Poetic syntax. Main syntactic figures. Lexical and syntactic means of imagery (expressiveness)
Speech figures,or stylistic figures, or rhetorical figures - The syntax constructions used to enhance the expressiveness of the statement.
Speech figures - a strong and effective means of exposure to the reader or listener. The main field of their action is syntax, and the main expressive effects are achieved by special construction of proposals and texts. In artistic speech, these figures of speech are widespread as antithesis, oxumor, gradation, inversion, anaphor, epiphara, shake figure, parallelism, period, default, rhetorical question, rhetorical appeal .
Antithesis (from Greek. anti. - vs, thesa. - Provision) - resonted by individual concepts, provisions, images: Case - time, fun - hour; Soft stele, yes hard to sleep.
The antithesis is based on a pair (sometimes several pairs) of linguistic or contextual antonyms (see) placed in one syntactic structure: both parts of opposition as it were to highlight each other, which gives thoughts a special capacity and expressive power.
Oxymoron (from Greek. oxymõron. - witty stupid) - the connection of two contradicting each other in the meaning of words: live corpse (L. Tolstoy), eternal moment (A. Block), hot snow (Y. Bondarev)etc.
At the heart of Oxymoron, there is an intentional violation of the logical law of consistency, in accordance with which the judgment and its denial ( live - dead; eternal - instant; hot Cold) It cannot be simultaneously true in relation to the same object. The purpose of using Oxyumoron is to show the complexity, the inconsistency of the described Speech object.
Gradation(from lat. gradatio. - gradual change) - the location of the parts of the statement in the order of changing the degree of intensity of their expressive meaning.
The essence of gradation is that each subsequent element of speech is the word, phrase, phrase - compared with the previous one encloses increasing (ascending gradation) or decreasing (downward graduation) emotional importance, due to which the overall impression of the statement is growing: Arriving home, Laevsky and Nadezhda Fedorovna entered their dark, stuffy, boring rooms (A.hekhov).
Inversion (from lat. inversio. - permutation) - a change in the usual order of words and phrases that are part of the proposal: I have an erectional monument to yourself (A. Pushkin).
Thanks to the inversion, the word that occupies an unusual place is standing out and attracts the attention of the listener or reader.
Anaphora (from Greek. anaphora. - Taking up) - unity, repetition of individual words or revolutions at the beginning of several phrases, following one after another: I swear by the first day of creativity, I swear to his last afternoon, I swear a shame of a crime and eternal truth with a celebration (M. Lermontov).
The purpose of the anifore is to push the repeating words as the most important, in the first place, focus on the attention of the listener or reader.
Epiphora(from Greek. epiphora.of epi.- After I. choros. - carrier) - Receiving the final elements of consecutive phrases: But the king looked at everything with the eyes of Godunov, all the ears of Godunova (A. Pushkin) did not listen.
As an opposite of anphore (see), the epiphara enhances the value of the final word in the proposal.
Shake figure - Repeat at the beginning of the next phrase of the final element of the previous one: Oh, spring without end and without the edge - without the end and without the edge of the dream! (A. Block).
The shake figure is essentially a compound of epiforos (see) and anphors (cm), so sometimes it is called the Epanofau.
Parallelism - The use of two and more speech elements (paragraphs, phrases, parts of proposals), having the same or single-type syntactic structure. For example:
I'm not sorry for me, my years of spring,
Walking in the dreams of love in vain,–
I am not sorry for you, about the sacrament of nights,
Suggested by the grinding ... (A. Pushkin)
The main features of parallelism - the rhythmic-intonational organization of statements and emotional and logical allocation.
Period (from Greek. periodos. - bypass, circle, circles) -Connerable syntactic design, characterized by rhythm and orderliness of parts, as well as completeness and completeness of the content.
Typically, the period consists of two parts - ascending and descending; They are separated by culmination - the highest point marked when pronunciation of voice and a pause. The first part of the period consists of the same type syntactic units (most often these are homogeneous appendages), in which the deployed, a detailed justification of the author's thoughts is given, the second - represents the main proposal, briefly formulating this thought. For example: I was so cheerful and proud all this day, I so vividly kept the feeling of zinaidin kisses on my face, I remembered his word with such a shudder every word, I was so cherished my unexpected happiness that I was even scary, I didn't want to even see her - The culprit of these new sensations (I. Turgenev).
Default – the intentional broken statement, transmitting emotionality, the excitedness of speech and implies that the reader (listener) guesses what it remains unspoken: Not; I wanted ... perhaps you ... I thought it was a baron time to die (A. Pushkin).
A rhetorical question- Approval in the form of a question or a question addressed to an inanimate object, an animal or a missing person and therefore is not an involuntary answer: Is it fun to hear a bad opinion about yourself? (N. Gogol); Where are you jumping, proud horse? And where do you lower your hooves? (A. Pushkin).
Rhetorical appeal- Appeal to someone who cannot give an answer: to God, absent or deceased person, animal, subject: Golden pests, beloved, dear! Light memory of love in the eyes of black looked (A. Koltsov).
Pointer Termines
Allegory 28.
Alliteration 24.
Anaphor 31.
Antiteza 30.
Antonyms 21.
Argotisms 18.
Archaisms 17.
Assonance 24.
Wealth 15.
Varvarisms 19.
Language options See language existence
Expressive 15.
Hyperbole 27.
Speaking 9.
Gradation 30.
Dialect 5.
Dialectims 18.
Jargonism 18.
Borrowed vocabulary See foreign language vocabulary
Sounds 23.
Inversion 31.
Inoyasic vocabulary 19.
Internationalism 19.
Organized Russian vocabulary 18
Historisms 17.
Chancellery 23.
Cognitive language function See language functions
Communicative situation 11.
Communicative language function See language functions
Communicative qualities of speech 12
Winged words 22.
Culture Speech 8.
Cumulative language function See language functions
Vocabulary 16.
Vocabulary of limited use 17
Lexical standards See literary-language norm
Lexical level of language See word
Lexical homonyms see omonyms
Lexical meaning 19.
Literary language norm 6
Literary language 6.
Logistics 13.
Metaphor 26.
Metonimium 29.
See Polycemia
Monologue 10.
Morphem see part of the word
Morphological norms, see Literary and Language Norm
Morphological level of language See word
Scientific style 7.
Neutral vocabulary See common vocabulary
Neologisms 17.
Nominative language function See language functions
Obviously vocabulary 17.
Single angry antonyms See Antonyms
Oxymoron 30.
Protecting 26.
Omographs See Omonimi
Omonimi 21.
Momophones see Omonimi
Omoforms see Omonimi
Specographic standards See literary and language norm
Orphoepic standards See literary and language norm
Official Business Style 6
Parallelism 31.
Paronims 21.
Portable value 20.
Polylog 11.
POLIESIA 20.
Equality 13.
Proposition 5.
Professionalism 18.
Professional Language Option 5
Published style 7.
Punctational norms, see Literary and Language Norm
Conversation style 8.
Cnewing antonyms See Antonyms
Speech activities 9.
Speech ethics 12.
Speech cliché 22.
Speech communication 11.
Speech act see speech communication
Speech stamp 23.
Speech etiquette 12.
Rhetorical question 32.
Rhetorical figures See speech figures
Rhetorical circulation 33.
Semantic synonyms see synonyms
Semantico-stylistic synonyms See synonyms
Synekdha 29.
Synonymous series See synonyms
Synonyms 20.
Syntactic language Language See phrase, offer
Syntactic norms See literary-language norm
Language system 4.
Dominant word see synonyms
Word-forming norms, see Literary and Language Norm
Word-forming level see part of the word
Phrase 4.
Hearing 9.
Comparison 24.
Stylistic norms see Literary and Language Norm
Stylistic synonyms see synonyms
Stylistic figures See speech figures
Terms 18.
Accuracy 13.
Relevance 14.
Default 32.
Shake figure 31.
Speech figures 29.
FEMEM Sound
Phonetic level of language See sound
Forms of the existence of language 5
Phraseologisms 22.
Functional style 6.
Language function 3.
Art style 8.
Part of the word 4.
Purity 16.
Epiphara 31.
Language system See language system
Clarity 16.
List of used literature
1. Vvedenskaya L. A., Pavlova L. G., Kashava E. Yu. Russian language and culture of speech. P / N / D, 2003.
2. Vvedenskaya L. A., Cherkasova M. N. Russian language and culture of speech. P / N / D, 2007.
3. Grub I. B. Russian language and speech culture. M., 2004.
4. Ippolitova N. A., Knyazeva O. Yu., Savova M. R. Russian language and culture of speech. M., 2007.
5. Kasatkin L. L., Klobukov E. V., Leklane P. A. Short reference According to the modern Russian language / Ed. P. A. Redeanta. M., 1991.
6. Culture of Russian speech / Ed. L. K. Greudina, E. N. Shiryaeva. M., 2002.
7. Culture of Russian Speech: Encyclopedic Dictionary-Directory. M., 2003.
8. Matveeva T. V. Training Dictionary: Russian, speech culture, style, rhetoric. M., 2003.
9. Moskvin V. P. Expressive means of modern Russian speech: trails and figures. General and private classifications. Terminological dictionary. M., 2006.
10. Pedagogical speech: Dictionary-directory. / Ed. T. A. Ladyzhenskaya and A. K. Mikhalskaya. - M., 1998.
11. Rosenthal D. E., Goli I. B., Telenkov M. A. Modern Russian. M., 1994.
12. Rosental D. E., Telenkov M. A. Dictionary - Directory linguistic terms. - M., 1986.
13. Rudnev V. N., Egorov P. A. Russian language and culture of speech: Terminological linguistic dictionary. M., 2004.
14. Russian language and speech culture / ed. prof. V.I. Maksimova. M., 2003.
15. Russian. Encyclopedia / Ch. ed. Yu. N. Karaulov. M., 1997.
16. Skvortsov L. I. Culture of Russian Speech: Dictionary-Directory. - M., 1995.
17. Tikhonov A. N., Tikhonova E. N., Tikhonov S. A. Dictionary-Directory in Russian / Ed. A. N. Tikhonov. - M., 1999.
Training edition
Smetanina N.P.
"Russian language and culture of speech":
Literary discipline whose subject is artistic speech, referred to stylistics.
The speech of verbal-artistic works like a sponge intensively absorbs the most different forms of speech activity, both oral and written. For centuries, speric arts and principles of rhetoric actively affected the writers and poets. Rhetoric gave rich food literature. Artistic recruitment over a number of centuries (especially in high genres, what is the epic, tragedy, s) focused on the experience of public, speech speech, subject to recommendations and rules of rhetoric. And it is not by chance that the "domantic" epochs (from antiquity to classicism inclusive) are characterized as a stage of rhetorical culture. At the time of romanticism (and later), the rhetoric in its significance for literature began to cause doubt and distrust. European culture during the XVII-XIX centuries. Evolved from the installation to comply with the rules and norms - from rhetorical complication (classicism) to stylistic simplicity. And on the advanceness of verbal art, all the most persistent was put forward by the public-conversational, not dictated by the rhetoric settings.
Conversational speech is associated with communication (conversations) of people primarily in their private life. It is free from regulation and tend to change their forms depending on the situation. The conversation (conversation) as the most important form of human culture was strengthened and declared itself in antiquity. The conversation as the most important thing of communication of people and its conversational speech was widely reflected in Russian classical literature. Recall the "grief from the mind", "Eugene Onegin", verses N.A. Nekrasov, Tale and Stories N.S. Leskova, Pieces A.N. Ostrovsky and AP. Chekhov. It is significant that in the XIX-XX centuries. Literature as a whole is aware of writers and scientists as a kind of form of interviewing (conversation) by the author with the reader. The verbal fabric of literary works, as can be seen, is deeply conjugate with oral speech and it is actively stimulated. Artistic speech often implements written forms of extra homosexual speech (numerous novels and the peasant of an epistolar character, prose in the form of diaries and memoirs). In the history of world culture, a letter primary in relation to oral speech, based on the game of consciousness seeking "iconic expression". This game is referred to as an archep.
"Binding" into ourselves different forms of speech extraordinary, literature easily and willingly admits deviations from the language norm and is inhibited in the sphere of speech activities.
The composition of artistic speech
Art and speech tools are heterogeneous and multifaceted. They make up the system.
This is, first, lexico-phraseological means, i.e. selection of words and phrases having miscellaneous origin and emotional "sound": both commonly used and unknown, including neoplasms; both original domestic and foreign ones; As corresponding to the norm of the literary language and deviating from it, sometimes very radically, what are the vulgarizms and the "obscene" vocabulary. Morphological (actually grammatical) phenomenon is adjacent to vocabulary-phraseological units. Such, for example, decreasing suffixes rooted in Russian folklore.
This, secondly, speech semantics in the narrow sense of the word: portable meanings of words, allegory, trails, primarily - metaphors and metonyms, in which A.A. Perebenza saw the main, even the only source of poetry and imagery. In this side, artistic literature reaches and innocents wonderful Associationswhich is rich in the speech activities of the people and society.
In many cases (especially characteristic of poetry XX century.) The boundary between straight and portable values She is erased, and words can be said, they begin to roam around the items to freely, not denoting them indeed. In most poems Art. Mallarme, A. A. Bloka, M.I. Tsvetaeva, O.E. Mandelstama, B.L. Pasternaks prevail not ordered reflections or descriptions, and externally, a combustible self-expression - "Correv", extremely saturated with unexpected associations. These poets liberated verbal art from the norms of logically organized speech. The experience began to be embodied in words freely and relatively.
Further (thirdly, fourthly, fifth ...) Artistic speech includes layers addressed to the inner hearing of the reader. It began intonation-syntactic, phonetic, rhythmic, to which we turn.
Hearing perception of speech
Wonderful artworks are addressed to the auditory imagination of readers. It is artistically significant (especially in poetic speech) The phonetic side of the works, at the beginning of our century, the German "hearing philology" was concentrated, and after it is representatives of the Russian formal school. The sound of artistic speech is interpreted by scientists in different ways. In some cases, it is argued that the speech sounds themselves (phonemes) are carriers of a certain emotional meaning (for example, L. Sabaneev believed that "A" - the sound joyful and open, and "y" expresses anxiety and horror, etc.). In other cases, on the contrary, it is said that speech sounds themselves are emotionally and semantically neutral, and the artistic and semantic effect is created by the compound of this sound composition with the subject-logical value of the statement. B.L. Pasternak claimed: "Music of words - the phenomenon is not at all acoustic and consists not in the colawing of vowels and consonants, separately, but in the ratio of speech and its sound." Communication in the artistic word of sound and meanings (name and subject), denoted by the terms of the onomatope and sound mud, examined V.V. Waidle. The scientist argued that sound mud is born from the organic connection of the sound of words with intonation, rhythm, as well as the direct value of the statement - its "banal meaning."
In the light of such interpretation of artistic phonetics (as it is often called - euphony, or sounding) turns out to be an urgent concept of paronymia, widely used in modern philology. Paronims are words, various in value (single-corne or illegal), but close or even identical on sound (betray - sell, campaign - company). In poetry (especially our century: Khlebnikov, Tsvetaeva, Mayakovsky) they act (along with allegoryrs and comparisons) as a productive and economical fashion Emotional-semantic saturation of speech.
Phonetic repetitions are present in the verbal art of all countries and eras. A.N. Veselovsky convincingly showed that popular poetry has long been closely attentive to the consonants of words that sound parallelism is widely represented in the songs, often having a rhyme form.
Along with acoustic-phonetic, the other, closely connected with it, the intonational voice aspect of artistic speech is important. "The painter of prose or verse, who does not hear the intonation of the voice, folding to him the phrase," said A. White. The same is legitimate to say about the reader of artistic works. Intonation is a combination of expressive and significant changes in the sound of the human voice. Physical (acoustic) "media" of intonation is the timbre and the tempo of the sound of speech, the power and height of the sound. The written text (if it is subjectively painted and expressive) bears the trace of intonation, which is noticeable primarily in the syntax of statements. Loved writer Type phrase, alternation of proposals of different kind, deviations from the syntactic "stereotype" of emotional-neutral speech (inversion, repeats, rhetorical questions, exclamations, appeals) - All this creates the effect of presence in the literary and artistic text of a live voice. The work of intonation in poetic works and its types (equipped, declamative, speaking verse) is devoted to the work of B.M. Eikenbauma "Melon of Russian lyrical verse." The intonational and voice expressiveness of speech gives it a special quality - flavor of unintentionally and improvisation: there is a feeling of a momentous emergence of the statement, the illusion of his creation as it were in our presence. At the same time, the intonational and voice starts of artistic speech (as well as phonetic) inform her aesthetic character in the original and strict sense: the reader perceives the work not only by the power of imagination (fantasy), but also inner hearing.
Specificity of artistic speech
The speech of verbal-artistic works is much more than other types of statements, and, most importantly, the need for expressiveness and strict organizedness. In the best samples, it is most saturated with meaning, and therefore does not tolerate any renewal, rebuilding. In this regard, the artistic speech requires the perceived close attention Not only to the subject of the message, but also to its own forms, to its holistic tissue, to its shades and nuances. "In poetry, wrote P.O. Jacobson, - any speech element turns into a poetic speech figure. "
In many literary works (especially poems), the verbal fabric is sharply different from another statement (extremely saturated poems of Mandelstam, early Pasternak); In others, on the contrary, it does not differ from "every way", colloquial speech (a number of artistic and prosaic texts of the XIX-XX centuries). But in the creations of verbal art, invariably poured (let implicitly) expressiveness and ordering of speech; Here, its aesthetic function is put forward on the fore.
Poetry and Prose
Artistic speech is in two forms: poetic (poetry) and a nestecchative (prose).
Initially, the poetic form resolutely prevailed both in ritual and sacred and in artistic texts. The ability of the poetic (poetic) speech to live in our memory (much big) than the prose, is one of the most important and indisputable valuable properties, which led its historical primacy in the composition of artistic culture.
In the era of antiquity, verbal art did the way from mythological and coronary poetry (be it epic or tragedy) to prose, which, however, was still not actually artistic, but oratory and business (demosphen), philosophical (Plato and Aristotle), historical (Plutarch , Tacit). The artistic prose existed more than folklore (parables, fables, fairy tales) and did not put forward the estate of verbal art. She won the rights very slowly. Only in a new time, poetry and prose in the art of the words began to coexist "on equal", and the latter sometimes put forward to the fore (as follows, in particular, Russian literature of the XIX century., Starting from the 30s).
Nowadays, not only external (formal, actually speech) differences between verses and prose (consistently carried out by the rhythm of poetic speech are studied; the need for a rhythmic pause between verses constituting the main unit of rhythm - and the absence of at least the option and episodicity of all this -Products text), but also functional nurses.
The forms of poetic speech are very diverse. They are carefully studied. The poems (first of all meters and sizes) are unique in their emotional sound and semantic fullness. M.L. Gasparov, one of the most authoritative modern district, argues that the poetic dimensions are not semantically identical that a number of metric forms are inherent in a certain "semantic halo": "The less often the size, the more expressive it reminds about the precedents of its use: the semantic saturation of the Russian hekzameter or imitation saturation The epic verse is a large four-stranded yamba (most common in domestic poetry. - V.) - insignificant. In a wide range between these two extremes there are almost all sizes with their varieties. " Add to this that to some extent different "tonality" and an emotional atmosphere of three-sided sizes (the large stability and rigidity of speech flow) and doubled (due to the abundance of pyrrhicheyev - large dynamism of the rhythm and the relaxed variability of the nature of speech); Poems with the number of stop large (solemnity of sound, such as in the Pushkin "monument") and small (flavor of gaming lightness: "Play, Adel, / Do not know sorrow"). Different, further, the color of Yamba and Khorora (stop of the latter, where the rhythmically strong place is its beginning, akin to a musical clock; it is not by chance that the feather-dance private owner is always chorean), steems of silhlor-tonic (asked "evenness" of a speech rate) and actually tonic, Accent (necessary, intended alternation of speech slowers and pauses - and a kind of "patter"). Etc...
Methods for changing the basic value of the word are called paths. The trails have a property of awakening an emotional attitude to the topic, inspire those or other feelings, have a sensually evaluation meaning. The paths distinguish two main cases: metaphor and metonymy.
The versassa shape "squeezes" from words to the maximum of expressive opportunities, with a special force and attracts attention to the verbal fabric as such and the sound of the statement, giving it a limit emotional-semantic saturation.
But and also artistic prose There are one unique and indisputable values \u200b\u200bthat poetic literature has much less. When contacting prose, the author discloses the wide possibilities of a language manifold, connections in the same text of various manners to think and speak out: in prose artism (the most fully manifested in the novel) is important "Dialogical orientation of the word among other people's words", while poetry Unite, as a rule, is not inclined to more and more monologue.
Poets, therefore, inherent emphasis on verbal expression, contemptive, reticory began brightly expressed here. In prose, the verbal fabric may be as if neutral: prose writers are often important to the statement, denoting the word, uncommon and "unstable". In prose, the most fully and widely used visual and cognitive opportunities of speech, and its expressive and aesthetic starts are focused in poetry. This functional differences between poetry and prose are fixed by the initial values \u200b\u200bof these words - their etymology (Dr.-HR. The word "poetry" is formed from the verb to do, "" say ";" Prose "is a lat. Adjective" straight "," Simple ").
Antithesis (see trails) is a syntax figure, if parts of the sentence are opposed, and not individual words (antonyms) (No Parisian toilets - a harsh sweater and pulled a wide belt long gray skirt(O M. Tsvetaeva)).
Anaphora - Repeat the same words or consonant at the beginning of the poetic line or prosaic phrase, for example: Looking For futureness with fear, // Looking For the past with longing (M. Yu. Lermontov).
Asyndeton- intentional passing of writing unions to give the phrase of greater dynamics. For example: Flushed by booths, women, boys, shops, lanterns, palaces, gardens, monasteries, Bukharians, Sani, gardens, merchants, barns, men, boulevards, towers, Cossacks, pharmacies; Fashion stores, balconies, lions on the gate ...(A. S. Pushkin).
Introductory words and phrases - Word, combination of words or proposals that are not related to other words; Can express the feelings of the writing (joy, regret, surprise, etc.) in connection with the message: fortunately, to joy, unfortunately, to the horrorand etc.; Also express an assessment of the speaking degree of reality of the reported (confidence, assumption, possibility, uncertainty, etc.): of course, undoubtedly, it seems to be somewhat definitely, it would certainly seemand etc.; Specify the connection of thoughts, the sequence of presentation and the source of the reported: therefore, in particular, for example, in addition, therefore, firstand etc.; according to ..., in my opinion ..., they say, I remember, they say, they sayand etc.; To present a call to the interlocutor or reader to attract his attention to the reported, inspire a certain attitude to the outlined facts: see (Lee), understand, imagine, please let's assumeand etc.; show the degree of usual about what is said (happens, happens, as usualetc.), express the expressiveness of the statement (by justice, on conscience, funny to sayet al.) For example: "Watch your comrades during disputes, discussions, controversy - you, of course, make sure they behave differently"(L. Pavlova).
Questionaging (hypophora) - This is a segment of monologic speech, combining a rhetorical question (or a series of questions) and the answer to them; The question is meditation. The question mark is that a hundred talking, as if anticipating the objections of the listeners, guessing their possible questions, such issues formulates themselves, they are responsible for them. This reception involves the destination in the dialogue, makes the participant in the search for truth. It is used and how effective In hidden controversy. Example: Tens of thousands of soldiers disappeared without a trace, they didn't have a bar of the flesh, they really disappeared. They are impossible to bury them! And what? Do not count any war in history finished? Yes, it is not easier to assume: you did not understand what Suvorov said!
Gradation- the turnover of poetic speech, consisting of a deliberate grouping of homogeneous members of the proposal in a consistent manner of increasing or decreased semantic or emotional significance; The means that allows you to recreate events and actions, thoughts and feelings in the process, in development (from small to large - direct gradation - or from large to small - reverse gradation.), Transfer the increasing tension of the feeling, experiences. For example: "Fu you, the abyss, what a smoothie! .. Describe it is impossible: velvet! silver! the fire!"(N. V. Gogol); I called you, but you did not look back, I am a lean, but you didn't down(A. Block). Graduation can be a composite technique for building the entire text (for example, in the fairy tales "Terem-Teremok", "Kolobok", "about Dedu and Rack").
Inversion- violation of the sequence of speech, generally accepted order of words, permutation of parts of the phrase; gives the phrase a new expressive shade, special solemnity of sound and sense of offer: Heling spirit fellow songs(E. Baratsky).
Multi-allu- intentional repeat of the same alliances. For example: And the heart beats in the right, and the deity was resurrected for him, and inspiration, and life, and tears, and love(A. S. Pushkin).
Parallelism- comparison of the phenomena of nature and human life. For example: "The grave will overgrow the grave - the pain is overgrown."(M. Sholokhov).
Parcelation- Stylistic use of incomplete proposals (proposals in which there is no one or more members Forest bird has already flew away. Bolotnaya moved behind it.);facilities for a whole proposal for individual parts (Maybe our hero became a millionaire. Or by the artist. Or just funny beggar)enhances their semantic weight, gives speech special emotionality.
Subtext- unspoken right in the text, but as if flowing out of individual replicas, comments, parts, etc. The author's ratio to the outlined material. In the scientific style or in business papers, the subtext would be a disadvantage that prevents the perception of the objective content of the text, and in the artistic work or in journalism it is an integral part.
A rhetorical question- a question addressed to the reader who does not require an answer; Used to attract, strengthen reader attention; Strengthens the emotionality of statements. The same role is performed appeals, exclamation.For example: "Why do people do not fly? I say why people do not fly like birds? "(A. N. Ostrovsky "Thunderstorm"); "What is the high prose! And so many times will quote it! "(I. Andronikov). Rhetorical appealit differs from the usual appeal by calling an inanimate object to which: Greetings, deserted corner,… (A. S. Pushkin).
Syntactic conversation designs -the designs used primarily in spoken speech, which is characterized by the use of simple and incomplete offers. Constructive speech designs are compressed, tanks, concise. Style violation attracts reader's attention. Short, dismissed suggestions, the skipping of individual words give speech dynamism, ease, discrepancy, create an effect of "impromptu", unpreparedness, feeling of direct communication, dialogue. The use of questioning proposals, characteristic, for oral speech, revitalizes, facilitates the perception of the material by the reader, serves to the polematic pool of the proposed problems. For example: "Surveying - the transfer of the workshop to the property of the team. Reaction? No! The workshop and so, in fact, was owned by workers. Another option. Privatization in one hands. The main question is what? In shadow structures or one of the workers? ".
Syntactic parallelism- homogeneous syntactic construction of proposals. For example: "Your mind is deep, that the sea// Your spirit is high, that mountains."In the blue sky, the stars shine, in the blue sea waves shoulded, cloud goes across the sky, the barrel on the sea is floating" (A.S. Pushkin); Diamond is polished with diamond, // Row is dictated by a string(S. Delkov).
Default- The figure of speech, at which the statement is deliberately fails so that the reader himself thinks the missed words, and may also be a means of expressing a special emotional state. The default feature often serves a lot. For example: So he will get to you ... Ah, it's not these relatives! ..
Ellipse- Speech construction in which the word or a few words are missing, easily restored either by context, or according to a specific situation, or thanks to the communicative experience of speaking. It helps to strengthen the emotional saturation of the statement, giving him laconicism. For example: "So, however, a peasant [goes], behind him [go] two women after ..."(A. S. Pushkin).
Epiphora- stylistic figure repetition; Repetition at the end of the speech segment of the same word (lexical epiphara), shape of the word (grammatical epiphara) or synonymous word (semantic epiphara) Example: "Festoniki, all Festones: Pelleka from Festones, on Sleeves Festones, Epolets from Festoniki, At the bottom of the Festones, everywhere festers"(N. V. Gogol).
1.3 Morfemick. Word formation (Q1 Test Test EGE)
Morfemica - section of linguistics in which the language of the language of the language and the morpheme structure of words and their forms are studied. Morpheme - this is minimum significant Part of the word (root, prefix, suffix, end).
Word formation - The section of linguistics, which studies the formal-sense production of language words, means and methods of word formation.
Fine products in poetic syntax are called poetic speech figures.
Repeat - the main variety of stylistic attracting figures.
AnaFora - repeat the consonance or identical words at the beginning of the poetic line or in the nearby prosaic phrases:
No matter how the suts of the fate
No matter how tomit people are deception, no matter how firing people wrinkles ... (F. I. Tyutchev)
Epiphara - the figure opposite to Anaphore - the repetition of the word or phrase at the end of the poetic line:
Steppes and roads
No account;
Stones and thugs
Not found account ... (E. Bagritsky)
About other types of repeats (Epanalipse, Anadiplosse, Simple) you can read in special literature.
Multi-type (polysinette) - repeated union, felt as excess and used as expressive, Usually - in the anaphor's position: "And shine, and noise, and a spell of waves" (A.S. Pushkin).
Nezuzuzie (Asindandon) - Building a sentence, when co- homogeneous members Or part of a complex proposal are associated without the help of alliances:
Swede, Russian Cool, rubit, cuts.
Fight drum, clicks, grinding (A.S. Pushkin)
Parallelism - a detailed comparison of two phenomena, given in similar syntactic structures:
Day - how Grass settle down.
Night - looked with tears. (N. A. Nekrasov)
Transfer (Angebeman) is the mismatch of the semantic and rhythmic structure of the line or stanza, when the proposal does not fit into the poetic string or construction and occupies part of the following:
Over the Raven Rock -
White dawn sleeve.
Foot - already with a drift
Run - with difficulty in charge
In the ground, laughing that the first
Rose, in the dawn of the crown -
Max! I was - so right
Wait for your porch! (M. I. Tsvetaeva)
Inversion is an unusual word order in the sentence, a new expressive shade, a new phrase:
White Sail Lonely
In the fog of the sea blue ... (M. Yu. Lermontov)
"The usual" order of words in the given sentence should be like this: "The lonely sail whites in the blue fog of the sea." But then it will no longer be a poem.
Antiteza - opposition of images and concepts:
They agreed: Wave and stone,
Poems and prose, ice and flame
Not so different between themselves ... (A. S. Pushkin)
Graduation - the location of words and expressions by increasing or decreasing significance:
Neither call nor shout nor help ... (M. A. Voloshin)
All the verge of feelings, all the faces of the truth
Erased in the worlds, in years, in the clock ... (A. white)
The rhetorical question is such a question that is raised to attract attention to any phenomenon, and not to receive an answer on it:
Do you know the Ukrainian night? .. (N. V. Gogol)
Rhetorical appeal is also not used in order to get a response to it, but to pay attention to the depicted:
Tatyana! Cute Tatiana!
With you now I am tears Lew ... (A. S. Pushkin)
In addition to the trope, stylistic figures are also important means of image formation of the Russian language.
Stylistic figure (Lat. "Stlimus" - a stylus for Scripture and "FІGURA" - an image, appearance) - unusual syntactic turnover, which violate the language norms and are used to decorate speech. Stylistic figures are quite common in poetry, where they are designed not only to individualize the speech of the author, but also enrich it with emotional nuances, to make a more expressive artistic image. Therefore, stylistic figures are also called poetic speech figures. It should be strictly distinguished by stylistic figures from the paths that are not built on the syntactic principle. Among the main and most consumable stylistic figures are isolated anaphor, epiphara, ring (anepyphor), parallelism, gradation, ellipsis, inversion, chiam, anacolaf, asyndandon, polysindeston. Bogdanova L.I. Stylistics of the Russian language and culture of speech. Lexicology for speech actions. - M ..: Science, 2011. - 520 p.
Let's analyze them in more detail. Anaphora (from Greek. - Up, repetition) - a stylistic figure, which is formed by the repeat of words or phrases at the beginning of adjacent linguistic units. For example, " Klyano I am the first day of creativity, Klyano His last day. Klyano Shame of crime and eternal truth celebration ... "(M. Lermontov).
Most often, AnaFora is found in poetic texts, less often in the prose. Prosaic Anafora Ties usually the beginning of adjacent proposals, for example: " Like n. People tried, gathering in one small place..., like n. They scored the land with stones so that nothing grew on it ... "(L. Tolstoy). Very rarely anaphoric repeat associates not adjacent, and the language units divided into the text, for example, the beginning of the head of the story or novel. Prose anaphor most often strengthens and makes more emotionally expressive content of what it is described, although, can also perform a purely composite function, which is usually marked by anaphoric replay in poetic texts, where anaphor serves as an additional (along with a constant pause) of the previous line ending signal and The beginning of the next. Often, anaphoric repetition can be kept throughout the verse work (usually small in volume).
The opposite anaphore is such a stylistic figure as epiphora - repeat of individual words or phrases at the end of the adjacent linguistic units: "That shore came out guests, Tsar Saltan calls them in visit... "(A. Pushkin). Much less often occurs in prose: "I would like to know why I title Advisor? Why exactly title Advisor? " (N. Gogol). Sometimes also highlight epanafor. (jack or anadiplos) - Repeat the word or phrase at the end of the previous language unit, as well as at the beginning of the following, for example: "barrels rolled with loud potion, with a liner potion, with black powder ... "(folklore). Such a repetition is most often found in folklore, but sometimes, mainly as a composite reception, applies in prose. An interesting sample is contained in the famous novel. M. Bulgakova "Master and Margarita", the twenty-fourth chapter of which ends like this: "... And as much as you like, at least until the dawn, I could rustle letters with letters of notebooks, look at them and kiss, and reread again: - Darkness coming from the Mediterranean Sea, covered the garden hated by the procurator ... Yes, Darkness, "- and the twenty-fifth begins in words: "Darkness who came from the Mediterranean, covered the unfortunate procurator garden. Hanging bridges disappeared connecting the temple with a terrible Anthony Tower, descended from the sky abyss ... " Kruchakov L. M. Theory of literature. - M.: Science, 2012. - 360 p.
Ringor APIFOROE They call the stylistic figure of speech, which binds the repeat of individual words or phrases the beginning and the end of the adjacent linguistic units (paragraph, storage) or / and one unit (proposal or poetic string). Explaining the name of this figure, theorists of literature, in particular, they write: "Repetition initial words or phrases at the end of that very proposal, verse, stanza, or a whole play, because of which this proposal or a number of proposals are for forming a logical unity, a certain kind of rounding is obtained; Hence the name of the shape. " For example: " In vain! Wherever I look, I meet everywhere in failure, and the heart that I am obliged to lie all; I smile, and I cry internally bitterly, In vain"(A. Fet).
Often an amapefor is also simplok. - a combination of an ephor with epifoe, which is reflected in the title of the term: " Young everywhere we have the road, old men everywhere we have an honor"(V. Lebedev-Kumach). Artistic text. Structure and poetics. - SPb.: Publishing House of St. Petersburg University, 2005. - 296 p.
The next similar stylistic figure is parallelism (Greek "The one that goes nearby") or syntactic parallelism is a figure based on the same type of syntactic construction of two or more adjacent linguistic units, mainly lines of poetic text, which generates the feeling of their symmetry. For example: " Your mind is deep that the sea, your spirit is high, that the mountains"(V. Bryusov).
Most often, parallelism, symmetry in the syntactic construct of adjacent poetic lines is accompanied by a shaped comparison of the thoughts expressed in them - the so-called figurative psychological parallelism: for example, between the life of nature and fragments of human life. Parallelism often may include the characters we wrote about previously analyzing the trails. Therefore, we can conclude that the trails and stylistic figures do not exclude, but mutually complement each other.
Parallelism occupies an important place in Russian, especially in poetry and known since ancient times. Most often, it is also resorted to folk poetry. It acquires significant distribution in romantic poetry at the beginning of the 17th century, often as the stylization of folk motifs. This stylistic figure can be a composite basis of a lyrical poetic work.
Gradation - This is a stylistic figure, which is gradual injection of funds artistic expressiveness In order to increase (so-called climax, for example, "in the care of sweet-foggy No hour, no day, no year will leave ... "E. Baratsky) or lowering ( anticlimax, eg, " Do not break, do not get droggy, not fired, Neither Crupitsa I will not forgive enemies "O. Bergolts) of their emotional meaningful significance. Graduation varies on the spatial-temporary (mainly in prose), intonational-emotional (poetry) and psychological (drama) features. The expressiveness of the gradation is enhanced by the union of it with Anaphor, for example, in the famous statement of Julia Caesar: "I came, I saw, won!".
Ellipsis (Greek - "Pass", "Disadvantage") is a stylistic figure built by skipping words or several words. For example, "Eyes like the sky, blue, smile, linen curls - all in Olga... (A. Pushkin). In this case, the poet was missed by the word "combined" or other close by value. Ellipsis can enhance the dynamism of the phrase, actions change strength, emphasize laconicism, lyrical emotion, spoken intonation. He is often found in proverbs and sayings. This figure may lie at the heart of a whole artistic work, especially the poetic or part of it.
Pretty popular always inversion - Stylistic figure, built on a violation of the order of words in a sentence, which seems normalized, ordinary, for example, " Purner Perunya Old man one... "(A. Pushkin), instead of the" Old Man Crumpled One Perun. " Russian, as well as other East Slavic languages, belongs to languages \u200b\u200bwith a free word of words in proposals, however, a certain syntactic sequence, due to its usual, as well as due to its subordination, the logic of the deployment of the explanation of the thought seems more natural, whereas the change in such a sequence Psychologically perceived as a retreat from a certain constant norm. Logical thoughts deployment sequence Regulates, in particular, the order of the main members of the sentence, which form a kind of syntactic skeleton of the thought. The normal logical sequence of the deployment of thought involves its movement from the already known (that is, what has already been said, or such that is served as a knowingly known) to an unknown, the fact that, in fact, reports that "already known" and fixes There are some changes in it. Since the "already known" in the sentence is usually expressed through the subject (subject of thought), and the "unknown", a new one through the faugible (predicate of thought), then natural or, as they say, the order of words will be directat which the faugible will be placed for the subject, and inversion There will be their reverse order: the failed before the subject. Sannikov V.Z. Russian syntax in semantic-pragmatic space. - M.: Languages \u200b\u200bof Slavic Culture, 2008. - 624 p.
If the syntactic order of the main members of the sentence is regulated by the norms of the logical sequence of expressing the thoughts, the order of secondary members of the proposal in each national language is established by the standards of syntactic construction of verbal structures in it. In particular, for the Russian language, there will be a more natural placement of additions and circumstances expressed by nouns, in position - after the word, to which they relate, and definitions and nouting circumstances in the position - before the word to which they relate. The reverse order of their placement is perceived as inverted. For example, "in the evening, in the fall rarely, In distant Virgo walked mesal... "(A. Pushkin).
Inversion individualizes and emotionally emphasizes the speech and its components. But its main function is not in this. The syntactically inverted procedure for members of the offer serves, first of all, the purpose of the allocation of individual, the most weighty in the context of this statement of words. Especially brightly, this function of inversion detects itself in the case when an invened word does not simply change its generally accepted syntactic position, but it is also separated from a member of the proposal to which it is subordinated.
A variation of inversion stands hiam - used in poetry linguity reception, the essence of which is to permutate the main members of the proposal to increase the expressiveness of the poetic speech, for example: " Sharefun - all are ready: No one Does not want sadness to divide"(M. Lermontov).
Similar species can be considered anacoluthon - a stylistic figure built with a violation of grammatical consistency between words, members of the proposal, for example, " Approaching this station and looking at nature to the window, I flew the hat"(A. Chekhov). As we can see Anaculuf, it is used individually, more often to give an irony or comic shade of speech in its context.
Somewhat resembles inversion and asyndetonor asyndeton - The stylistic figure, which lies in the passing of unions, is associated with individual words and parts of phrases. For example: " Night, street, lantern, pharmacy, meaningless and dull light"(A. Block). Nezuzuzie enhances the expressiveness of speech, emphasizing the dynamic aspect in it, serves to allocate individual words.
The opposite of asindone protrudes polysindoneor Multi-allu - cluster of unions that associate individual words and parts of the phrase, for example, "the ocean walked before his eyes, and broke and thundered and sparkle and Ugasal and shone and Lean somewhere in infinity "(V. Korolenko). Multi-type is used as a means that slows speech serves to allocate significant words, makes speech solemn, because it is often associated with multi-union syntactic structures of biblical texts. The figure of multi-eyed may be issued, firstly, by different unions. Secondly, not only unions as such, but also other service words that are obtained in the context of the functions of alliances.
To more rare stylistic figures include pleonism and tautology, as well as amplification, paronomazia (Comparison of similar on the sound, but different words) and antithesis (opposition). Telpukhovskaya Yu.N. Russian language. Phonetics. Graphics. Word formation. Morphology. Syntax. Vocabulary and phraseology. - M.: Vesta, 2008. - 64 p.
Pleonasm (Greek. "Excessiveness") is a stylistic figure that is based on the synonymic repetition of the previous word, for example, "fell down", " gestured hands», « nostalgia in Motherland», « chief Priority», « to incriminate the blame"," Embedded banality. " Pleeping repeat is not motivated logically and used as a means of stylistic diversity of speech. Most often, it is used in folklore, but meets in the author's poetry.
Pretty pleonazm tautology suggests a single repetition of words, for example: " divo wonderful, miracle wonderful" etc.
Amplification (Lat. "Distribution", "Increase") - a stylistic figure, which is underlined accumulation within the adjacent statements (as a rule, one, two-three sentences or a short paragraph) of the same type of linguistic units, for example, " Beret - like a bomb beret - like hedgehog, as a razor double-up beretAs a rattling in 20 stalling a snake two-speed "(V. Mayakovsky).
