The article examines the peculiarities of the functioning of adverbs and their role in the text space. It is revealed that adverbs realize functional and pragmatic potential, serve as a means of creating a portrait description, represent the emotional state of characters, express the author's attitude, and contribute to the formation of the reader's perception of the characters' images.
Keywords: A. I. Kuprin, literary text, adverb, functional and pragmatic potential.
В статье рассматриваются особенности функционирования наречий и их роль в текстовом пространстве. Выявлено, что наречия реализуют функционально-прагматический потенциал, служат средством создания портретного описания, репрезентируют эмоциональное состояние персонажей, выражают авторское отношение, способствуют формированию читательского восприятия образов персонажей.
Ключевые слова: А. И. Куприн, художественный текст, наречие, функционально-прагматический потенциал.
One of the pressing issues in contemporary linguistics is the analysis of linguistic units in terms of their pragmatic and functional potential. This includes the study of how native speakers perceive extralinguistic reality and how this perception is reflected in speech. Linguists point out that the «youngest», most «structurally and functionally flexible class» is that of adverbs [1]. The categorical class of adverbs is characterized by polyfunctionality in terms of their semantic ambiguity, their ability to perform various functions within syntactic constructions, and their capacity to occupy specific positions in communicative acts. Semantically and grammatically, adverbs represent a rather extensive group.
The pragmatic analysis of adverbs in prose texts makes it possible to identify their functional characteristics and usage patterns in particular communicative contexts. This involves understanding the meanings conveyed by linguistic units, how they can be interpreted, how they affect the recipient (intellectually, emotionally, aesthetically), and how they contribute to achieving communicative goals and intentions. As N. S. Valgina notes, «pragmatic analysis reveals the interaction between author and reader and determines the amount of useful information in a text, guided by the typology of the intended readership» [2].
The pragmatic potential of adverbs is primarily manifested in the description of the artistic space of a literary work:
— the setting around the character: «The tree trembled softly. <…> The stars of tobacco smelled more pungent»... [3, с. 212];
— climatic conditions: «At the beginning of September, the weather suddenly and quite unexpectedly changed» [3, с. 157]; «At first, ended up in a cloud, it was very damp and hard to see, and we kept climbing up the steep path among the pines» [3, с. 162].
— interior: «Other rooms were locked, and inside them, antique damask furniture, curious bronze pieces, and eighteenth-century portraits stood still and solemnly molded with mildew» [4, с. 9].
The effect of «tension» in the narrative is achieved through linguistic means that convey phonational features and characteristics of actions: «It seems to me then that someone in the corridor next to my room is carefully and persistently pressing the door handle and then, suddenly enraged, rushes through the whole house, wildly shaking all the shutters and doors, or, having climbed into the chimney, whines so plaintively, drearily, and endlessly, now raising its voice higher and thinner into a pitiful squeal, then lowering it down to a bestial growl» [4, с. 9]. Thus, the author uses adverbial vocabulary to construct spatial imagery and emphasize the features of the characters' surroundings, immersing the reader in the atmosphere of the text.
The system of character imagery fully reflects the pragmatics of adverbs. The author reveals the inner world, behavior, and emotional state of the characters, evoking a specific emotional response from the recipient. For instance, in a letter to Vera Nikolaevna Sheina, the character writes: «I'm very ashamed and mentally blushing for my stupid bracelet, what of it? A mistake» [3, с. 204]. The linguistic model «adverb + verb» amplifies the character’s emotions, prompting the reader to sympathize with Zheltkov. This is also evident in Prince Shein’s remark: «I feel sorry for this man. And not just sorry, I feel as if I am witnessing some immense soul tragedy, and I cannot joke about it» [3, с. 203].
In addition to the emotional domain, the reader is influenced by the character’s portrayal itself. Prince Vera Nikolaevna is described by A. I. Kuprin as follows: «Vera was strictly simple, politely cold and somewhat condescending with everyone, independent, and royally composed» [3, с. 160]. Another description reads: «As for Vera — she eagerly wanted children and even, it seemed to her, the more, the better <…>, and she adored her younger sister’s pretty, anemic children with painful intensity and passion» [3, с. 160]. This creates the image of a respectable noblewoman — calm, reasonable, and capable of sincere feelings. In contrast, Vera’s sister Anna Friess is described quite differently: «Anna willingly indulged in the riskiest flirtations in all European capitals and resorts, but never cheated on her husband, whom she mocked openly and behind his back. She was extravagant, terribly fond of gambling, dancing, and strong sensations»... [3, с. 160]. Adverbs reinforce the character image — prompting the recipient to perceive Anna as frivolous, unserious, and prone to risk. Thus, the author’s attitude toward the characters is emphasized.
Adverbs also carry special pragmatic potential when shaping the speech portrait of characters: «Who are you yourself, then? — she asked anxiously» [4, с. 22]; «No», she answered softly but firmly, shaking her head» [4, с. 29]; «Don’t laugh, you mustn’t laugh», Olesya remarked seriously, almost sternly» [4, с. 31]. Adverbs in such constructions represent the inner motives of the character, giving the reader an opportunity to interpret the psychology and disposition of the character through their speech behavior and the adverbial vocabulary used by the author.
The functional specificity of emotive adverbs lies both in the description of characters' behavior and in their ability to influence the reader's perception — either drawing them closer to the character or pushing them away. The emotion of «joy» is verbalized using the adverb «cheerfully»: «No, no, please don’t laugh», Anna said cheerfully, squinting her charming, impish Tatar eyes at the officer» [3, с. 159]; or expressed directly: «The sisters kissed joyfully» [3, с. 178]. The opposite emotion, «sadness», is conveyed in the following constructions: «Yarmola sighed deeply <…> and said sadly: «No... I can’t»... [4, с. 7]; «She slowly and sadly shook her head» [4, с. 69]; «It’s hard to be an extra mouth in the family» [3, с. 189]. In this context, the adverb «hard» acquires a figurative meaning: «a burdensome, gloomy state or mood someone finds themselves in» [5]. Besides emotions, emotive adverbs express character traits — for example, “restraint” is represented by such adverbs as «coldly», «calmly» and «sternly»: «There was no correspondence at all», Shein coldly cut him off» [3, с. 198]. Adverbs also enable the reader to interpret a character's inner state, such as «being in love»: «During the conversation, our eyes met, a spark passed between us <…> and I realized I had fallen in love instantly — passionately and irrevocably» [4, с. 185].
Thus, the study of adverbs as an independent linguistic category provides extensive insight into the functional role of this unit. The analysis of adverbs in A. I. Kuprin's literary texts reveals their functional and pragmatic potential. Adverbs add semantic nuance to context, allowing the author to use their expressiveness in alignment with the text’s overall intent. The pragmatic potential of adverbs plays an important role in communication between the sender and the recipient, determining the adverb’s ability to shape the reader’s perception and comprehension of the literary work.
References:
- Nabatchikova T. P. Adverb in the epic text. — Orel, 1997.
- Valgina N. S. Theory of the text. M.: Logos, 2003
- Kuprin A. I. Granatovyy braslet. — M.: AST, 2023.
- Kuprin A. I. Olesya. — M.: AST, 2023.
- Dictionary of the Russian language: in 4 volumes edited by A. P. Evgenieva. M.: Polygraphresursy, 1999.
