You have probably heard more than once that Russian is one of the most difficult languages. Why? It's all about the way the speech is made. Expressive means make our words richer, poems more expressive, prose more interesting. It is impossible to clearly convey thoughts without the use of special lexical figures, because the speech will sound poor and ugly.

Let's figure out what are the means of expressiveness of the Russian language and where to find them.

Perhaps at school you wrote essays poorly: the text “didn’t go”, the words were chosen with difficulty, and it was generally unrealistic to finish the presentation with a clear thought. The fact is that the necessary syntactic means are laid in the head with the reading of books. However, only they are not enough to write interesting, colorful and easy. You need to develop your skills through practice.

Just compare the next two columns. On the left - text without means of expression or with a minimum of them. On the right is rich text. These are often found in the literature.

It would seem that three banal sentences, but how interesting they can be painted! The expressive means of language help the viewer to see the picture that you are trying to describe. Using them is an art, but it is not difficult to master it. It is enough to read a lot and pay attention to interesting techniques used by the author.

For example, in the paragraph of text on the right, epithets are used, thanks to which the subject instantly appears bright and unusual. What will the reader remember better - an ordinary cat or a fat commander cat? Rest assured that the second option will probably be more to your liking. Yes, and there will be no such embarrassment that in the middle of the text the cat will suddenly be white, but the reader has long imagined him as gray!

So, syntactic means are special techniques of artistic expression that prove, substantiate, draw information and engage the imagination of the reader or listener. This is extremely important not only for written, but also for oral speech. Especially if the speech or text is composed in . However, both there and there means of expression in the Russian language should be in moderation. Do not oversaturate the reader or listener with them, otherwise he will quickly get tired of making his way through such a "jungle".

Existing means of expression

There are a lot of such special techniques, and it is unlikely that you know everything about them. To begin with, you do not need to use all the means of expression at once - this makes speech difficult. You need to use them in moderation, but do not be stingy. Then you will achieve the desired effect.

Traditionally, they are divided into several groups:

• phonetic - most often found in poems;
• lexical (tropes);
• stylistic figures.

Let's try to deal with them in order. And to make it more convenient for you, after the explanation, all the expressive means of the language are presented in convenient tablets - you can print it out and hang it on the wall to reread it from time to time. That way you can learn them unobtrusively.

Phonetic tricks

The most common phonetic devices are alliteration and assonance. They differ only in that consonants are repeated in the first case, vowels are repeated in the second.

This technique is very convenient to use in poems when there are few words, but you need to convey the atmosphere. Yes, and poetry is most often read aloud, and assonance or alliteration helps to “see” the picture.

Suppose we need to describe a swamp. Rustling reeds grow in the swamp. The beginning of the line is ready - the reeds rustle. We can already hear this sound, but it's not enough to complete the picture.

Do you hear, as if silently rustling and hissing reeds? Now we can feel this atmosphere. This technique is called alliteration - consonants are repeated.

Similarly, with assonance, the repetition of vowels. This one is a little easier. For example: I hear a spring thunderstorm, then I fall silent, then I sing. By this, the author conveys a lyrical mood and spring sadness. The effect is achieved through the skillful use of vowels. In explaining what assonance is, the table will help.

Lexical devices (tropes)

Lexical devices are used much more often than other means of expression. The fact is that often people use them unconsciously. For example, we can say that our heart is lonely. But the heart, in fact, cannot be lonely, it is just an epithet, a means of expression. However, such expressions help to emphasize the deep meaning of what was said.

The main lexical devices include the following tropes:

• epithet;
• comparison as a means of expressive speech;
• metaphor;
• metonymy;
• irony;
• hyperbole and litote.

Sometimes we use these lexical units unconsciously. For example, comparison slips in everyone's speech - this means of expression has firmly entered everyday life, so you need to use it wisely.

Metaphor is a more interesting form of comparison because we don't compare slow death to cigarettes using the word "as if". We already understand that slow death is a cigarette. Or, for example, the expression "dry clouds". Most likely, this means that it has not rained for a long time. The epithet and metaphor often overlap, so it is important not to confuse them when analyzing a text.

Hyperbole and litote are exaggeration and understatement, respectively. For example, the expression “the sun has absorbed the power of a hundred fires” is a clear hyperbole. And “quietly, quieter than a stream” is a litote. These phenomena are also firmly embedded in everyday life.

Metonymy and paraphrase are interesting phenomena. Metonymy is an abbreviation of what is said. For example, there is no need to speak of Chekhov's books as "the books that Chekhov wrote." You can use the expression "Chekhov's books", and this will be a metonymy.

A paraphrase is a deliberate replacement of concepts with synonymous ones in order to avoid tautology in the text.

Although, with proper skill, tautology can also be a means of expression!

Also, lexical means of expression in speech include:

• archaisms (outdated vocabulary);
• historicisms (lexicon related to a specific historical period);
• neologisms (new vocabulary);
• phraseological units;
• dialectisms, jargon, aphorisms.

means of expression	Definition	Example and explanation
Epithet	A definition that helps add color to an image. Often used figuratively.	Bloody sky. (Speaks of the sunrise.)
Comparison as a means of expressive speech	Comparison of objects with each other. They may not be related, but even vice versa.	Means of expression, like expensive jewelry, exalt our speech.
Metaphor	"Hidden comparison" or figurative. More complex than a simple comparison, comparative conjunctions are not used.	Seething anger. (Man gets angry). Sleepy city. (Morning city, which has not yet woken up).
Metonymy	Substituting words to shorten a clear sentence or avoid tautology.	I read Chekhov's books (and not "I read books by Chekhov's authorship").
Irony	An expression with the opposite meaning. A hidden laugh.	You are a genius, of course! (Ironically, here "genius" is used in the sense of "stupid").
Hyperbola	Deliberate exaggeration.	Brighter than a thousand lightning bolts. (Dazzling, bright show).
Litotes	Deliberate reduction of what was said.	Weak as a mosquito.
paraphrase	Substitution of words in order to avoid tautology. The replacement can only be a related word.	The house is a hut on chicken legs, the lion is the king of animals, etc.
Allegory	An abstract concept that helps to reveal the image. Most often - an established designation.	A fox in the meaning of cunning, a wolf in the meaning of strength and rudeness, a turtle in the meaning of slowness or wisdom.
personification	The transfer of properties and feelings of a living object to an inanimate one.	The lantern seemed to sway on a long thin leg - it reminded me of a boxer preparing for a swift attack.

Stylistic figures

Stylistic figures often contain special grammatical constructions. The most commonly used include:

• anaphora and epiphora;
• compositional joint;
• antithesis;
• oxymoron or paradox;
• inversion;
• parceling;
• ellipsis;
• rhetorical questions, exclamations, appeals;
• asyndeton.

Anaphora and epiphora are often referred to as phonetic devices, but this is an erroneous judgment. Such methods of artistic expression are pure stylistics. Anaphora - the same beginning of several lines, epiphora - the same endings. Most often used in poetry, sometimes in prose, to emphasize the drama and growing anxiety, or to enhance the poetry of the moment.

The compositional junction is a deliberate "building up" of the conflict. The word is used at the end of one sentence and at the beginning of the next. It gave me everything, the word. The Word helped me become who I am. This technique is called a compositional joint.

Antithesis is the opposition of two antipodes: yesterday and today, night and day, death and life. Of the interesting techniques, one can note the parcelling, which is used to increase the conflict and change the pace of the story, as well as the ellipsis - the omission of a sentence member. Often used in exclamations, calls.

means of expression	Definition	Example and explanation
Anaphora	The same beginning of several lines.	Let's join hands, brothers. Let's join hands and unite our hearts. Let's take up swords to end the war.
Epiphora	Same ending for multiple lines.	I wash it wrong! I look wrong! All wrong!
Composite joint	One sentence ends with this word, and the second sentence begins with it.	I didn't know what to do. To do in order to survive in this storm.
Antithesis	opposition	I revived with every second, but after that I died every evening. (Used to show drama).
Oxymoron	Use of concepts that contradict each other.	Hot ice, peaceful war.
Paradox	An expression that does not have a direct meaning, but carries an aesthetic meaning.	The dead man's hot hands were more alive than all the others. Hurry up as slowly as you can.
Inversion	Intentional rearrangement of words in a sentence.	I was sad that night, I was afraid of everything in this world.
Parceling	Breaking words into separate sentences.	He waited. Again. Stooping, weeping.
Ellipsis	Intentional omission.	Go ahead, get to work! (Missed the word "take").
gradation	Increase in expression, the use of synonyms according to the degree of increase.	His eyes, cold, unfeeling, dead, expressed nothing. (Used to show drama).

Features of the use of means of expression

We should not forget that gestures are also used in oral Russian speech. Sometimes they are more eloquent than the usual means of expression, but in a skillful combination of these figures. Then the role will turn out to be lively, rich and bright.

Do not try to insert as many stylistic or lexical figures into speech as possible. It won't make the word richer, but it will make you feel like you've "put on" too much jewelry and become uninteresting. Means of expression - like a skillfully selected accessory. It happens that you don’t even notice it right away, it is so harmoniously intertwined in a sentence with other words.

Our life experience leaves no room for doubt that the structure of speech, its properties and features can awaken the thoughts and feelings of people, maintain a keen attention and arouse interest in what is said or written. These features of speech give reason to call it expressive. However, scientific studies show that 80% of the citizens of the Russian Federation have an acute issue of improving these features of speech. Tasks A3 GIA-9 and B8 USE set the task for graduates of the 9th and 11th grades - to know the language means of expression.

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MEANS OF ARTISTIC EXPRESSION

Allegory - one of the tropes, a kind of allegory; an abstract idea or concept embodied in a specific image:the cross in Christianity is suffering, the lamb is defenselessness, the dove is innocence, etc.In literature, many allegorical images are taken from folklore, from fairy tales about animals:the wolf is greed, the fox is cunning, the snake is deceit.

Anaphora (unity)- a stylistic figure consisting in the repetition of the same sounds, words or phrases at the beginning of lines.

I look at the future with fear, / I look at the past with longing.(M. Lermontov.)

Antithesis - this is a technique of contrast, opposition of phenomena and concepts. As a rule, the antithesis is based on the use of antonyms:Death and immortality, life and death are nothing to the virgin and the heart.(M. Lermontov.) It seemed difficult for us to part, but it would be more difficult to meet.(M. Lermontov.) You are poor, you are abundant, you are powerful, you are powerless, Mother Russia!(N. Nekrasov.) Faces appear, erased, sweet today, and far away tomorrow.(A. Akhmatova.). Small spool but precious(Proverb.) They came together: wave and stone, // Poetry and prose, ice and fire, // Not so different from each other(A. Pushkin.) . Antithesis is an expressive artistic technique that can have a deep emotional impact on the reader.

Archaisms - obsolete for a certain era, obsolete language elements, replaced by others: vyya - neck, actor - actor, this - this one; belly - life, piit - a poet, hunger - hunger.

Unionlessness (or asyndeton)- a stylistic figure consisting in the intentional omission of connecting unions between members of a sentence or between sentences. The absence of unions gives the statement swiftness, richness of impressions within the overall picture.Swede, Russian - stabs, cuts, cuts, drumming, clicks, rattle, thunder of cannons, stomping, neighing, groaning ...(A. S. Pushkin.)

Hyperbola - a visual technique based on the quantitative strengthening of the signs of an object, phenomenon, action. In other words, this is an artistic exaggeration of certain properties of the depicted:It will pass - like the sun will shine! Look - the ruble will give!(N. Nekrasov.) I saw how she mows: what a wave - then a mop is ready.(N. Nekrasov.) And the mountain of bloody bodies prevented the balls from flying.(M. Lermontov.) I never knew that there were so many thousands of tons in my shamefully frivolous little head. In a hundred and forty suns the sunset was blazing.(V. Mayakovsky.) Bloomers, the width of the Black Sea.(N. Gogol.) The sea is knee-deep, tears flow in a stream.Hyperbole is used to enhance the emotional impact on the reader, to highlight any aspects in the depicted phenomenon.

gradation - arrangement of words and expressions in increasing or decreasing importance:Glowing, burning, shone huge blue eyes.(V. Soloukhin.) Music is useless sounds, superfluous sounds, unsuitable tones, groans not caused by pain.(B. Slutsky.) I called you, but you did not look back, I shed tears, but you did not descend.(A. Blok.) Howled, sang, a stone flew up under the sky, / And the whole quarry was covered in smoke.(N. Zabolotsky.)

Inversion - an artistic technique, a deliberate change in the order of words in a sentence to achieve a certain artistic goal.For the shores of the distant homeland // You left alien edge. (A. Pushkin.) Thundering rumbles are young.(F. Tyutchev.) Rain pearls hung. (F. Tyutchev.) Runs from the mountain flow is agile.(F. Tyutchev.). ..where to look people are cut off curly... (V. Mayakovsky.) He shot past the porter with an arrow // Soared on the marble steps.(A. Pushkin.)

Irony - a trope consisting in the use of a word or expression in the reverse sense of the literal for the purpose of ridicule.Where, smart, are you wandering, head?(Appeal to the donkey. I. Krylov.)

historicisms - obsolete words that have fallen into disuse due to the disappearance of the realities that they denoted:boyar, clerk, oprichnik, crossbow.

Pun - a figure of speech consisting in the humorous use of the ambiguity of a word or the sound similarity of various words:It was raining and two students. The defender of liberty and rights in this case is not at all right.(A. Pushkin.)

Lexical repetition- intentional repetition of the same word in the text. As a rule, using this technique, a keyword is highlighted in the text, the meaning of which should be drawn to the reader's attention:Not in vain did the winds blow, not in vain did the thunderstorm go.(S. Yesenin.) The hazy noon breathes lazily, the river rolls lazily. And in the fiery and pure firmament clouds lazily melt.(F. Tyutchev.)

Litotes - an expression containing an exorbitant underestimation of the size, strength, significance, etc. of a phenomenon.Tom Thumb. Man with nails.

Metaphor - type of allegory; represents the transfer of meaning by similarity. This means of expression is very close to comparison. Sometimes a metaphor is called a hidden comparison, since it is based on a comparison, but it is not formalized with the help of comparative conjunctions:sleepy city lake(A. Blok.), flying blizzard tambourine(A. Blok.), my dry leaves(V. Mayakovsky.), red rowan bonfire(S. Yesenin.), my words are nightingales(B. Akhmadulina.), lies cold smoke(A. Tvardovsky.), smile stream (M. Svetlov.), moon silver spoon(Yu. Moritz.) While we are burning with freedom ... (A. Pushkin.) With a sheaf of your oatmeal hair ...(S. Yesenin.) To see your eyes golden-brown whirlpool...(WITH. Yesenin.) Metaphor increases the accuracy of poetic speech and its emotional expressiveness.

Sometimes the entire text or a significant fragment of it is built on the basis of the transfer of meaning by similarity. In this case, one speaks of an extended metaphor. An example of this type of metaphor is M. Lermontov's poem "The Cup of Life", which is built on the deployment of a metaphorical statement drink the cup of life.

Metonymy - one of the means of artistic expression, which consists in replacing one word or concept with another that has a causal or other connection with the first.Will the time come ... when a man ... Belinsky and Gogol will carry from the market ...(N. Nekrasov.) I ate three bowls.(I. Krylov.) Bought Rubens. The whole field froze.(A. Pushkin.)

Polyunion (or polysyndeton)- a stylistic figure, consisting in the deliberate use of repeating unions for logical and intonational underlining of the members of the sentence connected by unions, to enhance the expressiveness of speech.Houses burned at night, and the wind blew, and black bodies on the gallows swayed from the wind, and ravens screamed above them.(A. Kuprin.).

Oxymoron or oxymoron- a combination of words that are opposite in meaning:Sometimes he falls passionately in love with his elegant sadness. (M. Lermontov.) But their ugly beauty I soon comprehended the mystery.(M. Lermontov.) Live, keeping the fun of grief remembering the joy of past springs...(V. Bryusov.) And the impossible is possible, the road is long and easy.(A. Blok.) From hateful love, out of crimes, frenzy - righteous Russia will arise.(M. Voloshin.) Hot snow, a miserly knight, the magnificent withering of nature, sad joy, ringing silence, etc.

personification - an artistic technique, which consists in the fact that when describing animals or inanimate objects, they are endowed with human feelings, thoughts, speech:Sit down, muse: hands in sleeves, legs under the bench! Don't fidget, freak! Now let's start...(A. Pushkin.) Luna laughed like a clown.(S. Yesenin.) Tired all around; tired and the color of heaven, and the wind, and the river, and the month that was born ...(A. Fet.) Dawn rises from the bed of his languishing Shadow.(I. Annensky.). The trees sing, the waters sparkle, the air is dissolved by love...(F. Tyutchev.) Midnight enters my city window with gifts of the night.(A. Tvardovsky.) Here they squeezed the village by the neck // Stone hands of the highway.(S. Yesenin.) Tears from the eyes of drainpipes.(V. Mayakovsky.) The transfer of human properties to animals is also personified:The dog bared its teeth, laughing at the prisoners.(A. Solzhenitsyn.)

Parallelism - the same syntactic construction of adjacent sentences or segments of speech:Your mind is as deep as the sea. Your spirit is as high as mountains.(V. Bryusov.)

paraphrase - a turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features.Author of "A Hero of Our Time"(instead of M. Yu. Lermontov), the king of beasts (instead of a lion).

Parceling - this is such a division of the sentence, in which the content of the statement is realized not in one, but in two or more intonation-semantic speech units, following one after another after a separating pause.Elena is in trouble. Big.(F. Panferov.) Mitrofanov chuckled and stirred the coffee. squinted(I. Ilyina.)

rhetorical question, rhetorical exclamation, rhetorical appeal- special techniques that are used to enhance the expressiveness of speech. A rhetorical question can express interrogative content, but it is not asked to give or receive an answer to it, but to emotionally influence the reader. Rhetorical exclamations enhance the expression of feelings in the text, and the rhetorical appeal is directed not to the real interlocutor, but to the subject of the artistic image.Dreams Dreams! Where is your sweetness!(A. Pushkin.) Familiar clouds! How do you live? Who do you intend to threaten now?(M. Svetlov.) Will pure heroes forgive? We did not keep their covenant.(3. Gippius.) Russia! where are you going?(N. Gogol.) Or is it new for us to argue with Europe? / Or is the Russian weaned from victories?(A. Pushkin.).

Synecdoche - the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them: the use of the name of the whole instead of the name of the part, the general instead of the particular, and vice versa. superiors left pretty(instead of boss) discerning buyer (instead of discerning buyers).

Comparison - a visual technique based on a comparison of a phenomenon or concept with another phenomenon. In order to compare, compare one phenomenon with another, we use different language constructions in our speech that help to express the meaning of the comparison.

Most often, the comparison is made in speech in the form of comparative turns, with the help of this syntactic construction, objects, actions, signs are compared. Comparative turnover consists of a word or phrase with one of the comparative conjunctions(like, exactly, as if, as if, as if, what): Short speech, like pearls, shines with content.(L. Tolstoy.) Wide shadows move across the plain like clouds across the sky.(A. Chekhov.) Let the ball slide on a light piece of paper, like a dancer on ice, and write dashing zigzags lines on the fly.(D. Samoilov.) Our river, as if in a fairy tale, was paved with frost during the night.(S. Marshak.) I remember a wonderful moment; // You appeared before me,// Like a fleeting vision,// Like a genius of pure beauty.(A. Pushkin.) A girl, black-haired and tender as the night.(M. Gorky.)

Comparison is also transmitted by combining a verb with a noun in the instrumental case (this construction is sometimes called "creative comparison"): Joy crawls like a snail (= creeps like a snail), the grief runs wildly.(V.Mayakovsky) The sunset lay like a crimson fire. (A. Akhmatova.) In her chest with a bird sang (=sang like a bird) joy.(M. Gorky.) And the dew shines on the grass silver . (V. Surikov.) Chains of mountains stand like giants. (I. Nikitin.) Time flies sometimes a bird, sometimes crawling like a worm. (I. Turgenev.)

In addition, the comparison is also transmitted by a combination of the comparative form of the adjective and noun: Beneath it is a jet lighter than azure. (M. Lermontov.). The truth is more precious than gold. (Proverb.).

The expressiveness of speech is also given by complex sentences with a relative clause, which is attached to the main part using the same comparative conjunctions.as, exactly, as if, as if, as if: It suddenly felt good in my soul, as if my childhood had returned.(M. Gorky.) Golden foliage swirled in the pinkish water on the pond, like butterflies, a light flock flies with fading to the star.(S. Yesenin.)

Default - this is a turn of speech, which consists in the fact that the author deliberately does not fully express the thought, leaving the reader to guess what was not said.No, I wanted... maybe you... I thought. It's time for the baron to die.

Ellipsis - this is a stylistic figure, consisting in the omission of any implied member of the sentence.We villages - into ashes, hailstones - into dust, into swords - sickles and plows.(V. Zhukovsky.)

Epithet - this is a figurative definition, which has a special artistic expressiveness, conveying the author's feeling for the depicted object, creating a vivid idea of ​​\u200b\u200bthe object. As a rule, the epithet is expressed by an adjective used in a figurative sense. From this point of view, for example, adjectivesblue, gray, bluecombined with the word sky cannot be called epithets; these are the adjectiveslead, steel, amber.Not every definition can be called an epithet (cf.:iron bed and iron character, silver spoon and a silver key (meaning "spring"). Only in phrasesiron character and a silver key before us are epithets that carry a semantic and expressive-emotional load in the statement.

The epithet is used to, firstly, evoke in the reader a visible image of a person, thing, nature:A little way off to the side it was getting dark somehowdull bluishthe color of a pine forest .. the day was either clear or gloomy, but some light grey... (N. Gogol.), Secondly, to create a certain emotional impression of the depicted or to convey the mood: I sent you a black rose in a glass // As golden as the sky, Ai... (A. Blok.), thirdly, to express the author's position:And you will not wash away with all your black blood // The poet's righteous blood!(M. Lermontov.)

Sometimes among rare epithets there are combinations of opposite concepts ( oxymorons ). The illogical connection of words attracts the reader's attention, enhances the expressiveness of the image. The functions of such epithets are similar to the reception of antithesis (opposition). For example: gray-haired youth (A. Herzen), joyful sadness(V. Korolenko), sweet sadness (A. Kuprin), hateful love(M. Sholokhov), sad joy(S. Yesenin), etc.

In literary texts, there are rare (individual-author's) epithets. They are based on unexpected, often unique semantic associations:marmalade mood(A. Chekhov), cardboard love(N. Gogol), sheep love (I. Turgenev), colorful joy(V. Shukshin), moth beauty(A. Chekhov), wet-lipped wind(M. Sholokhov), tearful morning (A. Chekhov), flabby laughter (D. Mamin-Sibiryak), candy pain (Vs. Ivanov). The golden grove dissuaded / / Birch, cheerful language(S. Yesenin), etc.

Epiphora - this is the repetition of words or expressions at the end of adjacent passages (sentences).I would like to know why Ititular councilor? Why exactly titular councilor? (N. Gogol.)

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

- using unions (like, as if, exactly, as if, as if, like, than):

I am in tenderness, silently, gently

I love you like a child!

(A.S. Pushkin);

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

- using words like similar, similar: The rich are not like you and me(E. Hemingway);

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

Types of metaphor are personification and reification.

personification- this 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, looked uneasily with red eyes at the cliff that stood out for a second from the darkness.(A.S. Serafimovich).

reification- it is likening living beings to inanimate objects. For example: The front ranks lingered, the back ranks grew thicker, and the flowing human river stopped, as noisy waters stop in silence, blocked in their channel.(A.S. Serafimovich).

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

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

Epithet- this 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:

- adjective:

Cabbage blue freshness.

And red maples in the distance.

Last gentle tenderness

Silent autumn land.

(A. Zhigulin);

- noun: Clouds of heaven, eternal wanderers(M.Yu. Lermontov);

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

Hyperbola - this is a means of artistic representation, based on an excessive exaggeration of the properties of an object or phenomenon. For example: The sidewalk whirlwinds rushed the pursuers themselves so strongly that they sometimes overtook their headdresses and came to their senses only when they bumped into the feet of the bronze figure of Catherine's nobleman, who was standing in the middle of the square (And.BUT . Ilf, E.P. Petrov).

Litotes - this 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, while grandfather's eyebrows and rough mustache move angrily(A.S. Serafimovich).

Allegory- it is an allegorical expression of an abstract concept or phenomenon through a specific image. For example:

You say: windy Hebe,

Feeding Zeus' eagle

A loud-boiling goblet from the sky,

Laughing, she spilled it on the ground.

(F. I. Tyutchev)

Irony- this is an allegory expressing 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)

Oxymoron- This 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- it is the replacement of a word with an allusive descriptive expression. For example: Direct debt obligated us to enter this awesome crucible of Asia(so the author called the smoking bay of Kara-Bugaz) (K.G. Paustovsky).

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

I had everything, suddenly lost everything;

The dream has just begun… the dream is gone!

(E. Baratynsky)

Repeat- This is the repeated use of the same words and expressions. For example: My friend, my tender friend… I love… yours… yours!..(A.S. Pushkin).

The types of repetition are anaphora and epiphora.

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

You are full of an immense dream,

You are full of mysterious longing.

(E. Baratynsky)

Epiphora- this 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,

And they can't change us.

(M.Yu. Lermontov)

gradation- this is a special grouping of homogeneous members of a sentence with a gradual increase (or decrease) in semantic and emotional significance. For example:

And for him they rose again

And deity, and inspiration,

And life, and tears, and love.

(A.S. Pushkin)

Parallelism- this 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'm sad – I tolerate…

(A.S. Pushkin)

Inversion - this 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 - this 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 weeks - no one(A.S. Serafimovich).

Parceling- an artistic technique in which the sentence is divided into separate segments, graphically highlighted as independent sentences. For example: They didn't even look at the one they brought, one of the thousands who had been here. Searched. Made measurements. Recorded signs(A.S. Serafimovich).

Rhetorical question (appeal, exclamation) – this is a question (address, exclamation) that does not require an answer. Its function is to attract attention, enhance the impression. For example: What's in a name?(A.S. Pushkin)

Asyndeton- deliberate omission of unions to give speech dynamism. For example:

Lure with exquisite attire,

A play of eyes, a brilliant conversation ...

(E. Baratynsky)

polyunion- this 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- These are words of the same part of speech that are close in meaning. Synonym types:

- general language: bold - brave;

- contextual:

You will hear the judgment of a fool and the laughter of the cold crowd:

But you remain firm, calm and gloomy.

(A.S. Pushkin)

Antonyms- These are words of the same part of speech with opposite meanings. Types of antonyms:

- general language: kind angry;

- contextual:

I give you a place:

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 value ambiguous words, as well as distinguish homonyms(words of the same part of speech, coinciding in sound or spelling, but having different lexical meanings: tasty fruit is a reliable raft, marriage in work is a happy marriage).

In order to bring brightness into speech, to strengthen its emotional sounding, to give it an expressive coloring, as well as to draw the attention of readers and listeners to words, special means of language expressiveness are used. Such speech figures are very diverse.

Speech expressive means are divided into several categories: they are phonetic, lexical, and also related to syntax (syntactic), phraseological units (phraseological), tropes (speech figures with the opposite meaning). The expressive means of language are used everywhere, in various areas of human communication: from fiction to scientific journalism and simple everyday communication. Less often, such expressive turns of speech are used in the business sphere due to their inappropriateness. As you might guess, the means of expression and artistic language go hand in hand: they serve as the best auxiliary means for creating vivid literary images and conveying characters, helping the writer to better characterize the world of his work and most fully embody the intended plot.

Modern philologists do not offer us any clear qualification of the expressive means of the language into certain groups, but they can be conditionally divided into two types:

• trails;
• stylistic figures.

Tropes are turns of speech or individual words used in a non-literal sense, using a hidden meaning. Such expressive means of language are an important part of the transmission of the author's artistic intention. The tropes are represented by such separate phrases as metaphor, hyperbole, synecdoche, metonymy, litotes, etc.

Stylistic figures are expressive means used by the author of a work of art in order to convey to readers the greatest degree of feelings and characters of characters and situations. The correct use of stylistic figures allows you to better express the meaning of the text and give it the necessary coloring. Antithesis and anaphora, inversion and gradation, as well as epiphora, parallelism - these are all stylistic figures of speech.

The most commonly used expressive means of the Russian language

Earlier we talked about a wide variety of expressive lexical means of speech that help convey the desired emotional coloring. Let's see which of the means of expression are used most often both in fiction and in everyday speech.

Hyperbole is a speech turnover, which is based on the technique of exaggerating something. If the author wants to enhance the expressiveness of the transmitted figure or impress the reader (listener), he uses hyperbole in his speech.

Example: fast as lightning; I told you a hundred times!

Metaphor is one of the main figures of language expressiveness, without which a full-fledged transfer of properties from one object or living thing to others is unthinkable. Such a trope as a metaphor is somewhat reminiscent of a comparison, but the auxiliary words “as if”, “as if” and the like are not used, while the reader and listener feel their hidden presence.

Example: seething emotions; sunny smile; ice hands.

An epithet is a means of expressiveness that paints even the simplest things and situations in expressive, bright colors.

Example: ruddy dawn; playful waves; languid look.

Please note: the first adjective that comes across cannot be used as an epithet. In the event that the existing adjective defines the clear properties of an object or phenomenon, it should not be taken as an epithet ( wet asphalt, cold air, etc.)

Antithesis is a technique of expressiveness of speech, which is often used by the author to increase the degree of expression and drama of a situation or phenomenon. Also used to show a high degree of difference. Antithesis is often used by poets.

Example: « You are a prose writer - I am a poet, you are rich - I am very poor ”(A.S. Pushkin).

Comparison is one of the stylistic figures, in the name of which lies its functionality. We all know that when comparing objects or phenomena, they are directly opposed. In artistic and everyday speech, several techniques are used that help the comparison to be successfully conveyed:

• comparison with the addition of a noun ("storm haze the sky covers ... ");
• turnover with the addition of unions of comparative color (The skin of her hands was rough, like the sole of a boot);
• with the inclusion of a subordinate clause (Night fell on the city and in a matter of seconds everything was quiet, as if there was not that liveliness in the squares and streets just an hour ago).

Phraseologism is a figure of speech, one of the most popular means of expression in the Russian language. Compared to other tropes and stylistic figures, phraseological units are not compiled by the author personally, but are used in a ready-made, accepted form.

Example: like an elephant in a china shop; brew porridge; fool around.

Personification is a type of path that is used when you want to endow inanimate objects and everyday phenomena with human qualities.

Example: it's raining; nature rejoices; the fog is leaving.

In addition to those expressive means that were listed above, there are still a large number of not so often used expressive turns, but just as important for achieving the richness of speech. Among them are the following means of expression:

• irony;
• litotes;
• sarcasm;
• inversion;
• oxymoron;
• allegory;
• lexical repetition;
• metonymy;
• inversion;
• gradation;
• polyunion;
• anaphora and many other tropes and stylistic figures.

How a person has mastered the techniques of expressiveness of speech depends on his success in society, and in the case of the author of fiction, his popularity as a writer. The absence of expressive turns in everyday or artistic speech predetermines its wretchedness and the manifestation of a weak interest in it by readers or listeners.

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 orator 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 words that are opposite in meaning (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!" Griboyedov. "Mitrofanov grinned, stirred 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 some 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