Elizabeth stands out from this row.

Elizabeth Bennet is very brave for the position in life in which she is.

The essence of Elizabeth Bennett is revealed on her first visit to Rosings. She, the only one invited to Rosings, is not intimidated.

Rosings Park is the estate of Lady Catherine De Boer, who is the most unpleasant and domineering woman. She is very important in society and is the aunt of Mr. Darcy. Everyone is intimidated by this woman with the exception of Elizabeth, who is strong enough in her own mind and character. This demonstrates the enormous courage of Elizabeth, who will not worry about the opinion of a lady who is able to annoy any hope of a good marriage. Elizabeth Bennett is fearless and independent.

Illustrative are the scenes of conversations in the house of Lady de Boer.

"For heaven's sake, madam, speak lower. What advantage can it be for you to offend Mr. Darcy? You will never recommend yourself to his friend by so doing!"

- Mom, for God's sake, try to speak quieter. Why offend Mr. Darcy? Do you really recommend yourself to his friend?

The character of Elizabeth Bennett is revealed gradually through the complex system of relations of the heroine with her parents, sisters, friends, with those who wish her happiness and her ill-wishers, finally, with those men who were job seekers of her hand. Despite the impersonality of the narrative, the author’s attitude towards her expresses herself already in what features of her character stand out above all: a sense of humor, a lively, cheerful disposition. Upon hearing Darcy's first, unflattering opinion of her, Elizabeth " told the story, however, with great spirit among her friends; for she had a lively, playful disposition which delighted in anything ridiculous. "Here are the epithets lively (full of life and spirit), playful (full of fun, fond of play)   to the noun disposition (one "s nature or temper)   perform a characterological function. Their positive connotations are an indirect confirmation of the author's approving attitude to heroin. In the speech part of Elizabeth, the words "laugh, laugh" really occur repeatedly. She tells about herself:

I really like the funny ... Stupidity and whims, whims and inconsistencies seem funny to me, and when I succeed, I laugh at them.

The speech of Elizabeth Bennet is distinguished by emotionality and expressiveness, it often contains exclamatory sentences. This is especially relevant in relation to the inner speech of the heroine. Let's look at some examples.

Of neither Darcy nor Wickham could she think without feeling she had been blind, partial, prejudiced, absurd. "How despicably I have acted!" She cried; "I, who have prided myself on my discernment! I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity in useless or blameable mistrust! How humiliating is this discovery! Yet, how just a humiliation! Had I been in love, I could not have been more wretchedly blind! But vanity, not love, has been my folly. Pleased with the preference of one, and offended by the neglect of the other, on the very beginning of our acquaintance, I have courted prepossession and ignorance, and driven reason away, where either were concerned. Till this moment I never knew myself. ”

She could not think of Darcy or Wickham, not realizing herself in her blindness, prejudice, injustice, stupidity. - How shamefully I did! - she exclaimed. “I, so proud of my insight and so reliant on my own common sense!” So often laughing at my sister’s well-being and feeding her vanity so shameful and unjustified hostility! How humiliating this discovery is to me! And how fair I am humiliated! If I even fell in love, then I would not be so blind. But vanity, not love, took my sight! Flattered by the first acquaintance of the preference of one person and offended by the neglect of another, I was guided by prejudice and ignorance and persecuted reasonable arguments as soon as the matter concerned any of them! That's when I had a chance to figure out myself!

"When my eyes were opened to his real character-Oh! had I known what I ought, what I dared to do! But I knew not-I was afraid of doing too much. Wretched, wretched mistake! ”

But my eyes opened on him! If I then knew that I could, no, what I had to do! But I did not understand - I was afraid to go too far. A terrible, irreparable mistake!

In Elizabeth's speech, figurative expressions, metaphors are found:

“Oh! nomy regret and compassion are all done away   by seeing you so full of both.

- Oh no,my pity and sympathy vanished as soon as I saw how much they overwhelm you.

« In what an amiable light does this place him! "Thought Elizabeth.

“In what a favorable light these words are drawn to Mr. Darcy!” Elizabeth thought.

A characterization of the heroine’s linguistic personality is also the high emotionality of her statements, their vivid expressive coloring, which is not inherent in other characters of the play. At the grammatical level, this is expressed in the active use of interjections - a universal category, the main content and functional purpose of which is to convey emotions:

Oh papa, what news-what news? - Ah, dad, what is it? Any news ?, Lydia! Ah, Lydia, Lydia!

We can also observe examples of rhetorical questions, also used to enhance the expressiveness of the heroine's speech:

Your ladyship wants Mr. Darcy to marry your daughter; but would my giving you the wished-for promise make their marriage at all more probable? Supposing him to be attached to me, would my refusing to accept his hand make him wish to bestow it on his cousin?

Do you, Your Grace, wish Mr. Darcy to marry your daughter? But if I made the required promise, would marriage between them become more likely? With his penchant for me, could I, by rejecting his hand and heart, induce Mr. Darcy to propose to his cousin?

Internal monologues in the novel by J. Osten serve to convey the thoughts and feelings of the main character. This is especially indicative of the heroine's thoughts about the estate of Mr. Darcy. Many researchers noted that the beauty of Pemberley, its scope, its greatness deeply excited the heroine and dramatically changed her attitude towards the owner of these lands. The most charming and clever heroine of Osten is credited with prudence, most often referring to her own words in response to a sister's question about her feelings for Darcy: "It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley. "

“The feeling grew in me so gradually that I myself cannot say when it arose. Perhaps, however, the day can be considered the beginning when I first saw his delightful estate in Derbyshire ... "

At first glance, Elizabeth's answer seems to be a playful, somewhat ironic commentary on her own, realized by her commercialism. This conclusion suggests itself, given that from the first to the last page of the novel, Jane Austen reveals to the reader the image of a girl who is not capable of truly falling in love if her chosen one does not have a high moral character.

2.4 Speech Characteristics of Charles Bingley

As in the case of the image of Jane Bennet, to characterize Charles Bingley, Austen uses a method of improperly direct speech and here it manifests itself most clearly. Being one of the main characters of the novel, Bingley directly pronounces only a few rather inexpressive phrases throughout the work, while his characteristic features are described by the author by displaying his actions and thoughts. Let's look at some examples.

Everybody said how well she looked; andMr. Bingley thought her quite beautiful , and danced with her twice!

Everyone just said how beautiful she was.Mr. Bingley called her charming   and danced with her twice.

Mr. Bingley was unaffectedly civil in his answer , and forced his younger sister to be civil also, and say what the occasion required.

Bingley was sincerely kind in his answers , forcing to be polite and his little sister, who said everything that was appropriate under such circumstances.

) the hero’s real speech in combination with his thoughts;

Bingley replied that he did, and made his congratulations.

Bingley answered in the affirmative and took the opportunity to bring his congratulations.

2) his statements and experiences in interaction with the words and thoughts of another,

Bingley, she had likewise seen for an instant, and in that short period saw him looking both pleased and embarrassed.

She also managed to glance at Bingley only briefly, noting at the same time that he looked happy and embarrassed.

3) the reaction to speech is not expressed, but implied,

He inquired in a friendly, though general way, after her family, and looked and spoke with the same good-humored ease that he had ever done.

Bingley earnestly inquired about the health of her relatives, though, without mentioning anyone by name. At the same time, he held on and talked with the good nature and cordiality that distinguished him from his meetings in Hertfordshire.

4) expanded dialogue

Bingley looked a little silly at this reflection, and said something of his concern at having been prevented by business.

These words aroused some confusion in Bingley, and in response he muttered something about the things that had delayed him.

Using the lexical and syntactic structures characteristic of Mr. Bingley's speech, the author creates a picture of his state of mind:

Bingley was quite uncomfortable ; his sisters declared that they were miserable.

Bingley was very worried , and his sisters said they felt extremely miserable.

but diffuseness and warmth remained for Bingley "s salutation. He was full of joy and attention.

But Bingley's greeting was fervent and eloquent. He was full of care and delight.

Thus, when creating a speech portrait of Mr. Bingley, Jane Austen primarily uses the technique of improperly direct speech, revealing with its help inner world   a hero. Organically interwoven into the fabric of the narrative, an improperly direct speech highlights the most cherished thoughts, feelings, hopes and thoughts of the hero, performing a characterological, emotional and evaluative function. The masterful use of improperly direct speech is evidence of Jane Austen's innovation in the field of style, her outstanding writer's talent and the high esthetic value of the work.

2.5 Speech Characterization of Mr. Darcy

As already noted, the novel is built on speech images. There are no direct descriptions and author's comments in the work, therefore the heroes of the novel remain as if outside the field of criticism, they are left to their own devices. This self-expression of characters through speech becomes the main advantage of the work: it gives us an idea of \u200b\u200bhow the gentry was said and generally lived almost two centuries ago. The class of the English petty nobility is most vividly represented in the person of Catherine de Beur and her nephew, Mr. Darcy. Pride is the main character trait of the English aristocrat. In this novel, she seems to be absolutized in the person of the main characters - Darcy and Elizabeth, who embodied, on the one hand, pride, on the other - prejudice. Here is what Jane Austen writes about Darcy:

“Was not the proudest, most disagreeable man in the world ...”

"Darcy was recognized as one of the most arrogant and unpleasant people in the world ..."

Wickham, brought up in the same house with Darcy, once noticed that his pride in him was his best friend: she, like no other feeling, made him a virtuous man:

"It is wonderful", replied Wickham, "for almost all his actions may be traced to pride: and pride has often been his best friend. "It has connected him nearer with virtue than any other feeling."

“This is really strange,” Wickham confirmed. - Indeed, almost all of his actions, one way or another, are explained by pride. Pride was often his best adviser. Of all the feelings, she brought him closer to virtue. ”

Then he explains what is meant - pride becomes a virtue in Darcy, and this means that it was she who made him noble and generous, gave him the opportunity to freely distribute money, be hospitable, help and facilitate the fate of the poor. It was pride for his family and at the same time filial pride, to which brotherly was added, making him a very attentive and loving brother and a reliable patron of his sister. From the novel we learn where this indestructible, so tenacious pride that became the “sign” of aristocracy comes from, Darcy himself says this: he was always selfish in practice, but not essentially “not in principle”. From childhood, a father allowed, encouraged, and even intentionally taught his child to care only about himself and his family — no one else; Moreover: " to think meanly of all the rest of the world, to wish at least to think meanly of their sense and worth compared with my own. Such I was, from eight to eight-andtwenty "-" contempt for the rest of the world, the willingness to put nothing in the mind and merits of other people in comparison with my own. So I was from eight to twenty-eight years. "

In portraying the character, Osten breaks down stable literary traditions. The author shows the dependence of the human psyche on the material situation and social laws that exist in society.

So, in the novel “Pride and Prejudice”, the process of rethinking one's own feelings and actions helps to pacify the pride of the heroes, with respect to Mr. Darcy this process is accompanied by reconciliation with society. Indulgence and tolerance for surrounding ignorance, tactlessness concentrated in people, becomes the most painful and difficult test for Darcy because he does not know how to perceive the world around with a slight share of irony. In this regard, he is much weaker in volitional qualities than Elizabeth, whose sense of humor reconciles her with many unpleasant circumstances.

Darcy takes life too seriously, he does not know how to joke, so he unduly dramatizes events. Subsequently, the heroine infects him with her ironic attitude to life, realizing that for Darcy this is the most optimal solution to the problem of communicating with others. Dosing his own jokes as much as possible, Elizabeth introduces Darcy to the world around him, from which he was estranged from upbringing and education.

Despite his mind, the hero lives within the framework of stereotypes proposed to him by high society. Even before meeting Elizabeth, Darcy was biased against her company, preferring the company he knew. This feeling is based on the opinion of the hero that neither the appearance nor the behavior of Miss Bennet matches the ideal that Darcy invented for himself on the basis of stereotypes prevailing in society:

Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness.

Despite the fact that with his picky eye he found more than one deviation from the ideal in her appearance, he was nevertheless forced to recognize it as unusually attractive. And although he argued that Elizabeth’s behavior was different from that adopted in secular society, it bribed him with its lively immediacy.

That is, thanks to the rules of behavior accepted in society, Darcy has a preconceived bias towards Elizabeth, which indicates the lack of independence of the hero’s thinking and his dependence on the opinion of the world. Under the influence of Elizabeth in Darcy, a process of breaking stereotypes takes place, as a result of which his character changes.

It is the province that becomes the place that contributes to the disclosure of the best, deepest qualities of the personality of heroes. The meeting in Pamberley brings together heroes with each other's shortcomings. It seems to us the culmination scene in the denouement of intrigue. Elizabeth was supposed to see Darcy's estate, furnishings, rooms, the interior of which again proves the common tastes of the characters. I should have heard flattering reviews about the owner of the house from a reliable and disinterested source, which was the housekeeper who knew him from an early age. Seeing Darcy on his land, Elizabeth felt a changed manner in his behavior. All this contributed to a new perception by the heroine of Darcy: she realized that his estate pride is the result of spiritual loneliness, secrecy and embarrassment, a protective mask from others. Elizabeth became convinced that the external manifestations of pride that hurt her could be mitigated by other behavior of a welcoming host. In turn, Darcy, seeing the heroine in the company of presentable relatives of the Gardiners, communication with which did not detract from his honor and dignity and even brought joy, on the contrary, found the strength to overcome his pride.

Self-characterization of heroes is contained in direct dialogical speech. In a conversation with Elizabeth (chap. XI), Darcy calls the main features of his character: he is not soft enough, he can not forget the vices and stupidity of others, he is not able to feel and be touchy.

“I have made no such pretension. I have faults enough, but they are not, I hope, of understanding. My temper I dare not vouch for. It is, I believe, too little yielding-certainly too little for the convenience of the world. I cannot forget the follies and vices of others so soon as I ought, nor their offenses against myself. My feelings are not puffed about with every attempt to move them. My temper would perhaps be called resentful. My good opinion once lost, is lost forever. ”

I have enough weaknesses. I only hope that my mind has been spared them. But for my temper I would not vouch. Perhaps I'm not soft enough - in any case, from the point of view of the convenience of those around me. I do not know how to forget the stupidity and vices of others as quickly as it should, as well as the insults inflicted on me. I am not able to feel as soon as they want to touch me. I can probably be called touchy. If someone loses my respect, then forever.

His first statement was arrogant - contemptuous: “ I am in no humor of present to give consequence to young ladies who are slighted by other men". Later, in the moments of the first confession, first confident in her consent, then stunned by her refusal, he directly speaks of all his fears regarding their possible union:

These bitter accusations might have been suppressed, had I, with greater policy, concealed my struggles, and flattered you into the belief of my being impelled by unqualified, unalloyed inclination; by reason, by reflection, by everything. But disguise of every sort is my abhorrence ... Could you expect me to rejoice in the inferiority of your connections? To congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?

Could I have avoided such grave accusations if I had prudently hidden it from you? If I flattered you, assuring me of my all-consuming passion, which would not be overshadowed by contradictions, arguments of reason or secular conventions?

In his speech, the unionless listing of homogeneous prepositional additions ( by reason, by reflection, by everything), the use of conditional and subjunctive moods (might have been suppressed, had I concealed, could you expect), a parallel construction in two consecutive interrogative sentences ( Could you expect me to rejoice ... To congratulate myself ...) create a build-up effect, due to which his resentment and irritation find expression.

One “facet” of Mr. Darcy’s linguistic personality is his ability and desire to aesthetize speech acts. This quality is characteristic of the hero to a large extent, which is expressed in the use of phraseological units, winged, as well as in the active use of a variety of expressive means: epithets, metaphors, comparisons, etc.

"I am afraid you have been long desiring my absence, nor have I anything toplead in excuse of my stay , but real, thoughunavailing concern . Would to Heaven that anything could be either said or done on my part that might offer consolationto such distress ! But I will not torment you withvain wishes , which may seem purposely to ask for your thanks. This unfortunate affair will, I fear, prevent my sister "s having the pleasure of seeing you at Pemberley to-day."

“You must be waiting a long time for my departure.” I have nothing to justify my slowness, except perhaps sincere, albeitbarren sympathy . God, if only I could do something or express somethingto alleviate your grief ! But why bother youempty wishes as if seeking gratitude ?. I'm afraid this sad event will deprive my sister of the pleasure of seeing you today in Pemberley?

- You are too generous to play with my heart. If your attitude towards me has not changed since we spoke in April, tell me right away. My feelings and all my thoughts are unchanged. But you just have to say a word, and I will never talk about them again.

Such I was, from eight to eight and twenty; and such I might still have been but for you,dearest, loveliest   Elizabeth!

So I was from eight to twenty eight years old. And so I would remain so far, if not for you,my wonderful, my dear friend   Elizabeth!

Darcy's love is perhaps the main psychological mystery of this novel. There is nothing rational in his feeling, although he is undoubtedly a reasonable and insightful man. As he himself first speaks of his love:

In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you

- All my struggle was futile! Nothing comes out. I can’t cope with my feelings. Know that I am infinitely fascinated by you and that I love you!

Darcy's path to meet Elizabeth is a way to get rid of prejudice and arrogance, from vanity, pride and self-confidence to a sharply self-critical assessment of her character:

I have been a selfish being all my life, in practice, though not in principle ... I was spoiled by my parents, who, though good themselves ... allowed, encouraged, almost taught me to be selfish and overbearing, to care for none beyond my own family circle, to think meanly of all the rest of the world, to wish at least to think meanly of their sense and worth compared with my own ... You taught me a lesson, hard indeed at first, but most advantageous.

All my life I have been an egoist, if not in the way of thoughts, then, in any case, in actions. Being, to my misfortune, my only son (and for many years my only child), I was spoiled by my overly generous parents (my father was a particularly kind and sympathetic person). They admitted, approved, almost instilled in me egoism and authority, disdain for everyone who was outside our family circle, contempt for the rest of the world, willingness to put nothing in the mind and merits of other people in comparison with my own. You taught me a lesson that at first seemed to me bitter, but in fact was unusually useful.

In this conversation with Elizabeth, his self-esteem sounds. Repeat words selfish, italics right, child, wishparallel constructions ( I was taught, I was given, I was spoiled) and the listings give out his excited, confessional mood, his gratitude to Elizabeth, whose love for him made him different.

Individualization of the character language is carried out by the writer not only by transmitting the characteristic content of each speaker, the ideological meaning of the statements. It is created using various means: the lexical, vocabulary of the speech, its syntactic and stylistic structure, intonation, the introduction into the speech of the actor of specific features specific to him, etc.

Osten's characters to a large extent reveal their nature, primarily in the lexical features inherent in their speech. In the language of many actors, often even one word that they repeatedly use reveals their spiritual essence.

The novel is built on speech images. There are no direct descriptions and author's comments in the work, therefore the heroes of the novel remain as if outside the field of criticism, they are left to their own devices. This self-expression of characters through speech becomes the main advantage of the work: it gives us an idea of \u200b\u200bhow people spoke and generally lived almost two centuries ago.

Conclusion

This work was devoted to the study of the speech characteristics of the heroes of the novel “Pride and Prejudice” by Jane Austen. During the writing, the following conclusions were made.

The study of the character’s linguistic personality is impossible without taking into account the entire paradigm of his speech characteristics, since they are based on the discursive characteristics of the communicant and are the main means of expressing the pragmatic potential of a literary work. The presence of the speech characteristics of the characters is key in creating artistic images both by the author and the reader who later interprets the discourse. The language means chosen and used by the author for the verbal behavior of a character in a work of art are essential for describing the linguistic personality of a literary hero.

An important role in the organization and production of statements is played by the individual component of the personality, which is due to the uniqueness of each language personality. The character’s speech portrait includes the basic concepts of a picture of the world reflected in speech, marking the time and space of the hero’s life, social aspects, his individual way of expressing his thoughts through certain communicative strategies and their lexical design, etc. The linguistic features of the character’s speech and the emotionally expressive coloring contained in the speech parties represent the character’s attitude to the world, his state of mind, give an idea of \u200b\u200bhis attitudes and values, the goals of the society in which he lives.

Individualization of the character language is carried out by the writer not only by transmitting the characteristic content of each speaker, the ideological meaning of the statements. It is created by means that are not always noticeable to the reader: here the lexical, vocabulary composition of speech, its syntactic and stylistic structure, its intonation play a role. By introducing into the speech of the actor specific features for him, one or another of his favorite words, the manner of constructing a phrase, the words associated with his occupation or his favorite pastime, Osten achieves a distinct sound of the voices of the heroes, of great artistic specificity.

Osten's characters to a large extent reveal their nature, primarily in the lexical features inherent in their speech. In the language of many actors, often even one word that they repeatedly use reveals their spiritual essence.

To create the image of Jane Bennett - the elder sister and girlfriend of the main character Elizabeth - the author uses not only the speech of Jane herself, but also her thoughts, a description of her experiences, drawing with their help the image of an impressionable, dreamy, caring and sensitive young woman.

Elizabeth Bennett is presented by the author as a bright and unlike other girl. Her aspirations are not limited to marriage, despite the fact that being a dowager, with marriage, she could receive a certain social status. To describe her image, Osten uses the heroine's speech, in which various exclamatory constructions, rhetorical questions, interjections, thoughts, self-characterization, etc.

When creating a speech portrait of Mr. Bingley, Jane Austen primarily uses the technique of improperly direct speech, revealing with her help the inner world of the hero. Organically interwoven into the fabric of the narrative, an improperly direct speech highlights the most cherished thoughts, feelings, hopes and thoughts of the hero, performing a characterological, emotional and evaluative function. The masterful use of improperly direct speech is evidence of the innovativeness of writers in the field of style, its outstanding literary talent and high aesthetic value of the work described by the author by displaying the actions and thoughts of the hero.

There are no direct descriptions and author's comments in the work, therefore the heroes of the novel remain as if outside the field of criticism, they are left to their own devices. This self-expression of characters through speech becomes the main advantage of the work: it gives us an idea of \u200b\u200bhow people spoke and generally lived almost two centuries ago. Mr. Darcy's expressive phrases filled with various stylistic figures characterize his aristocratic personality, allow him to demonstrate his mind and describe his feelings.

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