means of expression artistic speech
Beneath the metaphor understand the expression used in figurative meaning and based on a certain similarity, the similarity of the compared Items of description and their relationships. For example: "Ice hands", instead of "Cold hands"; "Too many cooks will ruin the brew", instead of "Don't interfere with each other!", etc.
EPITHET. This word, translated from Greek, means "application, attached", that is, one word is attached to another.
Stately aspens. Ruddy dawn. Mighty oak. Angel light. Golden cloud.
An epithet is a trope, a figure, a figurative definition, a word or a phrase that defines a person, object, phenomenon or action from the subjective position of the author. Differs from simple definition artistic expression.
Contrasting epithets that form combinations of words opposite in meaning with definable nouns are called OXYMORONS. (“... joyful sadness, hating love.” I.B. Golub).
COMPARISON - a trope in which the characteristics of one object are given by comparing it with another object. Comparison is a trope that consists in comparing objects according to their similarity, which can be obvious or distant and unexpected. Usually, comparison is expressed using the words “as if”, “exactly”, “as if”, “like”. There may be comparisons in the form of instrumental case.
PERSONATION - a kind of metaphor, the assignment of objects inanimate nature properties of living beings. Often, personification is created by referring to natural phenomena as living and conscious beings. The transfer of human properties to animals is also called personification.
HYPERBOLE is one of means of expression speech, means "exaggeration". Hyperbole is a figure with the meaning of excessive exaggeration of what is being said.
LITOTA - translated from Greek, this word means "simplicity". If a hyperbole is an excessive exaggeration of something, then the reverse hyperbole means the same excessive understatement. Litota is a figure that consists in the excessive understatement of what is being said. (A man with a fingernail. A boy with a finger. Thumbelina. Quieter than water, lower than grass. “You have to bow your head below a thin blade of grass” (N.A. Nekrasov).
The expressive means of speech are humor, irony, sarcasm, grotesque.
HUMOR is one of the expressive means of vocabulary, humor translated from English means temper, mood. Entire works can be written in a comic, comically pathetic, allegorical manner. They show a good-natured, mocking attitude towards something. Remember the story of A.P. Chekhov "Chameleon". In this vein, many fables of I. Krylov are written.
IRONY - translated from Greek "pretense", "mockery", when one thing is affirmed in words, and in the subtext it means something completely different, the opposite of the thought expressed.
Sarcasm - translated from Greek means "I tear the meat." Sarcasm is a caustic mockery, malicious irony, caustic, caustic remarks. A comic effect is created, but at the same time, an ideological and emotional assessment is clearly felt. The fantastic is combined with the real, the ordinary with everyday life. One of the varieties of painting - cartoons can be humorous, ironic, sarcastic and grotesque.
GROTESQUE means "fancy", "intricate". This artistic technique consists in violating the proportion of the depicted objects, phenomena, events. Many of the works of M.E. Saltykov-Shchedrin are built using these expressive means of speech (“History of a City”, “Lord Golovlevs”. Fairy tales). The stories of N.N. Gogol, A.P. Chekhov are full of humor, irony, sarcasm, and grotesque. Grotesque in its content and the work of J. Swift ("Gulliver's Travels").
Remember the stories of A.P. Chekhov "Chameleon", "Thick and thin", "Man in a case". The grotesque was used by M.E. Saltykov-Shchedrin to create the image of Judas in the novel Lord Golovlevs. Sarcasm and irony in the satirical poems of V. Mayakovsky. The works of Kozma Prutkov, Zoshchenko, Vasily Shukshin are full of humor.
PUNS - figures based on the sound similarity of words or combinations of words that are completely different in meaning. In puns, a play on words based on ambiguity and homonymy. Jokes are made from puns. Puns can be found in the work of V. Mayakovsky, in his satirical poems, in Kozma Prutkov, Omar Khayyam, A.P. Chekhov.
SOUND SIGNATURE: ASSONANCE, ALLITERATION, IMPETITION
Using specific sounds in a specific order like artistic technique expressiveness of speech to create an image is called sound recording.
SOUND-writing is an artistic technique that consists in the selection of words that imitate the sounds of the real world in the text.
ASSONANCE - french word meaning consonance. This is the repetition of the same or similar vowel sounds in the text to create a sound image. Assonance contributes to the expressiveness of speech. Assonance is used by poets in rhyme, in the rhythm of poems.
For example, “Our ears are on top, A little morning lit up the guns And forests are blue tops - The French are right there. » (M. Yu. Lermontov)
alliteration - word Greek origin from the noun letter. Repetition in artistic text consonants to create a sound image, enhance the expressiveness of poetic speech.
For example: The hiss of frothy glasses And the blue flame of punch. A. S. Pushkin
In other cases figurative symbolism sound writing is more abstract. So, only imagination will help us to feel in the alliterations on f - z the chilling chill of metal in an excerpt from N. Zabolotsky's poem "The Cranes" And the leader in a metal shirt Dipped slowly to the bottom, And the dawn above him formed a spot of golden glow.
Sound imitation - the transmission of auditory impressions in words reminiscent of the sound of the phenomena of the world around us.
In the work of any author, expressive means play huge role. And to create a good solid detective, with its forcing atmosphere, mysterious murders and even more mysterious and vivid characters, they are simply necessary. Expressive means serve to enhance the expressiveness of statements, to give "voluminousness" to the characters and sharpness of the dialogues. Using expressive means, the writer has the opportunity to more fully and beautifully express his thoughts, to fully bring the reader up to date.
Expressive means are divided into:
Lexical (archaisms, barbarisms, terms)
Stylistic (metaphor, personification, metonymy, hyperbole, paraphrase)
Phonetic (using the sound texture of speech)
Graphic (graphon)
Stylistic expressive means are a way of giving emotionality and expressiveness to speech.
Syntactic means of expression are the use syntactic constructions for stylistic purposes, for the semantic highlighting (underlining) of any words or sentences, giving them the desired color and meaning.
Lexical means of expression are special usage words (often in their figurative meaning) in figures of speech.
Phonetic expressive means is the use of the sound texture of speech in order to increase expressiveness.
Graphic - show deviations from the norms of speech.
Lexical expressive means.
Archaisms.
Archaisms are words and expressions that have gone out of everyday use and are felt as outdated, reminiscent of a bygone era. From Big Soviet Encyclopedia: “Archaism is a word or expression that has become obsolete and has ceased to be used in ordinary speech. Most often used in literature as a stylistic device to give solemnity to speech and to create realistic coloring when depicting antiquity. Whilome - formerly, to trow - to think - this is obsolete words, which have analogues in modern English language. There are also words that have no analogue, for example: gorget, mace. You can also give an example from John Galsworthy's book:
“How thou art sentimental, maman!”.
Foreign words (Foreign words).
Foreign words in stylistics are words and phrases borrowed from foreign language and not subjected to grammatical and phonetic transformations in the borrowing language.
Terms (Terms) - words and phrases denoting scientific concepts, which reflect the properties and characteristics of the object. Here is an example from Theodore Dreiser's The Financier:
“There was a long conversation - a long wait. His father came back to say I was doubtful whether they could make the loan. Eight per cent, then being secured for money, was a small rate of interest; considering its need. For ten per cent Kugel might make a call-loan."
Stylistic means of expression.
Periphrase (Periphrasis) is the use of a proper name as a common noun, or, conversely, the use of a descriptive phrase instead of a proper name. For example, instead of the word "readers" A.S. Pushkin in his poem "Ruslan and Lyudmila" says "Friends of Lyudmila and Ruslan!". "He is Napoleon of crime" (Conan Dole).
Epithet (Epithet) - a figurative definition of an object, usually characterized by an adjective. Examples are good, bed, cold, hot, green, yellow, big, small, etc.
Hyperbole is the use of a word or expression that exaggerates actual degree quality, intensity of the feature or the scale of the subject of speech. Hyperbole deliberately distorts reality, enhancing the emotionality of speech. Hyperbole is one of the oldest expressive means, and it is widely used in folklore and epic poetry all times and peoples. Hyperbole has become so firmly established in our lives that we often do not perceive it as hyperbole. For example, hyperbole includes such ordinary expressions as: a thousand apologies, a million kisses, I haven't seen you for ages, I beg a thousand pardons. "He heard nothing. He was more remote them the stars” (S. Chaplin).
Metaphor (Metaphor) - a type of trope (trope - a poetic turn, the use of a word in a figurative sense, a departure from literal speech), a figurative meaning of a word based on likening one object or phenomenon to another by similarity or contrast. Like hyperbole, metaphor is one of the oldest expressive means, and this can be exemplified by ancient Greek mythology, where the sphinx is a cross between a man and a lion, and a centaur is a cross between a man and a horse.
"Love is a star to every wandering bark" (from Shakespeare's sonnet). We see that the reader is given the opportunity to compare such concepts as "star" and "love".
In Russian, we can find such examples of metaphor as "iron will", "bitterness of separation", "warmth of the soul" and so on. Unlike simple comparison, in the metaphor there are no words "as", "as if", "as if".
Metonymy (Metonymy) - establishing a connection between phenomena or objects by contiguity, transferring the properties of an object to the object itself, with the help of which these properties are discovered. In metonymy, the effect can be replaced by the cause, the content by the capacity, the material from which the thing is made can replace the designation of the thing itself. The difference between metonymy and metaphor is that metonymy deals only with those connections and combinations that exist in nature. So, in Pushkin, the "hiss of foamy glasses" replaces the foaming wine itself, poured into glasses. At A.S. Griboedov, Famusov recalls: "Not on silver, on gold." In English, there are such examples of metonymy as:
She has a quick pen. Or:
"The stars and stripes invaded Iraq". In the first case, in the example of metonymy, the characteristic is transferred from the girl herself to her writing pen, and in the second, the color and pattern of the flag replaces the name of the country.
Gradation (Climax) - stylistic figure, in which definitions are grouped according to the increase or decrease in their emotional and semantic significance. This is a gradual strengthening or weakening of the images used to build up the effect. Example:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees. (S.A. Yesenin).
In English, you can find such examples of gradation:
"Little by little, bit by bit, day by day, he stayed of her." Or a sequential enumeration of signs in ascending order: clever, talented, genius.
Oxymoron (Oxymoron) - special kind antitheses (oppositions), based on the combination of contrasting values. An oxymoron is a direct correlation and combination of contrasting, seemingly incompatible signs and phenomena. An oxymoron is often used to achieve the desired effect when describing a person's character, indicating a certain inconsistency of human nature. So, with the help of the oxymoron “splendor of shamelessness”, a capacious characterization of a woman of easy virtue in W. Faulkner’s novel “The City” is achieved. The oxymoron is also widely used in the titles of works ("Young lady-peasant", "Living corpse", etc.). Among English authors The oxymoron is widely used by William Shakespeare in his tragedy Romeo and Juliet:
Oh brawling love! O loving hate!
Oh anything! of nothing first create.
O heavy lightness! serious vanity!
(1 act, scene 1).
Comparisons (Simile) is a rhetorical figure close to metaphor, revealing common feature when comparing two objects or phenomena. Comparison differs from metaphor in that it contains the words "like", "as if", "as if". Comparison is widely used both in literature and in everyday speech. For example, everyone knows such expressions as: “plow like an ox”, “hungry like a wolf”, “stupid as a cork”, etc. We can observe examples of comparisons in A.S. Pushkin in the poem "Anchar":
Anchar, like a formidable sentry,
Worth - alone in the entire universe.
In English, there are such comparisons as: fresh as rose, fat as a pig, to fit like a glove. An example of a comparison can be found in Ray's story Bradbury "A sound of thunder" ("And thunder struck"):
"Like a stone idol, like a mountain avalanche, Tyrannosaurus fell"
Personification is the endowment of objects and phenomena of inanimate nature with the features of living beings. Personification helps the writer to more accurately convey his feelings and impressions of the surrounding nature.
How soon hath Time, the subtle thief of youth,
Stoln of wing my three and twen teeth year! ( classical poetry 17-18 centuries)
Antithesis (Antithesis) - artistic opposition. This is a method of enhancing expressiveness, a way of conveying life's contradictions. According to the writers, the antithesis is especially expressive when it is made up of metaphors. For example, in G.R. Derzhavin’s poem “God”: “I am a king - I am a slave, I am a worm - I am a god!” Or A.S. Pushkin:
They agreed. Water and stone
Poetry and prose, ice and fire
Not so different among themselves ... ("Eugene Onegin")
Also, many artistic oppositions are contained in proverbs and sayings. Here is an example of a common English saying:
"To err is human and to forget is divine." Or like this a prime example antitheses:
"The music professor"s lessons were light, but his fees were high".
Also, stylistic expressive means include the use of slang and neologisms (words formed by the author himself). Slang can be used both to create an appropriate flavor, and to enhance the expressiveness of speech. The authors resort to neologisms, as a rule, when they cannot get by with the traditional set of words. For example, with the help of the neologism "loud-boiling cup" F.I. Tyutchev creates a bright poetic image in the poem "Spring Storm". Examples from English are the words headful - a head full of ideas; handful - a handful.
Anaphora - unity of command. This is a technique that consists in the fact that different lines, stanzas, sentences begin with the same word.
"Not a little thing like that! Not a butterfly! cry Eckels".
Epiphora is the opposite of anaphora. Epiphora is the repetition at the end of a segment of the text of the same word or phrase, a single ending of phrases or sentences.
I woke up alone, I walked alone and returned home alone.
Syntactic expressive means.
Syntactic expressive means include, first of all, the author's arrangement of signs, designed to highlight any words and phrases, as well as to give them the desired color. Syntactic means include inversion (inversion) - wrong order words ( you know him?), unfinished sentences(I don "t know ...), italics individual words or phrases.
phonetic means of expression.
Phonetic expressive means include onomitopia (Onomethopea) - the use by the author of words whose sound texture resembles any sounds. In Russian, you can find many examples of onomitopy, for example, the use of the words rustles, whispers, crunches, meows, crows, and so on. In English, words such as moan, scrabble, bubbles, crack, scream belong to onomitopy. Onomitopia is used to convey sounds, manners of speech, partly the voice of the hero.
Graphic expressive means.
Graphon (Graphon) - non-standard spelling of words, emphasizing the features of the character's speech. An example of a graphon is an excerpt from Ray Bradbury's story "The sound of thunder":
“His mouth trembled, asking: “Who-who won the presidential election yesterday?”.
The use of expressive means by the author makes his speech more saturated, expressive, emotional, vivid, individualizes his style and helps the reader to feel the author's position in relation to the characters, moral standards, historical figures and era.
Means of expressiveness give brightness to speech, enhance its emotional impact, attract the attention of the reader and listener to the statement. Facilities speech expressiveness are diverse.
Phonetic (sound), lexical (associated with a word-lexeme), syntactic (associated with a phrase and a sentence), phraseological (phraseological units), tropes (figurative figures of speech) pictorial means are distinguished. They are used in different areas communication: artistic, journalistic, colloquial and even scientific speech. The poorest of them officially
business style of speech.
A special role is played by means of expressiveness in artistic speech. Facilities
the reader to enter the world artwork reveal the author's intent.
Vocabulary- minimum
Lexical facilities expressiveness
SYNÓ NIMS- words that are close in meaning, but are not the same root, for example: enemy,
enemy, adversary. S. help to express the idea most accurately, allow
detail the description of phenomena or objects. The most important stylistic function
S. is a substitution function when it is necessary to avoid the repetition of words. S row,
arranged so that each next enhances the previous one, creates a gradation (see): “I was in a hurry, flew, trembled ...” (A.S. Griboedov). S. are used in artistic
text (along with antonyms (see), homonyms (see) and paronyms (see)) as a means of thin .. express:
I'm talking to a friend of my youthful days;
In your features I look for other features;
In the mouth of the living, the mouth has long been mute,
In the eyes of the fire of extinguished eyes.
ANTONYMS- words that are opposite in meaning, helping to better convey, depict contradictions, contrast phenomena: “only a shine is whiter, a shadow is blacker”; “they came together: wave and stone / / poetry and prose,
ice and fire... A. may be present in the titles: “War and Peace” by L.N. Tolstoy,
"Fathers and Sons" by I.S. Turgenev. A. are used in a literary text (along with
synonyms (see), homonyms (see) and paronyms (see)) as a lexical means
artistic expressiveness, For example:
You are rich, I am very poor
You are a prose writer, I am a poet,
You are blush, like a poppy color,
I, like death, and thin and pale. A.S. Pushkin
HOMONYMS- words that have the same sound and spelling but different meanings: marriage
(matrimony) - marriage (poor-quality products). In addition to O. proper, they distinguish
homophones (words that sound the same but are spelled differently) and homographs
(words that only match in writing). O. are used in artistic
text (along with synonyms (see), antonyms (see) and paronyms (see)) as
lexical means of artistic expression or language game:
You fed the white swans
Throwing back the weight of black braids...
I swam nearby; the helms came together;
The sunset beam was strangely oblique. (V.Ya. Bryusov)
OCCASIONALISMS- a kind of neologisms (see): individual author's words created
poet or writer in accordance with the laws of word formation of the language, according to
models that exist in it and are used in a literary text
as a lexical means of artistic expression (“... hammered,
sickle soviet passport”,“ I don’t give a damn about the many-way bronzes ... ”V.
Mayakovsky) or the language game:
smart teacher,
bent over the table
squinting, bespectacled,
vicious pest.
A. Levin ("The Gray Teacher", 1983-95)
PARONYMS- cognate words that are similar (but not the same) in sound, but differ in individual morphemes (prefixes or suffixes) and do not match in meaning: dress -
put on, signature - painting, spectacular - effective. Items are used in
literary text (along with synonyms (see), homonyms (see) and antonyms (see))
Dark glory bunt,
not empty and not hateful,
but tired and cold
Vocabulary limited scope use
DIALECTISMS- words and expressions used folk speech, local
I speak (chereviki - shoes, base - yard, biryuk - a lonely and gloomy person). D.
are used in a literary text, like other vocabulary that has a limited
scope of use (colloquial elements (see), professionalisms (see), jargon
(see)) as a means of artistic expression (for example, as one of
ways speech characteristics character).
ARCHAISMS- obsolete words and expressions,
used, as a rule, in a "high poetic" style and giving
solemnity of artistic speech “Fade away, like a beacon, wondrous genius” (M.Yu.
Lermontov); “Show off, city of Petrov, and stand steadfastly, like Russia ...” (A.S. Pushkin).
However, A. can also introduce an ironic connotation into the text: “I'm in the village again. I go to
hunting, // I write my verses - life is easy ... ”(N.A. Nekrasov); “Once upon a time there was a Beast...//
Ran to the amusement, // Gatherings and gatherings. // Loved the spectacle, // In particular -
disgrace ... "(B. Zakhoder
JARGON(from French jargon) - emotionally and expressively colored speech,
different from the common one; deviant conditional language any
social group, containing many words and expressions that are not included in the colloquial
language. Varieties of Zh .: high-society or salon, student, army, thieves, sports, youth, family, etc.
to rat - to steal, goof - razin, an ingenuous person, and also - a businessman, a merchant;
PROFESSIONALISMS- words and expressions characteristic of people's speech
various professions and service various areas professional
activities, but not in common use. P., unlike the terms,
are considered "semi-official" words (lexemes) that do not have a strict
scientific nature, for example: organic - organic chemistry, steering wheel - steering wheel
car. AT fiction P., like other vocabulary that has
limited scope of use (colloquial elements, dialectisms,
jargon), are used as one of the ways to characterize
character, for example: “We are not talking about storms, but about storms” (V. Vysotsky).
NEOLOGISM- a newly formed or innovatively introduced into the language) word or expression that reflects the emergence in people's lives of new concepts, phenomena, objects. N. are formed as on the basis
existing forms, in accordance with the laws of language ("There will be a storm - we will bet
// And we will take courage with her” (N.M. Yazykov); “Oh, laugh, laughers” (V.
Khlebnikov).
Phraseological style
PHRASEOLOGICAL UNITS- phrases (expressions) that are stable in composition, the meaning of which is fundamentally
cannot be deduced from the meanings of their constituent words, for example: take water in your mouth -
be silent, the fifth wheel in the cart is superfluous, press all the pedals - apply everything
efforts to achieve a goal or perform some business, etc. For F.
characteristic: constant composition (instead of a cat crying, you can’t say a dog
cried), the inadmissibility of including new words in their structure (one cannot say
instead of seven Fridays this week - seven Fridays this week), sustainability
grammatical structure (it is impossible to say sewed with white threads instead of sewn with white threads)
thread), in most cases a strictly fixed word order (it is impossible instead of a beaten unbeaten lucky unbeaten beaten luck). By origin distinguish F.,
borrowed from Old Church Slavonic and, as a rule, going back to the Bible
(voice in the wilderness, Babel etc.), which came from
ancient mythology (Achilles' heel, Gordian knot, etc.), primordially Russian (in full
Ivanovskaya, pull the gimp, etc.), tracing paper, that is, expressions, literally
translated from source language
Phonetic means of expression
ALLITERATION- one of the types of sound writing (cm): repetition in poetic speech (less often in prose) of the same
consonant sounds in order to enhance its expressiveness.
The hiss of foamy glasses
And punch flame blue.
ASSONANCE(from French assonance - consonance) - 1. One of the types of sound writing (see):
repeated repetition in a poem (less often in prose) of the same vowel sounds,
enhancing the expressiveness of artistic speech.
Do I wander along the noisy streets
I enter a crowded temple,
Am I sitting among the foolish youths,
I surrender to my dreams.
ONOMATOPOEIA- one of the types of sound recording (see): use
phonetic combinations that can convey the sound of the described phenomena (“echo
laughter", "the clatter of hooves").
Trails (words and phrases in a figurative sense)
METAPHOR(from the Greek. metaphora - transfer) - a kind of trail: figurative knowledge of the word,
based on likening one object or phenomenon to another; hidden comparison,
built on the similarity or contrast of phenomena, in which the words "as", "as if",
"as if" are absent, but implied. M.'s varieties are
personification (see) and reification (see).
Nineteenth century, iron,
Truly a cruel age!
You in the darkness of the night, starless
Careless abandoned man!
METONYMY(from the Greek metonymia - renaming) - type of trail: rapprochement,
concept matching based on substitution direct name subject to others
adjacency principle (containing - content, thing - material, author - its
work, etc.), for example: “The bows sang frenziedly ...” (A. Blok) - “they sang
bows” - the violinists played their instruments; "You led swords to a plentiful feast ..."
(A.S. Pushkin) - "swords" - warriors. “Porcelain and bronze on the table, // And, pampered feelings
joy, // Perfume in cut crystal...” (A.S. Pushkin) - “porcelain and bronze”, “in crystal”
Products from bronze, porcelain and crystal; “The theater is already full, // The boxes are shining, // The parterre and
armchairs - everything is in full swing ... "(A.S. Pushkin) - "boxes shine" - women's shine (shine)
decorations on the ladies sitting in the boxes, “parterre and armchairs” - the audience in the stalls
(space behind the seats) and seats (seats in front of the auditorium) of the theater.
reification- type of trail: likening an object. For example: "Nails b
make these people: Stronger if there were no nails in the world ”(N.S. Tikhonov). Variety
metaphors (see).
OXYMORON (OXYMORON)- type of trope: a phrase made up of words that are opposite in meaning, based on the paradox: “Look, it’s fun for her to be sad, // Such an elegant
naked” (A. Akhmatova); “Woman, take heart, nothing, // This is life, it happened
after all, it’s even worse ... ”(V. Vishnevsky). O. allows you to give more expressiveness to the image: bitter joy, sweet tears, “The Living Corpse” (L.N. Tolstoy)
PERSONALIZATION- type of trail: image of inanimate objects,
in which they are endowed with the properties of living beings (the gift of speech, the ability to think, feel, experience, act), they become like a living being. For example:
What are you howling about, night wind?
What are you complaining about so much?
PERIPHRASE- type of trope: a descriptive turn of speech used instead of a word or phrase.
In P., the name of an object or phenomenon is replaced for greater expressiveness
indicating his most characteristics: "Northern Venice" (St.
Petersburg), "king of beasts" (lion). P. are figurative (wearing a metaphorical
character) and non-figurative (preserving the direct meaning of the words that form them,
for example: "city on the Neva" - Petersburg). Only figurative
P. In figurative P., some key feature stands out, and all the others, as it were
depicted objects and phenomena that are especially important for him in
artistic attitude. Unimaginative P. only rename objects,
qualities, actions and perform not so much an aesthetic as a semantic function: they help the author to more accurately express a thought, emphasize certain qualities of the described object or phenomenon, avoid repetition of words (for example, instead of A.S. Pushkin - “the author of“ Eugene Onegin ”“, "great Russian poet"). In the poem "The Death of a Poet" M.Yu. Lermontov the same A.S. Pushkin is called a "slave of honor", "a wondrous genius", and in a well-known obituary - "the sun of Russian poetry" - these are figurative P., tropes. P. - one of the leading tropes in the symbolist poetry of the early twentieth century.
SYNÉ ODOHA- type of trail: a kind of metonymy (see). The trope consists in replacing the plural
number singular; the use of the name of the part instead of the whole or general, and vice versa. For example:
From here we will threaten the Swede,
Here the city will be founded
To spite the arrogant neighbor ...
EPITHET(from Greek eritheton - application) - type of trail: figurative
a definition emphasizing some property of an object or phenomenon,
with a special artistic expression. For example: iron
since they are used in a figurative sense and carry a special semantic and
expressive-emotional load, while the same adjectives,
used in direct meaning(iron bed, silver coin),
are not epithets. Distinguish E. "decorating" - denoting permanent
sign (see PERMANENT EPITHET) and E. individual, author's, important
for creating specific image in this text(for example, in a poem by M.Yu.
Lermontov's "Cliff": "golden cloud", "giant cliff", stands alone", "quietly
crying"). E. is usually expressed by an adjective, participle, adverb, or
noun as an application.
HYPERBOLA- type of trope: excessive exaggeration of feelings, meaning, size, beauty, etc.
the same extraction of radium.
In a gram booty,
labor per year.
harassing
for one word
Thousand tons
verbal ore.
LITOTES(from the Greek litotes - simplicity, smallness, moderation) - a kind of trail,
opposite of hyperbole (see): artistic understatement of magnitude, strength,
the meaning of a phenomenon or object (“a boy with a finger”, “a man with a fingernail”). For example:
the same extraction of radium.
In a gram booty,
labor per year.
harassing
for one word
Thousand tons
verbal ore.
V. Mayakovsky
IRONY(from the Greek. eir?neia - pretense, mockery) - 1. Kind of comic:
subtle, hidden sneer. The comic effect is achieved by the fact that
says exactly the opposite of what is meant:
He [Onegin] sat down with a laudable purpose
Assign someone else's mind to yourself;
He set up a shelf with a detachment of books ... A.S. Pushkin
Syntactic figurative means (figures of speech )
PARALLELISM(from the Greek parall?los - walking beside) - 1. Identical or
a similar arrangement of speech elements in adjacent parts of the text, which, when correlated, create a single poetic image:
Waves crash in the blue sea.
AT blue sky the stars are shining.
A.S. Pushkin
ANAPHORA(from the Greek anaphora - bringing up) - a stylistic figure:
monotony, repetition of a word or group of words at the beginning poetic lines or
prose phrases; one of the varieties of parallel syntactic constructions
I love you, Peter's creation,
I love your strict slim look. A.S. Pushkin
EPIPHORA(from the Greek epophora - additive) - a stylistic figure: the repetition of a word or group of words at the end of lines of poetry or prose
phrases; one of the varieties of parallel syntactic constructions (cf.
PARALLELISM).
I won't deceive myself
Concern lay in the misty heart.
Why did I become known as a charlatan,
Why am I known as a brawler?
……………………………………….
And now I won't get sick.
The slough in the heart cleared up like a mist.
That's why I was known as a charlatan,
That's why I was known as a brawler. (Yesenin)
GRADATION(from lat. gradatio - gradual elevation) - stylistic device: such an arrangement of words (phrases, parts of a complex sentence), in which each subsequent one strengthens (or weakens) the meaning of the previous one, which allows you to recreate events, actions, thoughts and feelings in
process, in development - from small to large (direct G.) or from large to small (reverse G.). Thanks to G., there is an increase in intonation and the emotionality of speech increases:
Thank you with heart and hand
Because you me - not knowing yourself! -
So love: for my peace of the night,
For the rarity of meetings at sunset,
For our non-walking under the moon,
For the sun is not over our heads ... (Tsvetaeva)
PARCELLATION(from French parcelle - particle) - intonation-
stylistic figure: syntactic emphasis separate parts or words
phrases (most often homogeneous members) or parts of a compound
(complex) sentences as independent sentences with
in order to enhance their semantic weight and emotional load in the text:
And his shadow dances in the window
Along the embankment. In the autumn night.
There. For Araks. In that country.
P. Antokolsky
“And here Latyshev, if he is a scientist, an intellectual, had to push the harpooner under the elbow and scold the captain for thoughtlessness. And guard white whale from fools, and let the handsome sail further into legends.
rhetorical exclamationÁ NIE
figure: an exclamatory sentence that enhances the emotionality of the statement:
"Troika! Three bird! (N.V. Gogol). R. v. may be accompanied by hyperbolization, for example: “Magnificent! He doesn't equal to the river in the world!" (about the Dnieper) (N.V. Gogol).
Rhetorical questionÓ With(from Greek rhetor - speaker) - stylistic
figure: an interrogative sentence containing an affirmation (or negation),
formatted as a question that does not require an answer:
Didn't you at first so viciously persecuted
His free, bold gift
And for fun inflated
Slightly lurking fire? ...
M.Yu. Lermontov
R. v. is put not in order to get an answer, but in order to draw the attention of the reader (listener) to a particular phenomenon. R. v. used in poetry and public speaking, in journalistic and scientific texts, in fiction as well as in colloquial speech.
rhetorical addressÉ NIE(from the Greek rhetor - speaker) - a stylistic figure: an underlined, but conditional appeal to someone (something). In form, being an appeal, R. o. serves not so much to name the addressee of the speech, but to express the attitude towards this or that object or phenomenon: to give it an emotional assessment, to give speech necessary for the author intonation
(solemnity, cordiality, irony, etc.).
Flowers, love, village, idleness,
Fields! I am devoted to you in soul. (A.S. Pushkin)
INVERSION(from lat. inversio - rearrangement) - stylistic figure: violation
generally accepted in given language word order. Rearranging words or parts of a phrase
gives speech a special expressiveness, for example:
He ascended higher as the head of the rebellious
Pillar of Alexandria... A.S. Pushkin
ASYNDETON- stylistic figure: such a construction of speech in which conjunctions connecting words are omitted. Gives the statement swiftness, dynamism, helps to convey a quick change of pictures, impressions, actions.
Flickering past the booth, women,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.
A.S. Pushkin
POLYUNION- stylistic figure: intentional repetition of unions,
which is used for intonational and logical underlining
And flowers, and bumblebees, and grass, and ears of corn,
And azure, and midday heat ...
Speech. Analysis of expressive means.
It is necessary to distinguish between tropes (figurative and expressive means of literature) based on the figurative meaning of words and figures of speech based on the syntactic structure of the sentence.
Lexical means.
Usually in the review of task B8, an example lexical means is given in brackets either as a single word or as a phrase in which one of the words is in italics.
| synonyms(contextual, linguistic) - words that are close in meaning | soon - soon - one of these days - not today or tomorrow, in the near future |
| antonyms(contextual, linguistic) - words that are opposite in meaning | they never said to each other you, but always you. |
| phraseological units- stable combinations of words close in lexical meaning one word | at the edge of the world (= “far away”), missing teeth (= “frozen”) |
| archaisms- obsolete words | squad, province, eyes |
| dialectism- Vocabulary common in a certain area | chicken, goof |
| book, colloquial vocabulary |
daring, associate;
corrosion, management; squander money, outback |
Trails.
In the review, examples of tropes are indicated in brackets, as a phrase.
Types of trails and examples for them in the table:
| metaphor- transferring the meaning of a word by similarity | dead silence |
| personification- likening an object or phenomenon to a living being | dissuadedgolden grove |
| comparison- comparison of one object or phenomenon with another (expressed through unions as, as if, as if, comparative degree adjective) | bright as the sun |
| metonymy- replacement of the direct name with another by adjacency (i.e. based on real connections) | The hiss of foamy glasses (instead of: foamy wine in glasses) |
| synecdoche- the use of the name of the part instead of the whole and vice versa | a lonely sail turns white (instead of: a boat, a ship) |
| paraphrase– replacing a word or group of words to avoid repetition | author of "Woe from Wit" (instead of A.S. Griboyedov) |
| epithet- the use of definitions that give the expression imagery and emotionality | Where are you going, proud horse? |
| allegory- expression of abstract concepts in specific artistic images | scales - justice, cross - faith, heart - love |
| hyperbola- exaggeration of the size, strength, beauty of the described | in a hundred and forty suns the sunset burned |
| litotes- underestimation of the size, strength, beauty of the described | your spitz, lovely spitz, no more than a thimble |
| irony- the use of a word or expression in the reverse sense of the literal, with the aim of ridicule | Where, smart, are you wandering, head? |
Figures of speech, sentence structure.
In task B8, the figure of speech is indicated by the number of the sentence given in brackets.
| epiphora- repetition of words at the end of sentences or lines following one another | I would like to know. Why am I titular councilor? Why exactly titular councilor? |
| gradation- construction of homogeneous members of the sentence by increasing meaning or vice versa | came, saw, conquered |
| anaphora- repetition of words at the beginning of sentences or lines following one another | Ironthe truth is alive with envy,
Ironpestle, and iron ovary. |
| pun- play on words | It was raining and two students. |
| rhetorical exclamation (question, appeal) - exclamatory, interrogative sentence or an offer with an appeal that does not require a response from the addressee | Why are you standing, swaying, thin mountain ash?
Long live the sun, long live the darkness! |
| syntactic parallelism- the same construction of sentences | young everywhere we have a road,
old people everywhere we honor |
| polyunion- repetition of an excess union | And a sling, and an arrow, and a crafty dagger
Years spare the winner ... |
| asyndeton– construction complex sentences or a number of homogeneous members without unions | Flickering past the booth, women,
Boys, benches, lanterns ... |
| ellipsis- omission of implied word | I'm behind a candle - a candle in the stove |
| inversion- indirect word order | Our amazing people. |
| antithesis- opposition (often expressed through the unions A, BUT, HOWEVER or antonyms | Where the table was food, there is a coffin |
| oxymoron- a combination of two contradictory concepts | living corpse, ice fire |
| citation- transmission in the text of other people's thoughts, statements indicating the author of these words. | As it is said in the poem by N. Nekrasov: “You have to bow your head below the thin bylinochka ...” |
| questionable-reciprocal the form statements- the text is presented in the form rhetorical questions and answers to them | And again a metaphor: "Live under minute houses ...". What do they mean? Nothing lasts forever, everything is subject to decay and destruction |
| ranks homogeneous members of the proposal- enumeration of homogeneous concepts | He was waiting for a long, serious illness, leaving the sport. |
| parceling- a sentence that is divided into intonation-semantic speech units. | I saw the sun. Above your head. |
Remember!
When completing task B8, you should remember that you fill in the gaps in the review, i.e. restore the text, and with it the semantic and grammatical connection. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates that agree with omissions, etc.
It will facilitate the task and the division of the list of terms into two groups: the first includes terms based on changes in the meaning of the word, the second - the structure of the sentence.
Parsing the task.
(1) The Earth is a cosmic body, and we are astronauts making a very long flight around the Sun, together with the Sun along infinite universe. (2) The life support system on our beautiful ship is so ingenious that it is constantly self-renewing and thus keeps billions of passengers traveling for millions of years.
(3) It is difficult to imagine astronauts flying on a ship through space deliberately destroying a complex and delicate life support system designed for a long flight. (4) But gradually, consistently, with amazing irresponsibility, we are putting this life support system out of action, poisoning rivers, cutting down forests, spoiling the oceans. (5) If on a small spaceship astronauts will fussily cut the wires, unscrew the screws, drill holes in the skin, then this will have to be qualified as suicide. (6) But the fundamental difference small ship with a big no. (7) It's only a matter of size and time.
(8) Humanity, in my opinion, is a kind of disease of the planet. (9) Wound up, multiply, swarm microscopic, on a planetary, and even more so on a universal, scale of being. (10) They accumulate in one place, and immediately deep ulcers and various growths appear on the body of the earth. (11) One has only to introduce a drop of harmful (from the point of view of the earth and nature) culture into the green coat of the Forest (a team of lumberjacks, one barracks, two tractors) - and now a characteristic, symptomatic painful spot spreads from this place. (12) They scurry, multiply, do their work, eating away the bowels, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous administrations.
(13) Unfortunately, as vulnerable as the biosphere, just as defenseless against the pressure of the so-called technical progress there are such concepts as silence, the possibility of solitude and intimate communication of man with nature, with the beauty of our land. (14) On the one hand, a man twitched by an inhuman rhythm modern life, crowding, a huge flow of artificial information, weaned from spiritual communication with the outside world, on the other hand, this external world brought to such a state that sometimes it no longer invites a person to spiritual communion with him.
(15) It is not known how this original disease called humanity will end for the planet. (16) Will the Earth have time to develop some kind of antidote?
(According to V. Soloukhin)
“The first two sentences use a trope like _______. This image of the "cosmic body" and "cosmonauts" is the key to understanding the author's position. Discussing how humanity behaves in relation to its home, V. Soloukhin comes to the conclusion that "humanity is a disease of the planet." ______ (“they scurry, multiply, do their job, eating away the bowels, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous administrations”) convey the negative deeds of man. The use of _________ in the text (sentences 8, 13, 14) emphasizes that everything said by the author is far from being indifferent. Used in the 15th sentence ________ "original" gives the argument a sad ending, which ends with a question.
List of terms:
- epithet
- litotes
- introductory words and insert structures
- irony
- extended metaphor
- parceling
- question-answer form of presentation
- dialectism
- homogeneous members suggestions
We divide the list of terms into two groups: the first - epithet, litote, irony, extended metaphor, dialectism; the second - introductory words and plug-in constructions, parcelling, question-answer form of presentation, homogeneous members of the sentence.
It is better to start the task with passes that do not cause difficulties. For example, gap number 2. Since the whole sentence is presented as an example, it is most likely that some syntactical device. In a sentence “they scurry, multiply, do their job, eating away the bowels, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous administrations” rows of homogeneous members of the sentence are used : Verbs scurry, multiply, do business, gerunds eating away, exhausting, poisoning and nouns rivers, oceans, atmosphere. At the same time, the verb "transfer" in the review indicates that the place of the gap should be the word in plural. In the list in the plural there are introductory words and plug-in constructions and homogeneous member sentences. Careful reading sentences shows that the introductory words, i.e. those constructions that are not thematically related to the text and can be removed from the text without losing their meaning are absent. Thus, at the place of pass No. 2, it is necessary to insert option 9) homogeneous members of the sentence.
In pass number 3, the numbers of sentences are indicated, which means that the term again refers to the structure of sentences. Parceling can be immediately “discarded”, since the authors must indicate two or three consecutive sentences. The question-answer form is also an incorrect option, since sentences 8, 13, 14 do not contain a question. There are introductory words and plug-in constructions. We find them in sentences: in my opinion, unfortunately, on the one hand, on the other hand.
In place of the last gap, you must substitute the term male, since the adjective “used” must agree with it in the review, and it must be from the first group, since only one word is given as an example “ original". Masculine terms - epithet and dialectism. The latter is clearly not suitable, since this word is quite understandable. Turning to the text, we find what the word is combined with: "original disease". Here the adjective is clearly used in figuratively, so we have an epithet.
It remains to fill only the first gap, which is the most difficult. The review says that this is a trope, and it is used in two sentences, where the image of the earth and us, people, as an image of a cosmic body and astronauts is rethought. This is clearly not irony, since there is not a drop of mockery in the text, and not litotes, but rather, on the contrary, the author deliberately exaggerates the scale of the disaster. Thus, the only thing left possible variant- a metaphor, the transfer of properties from one object or phenomenon to another based on our associations. Expanded - because it is impossible to isolate a separate phrase from the text.
Answer: 5, 9, 3, 1.
Practice.
(1) As a child, I hated matinees, because my father came to our kindergarten. (2) He sat on a chair near the Christmas tree, chirped on his button accordion for a long time, trying to find the right melody, and our teacher strictly told him: “Valery Petrovich, higher!” (Z) All the guys looked at my father and choked with laughter. (4) He was small, plump, began to go bald early, and although he never drank, for some reason his nose always had a beet red color, like that of a clown. (5) Children, when they wanted to say about someone that he was funny and ugly, said this: “He looks like Ksyushka’s dad!”
(6) And at first in the kindergarten, and then at school, I carried the heavy cross of my father's absurdity. (7) Everything would be fine (you never know who has any fathers!), But it was not clear to me why he, an ordinary locksmith, went to our matinees with his stupid harmonica. (8) I would play at home and not dishonor myself or my daughter! (9) Often straying, he sighed thinly, like a woman, and a guilty smile appeared on his round face. (10) I was ready to sink through the ground with shame and behaved emphatically coldly, showing with my appearance that this ridiculous man with a red nose had nothing to do with me.
(11) I was in the third grade when I had a bad cold. (12) I have otitis media. (13) In pain, I screamed and pounded my head with my palms. (14) Mom called ambulance, and at night we went to the district hospital. (15) On the way we got into a terrible snowstorm, the car got stuck, and the driver shrillly, like a woman, began to shout that now we will all freeze. (16) He screamed piercingly, almost cried, and I thought that his ears also hurt. (17) The father asked how much was left to the regional center. (18) But the driver, covering his face with his hands, repeated: “What a fool I am!” (19) The father thought and quietly said to his mother: “We will need all the courage!” (20) I remembered these words for the rest of my life, although wild pain circled me like a snowflake blizzard. (21) He opened the car door and went out into the roaring night. (22) The door slammed behind him, and it seemed to me that a huge monster, with a clanging jaw, swallowed my father. (23) The car was rocked by gusts of wind, snow was falling on the frosty windows with a rustle. (24) I cried, my mother kissed me with cold lips, the young nurse looked doomed into the impenetrable darkness, and the driver shook his head in exhaustion.
(25) I don’t know how much time has passed, but suddenly the night lit up bright light headlights, and the long shadow of some giant fell on my face. (26) I closed my eyes and through my eyelashes I saw my father. (27) He took me in his arms and pressed me to him. (28) In a whisper, he told his mother that he had reached the regional center, raised everyone to their feet and returned with an all-terrain vehicle.
(29) I dozed in his arms and through my sleep I heard him coughing. (30) Then no one attached any importance to this. (31) And for a long time later he was ill with bilateral pneumonia.
(32) ... My children are perplexed why, when decorating a Christmas tree, I always cry. (ZZ) From the darkness of the past, a father comes to me, he sits under the tree and puts his head on the button accordion, as if stealthily wants to see his daughter among the dressed up crowd of children and smile at her cheerfully. (34) I look at his face shining with happiness and also want to smile at him, but instead I start to cry.
(According to N. Aksyonova)
Read a fragment of a review based on the text that you analyzed while completing tasks A29 - A31, B1 - B7.
This snippet discusses language features text. Some terms used in the review are missing. Fill in the gaps with the numbers corresponding to the number of the term from the list. If you do not know which number from the list should be in place of the gap, write the number 0.
The sequence of numbers in the order in which they are written by you in the text of the review at the place of the gaps, write down in the answer sheet No. 1 to the right of the task number B8, starting from the first cell.
“The use by the narrator to describe the blizzard of such a lexical means of expression as _____ ("terrible blizzard", "impenetrable darkness"), gives the depicted picture an expressive power, and such tropes as _____ ("pain circled me" in sentence 20) and _____ ("the driver began to scream shrillly, like a woman" in sentence 15), convey the drama of the situation described in the text . A technique such as _____ (in sentence 34) enhances the emotional impact on the reader.
