Means of artistic expression table with examples. Means of artistic expression (figurative and expressive means)

Comparison is a comparison of one object or phenomenon with another on some basis, based on their similarity. The comparison can be expressed:

By using conjunctions (as, as if, exactly, as if, as if, like, than):

I am tenderly, silently, tenderly Admiring you like a child! (A.C.

Pushkin);

Instrumental form: And the network, lying on the sand with a thin through shadow, moves, continuously grows with new rings (A.S. Serafimovich);

With the help of words like similar, similar: The rich are not like you and me (E. Hemingway);

With negation:

I'm not such a bitter drunkard, To die without seeing you. (S.A. Yesenin);

The comparative degree of an adjective or adverb:

Neater than fashionable parquet The river shines, dressed in ice. .(A.S. Pushkin)

Metaphor is the transfer of the name (properties) of one object to another according to the principle of their similarity in some respect or in contrast. This is the so-called hidden (or abbreviated) comparison, in which unions are as if, as if, as if ... absent. For example: the lush gold of the autumn forest (K.G. Paustovsky).

Varieties of metaphor are personification and reification.

Personification is an image of inanimate objects, in which they are endowed with properties, features of living beings. For example: And the fire, trembling and wavering in the light, uneasily glanced with red eyes at the cliff protruding for a second from the darkness (A.S. Serafimovich).

Reification is the likening of living beings to inanimate objects. For example: The front rows were delayed, the back rows became thicker, and the flowing human river stopped, as noisy waters blocked in their channel stop in silence (A.S. Serafimovich).

Metonymy is the transfer of a name from one object to another based on the associative contiguity of these objects. For example: The whole gymnasium beats in hysterically convulsive sobs (A.S. Serafimovich).

Synecdoche (a kind of metonymy) is the ability of a word to name both the whole through its part, and a part of something through the whole. For example: Black visors flashed, boots with a bottle, jackets, black coats (A.S. Serafimovich).

An epithet is an artistic definition that emphasizes some feature (property) of an object or phenomenon, which is a definition or circumstance in a sentence. The epithet can be expressed:

Adjectives:

Cabbage blue freshness. And red maples in the distance. The last meek tenderness of the hushed autumn land.

(A. Zhigulin);

Noun: Heavenly clouds, eternal wanderers (M.Yu. Lermontov);

Adverb: And the midday waves sweetly rustle (A.S. Pushkin).

Hyperbole is a means of artistic representation based on an excessive exaggeration of the properties of an object or phenomenon. For example: Sidewalk whirlwinds rushed the pursuers themselves so hard that they sometimes overtook their hats and came to their senses only when they bumped into the legs of the bronze figure of Catherine's nobleman, who was standing in the middle of the square (IL. Ilf, E.P. Petrov).

Litota is an artistic technique based on the underestimation of any properties of an object or phenomenon. For example: Tiny toy people sit for a long time under the white mountains near the water, and my grandfather's eyebrows and rough mustache move angrily (A.S. Serafimovich).

An allegory is an allegorical expression of an abstract concept or phenomenon through a specific image. For example:

You will say: windy Hebe, Feeding Zeves' eagle, Loudly boiling goblet from the sky, Laughing, spilled on the ground.

(F. I. Tyutchev)

Irony is an allegory that expresses mockery when a word or statement in the context of speech acquires a meaning that is directly opposite to the literal one or calls it into question. For example:

"Did you all sing? this business:

So come on, dance!” (I.A. Krylov)

An oxymoron is a paradoxical phrase in which contradictory (mutually exclusive) properties are attributed to an object or phenomenon. For example: Diderot was right when he said that art consists in finding the extraordinary in the ordinary and the ordinary in the extraordinary (K. G. Paustovsky).

Paraphrase is the replacement of a word with an allusive descriptive expression. For example: Direct debt obligated us to enter this awesome crucible of Asia (as the author called the smoking Gulf of Kara-Bugaz) (K.G.

Paustovsky).

Antithesis - opposition of images, concepts, t properties of objects or phenomena, which is based on the use of antonyms. For example:

I had everything, suddenly lost everything; The dream had just begun... the dream disappeared! (E. Baratynsky)

Repetition is the repeated use of the same f and the same words and expressions. For example: My friend, \ my gentle friend... love... yours... yours!.. (A.C. Push-Ekin).

The types of repetition are anaphora and epiphora.

Anaphora (unity) is the repetition of the initial words in adjacent lines, stanzas, phrases. For example-1 measures:

You are full of an immense dream, You are full of a mysterious longing. (E. Baratynsky)

Epiphora is the repetition of final words in adjacent lines, stanzas, phrases. For example:

We do not appreciate earthly happiness, We are accustomed to appreciate people; We both will not change ourselves, But they cannot change us.

(M.Yu. Lermontov)

Gradation is a special grouping of homogeneous [ members of a sentence with a gradual increase (or | decrease) in semantic and emotional significance. I For example:

And for him resurrected again And the deity, and inspiration, And life, and tears, and love. (A.S. Pushkin)

Parallelism is a repetition of the type of adjacent sentences or phrases, in which the order of the words coincides, at least partially. For example:

I'm bored without you - I yawn; With you I feel sad - I endure ... (A.S. Pushkin)

Inversion is a violation of the generally accepted word order in a sentence, a rearrangement of parts of a phrase. For example:

There once in the mountains, full of heart thoughts, Over the sea, I dragged thoughtful laziness... (A.S. Pushkin)

Ellipsis is the omission of individual words (usually easily recovered in context) to give the phrase additional dynamism. For example: Less and less often Afinogenych transported pilgrims. For whole weeks - no one (A.S. Serafimovich).

Parceling is an artistic technique in which a sentence is divided into separate segments, graphically highlighted as independent sentences. For example: They did not even look at the one who was brought here, one of the thousands who lived here. Searched. Made measurements. Signs were recorded (A.S. Serafimovich).

A rhetorical question (appeal, exclamation) is a question (appeal, exclamation) that does not require an answer. Its function is to attract attention, enhance the impression. For example: What is in my name to you? (A.S. Pushkin)

Non-union - the intentional omission of unions to give speech dynamism. For example:

To lure with exquisite dressing, play of eyes, brilliant conversation... (E. Baratynsky)

Polyunion is a conscious repetition of unions in order to slow down speech with forced pauses. At the same time, the semantic significance of each word highlighted by the union is emphasized. For example:

And every language that is in it will call me,

And the proud grandson of the Slavs, and the Finn, and now wild

Tungus, and a Kalmyk friend of the steppes. (A. S. Pushkin)

Phraseological units, synonyms and antonyms are also used as means of enhancing the expressiveness of speech.

Phraseological unit, or phraseological unit -

this is a stable combination of words that functions: in speech as an expression indivisible in terms of meaning and composition: lie on the stove, beat like a fish on ice, [ neither day nor night.

Synonyms are words of the same part of speech,; close in meaning. Synonym types:

General language: bold - brave;

Contextual:

You will hear the court of a fool and the laughter of the cold crowd: But you remain firm, calm and gloomy. (A.S. Pushkin)

Antonyms are words of the same part of speech that have the opposite meaning. Types of antonyms:

General language: good - evil;

Contextual:

I give way to you: It's time for me to smolder, for you to bloom. (A.S. Pushkin)

As you know, the meaning of a word is most accurately determined in the context of speech. This allows, in particular, to determine the meaning of polysemantic words, as well as to distinguish between homonyms (words of the same part of speech, i matching in sound or spelling, but having \\ different lexical meanings: tasty fruit - a reliable raft, marriage in work - happy marriage).

The figurative and expressive language means of fiction include:

Epithet- artistic and figurative definition of any object or phenomenon.

Example: sadness "ineffable" eyes - "huge" May - "solar", fingers - "the thinnest"(O. Mandelstam "Inexpressible sadness...")

Hyperbola- artistic exaggeration.

Example: The earth was shaking— like our breasts; Mixed up in a bunch of horses, people, And volleys thousands of guns Merged into a long howl ... (M.Yu. Lermontov "Borodino")

Litotes- artistic understatement ("reverse hyperbole").

Example: "The youngest son was as tall as a finger..."(A.A. Akhmatova. "Lullaby").

trails- words or phrases used not in a direct, but in a figurative sense. The paths include allegory, allusion, metaphor, metonymy, personification, paraphrase, symbol, symphora, synecdoche, simile, euphemism.

Allegory- allegory, the image of an abstract idea through a specific, clearly represented image. The allegory is unambiguous and directly points to a strictly defined concept.

Example: a fox- cunning, wolf- cruelty donkey - stupidity (in fables); gloomy Albion- England (A. S. Pushkin "When you squeeze your hand again ...").

allusion- one of the tropes, which consists in using a transparent allusion to some well-known everyday, literary or historical fact instead of mentioning this fact itself.

Example: A. S. Pushkin's mention of the Patriotic War of 1812:

For what? answer: whether

What's on the ruins of burning Moscow

We did not recognize impudent will

The one under whom you trembled?

("To the slanderers of Russia")

Metaphor- this is a hidden comparison based on some features common to the compared, compared objects or phenomena.

Example: The east burns with a new dawn(A. S. Pushkin "Poltava").

personification- endowing objects and phenomena of non-living nature with the features of a living being (most often a person).

Example: “The night thickened, flew nearby, grabbed the galloping cloaks and, tearing them off their shoulders, exposed the deceptions(M. A. Bulgakov "The Master and Margarita").

Metonymy- a poetic trope, consisting in the replacement of one word or concept with another that has a causal relationship with the first.

Example: There is a Museum of Ethnography in this city

Over the wide, like the Nile, the high-water Neva,

(N. S. Gumilyov "Abyssinia")

Synecdoche- one of the paths, which is built on the ratios of quantity; more instead of less, or vice versa.

Example: Say: will we soon Warsaw Will the proud prescribe his law? (A. S. Pushkin "Borodino anniversary")

paraphrase- a trope, which is built on the principle of expanded metonymy and consists in replacing a word or phrase with a descriptive turn of speech, which indicates the signs of an object not directly named.

Example: in A. A. Akhmatova’s poem “A swarthy youth wandered along the alleys ...”, A. S. Pushkin himself is depicted with the help of a paraphrase:

Here lay his cocked hat And the disheveled volume of Guys.

Euphemism- replacement of a rude, indecent or intimate word or statement with others that transparently hint at the true meaning (close to a paraphrase in stylistic organization).

Example: woman in an interesting position instead of pregnant recovered instead of fat, borrowed stole something together, etc.

Symbol- a hidden comparison, in which the compared object is not called, but is implied with a certain share

variability (polysemy). The symbol only points to some kind of reality, but is not compared with it unambiguously and directly, this contains the fundamental difference between the symbol and the metaphor, with which it is often confused.

Example: I'm just a cloud full of fire(K. D. Balmont “I do not know wisdom”). The only point of contact between the poet and the cloud is "fleeting".

Anaphora (unity)- this is the repetition of similar sounds, words, syntactic and rhythmic repetitions at the beginning of adjacent verses, stanzas (in poetic works) or closely spaced phrases in a paragraph or at the beginning of adjacent paragraphs (in prose).

Example: Kohl love, so without reason, Kohl threaten, so not a joke, Kohl scold, so rashly, Kohl chop, so off the shoulder! (A. K. Tolstoy “If you love, then without reason ...”)

polyunion- such a construction of a stanza, episode, verse, paragraph, when all the main logically significant phrases (segments) included in it are connected by the same union:

Example: And the wind, and the rain, and the haze

Above the cold desert water. (I. A. Bunin "Loneliness")

gradation- gradual, consistent strengthening or weakening of images, comparisons, epithets and other means of artistic expression.

Example: No one will give us deliverance, Not a god, not a king, not a hero...

(E. Pottier "International")

Oxymoron (or oxymoron)- a contrasting combination of opposite words in order to create a poetic effect.

Example: "I love magnificent nature withering..."(A. S. Pushkin "Autumn").

Alliteration- a sound recording technique that gives lines of verse or parts of prose a special sound by repeating certain consonant sounds.

Example: “Katya, Katya, they carve horseshoes for me at a gallop ...”. In I. Selvinsky’s poem “Black-eyed Cossack”, the repetition of the sound “k” imitates the clatter of hooves.

Antiphrasis- the use of a word or expression in a sense opposite to their semantics, most often ironic.

Example: ...he sang faded life color"Without little at eighteen. (A. S. Pushkin "Eugene Onegin")

Stylization- this is a technique that consists in the fact that the author deliberately imitates the style, manner, poetics of some other famous work or group of works.

Example: in the poem "Tsarskoye Selo Statue" A.S. Pushkin resorts to the stylization of ancient poetry:

Having dropped the urn with water, the maiden broke it on the rock. The maiden sits sadly, idle holding a shard. Miracle! water does not dry up, pouring out of a broken urn, the Virgin sits forever sadly above the eternal stream.

Anthology- the use in the work of words and expressions in their direct, immediate, everyday meaning. This is neutral, "prosaic" speech.

Example: Winter. What should we do in the village? I meet a Servant who brings me a cup of tea in the morning, Questions: is it warm? has the blizzard subsided? (A. S. Pushkin "Winter. What should we do in the village? ..")

Antithesis- artistic opposition of images, concepts, positions, situations, etc.

Example: here is a fragment of the historical song "Choice of Yer-mak as ataman":

Not clear falcons flocked - Gathered, congregated Good fellows...

TRACKS AND STYLISTIC FIGURES.

TRAILS (Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.

STYLISTIC FIGURES- figures of speech used to enhance the expressiveness (expressiveness) of the statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek hyperbole - exaggeration) - a kind of trail based on exaggeration ("rivers of blood", "sea of laughter"). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole is already found in the ancient epic among different peoples, in particular in Russian epics.
In the Russian litera, N.V. Gogol, Saltykov-Shchedrin, and especially

V. Mayakovsky ("I", "Napoleon", "150,000,000"). In poetic speech, hyperbole is often intertwinedwith other artistic means (metaphors, personifications, comparisons, etc.). The opposite - litotes.

LITOTA ( Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. There is a litote in folk tales: "a boy with a finger", "a hut on chicken legs", "a peasant with a fingernail".
The second name for litotes is meiosis. The opposite of litote hyperbola.

N. Gogol often addressed the litote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol

METAPHOR (Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another based on common features (“work is in full swing”, “forest of hands”, “dark personality”, “stone heart” ...). In metaphor, unlike

comparisons, the words "as", "as if", "as if" are omitted, but implied.

Nineteenth century, iron,

Truly a cruel age!

You in the darkness of the night, starless

Careless abandoned man!

A. Blok

Metaphors are formed according to the principle of personification ("water runs"), reification ("nerves of steel"), distraction ("field of activity"), etc. Various parts of speech can act as a metaphor: verb, noun, adjective. Metaphor gives speech exceptional expressiveness:

In every carnation fragrant lilac,
Singing, a bee crawls in ...
You ascended under the blue vault
Above the wandering crowd of clouds...

A. Fet

The metaphor is an undivided comparison, in which, however, both members are easily seen:

With a sheaf of their oatmeal hair
You touched me forever...
The eyes of a dog rolled
Golden stars in the snow...

S. Yesenin

In addition to verbal metaphor, metaphorical images or extended metaphors are widely used in art:

Ah, my bush withered my head,
Sucked me song captivity
I am condemned to hard labor of feelings
Turn the millstones of poems.

S. Yesenin

Sometimes the entire work is a broad, detailed metaphorical image.

METONYMY (Greek metonymia - renaming) - tropes; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest noise" - trees are meant; etc.).

The theater is already full, the boxes are shining;

Parterre and chairs, everything is in full swing ...

A.S. Pushkin

In metonymy, a phenomenon or object is denoted with the help of other words and concepts. At the same time, signs or connections that bring these phenomena together remain; Thus, when V. Mayakovsky speaks of "a steel speaker dozing in a holster," the reader easily guesses in this image the metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:

You led swords to a plentiful feast;

Everything fell with a noise before you;
Europe perished; grave dream
Worn over her head...

A. Pushkin

Here the metonymy "swords" - warriors. The most common metonymy, in which the name of the profession is replaced by the name of the instrument of activity:

When is the shore of hell
Forever will take me
When forever fall asleep
Feather, my consolation...

A. Pushkin

Here the metonymy "falls asleep pen."

PERIPHRASE (Greek periphrasis - roundabout, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its features, as a rule, the most characteristic, enhancing the figurativeness of speech. ("king of birds" instead of "eagle", "king of beasts" - instead of "lion")

PERSONALIZATION (prosopopoeia, personification) - a kind of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).

my bells,

Steppe flowers!

What are you looking at me

Dark blue?

And what are you talking about

On a happy May day,

Among the uncut grass

Shaking your head?

A.K. Tolstoy

SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one object to another on the basis of a quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche are:
1) Part of the phenomenon is called in the sense of the whole:

And at the door
jackets,
overcoats,
sheepskin coats...

V. Mayakovsky

2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:

Oh, how are you! Fight with a helmet?
Well, isn't it a vile parod!

3) Singular in the meaning of general and even universal:

There a man groans from slavery and chains...

M. Lermontov

And the proud grandson of the Slavs, and the Finn ...

A. Pushkin

4) Replacing a number with a set:

Millions of you. Us - darkness, and darkness, and darkness.

A. Blok

5) Replacing a generic concept with a specific one:

We beat a penny. Very well!

V. Mayakovsky

6) Replacing a specific concept with a generic one:

"Well, sit down, luminary!"

V. Mayakovsky

COMPARISON - a word or expression containing the likening of one object to another, one situation to another. (“Strong as a lion”, “said how he cut off” ...). A storm covers the sky with mist,

Whirlwinds of snow twisting;

The way the beast she howls

He will cry like a child...

A.S. Pushkin

"Like a steppe scorched by fires, Grigory's life became black" (M. Sholokhov). The idea of the blackness and gloom of the steppe evokes in the reader that dreary and painful feeling that corresponds to the state of Gregory. There is a transfer of one of the meanings of the concept - "scorched steppe" to another - the internal state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:

The view of the steppe is sad, where there are no obstacles,
Exciting only a silver feather grass,
Wandering flying aquilon
And before him freely drives the dust;
And where around, no matter how vigilantly you look,
Meets the gaze of two or three birches,
Which under the bluish haze
Blacken in the evening in the empty distance.
So life is boring when there is no struggle,
Penetrating into the past, distinguish
There are few things we can do in it, in the color of years
She will not cheer the soul.
I need to act, I do every day
I would like to make immortal like a shadow
Great hero, and understand
I can't what it means to rest.

M. Lermontov

Here, with the help of expanded S. Lermontov, he conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by unions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"Do I have curls - combed linen" N. Nekrasov. Here the union is omitted. But sometimes it's not meant to be:
"Tomorrow is the execution, the usual feast for the people" A. Pushkin.
Some forms of comparison are built descriptively and therefore are not connected by conjunctions:

And she is
At the door or at the window
The early star is brighter,
Fresh morning roses.

A. Pushkin

She is sweet - I will say between us -
Storm of the court knights,
And you can with southern stars
Compare, especially in verse,
Her Circassian eyes.

A. Pushkin

A special type of comparison is the so-called negative:

The red sun does not shine in the sky,
Blue clouds do not admire them:
Then at the meal he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.

M. Lermontov

In this parallel depiction of two phenomena, the form of negation is at the same time a way of comparing and a way of transferring meanings.
A special case is the forms of the instrumental case used in comparison:

It's time, beauty, wake up!
Open your closed eyes,
Towards North Aurora
Be the star of the north.

A. Pushkin

I do not soar - I sit like an eagle.

A. Pushkin

Often there are comparisons in the accusative case with the preposition "under":
"Sergey Platonovich ... sat with Atepin in the dining room, pasted over with expensive, oak-like wallpaper ..."

M. Sholokhov.

IMAGE - a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Frost - warlord patrol

Bypasses his possessions.

ON THE. Nekrasov

ALLEGORY (Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images date back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes.

Unlike a metaphor, in an allegory, the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).

GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Enraged at the meeting, I burst into an avalanche,

Spouting wild curses dear.

And I see: half of the people are sitting.

O devilry! Where is the other half?

V. Mayakovsky

IRONY (Greek eironeia - pretense) - an expression of mockery or slyness through allegory. A word or statement acquires in the context of speech a meaning that is opposite to the literal meaning or denies it, calling it into question.

Servant of powerful masters,

With what noble courage

Thunder with speech you are free

All those who had their mouths shut.

F.I. Tyutchev

SARCASM (Greek sarkazo, lit. - tear meat) - contemptuous, caustic mockery; the highest degree of irony.

ASSONANCE (French assonance - consonance or respond) - repetition in a line, stanza or phrase of homogeneous vowel sounds.

Oh spring without end and without edge -

Endless and endless dream!

A. Blok

ALLITERATION (SOUND)(lat. ad - to, with and littera - letter) - the repetition of homogeneous consonants, giving the verse a special intonational expressiveness.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

Storm is near. Beats on the shore

A black boat alien to charms ...

K. Balmont

ALLUSION (from Latin allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work ("Gerostratus's glory").

ANAPHORA (Greek anaphora - pronouncement) - repetition of initial words, lines, stanzas or phrases.

You are poor

You are abundant

You are beaten

You are almighty

Mother Russia!…

ON THE. Nekrasov

ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blush, like a poppy color,

I am like death, and thin and pale.

A.S. Pushkin

You are poor
You are abundant
You are powerful
You are powerless...

N. Nekrasov

So few roads traveled, so many mistakes made...

S. Yesenin.

Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the whole work is built on the principle of antithesis

APOCOPE (Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.

... Suddenly, out of the forest

The bear opened its mouth on them ...

A.N. Krylov

Lay, laugh, sing, whistle and clap,

People's talk and horse top!

A.S. Pushkin

ASYNDETON (asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.

Night, street, lamp, pharmacy,

A meaningless and dim light.

Live at least a quarter of a century -

Everything will be like this. There is no exit.

A. Blok

MULTIPLE UNION (polysyndeton ) - excessive repetition of unions, creating additional intonational coloring. The opposite figure asyndeton.

Slowing down speech with forced pauses, polyunion emphasizes individual words, enhances its expressiveness:

And the waves are crowding, and rushing back,
And they come again, and hit the shore ...

M. Lermontov

And boring and sad, and there is no one to give a hand to ...

M.Yu. Lermontov

GRADATION - from lat. gradatio - gradualness) - a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. Gradation enhances the emotional sound of the verse:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.

S. Yesenin

INVERSION (lat. inversio - rearrangement) - a stylistic figure, consisting in a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.

Traditions of antiquity deep

A.S. Pushkin

Doorman past he's an arrow

Flew up the marble steps

A. Pushkin

OXYMORON (Greek oxymoron - witty-stupid) - a combination of contrasting, opposite in meaning words (a living corpse, a giant dwarf, the heat of cold numbers).

PARALLELISM (from the Greek. parallelos - walking side by side) - an identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.

Waves crash in the blue sea.

The stars are shining in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is as high as mountains.

V. Bryusov

Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and literary works close to them in their artistic features (“The Song about the Merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Russia” N. A Nekrasov, "Vasily Terkin" by A. T, Tvardovsky).

Parallelism may have a broader thematic nature in content, for example, in the poem by M. Yu. Lermontov "The clouds of heaven are eternal wanderers."

Parallelism can be both verbal and figurative, as well as rhythmic, compositional.

PARCELLATION - an expressive syntactic technique of intonational division of a sentence into independent segments, graphically identified as independent sentences. ("And again. Gulliver. Standing. Stooping" P. G. Antokolsky. "How courteous! Good! Mila! Simple!" Griboedov. "Mitrofanov grinned, stirred the coffee. Squinted."

N. Ilyina. “He had a fight with a girl. And that's why." G. Uspensky.)

TRANSFER (French enjambement - stepping over) - a mismatch between the syntactic articulation of speech and articulation into verses. When transferring, the syntactic pause within a verse or half-line is stronger than at its end.

Peter comes out. His eyes

Shine. His face is terrible.

The movements are fast. He is beautiful,

He's all like God's thunderstorm.

A. S. Pushkin

RHYME (Greek "rhythmos" - harmony, proportionality) - variety epiphora ; the consonance of the ends of poetic lines, creating a sense of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.

ELLIPSIS (Greek elleipsis - loss, omission) - a figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech, a tense change of action is transmitted. Ellipsis is one of the default types. In artistic speech, it conveys the excitation of the speaker or the intensity of the action:

We sat down - in ashes, cities - in dust,
In swords - sickles and plows.

V. Zhuko

Day in dark night in love

Spring is in love with winter

Life into death...

And you?... You're into me!

G. Heine

In the lyrics there are poems written with inexpressible constructions, that is, with a wide use of ellipsis, for example, A. Fet's poem "Whisper, timid breathing ..."

EPITHET (Greek epitheton - application) - a figurative definition that gives an additional artistic characteristic to someone or something (“lonely sail”, “golden grove”),

a word that defines an object or phenomenon and emphasizes any of its properties, qualities or features.
The sign expressed by the epithet, as it were, joins the subject, enriching it in a semantic and emotional sense. This property of the epithet is used when creating an artistic image:

But I love the golden spring
Your solid, wonderfully mixed noise;
You rejoice, not ceasing for a moment,
Like a child without care and thought...

N. Nekrasov

The properties of an epithet appear in a word only when it is combined with another word denoting an object or phenomenon. So in the above example, the words "golden" and "wonderfully mixed" acquire the properties of zpitet in combination with the words "spring" and "noise". Epithets are possible that not only define an object or emphasize any aspects, but also transfer a new, additional quality to it from another object or phenomenon (not directly expressed):

And we, the poet, did not guess you,
Did not understand infantile sadness
In your as if forged verses.

V. Bryusov.

Such epithets are called metaphorical. The epithet emphasizes in the subject not only its inherent, but also possible, conceivable, transferred features and signs. Various (meaningful) parts of speech (noun, adjective, verb) can be used as an epithet.
A special group of epithets includes permanent epithets that are used only in combination with one specific word: "living water" or "dead water", "good fellow", "greyhound horse", etc. Permanent epithets are characteristic of works of oral folk art .

EPIPHORA (Greek epiphora - repetition) - a stylistic figure opposite anaphora : repeat the last words or phrases. Rhyme - type of epiphora (repetition of the last sounds).

Here the guests came to the shore,

Tsar Saltan invites them to visit...

A. S. Pushkin

RHETORICAL QUESTION(from the Greek rhetor - speaker) - one of the stylistic figures, such a construction of speech, mainly poetic, in which the statement is expressed in the form of a question. A rhetorical question does not imply an answer, it only enhances the emotionality of the statement, its expressiveness.

rhetorical exclamation(from the Greek rhetor - speaker) - one of the stylistic figures, such a construction of speech, in which one or another concept is affirmed in the form of an exclamation. The rhetorical exclamation sounds emotional, with poetic enthusiasm and elation:

Yes, love like our blood loves
None of you love!

A. Blok

rhetorical address(from the Greek rhetor - speaker) - one of the stylistic figures. In form, being an appeal, a rhetorical appeal is conditional. It gives poetic speech the necessary authorial intonation: solemnity, pathos, cordiality, irony, etc.:

And you, arrogant descendants
The well-known meanness of the illustrious fathers ..

M. Lermontov

DEFAULT - unspokenness, inconsistency. An intentional break in a statement that conveys the excitement of speech and suggests that the reader will guess what was said.

I do not like, oh Russia, your timid
A thousand years of slave poverty.
But this cross, but this ladle is white...
Humble, native traits!

Though he was afraid to say
It would be easy to guess
When ... but the heart, the younger,
The more timid, the stricter ...

Every house is alien to me, every temple is empty to me,

And everything is the same, and everything is one.

But if on the road- bush

Gets up, especially - mountain ash…

M.I. Tsvetaeva

POETRY DIMENSIONS

YMB - two-syllable foot with stress on the second syllable

CHOREI - disyllabic foot with stress on the first syllable

DACTYL - three-syllable foot with stress on the first syllable

AMPHIBRACHY - three-syllable foot with stress on the second syllable

ANAPAEST - three-syllable foot with stress on the third syllable

PYRRHIC - additional two-syllable foot, consisting of two unstressed syllables

SPONDEE - an additional foot consisting of two stressed syllables

RHYME

abab - cross, aabb - steam room, abba - ring (girdle), aabsb - mixed

MEN'S - the stress falls on the last syllable of rhyming words

WOMEN'S - the stress falls on the penultimate syllable of rhyming words

1. Lead.

2. Expressive means of language

3. Conclusion

4. References

Introduction

The word is the subtlest touch to the heart; it can become a tender, fragrant flower, and living water, restoring faith in goodness, and a sharp knife that has picked at the delicate fabric of the soul, and red-hot iron, and clods of dirt ... A wise and kind word brings joy, stupid and evil, thoughtless and tactless - brings trouble, a word can kill - and revive, hurt - and heal, sow confusion and hopelessness - and spiritualize, dispel doubts - and plunge into despondency, create a smile - and cause tears, give rise to faith in a person - and instill mistrust, inspire to work - and lead to a stupor of the strength of the soul.

V.A. Sukhomlinsky

Expressive means of language

The lexical system of the language is complex and multifaceted. The possibilities of constant renewal in speech of principles, methods, signs of association within the whole text of words taken from various groups hide in themselves the possibilities of updating speech expressiveness and its types.

The expressive possibilities of the word are supported and enhanced by the associativity of the reader's figurative thinking, which largely depends on his previous life experience and the psychological characteristics of the work of thought and consciousness as a whole.

The expressiveness of speech refers to such features of its structure that maintain the attention and interest of the listener (reader). A complete typology of expressiveness has not been developed by linguistics, since it would have to reflect the entire diverse range of human feelings and their shades. But we can quite definitely talk about the conditions under which speech will be expressive:

The first is the independence of thinking, consciousness and activity of the author of the speech.

The second is his interest in what he is talking about or writing about. The third is a good knowledge of the expressive possibilities of the language. Fourth - systematic conscious training of speech skills.

The main source of enhancing expressiveness is vocabulary, which gives a number of special means: epithets, metaphors, comparisons, metonymy, synecdoches, hyperbole, litotes, personifications, paraphrases, allegory, irony. Syntax, the so-called stylistic figures of speech, have great opportunities to enhance the expressiveness of speech: anaphora, antithesis, non-union, gradation, inversion (reverse word order), polyunion, oxymoron, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora.

The lexical means of a language that enhance its expressiveness are called tropes in linguistics (from the Greek tropos - a word or expression used in a figurative sense). Most often, the paths are used by the authors of works of art when describing nature, the appearance of heroes.

These figurative and expressive means are of the author's nature and determine the originality of the writer or poet, help him to acquire the individuality of style. However, there are also general language tropes that arose as author's, but over time became familiar, entrenched in the language: “time heals”, “battle for the harvest”, “military thunderstorm”, “conscience spoke”, “curl up”, “like two drops water ".

In them, the direct meaning of words is erased, and sometimes completely lost. Their use in speech does not give rise to an artistic image in our imagination. A trope can become a cliché if used too often. Compare expressions that determine the value of resources using the figurative meaning of the word "gold" - "white gold" (cotton), "black gold" (oil), "soft gold" (furs), etc.

Epithets (from the Greek epitheton - application - blind love, foggy moon) artistically define an object or action and can be expressed by a full and short adjective, noun and adverb: “Do I wander along noisy streets, enter a crowded temple ...” (A.S. Pushkin)

“She is anxious, like sheets, she, like a harp, is multi-stringed ...” (A.K. Tolstoy) “Frost-governor patrols his possessions ...” (N. Nekrasov) “Uncontrollably, uniquely, everything flew far and past ... "(S. Yesenin). Epithets are classified as follows:

1) constant (characteristic of oral folk art) - “good
well done”, “beautiful girl”, “green grass”, “blue sea”, “dense forest”
"mother cheese earth";

2) pictorial (visually draw objects and actions, give
the opportunity to see them as the author sees them) -

“a crowd of motley-haired fast cat” (V. Mayakovsky), “the grass is full of transparent tears” (A. Blok);

3) emotional (transmit feelings, mood of the author) -

“Evening drew black eyebrows ...” - “A blue fire swept up ...”, “Uncomfortable, liquid moonlight ...” (S. Yesenin), “... and the young city ascended magnificently, proudly” (A. Pushkin ).

Comparison is a comparison (parallelism) or

opposition (negative parallelism) of two objects on one or more common grounds: “Your mind is as deep as the sea. Your spirit is as high as mountains"

(V. Bryusov) - “It’s not the wind that rages over the forest, it’s not the streams that run from the mountains - the governor’s frost patrols his possessions” (N. Nekrasov). Comparison gives the description a special clarity, descriptiveness. This trope, unlike others, is always binomial - both juxtaposed or opposed objects are named in it. 2 In comparison, three necessary existing elements are distinguished - the object of comparison, the image of comparison and the sign of similarity.

1 Dantsev D.D., Nefedova N.V. Russian language and speech culture for technical universities. - Rostov n / D: Phoenix, 2002. p. 171

2 Russian language and culture of speech: Textbook / ed. V.I. Maksimova - M.: 2000 p. 67.

For example, in M. Lermontov’s line “Whiter than snowy mountains, clouds go to the west ...” the object of comparison is clouds, the image of comparison is snowy mountains, a sign of similarity is the whiteness of clouds - The comparison can be expressed:

1) comparative turnover with unions “as”, “as if”, “as if”, “as
as if", "exactly", "than ... by that": "Crazy years of extinct fun

It's hard for me, like a vague hangover, "But, like wine - the sadness of bygone days In my soul, the older, the stronger" (A. Pushkin);

2) the comparative degree of an adjective or adverb: “there is no beast worse than a cat”;

3) a noun in the instrumental case: “A white snowdrift rushes along the ground like a snake ...” (S. Marshak);

“Dear hands - a pair of swans - dive in the gold of my hair ...” (S. Yesenin);

“I looked at her with might and main, as children look ...” (V. Vysotsky);

“I can’t forget this fight, the air is saturated with death.

And stars fell from the firmament like silent rain” (V. Vysotsky).

“These stars in the sky are like fish in ponds ...” (V. Vysotsky).

“Like an eternal flame, the peak sparkles with emerald ice during the day ...” (V.

Vysotsky).

Metaphor (from Greek metaphora) means transferring the name of an object

(actions, qualities) on the basis of similarity, this is a phrase that has the semantics of a hidden comparison. If the epithet ~ is not a word in a dictionary, but a word in speech, then the statement is all the more true: metaphor ~ is not a word in a dictionary, but a combination of words in speech. You can drive a nail into the wall. You can hammer thoughts into your head ~ a metaphor arises, rude, but expressive.

There are three elements in a metaphor: information about what is being compared; information about what it is compared to; information about the basis of comparison, i.e., about a feature that is common in the compared objects (phenomena).

Speech actualization of the semantics of metaphor is explained by the need for such guessing. And the more effort a metaphor requires in order for consciousness to turn a hidden comparison into an open one, the more expressive, obviously, the metaphor itself. Unlike a two-term comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second component. This gives character and

trail compactness. Metaphor is one of the most common tropes, since the similarity between objects and phenomena can be based on a wide variety of features: color, shape, size, purpose.

The metaphor may be simple, expanded and lexical (dead, erased, petrified). A simple metaphor is built on the convergence of objects and phenomena according to some common feature - “the dawn is burning”, “the sound of the waves”, “the sunset of life”.

An expanded metaphor is built on various associations by similarity: “Here the wind embraces a flock of waves with a strong hug and throws them on a grand scale in wild anger on the rocks, breaking emerald bulks into dust and spray” (M. Gorky).

Lexical metaphor - a word in which the initial transfer is no longer perceived - "steel pen", "clock hand", "door handle", "sheet of paper". Metonymy (from the Greek metonymia - renaming) is close to the metaphor - the use of the name of one object instead of the name of another on the basis of an external or internal connection between them. Communication can be

1) between the object and the material from which the object is made: “Amber smoked in his mouth” (A. Pushkin);

3) between the action and the instrument of this action: “The pen is his revenge
breathes"

5) between the place and the people in this place: “The theater is already full, the boxes are shining” (A. Pushkin).

A variety of metonymy is synecdoche (from the Greek synekdoche - co-implying) - the transfer of meaning from one to another on the basis of a quantitative relationship between them:

1) a part instead of a whole: “All flags will visit us” (A. Pushkin); 2) a generic name instead of a specific one: “Well, why, sit down, luminary!” (V. Mayakovsky);

3) a specific name instead of a generic one: “Most of all, take care of a penny” (N. Gogol);

4) singular instead of plural: “And it was heard before
dawn, as the Frenchman rejoiced” (M. Lermontov);

5) plural instead of singular: “Even a bird does not fly to him, and
the beast does not come” (A. Pushkin).

The essence of personification consists in attributing to inanimate objects and abstract concepts the qualities of living beings - “I will whistle, and bloodied villainy will obediently, timidly creep in to me, and will lick my hand, and look into my eyes, they are a sign of my, reading will” (A. Pushkin); “And the heart is ready to run from the chest to the top ...” (V. Vysotsky).

Hyperbole (from Greek hyperbole - exaggeration) - stylistic

a figure consisting in a figurative exaggeration - “they swept a haystack above the clouds”, “wine flowed like a river” (I. Krylov), “At one hundred and forty suns the sunset burned” (V. Mayakovsky), “The whole world is in the palm of your hand ...” (V Vysotsky). Like other tropes, hyperbolas can be authorial and general language. In everyday speech, we often use such general language hyperbole - I saw (heard) a hundred times, “be scared to death”, “strangle in my arms”, “dance until you drop”, “repeat twenty times”, etc. The opposite of hyperbole is a stylistic device - litote (from the Greek litotes - simplicity, thinness) - a stylistic figure, consisting in an underlined understatement, humiliation, reticence: “a boy with a finger”, “... You need to bow your head to a thin blade of grass ...” (N. Nekrasov).

Litota is a kind of meiosis (from the Greek meiosis - decrease, decrease).

MEIOSIS is a trope of understatement

intensity of properties (features) of objects, phenomena, processes: “wow”, “will do”, “decent *, “tolerant” (about good), “unimportant”, “hardly suitable”, “leaving much to be desired” (about bad ). In these cases, meiosis is a mitigating option for the ethically unacceptable direct naming: cf. "old woman" - "a woman of Balzac's age", "not the first youth"; "ugly man" - "hard to call handsome." Hyperbole and litotes characterize the deviation in one direction or another of the quantitative assessment of the subject and can be combined in speech, giving it additional expressiveness. In the comic Russian song "Dunya the Thin Spinner" it is sung that "Dunyushka spun a kudelyushka for three hours, spun three threads," and these threads are "thinner than a knee, thicker than a log." In addition to the author's, there are also common language litots - "the cat cried", "at hand", "not to see beyond one's own nose".

A periphrasis (from the Greek periphrasis - from around and I say) is called

a descriptive expression used instead of a particular word (“who writes these lines” instead of “I”), or a trope, consisting in replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features (“the king of animals is a lion” , "foggy Albion" - England, "Northern Venice" - St. Petersburg, "the sun of Russian poetry" - A. Pushkin).

Allegory (from the Greek allegoria - allegory) consists in the allegorical depiction of an abstract concept with the help of a specific, life image. In literature, allegories appear in the Middle Ages and owe their origin to ancient customs, cultural traditions and folklore. The main source of allegories is animal tales, in which the fox is an allegory of cunning, the wolf is malice and greed, the ram is stupidity, the lion is power, the snake is wisdom, etc. From ancient times to our time, allegories are most often used in fables, parables, and other humorous and satirical works. In Russian classical literature, allegories were used by M.E. Saltykov-Shchedrin, A.S. Griboyedov, N.V. Gogol, I.A. Krylov, V.V. Mayakovsky.

Irony (from the Greek eironeia - pretense) - a trope, which consists in the use of a name or a whole statement in an indirect sense, directly opposite to the direct one, this is a shift in contrast, in polarity. Most often, irony is used in statements containing a positive assessment that the speaker (writer) rejects. “From where, smart, are you wandering, head?” - asks the hero of one of the fables of I.A. Krylov at the Donkey. Praise in the form of censure can also be ironic (see A.P. Chekhov's story "Chameleon", characterization of the dog).

Anaphora (from the Greek anaphora -ana again + phoros bearing) - monotony, repetition of sounds, morphemes, words, phrases, rhythmic and speech structures at the beginning of parallel syntactic periods or poetic lines.

Storm-blown bridges

A coffin from a blurry cemetery (A.S. Pushkin) (repetition of sounds) ... A black-eyed girl, a black-maned horse! (M.Yu. Lermontov) (repetition of morphemes)

The winds did not blow in vain,

The storm was not in vain. (S.A. Yesenin) (repetition of words)

I swear by odd and even

I swear by the sword and the right fight. (A.S. Pushkin)

Conclusion

In conclusion of this work, I would like to note that the expressive means, stylistic figures that make our speech expressive, are diverse, and it is very useful to know them. The word, speech is an indicator of the general culture of a person, his intellect, his speech culture. That is why mastering the culture of speech, its improvement, especially at the present time, is so necessary for the current generation. Each of us is obliged to cultivate in ourselves a respectful, reverent and careful attitude to our native language, and each of us should consider it our duty to contribute to the preservation of the Russian nation, language, and culture.

List of used literature

1. Golovin I.B. Fundamentals of speech culture. St. Petersburg: Slovo, 1983.

2. Rosenthal D.E. practical style. Moscow: Knowledge, 1987.

3. Rosenthal D.E., Golub I.B. Secrets of Stylistics: Rules for Good Speech, Moscow: Knowledge, 1991.

4. Farmina L.G. We learn to speak correctly. M.: Mir, 1992.

5. Dantsev D.D., Nefedova N.V. Russian language and speech culture for technical universities. - Rostov n / D: Phoenix, 2002.

6. Russian language and culture of speech: Textbook / ed. V.I. Maksimova - M.: Gardariki, 2000.

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.

TRACKS AND STYLISTIC FIGURES.

TRAILS(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.

STYLISTIC FIGURES- figures of speech used to enhance the expressiveness (expressiveness) of the statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

V. Mayakovsky ("I", "Napoleon", "150,000,000"). In poetic speech, hyperbole is often intertwinedwith other artistic means (metaphors, personifications, comparisons, etc.). The opposite - litotes.

LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. There is a litote in folk tales: "a boy with a finger", "a hut on chicken legs", "a peasant with a fingernail".
The second name for litotes is meiosis. The opposite of litote hyperbola.

N. Gogol often addressed the litote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol

METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another based on common features (“work is in full swing”, “forest of hands”, “dark personality”, “stone heart” ...). In metaphor, unlike

comparisons, the words "as", "as if", "as if" are omitted, but implied.

Nineteenth century, iron,

Truly a cruel age!

You in the darkness of the night, starless

Careless abandoned man!

A. Blok

In every carnation fragrant lilac,
Singing, a bee crawls in ...
You ascended under the blue vault
Above the wandering crowd of clouds...

A. Fet

The metaphor is an undivided comparison, in which, however, both members are easily seen:

With a sheaf of their oatmeal hair
You touched me forever...
The eyes of a dog rolled
Golden stars in the snow...

S. Yesenin

In addition to verbal metaphor, metaphorical images or extended metaphors are widely used in art:

Ah, my bush withered my head,
Sucked me song captivity
I am condemned to hard labor of feelings
Turn the millstones of poems.

S. Yesenin

Sometimes the entire work is a broad, detailed metaphorical image.

METONYMY(Greek metonymia - renaming) - tropes; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest noise" - trees are meant; etc.).

The theater is already full, the boxes are shining;

Parterre and chairs, everything is in full swing ...

A.S. Pushkin

You led swords to a plentiful feast;

Everything fell with a noise before you;
Europe perished; grave dream
Worn over her head...

A. Pushkin

When is the shore of hell
Forever will take me
When forever fall asleep
Feather, my consolation...

A. Pushkin

PERSONALIZATION(prosopopoeia, personification) - a kind of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).

my bells,

Steppe flowers!

What are you looking at me

Dark blue?

And what are you talking about

On a happy May day,

Among the uncut grass

Shaking your head?

A.K. Tolstoy

And at the door
jackets,
overcoats,
sheepskin coats...

V. Mayakovsky

2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:

Oh, how are you! Fight with a helmet?
Well, isn't it a vile parod!

3) Singular in the meaning of general and even universal:

There a man groans from slavery and chains...

M. Lermontov

And the proud grandson of the Slavs, and the Finn ...

A. Pushkin

4) Replacing a number with a set:

Millions of you. Us - darkness, and darkness, and darkness.

A. Blok

5) Replacing a generic concept with a specific one:

We beat a penny. Very well!

V. Mayakovsky

6) Replacing a specific concept with a generic one:

"Well, sit down, luminary!"

V. Mayakovsky

Whirlwinds of snow twisting;

The way the beast she howls

He will cry like a child...

A.S. Pushkin

M. Lermontov

And she is
At the door or at the window
The early star is brighter,
Fresh morning roses.

A. Pushkin

She is sweet - I will say between us -
Storm of the court knights,
And you can with southern stars
Compare, especially in verse,
Her Circassian eyes.

A. Pushkin

A special type of comparison is the so-called negative:

The red sun does not shine in the sky,
Blue clouds do not admire them:
Then at the meal he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.

M. Lermontov

It's time, beauty, wake up!
Open your closed eyes,
Towards North Aurora
Be the star of the north.

A. Pushkin

I do not soar - I sit like an eagle.

A. Pushkin

Often there are comparisons in the accusative case with the preposition "under":
"Sergey Platonovich ... sat with Atepin in the dining room, pasted over with expensive, oak-like wallpaper ..."

M. Sholokhov.

IMAGE -a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Frost - warlord patrol

Bypasses his possessions.

ON THE. Nekrasov

ALLEGORY(Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images date back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes.

Unlike a metaphor, in an allegory, the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).

GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Enraged at the meeting, I burst into an avalanche,

Spouting wild curses dear.

And I see: half of the people are sitting.

O devilry! Where is the other half?

V. Mayakovsky

Servant of powerful masters,

With what noble courage

Thunder with speech you are free

All those who had their mouths shut.

F.I. Tyutchev

SARCASM (Greek sarkazo, lit. - tear meat) - contemptuous, caustic mockery; the highest degree of irony.

ASSONANCE (French assonance - consonance or respond) - repetition in a line, stanza or phrase of homogeneous vowel sounds.

Oh spring without end and without edge -

Endless and endless dream!

A. Blok

ALLITERATION (SOUND)(lat. ad - to, with and littera - letter) - the repetition of homogeneous consonants, giving the verse a special intonational expressiveness.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

Storm is near. Beats on the shore

A black boat alien to charms ...

K. Balmont

ALLUSION (from Latin allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work ("Gerostratus's glory").

ANAPHORA(Greek anaphora - pronouncement) - repetition of initial words, lines, stanzas or phrases.

You are poor

You are abundant

You are beaten

You are almighty

Mother Russia!…

ON THE. Nekrasov

ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blush, like a poppy color,

I am like death, and thin and pale.

A.S. Pushkin

You are poor
You are abundant
You are powerful
You are powerless...

N. Nekrasov

So few roads traveled, so many mistakes made...

S. Yesenin.

Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the whole work is built on the principle of antithesis

APOCOPE(Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.

... Suddenly, out of the forest

The bear opened its mouth on them ...

A.N. Krylov

Lay, laugh, sing, whistle and clap,

People's talk and horse top!

A.S. Pushkin

ASYNDETON (asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.

Night, street, lamp, pharmacy,

A meaningless and dim light.

Live at least a quarter of a century -

Everything will be like this. There is no exit.

A. Blok

POLYUNION(polysyndeton) - excessive repetition of unions, creating additional intonational coloring. The opposite figureunionlessness.

Slowing down speech with forced pauses, polyunion emphasizes individual words, enhances its expressiveness:

And the waves are crowding, and rushing back,
And they come again, and hit the shore ...

M. Lermontov

And boring and sad, and there is no one to give a hand to ...

M.Yu. Lermontov

GRADATION- from lat. gradatio - gradualness) - a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. Gradation enhances the emotional sound of the verse:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.

S. Yesenin

INVERSION(lat. inversio - rearrangement) - a stylistic figure, consisting in a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.

Traditions of antiquity deep

A.S. Pushkin

Doorman past he's an arrow

Flew up the marble steps

A. Pushkin

OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting, opposite in meaning words (a living corpse, a giant dwarf, the heat of cold numbers).

PARALLELISM(from the Greek. parallelos - walking side by side) - an identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.

Waves crash in the blue sea.

The stars are shining in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is as high as mountains.

V. Bryusov

Parallelism may have a broader thematic character in content, for example, in the poem by M. Yu. Lermontov "The clouds of heaven are eternal wanderers."

Parallelism can be both verbal and figurative, as well as rhythmic, compositional.

PARCELLATION- an expressive syntactic technique of intonational division of a sentence into independent segments, graphically identified as independent sentences. ("And again. Gulliver. Standing. Stooping" P. G. Antokolsky. "How courteous! Good! Mila! Simple!" Griboedov. "Mitrofanov grinned, stirred the coffee. Squinted."

N. Ilyina. “He had a fight with a girl. And that's why." G. Uspensky.)

Peter comes out. His eyes

Shine. His face is terrible.

The movements are fast. He is beautiful,

He's all like God's thunderstorm.

A. S. Pushkin

RHYME(Greek "rhythmos" - harmony, proportionality) - variety epiphora ; the consonance of the ends of poetic lines, creating a sense of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.

We sat down - in ashes, cities - in dust,
In swords - sickles and plows.

Portal for the student. Self-training

Tutoring

RELATED ARTICLES