This is how the word nostalgia (obsolete form - nostalgia) is explained in the Explanatory Dictionary of the Living Great Russian Language by V. I. Dahl (Moscow, 1989, Vol. II). None of the subsequent explanatory dictionaries of the Russian language does not distinguish such components of meaning as "soulful" and "illness" in the lexical meaning of this word, although they are very important for understanding the essence of the feeling that is denoted by the word nostalgia. (Cf.: "Nostalgia. Books. Homesickness, homesickness" - Dictionary of the Russian Language: In 4 volumes, Moscow, 1983. Vol. II). Similarly, the lexical meaning of this word is presented in the "Explanatory Dictionary of the Russian Language" edited by D. N. Ushakov, "Dictionary of Modern Russian Literary Language" in 17 volumes, "Dictionary of the Russian Language" by S. I. Ozhegov, as well as in all dictionaries of foreign words.

The word toska belongs to the class of words that correspond to unique Russian concepts and carry the most complete information about the Russian people, their worldview - in a word, about the "Russian soul" as the essence of the Russian person. It is not by chance that the component of the meaning "soul" or" soulful " is included in the lexical meaning of the word melancholy: "Melancholy. Heavy oppressive feeling, mental anxiety" (Dictionary of the Russian language: In 4 volumes, Moscow, 1984, Vol. IV); "Melancholy (to press) straitness of the spirit, languor of the soul, painful sadness; spiritual anxiety, anxiety, fear, boredom, grief, sadness, noika of the heart, grief. Homesickness sometimes turns into a physical illness with a debilitating fever" (Dal V. Tolkovyi slovar zhivogo velirusskogo yazyka, Moscow, 1991, vol. IV). Consequently, any longing is a disease of the soul, and homesickness (nostalgia) is an incurable disease, where mental and physical torments are inseparable. And Dahl, as a doctor, determined this very accurately.

In the works of Russian literature, you can find a detailed description of mental illness, called the Greek word nostalgia. Tver merchant Afanasy Nikitin was one of the first in Russian literature.-

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toure spoke about the feelings that a person experiences in a foreign land. The Russian linguist N. S. Trubetskoy defined the specifics of "Walking across the Three Seas" as follows: "This is not a simple description of curious travel adventures or curiosities seen in distant countries, but a story about how an unfortunate Orthodox Christian was born. Athanasius, a Christian "servant of God", brought by fate to non-Christian countries, suffered from his religious loneliness and longed for his native Christian environment. Only from this side can one approach "Walking" as a literary work" (Trubetskoy N. S." Walking beyond the Three Seas " by Afanasy Nikitin as a literary monument / / Semiotika, Moscow, 1983, p. 452). The only prayer for Russia in " Walking across the Three Seas "is written in Tatar and without a Russian translation, which, according to N. S. Trubetskoy, is explained by the peculiar symbolism of religious loneliness, when the symbol is" directly opposite to the symbolized state " (Ibid., p. 448). This prayer contains an unrestrained manifestation of Afanasy Nikitin's fervent love for the motherland: "May God preserve the Russian land! God forbid! God forbid! There is no country like her in this world! Some grandees of the Russian land are unfair and unkind. But let the Russian land settle down! God! God! God! God! Oh my God!"

The fact that nostalgia is a disease, a disease of the soul, is clearly evident from the poems of Grand Duke Konstantin Romanov (poet K. R.). (Russkaya Rech was the first edition that brought back the name of this major figure of Russian culture from oblivion: see 1991. N 5.) In the last poem from the cycle "Venice" ("In St. Mark's Square...") describes a church service to which the lyrical hero was "drawn by an unknown force." And looking at the austere faces of the saints, he involuntarily remembered the icons of "Mother Russia":

My soul is a winged dream

I was transported to my homeland, there,

To the north, where now, warmed by spring,

Sweet cherry blossoms,

Lush lilacs are fragrant,

And the nightingale sings songs...

My mind was filled with so many impressions!

And with a sigh I sighed like this,

How can only a Russian sigh?,

When his homesickness will eat away

A painful disease of its own.

(here and further italics are ours. - E. P.)

This theme is continued in the poem " I opened the window, - it became sad to be unable to...", which became a famous romance, the music for which-

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mu was written by P. I. Tchaikovsky, and, perhaps, the visiting card of the poet K. R.:

I opened the window, - it became sad and unbearable, -

I knelt down before him,

And the spring night smelled in my face

The fragrant breath of lilac.

And in the distance, somewhere, a nightingale sang so wonderfully;

I listened to him with deep sadness

And with longing he remembered his homeland.;

I remembered my distant homeland,

Where the native nightingale sings his native song

And without knowing the sorrows of the earth,

It fills the whole night long

Over a fragrant branch of lilac.

But one can yearn not only for the motherland "in a broad sense", which, according to Dahl, is "the land, the state where someone was born", but also for the motherland "in a narrow sense" - "the city, the village" (Moscow, 1991, Vol. 4)." Invincible " homesickness - Progonnaya Station is the main character of Chekhov's short story "Murder", Yakov Terekhov. This melancholy makes him run away from hard labor, where he got for the murder of his cousin Matvey. But he was caught, whipped, and sentenced to perpetual hard labor: "Shivering from the autumn cold and sea dampness, wrapped in his short ragged sheepskin coat, Yakov Ivanovich stared intently, without blinking, in the direction where his homeland was, (...) He peered intently into the darkness, and it seemed to him that through thousands of miles of this darkness he could see his homeland, see his native province, his own district. A run-through (emphasis added by the author. - E. P.), sees the darkness, savagery, heartlessness and stupid, harsh, bestial indifference of the people he left there; his vision was blurred with tears, but he kept looking into the distance, where the pale lights of the steamer barely glowed, and my heart ached with homesickness, and I wanted to live, return home, tell them about my new faith, save at least one person from death, and live without suffering for at least one day."

Dahl's collection "Proverbs of the Russian People" includes the heading "Homeland-Foreign land". Most of the proverbs included in this category have an evaluative character: The bird is stupid, which does not like its nest; And the bones cry for their homeland; It is warmer across the sea, but it is brighter here; From the native side, the crow is sweet; On the foreign side, I am happy with my crow; My own land and in a handful is sweet; Without a root and sagebrush does not grow; Everything is sporty at home, but life is worse in general; On the other side, spring is not red! On a foreign land, as if in a house (both lonely and mute); A foreign side - stepmother; A foreign land does not stroke the wool; A native side-mother, a foreign one-stepmother; In a foreign land and a dog misses; There are no relatives, but for the motherland-

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my side's heart aches; Its own side and the dog is nice; From your native (parent) land, die, don't go (Proverbs of the Russian people: Collection of V. Dahl: In 3 volumes, Moscow, 1993. Vol. 2. pp. 8-16).

The proverbs collected by V. I. Dahl reflect the centuries-old practical experience of the people, their assessment of the motherland and foreign lands, in particular, that love for the motherland "in a vast" and" narrow " meaning is a sacred feeling for the Russian person, which is comparable only to love for the mother. On the other hand, the semantic category of alienness, coupled with the category of negative evaluation ("alien is bad"), is expressed as fully as possible in proverbs about the motherland and a foreign land. In general, the oppositions "homeland - foreign land", "native - foreign", "at home - on the foreign side", etc. refer to the means of implementing the concept of "one's own - another's", which permeates any national culture, including Russian.

This juxtaposition often has a pronounced evaluative quality ("one's own - good"," another's - bad"), which is characteristic of the works of writers from the Russian diaspora. Bunin, Shmelev, Zaitsev, Osorgin, Kuprin and other emigre writers, themselves homesick, gave this feeling to the heroes of their works. For example, Shmelev in the fantastic novel "The Nanny from Moscow" put in the mouth of the Tula peasant Darya Stepanovna Sinitsyna, who found herself with her pupil Katicka outside of Russia, the following words: "...I would not look at anything. Your own will not grow to someone else's. I look at the sun , and it's not like the sun is ours, and the weather isn't ours... A crow the other day, I see, is sitting on a bitch, cawing ... - just like our crow, Tula!... I looked - not that crow, not ours... In our handkerchief."

Nostalgia transforms a lost homeland into a lost paradise - both spatial and temporal. There, in Russia, then there was happiness, which here, in a foreign land, has now been replaced by misery, longing, unbearable pain:

"Cold gray skies again,

Deserted fields, packed roads,

Red carpets are similar to forests,

And the troika at the porch, and the servants on the doorstep..."

"Ah, that naive old notebook!

How dare I anger God with sorrow in those years?

Don't write me that "again"again

Before the happy autumn road!

(Bunin. "Cold gray skies again...");

Our immortal happiness
It's been called Russia for centuries.

We have never seen a more beautiful region,

We've been to many places.

(Nabokov. Homeland);

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"We were walking along the high road, and they were mowing in a young birch forest near it-and singing.

It was a long time ago, it was infinitely long ago, because the life that we all lived at that time will never return. (...) we were infinitely happy in those days, now infinitely distant - and irrevocable "(Bunin. Mowers).

The word nostalgia refers to the number of borrowings, "chuzheslovov", with which Dahl has been actively fighting all his life. He once remarked to the Slavophile I. S. Aksakov: "For all your contempt for Europe, my dear Ivan Sergeyevich, you use an excessive number of foreign words in your works." And the historian M. P. Pogodin was reproached by Dahl for using such words as feudal, aristocracy, epoch, system, form, character, propaganda, scene. Pogodin ended the controversy with the words: "Our argument is getting ridiculous." Although Dahl did not like the "quick typers and assimilators of all the languages of the West" (Dahl V. Naputnoe slovo / / Dahl V. Tolkovyi slovar zhivogo velikorusskogo yazyka. Moscow, 1989. T. I. S. XXXII), but he did not exclude" chuzheslovy "from the language and dictionary for the following reasons:" first, the lexicographer is not a lawyer, not a charterer, but a collector; he is obliged to collect and give everything that is available, allowing himself only to point out inaccuracies, evasions and examples to replace bad ones with better ones; secondly, it is his duty to translate each of the accepted words into his own language, and immediately put out all equivalent ones that answer the question. or similar expressions of the Russian language to show whether we have this word or not. Of course, the exclusion of other people's words from the dictionary will not prevent them from being used in everyday life; and their placement, with a successful translation, could sometimes awaken a feeling, taste and love for the purity of the language" (Ibid.).

The idea of" successful translation", mandatory national compliance with the foreign word Dahl followed constantly. In the "Explanatory Dictionary of the living Great Russian language" - a considerable number of borrowings: only those that are accompanied by an indication of the source language - 1420, and composed equivalents about 250. Despite the desire of the author, who included foreign words in his dictionary only in order to show the superiority of their synonyms - native Russian words-and thus eliminate them from Russian speech, most of the "foreign words" noted in the dictionary became established in the Russian language. These are socio-political terms (aristocracy, agitation), financial and economic terms (auction, bill of exchange), scientific terms (hypothesis, definition), words from the sphere of everyday life (vinaigrette, cocoa, coat, coffee). Such words include the Greek borrowing nostalgia (V. I. Dahl was the first Russian lexicographer to introduce it into the dictionary), although its Russian synonym homesickness is more commonly used.

For the time elapsed after the first (lifetime) edition of the Slo-

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Varya Dahl, the word nostalgia has changed the sound and graphic appearance. If in the 3rd edition of the Dahl Explanatory Dictionary I. A. Baudouin de Courtenay gives two variants: nostAlgia and nostalgia, in the Ushakov Dictionary and the Dictionary of Modern Russian Literary Language there are variants: Nostalgia and Nostalgia, then in all subsequent dictionaries Nostalgia and nostalgia are no longer present.

There were also changes in the lexical and semantic structure of the word. Nostalgia began to be called not only homesickness, but also longing for something past, lost, and in some dictionaries the lexical meaning of this word is already given as multi-valued (see Muzrukova T. G., Nechaeva I. V. Short Dictionary of Foreign Words, Moscow, 1995; Skvortsov L. I. Culture of Russian speech. Dictionary and reference book, Moscow, 1995). The word nostalgia has acquired derivatives (nostalgic, nostalgic, nostalgic), expanded the compatibility. However, the main meaning of this word ("homesickness, like a mental illness") is most accurately represented in Dahl's dictionary. The Russian "translation" was so successful that it returned the word nostalgia to its original etymology: Greek. nostos - homecoming and algos-pain, suffering.

"Explanatory Dictionary of the living Great Russian language" - the main work of V. I. Dahl's life-despite the fact that it was published more than 130 years ago, it still remains a symbol of the explanatory dictionary of the Russian language and, more broadly, the Russian dictionary, because the explanatory dictionary is the highest type of dictionary of the national language. And these days you hear it all the time: "I'll take a look at Dahl", "I have Dahl". Although other dictionaries, more modern and advanced, were published after Dahl, but only the " Explanatory Dictionary of the living Great Russian Language "acquired national significance, becoming a symbol of the culture of the Russian people, since" if the language, in the understanding of most Slavs, is a people, then the dictionary of each of their languages, including Russian, it should be a picture of the life of this people" (Chernyshev V. I. Izbrannye trudy, Moscow, 1970, vol. I. P. 427).

Lipetsk

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