Expressive means of language.

The opposition of antonyms in speech is a vivid source of speech expression that enhances the emotionality of speech: He was weak in body, but strong in spirit.

Contextual (or contextual) antonyms - these are words that are not opposed in meaning in the language and are antonyms only in the text: Mind and heart - ice and fire - this is the main thing that distinguished this hero.

Hyperbola- a figurative expression that exaggerates any action, object, phenomenon. It is used to enhance the artistic impression.: Snow fell from the sky in pounds.

Individually-author's neologisms thanks to their novelty, they allow creating certain artistic effects, expressing the author's view on a topic or problems: ... how can we ourselves ensure that our rights are not expanded at the expense of the rights of others? (A. Solzhenitsyn)

The use of literary images helps the author to better explain any situation, phenomenon, another image: Grigory was, apparently, the brother of Ilyusha Oblomov.

Synonyms- these are words related to the same part of speech, expressing the same concept, but at the same time differing in shades of meaning: Love - love, friend - friend.

Contextual (or contextual) synonyms - words that are synonymous only in this text: Lomonosov - a genius - a beloved child of nature. (V. Belinsky).

Stylistic synonyms - differ in stylistic coloring, scope of use: grinned - giggled - laughed - neighed.

Syntactic synonyms - parallel syntactic constructions, having different structure, but coinciding in their meaning: start preparing lessons - start preparing lessons.

Metaphor- a hidden comparison based on the similarity between distant phenomena and objects. At the heart of any metaphor is an unnamed comparison of some objects with others that have a common feature.

In a metaphor, the author creates an image - an artistic representation of the objects, phenomena that he describes, and the reader understands exactly what similarity the semantic connection between the figurative and direct meaning of the word is based on: There were, are and, I hope, always will be more good people in the world, than bad and evil ones, otherwise disharmony would set in in the world, it would warp ... capsize and sink.

Metonymy- transfer of values ​​(renaming) according to the adjacency of phenomena. The most common cases of transfer:

A) from a person to any of his external signs: Is lunch coming soon? - asked the guest, referring to the quilted waistcoat;

B) from the institution to its inhabitants: The entire boarding house recognized the superiority of D.I. Pisarev;

Oxymoron- a combination of contrasting words that create a new concept or idea. This is a combination of logically incompatible concepts, sharply contradictory in meaning and mutually exclusive. This technique sets the reader to the perception of contradictory, complex phenomena, often - the struggle of opposites. Most often, an oxymoron conveys the author's attitude to an object or phenomenon: Sad fun continued ...

personification- one of the types of metaphor, when the transfer of a sign is carried out from a living object to an inanimate one. When impersonated, the described object is outwardly likened to a person: Trees, bending down towards me, extended their thin arms. Even more often, inanimate objects are attributed actions that are available only to people: Rain splashed bare feet along the paths of the garden.

Evaluative vocabulary- direct author's assessment of events, phenomena, objects: Pushkin is a miracle.

paraphrase- use of a description instead of a proper name or title; descriptive expression, figure of speech, replacing the word. Used to decorate speech, replace repetition: The city on the Neva sheltered Gogol.

The proverbs and sayings used by the author make the speech figurative, apt, expressive.

Comparison- one of the means of expressiveness of the language, helping the author to express his point of view, create whole artistic pictures, give descriptions of objects. In comparison, one phenomenon is shown and evaluated by comparing it with another phenomenon. Comparison is usually joined by unions like, as if, as if, exactly, etc. It serves to figuratively describe the most diverse features of objects, qualities, and actions. For example, comparison helps to give an accurate description of the color: Like the night, his eyes are black.

Often there is a form of comparison expressed by a noun in the instrumental case: Anxiety has crept like a snake into our hearts.

There are comparisons that are transmitted by the form of the comparative degree of an adverb or adjective: Selfishness is colder than a spring; The earth softer than down lay before him.

There are comparisons that are included in the sentence using the words similar, similar, reminiscent: ... butterflies are like flowers.

Comparison can also represent several sentences related in meaning and grammatically. There are two types of comparisons:

1) a detailed, branched comparison-image in which the main, initial comparison is concretized by a number of others: The stars went to the sky. With thousands of curious eyes they rushed to the ground, thousands of fireflies lit the night.

2) extended parallelism (the second part of such comparisons usually begins with the word like this): the Church shuddered. This is how a person taken by surprise shudders, this is how a trembling doe takes off from its place, not even understanding what has happened, but already sensing the danger.

Phraseologisms - these are almost always bright, figurative expressions. Therefore, they are an important expressive means of language used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality, etc.: People like my hero have a spark of God.

Quotations from other works help the author prove any thesis, the position of the article, show his passions and interests, make the speech more emotional, expressive: A.S. and world culture.

Epithet- a word that highlights in an object or phenomenon any of its properties, qualities or signs. An epithet is an artistic definition, that is, a colorful, figurative one that emphasizes some of its distinctive properties in the word being defined. Any meaningful word can serve as an epithet, if it acts as an artistic, figurative definition for another:

1) noun: magpie talker.

2) adjective: fatal hours.

3) adverb and participle: eagerly peers; listens frozen; but most often epithets are expressed with the help of adjectives used in a figurative sense: sleepy, tender, loving eyes.

Syntactic means

Author's punctuation - this is a punctuation mark that is not provided for by punctuation rules. Author's signs convey the additional meaning invested in them by the author. Most often, a dash is used as copyright marks, which either emphasizes the opposition: Born to crawl - cannot fly, or highlights the second part after the sign: Love is the main thing<. Авторские восклицательные знаки служат средством выражения радостного или горестного чувства, настроения.

Anaphora, or monogamy - this is the repetition of individual words or phrases at the beginning of sentences. Used to enhance the expressed thought, image, phenomenon: How to talk about the beauty of the sky? How to tell about the feelings that overwhelm the soul at this moment?

Antithesis- a stylistic device that consists in a sharp opposition of concepts, characters, images, creating the effect of a sharp contrast. It helps to better convey, depict contradictions, contrast phenomena. It serves as a way of expressing the author's view of the described phenomena, images.

exclamation particles - a way of expressing the emotional mood of the author, a technique for creating emotional pathos of the text: Oh, how beautiful you are, my land! And how good are your fields!

Exclamatory sentences express the author's emotional attitude to what is being described (anger, irony, regret, joy, admiration): An ugly attitude! How can you not save happiness! Exclamatory sentences also express an impulse to action: Let's save our soul as a shrine!

gradation- a stylistic figure, which consists in the consistent injection or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech: For the sake of your child, for the family, for the people, for the sake of humanity - take care of the world!

Inversion- Reverse word order in a sentence. In direct order, the subject precedes the predicate, the agreed definition is before the word being defined, the inconsistent definition is after it, the addition is after the control word, the circumstance of the mode of action is before the verb: Modern youth quickly realized the falsity of this truth. And with inversion, the words are arranged in a different order than is established by grammatical rules. This is a strong expressive means used in an emotional, excited speech: Beloved homeland, my native land, should we not take care of you!

Composite joint- this is a repetition at the beginning of a new sentence of a word or words from a previous sentence, usually ending it: The Motherland did everything for me. Motherland taught me, raised me, gave me a start in life. A life I'm proud of.

polyunion- a rhetorical figure, consisting in the deliberate repetition of composing unions for the logical and emotional selection of the enumerated concepts: And the thunder did not strike, and the sky did not fall to the ground, and the rivers did not overflow from such grief!

Parceling- the technique of dividing a phrase into parts or even into separate words. Its goal is to give speech intonational expression by its abrupt pronunciation: The poet suddenly stood up. Turned pale.

Repeat- the conscious use of the same word or combination of words in order to enhance the meaning of this image, concept, etc.: Pushkin was a sufferer, a sufferer in the full sense of the word.

Connecting structures- the construction of the text, in which each subsequent part, continuing the first, main one, is separated from it by a long pause, which is indicated by a dot, sometimes an ellipsis or a dash. This is a means of creating an emotional pathos of the text: Belorussky railway station on Victory Day. And a crowd of greeters. And tears. And the bitterness of loss.

Rhetorical questions and rhetorical exclamations- a special means of creating the emotionality of speech, expressing the author's position.

Who hasn't cursed the stationmasters, who hasn't scolded them? Who, in a moment of anger, did not demand from them a fatal book in order to write in it their useless complaint of oppression, rudeness and malfunction? Who does not revere them as monsters of the human race, equal to the deceased clerks, or at least Murom robbers?

What a summer, what a summer! Yes, it's just magic!

Syntax parallelism- the same construction of several adjacent sentences. With its help, the author seeks to highlight, emphasize the expressed idea: Mother is the beginning of all beginnings. Mother is an earthly miracle. Mother is a sacred word.

The combination of short simple sentences and long complex or complex sentences helps to convey the pathos of the article, the emotional mood of the author.

“Binoculars. Binoculars. People want to be closer to Gioconda. Consider the pores of her skin, eyelashes. Glare pupils. They seem to feel the breath of Mona Lisa. They, like Vasari, feel that “the eyes of the Gioconda have that brilliance and that moisture that are usually seen in a living person ... and in the deepening of the neck, with a careful look, you can see the beating of the pulse ... And they see and hear it. And it's not a miracle. Such is the skill of Leonardo."

“1855. The zenith of Delacroix's glory. Paris. Palace of Fine Arts… In the central hall of the exposition there are thirty-five paintings by the great romanticist.”

One-part, incomplete sentences make the author's speech more expressive, emotional, enhance the emotional pathos of the text: Mona Lisa. A human babble. Whisper. The rustle of dresses. Quiet steps. ... Not a single stroke, - I hear the words. - No swabs. How alive.

Epiphora -the same ending of several sentences, reinforcing the meaning of this image, concept, etc.: I have been going to you all my life. I have believed in you all my life. I have loved you all my life.

Well, repeated the theory of literature? And now let's return to the Russian language and repeat the punctuation marks in quotations, because without quotations any essay becomes unsubstantiated, impersonal. Quoting is one of the methods of argumentation of the expressed thought.

Lexical means

Antonyms - different words related to the same part of speech, but opposite in meaning ( good - evil, powerful - powerless). The opposition of antonyms in speech is a vivid source of speech expression, which establishes the emotionality of speech, serves as a means of antithesis.:he was weak body, but strong spirit.

Hyperbole - figurative expression exaggerating any action, object, phenomenon. Used to enhance the artistic impression.:Snow felled from the sky by the pood .

Litotes - worst understatement : a man with a fingernail. Used to enhance the artistic impression.

Individual-author's neologisms (occasionalisms) - thanks to their novelty, they allow creating certain artistic effects, expressing the author's view on a topic or problems: ... how can we make sure that our rights do not expanded at the expense of the rights of others? (A. Solzhenitsyn)

Synonyms - These are words belonging to the same part of speech, expressing the same concept, but at the same time differing in shades of meaning: Love is love, friend is friend. Used Synonyms allow you to more fully express the idea, use. To enhance the feature.

Contextual (or contextual) synonyms − words that are synonymous only in this text:Lomonosov - a genius - a beloved child of nature. (V. Belinsky)

Metaphor - a hidden comparison based on the similarity between distant phenomena and objects. At the heart of any metaphor is an unnamed comparison of some objects with others that have a common feature.

In a metaphor, the author creates an image - an artistic representation of the objects, phenomena that he describes, and the reader understands what kind of similarity the semantic relationship between the figurative and direct meaning of the word is based on:There were, are, and, I hope, always will be more good people in the world than bad and evil ones, otherwise disharmony would come in the world, it would have skewed...tipped over and sunk. Epithet, personification, oxymoron, antithesis can be considered as a kind of metaphor.

personification - one of the types of metaphor, when the transfer of a sign is carried out from a living object to an inanimate one. When impersonating, the described object is externally used by a person:Trees leaning towards me outstretched thin arms. Even more often, actions that are permissible only to people are attributed to an inanimate object:Rain slapped bare feet along the paths of the garden.

Proverbs and sayings, used by the author, make the speech figurative, apt, expressive.

Comparison - one of the means of expressiveness of the language, helping the author to express his point of view, to create whole artistic pictures, to give a description of objects. In comparison, one phenomenon is shown and evaluated by comparing it with another phenomenon. Comparison is usually joined by conjunctions:like, as if, as if, exactly, etc. but it serves for a figurative description of the most diverse features of objects, qualities, and actions. For example, comparison helps to give an accurate description of a color:Like the night his eyes are black.

Often there is a form of comparison expressed by a noun in the instrumental case:Anxiety snake crept into our hearts. There are comparisons that are included in the sentence using words:similar, similar, reminiscent: ... butterflies are like flowers.

Phraseologisms - these are almost always vivid expressions. Therefore, they are an important expressive means of language used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality, use. In order to show the author's attitude to events, to a person, etc.:people like my hero have divine spark. Phraseologisms have a stronger effect on the reader.

Epithet - a word that highlights in an object or phenomenon any of its properties, qualities or signs. An epithet is an artistic definition, i.e. colorful, figurative, which emphasizes some of its distinctive properties in the word being defined. Any meaningful word can serve as an epithet, if it acts as an artistic, figurative definition for another:talker magpie, fatal hours. looks eagerly; listens frozen; but most often epithets are expressed using adjectives used in a figurative sense:half-asleep, tender, loving eyes.

Using the epithet, the author highlights those properties and features of the phenomenon he depicts, to which he wants to draw the reader's attention. With the help of an epithet, the author concretizes the phenomena or their properties.

Gradation - a stylistic figure that consists in the consequent intensification or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech:For the sake of your child, for the sake of the family, for the sake of the people, for the sake of humanity - take care of the world! Gradation is ascending (strengthening of the feature) and descending (weakening of the feature).

Antithesis - a stylistic device that consists in a sharp opposition of concepts, characters, images, creating the effect of a sharp contrast. It helps to better convey, depict contradictions, contrast phenomena. It serves as a way of expressing the author's view of the described phenomena, images, etc.

colloquial vocabulary gives additional. Expressive-emotional. Coloring (put, deny, reduce) can give a playful, ironic, familiar attitude to the subject.

Historicism- words that have fallen out of use along with the concepts they denoted (chain mail, coachman)

Archaisms- words that are in modern. Rus. The language is replaced by other concepts. (mouth-mouth, cheeks-cheeks)

In the works of the artist Lit. They help to recreate the color of the era, are a means of speech characteristics, or can be used as a means of comic

Loans. The words - to create humor, a nominative function, give national. Coloring brings the reader closer to the language of the country whose life is described.

. Grammar means.

exclamation particles - a way of expressing the emotional mood of the author, a method of creating an emotional pathos of the text:O, how beautiful you are, my land! And how good are your fields !

exclamatory sentences express the emotional attitude of the author to the described (anger, irony, regret, joy, admiration): Disgraceful attitude! How can you save happiness! Exclamatory sentences also express a call to action:Let's save our soul as a shrine!

Inversion - reverse word order in a sentence. In direct order, the subject precedes the predicate, the agreed definition is before the word being defined, the inconsistent definition is after it, the addition is after the control word, the adverb of the mode of action is before the verb: The youth of today quickly realized the falsity of this truth. And with inversion, the words are arranged in a different order than is established by grammatical rules. This is a strong expressive means used in emotional, excited speech:Beloved homeland, my native land, should we take care of you!

Repeat - conscious use of the same word or combination of words in order to enhance the meaning of this image, concept, etc.:Pushkin was sufferer, sufferer in the full sense of the word.

Rhetorical questions and rhetorical exclamations - a special means of creating the emotionality of speech, expressing the author's position. Who hasn't cursed the stationmasters, who hasn't scolded them? Who, in a moment of anger, did not demand from them a fatal book in order to write in it their useless complaint of oppression, rudeness and malfunction?

What summer, what summer? Yes, it's just magic!

A combination of short simple and long complex or complicated sentences with a variety of turnovers helps to convey the pathos of the article, the emotional mood of the author.

“1855. The zenith of Delacroix's glory. Paris. Palace of Fine Arts ... in the central hall of the exposition - thirty-five paintings of the great romantic.

One-part, incomplete sentences make the author's speech more expressive, emotional, enhance the emotional pathos of the text: Gioconda. A human babble. Whisper. The rustle of dresses. Quiet steps ... Not a single stroke, - I hear the words. - No smears. How alive.

Epiphora - the same ending of several sentences, reinforcing the meaning of this image, concept, etc.:are used to express confidence (of course), uncertainty (maybe), various feelings (fortunately), the source of the statement (according to words), the order of events (firstly), evaluation (to put it mildly), to attract attention (you know, understand, listen)

Appeals- is used to name the person to whom the speech is being addressed, to attract the attention of the interlocutor, and also to express the attitude of the speaker to the interlocutor (Dear and dear mother! - common appeal e)

Isolation - used to highlight or clarify part of the statement. (At the fence, at the gate itself ...)

Antonymy, reflecting the essential side of systemic connections in the vocabulary, covers words that are opposed in meaning: truth - lies, good - evil, speak - be silent. Modern lexicology considers synonymy and antonymy as extreme, limiting cases of interchangeability and opposition of words in terms of their content. At the same time, if semantic similarity is characteristic of synonymic relations, then semantic difference is characteristic of antonymic relations.

The existence of antonyms in the language is due to the nature of our perception of reality in all its contradictory complexity, in the unity and struggle of opposites. Therefore, contrasting words, as well as the concepts they denote, are closely related. The word good evokes in our minds the word evil, far reminds us of the word close, speed up - about slow down. The names of such phenomena and objects are antonymized, which are correlative, belong to the same category of objective reality as mutually exclusive concepts. It follows from this that antonyms not only mutually negate, but at the same time presuppose each other.

Antonyms are paired by contrast. However, this does not mean that a particular word can have only one antonym. The synonymic relations of words make it possible to express the opposition of concepts in an “open”, polynomial series (cf .: concrete - abstract - abstract, cheerful - sad - sad - dull - boring - grumpy). This approach to the study of antonyms forces us to reconsider the widespread belief that antonyms form closed pairs of words.

When studying antonymic relations between words, it is necessary to take into account that in polysemantic words, individual meanings can sometimes enter into antonymic relations. For example, the word day in the meaning of "part of the day" has an antonym night, and in the meaning of "day, date" has no antonyms at all. Different meanings of the same word can have different antonyms. For example, the word close in the meanings “located at a short distance” and “remote for a short period of time” has an antonym distant (close - a distant distance, close - distant years). In the meaning of "blood related" this adjective is antonymous with the word alien (relatives are strangers). And speaking in the meaning of “similar, similar”, close forms an antonymic pair with the word different (works that are similar in content, but different in form). However, a polysemantic word can also have one antonym, which also appears in several meanings. For example: the upper one in the meaning of “located at the top, above the others” has the antonym lower in the meaning of “located below” (upper - lower step); The second meaning of the word "close to the upper reaches of the river" is opposed by the corresponding meaning of its antonym - "located closer to the mouth" (upper course; lower course); the special meanings of these words are also antonymized: “referring to the top” (upper case) and “forming the lower limit of the range of any voice or instrument” (lower case).

Words with wide boundaries of lexical compatibility form many antonymic combinations [left - right (arm, shoulder, side, ear, eye, wing, paw, side, part, half, coast, flank, party, bias)]. For words with narrow boundaries of lexical compatibility, the zone of antonymy is small [fresh - stale (loaf, roll, bread)].

In modern science, the phenomenon of antonymy is considered as a special additional characteristic of the lexical meaning of a word. However, any words can be opposed in speech, sometimes even very close in meaning. For example, in Pushkin: There are many scientists, few smart people, few acquaintances, but no friend. Such a comparison of words in context does not make them antonyms. In speech, words are often contrasted that are associated in the minds of speakers by an association of adjacency of concepts (parents and children, brother and sister, moon and sun, wolves and sheep); you can contrast words that have word-formation connections, similar sounding [“Literature and literature”, “Position or position?” (article titles)]. In a certain context, even synonyms are opposed (Uli's eyes were large, dark brown - not eyes, but eyes, with long eyelashes. - Fad.). In such cases, one sometimes speaks of contextual antonyms, but this term is criticized, since antonymy implies the regularity of opposing words with opposite meanings.

1.4.2. Stylistic functions of antonyms

Antonyms are used as a bright expressive means in artistic speech. The writer sees life in contrasts, and this testifies not to inconsistency, but to the integrity of his perception of reality.

The main stylistic function of antonyms is to be a lexical means of expressing antithesis. Antithesis as a stylistic device is widespread in folk poetry, for example, in proverbs: Learning is light, and ignorance is darkness; Softly spread, but hard to sleep. Classical examples of the use of antithesis are given by Russian fiction: You are rich, I am very poor. You are a prose writer, I am a poet. You blush, like a poppy color, I, like death, and skinny, and pale (P.); Farewell, unwashed Russia, a country of slaves, a country of masters, And you, blue uniforms, and you, a people devoted to them (L.); I see sad eyes, I hear cheerful speech (A.K.T.).

The antithesis is simple (single-membered) - The strong are always powerless to blame (Kr.) and complex (polynomial) - And we hate, and we love by chance, Without sacrificing anything to either malice or love, And some kind of secret cold reigns when fire boils in the blood (L.). a complex antithesis should involve several antonymous pairs.

The appeal to antonyms reflects important features of the writer's worldview and style. M.Yu. Lermontov, striving for expressiveness, aphoristic refinement of speech, often introduced antonyms into the text in the process of auto-editing, preferring contrasting words to neutral ones. For example: - As far as I am concerned, I am convinced of only one thing ... - said Dr. [Werner], - (...) that sooner or later, one fine morning I will die. - I'm richer than you. - I said [Pechorin]: - besides this, I have another conviction, - precisely that I one wicked evening had the misfortune to be born. In Lermontov's draft autograph, this opposition had not yet had such sharpness: one of the elements of the antithesis fell out there - Pechorin repeated Werner's epithet one fine evening.

Antonyms contribute to the disclosure of the contradictory essence of objects, phenomena [You are poor, you are abundant, you are powerful, you are powerless, Mother Russia (N.); Now serious, now amusing, no matter what, in the rain, in the snow - he goes, holy and sinful, Russian miracle man (Tvard.)].

Publicists often turn to the antithesis (There are no intermediate tones, pale colors in the war, everything is brought to the end - great and despicable, black and white. - Eren.). The use of antonyms gives journalistic speech a vivid expression. So, A.N. Tolstoy wrote during the Great Patriotic War: Our land has swallowed up a lot of rapists who attacked it. In the west, the Igibli empires arose. From the great they became small, from the rich to beggars. Our homeland expanded and grew stronger, and no enemy force could shake it.

Opposition enhances the emotionality of speech. It is no coincidence that antonymy underlies many aphorisms [The darker the night, the brighter the stars (Mike.); Houses are new, but prejudices are old (Gr.); I am sad because you are having fun (L.); That heart will not learn to love, which is tired of hating (N.); How few roads have been traveled, how many mistakes have been made (Ec.); Your doors are wide open, and your soul is locked (High); But almost at the edge of the coffin I believe: the time will come - The strength of meanness and malice Will be overcome by the spirit of good (Past.)].

Many titles of works are built on the principle of antithesis [“War and Peace” (L.T.); "Days and Nights", "The Living and the Dead" (Sim.)]. Especially often antonymy is used in the headlines of newspaper and magazine articles [“Chemistry good and evil”, “Income and expenses”, “A dead system does not hear living people”, “Retro and modern are nearby”, “Tragic and cheerful farewell”, “Geography - different, similar biographies”, “Poverty with wealth”, “Maxi-passion for futsal”].

The antithesis is opposed to the reception, which consists in the denial of contrasting features of the subject: In the britzka sat a gentleman, not a handsome man, but also not bad-looking, not too fat, not too thin, say to old, however w and not too young(G.). Such a stringing of antonyms by negation emphasizes the mediocrity of what is described, the lack of bright qualities, clearly expressed signs. Such use of antonyms makes it possible to indicate not such concepts that do not have an exact definition in the language, for example: If a friend turned out to be suddenly and neither friend nor foe, and so ... (High).

A strong expression is created by the use of one of the members of the antonymic pair with negation: Who will you become - I will not guess. The world has not grown old - it has become younger: in the expanses of the Motherland there are many big and small things everywhere (Vik.). Such a combination of antonyms enhances, emphasizes the meaning of one of them, used without negation; at the same time, verbal redundancy performs an excessive function - it serves as a means of updating the concept to which the author wants to pay special attention: The demon in me is alive, not dead (Tsv.); I did not come to quarrel, but to put up; I am not your enemy, but your friend. Writers use this stylistic device to convey shades of colloquial speech with its characteristic emphatic intonation, for example, in Chekhov: Pull the snag up, good man ... How are you? Up, not down!

The phenomenon of antonymy underlies oxymoron (from Gr. oxýmoron - witty-silly) - a bright stylistic device of figurative speech, which consists in creating a new concept by combining words that are contrasting in meaning. The combination of antonyms in a “pure form” in an oxymoron is rare [“The Beginning of the End” (article title), “Bad Good Man” (movie title), In the midst of a period of stagnation ... (from the gas.)]. In most cases, words with opposite meanings are combined as definitive and definitive [“Large little things”, “Expensive cheapness”, “Inconvenient amenities” (headings)] (noun and adjective), so they cannot be considered antonyms in the exact meaning of the term (antonyms must belong to the same part of speech).

Bright oxymorons were created by Russian poets [I love the lush nature of wilting (P.); Oh, how painfully happy I am with you (P.); But I soon comprehended the mystery of their ugly beauty (L.); The wretched luxury of the dress (N.); FROM impudent modesty looks into the eyes (Bl.); Look, she's fun to be sad, like that smartly nude(Ahm.); - Mother! Your son is very sick! (Lighthouse.); The time has come omniscient ignoramuses(Vys.)]. Oxymoron is often found in the titles of works of art [“Living Powers” ​​(T.), “Optimistic Tragedy” (Vishn.)], in the headings of articles (“Complex Simplicity”, “Cold - Hot Season”, “ Awakened silence”, “Loud whisper of a joke”, “Unofficial about official”, “Retreat forward”).

The stylistic functions of antonyms are not limited to the expression of context, opposition. Antonyms help writers to show the completeness of the coverage of phenomena [And it's too late to wish, everything has passed: both happiness and sorrow (Vl. Solovyov); Before him, the crowd fled, The true story and fiction divulged (P.)], the breadth of time boundaries [The troops go day and night, They become unbearable (P.)]. The use of antonyms in this stylistic function sometimes leads to the stringing of antonymic pairs (The palette of colors of human characters has no boundaries. There are good and evil people, brave and cowardly, smart and narrow-minded, beautiful and ugly, healthy and sick, cheerful and gloomy, old and young, direct and secretive, frank and cunning... - N. Ch.).

Some antonymic pairs appear in speech as a lexical unity, acquiring a phraseological character: both old and young, both, sooner or later. Their use introduces colloquial intonations into artistic speech: We will not get carried away, so we will break through, We will be alive - we will not die, The time will come, we will return back. What we have given, we will return everything (Tward.).

Comparison of antonyms can reflect the alternation of actions, the change of phenomena observed in life [At 7 o'clock the human tide, at 17 o'clock - ebb (Mayak.); Let's make up. And we'll quarrel. And you will fall asleep again. We will put our insomnia into a solid white night (R.)], point to a quick change of actions (A clear lightning flashed in the distance, flared up and went out ... - Bl.).

When antonyms collide, speech often acquires an ironic coloration; humorous writers often use comic antitheses [The farthest point on the globe is close to something, and the closest to something is far away (K.P.); An unripe pineapple is always worse for a just person than a ripe currant (K.P.)].

Puns are built on antonyms: Where is the beginning of that end, which ends start? (K.P.) It was so late that it was already early (Solzh.). In such cases, the play on words arises due to the use of polysemantic words that do not act as antonyms in all meanings (cf.: Young was no longer young. - I. and P.).

A special stylistic device is the use of one of the antonyms, while the meaning should have used the other. For example: - Where, smart, are you wandering your head? (Cr.). The word smart is said in mockery in relation to the Donkey. And the reader understands that behind this definition is its antonym - stupid. The use of a word in the opposite sense is called antiphrasis. Antiphrasis is often found in texts permeated with the author's irony, for example, in N.V. Gogol: Two respectable men, honor and decoration of Mirgorod, quarreled among themselves; …Then the process started with extraordinary speed for which judgment-seats are usually so famous.

A sharp satirical effect is created by the antonymic replacement of one of the components in stable phrases: "Bureau of malicious services", "Debt by payment is black" (the titles of feuilletons). In such combinations, the “illogicality” of the statement is especially noteworthy, since the linguistic form of the phraseological unit dictates the use of a word that is opposite in meaning.

When studying the stylistic use of antonyms in artistic speech, it should be borne in mind that their expressive possibilities are realized not only in direct opposition, but also in the case when any member of the antonymic pair is absent in the text. Due to their stable connections, antonyms are perceived in speech against the background of their "countermembers". For example, reading the description of Pugachev's appearance in A.S. Pushkin, we note the special expressiveness of words that have antonymic pairs: His face is swarthy, but clean, his eyes are sharp and insured; the beard and hair on the head are black; its growth is average or less; in the shoulders, although wide, but in the lower back is very thin - the reader mentally distinguishes each of the highlighted words from a possible antonym. This is where the systemic connections of words in the vocabulary are manifested.

1.4.3. Stylistically unjustified use of antonyms

The use of antonyms in speech should be stylistically motivated. The inappropriate use of antonyms makes it difficult to perceive the phrase (V. Pukhov's answer was the best of the worst).

A combination of mutually exclusive features of the subject should be avoided ( The road was straight, albeit winding), however, writers may violate this requirement in order to characterize the hero's speech. So, in Griboyedov’s comedy “Woe from Wit”, Famusov says to Skalozub: “It’s been a long time since you’ve been a colonel, but you’ve been serving recently.” Antonymic pairs should be logical. It is impossible to oppose disparate concepts. The illogicality of such opposition is played up in the drama of A.P. Chekhov's "Three Sisters": Olga ... You have a green belt! Honey, this is not good!.. Natasha ...Yes? But it's not green, but rather matte. This ridiculous objection of Natasha emphasizes her limitations.

Analyzing the use of antonyms in speech, sometimes you may encounter errors in constructing an antithesis, for example: This book covers everything. This is a book about birth and death, about love and joy, about hate, suffering and grief. The author violated the sequence of enumeration, depriving the speech of harmony. The reception of antithesis requires clarity in comparing contrasting concepts: after the word love, its antonym hate should be placed, next to the word joy - grief, mentioning suffering, the author had to give an antonym to this word or exclude the noun that “falls out” of the antithesis.

The use of antonyms is justified if it really reflects the dialectical unity of the opposites of the surrounding life. But sometimes a play on words built on antonyms does not reflect a real opposition, does not reveal internal contradictions and is perceived as a kind of stencil (for example, in the headlines of newspaper articles “Big Troubles of Small Cinema”, “Big Troubles of a Small Fleet”, “Big Troubles of Small Business " etc.).

Unfortunate oxymorons can also become a stylistic error in the syllable. For example, "Warm Snowstorm" - the article tells how during a natural disaster people were surrounded by attention and care. The author seeks to draw a parallel between warm care and ... a blizzard. Another oxymoron - "Hot permafrost" - is used as the title of an article about coal mining in the Arctic. Since coal is used for fuel, the author tries to evoke in the reader an association between heat and permafrost. The illogicality of such headings is obvious.

An unmotivated oxymoron, accidentally “appearing” as a result of combining incompatible concepts, causes even more damage to the style: absence the necessary materials are difficult to get the job done. The reason for the inappropriate comic utterance sometimes becomes an involuntary pun, which may arise as a result of the antonymy of polysemantic words not noticed by the author, which sometimes gives the speech an ambiguous, comic sound. For example: Father's old briefcase was still new - here the word old is used in the sense of "existing from a long time", and the word new is used in the sense of "durable". But, being almost close, these adjectives “collided” in the meanings of “spoiled from use” and “not used”, which made the phrase absurd.

Distorts the meaning of the statement and inappropriate antiphrasis, i.e. the use of its antonym instead of the desired word, for example: The difficulty of our communication with the local population consisted in knowing the language. The author used the word knowledge by mistake, meaning just the opposite of it - ignorance. Such associative errors are sometimes not easy to notice: Not talkative, but not talkative, he attracted to himself with some kind of inner force (it should have been: not silent).

The regularity of antonymic relations in the language does not allow you to freely change the composition of the antonymic pair. Poor knowledge of vocabulary is evidenced by errors in the construction of an antonymous pair: Young people live actively, they are not spying on life, but its participants - the word spy means "a person secretly watching someone", it is not connected with the word participant by antonymic relations. The author should have written an idle observer, contemplator.

The regularity of antonymic relations of words makes it impossible to use them without opposition. Therefore, the collision of antonyms in speech becomes the cause of comedy, gives rise to puns (The gap is a bottleneck that is widely encountered in construction).

Consider examples of stylistic editing of texts in which antonyms are used unsuccessfully:

For the stylistic correction of the first sentence, one of the antonyms that caused the absurdity of the statement had to be abandoned, pleonasm (personally, I) had to be excluded. In the second sentence, an unmotivated oxymoron arose: the first of the words of the antonymic pair, acting as a preposition, should not have retained its original lexical meaning in the text, but due to the close proximity of its antonym, this meaning “manifested”, the combination of incompatible concepts caused the illogicality of the statement. The editor excluded a stylistically unjustified oxymoron and eliminated the clerical coloring of speech in the sentence.

Antonyms are a vivid means of expressiveness of speech. Therefore, they are often used in works of fiction to express antithesis. Antithesis(Greek antithesis "opposition") - a turn of speech in which, to enhance expressiveness, opposing concepts, thoughts, character traits of the characters are sharply contrasted, for example:

We recognized each other in the crowd.

Agreed and let's part again.

Was without joy love -

Parting will be without sadness;

I swear first day of creation.

I swear it last afternoon.

I swear disgrace crimes.

And eternal truth triumph.

I swear fall bitter flour.

victories short dream.

I swear date with you

And threatening again separation. (M. Lermontov)

On the comparison of antonymic meanings is built oxymoron(Greek oxymoron "witty-stupid") - combinations of words expressing logically incompatible, mutually exclusive concepts. Their components are combined according to the mode of submission: shameful glory, sweet tears, a brave coward, cheerful fatigue. As you can see, an oxymoron usually consists of an adjective and a noun. Oxymorons can express:

1) Feelings, mood of a person (hated love, calm anxiety). You gave happy suffering. (E. Evtushenko);

2) Qualities, properties, will, activity, behavior of a person: (timid daredevil, business bum, ebullient lazybones);

3) Age characteristics (young old man, adult children);

4) Taste, color qualities, the name of substances (bitter honey, pale blush, black snow);

5) Social status, the relationship of people (poor millionaire, friendly enemy, new old acquaintances);

6) Phenomena and states of nature, periods of time and space (ringing silence, bright night, short long life, eternal moment, close distance);

7) Size, size, marital status (little giant, big fellow, unmarried widow, married bachelor);

8) Temperature properties (hot snow);

9) Action and state (talk silently, cry sweetly, hurry slowly): 26

In the works of Lermontov, there are different types of antithesis constructions: from simple ones (contrasting a pair of antonyms) to complex detailed antitheses. The means of structural opposition can be both opposing conjunctions (a, but), and intonation, or only intonation.

Death and immortality,

Life and doom

And the virgin, and the heart is nothing.

Breake down it seemed difficult for us

But meet it would be harder!

their fate connected,

BUT separate- one grave.

My friends yesterday's - enemies,

Enemies - my friends,

But, may the good Lord forgive my sin,

I despise them.

(M. Lermontov)

A contrasting perception of the world is characteristic of the poetic disposition of the soul of A. Akhmatova, who perceives the world as a change of joyful and sad. This determines a special kind of psychologism in depicting the inner world of a person.

How White stone deep in the well

I have one memory.

I can't and don't want to fight

It - fun and it - suffering.

(A. Akhmatova)

Semantic contrasts that enhance the imagery of the text are especially characteristic of poetic works, which are distinguished by a special concentration of thoughts and emotions expressed in an extremely concise form.

Sometimes he falls in love passionately

In my elegantsadness.

(M. Lermontov)

“Smart sadness” by Lermontov shows all the variety of feelings, emotions, conveyed in one capacious, laconic epithet “smart” (multi-color, range of feelings).

Oh how painfully you happy I!

(A. Pushkin)

Here we feel the contrast conveyed by the words "painfully happy", which means the limit of emotions that are difficult to accept as happiness. The author is haunted by love, constant thoughts about it prevent him from feeling comfortable, working, creating (love is like a disease).

Thanks for the pleasure

For sadness, for lovely torment. (S. Pushkin)

Conclusion

The proposed work does not pretend to be a literary analysis of a poetic text and all issues that go beyond literary analysis: the problems of the social functioning of the text, the psychology of the reader's perception, etc. We assume that a work of art is a certain reality and, as such, can be divided into parts . In the work we sometimes analyze part of the poetic text. It can be a line/lines of poetic text. In this work, an attempt is made at the initial stage of the analysis of a poetic text. From the variety of problems that arise in the analysis of a work of art, we are trying to single out a relatively narrower one - the aesthetic nature of a literary poetic work, taking into account the figurative means of the language (lexical means of expression). We consider important the individual experience of the researcher, which is inseparable from his personal experience, tastes, temperament. At the same time, description, observation, as methods of linguistic analysis, fix certain phenomena, the structure of a poetic text. We consider the studied poetic work / part of it as a component of a complex whole, based on the provisions of structural linguistics, whose representatives are Yu. Lotman, R. Yakobson and others. The concept of structure is dynamic in them, in this dynamics the aesthetic effectiveness of the poem is observed. Dynamism is the second sign of analysis. Following Y. Lotman, we believe that “the text of the poem is a field of tension between the norm and its violations. The reader's expectations are norm-oriented, and the confirmation or non-confirmation of these expectations by the real text of the poem is felt as an aesthetic experience. The goal of the reader-researcher is to read against the background of the reader's own expectations, feelings, experiences, and feelings.

Summing up, it should be noted that a certain amount of literary sources was studied, analyzed, systematized. It seems to us that the materials of the work can be in demand as additional literature for research purposes for writing abstracts, reports on this topic in the audience: student, student.

Bibliography

1. Bakhtin M.M. Questions of stylistics in the lessons of the Russian language at school//Russian literature. 1994. No. 2.

2. Vinogradov V.V. Stylistics. Theory of poetic speech. Poetics. M., Nauka, 1963.

3. Grigorieva A.D., Ivanova N.N. The language of poetry of the XIX-XX centuries. M., Nauka, 1985.

4. Kozhina M.N. Stylistics of the Russian language, M., 1993.

5. Lotman Yu.M. Analysis of the poetic text: The structure of the verse. L., 1972.

6. Starichenko V.D. Modern Russian language. "The Highest School", Minsk, 1999.

7. Jacobson R. Typological research and their contribution to linguistics. New in linguistics. M., 1963.

Antonyms are used as a bright expressive means in artistic speech. The writer sees life in contrasts, and this testifies not to inconsistency, but to the integrity of his perception of reality.

The main stylistic function of antonyms is to be a lexical means of expressing antithesis. Antithesis as a stylistic device is widespread in folk poetry, for example, in proverbs: Learning is light, and ignorance is darkness; Softly spread, but hard to sleep. Classical examples of the use of antithesis are given by Russian fiction: You are rich, I am very poor. You are a prose writer, I am a poet. You are blush, like a poppy color, I, like death, are both skinny and pale (P.); Farewell, unwashed Russia, a country of slaves, a country of masters, And you, blue uniforms, and you, a people devoted to them (L.); I see sad eyes, I hear cheerful speech (A.K.T.).

The antithesis is simple (single-membered) - The strong is always to blame (Kr.) And complex (polynomial) - And we hate, and we love by chance, Without sacrificing anything to either malice or love, And some kind of secret cold reigns when fire boils in the blood (L.). a complex antithesis should involve several antonymous pairs.

The appeal to antonyms reflects important features of the writer's worldview and style. M.Yu. Lermontov, striving for expressiveness, aphoristic refinement of speech, often introduced antonyms into the text in the process of auto-editing, preferring contrasting words to neutral ones. For example: - As for me, I am convinced of only one thing ... - said Dr. [Werner], - (...) that sooner or later, one fine morning, I will die. - I'm richer than you. - I said [Pechorin]: - besides this, I have another conviction - namely, that I had the misfortune to be born one ugly evening. In Lermontov's draft autograph, this opposition had not yet had such sharpness: one of the elements of the antithesis fell out there - Pechorin repeated Werner's epithet one fine evening.

Antonyms contribute to the disclosure of the contradictory essence of objects, phenomena [You are poor, you are abundant, you are powerful, you are powerless, Mother Russia (N.); Now serious, now amusing, no matter what, in the rain, in the snow - he goes, holy and sinful, Russian miracle man (Tvard.)].

Publicists often turn to the antithesis (There are no intermediate tones, pale colors in the war, everything is brought to the end - great and despicable, black and white. - Eren.). The use of antonyms gives journalistic speech a vivid expression. So, A.N. Tolstoy wrote during the Great Patriotic War: Our land has swallowed up a lot of rapists who attacked it. Empires rose and fell in the west. From the great they became small, from the rich to beggars. Our homeland expanded and grew stronger, and no enemy force could shake it.

Opposition enhances the emotionality of speech. It is no coincidence that antonymy underlies many aphorisms [The darker the night, the brighter the stars (Mike); Houses are new, but prejudices are old (Gr.); I'm sad because you're having fun (L.); That heart will not learn to love, which is tired of hating (N.); How few roads have been traveled, how many mistakes have been made (Ec.); Your doors are wide open, and your soul is locked up (High); But almost at the edge of the coffin I believe: the time will come - The strength of meanness and malice Will be overcome by the spirit of good (Past.)].

Many titles of works are built on the principle of antithesis [“War and Peace” (L.T.); "Days and Nights", "The Living and the Dead" (Sim.)]. Especially often antonymy is used in the headlines of newspaper and magazine articles [“Chemistry good and evil”, “Income and expenses”, “A dead system does not hear living people”, “Retro and modern are nearby”, “Tragic and cheerful farewell”, “Geography - different, similar biographies”, “Poverty with wealth”, “Maxi-passion for futsal”].

The opposite of the antithesis is the reception, which consists in the denial of contrasting features of the object: A gentleman was sitting in the britzka, not handsome, but not bad-looking, not too fat, not too thin, one cannot say that he was old, but not so that he was too young ( G.). Such a stringing of antonyms by negation emphasizes the mediocrity of what is described, the lack of bright qualities, clearly expressed signs. Such use of antonyms makes it possible to indicate not such concepts that do not have an exact definition in the language, for example: If a friend suddenly turned out to be neither a friend nor an enemy, but so ... (Vyso.).

A strong expression is created by the use of one of the members of the antonymic pair with negation: Who will you become - I will not guess. The world has not grown old - it has become younger: in the expanses of the Motherland there are many big and small things everywhere (Vik.). Such a combination of antonyms enhances, emphasizes the meaning of one of them, used without negation; at the same time, verbal redundancy performs an excessive function - it serves as a means of updating the concept to which the author wants to pay special attention: The demon in me is alive, not dead (Tsv.); I did not come to quarrel, but to put up; I am not your enemy, but your friend. Writers use this stylistic device to convey shades of colloquial speech with its characteristic emphatic intonation, for example, in Chekhov: Pull the snag up, good man ... How are you? Up, not down!

The phenomenon of antonymy underlies oxymoron (from the Greek oxemoron - witty-silly) - a vivid stylistic device of figurative speech, which consists in creating a new concept by combining words that are contrasting in meaning. The combination of antonyms in a “pure form” in an oxymoron is rare [“The Beginning of the End” (article title), “Bad Good Man” (movie title), In the midst of a period of stagnation ... (from the gas.)]. In most cases, words with opposite meanings are combined as definitive and definitive ["Large little things", "Expensive cheapness", "Inconvenient amenities" (headlines)] (noun and adjective), so they cannot be considered antonyms in the exact meaning of the term (antonyms must belong to the same part of speech).

Bright oxymorons were created by Russian poets [I love the lush nature of wilting (P.); Oh, how painfully happy I am with you (P.); But I soon comprehended the mystery of their ugly beauty (L.); The wretched luxury of the dress (N.); With impudent modesty looks into the eyes (Bl.); Look, it's fun for her to be sad, so elegantly naked (Ahm.); - Mother! Your son is very sick! (Lighthouse.); The time has come for the omniscient ignorant (Vys.)]. An oxymoron is often found in the titles of works of art [“Living Powers” ​​(T.), “Optimistic Tragedy” (Vishn.)], in the headings of articles (“Complex simplicity”, “Cold is the season hot”, “Awakened silence”, “Loud whisper of a joke”, “Unofficial about official”, “Retreat forward”).

The stylistic functions of antonyms are not limited to the expression of context, opposition. Antonyms help writers to show the completeness of the coverage of phenomena [And it's too late to wish, everything has passed: both happiness and sorrow (Vl. Solovyov); Before him, the crowd fled, Fact and fiction divulged (P.)], the breadth of time boundaries [The troops go day and night, They become unbearable (P.)]. The use of antonyms in this stylistic function sometimes leads to the stringing of antonymic pairs (The palette of colors of human characters has no boundaries. There are good and evil people, brave and cowardly, smart and narrow-minded, beautiful and ugly, healthy and sick, cheerful and gloomy, old and young , direct and secretive, frank and cunning. - N. Ch.).

Some antonymic pairs appear in speech as a lexical unity, acquiring a phraseological character: both old and young, both, sooner or later. Their use introduces colloquial intonations into artistic speech: We will not get carried away, so we will break through, We will be alive - we will not die, The time will come, we will return back. What we have given, we will return everything (Tward.).

Comparison of antonyms can reflect the alternation of actions, the change of phenomena observed in life [At 7 o'clock a human tide, at 17 o'clock - ebb (Mayak.); Let's make up. And we'll quarrel. And you will fall asleep again. We will add our insomnia into a solid white night (R.)], point to a quick change of actions (A clear lightning flashed in the distance, flashed and went out ... - Bl.).

When antonyms collide, speech often acquires an ironic coloration; humorous writers often use comic antitheses [The most distant point on the globe is close to something, and the closest to something is distant (K.P.); An unripe pineapple is always worse for a just person than a ripe currant (K.P.)].

Puns are built on antonyms: Where is the beginning of the end with which the beginning ends? (K.P.) It was so late that it was already early (Solzh.). In such cases, the play on words arises due to the use of polysemantic words that do not act as antonyms in all meanings (cf .: Young was no longer young. - I. and P.).

A special stylistic device is the use of one of the antonyms, while the meaning should have used the other. For example: - Where, smart, are you wandering your head? (Cr.). The word smart is said in mockery in relation to the Donkey. And the reader understands that behind this definition is its antonym - stupid. The use of a word in the opposite sense is called antiphrasis. Antiphrasis is often found in texts permeated with the author's irony, for example, in N.V. Gogol: Two respectable men, the honor and decoration of Mirgorod, quarreled among themselves; ... Then the process went on with extraordinary speed, which courts are usually so famous for.

A sharp satirical effect is created by the antonymic replacement of one of the components in stable phrases: "Bureau of malicious services", "Debt by payment is black" (the titles of feuilletons). In such combinations, the “illogicality” of the statement is especially noteworthy, since the linguistic form of the phraseological unit dictates the use of a word that is opposite in meaning.

When studying the stylistic use of antonyms in artistic speech, it should be borne in mind that their expressive possibilities are realized not only in direct opposition, but also in the case when any member of the antonymic pair is absent in the text. Due to their stable connections, antonyms are perceived in speech against the background of their "countermembers". For example, reading the description of Pugachev's appearance in A.S. Pushkin, we note the special expressiveness of words that have antonymic pairs: His face is swarthy, but clean, his eyes are sharp and his eyes are intimidating; the beard and hair on the head are black; its growth is average or less; Although broad in the shoulders, it is very thin in the lower back - the reader mentally distinguishes each of the highlighted words from a possible antonym. This is where the systemic connections of words in the vocabulary are manifested.