Compose 5 sentences with different means of expression. Artistic means and their role in the text
TRAILS AND STYLISTIC FIGURES.
TRAILS (Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical meaning. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litota, etc.
STYLISTIC FIGURES- turns of speech used to enhance the expressiveness (expressiveness) of an utterance: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.
HYPERBOLA (Greek hyperbole - exaggeration) - a kind of path based on exaggeration ("rivers of blood", "sea of laughter"). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what makes fun of. Hyperbole is found already in the ancient epic among different peoples, in particular in Russian epics.
In the Russian liter, N.V. Gogol, Saltykov-Shchedrin and especially
V. Mayakovsky ("I", "Napoleon", "150,000,000"). V poetic speech hyperbole is often intertwinedwith other artistic means (metaphors, personifications, comparisons, etc.). The opposite is litotes.
LITOTA ( Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the magnitude, strength, meaning of the depicted object or phenomenon. There is litota in folk tales: "a boy with a finger", "a hut on chicken legs", "a little man with a fingernail".
The second name of litota is meiosis. The opposite of a lithote is hyperbola.
N. Gogol often addressed the littote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol
METAPHOR (Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another on the basis of common features("Work is in full swing", "forest of hands", "dark personality", "stone heart" ...). In metaphor, unlike
comparisons, the words "as", "as if", "as if" are omitted, but implied.
Nineteenth century, iron,
A cruel age indeed!
Into the darkness of the night, starless
A careless abandoned man!
A. Blok
Metaphors are formed according to the principle of personification ("water runs"), reification ("nerves of steel"), distraction ("field of activity"), etc. Various parts of speech can act as a metaphor: a verb, a noun, an adjective. The metaphor gives the speech exceptional expressiveness:
There is a fragrant lilac in each carnation,
Singing, a bee creeps in ...
You ascended under the blue vault
Above the wandering crowd of clouds ...
A. Fet
The metaphor is an undifferentiated comparison, in which, however, both terms are easily seen:
With a sheaf of her oat hair
You settled on me forever ...
Dog eyes rolled
Gold stars in the snow ...
S. Yesenin
In addition to verbal metaphor, metaphorical images or expanded metaphors are widespread in artistic creation:
Ah, the bush of my head has withered,
The song captivity sucked me in
I am condemned to the hard labor of feelings
Turn the millstones of the poems.
S. Yesenin
Sometimes the entire work is a broad, expanded metaphorical image.
METONYMY (Greek metonymia - renaming) - trope; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest rustling" - meaning trees; etc.).
The theater is already full, the boxes shine;
Parterre and chairs, everything is boiling ...
A.S. Pushkin
In metonymy, a phenomenon or object is designated with the help of other words and concepts. At the same time, signs or connections that bring these phenomena closer together remain; so, when V. Mayakovsky speaks of "a steel orator dozing in a holster," the reader can easily guess in this image a metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:
You led swords to a plentiful feast;
Everything fell with a noise before you;
Europe was perishing; grave dream
Was worn over her head ...
A. Pushkin
Here the metonymy "swords" is warriors. The most common metonymy, in which the name of the profession is replaced by the name of the instrument of activity:
When is the shore of hell
Will take me forever
When it falls asleep forever
Pen, my joy ...
A. Pushkin
Here the metonymy "the feather will fall asleep".
PERIPHRASE (Greek periphrasis - roundabout, allegory) is one of the tropes in which the name of an object, a person, a phenomenon is replaced by an indication of its signs, as a rule, the most characteristic ones, enhancing the depiction of speech. ("King of birds" instead of "eagle", "king of beasts" - instead of "lion")
PERSONALIZATION (prosopopeia, personification) - a kind of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).
My bells
Steppe flowers!
What are you looking at me
Dark blue?
And what are you ringing about
On a happy May day
Among the unmown grass
Shaking your head?
A.K. Tolstoy
SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one subject to another on the basis of the quantitative relationship between them. Synecdoche is an expressive means of typing. The most common types of synecdoches:
1) The part of the phenomenon is called in the meaning of the whole:
And at the door -
pea jackets,
overcoats,
sheepskin coats ...
V. Mayakovsky
2) Whole in the meaning of part - Vasily Terkin in a fist duel with a fascist says:
Oh, how are you! Fight with a helmet?
Well, isn't it a vile fellow!
3) Singular in the meaning of general and even universal:
There a man groans from slavery and chains ...
M. Lermontov
And the proud grandson of the Slavs, and the Finn ...
A. Pushkin
4) Replacing a number with a set:
Millions of you. Us - darkness and darkness and darkness.
A. Blok
5) Replacement of a generic concept with a specific one:
We beat you with a penny. Very good!
V. Mayakovsky
6) Replacement of a species concept with a generic one:
"Well, sit down, shine!"
V. Mayakovsky
COMPARISON - a word or expression containing the assimilation of one object to another, one situation to another. ("Strong as a lion", "said how he cut it off" ...). The storm covers the sky with darkness,
Whirling snow whirlwinds;
How the beast she will howl
It will cry like a child ...
A.S. Pushkin
"Like the steppe scorched by fires, the life of Grigory became black" (M. Sholokhov). The idea of the blackness and gloom of the steppe also evokes in the reader that melancholy, painful feeling that corresponds to the state of Gregory. There is a transfer of one of the meanings of the concept - "scorched steppe" to another - the inner state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:
The view of the steppe is sad, where without obstacles,
Exciting only the silver feather grass,
Flying Aquilon roams
And before him freely drives the dust;
And where around, no matter how keenly you look,
Meets the gaze of birch two or three,
Which are under the bluish haze
They turn black in the evening in the distance empty.
Life is so boring when there is no struggle
Having penetrated into the past, discern
There are few things we can do in it, in the prime of life
She will not amuse the soul.
I need to act, I do everyday
I would like to make immortal like a shadow
Great hero, and understand
I can't what it means to rest.
M. Lermontov
Here, with the help of unfolded S. Lermontov conveys a whole gamut of lyrical experiences and reflections.
Comparisons are usually combined by conjunctions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"I have curls of a fine fellow - combed flax" N. Nekrasov. The union is omitted here. But sometimes it is not supposed to be:
"Execution in the morning, a familiar feast for the people" A. Pushkin.
Some forms of comparison are constructed descriptively and therefore are not connected by unions:
And she is
At the door or at the window
An early star is lighter
Morning roses are fresh.
A. Pushkin
She is sweet - I will say between us -
The thunderstorm of the court knights,
And it is possible with southern stars
Compare, especially with verses,
Her Circassian eyes.
A. Pushkin
A special type of comparison is the so-called negative:
The red sun does not shine on the palate,
The blue clouds do not admire him:
At the meal he sits in a crown of gold
The formidable Tsar Ivan Vasilyevich is sitting.
M. Lermontov
In this parallel depiction of two phenomena, the form of negation is both a method of comparison and a method of transferring meanings.
A special case is the instrumental forms used in comparison:
It's time, beauty, wake up!
Open your eyes closed with bliss,
Towards northern Aurora
Appear as the star of the north.
A. Pushkin
I do not soar - I sit as an eagle.
A. Pushkin
Often there are comparisons in the form accusative case with the preposition "under":
"Sergei Platonovich ... sat with Atepin in the dining room, covered with expensive oak wallpaper ..."
M. Sholokhov.
IMAGE - generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.
It is not the wind that rages over the forest,
Streams did not run from the mountains,
Frost - Voivode of the Watch
Bypasses his possessions.
ON. Nekrasov
ALLEGORY (Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. The green branch in the hands of man has long been an allegorical image of the world, the hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images date back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential sides, qualities or functions and belongs to the group of metaphorical tropes.
Unlike metaphor, in allegory the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).
GROTESQUE (French grotesque - bizarre, comical) - depicting people and phenomena in a fantastic, ugly comic form, based on sharp contrasts and exaggerations.
Furious at the meeting, I burst into an avalanche
Wild curses belching dear.
And I see: half of the people are sitting.
O devilry! Where is the other half?
V. Mayakovsky
IRONY (Greek eironeia - pretense) - an expression of ridicule or deceit through allegory. A word or utterance takes on a meaning in the context of speech that is opposite to the literal meaning or denies it, calls into question.
Servant of influential gentlemen
With what courage noble
Smash with the speech you are free
All those who got their mouth shut.
F.I. Tyutchev
SARCASM (Greek sarkazo, literally - tearing meat) - contemptuous, sarcastic mockery; the highest degree of irony.
ASSONANCE (French assonance - consonance or respond) - repetition of uniform vowel sounds in a line, stanza or phrase.
Oh spring without end and without edge -
Endless and endless dream!
A. Blok
ALLITERATION (SOUND)(lat. ad - to, at and littera - letter) - repetition of homogeneous consonants, giving the verse a special intonational expressiveness.
Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
The storm is near. Beats into the shore
A black boat alien to enchantment ...
K. Balmont
ALLUSION (from Lat.allusio - a joke, a hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, a literary work ("the glory of Herostratus").
ANAPHORA (Greek anaphora - carrying out) - repetition initial words, lines, stanzas or phrases.
You and wretched
You are abundant
You and downtrodden
You are omnipotent
Mother Russia! ...
ON. Nekrasov
ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blush, like poppies,
I am like death, and skinny and pale.
A.S. Pushkin
You and wretched
You are abundant
You and mighty
You are powerless ...
N. Nekrasov
So few roads have been traveled, so many mistakes have been made ...
S. Yesenin.
Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the whole work is built on the principle of antithesis.
APOCOPE (Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.
... When suddenly from the woods
The bear opened its mouth on them ...
A.N. Krylov
Bark, laugh, sing, whistle and clap,
Human rumor and horse top!
A.S. Pushkin
ASYNDETON (asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives dynamics and richness to speech.
Night, street, lantern, pharmacy,
Pointless and dim light.
Live for at least a quarter of a century -
Everything will be like this. There is no escape.
A. Blok
MULTI-UNION (polysindeon ) - excessive repetition of conjunctions, creating an additional intonation coloration. The opposite figure is asyndeton.
Slowing down speech by forced pauses, the multi-union emphasizes individual words, enhances its expressiveness:
And the waves are crowding and rushing back
And again they come, and they beat on the shore ...
M. Lermontov
And it's boring and sad, and there is no one to give a hand to ...
M.Yu. Lermontov
GRADATION - from lat. gradatio - gradualness) is a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. The gradation enhances the emotional resonance of the verse:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
S. Yesenin
INVERSION (lat. inversio - permutation) - a stylistic figure that violates the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.
Legends of deep antiquity
A.S. Pushkin
The doorman is past him with an arrow
Soared up the marble steps
A. Pushkin
OXYMORON (Greek oxymoron - witty-stupid) - a combination of contrasting, opposite words (a living corpse, a giant dwarf, the heat of cold numbers).
PARALLELISM (from the Greek parallelos - going next to it) - identical or similar arrangement of elements of speech in adjacent parts of the text, creating a single poetic image.
In the blue sea, waves are splashing.
Stars shine in the blue sky.
A.S. Pushkin
Your mind is as deep as the sea.
Your spirit is high that mountains.
V. Bryusov
Parallelism is especially characteristic of works of oral folk art(epics, songs, ditties, proverbs) and those close to them in their artistic characteristics literary works ("Song about the merchant Kalashnikov" by M. Yu. Lermontov, "Who lives well in Russia" by N. A. Nekrasov, "Vasily Terkin" by A. T, Tvardovsky).
Parallelism can have a broader thematic character in content, for example, in the poem by M. Yu. Lermontov "Heavenly Clouds - Eternal Wanderers."
Parallelism can be both verbal-figurative and rhythmic, compositional.
PARCELLATION - expressive syntactic device intonational division of a sentence into independent segments, graphically highlighted as independent sentences. ("And again. Gulliver. Standing. Slouching" PG Antokolsky. "How courteous! Good! Nice! Simple!" Griboyedov. "Mitrofanov grinned, stirred the coffee.
N. Ilyina. “He soon quarreled with the girl. And that's why. " G. Uspensky.)
TRANSFER (French enjambement - stepping over) - mismatch of syntactic division of speech and division into verses. When transferring, the syntactic pause inside a verse or semi-verse is stronger than at its end.
Peter comes out. His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like a storm of God.
A.S. Pushkin
RHYME (Greek "rhythmos" - harmony, proportionality) - a variety epiphores ; consonance of the ends of poetic lines, creating a feeling of their unity and kinship. The rhyme emphasizes the border between the verses and links the verses into stanzas.
ELLIPSIS (Greek elleipsis - loss, omission) - figure poetic syntax, based on the omission of one of the members of the sentence, easily reconstructed by meaning (most often predicate). This achieves the dynamism and conciseness of speech, a tense change of action is conveyed. Ellipsis is one type of default. In artistic speech, it conveys the speaker's emotion or the intensity of the action:
We sat down - in ashes, hails - in dust,
In swords - sickles and plows.
V. Zhuko
Day in dark night in love
Spring is in love with winter
Life is death ...
And you? ... You into me!
G. Heine
In the lyrics, there are poems written in inexpressible constructions, that is, with a wide use of ellipsis, for example, A. Fet's poem "Whisper, timid breath ..."
EPITHET (Greek epitheton - appendix) - a figurative definition that gives an additional artistic characteristic to someone or something ("lonely sail", "golden grove"),
a word that defines an object or phenomenon and emphasizes any of its properties, qualities or signs.
The attribute expressed by the epithet, as it were, joins the subject, enriching it in a semantic and emotional sense. This property of the epithet is used to create an artistic image:
But I love, golden spring,
Your continuous, wonderfully mixed noise;
You rejoice, without stopping for a moment,
Like a child without care and thoughts ...
N. Nekrasov
The properties of an epithet appear in a word only when it is combined with another word denoting an object or phenomenon. Thus, in the given example, the words "golden" and "wonderfully mixed" acquire the properties of a drink in combination with the words "spring" and "noise". Epithets are possible that not only define an object or emphasize some aspects, but also transfer a new, additional quality to it from another object or phenomenon (not expressed directly):
And we, poet, did not solve you,
Didn't understand infant sorrow
In your as if forged poetry.
V. Bryusov.
Such epithets are called metaphorical. The epithet emphasizes in the subject not only its inherent, but also possible, conceivable, transferred features and signs. Various (significant) parts of speech (noun, adjective, verb) can be used as an epithet.
A special group of epithets includes permanent epithets that are used only in combination with one specific word: " living water"or" dead water "," good fellow "," greyhound horse ", etc. Constant epithets are characteristic of the works of oral folk art.
EPIPHORA (Greek epiphora - repetition) - stylistic figure, opposite anaphora : repetition last words or phrases. Rhyme - type of epiphora (repetition of the last sounds).
Here guests came ashore,
Tsar Saltan invites them to visit ...
A.S. Pushkin
A RHETORICAL QUESTION(from the Greek. rhetor - orator) - one of the stylistic figures, such a construction of speech, mainly poetic, in which the statement is expressed in the form of a question. A rhetorical question does not imply an answer; it only enhances the emotionality of the statement, its expressiveness.
Rhetorical exclamation(from the Greek. rhetor - orator) - one of the stylistic figures, such a structure of speech, in which a particular concept is affirmed in the form of an exclamation. The rhetorical exclamation sounds emotional, with poetic enthusiasm and elation:
Yes, love as our blood loves
None of you love for a long time!
A. Blok
Rhetorical address(from the Greek rhetor - orator) - one of the stylistic figures. In form, being an appeal, a rhetorical appeal is conditional. It gives the poetic speech the necessary author's intonation: solemnity, pathos, cordiality, irony, etc.:
And you arrogant descendants
The well-known meanness of the illustrious fathers ..
M. Lermontov
DEFAULT - unspokenness, reticence. A deliberate interruption of the utterance, conveying the emotion of speech and assuming that the reader will guess what was said.
I do not like, about Russia, your timid
Thousands of years of slave poverty.
But this cross, but this ladle is white ...
Humble, dear traits!
Although he was afraid to say
It would be easy to guess
When would ... but the heart, the younger,
The more fearful, the stricter ...
Every house is alien to me, every temple is empty to me,
And everything is the same, and everything is one.
But if on the road- bush
Rises, especially - mountain ash…
M.I. Tsvetaeva
POEM DIMENSIONS
YAMB - two-syllable foot with stress on the second syllable
KHOREI - two-syllable foot with stress on the first syllable
DACTYL - three-syllable foot with stress on the first syllable
AMPHIBRACHY - three-syllable foot with stress on the second syllable
ANAPAEST - three-syllable foot with stress on the third syllable
PYRRHIC - additional two-syllable foot, consisting of two unstressed syllables
SPONDEE - additional foot, consisting of two stressed syllables
RHYME
abab - cross, aabb - steam room, abba - annular (encircling), aabssb - mixed
MEN'S - the stress falls on the last syllable of rhyming words
WOMEN'S - the stress falls on the penultimate syllable of rhyming words
Comparison is a comparison of one object or phenomenon with another according to some criterion, based on their similarity. The comparison can be expressed:
Using unions (like, like, exactly, like, like, like, what):
I am in emotion, silently, tenderly I admire you like a child! (A.C.
Pushkin);
The form of the instrumental case: And the net, lying on the sand with a thin through shadow, moves, continuously grows with new rings (A.S. Serafimovich);
Using words like similar, similar: The rich are not like you and me (E. Hemingway);
With negation:
I'm not so bitter as a drunkard, So that, without seeing you, I die. (S.A. Yesenin);
The comparative degree of an adjective or adverb:
The stream is shining more neat than the fashionable parquet, it is dressed with ice. . (A.S. Pushkin)
Metaphor is the transfer of the name (properties) of one object to another according to the principle of their similarity in any respect or in contrast. This is the so-called hidden (or abbreviated) comparison, in which the unions are as, as if, as if ... are absent. For example: the lush gold of the autumn forest (K.G. Paustovsky).
The types of metaphor are personification and reification.
Impersonation is an image of inanimate objects, in which they are endowed with properties, traits of living beings. For example: And the fire, trembling and hesitating in the light, was restlessly looking with red eyes at the precipice protruding from the darkness for a second (A.S. Serafimovich).
Reification is the assimilation of living beings to inanimate objects. For example: The front rows were delayed, the back ones became thicker and thicker, and the flowing human river stopped, as the noisy waters, blocked in their channel, stop in silence (A.S. Serafimovich).
Metonymy is the transfer of a name from one subject to another based on the associative contiguity of these subjects. For example: The entire gymnasium is beating in hysterically convulsive sobs (A.C. Serafimovich).
Synecdoche (a kind of metonymy) is the ability of a word to name both the whole through its part, and a part of something through the whole. For example: Black visors, bottle boots, jackets, black coats flashed (A.C. Serafimovich).
An epithet is an artistic definition that emphasizes a feature (property) of an object or phenomenon, which is a definition or circumstance in a sentence. The epithet can be expressed:
Adjective:
Cabbage blue freshness. And red maples in the distance The last gentle tenderness of the Silent autumn land.
(A. Zhigulin);
Nouns: Heavenly clouds, eternal wanderers (M.Yu. Lermontov);
In adverb: And the midday waves rustle sweetly (A.C. Pushkin).
Hyperbole is a means of artistic depiction based on excessive exaggeration of the properties of an object or phenomenon. For example: Sidewalk whirlwinds rushed the pursuers themselves so hard that they sometimes overtook their headdresses and came to their senses only by clinging to the feet of the bronze figure of Catherine's grandee standing in the middle of the square (IL. Ilf, EP Petrov).
Litota is an artistic technique based on the understatement of any properties of an object or phenomenon. For example: Tiny toy people sit for a long time under white mountains near the water, and grandfather's eyebrows and a rough mustache move angrily (A.S. Serafimovich).
Allegory is an allegorical expression of an abstract concept or phenomenon through a concrete image. For example:
You will say: windy Hebe, Feeding Zeus's eagle, Laughing, spilled a boiling cup from the sky on the ground.
(F.I. Tyutchev)
Irony is an allegory expressing ridicule when a word or utterance in the context of speech acquires a meaning that is directly opposite to the literal one or calls it into question. For example:
“Did you all sing? this case:
So go and dance! " (I.A.Krylov)
Oxymoron is a paradoxical phrase in which contradictory (mutually exclusive) properties are attributed to an object or phenomenon. For example: Diderot was right when he said that art consists in finding the extraordinary in the ordinary and the ordinary in the extraordinary (K.G. Paustovsky).
A peripheral is the replacement of a word with an allegorical descriptive expression. For example: Direct duty obliged us to enter this frightening crucible of Asia (as the author called the smoking Kara-Bugaz bay) (K.G.
Paustovsky).
Antithesis is the opposition of images, concepts, t properties of objects or phenomena, which is based on the use of antonyms. For example:
I had everything, I suddenly lost everything; As soon as the dream began ... the dream disappeared! (E. Baratynsky)
Repetition is the repeated use of the same f and the same words and expressions. For example: My friend, \ my gentle friend... love ... yours ... yours! .. (A.C. Push-E kin).
The types of repetition are anaphora and epi-1 handicap.
Anaphora (monotony) is a repetition of the initial I words in adjacent lines, stanzas, phrases. For example, 1 measure:
You are all full of an immense dream, You are all full of mysterious longing. (E. Baratynsky)
An epiphora is a repetition of final words in adjacent lines, stanzas, phrases. For example:
We do not value earthly happiness, We are accustomed to value people; Both of us will not change ourselves, But they cannot change us.
(M.Yu. Lermontov)
Gradation is a special grouping of homogeneous [members of a sentence with a gradual increase (or | decrease) in semantic and emotional significance. I For example:
And for him resurrected again And deity, and inspiration, And life, and tears, and love. (A.C. Pushkin)
Parallelism is a repetition of the type of adjacent sentences or phrases, in which the order of the words coincides, at least partially. For example:
I'm bored without you, - I yawn; With you I feel sad - I endure ... (A.C. Pushkin)
Inversion is a violation of the generally accepted word order in a sentence, a rearrangement of parts of a phrase. For example:
There once in the mountains, full of heart thoughts, Over the sea, I dragged pensive laziness ... (A.C. Pushkin)
Ellipsis is the omission of individual words (usually easily reconstructed in context) to add dynamism to the phrase. For example: Less often and less often Afinogenich transported pilgrims. For whole weeks - no one (A.C. Serafimovich).
Parcelling is an artistic technique in which a sentence is intonationally divided into separate segments, graphically highlighted as independent sentences. For example: They didn’t even look at the one brought here, one of the thousands who had been here. They searched. Measurements were made. We wrote down the signs (A.C. Serafimovich).
A rhetorical question (address, exclamation) is a question (address, exclamation) that does not require an answer. Its function is to attract attention, enhance the impression. For example: What's in my name for you? (A.C. Pushkin)
Non-union is the deliberate omission of unions to make speech dynamic. For example:
Lure with an exquisite dress, I play with the eyes, brilliant conversation ... (E. Baratynsky)
Multi-union is the deliberate repetition of alliances in order to slow down speech by forced pauses. At the same time, the semantic significance of each word highlighted by the union is emphasized. For example:
And every tongue in her will call me,
And the proud grandson of the Slavs, and the Finn, and now the wild
Tungus, and a Kalmyk friend of the steppes. (A.S. Pushkin)
Phraseological units, synonyms and antonyms are also used as a means of enhancing the expressiveness of speech.
Phraseological unit, or phraseological unit -
it is a stable combination of words that functions: in speech as an expression indivisible from the point of view of meaning and composition: lie on the stove, beat like a fish on ice, [neither day nor night.
Synonyms are words of the same part of speech,; close in meaning. Types of synonyms:
General language: brave - brave;
Contextual:
You will hear the judgment of a fool and the laughter of a cold crowd: But you remain firm, calm and gloomy. (A.C. Pushkin)
Antonyms are words of the same part of speech, I having the opposite meaning. Types of antonyms:
General language: good - evil;
Contextual:
I give you my place: It's time for me to smolder, you to bloom. (A.C. Pushkin)
As you know, the meaning of a word is most accurately determined in the context of speech. This allows, in particular, to determine the meaning of polysemantic words, as well as to delineate homonyms (words of the same part of speech, i coinciding in sound or spelling, but having \ different lexical meanings: a tasty fruit is a reliable raft, a marriage in work - happy marriage).
The topic of our article is means of expressiveness in a poem. What it is, we will describe below. As an example of analysis and to consolidate the material, the reader is invited to pay attention to F. Tyutchev's poem "Leaves" and Pushkin's beautiful poetic lines "Winter Morning".
What are means of expression?
A means of expressiveness of speech is a complex of sound (phonetic), syntactic, lexical or phraseological elements used to achieve the best effect from what is said, to attract attention, to emphasize some aspects in speech.
Allocate:
- Sound (phonetic) means. This includes the use of certain sounds that are repeated periodically, giving a special sound. Such methods were often used by symbolist poets. For example, the well-known poem by Konstantin Balmont "Reeds" fascinates with hissing sounds, which create the effect of the noise of reeds.
- Syntactic. These are the features of the construction of sentences. For example, V. Mayakovsky has short, biting phrases that immediately focus on the topic.
- Phraseological. This includes the use of the author or the so-called catch phrases - aphorisms.
- Lexical and semantic: related to the word and its meaning.
- Trails. They are most often inherent in artistic speech. These are metaphors and metonymy, hyperbole.
Means of expressiveness in a poem
Before moving on to the poem and the study of its means of expression, it is worth paying attention to the style of this genre. As we said above, the means of expression for each genre are different. Most often, these methods of emphasizing the author's intention are found in the artistic style. Poetry is definitely an artistic genre (with some very rare exceptions), therefore, means of expressiveness in a poem are used so that the reader can perceive more information, better understand the author. For prose writers, form and style allow them not to be constrained in the size of their works, while it is more difficult for poets to fit their feelings and thoughts, vision and understanding into relatively short lines.
The most commonly used techniques of expressiveness in poetry
The expressiveness in the poem is quite diverse. They are not the property of a specific author, since they were created and improved for decades. But here on specific examples and sometimes it becomes very easy to recognize the author by favorite means. The poetry of Sergei Yesenin, for example, is always filled with beautiful epithets and amazing metaphors. If a person who knows his style reads an unknown poem, most likely, he will name the author without hesitation.
Means of expressiveness in the poem:
- Allegory. Its essence is in the expression of an object or character trait through a certain image. For example, the wolf in fairy tales and fables is always an allegorical symbol of cruelty, ferocity, and willfulness.
- Hyperbola and litota. Simply put, artistic exaggeration and understatement.
- Antithesis. A way of expressiveness, which is achieved by juxtaposing or placing two or more contrasting concepts next to each other. AS Pushkin, for example, says about the storm: "Like a beast, it will scream, then it will cry like a child."
- the same beginning of several lines, as in the brilliant poem by Konstantin Simonov "Wait for me".
- Alliteration. The use of consonants of a specific sound row, as in Balmont's "Reeds", hissing sounds alternating with each other, create a mystical presence of plant noise at night.
- Metaphor. A figurative meaning of a word based on one or more features. Yesenin's "hut-old woman", for example. The flimsy hut is compared to an old woman due to the advanced age of both.
- Metonymy. One word instead of another, or a part instead of a whole.
- Impersonation. A technique when the properties of a living thing are attributed to an inanimate object.
- Comparison and epithet. The first is when one object is compared to another for a better communication effect. The second is known to many from literature lessons and is an artistic definition.
Means of expressiveness in the poem "Leaves" by Tyutchev
To better consolidate the topic, we will consider specific poems and, using their example, we will try to figure out what the techniques of expressiveness are.
This poetic attempt of the writer to understand the meaning of life, to mourn its transience is a real masterpiece of landscape poetry. She is like a monologue of leaves that are sad about their fate and so imperceptibly flown by summer.
There are many means of expression here. This is both personification (leaves speak, reflect, the author introduces them to the reader as living beings), and antithesis (leaves oppose themselves to needles), and comparison (they call the needles of pines "hedgehog needles"). Here we can also see the techniques of alliteration (sounds "f", "h", "w").
Playing with the temporal forms of verbs helps the author to achieve the effect of dynamics, movement. Thanks to this technique, the reader practically feels the transience of time and the movement of leaves. Well, like any poem, "Leaves" was not without the use of epithets. There are a lot of them here, they are colorful and lively.
Pay attention to the size of the poem. In just four short lines, the poet uses a variety of means of expression and raises several philosophical questions. Always be careful when reading poetry, and you will be pleasantly surprised at how much the author tells us.
Poem "Winter Morning"
Means of expressiveness of the poem "Winter Morning" delight in their diversity. This work is an example of the best landscape lyrics.
The techniques that A.S. Pushkin uses to achieve a special mood - this is primarily an antithesis. The contrast between the gloomy yesterday and the beautiful today distinguishes both pictures of nature - a cold snow storm and a beautiful morning - into separate canvases. The reader seems to see both the noise of the blizzard and the blinding snow.
Special positive epithets "adorable", "magnificent", "wonderful" emphasize the author's mood and convey it to us. Impersonation is also present in poetry. The blizzard is "angry" here, and the haze "rushed" across the gloomy sky.
Finally
The means of expressiveness of speech not only decorate and complement speech, they make it lively, artistic. They are like bright colors with which the artist enlivens his picture. Their goal is to emphasize and draw attention, enhance the impression, perhaps even surprise. Therefore, when reading poetry, do not rush, think about what the author wants to convey. Skipping words hidden between the lines of the great artists, you lose a lot.
Lesson - workshop in Russian for grade 11
"Means of artistic expression".
Goals:
Systematization and generalization of work with the taskAT 8 (preparation for the exam)
Development of logical thinking, the ability to prove your point of view and defend it.
Education of sociability, the ability to work in groups.
Task number 1.
Students are divided into multi-level groups of 4 people.
When working, students take turns commenting on the text, finding all the paths and figures of speech.
Each student should take part in the analysis of the text.
If someone is having difficulties, others help the student understand the topic.
All members of the group should get the same job, the grade is set one for all.
The work uses the memo "Paths and Figures of Speech"
The following text is proposed for work:
SADNESS JOY ...
The city was asleep. Silence stopped the vain chaotic molecular movement. The darkness was palpably viscous, and even the standard joyful New Year's Eve illumination did not help illuminate this impenetrability.
And he walked, ran, flew ... Where? What for? What is there? He did not know. Yes, it was not so important! The main thing is that they were waiting for him there.
A series of dull, monotonous school days suddenly turned into a festive fireworks display, into the sweet agony of waiting for each new day, when one day SHE entered the classroom. She entered. She sat down next to me and, dashingly clicking a pink bubble inflated from chewing gum, said "Hello" with a smile. This simple word turned his whole gray life upside down! Small, boyishly angular, fragile, with huge sky-colored eyes and a red explosion of naughty little curls on her head, she suddenly drove the entire male population of the class crazy. The school hummed every time this amazing creature rushed along the long corridor like a fiery torch.
He understood that the chances were zero, but his heart and reason were clearly out of tune! It rustled in a crazy whisper, stirring balls in his soul with hope ... And he took a chance. The note, endured in sleepless nights, lay in her notebook .. Time stood still. Frozen. Disappeared. He waited. The days dragged on with thick raspberry syrup. Two. Five. Ten ... Hope dies last. And he waited.
The night call woke him up, cutting off her long, wonderful kiss. "I'm in the hospital, come." The whisper of rustling leaves, the grinding of a strong, fragile, iridescent ice crust underfoot simply tore the brain apart. Her throat was pounding: “She's feeling bad. She needs me. She called me. "
And he walked. I was running. I flew. Without making out the road. not noticing the cold and uninvited peas of tears on her cheeks. My heart was breaking with a thousand emotions. Where to? Why? ... There ... Then ...
5. Summing up.
6. Homework.
Create your own text by analogy with the work done, making it as complex as possible.
THEORETICAL MATERIALS TO HELP.
1 antonyms - different words related to one part of speech, but opposite in meaning (good - evil, powerful - powerless). The opposition of antonyms in speech is a vivid source of speech expression, which establishes the emotionality of speech: he was weak in body, but strong in spirit.
2 contextual (or contextual) antonyms - these are words that are not opposed in meaning in the language and are antonyms only in the text: Mind and heart - ice and fire - this is the main thing that distinguished this hero.
3 hyperbole - a figurative expression that exaggerates any action, object, phenomenon. Used to enhance the artistic impression. Snow poured from the sky in pounds.
4.Litota - artistic understatement: a little man with a fingernail. Used to enhance the artistic impression.
5.Synonyms - these are words related to one part of speech, expressing the same concept, but at the same time differing in shades of meaning: Falling in love - love, friend - friend.
6 contextual (or contextual) synonyms - words that are synonymous only in this text: Lomonosov - genius - beloved child of nature. (V. Belinsky)
7 stylistic synonyms - differ in stylistic coloring, sphere of use: grinned - giggled - laughed - laughed.
8 syntactic synonyms - parallel syntactic constructions that have different structures, but coincide in their meaning: start preparing lessons - start preparing lessons.
9 metaphor - hidden comparison based on similarities between distant phenomena and objects. At the heart of any metaphor is an unnamed comparison of some objects with others that have a common feature.
Kind people in the world there was, is, and, I hope, there will always be more than bad and evil, otherwise the world would be in disharmony, it would be distorted ... capsized and sank. An epithet, personification, oxymoron, antithesis can be seen as a kind of metaphor.
10 a detailed metaphor - Expanded transfer of the properties of one object, phenomenon or aspect of being to another according to the principle of similarity or contrast. The metaphor is particularly expressive. Possessing unlimited possibilities in bringing together a variety of objects or phenomena, metaphor allows you to comprehend an object in a new way, to reveal, to reveal its inner nature. Sometimes it is an expression of the author's individual vision of the world.
11.Metonymy - transfer of values (renaming) by contiguity of phenomena. The most common cases of transfer:
a) from a person to his any outward signs: Is lunch soon? - asked the lodger, referring to the quilted vest;
b) from the institution to its inhabitants: The entire boarding house recognized the superiority of D.I. Pisareva;
12.Sinekdokha - a device through which the whole is expressed through its part (something less included in something more) A kind of metonymy. “Hey, beard! And how to get from here to Plyushkin? "
13 oxymoron - a combination of contrasting words that create a new concept or representation. Most often, an oxymoron conveys the author's attitude to an object or phenomenon: Sad fun continued ...
14.Impersonation - one of the types of metaphor, when the transfer of a feature is carried out from a living object to an inanimate one. When personified, the described object is externally used by a person: The trees, bending over to me, stretched out their thin arms.
15.Comparison - one of the means of expressiveness of the language, helping the author to express his point of view, to create whole artistic pictures, to give a description of objects. Comparison is usually joined by unions: how, as if, as if, exactly, etc. but serves for a figurative description of the most diverse signs of objects, qualities, actions. For example, comparison helps to give an accurate description of the color: As night, his eyes are black.
16.Phraseologisms Are almost always vivid expressions. Therefore, they are an important expressive means of language used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality, etc.: people like my hero have a spark of God.
17.Epitet - a word that distinguishes in an object or phenomenon any of its properties, qualities or signs. An epithet is an artistic definition, that is, colorful, figurative, which emphasizes some of it in the word being defined distinctive property... Any meaningful word can serve as an epithet if it acts as an artistic, figurative definition of another:
1) noun: chatterbox magpie.
2) adjective: fatal hours.
3) Adverb and participle: peers eagerly; listens frozen; but most often epithets are expressed using adjectives used in figurative meaning: gaze half asleep, gentle, in love.
SYNTHACS OF EXPRESSION.
1.Anaphora Is the repetition of individual words or phrases at the beginning of a sentence. It is used to strengthen the expressed thought, image, phenomenon: How to tell about the beauty of the sky? How to tell about the feelings that overwhelm the soul at this moment?
2. Antithesis - a stylistic device, which consists in a sharp opposition of concepts, characters, images, creating the effect of sharp contrast. It helps to better convey, portray contradictions, contrast phenomena. Serves as a way to express the author's view of the described phenomena, images, etc.
3. Gradation - a stylistic figure, concluding in the consistent intensification or, conversely, weakening of comparisons, images, epithets, metaphors and others expressive means artistic speech: For the sake of your child, for the family, for the people, for the sake of humanity - take care of the world!
4 Inversion - reverse word order in a sentence. In the direct order, the subject precedes the predicate, the agreed definition comes before the word being defined, the inconsistent definition after it, the addition after the control word, the circumstance of the mode of action before the verb: Modern youth quickly realized the falsity of this truth. And with inversion, words are arranged in a different order than it is established by grammatical rules. This is a powerful means of expression used in emotional, agitated speech: Beloved homeland, my dear land, should we take care of you!
5. Parcellation - a technique of dismembering a phrase into parts or even into separate words. Its purpose is to give speech intonation expression by means of its abrupt utterance: The poet suddenly stood up. Has turned pale.
6.Repeat - the deliberate use of the same word or combination of words in order to enhance the meaning of this image, concept, etc.: Pushkin was a sufferer, a sufferer in the full sense of the word.
7. Rhetorical questions and rhetorical exclamations - a special means of creating emotionality of speech, expressing the author's position.
What summer, what summer? It's just witchcraft!
8. Syntactic parallelism - the same construction of several adjacent sentences. With its help, the author strives to highlight, emphasize the expressed thought: Mother is an earthly miracle. Mother is a holy word.
To bring brightness to speech, to enhance its emotional sound, to give it an expressive coloring, as well as to draw the attention of readers and listeners to words, they are used special means expressiveness of language. Such speech figures are very diverse.
Speech expressive means are divided into several categories: they are phonetic, lexical, and also associated with syntax (syntactic), phraseological units (phraseological), tropes (speech figures with the opposite meaning). The expressive means of language are used everywhere, in various areas of human communication: from fiction to scientific journalism and simple everyday communication. Less often, such expressive turns of speech are used in business sphere because of its irrelevance. As you might guess, means of expression and artistic language go hand in hand: they serve as the best auxiliary means for creating vivid literary images and conveying characters, help the writer better characterize the world of his work and most fully embody the intended plot.
Modern philologists do not offer us any clear qualification of the expressive means of language in certain groups, but conditionally they can be divided into two types:
- trails;
- stylistic figures.
Paths represent turns of speech or individual words used in a non-literal sense, using a hidden meaning. Such expressive means of language are an important part of the transfer of the author's artistic intention. The paths are represented by such separate turns as metaphor, hyperbole, synecdoche, metonymy, litota, etc.
Stylistic figures are expressive means used by the author of a work of art in order to convey to readers the greatest degree of feelings and characters of heroes and situations. Correct use stylistic figures allows you to better express the meaning of the text and give it the necessary color. Antithesis and anaphora, inversion and gradation, as well as epiphora, parallelism - these are all stylistic figures of speech.
The most commonly used means of expressiveness of the Russian language
Earlier we talked about a wide variety of expressive lexical means of speech that help convey the desired emotional coloring. Let's see which of the means of expression are used most often both in fiction and in everyday speech.
Hyperbole is a speech turnover, which is based on the technique of exaggerating something. If the author wants to enhance the expressiveness of the transmitted figure or to amaze the reader (listener), he uses hyperbole in speech.
Example: fast as lightning; I told you a hundred times!
Metaphor is one of the main figures of the expressiveness of language, without which a full-fledged transfer of properties from one object or living thing to another is inconceivable. Such a trope as a metaphor is somewhat reminiscent of a comparison, but the auxiliary words “as if”, “as if” and the like are not used, while the reader and listener feel their hidden presence.
Example: seething emotions; sunny smile; icy hands.
An epithet is a means of expressiveness that colors even the simplest things and situations in expressive, bright colors.
Example: ruddy dawn; playful waves; languid look.
Please note: the first adjective that comes across cannot be used as an epithet. In the event that an existing adjective determines the clear properties of an object or phenomenon, it should not be mistaken for an epithet ( wet asphalt, cold air, etc.)
Antithesis is a technique of expressiveness of speech, which is often used by the author to increase the degree of expression and drama of a situation or phenomenon. Also used to show a high degree of difference. Poets often use the antithesis.
Example: « You are a prose writer - I am a poet, you are rich - I am very poor "(AS Pushkin).
Comparison is one of the stylistic figures, in the name of which lies its functionality. We all know that during the comparison of objects or phenomena, they are directly opposed. In artistic and everyday speech, several techniques are used that help to ensure that the comparison is successfully conveyed:
- comparison with the addition of a noun ("storm haze the sky covers ... ");
- turnover with the addition of unions of comparative color (The skin of her hands was rough, like the sole of a boot);
- with the inclusion of a subordinate clause (Night fell on the city and in a matter of seconds everything was quiet, as if there was no such liveliness in the squares and streets just an hour ago).
Phraseologism is a turn of speech, one of the most popular means of expression in the Russian language. Compared to other trails and stylistic figures, phraseological units are not compiled by the author personally, but are used in a ready-made, accepted form.
Example: like an elephant in a china shop; make porridge; fool around.
Impersonation is a type of path that is used if you want to endow inanimate objects and everyday phenomena with human qualities.
Example: it is raining; nature rejoices; the fog goes away.
In addition to those expressive means that were listed above, there is still a large number of not so often used expressive turns, but equally important for achieving the richness of speech. Among them are the following means of expression:
- irony;
- litotes;
- sarcasm;
- inversion;
- oxymoron;
- allegory;
- lexical repetition;
- metonymy;
- inversion;
- gradation;
- multi-union;
- anaphora and many other tropes and stylistic figures.
The degree to which a person has mastered the techniques of expressiveness of speech determines his success in society, and in the case of the author of fiction, his popularity as a writer. The lack of expressive turns in everyday or artistic speech predetermines its wretchedness and the manifestation of weak interest in it by readers or listeners.
