Relevance of the topic. The dissertation is devoted to a comprehensive study of the prose works of the famous Kalmyk writer of the 20th century. K. Erendzhenov (1912 - 1991) in terms of describing the lexical and stylistic features of his idiolect, reflecting the literary language of this period.

In connection with the increased interest in the study of the functioning of linguistic means in various areas of speech activity, lexical units are increasingly being studied from the point of view of their stylistic value. And this is quite natural, since, as you know, the object of linguistic stylistic analysis is the language in the process of its use. Thus, the relevance of the study lies in the need for a detailed development of one of the promising areas of modern linguistics - linguistic stylistics and, in particular, lexical stylistics.

The work of writers and poets - masters of the artistic word - plays a significant role in the development of any national literary language. Understanding the role of major writers in the history of the literary language is one of the critical tasks studies of the language of fiction [Tsydendambaev 1982]. The writer's idiolect is created on the basis of the national language of a certain era.

The talent of the writer lies in the ability to find the optimal ratio of the general and the individual: “The writer is the bearer and creator of the national culture of speech. Using the common language of his time, he selects and, in accordance with his creative intention, combines various means of the vocabulary and grammatical structure of his native language” [Vinogradov 1959, 183]. The individual-authorial stands out against the background of the general to the extent that the writer's linguistic mastery rises above the level of the general literary language of his era [Larin 1974].

The dissertation is carried out in line with the functional style of a literary text, the consideration of the author's idiostyle is carried out based on various lexical microstructures of the text in their specific aesthetic and stylistic conditionality.

Functional principle of selection language styles was formulated by L. V. Shcherba as follows: “Each stylistic variety of a language is brought to life by functional expediency. The differences between these varieties of the literary language are determined by their multi-functional orientation. [Shcherba 1957, 117-119].

It is precisely because of this relationship between the artistic style and the literary language that the analysis of literary texts not only makes it possible to understand all the peculiarities of the language of an individual work or the work of the writer as a whole, but also favors the most complete and consistent study of the general literary language.

Kalmyk fiction is, in our opinion, the quintessence of original creativity in the modern Kalmyk literary language. In this regard, it seems relevant to appeal to the idiolect of the famous Kalmyk prose writer K.E. Erendzhenov, one of the most interesting masters of the word, whose original work rightfully occupies a leading place in Kalmyk literature and the literary process of the twentieth century. However, it did not receive an adequate literary and linguistic analysis, and the onomastic space of his works remains unexplored.

Prose language is a separate object in the linguistic study of a literary text. Of particular interest in the semantic structure of the prose text are proper names, which serve as a kind of "key" in revealing the writer's artistic intention. Without exaggeration, we can say that the work of K. Erendzhenov is a vivid confirmation of this.

It should be noted that the language and style of Kalmyk writers has not been the object of a special monographic study so far. Konstantin Erendzhenov is one of those writers whose work has not been subjected to comprehensive linguistic analysis.

K.-Erenjenov is known as a connoisseur of the Kalmyk language, who used in his works the bright expressive means that exist in the national language. The author possessed a peculiar creative manner, writing culture, original language and style. It seems natural to study the vocabulary, semantic and stylistic layers and the emotional and expressive beauty of the language of the writer's works. All this predetermines the relevance of this study.

The degree of study of the topic. The interest of domestic literary critics and linguists in the linguistic analysis of a literary text arose at the beginning of the 20th century. The attention of linguists to various aspects of vocabulary is not accidental, since it is the lexical composition, unlike other levels of the language, that is characterized by the greatest variability and inconstancy. Behind the emergence of linguistic stylistics as one of the branches of linguistics is a number of fundamental works of the largest linguists: A. M. Peshkovsky (1930), A. A. Shakhmatov (1941), V. V. Vinogradov (1959, 1963, 1971, 1976) A.A. Potebni (1976, 1993), L. V. Shcherby (1974), G. O. Vinokura (1980, 1990, 1991) and others. The works of Academician V. V. Vinogradov became the theoretical basis for the systematic study of the literary text in Russian linguistics.

The distinction between the literary language and the language of fiction was theoretically substantiated as early as the middle of the last century, when a research methodology was developed for each of these areas. In these and other studies and generalizing scientific works, vast experience has been accumulated, which is necessary for the subsequent successful development of this section of linguistics. The experience of such studies has shown that "verbal images and the ways of their formation are different depending on the foundations of the poetics of one or another direction, one or another art school, as well as on the internal qualities of an individual style" [Vinogradov 1971, 55].

As you know, the specificity of the language artwork predetermined mainly by aesthetic function speech means. Therefore, in order to study this specificity, it is necessary to take into account the normative and aesthetic approaches to the language of fiction. The language of fiction and poetic language, being a means of artistic communication intended for a wide readership, is associated with the literary language and the language of the people [Filin 1978, 315].

After the 50s of the XX century. much has changed, but the lines of communication in the approach to the study of the language of a work of art by linguists and literary critics have not yet been sufficiently determined (V. M. Zhirmunsky, O. S. Akhmanova, V. A. Zvegintsev, V. P. Grigoriev, etc.).

In the works of the last decades of the XX century. questions of the theory and practice of linguistic analysis of a literary text are covered [Stepanov 1980, 1988; Kolshansky 1980, 1983; Losev 1994; Shansky 1972, 1985, 1990; Studneva 1983, Novikov 1988 and others].

The well-known Mongolian scholar L. D. Shagdarov points to the dissatisfaction of literary critics with a narrowly linguistic study of the style of a work of art and sets as the main task a systematic study of the individual styles of Buryat prose writers, poets and playwrights, emphasizing that the individual style of the writer should be studied by both linguists and literary critics [ Shagdarov 1974, 71]. The researcher of the language of fiction, V. P. Grigoriev, emphasized that the study of the language of artistic speech is an area of ​​theoretical, methodological and methodological controversies that have not yet been overcome [Grigoriev 1976, 48].

Back in the 60s of the last century, T. A. Bertagaev noted that, in contrast to phonetics and morphology, the lexicology of the Mongolian languages ​​was less studied [Bertagaev 1961, 3]. After several decades, research in the field of lexicology of the Mongolian languages ​​has undoubtedly moved forward. A significant contribution to the study of the vocabulary of the Mongolian languages ​​was made by such scholars of Mongolian studies as T. A. Bertagaev (1969, 1974), L. D. Shagdarov (1970, 1974), D. A. Pavlov (1964, 1968), I. K. Ilishkin (1960, 1967), G. Ts. Pyurbeev (1972, 1984, 1993, 1996), Ts. B. Budaev (1970), V. I. Rassadin (1970, 1983, 1989, 2000, 2007), E. Ch. Bardaev (1976, 1985), A.L. Kalyaev (1979, 1986), M.U. Monraev (1977, 1998) V. E. Ochir-Goryaev (1975, 1990, 1995) and others.

The works of the national Kalmyk writer K. Erendzhenov in more analyzed in terms of literary criticism, rather than in terms of language. Nevertheless, the bright, colorful language of the writer could not remain out of sight of linguists.

For the first time, the analysis of some features of the writer's language was given by the famous Kalmyk scientist A.Sh. Kichikov [Kichikov 1963] in the article "The Language of Kalmyk Art Books".

K. Erendzhenov was not only a prose writer, but also a poet. Ts.K. Korsunkiev [Korsunkiev 1965], highlighting the poem "Old Poplar" as a poem written in a strong expressive language. The power of the artistic word is not to describe beautifully, but to see its beauty in the most ordinary things, objects, phenomena, to be able to revive it by finding the appropriate colors.

Articles by R.P. Doraeva “On the language of the poems “Teg” and “Teegt” by D. Kugultinov” (1973), M.U. Monraev “On some linguistic features of the novel by A. Balakaev “Altn Bumb” (Golden 8

Bumba)" (1977) and others. Thus, the linguistic and stylistic features of the works of K. Erendzhenov have not yet been the object of a special linguistic research.

The works of D.D. Sanzhina (1991, 2001), T.M. Dugarzhapova (1993), G.A. Dyrkheeva (2007), O.B. Dorzhieva (2006),. Literary onomastics is actively studied by Buryat scientists, D.D. Sanzhina (1990, 2001), C.B. Shoibonova (1999), V.M. Tsybikova (1981) and others, as well as the Mongolian researcher H. Ya. Baatar (1998).

On the threshold of the 21st century, Kalmyk linguistics has moved to a new stage of its development: science articles, monographs of scientists devoted to topical issues in the field of lexical stylistics.

In 2004-2007 Candidate's dissertations by S.S. Badmaeva "Language and style of Mongolian fairy tales", T.V. Buraeva "Language of Kalmyk folk tales (based on the Kalmyk tales of G.I. Ramstedt)", V.V. Salykova "Lexico-stylistic features of the language of the Xinjiang-Oirat and Kalmyk versions of the epic "Dzhangar", revealing the actual problems of modern studies of vocabulary and the language of folklore in general.

Vocabulary should be considered in relation to the structure of a given artistic text from the point of view of the contemporary lexical system of the national language: “The language of a literary and artistic work, merging into the general stream of development of the language as a whole, can be considered as a monument and source of the history of this language” [Vinogradov 1959].

The study of the idiostyle of a particular author is interesting not only in terms of monitoring the development of the national language, but also to determine the personal contribution of the writer to the process of language development. The fate of any work of art depends on the author's ability to accurately formulate his thought, the degree of mastery of the word, knowledge of the laws of its functioning, virtuosity in the use of visual and expressive means of the language. The lexical and phraseological fund of the Kalmyk language, creatively used by K. Erendzhenov in his works, testifies to the original handwriting of a great master of the word.

The object of the study was the lexical structure of the literary works of K. Erendzhenov (the stories "Duuch shar heech", "Atsyuchin kevun", the novel "Lalan HadIl" in two books).

The subject of the study is the lexical and stylistic features of the language of these works, in particular the use by the author of common and special, appellative and onymic vocabulary, obsolete words, lexical figurative, figurative and expressive means.

The purpose of the study is to comprehensively study the lexical and stylistic features of the language of K. Erendzhenov's prose, to describe the features of the functioning of figurative and expressive means as idiostyle features.

To achieve this goal, the following tasks were planned:

Consider theoretical basis studying the language of works of art and linguistic stylistics;

Reveal the subject, attributive and procedural vocabulary in the lexical structure of the analyzed works by K. Erendzhenov and give a lexical-semantic classification of the selected classes of words;

Analyze phraseological and obsolete vocabulary in terms of its thematic distribution, part-of-speech affiliation, stylistic functions;

Give a typology of onyms recorded in the studied works;

To single out the main lexical figurative and figurative-expressive means of the language used by the author for the explication of the ideological and artistic content of the work;

To characterize the stylistic potential of the vocabulary of small genres of Kalmyk folklore, recorded in the writer's prose.

The following provisions are put forward for defense:

1. The language of prose is a separate object in the linguistic study of a literary text. The identification of idiostyle features is carried out on the basis of a comprehensive linguo-stylistic analysis of the vocabulary and phraseology of Erendzhen's prose. The lexical and phraseological fund of the Kalmyk language, creatively used by the writer in his works, testifies to the original handwriting of a great master of the word.

2. Vocabulary in the aggregate of its semantic connections is an important component of K. Erendzhenov's idiolect. To comprehend its originality, both the entire "inventory" of words is important, as well as their meanings, stylistic functions, text-forming potential, etc. The main lexico-semantic groups of subject substantive vocabulary are natural vocabulary, vocabulary of economic activities and material culture, vocabulary of social life and spiritual culture. Significant adjective and procedural verbal vocabulary occupy an important place in Erendzhen's prose.

3. A special place in the lexical space of Erendzhen's prose is occupied by onymic vocabulary. The core of the literary onomasticon of K. Erendzhenov is anthroponyms and toponyms; zoonyms, mythonyms, theonyms belong to the perinuclear space, and onyms of other categories - ideonyms, cosmonyms, pragmonims, etc. - to the periphery. The specificity of poetic onyms, in contrast to ordinary ones, lies in their stylistic load (characteristics of the character). Proper names serve as a kind of "key" in revealing the artistic intent of the writer.

4. The main means of lexical figurativeness of K. Erendzhenov's prose is tropes. The writer's idiostyle is characterized by an abundance of figurative and expressive means (metaphor, comparison, epithets), the specifics of the use of tropes.

The material of the study was the literary works of K. Erendzhenov, the story “Duuch shar heech” (Song of the shepherd), “Atsyuchin kevun” (Son of the hunter) and the novel “Lalan hadl” (Take care of the fire) in two books. The story "Duuch shar heech" was written in 1932, in the 60s the writer returns to the previously created pre-war story, significantly deepens and supplements it. As a result of a lot of work, the story develops into the novel "Lalan HadIl" in two books (I - 1963, II - 1965), written in a simple and lively language, which was facilitated by the author's excellent knowledge of the nomadic way of life, national life and language. In the story "Atsyuchin Kevun" (1976), through the image of Mergen, the fate of the hunter's son, who absorbed the smell of native steppe, ancient traditions and customs of their ancestors, brought up in the spirit of patriotism and love for their people.

The methodological basis of the study was scientific and theoretical developments in the field of language and style of works of art by such domestic linguists as O.S. Akhmanova, L.G. Babenko, N.S. Bolotnova, V.V. Vinogradov, G.O. Vinokur, I.R. Galperin, A.I. Efimov, Yu.V. Kazarin, Yu.N. Karaulov,

B.D. Levin, V.A. Lukin, L.A. Novikov, A.A. Potebnya, G.Ya. Solganik, N.M. Shansky, L.V. Shcherba and others, as well as the works of well-known experts in the field of Kalmyk, Buryat and Mongolian lexicology, linguistic stylistics and text linguistics: T.A. Bertagaeva, G.Ts. Pyurbeeva, V.I. Rassadin, L.D. Shagdarova, D.D. Sanzhina, G.A. Dyrkheeva, I.K. Ilishkina, B.D. Munieva, E.Ch. Bardaeva, A.L. Kalyaeva, M.U. Monraeva, R.P. Kharchevnikova, D.A. Suseeva, H.H. Ubushaeva,

C.M. Trofimova, V.E. Ochir-Goryaeva, P.A. Darvaeva, G.S. Bitkeyeva, E.U. Omakaeva and others.

Research methods and techniques. In the process of research, complex methods of linguistic analysis are mainly used, which are widely used in modern linguistics: descriptive-analytical, semantic-stylistic and continuous sampling. The task of the semantic study of the vocabulary of the writer's literary works required the use of various particular methods - component, contextual, as well as elements of the statistical method of analyzing lexical units. The most important advantage of the semantic method of studying vocabulary is that it allowed supplementing the traditional static isolated description of vocabulary with a dynamic one in terms of text functioning. The dynamic lexical model makes it possible to reveal the systemic connections of words, their text-forming potential.

The scientific novelty of the work lies in the fact that the semantic and stylistic features of the vocabulary of works of art by K. Erendzhenov became the subject of a special study for the first time in Kalmyk linguistics. The author's preferences in the choice of lexical figurative means are revealed, which allow revealing the system of artistic techniques characteristic of K. Erendzhenov. For the first time, new linguistic material from Erendzhen's prose is introduced into scientific circulation.

The theoretical significance of this dissertation research lies in obtaining new knowledge that contributes to the expansion and enrichment of the scientific and theoretical base for further research on the language and style of the works of Kalmyk writers and, more broadly, the history of the Kalmyk literary language of the 20th century, and the development of adequate methods for studying a literary text.

Practical significance. The results of the study can be used in university special courses, special seminars on lexical analysis and style of a literary text, as well as in the compilation of dialectological, phraseological, explanatory dictionaries of the Kalmyk language.

Testing and implementation of research results. The main results of the study are reflected in 13 scientific publications, including 3 of them in journals included by the Presidium of the Higher Attestation Commission of the Ministry of Education and Science of the Russian Federation in the list of leading scientific journals.

The dissertation was discussed at a meeting of the Linguistics Department of the Kalmyk Institute for Humanitarian Studies of the Russian Academy of Sciences. Its main provisions were reported at all-Russian and international conferences: International scientific-practical conference "Russia and Central Asia: historical and cultural heritage and development prospects", dedicated to the 65th anniversary of KIGI RAS (Elista, 2006); All-Russian scientific and practical conference "Dance folklore of the peoples of Russia" (Elista, 2008); International scientific conference "United Kalmykia in United Russia: through the centuries into the future", dedicated to the 400th anniversary of the voluntary entry of the Kalmyk people into the Russian state (Elista, 2009); International scientific conference "Problems of Mongolian and Altaic studies", dedicated to the 70th anniversary of prof. IN AND. Rassadin (Elista, 2009), as well as at interregional and republican conferences: the 5th interregional scientific conference "Youth in Science: Problems, Searches, Prospects" (Elista, 2004); P-th republican scientific-practical conference of young scientists and specialists "Youth and science: the third millennium" (Elista, 2005); 1st Bertagaev readings dedicated to the 100th anniversary of the birth of T.A. Bertagaeva (Elista, 2005); Interregional scientific conference "Ethnopedagogical connotation of the content of continuing education", dedicated to the 40th anniversary of KSU and the 70th anniversary of the Higher Education of Kalmykia (Elista, 2010).

Dissertation structure. The dissertation research consists of an introduction, five chapters, a conclusion, a bibliography, a list of sources and accepted abbreviations.

Conclusion

The study of the lexical structure of the text of literary works by K. Erendzhenov is carried out in line with the anthropocentric direction of modern linguistics, which pays special attention to the linguistic personality, the writer's lexicon and the ways of its implementation in the text.

An important aspect of the study of the lexical structure of K. Erendzhenov's prose is related to the problem of text perception by a modern reader: may appear twice in the "same" stream of "human experience"" [Gasparov 1994, 275].

The stories "Duuch shar heech" (Song of the shepherd), "Ats'uchin kevun" (Son of the hunter), the novel "Lalan had!t" (Take care of the fire) are texts facing the past, containing many words related to the passive vocabulary of the modern Kalmyk linguistic personality .

The originality of the considered works of K. Erendzhenov, whose artistic super-task is to show the development, spiritual growth, character formation of heroes - typical representatives of the generation of that time and the influence of folk traditions, customs, national culture as a whole on this process, allows us to talk about the special role of material and spiritual vocabulary culture of the Kalmyks, words of concrete-subject and abstract semantics, obsolete vocabulary, dialectisms in the lexical organization of the text.

Vocabulary in the totality of its semantic connections is an important component of K. Erendzhenov's idiolect. To comprehend its originality, both the entire "inventory" of words is important, as well as their meaning, visual possibilities, etc.

The individuality of the language of K. Erendzhenov, first of all, was reflected in his ability to use various lexical layers of the Kalmyk language. Skillfully selecting and organizing lexical material, the writer skillfully reveals in the speech of the acting characters their inner world. The basis of the lexicon is the commonly used vocabulary, in which we have identified thematic and lexico-semantic groups.

The analysis of the organizing role of LSG of subject, indicative and procedural words in the text became a peculiar semantic center of the study. LSG was one of the main units of the lexical structure of the studied text.

The writer uses the rich semantic and stylistic possibilities of commonly used words. The language of K. Erendzhenov's works of art is stylistically quite diverse.

The study of onymic vocabulary, in particular, toponyms used in the texts, showed that they, like poetic anthroponyms, are directly involved in the formation of the lexical and stylistic structure of the writer's prose. The core of the literary onomasticon of K. Erendzhenov is, in our opinion, anthroponyms and toponyms; zoonyms, mythonyms, theonyms belong to the perinuclear space, and onyms of other categories - ideonyms, cosmonyms, pragmonims, etc. - to the periphery.

Along with the commonly used vocabulary, stylistically differentiated (limited in their use) words associated with the professional and labor activity of a person stand out in his works.

In the works of K. Erendzhenov, hunting and cattle breeding, religious and military terminology are widely represented. And this is no coincidence. The works of the writer, aimed at educating the younger generation, the formation of spiritual and moral values, are as close to life as possible. common man(hunter, cattle breeder), his inner world.

We can note mainly the unambiguity of terms, i.e. one word - one meaning, which means that the term does not have polysemantic relations, which is one of the signs of terminology. If in the general vocabulary such phenomena as polysemy, homonymy, synonymy, antonymy are widely represented, then in the special vocabulary, as shown by our study, they have their own characteristics and limitations. Special vocabulary in works of art plays the role of an important expressive means that conveys both the features of the situation and the characteristics of the characters.

Historicisms and archaisms are used by the writer to the extent necessary to recreate the era of the post-revolutionary Soviet period. Borrowed words from Russian, Turkic and other languages ​​used by K. Erendzhenov mainly refer to socio-political and religious terminology, which is part of the special vocabulary.

The main sphere of use of book vocabulary is strictly standardized literary speech, for example: kharkh “1. see, look, look 2. inspect, survey 3. look after, observe ”; esrts "future, coming time".

The writer actively uses the vocabulary of oral speech, including colloquial everyday (for example, onomatopoeic and figurative words, interjections, etc.) and colloquial vocabulary, which gives the speech of his characters a bright emotionally expressive coloring with a touch of national color. Colloquial vocabulary is used to characterize people, objects, or any actions: manaks instead of manakhs "ours"; tenundn instead of terundn "there", etc.

Colloquial speeches with their ease, familiarity, and sometimes rudeness of expressions are distinguished by a reduced stylistic characteristic, for example: Hey, ezen zalg! "go to hell"; Yosn tsagar karsn shulms, socialist? "Oh, you devils."

The vocabulary of K. Erendzhenov's works is also a system of lexical figurative means used to express artistic intent, emotional mood and evaluation: synonyms, antonyms, homonyms. Synonymy and antonymy serve as the main forms of expressing the author's attitude to the depicted, creating expressiveness.

In the works of K. Erendzhenov, verbal phraseological units are very common, in which the main semantic load is usually carried by the verb expressing the action. The remaining components, taken together, contain a figurative comparison or comparison of certain well-known phenomena with reality, thereby giving the whole expression an emotionally expressive coloring. The semantic content of the verb, thus, acquires new, additional shades, while the phraseological unit itself is qualitatively transformed, reaching a high degree of amplification or concretization.

Phraseological expressions formed by full or partial tracing from the Russian language are also widely used in the texts we are considering: karinn taen hurkn met medh - “know like the back of your hand”; amndan us balksmn kevte - “as if he took water in his mouth”; dotr kiilg mahmudt vvrhn - "own shirt is closer to the body"; nud chichm hartsku - “it’s dark even if you gouge out your eye”; chonig kedu bordv chign keeregshen urkml tal kheledgen uurdmn bish - “no matter how much you feed the wolf, everyone looks into the forest”; shovud kedu kuuschml NarIsin namrlsch meddmn - “they count chickens in the fall”, etc.

Phraseologisms are used by the writer, if necessary, to evaluate this or that event, phenomenon, object. They contribute to the deepening of the characteristics of the described events, serve as one of the means of revealing the appearance of the hero.

Of great importance in the work of K. Erendzhenov is the active use by the writer of the paremiological fund of the Kalmyk language. Proverbs, sayings, good wishes, etc. participate in the creation of speech portraits of characters and stylization of presentation. The use of this or that proverb and saying in a speech context gives it a specific, targeted meaning.

The writer's idiostyle is characterized by an abundance of figurative and expressive means, the specifics of the use of tropes.

Comparisons are one of the main artistic and visual means of K. Erendzhenov's language. The text contains a huge number of comparisons and comparative constructions. Most of the comparisons are related to the environment, environment and era that is depicted in his works. The analysis showed that comparative constructions are mainly formed with the help of function words met, edl, kevte (like, as if, as if), as well as dutsge, chitsge (size s., size s.), which are used much less often, the stylistic use of which is determined by the context .

Thus, the lexical originality of the language of K. Erendzhenov's works of art reflects the main stylistic layers of the vocabulary of the Kalmyk language. The author's speech is based mainly on neutral words that have been in the language for a long time. These are well-known names of objects, phenomena, qualities, circumstances, actions and states. The national vocabulary dominates, understandable to speakers of all dialects. The basis of the lexical-stylistic system of the language is stylistically differentiated words: borrowings and tracing papers, dialectisms, historicisms, archaisms.

Thus, a comprehensive lexical and stylistic analysis of the material allows us to conclude that the main feature of K. Erendzhenov's idiostyle, revealed by us, is that, using wide range vocabulary, its semantic potential, the writer revives the past, creates a clear picture and a vivid description of the past in its various details. The study of the lexical structure of Erendzhen's prose allowed a deeper understanding of the meaning of the text, the main intention of the author.

In the text of the dissertation, as necessary, we give a linguocultural commentary on the words of a certain semantics, which is necessary for a deeper perception and comprehension of the meaning of the work, in which every detail is important. The analysis was carried out in conditions of a minimal context - a statement, a text fragment and the entire text. Sometimes even a minimal context was enough to present the peculiarities of the writer's idiostyle.

The choice of a word reveals the lexicon of the author himself, the specific properties of his memory: most often his works mention words denoting objects of traditional life. This reveals the specificity of the lexicon of K. Erendzhenov himself, which combines elements of the thesaurus of an excellent connoisseur of native culture and an artist who implements the unique properties of memory in his work.

The study of the language and style of one of the national writers opens up prospects for further, more detailed development of issues related to the linguo-stylistic system of a literary text.

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234 L.x. 1. Lalan hadYb 1-h degtr

235 L.x. 2. Lalan had1t 2-h Degtr Greek. Greek Derb. Derbet dialect1. I.proper namesKalm.Kalmyk language

236. LSG. lexico-semantic groups

237. LST.lexical structure of the text

238. LSP.lexical-semantic fieldsMongolian.Mongolianmusic.musical.religiousSanskrit.Sanskrit.Tib.Tibetan.trade.Torghut dialectTurk.Turkic language, Turkic formobsolete meaning1. HT.art text

239. SHKT.Shulgud, kelvrmood boln tuuks