Tafakkur ziyosi

FILOLOGIYA FANLARI

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“TAFAKKUR ZIYOSI”
 
ilmiy-uslubiy jurnali 2021/4-son
124 
behavioral models or scenarios that define 
sequential the reality of thoughts, desires 
and feelings”
12
.
So, examples of Oliver's reaction to 
an offense are most often – tacit patience, 
tears, strong emotional experiences 
(“turned pale”, “was regarding with mingled 
expression of horror and fear”, “began to 
cry very piteously”, “fell to the floor in a 
fainting fit”). Thus, its behavior can be 
called passive, because, as a child, he 
felt the impossibility of resisting the evil 
manifested in force an adult. This is also 
due not only to Oliver's age, but also with his 
sensitivity, meekness, impressionability, 
timidity. 
We are dealing with an author's 
modality, which finds its manifestation. 
in the description not only of Oliver, 
but also of his offenders. For example, 
when talking about the undertaker's wife 
Mrs.Sowerberry, we find three kinds of 
description. This is a portrait description: 
“a vixenish countenance” (noun + 
adjective). The text also gives description 
of her behavior towards the boy: “pushed 
into”, “replied pettishly”, ie in actions 
expressed by a verb or verb combined 
with an adverb. In her direct speech, the 
modality is manifested at the level of the 
whole utterance: “I see no saving in parish 
children, not I; for they always cost more to 
keep, than they’re worth”
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.
In the behavioral characteristic of 
Oliver, it is interesting that for the whole 
novel, he shows unexpected activity 
extremely rarely - when it was not about 
protecting oneself, but another - a person 
closes to him. Here, not only the author's 
modality manifests itself when describing 
active action, but also modality in the 
speech of the hero. (“You’d better not”), 
comparative degree from the adverb “well” 
- “better”, “That’s enough” - in the meaning 
of the command to stop speaking. At this 
the author describes Oliver's expression, 
which is usually not his own: “Oliver’s color 
rose as he said this; he breathed quickly; 
and there was a curious working of the 
12 Romanova T.V. Modality as a text-forming category in modern Memoir literature: Diss. ... doct. philol. sciences. SPb., 2004. P. 418. URL: http://www.dissercat.com/content/modalnost-
kak-tekstoobrazuyushchaya- kategoriya-v-sovremennoi-memuarnoi-literature.
13 Likhachev D.S. The concept of the Russian language // Izvestiya Rossiyskiy Academy of Sciences. Ser. lit. and lang. M., 1993. T. 52. No. 1. P. 3–9.
14 Popova Z.D., Sternin I.A. The concept of "concept" in linguistic studies followings. Voronezh, 2000. P. 30.
mouth and nostrils”
14
. However, when Noe 
Claypole continued his offensive speeches, 
Oliver went over to to take decisive action; 
the author's modality lies in the consecutive 
use of the corresponding verbs: “Crimson 
with fury, Oliver started up; overthrew the 
chair and table; seized Noah by the throat; 
shook him, in the violence of his rage, till his 
teeth chattered in his head; and collecting 
his whole force into one heavy blow, felled 
him to the ground”.
Thus, the elements of the concept 
sphere "morality", depending each time from
the author's choice when characterizing 
positive / negative are expressed at the 
level of word / phrase / whole narration. 
The semantics of both positive and 
negative, quoted in a literary text in specific 
manifestations, not includes at the same 
time the verbal expression of the core of 
the conceptosphere - proper "morality" and 
the Abstract concepts that characterize it 
"Good" / "evil", "emotionality", etc.
The modality of the manifestation of 
morality is most often expressed in three 
aspects:
1) portrait description (permanent 
and temporary qualities) - more often 
everything in adjectives, as well as in verbs 
like “crimson with fury”;
2) a description of the conscious 
actions of the heroes (more often the verb 
modality) in the author's discourse;
3) in the speech of heroes of a positive 
or negative nature.
Charles Dickens led the course of 
events in the work with such care that, as 
a result, the reader unknowingly changes 
his attitude to reality. Each of the chosen 
heroes in some sense serves to reveal the 
character of the main character. The writer, 
who lived in a society that believed that 
orphans and stepchildren would not do 
good and that only criminals and swindlers 
would emerge from them, was not afraid to 
oppose the views of his time. managed to 
shed light on the fact that it is in the hands 
of society.