Kiprensky, Orest Adamovich -Portrait of the poet A.S. Pushkin

A.S. Pushkin Poltava battle from the poem "Poltava"

Poltava is a poem by A.S. Pushkin written in 1828. The title of the poem points to the Battle of Poltava. The poem is dedicated to Maria Volkonskaya, daughter of General Raevsky, the hero of the war of 1812, who followed her Decembrist husband into Siberian exile. It was published as a separate edition at the end of March 1829.

The east burns with a new dawn.

Already on the plain, over the hills

Cannons roar. Smoke crimson

Rising in circles to the sky

Against the morning rays.

The regiments closed their ranks.

Arrows scattered in the bushes.

Cannonballs roll, bullets whistle;

Cold bayonets hung.

Sons of beloved victory,

Through the fire of the trenches, the Swedes are torn;

Agitated, the cavalry flies;

The infantry follows her

And with its heavy firmness

Her desire strengthens.

And the battlefield is fatal

Thundering, burning here and there,

But obviously fighting happiness

Serve already begins to us.

repulsed squads,

Interfering, they fall to dust.

Rosen leaves through the gorges;

Surrenders to the ardent Schlipenbach.

We are pushing the Swedes army after army;

The glory of their banners darkens,

And god fight with grace

Our every step is captured.

Then something over inspired

Peter's sonorous voice rang out:

"For business, with God!" From the tent

Surrounded by a crowd of favorites,

Peter comes out. His eyes

Shine. His face is terrible.

The movements are fast. He is beautiful,

He's all like God's thunderstorm.

Goes. They bring him a horse.

Zealous and humble faithful horse.

Feeling the fatal fire

Trembling. Eyes askance

And rushes in the dust of battle,

Proud of the mighty rider.

It's close to noon. The fire is burning.

Like a plowman, the battle rests.

In some places the Cossacks are prancing.

Leveling shelves are being built.

Fighting music is silent.

On the hills of the gun, subdued

Stopped their hungry roar.

And behold - announcing the plain

Hurrah rang out in the distance:

The regiments saw Peter.

And he rushed in front of the shelves,

Powerful and joyful, like a fight.

He devoured the field with his eyes.

A crowd followed him

These chicks of Petrov's nest -

In the changes of the lot of the earth,

In the writings of statehood and war

His comrades, sons:

And noble Sheremetev,

And Bruce, and Bour, and Repnin,

And, happiness minion rootless,

Semi-ruler.

And in front of the blue rows

Their militant squads,

Carried by faithful servants,

In a rocking chair, pale, motionless,

Suffering from a wound, Karl appeared.

The leaders of the hero followed him.

He quietly sank into thought.

Confused look depicted

Unusual excitement.

It seemed that Karla was bringing

The desired battle in perplexity ...

Suddenly with a weak wave of the hand

He moved regiments against the Russians.

And with them the royal squads

Converged in the smoke among the plains:

And the battle broke out, the Poltava battle!

In the fire, under the red-hot hail,

Reflected by a living wall,

Above the fallen system fresh system

The bayonets close. heavy cloud

Squads of flying cavalry,

Reins, sabers sounding,

Knocking down, cut from the shoulder.

Throwing piles of bodies on a pile,

Cast iron balls everywhere

Between them they jump, smash,

They dig the ashes and hiss in the blood.

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle,

The thunder of cannons, the clatter, the neighing, the groan,

And death and hell on all sides.

In the midst of fear and anxiety

To the battle with the gaze of inspiration

The calm leaders look

Military movements are watching

Foresee death and victory

And they talk in silence.

But near the Moscow Tsar

Who is this warrior under gray hair?

Two supported by the Cossacks,

With heartfelt jealousy,

He's an experienced hero's eye

Looks at the excitement of the battle.

He will not jump on a horse,

Wither, an orphan in exile,

And the Cossacks call Paley

Do not fly from all sides!

But why did his eyes sparkle,

And with anger, as if in the darkness of the night,

Is the old forehead covered?

What could anger him?

Or he, through the swearing smoke, saw

Enemy Mazepa, and at this moment

I hated my summers

Disarmed old man?

Mazepa, immersed in thought,

Looked at the battle, surrounded

A crowd of rebellious Cossacks,

Relatives, foremen and Serdyukov.

Suddenly a shot. The old man turned.

In Voinarovsky's hands

The musket barrel was still smoking.

Struck in a few steps

The young Cossack was lying in blood,

And the horse, covered in foam and dust,

Feeling the will, wildly rushed,

Hiding in the fiery distance.

The Cossack strove for the hetman

Through the battle with a saber in hand

With insane fury in his eyes.

The old man drove up and turned

To him with a question. But the Cossack

Already died. Extinct ghost

He also threatened the enemy of Russia;

The dead face was gloomy,

And the tender name of Mary

A little more tongue babbled.

But the moment of victory is near, near.

Hooray! we break; bend the Swedes.

O glorious hour! oh glorious sight!

More pressure - and the enemy runs.

And then the cavalry set off,

Swords are blunted by murder,

And the whole steppe was covered with the fallen,

Like a swarm of black locusts.

Peter is feasting. And proud and clear

And his eyes are full of glory.

And his royal feast is beautiful.

At the cries of his troops,

In his tent he treats

Their leaders, the leaders of others,

And caresses the glorious captives,

And for their teachers

Raises the health cup.

Literature and the Battle of Poltava:

Now an academician, then a hero,
Now a navigator, now a carpenter,
He is an all-encompassing soul
On the throne was an eternal worker.

"Stans" by A.S. Pushkin.

Pushkin on the significance of the Battle of Poltava:

“Russia entered Europe like a lowered ship, at the sound of an ax and at the thunder of cannons. But the wars undertaken by Peter the Great were beneficial and fruitful. The success of the people's transformation was a consequence of the Battle of Poltava, and European enlightenment landed on the banks of the conquered Neva.

List of Pushkin's works:

1826 - poem "Stans".

1827 - unfinished novel "Arap of Peter the Great".

1828 - poem "Poltava".

1833 - "The Bronze Horseman"

1835 - the poem "The Feast of Peter the Great."

1832-1837 - historical work "History of Peter I".

During the reign of Peter I, Russia took a big step forward in its development thanks to various reforms undertaken by the tsar. Peter I was devoted to Russia and believed in its strength: "he did not despise his native country, he knew its destiny."

“Following the thoughts of a great man is the most entertaining science,” Pushkin wrote in his novel “Arap of Peter the Great.” And, following the thoughts of Peter I, studying his deeds, he managed to correctly understand both the deeds and thoughts of this man. The tsar-reformer opened up to him in a new way. Pushkin saw in him not only an intelligent, wise commander and a man who worked hard for the good of his country and people, but also a cruel, autocratic tsar.

How did it happen? In 1832, on behalf of Nicholas I, Pushkin began to write The History of Peter I, although it should be noted that he began collecting materials ten years earlier, in 1822. For this purpose, the archives of the empire, secret documents were placed at his disposal. But this prose work was not destined to be finished; work on it was interrupted by the death of the poet.

Nicholas I, having examined Pushkin's unfinished historical work, pointed out: "This manuscript cannot be published because of many unpleasant expressions about Peter the Great." And the manuscript, consisting of 31 notebooks, was forgotten and lost. Only after almost a hundred years, these notebooks were accidentally found, the leaves of them were placed in a parrot's cage. Only 22 notebooks have survived, the rest are irretrievably lost. Pushkin's historical work was first published in 1938.

What did Nicholas I see indecent in the manuscript? Working on a historical work, Pushkin saw that Peter I was not only a reformer, a patriot, but also a despot, a feudal lord.

The image of Peter in the poem "The Bronze Horseman".

Only you erected, the hero of Poltava,
Huge monument to myself

So ends his poem "Poltava" A. Pushkin. The final words of one poem become the beginning of another:

On the shore of desert waves
stood he, full of great thoughts,
And looked into the distance...

In Poltava, Pushkin argues that everything that is driven by narrow personal interests, passions - everything passes, is lost without a trace. Only by great patriotic deeds for the good of the motherland and people can a historical figure create an indestructible monument for himself.

The east burns a new dawn (Metaphor)

Do these words seem strange to you? Why does A. S. Pushkin portray the sunrise as a fire? Word lit draws bright colors of the sky illuminated by the rays of the rising sun. This image is based on the similarity of the color of dawn and fire; the sky is the color of a flame. Such a transfer of a name from one object to another based on their similarity is called a metaphor (from the Greek word metaphor- "transfer"). In A. S. Pushkin's poem "Poltava", this metaphor acquires a special symbolic meaning: the red dawn is perceived as an omen of a bloody battle.

Word artists like to use metaphors, their use gives speech a special expressiveness, emotionality.

Metaphorization can be based on the similarity of the most diverse features of objects: their color, shape, volume, purpose, etc. Metaphors built on the basis of the similarity of objects in color are especially often used when describing Nature: forests clad in crimson and gold(A. S. Pushkin); In smoky clouds the purple of a rose, a reflection of amber(A. A. Fet). The similarity of the shape of objects served as the basis for such metaphors: S. Yesenin called birch branches silk braids, and admiring the winter attire of the tree, he wrote: Tassels of white fringe blossomed on the fluffy branches with a snowy border.

Often in a metaphor, proximity in color and shape of the compared objects is combined. So, A. S. Pushkin sang poetic tears and silver dust fountain of the Bakhchisaray Palace, F. I. Tyutchev - ^ rain pearls after a spring storm. The similarity in the purpose of the compared objects is reflected in the following image from The Bronze Horseman: Nature here we are destined to cut a window to Europe(A.S. Pushkin).

Common features in the nature of action, states create great opportunities for metaphorization of verbs. For example: A storm covers the sky with darkness, twisting snow whirlwinds; like a beastshe will howl thencry like a child (A. S. Pushkin).

The similarity in the temporal sequence of phenomena opens the way to such a metaphorization: I have now become more stingy in desires, my life, or did I dream about you? Like I'm a spring echoing earlyrode a pink horse. Or also from S. Yesenin: A candle burns out with a golden flame of body wax, and a wooden clock of the mooncroak my twelfth hour.

It is not always possible to clearly define what is the similarity underlying the metaphor. This is explained by the fact that objects, phenomena, actions can approach each other not only on the basis of external similarity, but also on the basis of the common impression they produce. Such, for example, is the metaphorical use of the verb in an excerpt from The Golden Rose by K. Paustovsky: The writer is often surprised when some long and completely forgotten incident or some detail suddenlybloom in his memory just when they are needed for work. Flowers bloom, delighting a person with their beauty; the same joy to the artist brings the detail that came to mind in time, necessary for creativity.

Even Aristotle noted that "to compose good metaphors means to notice similarities." The observant eye of the artist of the word finds common features in the most diverse subjects. The unexpectedness of such comparisons gives the metaphor a special expressiveness. So the artistic power of metaphors, one might say, is directly dependent on their freshness, novelty.

Some metaphors are often repeated in speech: Night quietly descended on the earth; Winter wrapped everything in a white veil and so on. Being widely used, such metaphors fade, their figurative meaning is erased. Not all metaphors are stylistically equivalent, not every metaphor plays an artistic role in speech.

When a man came up with a name for a curved pipe - knee, he too used a metaphor. But the new meaning of the word that arose in this case did not receive an aesthetic function, the purpose of transferring the name here is purely practical: to name the object. For this, metaphors are used in which there is no artistic image. There are a lot of such (“dry”) metaphors in the language: parsley tail, grape mustache, ship's prow, eyeball, pine needles, table legs. New meanings of words that have developed as a result of such metaphorization are fixed in the language and are given in explanatory dictionaries. However, "dry" metaphors do not attract the attention of the artists of the word, acting as the usual names of objects, signs, phenomena.

Of particular interest are detailed metaphors. They arise when one metaphor entails new ones related to it in meaning. For example: The golden grove dissuaded me with a cheerful birch tongue. Metaphor dissuaded"pulls" metaphors golden and birch tongue; leaves turn yellow at first golden, and then they fall, they die; and since the bearer of action is a grove, then language her birch, cheerful.

Expanded metaphors are a particularly vivid means of figurative speech. They were loved by S. Yesenin, V. Mayakovsky, A. Blok and other poets. Here are some examples of such metaphorization: A bonfire of red mountain ash burns in the garden, but it cannot warm anyone.(S. Yesenin); Having unfolded my troops in a parade, I pass along the line front; Poems are lead-heavy, ready for death and immortal glory; The poems froze, pressing the mouth of aimed gaping titles to the vent(V. Mayakovsky). Sometimes poets unfold metaphors into a whole poem. Such, for example, are the poems “Three Keys” by A. S. Pushkin, “The Cup of Life” by M. Yu. Lermontov and others.

Metaphorization is often abused by novice writers, and then the heap of tropes becomes the cause of the stylistic imperfection of speech. Editing the manuscripts of young authors, M. Gorky very often drew attention to their unsuccessful artistic images: “A clot of stars, dazzling and burning, like hundreds of suns";“After the inferno of the day, the earth was as hot as pot, just now kilned skilled potter. But here in the heavenly furnace the last logs burned out. The sky was cold, and the burnt one rang clay pot– Earth". Gorky remarks: "This is bad panache of words." Among the editorial remarks of M. Gorky, made on the margins of the manuscripts of novice writers, the following are interesting: against the phrase: “Our commander often jumps forward, shoots eyes on the sides and peers at the crumpled map for a long time ”Aleksey Maksimovich wrote:“ This is done by young ladies, not commanders ”; emphasizing the image “The sky trembles with teary eyes”, he asks: “Can you imagine this? Wouldn't it be better to just say something about the stars?

The use of metaphors as a "decorative", "ornamental" means usually indicates the writer's inexperience and helplessness. Entering a period of creative maturity, writers very often critically evaluate their former hobbies for pretentious images. K. Paustovsky, for example, wrote about his early, gymnasium poems.

The verses were bad - magnificent, elegant and, as it seemed to me then, quite beautiful. Now I have forgotten these verses. I remember only a few stanzas. For example, these:

Oh, pick flowers on drooping stems!

The rain falls quietly on the fields.

And to the edge where the smoky scarlet autumn sunset burns,

And opals shine with sadness about a loved one

Saadi On the pages of slow days...

Why sadness “sparkles with opals” - I can’t explain this either then or now. I was just fascinated by the very sound of the words. I didn't think about the meaning.

The best Russian writers saw the highest dignity of artistic speech in the noble simplicity, sincerity and truthfulness of descriptions. A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol, N. A. Nekrasov, V. G. Korolenko, A. P. Chekhov, and others considered it necessary to avoid false pathos and mannerisms. “Simplicity,” wrote V. G. Belinsky, “is a necessary condition for a work of art, which in its essence denies any external decoration, any sophistication.”

However, the vicious desire to “speak beautifully” sometimes and in our time prevents some authors from simply and clearly expressing their thoughts. It suffices to analyze the style of students' works on literature to be convinced of the validity of such a reproach. The young man writes: “There is no such corner of the earth where the name of Pushkin would not be known, which will be passed on from generation to generation. In another essay we read: “His works breathe reality, which is so fully disclosed that, while reading, plunge into that period. Trying to express himself figuratively, one author states: “Life continues run your own course, and another “even more expressively> remarks: “I got on the train and traveled the hard road of life.

The inept use of metaphors makes the statement ambiguous, gives the speech an inappropriate comedy. So, they write: “Although Kabanikh and did not digest Katerina, this fragile flower that has grown in the "dark realm" of evil, but eat it day and night"; "Turgenev kills his hero at the end of the novel giving him an infection on the finger"; "On the path of Maidannikov's entry into the collective farm the bulls were standing. Such “metaphorical” word usage causes irreparable damage to style, because the romantic image is debunked, the serious, and sometimes tragic sound of speech is replaced by a comic one. So let the metaphors in your speech be only a source of its vivid imagery, emotionality and never cause a decrease in the grade for the style of your writings!

All flags will visit us (Metonymy)

In one of the stories of A. N. Tolstoy you can read: The last visitors to the palace-museum walked in single file– short fur coats, chuyki, wadded jackets . Another reader will think: “What happens: short fur coats, wadded jackets have grown legs and they walk? What writers don’t invent!” And indeed, in fiction you can find something else: "It's true that it's expensive"– red pantaloons sigh (A.P. Chekhov); Mosta faded coat with a dog collar brawls: “She rubbed herself in, but she doesn’t let others in”(A. Gladilin).

If we understood such phrases literally, then we would have to imagine a strange picture: clothes come to life and not only walk, but also sigh, and even scandal... However, we are not talking about sheepskin coats and coats, but about their owners, and the use of clothing names to refer to people dressed appropriately - this is a special stylistic device that the authors use to enhance the expressiveness of speech. At the heart of such a transfer of names are associations by adjacency.

The transfer of a name from one object to another on the basis of contiguity is called metonymy (from the Greek word metonymy, meaning "rename").

Metonymy allows, for example, to construct a phrase like this: "What kind of stupid are you, brother?"– the handset said reproachfully (V. Kozlov). We understand that the remark belongs to the person talking on the phone, although the feuilletonist the handset said.

Metonymic substitutions make it possible to formulate an idea more briefly. For example, omitting the verb get sick, often asked: What went through your throat?(A.P. Chekhov); Head gone?(M, Gorky). Or they say this: Raisa's heart is gone(A. N. Tolstoy). Etc.

When designating time, metonymic substitutions also make it possible to express an idea as briefly as possible: They have not seenMoscow (I. S. Turgenev); Motherafter tea continued to knit(I. Bunin). If in such cases the author did not use metonymy, he would have to write: after meeting in Moscow, after drinking tea.

Metonymy serves as a source of imagery. Let's remember Pushkin's lines: All flags will visit us. Through the mouth of Peter I, the poet predicted that the port city, built on the shores of the Gulf of Finland, would receive ships with flags of all countries of the world. And here is another well-known example of metonymy by A. S. Pushkin: Amber on the pipes of Tsaregrad,porcelain and bronze on the table, and, feelings of pampered joy, perfumein cut crystal... Here the poet uses the name of the materials to refer to the objects made from them when describing the luxury that surrounded Onegin.

Of course, these textbook lines far from exhaust the cases of metonymy in A. S. Pushkin. This trope underlies many of his remarkable images. For example, A. S. Pushkin resorted to metonymy, drawing the “magic land” of theatrical life: The theater is already full;lodges shine; stalls and armchairs – everything boils; creating pictures of Russian life: ... And it's a pity for the old woman's winter, and,after seeing her off with pancakes and wine, we make a wake of her with ice cream and ice . There are many similar examples of the truly artistic use of the trope by Pushkin.

As a stylistic device, metonymy should be distinguished from metaphor. In order to transfer a name in a metaphor, the compared objects must necessarily be similar, but with metonymy there is no such similarity, the artist of the word relies only on the adjacency of objects. Another difference: a metaphor can easily be converted into a comparison using words. like, like, like. For example, frost fringe– hoarfrost, like a fringe, pines whisper– the pines rustle as if whispering. Metonymy does not allow such a transformation.

With metonymy, objects, phenomena that receive the same name are connected by a variety of associations by contiguity. The name of the place is used to refer to the people who are there: exuberant exuberantRome (M. Yu. Lermontov). The vessel name is used in the content value: Iate three bowls (I. A. Krylov). The author's name replaces the title of his work: MourningChopin thundered at sunset(M. Svetlov). Names of distinguishing features of people or objects are used instead of their usual names: Black tailcoats rushed apart and in heaps here and there(N.V. Gogol).

Of particular interest is the metonymy of adjectives. For example, A. S. Pushkin called one of the secular dandies: overstarched bastard. Of course, in terms of meaning, the definition can only be attributed to nouns that name some details of the fashionable dandy's toilet, but in figurative speech such a transfer of the name is possible. In fiction, there are many examples of such metonymy of adjectives: The white scent of daffodilshappy, white, spring smell (L. N. Tolstoy); Then a short old man camein astonished glasses (I. Bunin).

Metonymy can be found not only in works of art, but also in our everyday speech. We are speaking: the class is listening, there is no copper, I love Yesenin, I listened to Onegin. Isn't it sometimes necessary to answer "truncated" questions: Have you been to Yermolova?(meaning the Yermolova Theater); Does he study in Frunze?(that is, at the Frunze School); Does the cashier work? And here are the same "truncated" messages: We met on potatoes; The whole ship ran; Fantasy waltz is performed by the House of Culture. Such metonymic transfers are possible only in oral speech. However, in the compositions, unsuccessful metonymic transfers of names give rise to annoying speech errors: “At this time, the writer created his “Mother”; "The hero decided to fly on crutches." Such "laconism" in the expression of thought leads to inappropriate puns, and the reader cannot help smiling where the text requires a completely different reaction ...

Some other tropes are very close to metonymy. Its peculiar variety is the synecdoche, which consists in replacing the plural with the singular, in using the name of the part instead of the whole, the particular instead of the general, and vice versa. For example, the expressiveness of an excerpt from A. T. Tvardovsky's poem "Vasily Terkin" is based on the use of synecdoche:

To the east, through smoke and soot,

From one prison deaf

Goes home Europe.

Fluff of feather beds over her like a blizzard.

And on Russian soldier

French brother, British brother.

Brother Pole and everything

With friendship as if to blame,

But they look with their hearts...

Here is the generic name Europe used instead of the name of the peoples inhabiting European countries; singular nouns Russian soldier, French brother and others are replaced by their plural. Synecdoche enhances the expression of speech and gives it a deep generalizing meaning.

However, this trope can also cause speech errors. How to understand, for example, such a statement: “A serious search is underway in our circle: the guys create interesting models. But there are not enough workers: we have only seven of them so far”?

Star to star speaks (Personification)

Under the pen of writers, the objects around us come to life: the sea breathes deeply; waves run, caress to the shore; the forest is warily silent; grasses whisper with the wind; lakes look into the endless distances... And one song even sings about spiky firs eyelashes over the blue eyes of the lakes! In this magical world of poetic images, according to F. I. Tyutchev, “everyone has a smile, life is in everything”! And we are ready to believe the poet that at the hour when the earth sleeps in the radiance of blue(as M. Yu. Lermontov wrote), the stars acquire the power of speech ...

All these transformations in works of art are due to a remarkable stylistic device - personification. Personification is the endowment of inanimate objects with a variety of feelings, thoughts, actions, speech. Here is how, for example, A. Gaidar uses this trope in the story "The Blue Cup": fled clouds everywhere.Surrounded they,caught andclosed sun. Butit stubbornlybroke out first one hole, then the other. Finally,broke out and sparkled over the vast earth even hotter and brighter.

When personified, the described object can outwardly resemble a person: Green hairstyle, girlish breasts, oh thin birch, what did you look into the pond?(S. Yesenin). Even more often, inanimate objects are attributed actions that are available only to people: erupted autumnnight icy tears(A. A. Fet); Homecloud stretches, so that onlycry above her(A. A. Fet); And blossoming brushes of bird cherry washed leavestransom frames (B. Pasternak).

Especially often, writers turn to personification when describing pictures of nature. S. Yesenin skillfully used this trope. The poet addressed the maple as an old good friend: Are you my fallen maple, icy maple, why are you standing, bending down, under a white blizzard? Or what did you see? Or what did you hear? As if you went out for a walk outside the village ... In his poetry Dawn calls out to another; Willows are crying, poplars are whispering; Sleeping bird cherry in a white cape; The wind groans, extended and deaf; Flowers say goodbye to me, heads bowing lower; Limes beckon us in vain, plunging our feet into the snowdrifts; The flood licked the silt with smoke. The moon dropped the yellow reins; Lace is knitted over the forest in yellow foam clouds. In a quiet slumber under a canopy I hear the whisper of a pine forest. In love with his native Russian nature, the poet wrote with special tenderness about birch trees:

green hair,

girl breast,

O thin birch,

What did you look into the pond?

What is the wind whispering to you?

What is the sound of the sand?

Or do you want to braid-branches

Are you a moon comb?

It is the personification that creates the charm of many poetic images of S. Yesenin, by which we unmistakably recognize his style.

V. Mayakovsky's personifications are very original. How not to remember his "meeting" and "conversation" with the sun: What have I done? I'm dead! To me, of its own free will, spreading its beam-steps, the sun is walking in the field! In the works of V. Mayakovsky, this stylistic device was a means of emotionally intense and often dramatic sounding of poetic speech: And on gray eyelashes– Yes!– on the eyelashes of frosty icicles tears from the eyes– Yes!– from the lowered eyes of the drainpipes; The telegraph was hoarse from mourning buzzing. Tears of snow from flag reddened eyelids. Personification also acts as a strong pictorial means in artistic prose. For example, K. Paustovsky:

I thought of it [of the old village garden] as a living being. He was silent and patiently waited for the time when I would go to the well late in the evening to fetch water for the kettle. Maybe it was easier for him to endure this endless night when he heard the strumming of a bucket and the steps of a man.

Personification is widely used not only in literary texts. It is enough to open any issue of the newspaper, and you will see funny headlines built on the personification: "The sun lights the beacons", "The ice track is waiting", "The match brought records", "Reinforced concrete fell into the mines" ... Publicists often turn to him to create emotionally expressive images. So, during the Great Patriotic War, A. N. Tolstoy wrote in the article “Moscow is threatened by the enemy”, referring to Russia: My Motherland, you have had a difficult test, but you will come out of it with victory, because you are strong, you are young, you are kind, you carry goodness and beauty in your heart. You are all in hopes for a bright future, you build it with your big hands, your best sons die for it. The method of personification helped the writer to create a majestic image of Russia, which bore all the hardships of the war on its shoulders and opened the way for peoples to peace and happiness.

In a hundred and forty suns the sunset was blazing (Hyperbole)

Of course, no one takes these words of V. Mayakovsky seriously, realizing that this is an exaggeration, but this image helps us to imagine an unusually bright sky illuminated by the setting sun.

A figurative expression that exaggerates the size, strength, beauty of what is being described is called hyperbole. Hyperbolization is V. Mayakovsky's favorite stylistic device. Consider, for example, these lines: Some houses are as long as a star, others– as long as the moon; up to the sky baobabs; Whiter than the clouds of the herd, the most majestic of the sugar kings; Willy got a lot in his life– a whole forest of dust particles... On the basis of hyperbole, Mayakovsky builds the imagery of the satirical works “Coward”, “Pillar”, “Sneaky”, “Bird of God”. In hyperbolization, the poet found a source of humor, for example, here is one of his jokes: A yawn tears his mouth wider than the Gulf of Mexico ...

The “king of hyperbole” in Russian prose was N.V. Gogol. Remember his description of the Dnieper? A rare bird will fly to the middle of the Dnieper; Wonderful air .., moves the ocean of fragrances. And how much comedy in Gogol's everyday hyperbole! At Ivan Nikiforovich ... trousers in such high folds that if they were inflated, then the whole yard with barns and buildings could be placed in them ...,

Russian writers liked to resort to hyperbole as a means of ridicule. For example, F. M. Dostoevsky, parodying agitated speech, lines up hyperbolas: Under one assumption of such a case, you would have touproot your hair from your head and let out streams ... what am I saying!rivers, lakes, seas, oceans of tears !

It is impossible not to say about the stylistic device, the opposite of hyperbole.

A figurative expression that underestimates the size, strength and significance of what is being described is called litta. For example: Tom Thumb. Litota is also called inverse hyperbole.

Hyperbole and litotes have a common basis - a deviation in one direction or another from an objective quantitative assessment of an object, phenomenon, quality. Therefore, these two paths can be combined in speech, intertwined. For example, on these paths the content of the comic Russian song “Dunya the Thin Spinner” is built, in which it is sung that Dunya spun a kudelyushka for three hours, spun three threads, and these threads are thinner than a log, thicker than a knee ...

Like other tropes, hyperbole and litotes can be general language and individual author's. There are many general language hyperbolas that we use in everyday speech: wait for an eternity, on the edge of the earth, dream all your life, high to the sky, be scared to death, strangle in your arms, love to the point of madness. Common language litotes are also known: not a drop, the sea is knee-deep, a drop in the ocean, at hand, a sip of water, the cat cried etc. These hyperbolas and litotes belong to the emotionally expressive means of the language and are used in artistic speech. travel: Travel in country Logic. Traveler's Memo: 1. Studying the map...

Pushkin, Alexander Sergeyevich
"Poltava"

The east is burning like a new dawn.
Already on the plain, over the hills
Cannons roar. Smoke crimson
Rising in circles to the sky
Against the morning rays.
The regiments closed their ranks.
Arrows scattered in the bushes.
Cannonballs roll, bullets whistle;
Cold bayonets hung.
Sons of beloved victory,
Through the fire of the trenches, the Swedes are torn;
Agitated, the cavalry flies;
The infantry follows her
And with its heavy firmness
Her desire strengthens.
And the battlefield is fatal
Thundering, burning here and there,
But obviously fighting happiness
Serve already begins to us.
repulsed squads,
Interfering, they fall to dust.
Rosen leaves through the gorges;
Surrenders to the ardent Schlipenbach.
We are pushing the Swedes army after army;
The glory of their banners darkens,
And god fight with grace
Our every step is captured.

Then something over inspired
Peter's sonorous voice rang out:
"For business, with God!" From the tent
Surrounded by a crowd of favorites,
Peter comes out. His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like God's thunderstorm.
Goes. They bring him a horse.
Zealous

The east is burning like a new dawn.
Already on the plain, over the hills
Cannons roar. Smoke crimson
Rising in circles to the sky
Against the morning rays.
The regiments closed their ranks.
Arrows scattered in the bushes.
Cannonballs roll, bullets whistle;
Cold bayonets hung.
Sons of beloved victory,
Through the fire of the trenches, the Swedes are torn;
Agitated, the cavalry flies;
The infantry follows her
And with its heavy firmness
Her desire strengthens.
And the battlefield is fatal
Thundering, burning here and there;
But obviously fighting happiness
Serve already begins to us.
repulsed squads,
Interfering, they fall to dust.
Rosen leaves through the gorges;
Passionate Schlipenbach surrenders.
We are pushing the Swedes army after army;
The glory of their banners darkens,
And god fight with grace
Our every step is captured.
Then something over inspired
Peter's sonorous voice rang out:
"For business, with God!" From the tent
Surrounded by a crowd of favorites,
Peter comes out. His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like God's thunderstorm.
Goes. They bring him a horse.
Zealous and humble faithful horse.
Feeling the fatal fire
Trembling. Eyes askance
And rushes in the dust of battle,
Proud of the mighty rider.
It's close to noon. The fire is burning.
Like a plowman, the battle rests,
In some places the Cossacks are prancing.
Equalizing, shelves are being built.
Fighting music is silent.
On the hills of the gun, subdued,
Stopped their hungry roar.
And lo, announcing the plain,
Hurrah rang out in the distance:
The regiments saw Peter.
And he rushed in front of the shelves,
Powerful and joyful, like a fight.
He devoured the field with his eyes.
A crowd followed him
These chicks of Petrov's nest -
In the changes of the lot of the earth,
In the writings of statehood and war
His comrades, sons:
And noble Sheremetev,
And Bruce, and Bour, and Repnin,
And, happiness minion rootless,
Semi-ruler.
And in front of the blue rows
Their militant squads,
Carried by faithful servants,
In a rocking chair, pale, motionless,
Suffering from a wound, Karl appeared.
The leaders of the hero followed him.
He quietly sank into thought.
Confused look depicted
Unusual excitement.
It seemed that Karla was bringing
The desired battle in perplexity ...
Suddenly with a weak wave of the hand
He moved regiments against the Russians.
And with them the royal squads
Converged in the smoke among the plains:
And the battle broke out, the Poltava battle!
In the fire, under the red-hot hail,
Reflected by a living wall,
Above the fallen system fresh system
The bayonets close. heavy cloud
Squads of flying cavalry,
Reins, sabers sounding,
Knocking down, they are cut on the shoulder.
Throwing piles of bodies on a pile,
Cast iron balls everywhere
Between them they jump, smash,
They dig the ashes and hiss in the blood.
Swede, Russian - stabs, cuts, cuts.
Drum beat, clicks, rattle,
The thunder of cannons, the clatter, the neighing, the groan,
And death and hell on all sides.
In the midst of fear and anxiety
To the battle with the gaze of inspiration
The calm leaders look
Military movements are watching
Foresee death and victory
And they talk in silence.
But near the Moscow Tsar
Who is this warrior under gray hair?
Two supported by the Cossacks,
With heartfelt jealousy,
He's an experienced hero's eye
Looks at the excitement of the battle.
He will not jump on a horse,
Wither, an orphan in exile,
And the Cossacks call Paley
Do not fly from all sides!
But why did his eyes sparkle,
And with anger, as if in the darkness of the night,
Is the old forehead covered?
What could anger him?
Or he, through the swearing smoke, saw
Enemy Mazepa, and at this moment
I hated my summers
Disarmed old man?

In chapter Schools the question needs an excerpt from Pushkin's poem "Poltava", the moment the battle of Poltava began, given by the author Yorega Kireev the best answer is and; Cold bayonets hung. Sons of beloved victory, Through the fire of the trenches, the Swedes are torn; Agitated, the cavalry flies; The infantry moves after it And with its heavy firmness its striving strengthens. And the fatal battlefield thunders, blazes here and there; But obviously the happiness of the fighting To serve is already beginning to us. Firing repulsed squads, Interfering, fall into the dust. Rosen leaves through the gorges; Passionate Schlipenbach surrenders. We are pushing the Swedes army after army; The glory of their banners darkens, And God's warfare grace Our every step is sealed. Then, inspired from above, the sonorous voice of Peter was heard: “For the cause, with God! » From the tent, Surrounded by a crowd of favorites, Peter comes out. His eyes Shine. His face is terrible. The movements are fast. He is beautiful, He is all, like God's thunderstorm. Goes. They bring him a horse. Zealous and humble faithful horse. Sensing the fatal fire, Trembling. He leads with his eyes askance And rushes in the dust of battle, Proud of his mighty rider. It's close to noon. The fire is burning. Like a plowman, the battle rests. In some places the Cossacks are prancing. Equalizing, shelves are being built. Fighting music is silent. On the hills, the guns, subdued, Stopped their hungry roar. And now, announcing the plain, A cheer broke out in the distance: The regiments saw Peter. And he rushed in front of the regiments, Powerful and joyful, like a battle. He devoured the field with his eyes. Behind him flew in a crowd These chicks of Petrov's nest - In the changes of the lot of the earth, In the labors of statehood and war, His comrades, sons: And Sheremetev noble, And Bruce, and Bour, and Repnin, And, happiness, a rootless darling, Semi-powerful ruler. And in front of the blue ranks of His militant squads, Carried by faithful servants, In a rocking chair, pale, motionless, Suffering from a wound, Karl appeared. The leaders of the hero followed him. He quietly sank into thought. The embarrassed look depicted an unusual excitement. It seemed that Carla was bewildered by the Desired fight ... Suddenly, with a weak wave of his hand, he moved regiments against the Russians. And with them the royal squads Came together in the smoke among the plains: And the battle broke out, the battle of Poltava! In the fire, under the red-hot hail, Reflected by the living wall, Over the fallen formation, the fresh formation of the bayonets closes. A heavy cloud Squads of flying cavalry, With reins, sounding sabers, Colliding, cut across the shoulder. Throwing piles of bodies on top of piles, Cast-iron balls jump everywhere between them, smash, They dig the ashes and hiss in the blood. Swede, Russian - stabs, cuts, cuts. Drum beat, clicks, rattle, The thunder of cannons, trampling, neighing, groaning, And death and hell from all sides. But the moment of victory is near, near. Hooray! we break; bend the Swedes. O glorious hour! oh glorious sight! Another pressure - and the enemy runs: And then the cavalry set off, Swords become dull with murder, And the whole steppe is covered with the fallen, Like a swarm of black locusts. Peter is feasting. And proud, and clear, And his eyes are full of glory. And his royal feast is beautiful. At the cries of his troops, In his tent he treats His leaders, the leaders of strangers, And caresses glorious captives, And raises a healthy cup for his teachers.

The east is burning like a new dawn. Already on the plain, over the hills Cannons rumble. Crimson smoke In circles rises to heaven Towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. The balls are rolling, the pool is whistling

The east is burning like a new dawn. Already on the plain, over the hills Cannons rumble. Crimson smoke In circles rises to heaven Towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. The balls are rolling, the pool is whistling

The east is burning like a new dawn. Already on the plain, over the hills Cannons rumble. Crimson smoke In circles rises to heaven Towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. Katia