MODERN POETIC TECHNIQUES
ALLUSION

Allusion - literary technique of quoting using a reference to a well-known fact or person, a proverb, a saying, a quote from a well-known work, the use of a walking expression in a poem.

Examples of allusion:

So in Kareninsky will lie on the sleepers

Kyiv as a Requiem of our partings.

(Irina Ivanchenko)

And the lightning will come in

Like music without words.

Like an impressionist

Into the grass where are you and breakfast.

(Natalia Belchenko)

The last example of allusion plays on the title of the painting "Breakfast on the Grass" by the French Impressionist painter Claude Monet.

As you can see, quoting often occurs in the form of a comparison, although this is not necessary: ​​well-known images, parts of proverbs can naturally intersperse in the text, thus referring to their source and causing stable associations. Very often they are used as a joke:

What a quixote

did we forget?

(Marina Matveeva)

In this allusion, the name of the literary hero Cervantes Don Quixote is used, which in this case, softening the abusive expression “what the hell” (or “goal”), gives the whole sentence an ironic connotation.

The artistic reception of allusion is very popular among all modern "living classics", since the original masters of the word always liked to engage in dialogue with other poets - predecessors and contemporaries. Allusion is an artistic technique that is also popular with the intellectual reader, since it involves his memory and sense of linguistic harmony - in fact, "the center of aesthetic pleasure."

However, all good things should be in moderation. An excessive abundance of allusions in a poem leads to a dimming of the meaning, distracts from the stated topic and actually turns the work into a set of beautiful phrases, a trinket, devoid of original interesting thoughts. In such poems, the allusion, under the guise of demonstrating the erudition of the author, is designed to hide the fact that he has absolutely nothing to say.

APPLICATION

Application - quotation technique, artistic technique inclusion in the text of the poem of a direct quote or quote in a slightly modified form. A line with a direct quote is not quoted, but organically enters the text of the poem, often being a reference line from which some conclusions follow about the stated thought, and often not reinforcing, but rather refuting the quote. In such cases, direct quoting must use a really well-known work of a famous classic or a saying. Otherwise, if the quotation is direct, but belongs to a not too well-known author, it must first be placed as an epigraph before the poem, always indicating who it belongs to.

Application examples:

An example of an application as a direct quotation technique. Based on the stanza in the poem by Evgeny Pugachev

And lost at the bottom

Love is the last coin...

Of course, with Her no light is needed,

But is there still light in me? -

Tatyana Gordienko places a line from there as an epigraph above her eight-line:

But is there still light in me...

E. Pugachev

and ends his poem with a direct quote, refuting the idea inherent in it:

"But is there still light in me..."

Or maybe you don't need light?

Shines the last coin!

At least at the very bottom.

An example of an application as a method of quoting in a modified form:

Put a leash on my mouth,

pull the Word by the melodious tongue.

(Irina Ivanchenko)

In this application, the saying “You can’t throw a scarf on someone else’s mouth” is played up.

In the application of Natalia Belchenko " In a china shop meaning eternal elephant"The proverb-comparison "like an elephant in a china shop" is played up, and in the application of Yuri Kaplan " Later Danube delta sleeves"- the expression" sleeveless ".

Application by Irina Ivanchenko “Stop, the driver is strange, / my wandering around the countries, / my walking in the dark”is based on the playful use of the titles of the works - “Journey beyond the three seas” by Afanasy Nikitin and “Journey through the torment” by Alexei Tolstoy.

Usually, the quote included in the application does not really have a direct relationship to the subject in question in the poem, and is included deliberately - as a joke. Therefore, it should not be confused with contamination (see below). The artistic technique of the application is very popular with well-read readers, as it involves their sense of subtle irony, imagination, and creative thinking.

In many ways, it was precisely from the artistic technique of appliqué - as a parody of the previous style of traditional poetry - in the 60s-70s of the twentieth century. new directions have grown - neomodernism, underground and conceptualism.

It is appropriate to recall here such a variety of poetic errors as phraseological confusion, when the beginning of one phraseological turn is unintentionally, out of ignorance, connected with the end of another. This causes a completely unforeseen and undesirable humorous effect in a pathos or sincere work.

Application of the artistic technique of application testifies to a developed sense of language, since it requires the author to be able to play with the expression used, its sound, direct and figurative meanings.

CONTAMINATION

Contamination as an artistic method of quoting- the inclusion of a well-known expression in the text of the poem not in the form of a quote, but as an organically relevant detail in this case.

Examples of contamination.

Mysterious digital codes

I want to invest in iron verse...

(Natalia Belchenko)

This example of contamination goes back to Lermontov: "And boldly throw an iron verse in their eyes, / Drenched in bitterness and anger."

Not because it is necessary

But because next to him is another.

(L. Nekrasovskaya)

Compare this example of contamination with Innokenty Annensky: “Not because it is light, / But because it does not need light.”

Get ink, cry still...

It's already March, and still there is no rest!

Compare this example of contamination and its literary source - B. Pasternak: “February. Get ink and cry! .. "

Is memento mori?! What is it, uncle, memento,

when there are five sixes on the hand, and Vaskin's entry!

(Stanislav Minakov)

is an example of contamination in the description of a card game.

Contamination as a method of word creation and graphic technique- combining several words into one.

My year! My tree! (S. Kirsanov) Significantly whistling (Stanislav Minakov) - i.e. "whistling God knows what."

What you whisper, whispers,

Branch-good-branch-evil?

Will I perish barking,

Didn't cross Saturday?

Here, the last two examples of contamination are especially interesting, which are graphic techniques, i.e. techniques that contribute to artistic expression by deliberately changing the accepted spelling of words and distorting their standard form. The contamination of "Shepcheshtoty" is based on the intersection of two "sh" and on cutting off the matched sound: whisper sh sh then you. Such a connection is a way to convey an indistinct muttering, a whisper, in which individual words are difficult to distinguish, one deaf shu-shu-shu is heard with the help of continuous writing. The verb "zavo-zalaya" is a humorous author's neologism. It was formed by conjoint writing (but through a hyphen) of two different verbs, with the ending cut off from the first of them. An unexpected and very funny effect.

REMINISCENCE

Reminiscence (lat. reminiscentia, recollection) is a quoting technique, an artistic technique, which consists in the fact that the author reproduces rhythmic-syntactic constructions from someone else's poem.

Reminiscence example

And we ourselves are still in good health,

And our children go to school in the morning

Along Kirov street, Voykov street,

Along Sacco-Vanzeti street.

(Konstantin Simonov)

Using the stanza of the classic of Soviet literature Konstantin Simonov, but already describing the junction of the era of stagnation with the period of perestroika, when the “new thinking” was introduced with a creak, Yuri Kaplan writes:

After all, we ourselves are still in poor health,

And our children still go to school

Along the streets of Zhdanov and Voroshilov

And even on Brezhnev Square.

INTERTEXT

Intertext is an artistic technique in postmodernism, which consists in the implicit, hidden conscious construction by the author of his entire work on other people's quotes or images of painting, music, cinema, theater and on reminiscences to other people's texts that require a solution. At the same time, the quotation ceases to play the role of additional information, a reference to something, and, recalling the original meaning, serves to express a different meaning in a new context, sets dialogism, polyphony and makes the text open for multidimensional reader reading and understanding.

Osip Mandelstam wrote: “A quotation is not an excerpt. A quotation is a cicada - inexorability is characteristic of it. Anna Akhmatova put it this way about the essence of 20th-century poetry: "But perhaps poetry itself is one magnificent quotation." However, it is precisely the artistic device “intertext” that tends to sin with the multidimensionality of supposedly embedded meanings and the deliberate demonstration of the author’s erudition in the absence of any global, original differences between the author’s thoughts and the thoughts present in the quote. Thus, this artistic technique may completely lose its meaning, since it ceases to be a technique and turns into its imitation. What is detrimental to a poem that is overly full of allusions creates a breeding ground for intertexts that flourish in postmodernism, which already cease to play the role of dialogue and polyphony, because dialogue cannot be based on one-dimensional replicas embedded in one mental plane, only confirming what was known and before. So the declared "polyphony" gradually slips into a literary cacophony.

An example of intertext in postmodernism

Ismar killed Hippomedon, Lead killed Eteocles...

note: another, not that, because: Polyneices and Eteocles

(Oedipal vision) in the morning the good are dead, shining with stones of the wrists,

such is the news of the onset of the last winter

on groves of rare olives outside the black color, where it seems.

Forget. White stones or teeth in a dream, or lilies

tart drops in pebble ice through a hair of displacement.

But Amphidiac kills Parthenopaeus. However,

according to sources smoldering on both rivers from the archive,

It was not he who killed Partenopeus at all, but a certain Periclimen, the son of Poseidon.

Oh, only names! .. which also needs to be taken into account

in the light of future events rolling like millstones across the plain.

Hollow Troy with dry Helen inside. Troy, where

Elena child-and-soldiers-and-peas - who built your walls

in the children's city of angina? Sisters in white coats

under which there is nothing like the heart of ashmavedha,

bright mercury at the barrier of dreams known to all.

Meanwhile, Melanippus - Tydia wounds in the stomach.

(Arkady Dragomoshchenko. Excerpt from The Theban Flashback)

There is no need to quote the entire text, since even this passage shows what lies ahead for the reader.

Thus, when using artistic methods of quoting, it is necessary to observe the measure so that the “pendulum effect” does not turn out, as with the direction of “poetry for poetry’s sake”, when at first it was absolutized and brought to a complete separation from life, from reality, and in later historical periods - just because of this - they were generally eliminated from the "ship of modernity".

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10th grade

Purpose: To promote the formation of a creative person who is able to see, feel and create beauty, masterfully master the poetic word; a person who retains the ability to be surprised by a bright, talented word.

• Analyze the finished exemplary text: understand and reveal the topic, determine the main idea, features of form and content.
• To develop the ability to analyze linguistic phenomena, assisting young poets in mastering the skills of professional mastery by attracting masters of artistic expression to cooperation.
• Develop the oral and written language of students.
• To cultivate a culture of communication in joint creative work, developing communication skills.
• To instill a love for poetry, for the native land .

Epigraph to the lesson:

What a glorious road
The path of creativity, the bright path!
E.V.Tatarintseva

Writing is God's gift, God's spark. And its kindling in the human heart is perceived as a miracle of revelation.

What is this mission - to be a poet? Here is how Ninel Aleksandrovna Mordovina (Astrakhan poetess, 1928 - 2001) answered this question: "Shine, burning down - a rare readiness." And she added: "Thank you for the grace, poet." At the lessons of the creative association "Young Linguist" we get acquainted with the works of the masters of the artistic word, study the means of expression and poetic techniques, meet with Astrakhan writers and poets, try to create ourselves ... The process of SO - creativity inspires. During such meetings, images, thoughts, words are born in us:

Inspiration is like a revelation of the soul.
Inspiration is the highest ray of insight.
Inspiration is like thoughts floating.
Inspiration is a unity of different worlds...

Serova Xenia

Night city

Behind the noisy scattering of moorings
The city sleeps, frosty dreaming,
Quietly dormant threads of channels,
Someone's heart beats in unison.

Midnight trams don't rattle
In the windows, the light went out almost everywhere,
Our city is good not only in May,
Every day is good, every hour.

Astrakhan

My city, kind and sunny,
Called Russian Venice,
Until the starry mysterious midnight
Your lights are glowing softly.

You so suit gray hair
white-stone Kremlin,
Here the Russian spirit of depth
Absorbed steppe land.

Unravel the sailor's hair,
Drive the river waves
The willows will whisper in an undertone -
Everything is filled with the joy of life.

Sitaliev Mirhat

Turning pages slowly
Books that touched the heart.
Here is Cleopatra's chariot
Flashed gold for a moment.

Flight of fantasy invisible
Again the thoughts were carried away.
And we have been walking towards the truth for so long,
And the way to it is still far away.

Marakhtanov Alexander

Cat

Cat with dirty paws
Walked the path home.
She was in no hurry.
She had a day off.

The sun was shining outside
And a warm breeze blew.
And where did she wander
Nobody could guess.

And something else seemed strange
What surprised everyone around
After all, cats are so clean!
(For them it is important, my friend).

And nothing bothered this
And she walked without hesitation,
That everyone gave way
The kids laughed at her.

And there have been controversies for a long time.
And the wind was spinning crazy.
Cat with dirty paws
Walked the path home...

Teacher: We begin each of our classes with warm-up exercises that develop creative imagination. So today I suggest you find something in common between words denoting abstract concepts (life, fate, family, love, happiness, soul, friendship, hope, time, earth), and the names of specific objects (table, anthill, river, tree, flower , statue, cat, sand, woman, computer). Guests, join our warm-up…

Student responses:

• “Friendship and a flower: they are similar in that friendship can bloom like a flower and wither in the same way”
• “Friendship and the table: they are strong. Several people can sit at the same table, and friendship can unite several people”
• “Table and love: they are strong and clean”
• “Soul and statue: the soul is the image of a person, and the statue too: both are easy to break”
• “Cat and Hope: Both Calm”
• “Life and the river: life, like a river, flows either turbulently or quietly. It has ebbs and flows. Sometimes funnels come across, waves roll in, floods come. It is easier to swim with the current than against the current.”

Teacher: For an inexperienced reader, almost every poem is fraught with many mysteries, so it may turn out to be incomprehensible, and therefore uninteresting. But if you treat the poem with trepidation and soulfulness, if you know the artistic means of expression and try to find them in the work, then these riddles will turn into sparkling poetic facets. “Metaphor is the engine of form!” exclaimed the poet Andrei Voznesensky. So what is a metaphor?

Student: Metaphor - from the Greek. "transfer" is an artistic means of expressiveness, which is based on the transfer of properties from one object to another, resulting in a bright, figurative picture. A word used in a metaphorical sense acquires extraordinary expressiveness, figurativeness, visibility, emotionality. Therefore, the metaphor is widely used in works of fiction, especially in poetry.

Teacher: Guys, your homework was to find beautiful, vivid examples of metaphors in the poems of Astrakhan poets ...

Student responses:

Space is filled with pupils of stars... (Sergey Motygin)

My soul is in the color of the wings ... (Zhanna Migunova)

Forgiveness was considered an empty relic,
Putting an end to the soul and pectoral crosses ... (Andrey Belyanin)

April - inveterate torturer
We are brainwashed! (Olga Markova)

Mercilessly Astrakhan sun:
Blinding rabid eyes.
Heat - Queen of Shamakhanskaya -
She pitched a tent in the steppe. (Galina Podolskaya)

Cathedral of the Assumption powerful chest
In the dawn fog, he sighs a little.
And they look at the painted windows, crossing,
Slavic tenderness, Tatar passion. (Irina Serotyuk)

But down there, shining blue,
The Volga opened in the manes of reeds ... (Ninel Mordovina)

When I'm out of touch with life
And all the words - set on edge,
I break the ringing tune,
So that I don’t remember the old ... (Ninel Mordovina)

The dream exploded!
colored shards
They shattered the silence. (Ninel Mordovina)

Teacher: If the metaphor shows the power of the poet's imagination, the richness of his associative series, the luxury of his images, then the epithet reveals the depth of his thought, the inquisitiveness of his nature, the intentness of his gaze. “A good epithet is a passport of identity. This is the highest level of skill,” said the poet Lev Ozerov. So what is an epithet?

Student: Epithet - from the Greek “application” - a figurative characteristic of a person, phenomenon or object through the expressiveness of a metaphorical adjective.

Teacher: The only possible, irreplaceable, accurate epithet is the victory of the artist! An epithet is his power over an object and a phenomenon. An epithet is an arrow to the essence! Among poets it is customary to say: "Tell me what your epithet is, and I will tell you who you are." Your homework was also to find examples of unusual, amazing epithets in the poetic works of our fellow countrymen ...

Student responses:

You are beautiful, wormwood,
All in sunset fire.
What are you dreaming about me
Only melancholy epic? (author - Claudia Kholodova)

Multilingual, dense with passions:
North - restrained,
Asia - burning ... (Irina Serotyuk)

I dare not express in verse
Drops of intoxicating dew! (Pavel Morozov)

And lies down on the ground, sinless,
Like an unborn year. (Galina Podolskaya)

Stubborn and absurd
Spring screamed in my face ... (Dina Nemirovskaya)

The city, frosted from the heat,
With domes of domes ...
How can I cover you
From nobles and fools? (Olga Markova)

The whole world is green-blue-red
It swims and soars in them,
Oh, the narrow tail of beautiful dragonflies,
Oh emerald! Oh malachite! (Olga Markova)

And a starry trusting look ... (Sergey Motygin)

Teacher: The deepest understanding of Astrakhan; love of life; to the Volga open spaces; to the people living here; to beauty; to human kindness; to Russia we find in the work of Ninel Alexandrovna Mordovina (the song “In the form of a triune” sounds on the verses of N.A. Mordovina, performed by the actress of the Drama Theater of Astrakhan Alexandra Kostina). The floor is given to the student N.A. Mordovina, Astrakhan poet Eleonora Vladimirovna Tatarintseva…

Teacher: Today we will learn about another poetic device that is completely new for us - ANZHANBEMAN. They were masterfully used by F.I. Tyutchev, M.I. Tsvetaeva and some other poets. So, what is an engenbeman? Engenbeman (fr. enjambement, from enjamber - “to step over”) –a syntactic means of expression, based on the transfer from line to line of a single sentence, when it does not fit into a poetic line or stanza and occupies part of the next one. F. I. Tyutchev, “Fountain”:

Beam rising to the sky, he
touched cherished height.
M. Tsvetaeva, “Over the black cliff”:
Over the raven cliff –
White dawn sleeve.
Leg - already skidding
running - with difficulties having dug
Into the ground laughing that first
got up , in the dawn crown -
Max, I was - so true
Wait on your porch!

ON THE. Mordovina was very fond of the work of M.I. Tsvetaeva also used anzhanbeman as an artistic medium in her works. Let's try to find them in the proposed poems:

... August is generous royally: meteor showers
Gives everything so that people are happy
Make a wish.
Joy and success will come true!
The main thing is to believe adamantly
august, star and sky
Everything is possible, life is generous in full,
And adversity is not her fault ...

On the rolls

... The Volga rolled across the steppe.
Ras-ka-ti-las! -
No end no edge
eye don't measure the water.
And such beauty such
Latitude and will-
Like nowhere else!

The mice are scurrying rustle,
in the leaves autumn garden,
Glows quietly soul,
as if lamp in the morning...

Tachycardia

Do not amuse Pride: do not feed Evil -
The heart will grow with resentment - it will suffocate.
charred, dying souls
There where unbelief has ascended into love.

On the edge

… Do not overcome in doubt and timidity
Ways, where is the guide one-

Consciousness.

Consciousness is the only capabilities
Don't give above us dominate-
Violence.
And break out of the deceit and caution
country, what called
Russia.
On the blade?!
Well we'll walk the blade
Though unbearable burning
Winds counter,
And life knits legs
With his illness...
But this is temporary
And Russia is eternal!

Today we once again repeated the artistic means of expression (such as metaphor and epithet), saw them in the works of our countrymen poets, got acquainted with a new stylistic device - engenbeman and found that N.A. masterfully used it in her work. Mordovin. Let's listen to a poem performed by Ninel Alexandrovna herself (a recording of the poetess's live voice with video slides sounds).

(E.V. Tatarintseva addresses young poets with parting words, talks about the N.A. Mordovina Prize, shows collections of young poets of the Astrakhan region).

Lexical devices of modern poetry. Realities, vernacular, jargon, prosaisms, archaisms, terms. Stylization: historical stylization and historical poetry.
Examples of lexical devices. Modern poetic techniques, part 5.

Poetic dictionary.

Modern poetic devices, part 5

Poetry is impossible without figurative speech, i.e. speech is lively (not clerical), bright, expressive, having aesthetic value. An important role in the creation of figurative speech is played by the selection of vocabulary, i.e. a specific layer of words from the entire vast context of the language, a layer that is organically suitable for the author's task when he writes a specific work. You should not assume that it does not matter what vocabulary and in what neighborhood is used in poems: each layer of the language has its own coloring and its own effect when used, especially if words from different vocabulary layers are combined in the context. On this they are based lexical devices in poetry - the conscious use of certain layers of the language in the works and the variation of their combinations in the context.
Each poet above the average level has his own individual author's style, a special creative style - this is what distinguishes him even among those who write in the same vein and makes him recognizable. Lexical devices typical for a particular author to a large extent help this recognition, individuality.
In poetry, the following lexical devices are used to create expression:

realities

1. Realities - purely modern life concepts, signs of life, facts of culture, political life, significant recent events, etc.; a lexical device that helps to establish a close spiritual connection between the author and the contemporary reader:

Where the days melt like half-stations.
Where not "Stop tap", but "Delete".
(Alexey Torkhov)

The word “Delete” mentioned in this example is known to absolutely all computer users, which include the majority of poetry lovers.

vernacular.

1. Colloquialism is a lexical device based on the use of folk colloquial words and expressions that give the character of ease and rude humor:

Yes, good Polyakov, laziness is our mother.
But catchy words - do not put a limit.
For cha the horse mackerel of the whole Taurida understand?
He chews his own - munching every now and then.
(Stanislav Minakov)

Poets like to inadvertently screw a colloquial expression into the context of high style. When it is appropriate in tone, mood of the work and content, the lexical device of using vernacular emphasizes the natural flow of colloquial speech. However, unfortunately, with the use of vernacular and vulgarisms - especially in parodies and humorous works - they often “go too far”, trying to “be closer to the people”. It looks tasteless and primitive.

Local color.

1. Local flavor - the introduction of elements that characterize local life, customs, nature, etc., including characteristic local catchwords.
   “Whose words are combined into speech, like an amber low” (Stanislav Minakov) - the Ukrainian word “low” (beads, necklace) is used here.

At least for the duration of the verse,
Movement of a living thing across the sky, across the sky,
Save ourselves from the powerful embrace of sin,
Leaving the day - his zradu and malice.
(Ibid.)

Ukrainian "zrada" means "treason, betrayal."

Was to myself. And grew big.
And you appeared, so great -
knocked me out of my thoughts, off my feet, off the path and off the pantalik.
And so I live, with a torn soul.
(Elena Buevich)

Here the author uses a Ukrainian idiom, which also has a colloquial sound and means "to confuse". Colloquialism, a lively and expressive word, very characteristic of everyday Ukrainian speech, moreover, in the same row of enumerations with a literal, not figurative meaning (knock down), contributes to the strong expressive coloring of this poignant lyrical poem.
The use of local realities and Ukrainisms (“Surzhik” words formed from a Russian root according to Ukrainian grammatical norms, or words that sound the same in both languages, but have accents in different places), is very characteristic of the Russian lyrics of Ukraine:

Ah, the river is fun!
Towel dangled
To the pimply water - the braids of the hands - willows A...
And in rye stripes -
Sets hair on fire
A dahlia flame at a steep forehead!
(Igor Litvinenko)

The lexical device of local color can help achieve several goals at once: creating spiritual closeness with readers - representatives of a given linguistic community that uses these realities; introduction of the reader - a native of other places in a specific language environment, familiarization with the interesting features of speech in a given area, which allows you to "plunge into live speech"; and also - sometimes - the creation of a light comic effect - for example, in recent years, a clearly visible tendency has manifested itself in the Russian poetry of Ukraine to write poems of a satirical or political orientation in the so-called "ukr-rus" (Mikhail Perchenko's term). Those. combine lines in Russian and Ukrainian in one poem, as well as sentences of a mixed type (with words from two languages ​​and with author's neoplasms in Surzhik).

Ukrainomovniy, do not lakaysya words Rus!
Russian-speaking, do not be afraid and do not be afraid!
I present my future shoulders.
Yes, I undertake to recreate the unity:
Russia, Ukraine, Belarus -
Slavic unity of forces and speech.
(Mikhail Perchenko "Ukr-Russian language")

"Do not sneer" - in Ukrainian "do not be afraid", "maybutnє" - "future".

Jargon.

1. Jargons are words from the lexical layer used by various social groups: youth, criminal elements, social classes, etc.

Here is such a whim. This is such a fool.
Does not let you fall asleep, stomps like a dose.
I would like to become a horse. Dear Sivka-Burka.
And rush you away from mirrors and prose.
(Alexey Torkhov)

Goose, shout, goose, shout.
Cheerful, shout, gander!
As long as the owner, gloomy by night,
You didn't get hooked.
Until the prunes got into the bush...
(Stanislav Minakov)

The lexical device of using jargon in these specific cases clearly gives the poems a strong effect of modernity, although - I warn you - of course, there is always a danger of "replaying", enough of too much, which can damage the impression of the work.

Prosaisms.

1. Prosaisms are expressions from everyday, clerical, scientific and other prose vocabulary that are used in a poem as outwardly foreign elements, but with internal motivation for validity and plot integrity:

“I was asked every morning about the futility of the day” (Elena Morozova), “I signed the landscape with a turquoise willow branch, / So, March redeemed my travel ticket until spring" (Lyudmila Nekrasovskaya). The lexical method of using prosaisms requires the author to have a developed sense of language, the ability to combine it with a high style. For an author who does not have these properties, arbitrarily introduced prosaisms reduce the high sound and give the situation a shade of absurdity, comicality, even when it comes to romantic and pathos things. Read more here:.

Stylization.

1. Stylization - reproduction of the features of the style of another era, literary movement, writing style, features of the language of a particular social stratum or nationality:

On the! The hammer fighter cracked his right hand on the table,
And the face of an intellectual rival was blown off.
And what? We recently plugged into the belt
Two candidates of sciences from the eighth and thirtieth apartments!..
(Stanislav Minakov)

It seems to us like a shot of an ungulate:
“Tug-taritam. Tug-taritam."
(Svetlana Skorik)

And this is an excerpt from my poem-dilogy "Trizna", from the cycle "Polovchan". I used stylization for the Turkic languages ​​and at the same time - for the clatter of horse hooves (although the latter is already a technique of onomatopoeia).

In this regard, it is appropriate to recall the movie "The Diamond Hand", where the actor Andrei Mironov very similarly imitates the English language, while not pronouncing a single phrase in English.

In story poetry, a common technique historical styling.
A good example of historical stylization is Lyudmila Nekrasovskaya's poem "The Vault of Fire", plotted with a ban on love for the priestesses-servants of the temple of Fire. The heroine of the poem - the high priestess of the temple - has to make a life choice: either calling, or finding a loved one, moreover, with the help of bribery. The introduction of the problems and ideas inherent in modernity into the plot, without interfering with the description of the historical era, helps the author's main idea - to consider the situations encountered in life in an original way:

The Vault of Fire is your path.
Do you, O Great One, not know
What can't be ordered to love?
If the wrath of your angry gods,
Like a gardener, portends death,
I prefer novice love,
Because I can have a family with her.

However, the reception of historical stylization does not require the author to have a good knowledge of historical realities, conditions, culture, reproduction of the details of events, therefore, such poetry should be distinguished from historical poetry as such.

The crowd flowed into the Ides of March.
Look, Spurinna: the ides have begun!
Pompey laughs in the statue like an idol:
Ah, Caesar, you do not value your own life!

But Caesar should not be a coward,
And if death happens only once,
Then let her secretly prepare a sting,
And the one to whom it is appointed will betray.

Not every Guy cherishes Brutus for himself, -
Gaius Cassius and Gaius Casca do not count here.
Your child at the last minute
Betrayal will cut the thread of life...
(Yuri Gridasov "Caesar. Final")

In this case, this is purely historical poetry, considering the issue of betrayal of loved ones - a universal human issue and inherent in any historical period - from the height of a universal approach and with very good knowledge of this particular historical era.

Archaisms.

1. Archaisms are obsolete words and old grammatical forms, mostly Slavic. The lexical technique of using archaisms is used in historical poetry and in narrative poetry - in the case of historical stylization - to convey the color of the era, and in high-style lyrics - to enhance solemnity:

Pray, little one, pray to the number!
Lean towards the tsifiri with a shaky neck!
Look at both! .. But do not miss
that hour, that moment when Khodyna
will lay "thing fingers"
on the strings and in the feather-grass retinue
shakes "scarlet shields".
(Stanislav Minakov)

Using archaisms in an ordinary lyrical work of a non-ironic and non-romantic hue, the author must coordinate them with the lexical context, otherwise these words will look ridiculous and alien, and next to prosaisms and jargon - simply ridiculous. Of course, authors with a developed sense of language perfectly organically combine archaisms and jargon or colloquial words side by side without negative consequences and without even a hint of irony. But sometimes they deliberately organize an incongruous neighborhood in order to achieve an ironic sound:

Say more? My friend, you are quite a penguin.
(Ibid.)

And two maternity mothers
carry chickens from the store,
and hens prophetic fingers
stick out, buried in the sky,
threaten from bags and shopping bags.
(Ibid.)

Here, the colloquial phrase “maternity mothers” and prosaic realities (“chickens”, “shop”, “bags and shopping bags”) are adjacent to the archaic phrase “prophetic fingers” (in conjunction with the emotionally colored verb “threaten”), which gives a magnificent ironic connotation to the whole work declared as "poetry".

Terms.

1. Terms are a narrowly professional lexical layer, usually used only by representatives of a particular profession in communication with each other. The terms can be mathematical, medical, computer, philological, etc. etc. The lexical method of using terms is used for “professional color” (my expression, by analogy with the concept of “local color”), as well as for the effect of modernity or irony.

Your copyright is protected
in all living languages.
(Natalia Belchenko)

Where is the chip that inescapably stores in me
A code of love that protects a child's soul...
(Ibid.)

And you need an audit of your soul
Finish before the New Year.
Liability with an asset lead to zero
Showing all your naivety
When passive: I love you,
In the asset: no hope for reciprocity.
(Lyudmila Nekrasovskaya)

And the doctor, subject to autumn,
Recipes for everyone:
"A moment of beauty. Three drops of happiness.
Dawn glass. Leaf fall.
(Ibid.)

Pasta.

1. Pasta - foreign words and catchphrases inserted into the text.

(My term is derived from the concept of "macaronic poetry" by A. Kwiatkowski - humorous or satirical poetry sprinkled with foreign vocabulary for comic effect.) The lexical method of using pasta is characterized by writing foreign words and expressions both in Latin letters, in their original form and using the Russian alphabet. Now a lexical device based on the use of pasta is far from always used for irony - on the contrary, it is used to increase tension in emotional moments or in the context of “smart”, intellectual words used for the sake of modern sound: “I don’t argue, love story is strange. Especially - close ”(Stanislav Minakov). In this case, the relevance of pasta is also due to the internal rhyme: dispute yu - love story (love side and).

Do not believe the pillars and do not believe the scribes:
at the finita la comedia sunset
like a celestial you are mortal like a beast
vulnerable, and bright, like an emperor.
(Irina Ivanchenko)

Patch of sand and ant traffic.
(Gennady Semenchenko)

And Reichelson sonata. CD
Honey from melodies interferes in the chest ...
(Lyudmila Nekrasovskaya)

Of great importance in creating figurative poetic works with an original, unique author's sound are author's neologisms. This is such an important issue that it requires a detailed comprehensive consideration in a separate article.

© Svetlana Skorik, 2012
Article published, protected by copyright. Distribution on the Internet is prohibited.

S. I. Skorik. Position School, 2012.

Poetic devices (tropes)- transformations of language units, consisting in the transfer of the traditional name to another subject area.

Epithet- one of the tropes, a figurative definition of an object (phenomenon), expressed mainly by an adjective, but also by an adverb, a noun, a numeral, a verb. Unlike the usual logical definition, which singles out a given object from many (“silent ringing”), the epithet either singles out one of its properties in the object (“proud horse”), or, as a metaphorical epithet, transfers the properties of another object to it (“ living track).

Comparison- a figurative verbal expression in which the depicted phenomenon is likened to another according to some common characteristic for them in order to reveal new, important properties in the object of comparison:

Metaphor- a type of path based on the transfer of the properties of one object to another, according to the principle of their similarity in some respect or in contrast: “enchanted stream” (V.A. Zhukovsky), “living chariot of the universe” (F.I. Tyutchev) , “life is a disastrous fire” (A.A. Blok). In metaphor, various attributes (what the object is likened to and the properties of the object itself) are presented in a new undivided unity of the artistic image.

There are the following types of metaphor:

personification (“water runs”);

reification (“nerves of steel”);

distractions (“field of activity”), etc.

personification- a special kind of metaphor based on the transfer of human features (more broadly - the features of a living being) to inanimate objects and phenomena. There are the following types of personification:

personification as a stylistic figure inherent in any expressive speech: “the heart speaks”, “the river plays”;

personification in folk poetry and individual lyrics as a metaphor, close in its role to psychological parallelism;

personification as a symbol that grows out of a system of private personifications and expresses the author's idea.

Metonymy - a type of trail, which is based on the principle of adjacency.

Types of metonymy and ways to create it :

whole and part (synecdoche): “Hey, beard! And how to get to Plyushkin? (N.V. Gogol);

thing and material: “Not on silver, but on gold” (A.S. Griboyedov);

content and containing: “The flooded stove cracks”, “The hiss of foamy glasses” (A.S. Pushkin);

property carrier and property: “Courage of the city takes” (last);

creation and creator: “A man ... Belinsky and Gogol will be carried from the market” (N.A. Nekrasov), etc.

Hyperbola- a stylistic figure or artistic device based on the exaggeration of certain properties of the depicted object or phenomenon: “In a hundred and forty suns, the sunset burned ...” (V. Mayakovsky).

Litotes- a trope, the opposite of hyperbole: an underestimation of the sign of an object (“man-with-nail”, “boy-with-finger”).

Irony (in style)- an allegory expressing mockery or slyness, when a word or statement acquires a meaning in the context of speech that is opposite to the literal meaning or denies it, casting doubt on it. Irony is reproach and contradiction under the guise of approval and consent: “Where, clever [donkey], are you wandering head?” (I.A. Krylov).

Oxymoron- a concise and therefore paradoxically sounding antithesis, usually in the form of an antonymous noun with an adjective or a verb with an adverb: “a living corpse”; “poor luxury of dress” (N.A. Nekrasov); “a bad peace is better than a good quarrel”; “it’s fun for her to be sad, so smartly naked” (A.A. Akhmatova).

Pun- a play on words based on their ambiguity (polysemy), homonymy or sound similarity, in order to achieve a comic effect.

End of work -

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Basic and auxiliary literary disciplines.
Literary criticism is a science that studies the specifics, genesis and development of verbal art, explores the ideological and aesthetic value and structure of literary works, studies socio-historical

specificity of art.
Disputes about the specifics and essence of art, artistic creativity have been going on since antiquity. Aristotle associated the essence of artistic creativity with the innate "passion" of a person to imitate

The world of arts and fiction.
The world of arts and fiction is the cultural and spiritual heritage of mankind. Each nation is rich in its culture, which in vivid images reflects its mentality.

Types of artistic images.
One of the most important functions of a literary image is to give the words the weight, integrity, and self-significance that things possess. The specificity of the verbal image is also manifested in

Epilogue.
The final component of the work, the final, separated from the action deployed in the main part of the text. COMPOSITION OF A LITERARY WORK

SUBJECT ORGANIZATION OF THE TEXT.
In a literary work, one should distinguish between the object of speech and the subject of speech. The object of speech is everything that is depicted and everything that is told about: people, objects, circumstances, events, etc. Subject

ARTISTIC SPEECH AND LITERARY LANGUAGE
A literary image can exist only in a verbal shell. The word is the material carrier of imagery in literature. In this regard, it is necessary to distinguish between the concepts of "artistic

Lexical resources of artistic speech.
Fiction uses the national language in all the richness of its possibilities. It can be neutral, high or low vocabulary; obsolete words and neologisms; foreign words

Poetic figures.
Syntactic expressiveness is another important linguistic means of fiction. Here, both the length and the melodic pattern of phrases are important, as well as the arrangement of words in them, and various kinds of phrases.

RHYTHMIC ORGANIZATION OF ARTISTIC SPEECH

STROPHY
A stanza in versification is a group of verses united by some formal feature, periodically repeating from stanza to stanza. Monostih - poetic

The plot, the plot, the composition of the thin work.
COMPOSITION DETAILS of the work: 1. PLOT OF THE WORK - a chain of events that reveal the characters and relationships of the characters

Additional.
Prologue. The introductory part of a literary work, which anticipates the general meaning, plot or main motives of the work, or briefly recounts the events preceding the main

COMPOSITION OF A LITERARY WORK.
The composition of a literary and artistic work plays an important role in expressing the ideological meaning. The writer, focusing on those phenomena of life that attract him at the moment,

The ideological and emotional orientation of literature. The concept of pathos and its varieties.
The ideological world of the work is the third structural component of the content-conceptual level, along with the themes and issues. The ideational world is an area

epic genres.
Epic literary genres go back to epic folklore genres, closest to fairy tales. From the point of view of genre form, a fairy tale has its own quite stable structure: a repetitive beginning

Epos as a kind of artistic creation. epic types. Characteristics of epic genres.
The most ancient of these types of artistic creativity is the epic. The early forms of the epic arise even in the conditions of the primitive communal system and are associated with the labor activity of a person, with peace

Lyrics as a kind of artistic creativity. Lyric genres. The concept and disputes about the lyrical hero.
Another kind of artistic creativity is lyricism. It differs from the epic in that it brings to the fore the inner experiences of the poet. In the lyrics in front of us is a lively excited che

Drama as a kind of artistic creativity. Characteristics of the genres of dramaturgy.
The original kind of artistic creativity is drama. The specificity of drama as a kind of literature lies in the fact that, as a rule, it is intended to be staged. In drama re

The cognitive function of literature.
In the past, the cognitive potential of art (including literature) was often underestimated. For example, Plato considered it necessary to expel all true artists from the ideal state.

The function of anticipation ("Kassandra's beginning", art as anticipation).
Why "Kassandra's beginning"? As you know, Cassandra predicted the death of Troy in the days of prosperity and power of the city. In art, and especially in literature, there has always been a “Kassandra principle”

educational function.
Literature forms the system of feelings and thoughts of people. Showing heroes who have gone through severe trials, literature makes people empathize with them and this, as it were, purifies their inner world. AT

The concept of direction, flow and style in modern literary criticism.
But for all the originality of creative individuals within artistic systems, special varieties are formed according to their common features. To study these varieties, most of all under

The concept of ancient literature.
If Greece is the cradle of European culture, then Greek literature is the foundation, the foundation of European literature. The word "ancient" in translation from Latin means "ancient". But not every

The fate of ancient literature.
The plots, heroes and images of ancient literature are distinguished by such completeness, clarity and depth of meaning that writers of subsequent eras constantly turn to them. Ancient stories find a new interpretation

Periodization and features of ancient literature.
In its development, ancient literature has gone through several stages and is represented by classical examples in all literary forms: these are epic and lyric poetry, satire, tragedy and comedy, ode and fable, novel and etc.

Ancient mythology.
The most important element of Greek culture was myths, i.e., legends, traditions, legends dating back to ancient times. They constitute the richest treasury of images and plots. reflected in the myths

Ancient epic. Homer.
The greatest monuments of the most ancient period of Greek literature are the poems of Homer "Iliad" and "Odyssey". The poems belong to the genre of the folk-heroic epic, as they have a folklore, folk

The heyday of drama in the era of Pericles.
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Ancient theatre.
It is human nature to imitate. The child in the game imitates what he sees in life, the savage in the dance will depict a hunting scene. Ancient Greek philosopher and art theorist Aristotle all art

ancient tragedy.
The suffering and death of people who are objectively worthy of a better fate, capable of many glorious deeds for the benefit of mankind, who have won immortal fame among contemporaries and descendants, are experienced by us

Antique comedy.
People tend to laugh. Aristotle even raised this trait inherent in people to a dignity that distinguishes a person from an animal. People laugh at everything, even the dearest and closest. But in one

Greek lyric.
There is a pattern in the development of Greek literature: certain historical periods are marked by the dominance of certain genres. The most ancient period, "Homeric Greece" - the time of the heroic e

Greek prose.
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The era of the Middle Ages.
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The concept of humanism.
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Epistle of the Archbishop of Novgorod Vasily to the lord of Tfersky Theodore about paradise.
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The Tale of Temir-Aksak.
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Publicism (I. Peresvetov, A. Kurbsky, Ivan the Terrible).
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Romanticism as a universal art. system
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Realism as a universal art. system
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principles of social realism.
Nationality. This meant both the comprehensibility of literature for the common people, and the use of folk speech turns and proverbs. Ideology. Show

In literature.
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Modernism as a universal art. system
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Blurring the boundaries between mass and elite art.
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Futurism in Russia.
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Cubofuturism.
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Ego-futurism. Igor Severyanin
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Futurists and the Russian Revolution.
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What was the general basis of the movement?
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Naturalism as a literary movement.
Along with symbolism, in the years of its appearance, naturalism was another no less common trend in bourgeois literature. Representatives: P. Bobory

Expressionism as a literary movement.
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BAEDEKER ON RUSSIAN EXPRESSIONISM
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DECLARATION OF EMOTIONALISM
1. The essence of art is to produce a unique, unique emotional action through the transmission in a unique form of a unique emotional perception. 2

Surrealism as a literary movement.
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On the merger of OBERIU.
This is how the representatives of the literary group of poets, writers and cultural figures, organized at the Leningrad House of Press, called themselves, the director of which N. Baskakov quite benevolently

Alexander Vvedensky
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Persistence of fun and dirt
The water in the river murmurs, cool, and the shadow from the mountains falls on the field, and the light goes out in the sky. And the birds are already flying in dreams. And a janitor with a black mustache *

Existentialism as a literary direction.
Existentialism. In the late 40s and early 50s. French prose is going through a period of “dominance” of the literature of existentialism, the cat had an influence on art that is comparable only to the influence of Freud’s ideas. fold

EXISTENTIALISM RUSSIAN.
A term used to identify a collection of philosophies. teachings, as well as (in a broader sense) literary and other artistic movements spiritually related to them, the structure of categories, symbols and about

Self-destructive art.
Self-destructive art is one of the strange phenomena of postmodernism. Paintings painted with paint fading before the eyes of the audience ... A huge eighteen-wheeled structure t

Figures of speech. Trails.
Means of figurative speech. Correctness, clarity, accuracy and purity are such properties of speech that the style of each writer should differ, regardless of the form of speech.

Trails (Greek tropos - turnover).
Quite a lot of words and whole phrases are often used not in their proper meaning, but in a figurative one, i.e. not to express the concept they designate, but to express the concept of another, which has some

Artistic speech and its components.
Artistic speech (in other words, the language of fiction) partially coincides with the concept of "literary language". Literary language is a normative language, its norms are fixed

Systems of versification (metric, tonic, syllabic, syllabo-tonic).
The rhythmic organization of artistic speech is also connected with the intonational-syntactic structure. The greatest measure of rhythm is distinguished by poetic speech, where rhythm is achieved due to evenly

Dolniki. Accent verse by V. Mayakovsky.
1. DOLNIK - a type of tonic verse, where only the number of stressed syllables matches in the lines, and the number of unstressed syllables between them ranges from 2 to 0. The interval between stresses n

G.S. Skripov On the main merits of Mayakovsky's verse.
Why is the creative image of V. V. Mayakovsky remarkable and dear to us? His role in Soviet art and in the life of the Soviet people as an "agitator, bawler, leader" is well known and deserves

Meter, rhythm and size. Types of sizes. Rhythmic determinants of verse.
At the heart of poetic speech lies primarily a certain rhythmic principle. Therefore, the characteristic of a particular versification consists primarily in determining the principles of its rhyme.

Rhyme, ways of rhyming.
Rhyme is the repetition of more or less similar combinations of sounds that connect the endings of two or more lines or symmetrically arranged parts of poetic lines. In Russian classical

Types of stanzas.
A stanza is a group of verses with a specific arrangement of rhymes, usually repeated in other equal groups. In most cases, the stanza is a complete syntactic whole.

The sonnet is Italian and English.
The Italian sonnet is a fourteen-line poem divided into two quatrains and two final three-line verses. In quatrains, either cross or ring is used

Philosophical and literary-critical thought in Ancient Greece and Ancient Rome.
Literary criticism as a special and developed science arose relatively recently. The first professional literary critics and critics appeared in Europe only at the beginning of the 19th century (Saint-Bev, V. Belinsky). D

The development of literary-critical thought in the Middle Ages and the Renaissance.
In the Middle Ages, literary-critical thought completely died out. Unless some of its reflections can be found in the short period of the so-called Carolingian Renaissance (late VIII - early IX century). In with

Literary-critical thought of the Enlightenment.
Voltaire's compatriot Denis Diderot (1713-1784), without attacking the followers of Aristotle and Boileau, already expressed something new in comparison with them. In the article "Beautiful" Diderot speaks of the relative

Biographical method of literary criticism.

Mythological school, mythological and ritual-mythological criticism in literary criticism.
In the nineteenth century, literary criticism took shape as a separate science dealing with the theory and history of literature and including a number of auxiliary disciplines - textual criticism, source studies, bibliography.

Cultural and historical school. The main ideas of A. Veselovsky about the art of the word.
Another outstanding literary critic, Hippolyte Taine (1828-1893), whose ideas and methodology were decisive for European literary criticism in the second half of the 19th century, considered himself a student of Sainte-Bev.

Comparative historical method of literary criticism.
It is not surprising that the largest Russian literary critic of the 19th century, A. Veselovsky, who experienced the influence of the cultural-historical school in his youth, later overcame its limitations and became the founder of the or

Psychoanalytic criticism.
This school, influential in literary criticism, arose on the basis of the teachings of the Austrian psychiatrist and psychologist Sigmund Freud (1856-1939) and his followers. Z. Freud developed two important psychologists

Formal schools in literary criticism. Russian formal school.
Formal schools in literary criticism. Literary criticism of the second half of the 19th century was characterized by an interest in the content side of literature. The largest research schools of the time

Structuralism and the New Criticism.
New Criticism The most influential school in Anglo-American literary criticism of the twentieth century, the origin of which dates back to the period of the First World War. Methods of literary criticism XX

Poststructuralism and deconstructivism.
Poststructuralism An ideological trend in Western humanitarian thought that has had a strong influence on literary criticism in Western Europe and the United States in the last quarter of a century. Poststructurals

Phenomenological criticism and hermeneutics.
Phenomenological criticism Phenomenology is one of the most influential trends in the 20th century. The founder of phenomenology is the German idealist philosopher Edmund Husserl (1859–1938), who aspired to

Contribution of Yu.M. Lotman in modern literary criticism.
Yuri Mikhailovich Lotman (February 28, 1922, Petrograd - October 28, 1993, Tartu) - Soviet literary critic, culturologist and semiotician. Member of the CPSU (b)

Contribution of M.M. Bakhtin in the modern science of literature.
Mikhail Mikhailovich Bakhtin (November 5 (17), 1895, Orel - March 6, 1975, Moscow) - Russian philosopher and Russian thinker, theorist of European culture and art. Issle

Genres and internal dialogue of the work.
Bakhtin saw in literature not only "organized ideological material", but also a form of "social communication". According to Bakhtin, the process of social communication was imprinted in the very text of the work. And

Poetic devices are so important in poetry that it is simply impossible to overestimate their importance. They can only be compared with the poet's arsenal, the use of which will make speech soft, lyrical, lively and melodic. Thanks to them, the work becomes bright, emotional, expressive. The reader can more sensitively and fully feel the atmosphere created by the author.

The characters in the works come to life, become more expressive. Russian speech is very rich in poetic devices, of which there are more than two dozen, among them:

1. Allusion.
2. Antonomasia.
3. Assonance.
4. Aphorism.
5. Exclamation.
6. Hyperbola.
7. Inversion.
8. Irony.
9. Pun.
10. Contamination.
11. Metaphor.
12. Metonymy.
13. Appeal (apostrophe).
14. Streamlined expressions.
15. Personification.
16. parallel structures.
17. Repetition.
18. Opposition (antithesis).
19. Sarcasm.
20. Synecdoche.
21. Comparison.
22. Trails.
23. Default.
24. Gain (gradation).
25. Figures.
26. Epithet.

However, not all of them are widespread in poetry. We will consider the frequently encountered poetic techniques of poems.

Poetic devices with examples

The epithet in Greek means “applied”, the epithet is an expressive definition of a certain object (action, event, process), which serves to emphasize, highlight any property characteristic of this object.

An epithet is a figurative, metaphorical definition, not to be confused with a simple definition of an object, for example, “loud voice” is just a definition, “bright voice” is an epithet, “cold hands” is just a definition, and “golden hands” is an epithet .

The following series of phrases can also serve as examples of epithets: a ruddy dawn, a singing fire, an angelic light, a wonderful evening, a lead cloud, a piercing look, a scratching whisper.

As a rule, adjectives (gentle waves) serve as epithets, it is rare to find a numeral (first friend), an adverb (love passionately), and verbs (desire to forget), as well as nouns (fun noise).

Comparison is a poetic technique by which the properties most inherent in the described object are reflected in similar properties of a completely different object. Moreover, the properties of the object being compared are usually more familiar and close to the reader than the object indicated by the author. So inanimate objects are brought an analogy of animate, spiritual or abstract - material. Examples of comparison can be: "eyes like the sky, blue", "leaves are yellow, like gold."

A metaphor is an expression based on the use of words in a figurative sense. That is, a property characteristic of one object is assigned to another on the basis of some similarity. As a rule, to describe an inanimate object, use the definition of an animate one and vice versa. For example, “eye-diamond”, “heart of ice”, “nerves of steel”, “the honey of your words is bitter to me”, “the mountain ash lit up with a red brush”, “it pours like a bucket”, “deadly boredom”.

Personification also refers to poetic techniques, which means transferring the properties of animate objects to inanimate objects. Or attributing human feelings, emotions, actions to an object that it does not possess. With the help of personification, the reader perceives the picture created in front of him dynamically and vividly. For example, “a thunderstorm is coming”, “the sky is crying”, “streams are running”, “the sun is smiling”, “frost is drawing patterns on the window”, “leaves are whispering”.

Hyperbole, translated from the Greek "hyperbole", means excess, exaggeration. Poets often use this method of poetic speech for a clear, indisputable, conspicuous exaggeration for greater expressiveness of their thoughts. For example, “I will repeat for the hundredth time”, “we have enough food for a year”. The reverse technique of hyperbole is litote - a deliberate understatement of the properties of an object: “a boy with a finger”, “a man with a fingernail”.

As you have already seen, poetic techniques are very diverse and numerous, and for any poet, this, in turn, is a wide scope for creating, creating their works, enriching them with a beautiful literary language.