LINGUISTIC ATTRACTION OF CHRLES DICKENS’ BOOKS

Background. The relevance of the theme is determined by the fact that really high quality works of any style and genre are always attractive, which is why they deserve the attention of the reader. This attraction is achieved to a great extent due to the use of certain linguistic and speech means: lexical, syntactic, stylistic, etc. We consider that it is possible to speak about universal and individual means of creating attraction or their peculiar combination in the creativity of a particular author. The problem of attraction has been studied by such researchers as O. Gryva, V. Grigoriev, I. Kryvko, M. Makovsky, E. Naugolnykh, Y. Poltavets, T. Filchuk, I. Frinberg and others, who considered the attraction between word elements, between words, between parts of a sentence, or as an element of the technique of a particular author. But the linguistic attraction of Charles Dickens’s work has not yet been the subject of special study. The purpose is to identify lexical and stylistic means of attaining attraction that are typical of Charles Dickens’ novels. In order to achieve this, we consider it appropriate to solve the following tasks: to define the concept of attraction of a work of art; to accumulate factual material selected from the novels of C. Dickens; to classify the found ways of reaching the attraction. Methods. The purpose and objectives of the work have led to the use of a comprehensive methodology involving the use of general scientific methods, within which procedures aimed at solving specific research problems, in particular the continuous sampling method, are used – to isolate fragments of texts that can be perceived as attractive; classification method – for systematization of lingual means of attraction creation; functional analysis – to identify the role of these attractive fragments; quantitative method – to determine the frequency of these or those attractive means. Results. We define linguistic attraction as the focus of a work on its reader (listener), which determines the reader’s interest in the text, according to it the individual increases (or in its absence) interest in a particular work of art. According to our observations, the most typical means of creating the linguistic attraction of Charles Dickens’s works, which make his works easily recognizable, are the following: 1) irony as the most common stylistic tool; 2) a diverse word play that encompasses sound levels, morphemes, words, bright flashes of foreign or altered units, etc; Ukrainian sense. 2020. ISSN 2313-4437 77 3) individualization of the character’s speech at the level of vocabulary, grammar, creation of specific lexical-syntactic units. Discussion. As time has proven, Charles Dickens’s works have been and remain attractive to any reader. The analysis of the linguistic means of achieving this attraction indicates that they can be classified as follows: irony as the most common stylistic technique inherent in Dickens’s work; a variety of words at the sound level (including rhyme), morphemes, words, phrases; individualization of the character’s speech, which is accomplished through certain words or syntactic constructions. We see the prospects for further research in the analysis of the conservation or loss of the mentioned means of attraction during translation.

etymology, but it is one of the manifestations of linguistic attraction, one of the aspects of its functioning.
The phenomenon of attraction was studied by M. Makovsky, who in the late 60's -early 70's of the twentieth century developed and substantiated the linguistic concept -the theory of lexical attraction, described the inner nature, mechanism of development and synchronous existence of the lexical-semantic system in its various aspects. According to this theory, the presence of this word (or words), endowed with a strictly defined meaning (or several specific meanings) in a language (macrostructure) or language layer (microstructure), is determined by a certain lexical environment, i.e. a set of lexical units, within which the word exists at a particular stage of language development; a change in the composition or properties of individual lexical units entails a change in the composition of the corresponding environment and the properties of its constituent components (Makovsky, 1971: 48).
V. Grigoriev analyzes in detail the phenomenon of paronymic attraction, which, by his definition, is a system of "paradigmatic relations between similar in terms of expression multirooted words (not related in the synchrony of poetic language signs of explicit derivational proximity)" (Grigoriev, 1975: 264), which is realized "in specific texts by converging paronyms in the language chain, due to which there are various effects of semantic proximity or, conversely, the opposition of paronyms" (Grigoriev, 1975: 264).
In more contemporary studies on the phenomenon of attraction the text analyses predominate. T. Filchuk considers the concept of language attraction as the core of the modern mental system, which forms an associative plan of different types of texts and concludes that language attraction is a kind of language universal. The phenomenon of linguistic attraction has different plans: a philosophical plan that determines the associative-symbolic nature of language in its phenomenological and functional sense, in terms of its perception, and a functional plan that is realized in sound, verbal, figurative components that make up text categories, in accordance at the level of "visible" forms and meanings (Filchuk, 2003: 48).
Thus, the analysis of the available linguistic literature on the problems of attraction allows us to say that there is a traditional, so to speak, "intralinguistic" understanding of attraction, when it is considered as a mechanical phenomenon, "attraction" to each other individual elements of language (sounds, roots, words, etc.). In other works, linguistic attraction is perceived as an external phenomenon, the "attraction" of each other's linguistic work and the reader. In this sense, based on the analysis of the material devoted to the understanding of the term attraction, we can offer our definition of its variety, such as linguistic attraction.
Linguistic attraction is the focus of the influence on its reader (listener), which determines the reader's interest in the text, according to it, the individual increases (or in its absence decreases) interest in a work of art.
According to our observations, the most typical means of creating linguistic attraction of the works of Charles Dickens, which largely make his works easily recognizable, are: 1) irony as the most common stylistic device; 2) a variety of puns, which covers the levels of sound, morphemes, words, interspersed with foreign or altered units, etc.; 3) individualization of the character's speech at the level of vocabulary, grammar, creation of specific lexical and syntactic units.
Dickens discovered through irony more than historians could ever find with a direct story. Dickens uses all kinds of irony: verbal, dramatic and situational, and their consequences are part of what makes his work not only colorful, but also extremely attractive. Irony has been and remains one of the writer's most powerful tools for subtly describing characters, society and the era, for sharp criticism of social unrest and political crimes, injustice, but is also a pleasant means to offer advice, correct a rejected judgment, or support and revive the weakened, beliefs (Colebrook, 2004).
The author is supposed to be neutral in his attitude to the character, but with a few words he creates a deadly ironic image, which is remembered after the first acquaintance, and the reader no longer expects anything good from this character.
The juxtaposition of the character's "kindness" to animals and his criminal indifference to the school boys continues the author's murderous irony of Mr. Squires, and in his person, of the then-widespread cruelty to children who were sent to the odious schools of Yorkshire under Dickens.
The irony is that in English society, the name was firmly entrenched in one stratum of the population, the services of a simple boy were cheaper than a child from a noble family, so his mistress is trying to save money by a resounding name.
Another interesting passage saturated with linguistic game at the level of morpheme is available in the novel "Our mutual friend". Lawyer Lightwood, ducking at him with a servile air, "I am a man as gets my living, and as seeks to get my living, by the sweat of my brow. Not to risk being done out of the sweat of my brow, by any chances, I should wish afore going further to be swore in". -"I am not a swearer in of people, man". -The visitor, clearly anything but reliant on this assurance, doggedly muttered "Alfred David". -"Is that your name?" asked Lightwood. In another example from the same work, the words-participants of the game differ in one morpheme -a suffix. He is a very strange man,' said Lizzie, thoughtfully. 'I wish he was so very strange a man as to be a total stranger,' answered the sharp little thing. Какой странный человек, -задумчиво проговорила Лиззи. -Подальше бы от него. Лучше бы он был иностранный, -сказала эта язвительная юная особа.
One more well-known method of creating an attractive pun is usage of rhyme which can be illustrated by the example from the novel abovementioned. We believe that this word play can only be conveyed through certain footnotes. The game is that the French word "water" sounds similar to the English word "law"; Mr. Lillyvick, who collects the money for water, is probably abusing these funds, so the consonance of the words is unpleasant for him.
One of the most striking features of Dickens's work is the individualization of the character's speech, which allows you to distinguish this or that character from others immediately. Note that this individualization applies to minor characters and, according to our observations, about three times more often than negative characters. This
Common phonetic and grammatical errors are a common means of individualizing a character's speech, which emphasizes their social position. So, in the novel "Nicholas Nickleby" one of the brightest "linguistically colored" characters is John Brody, an uneducated merchant who says: 'I say, coot awa',' repeated John, hastily. 'Dost thee know where thee livest? Thee dost? Weel. Are yon thy clothes, or schoolmeasther's?' 'Mine,' replied Smike, as the Yorkshireman hurried him to the adjoining room, and pointed out a pair of shoes and a coat which were lying on a chair.
A special individualized unit is wellerism -a statement that covers a constant expression, the situation and the author of the first part, the mention of which completely changes the meaning of wellerism. The term comes from the name of one of the heroes of Charles Dickens' novel "Posthumous Notes of the Pickwick Club" Samuel Weller (in English writing Weller In order to reach the individual speech (of a child or a foreigner as in the following examples) sounds typical for this or that speech are used: And then Mrs Veneering -for the Lady Tippins's winning wiles are contagious -folds her hands in the manner of a supplicating child, turns to her left neighbour, and says, 'Tease! Pay! Man from Tumwhere!' И тут миссис Вениринг -так заражающе действуют обольстительные кривлянья леди Типпинз, -сложив руки на манер просящего ребенка, обращается к соседу слева и шепелявит: -Плосу вас! Позалуста! Пло целовека ниоткуда! 'A kiss for the boofer lady.' Поцелуй касивую леди (Our Mutual Friend).
From the above examples it is clear that the author uses a diverse palette of linguistic means of the character's speech individualization.
Conclusions. As time has proven, the works of Charles Dickens were and remain attractive to any reader. Analysis of the linguistic means of achieving this attraction shows that they can be classified as follows: irony as the most common stylistic device inherent in the work of Dickens; various play on words at the level of sound (including rhyme), morphemes, words, phrases; individualization of the character's speech, which is carried out with the help of certain words or syntactic constructions. Prospects for further research we see in the analysis of the preservation or loss of these means of attraction during translation.

Abstract
Background. The relevance of the theme is determined by the fact that really high quality works of any style and genre are always attractive, which is why they deserve the attention of the reader. This attraction is achieved to a great extent due to the use of certain linguistic and speech means: lexical, syntactic, stylistic, etc. We consider that it is possible to speak about universal and individual means of creating attraction or their peculiar combination in the creativity of a particular author. The problem of attraction has been studied by such researchers as O. Gryva, V. Grigoriev, I. Kryvko, M. Makovsky, E. Naugolnykh, Y. Poltavets, T. Filchuk, I. Frinberg and others, who considered the attraction between word elements, between words, between parts of a sentence, or as an element of the technique of a particular author. But the linguistic attraction of Charles Dickens's work has not yet been the subject of special study.
The purpose is to identify lexical and stylistic means of attaining attraction that are typical of Charles Dickens' novels. In order to achieve this, we consider it appropriate to solve the following tasks: to define the concept of attraction of a work of art; to accumulate factual material selected from the novels of C. Dickens; to classify the found ways of reaching the attraction.
Methods. The purpose and objectives of the work have led to the use of a comprehensive methodology involving the use of general scientific methods, within which procedures aimed at solving specific research problems, in particular the continuous sampling method, are used -to isolate fragments of texts that can be perceived as attractive; classification method -for systematization of lingual means of attraction creation; functional analysis -to identify the role of these attractive fragments; quantitative method -to determine the frequency of these or those attractive means.
Results. We define linguistic attraction as the focus of a work on its reader (listener), which determines the reader's interest in the text, according to it the individual increases (or in its absence) interest in a particular work of art. According to our observations, the most typical means of creating the linguistic attraction of Charles Dickens's works, which make his works easily recognizable, are the following: 1) irony as the most common stylistic tool; 2) a diverse word play that encompasses sound levels, morphemes, words, bright flashes of foreign or altered units, etc; 3) individualization of the character's speech at the level of vocabulary, grammar, creation of specific lexical-syntactic units.
Discussion. As time has proven, Charles Dickens's works have been and remain attractive to any reader. The analysis of the linguistic means of achieving this attraction indicates that they can be classified as follows: irony as the most common stylistic technique inherent in Dickens's work; a variety of words at the sound level (including rhyme), morphemes, words, phrases; individualization of the character's speech, which is accomplished through certain words or syntactic constructions. We see the prospects for further research in the analysis of the conservation or loss of the mentioned means of attraction during translation.