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TYPE
Original Research
PAGE NO.
12-15
DOI
OPEN ACCESS
SUBMITED
14 March 2025
ACCEPTED
10 April 2025
PUBLISHED
12 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Formal Alteration of
Phraseological Units in
The Literary Works of V.
Vysotsky
Shukurova Olmakhon Odiljon kizi
Department of Uzbek Language and Literature, Russian and English
Languages, Bukhara State Medical Institute named after Abu Ali Ibn
Sino,Uzbekistan
Abstract:
The presented article is aimed to explore the
linguistic representation of the author within the
poetry of V. Vysotsky. To accomplish this objective,
several tasks were undertaken: an extensive
examination of V. Vysotsky's poetic legacy, a thorough
analysis of the stylistic application of phraseological
units in his poetry to effectively showcase the evolving
character of phraseology, its receptiveness to diverse
structural and semantic transformations, and to
distinctly highlight the uniqueness of the poet's artistic
style and his skillful manipulation of language.
Keywords:
Metaphorically
reinterpreted
phraseological constructs, textual stylistics, stylistic
devices, linguistic imagery, altered phraseology,
interpretations of phraseological constructs, and
metaphorical characteristics.
Introduction:
An extensive exploration of the poetic
legacy of V. Vysotsky, particularly focusing on the
stylistic application of phraseological units within his
poetry, effectively highlights the evolving character of
phraseology, its receptiveness to diverse structural and
semantic modifications, and distinctly showcases the
poet's unique creative style and linguistic proficiency.
Furthermore, it is noteworthy that a dedicated analysis
of the stylistic employment of phraseological units in
the adaptation of V.S. Vysotsky by the author has yet to
be undertaken, underscoring the significance of the
selected topic. Investigating V. Vysotsky's poetry
enables the identification of key techniques in the
individual adaptation and utilization of phraseological
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European International Journal of Multidisciplinary Research and Management Studies
units: 1. Infusing a phraseological unit with new
nuances of meaning while preserving its lexical and
grammatical structure:
Но только я уже бывал на Темзе, Собакою на Сене
восседал...
(«Я к вам пишу»)
In this instance, the idiomatic expression «собака на
сене» (Eng: dog in the manger) is not employed in its
literal sense (referring to an individual who neither
utilizes a resource nor allows others to benefit from it).
V. Vysotsky utilizes merely the superficial structure of
the idiomatic expression as a tool for linguistic play.
Был в балете,
-
мужики девок лапают.
Девки
-
все как на подбор
-
в белых тапочках...
(«Два письма. Письмо с выставки»)
The phraseological expression «в гробу видеть (в
белых тапочках) » (Eng: to see in a coffin (in white
slippers)) is basically applied in an abbreviated manner,
as it does not convey its literal interpretation (to regard
someone or something with utter contempt). The
employed form of this phraseological unit enhances the
artistic imagery, contributing to the development of the
protagonist's speech traits, specifically that of a rural
peasant, thereby enriching the expressiveness of his
dialogue:
...Бросил якорь в историю стройный корвет,
Многотрубные увальни вышли в почёт.
(«Этот день будет первым...»)
The specific meaning of the idiomatic expression
«бросать якорь» (Eng: ‘to drop anchor' (to settle or
remain in a place)) is broadened, as the author
introduces a new nuance: 'to remain forever in the
past,' thereby enhancing the depth of the statement.
The lexical and grammatical aspects of the idiomatic
expression are updated while preserving its meaning
and fundamental structure (by substituting one of the
components with a synonym or expanding the
composition of the idiom) to achieve greater semantic
richness and to intensify its expressive quality:
Я лошадкам забитым, что не подвели,
Поклонился в копыта, до самой земли...
(«Очи чёрные. Погоня»)
In common linguistic usage, the author substituted a
component that is atypical for the object of the
statement (feet) with one that is characteristic of it
(hooves), thereby enabling an accurate depiction of the
relevant situation.
–
«поклониться в копыта» (Eng:
bow down to the hooves).
И ушли корабли
-
мои братья, мой флот,
-
Кто чувствительней
-
брызги сглотнули.
Без меня продолжался великий поход,
На меня ж парусами махнули.
(«Баллада о брошенном корабле»).
1. In his writings, V. Vysotsky frequently draws parallels
between cherished inanimate objects and human
beings, thereby crafting metaphorically reinterpreted
phraseologic
al expressions.: глотать слёзы
-
глотать
брызги, махнуть рукой
-
махнуть парусами. (Eng: to
swallow tears - to swallow splashes, to wave one's hand
- to wave one's sails.).
Что за дом притих, погружён во мрак,
На семи лихих продувных ветрах?..
(«Очи чёрные. Старый дом»)
2. The well-
known expression «на семи ветрах» (Eng:
‘on seven winds’) is enhanced by the poet with
clarifying
definitions,
which
increases
the
expressiveness of the image: «на семи лихих
продувных ветрах.» (Eng: 'on seven fierce, gusty
winds.'
3. This formation is analogous to commonly used
phrases, creating new, author-specific expressions.
These neologisms are constructed using both the
structure and individual elements of the conventional
phraseological unit, as well as solely its structure.
...Мне будто дверь в целый мир прорубили.
(«Жертва телевиденья»)
The renowned expression by Pushkin A.S., which refers
to creating a window into Europe, is reinterpreted
through a logical substitution of its constituent
elements. -
в целый мир прорубить дверь.
Я за пазухой не жил, не пил с Господом чая...
(«Песня о погибшем лётчике»)
The ubiquitous Russian phraseological expression
«Жить как у Христа за пазухой» (Eng: 'to live like Christ
in his bosom') undergoes a dual transformation: first,
through a process of re-evaluation that leads to a total
negation of the original meaning, and second, by
substituting each element of the phrase with
alternative components that also convey negation (for
instance, 'I didn’t drink tea with the Lord'). The
transformation of phraseological units in the
expressions 'Kose - button accordion', 'popu -
accordion', and 'Icon - papuasu' is particularly
noteworthy. In the narrative 'Incident at Customs', the
author replaces the comparative phrases 'need like a
kose button accordion' and 'need like a popu button
accordion' with more dynamic constructions that are
semantically opposed: 'Kose - button accordion' and
'popu - accordion'. This leads to the creation of a third
expression that mirrors the structure of the previous
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European International Journal of Multidisciplinary Research and Management Studies
two: 'need like an icon papuasu'. Furthermore, the
simultaneous use of a phraseological unit as both a
fixed expression and a flexible word combination
serves as a mechanism for linguistic play:
И я прошу вас: строго не судите,
-
Лишь дайте срок,
но не давайте срок... («И вкусы, и запросы мои
-
странны»)
The literal interpret
ation of the expression «дать срок»
(Eng: 'to give a term' - to wait, to allow time)) merges
with the idiomatic phrase «дать срок» ('to sentence
someone - imprisonment), resulting in a humorous
effect.
Игрок хитёр
-
пусть берёт на корпус, бьёт в зуб ногой
и
-
ни в зуб ногой... («Профессионалы»)
The idiomatic expression «ни в зуб ногой» (Eng:
'without a clue' - indicating a lack of knowledge or
understanding) is employed alongside its literal
interpretation to generate a pun.
Я хорошо усвоил чувство локтя, Который мне совали
под ребро.
(«Летела жизнь»)
In this instance, the expression «чувство локтя» (Eng:
'feeling of camaraderie' - denoting a sense of mutual
support and fellowship) loses its metaphorical
significance due to the subsequent phrase: 'which was
shoved under my ribs.' This suggests that rather than
employing the phraseological unit in its entirety, one
can utilize its broader imagery or essence to achieve a
distinct artistic effect. Here, the phraseological unit
does not function as a complete linguistic entity;
however, to accurately grasp the context and
appreciate its aesthetic attributes, familiarity with the
original phraseological unit is essential:
Расковывались кони
-
и горячие подковы
Летели в пыль
-
на счастье тем, кто их потом найдёт.
(«Пожары») (подкова на счастье);
Комом все блины мои, А не только первый.
(«Сколько лет») –
(первый блин комом);
И злодея следам не давали остыть.
(«Баллада о борьбе») –
(по горячим следам)
6. Contamination refers to the blending of two
phraseological units or their components to achieve
heightened expressiveness and artistic effect. This
technique, despite its intricacy, is emblematic of V.
Vysotsky's distinctive style, showcasing his unique
creative approach:
Нет надёжнее приюта: скройся в лес
-
не пропадёшь,
Если продан ты кому
-
то с потрохами ни за грош...
(«Баллада о вольных стрелках»
-
‘Ballad of the Free
shooters’) –
(sell out completely + disappear for
nothing);
...В колесо фортуны палки
-
Ставим с горем пополам.
(«Мистерия хиппи»
- Mystery of the hippies)
–
(wheel
of fortune + put a spoke in the wheel + with grief in
half);
...Жил безбедно и при деле,
Плыл, куда глаза глядели,
-
по течению.
(«Две судьбы»
- Couple of fates)
–
(go with the flow +
wherever your eyes look)
7. The employment of a phraseological unit adjacent to
one of its constituent words (naturally, functioning as a
freely used term) serves to highlight this specific
phrase:
В душе моей
-
пустынная пустыня, Ну что стоите над
пустой моей душой!..
(«Мне каждый вечер зажигают свечи...»);
..
.Я полжизни отдал за тебя, подлеца, А ты жизнь
прожигаешь, иуда!
(«Случай в ресторане»);
...Нам, вернувшимся, не привыкать привыкать
После громких штормов к долгожданной тиши!
(«В день, когда мы, поддержкой земли заручась...»).
8. The employment of a phraseological unit in a
condensed, unique authorial format enhances the
semantic richness of the expression, contributes to the
distinctive speech pattern of the character, and aids in
maintaining the rhyme and meter of the poetry:
Повремени, повремени
-
утро мудренее!..
(«Моя цыганская») (утро вечера мудренее
-
утро
мудренее);
Срок закончится
-
я уж вытерплю, И на волю выйду,
как пить...
(«Бодайбо») –
(как пить дать –
пить);
...И очнулся добрый малый простофиля. У себя на
сеновале в чём родили.
(«Жил
-
был добрый дурачина
-
простофиля»)
(в чём мать родила –
в чём родили).
9. The integration of phraseological synonyms within a
single context, linked by a shared theme, serves both as
a tool for linguistic creativity and enhances artistic
expressiveness.:
...Я не люблю, когда мне лезут в душу, Тем более
-
когда в неё плюют.
(«Я не люблю») «Лезть в душу» –
To intrude upon an
individual's private and intimate life through probing
inquiries; 'to tarnish one's soul' signifies an affront to
what is most cherished by an individual, ridiculing their
emotions. These phraseological constructs are
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synonymous not only because they both incorporate
the term 'soul', but also because they share a common
thematic connection. Furthermore, the author employs
a technique of gradation to intensify the predicative
nature of the action.
...И где
-
то в дебрях ресторана гражданина Епифана
Сбил с пути и с панталыку несоветский человек.
(«Пародия на плохой детектив»)
«Сбить с пути» (Eng: ‘Lead astray’)
- To divert oneself
from accurate thoughts and beliefs; 'to knock off one's
feet' signifies straying from the proper path or
appropriate conduct. One phraseological unit
elucidates
another,
thereby
affirming
their
synonymous relationship:
Не сожгу кораблей, не гореть и мостам
-
Мне бы только набраться терпенья!..
(«Неужели мы заперты в замкнутый круг?..»)
«Сжечь (свои) корабли» (Eng: Burn (one’s own) ships)
- to break decisively with the past; to completely
destroy all t
ies with something. «Сжечь мосты», (Eng:
‘To burn (one's) bridges’
- to make it impossible to
return to the past, to completely break with the past.
Thus, the phraseological units have the same structure
and synonymous meanings, which doubles their artistic
expressiveness.
CONCLUSION
To sum up, the examination of V. Vysotsky's poetic
legacy reveals a notable prevalence of stable
phraseological units within his language, alongside
their dynamic application. His poetry prominently
features not only widely recognized phraseological
units but also a significant number of expressions
uniquely adapted by the author. Vysotsky employs
various techniques to transform these phraseological
units, enhancing the artistic expressiveness of his
poetry. This individual processing of phraseological
units enriches the semantic depth of his statements,
facilitates a more vivid representation of artistic
imagery, individualizes the protagonist, and shapes
distinctive speech characteristics. Ultimately, this
revitalization of the author's voice underscores V.S.
Vysotsky's exceptional skill and professionalism in
crafting poetic works, highlighting the originality
inherent in the language of his lyrics. Such mastery is
characteristic of a true literary artist.
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