TREND OF DEVELOPMENT OF DIALOGICAL FORM IN RUSSIAN PROSE OF THE FIRST HALF OF THE 19TH CENTURY

Abstract In the story of N. Pavlov "Million," the narrative structure is kept on balancing the subjective forms of presentation of literary material. Author's assessments and remarks are replaced by a psychological analysis of the mental state of the characters and the motives of their behavior in the proposed circumstances. V. Odoevsky presented dialogue as one of the effective forms of author's narration. The dialogue suggested for the writer a lively exchange of thoughts, which had the potency of maximum approximation to the truth. The search for truth, the writer believed, occurs in the ability to live sympathy and distinguish the finest associations between events and phenomena. The philosophical dispute is built among writers in such a way that it is not the opposites in views and assessments of the voices of interlocutors that are important, but certain substances of people that embody moral and moral concepts about the meaning of human life in the planes of sensory and rational. N. Gogol builds the dialogical form so that it clearly stands out from the author's narrative, and does not lie straightforwardly and passively in its plane. The dialogue in the writer's prose is not absorbed by the author's context and is not characterized by uniformity in the coordinates of the literary text. In Gogol's prose, the dialogue actively motivates the development of plot collisions and acquires a bright characterological orientation. The dialogic form allows the author to outline a personal portrait of his characters in the inconsistency and liveliness of his features, which leads the individual manner of the writer away from the unambiguity of the artistic narrative of early romantic prose and literature of the pre-romanticism era. The material-subject meaning of the replicas of the characters not only creates a meaningful potential for the dialogical scene, but gives rise to the tonality of their conversation, which is in line with the author's own context, permeated with playful humor and ironic remarks of the narrator. N.V. Gogol modeled the situation of possible contact with his reader as a relapse of a literary text. Such contact communicative forms were the author's appeals to the reader, who comprehended the meaning of the artistic context, ranging from his verbal expression in the form of dialogues and the author's context itself to reaching all levels of his semantics and narrative structure.