Lexical means
Allegory -
Antonyms (Kind- evil, powerful- powerless).
He was weak body, but strong in spirit.
Mind and heart - ice and fire -
Hyperbola
Snow fell from the sky in pounds.
IN one hundred and forty suns the sunset was glowing.
Alone at home as long as the stars, other - as long as the moon.
expanded at the expense of the rights of others?(A. Solzhenitsyn)
Irony
Syntactic means
Author's punctuation - this is the placement of punctuation marks not provided for by punctuation rules. Author's signs convey the additional meaning invested in them by the author. Most often, a dash is used as copyright symbols, which emphasizes either opposition:
Born to lie- can't fly.
or emphasizes the second part after the sign: Love- most important of all.
Anaphora, or unity of command - This is the repetition of individual words or phrases at the beginning of sentences. Used to enhance the expressed thought, image, phenomenon:
Howtell the beauty of the sky? How tell us about the feelings overwhelming your soul at this moment?
I lookfor the future with fear,
I lookto the past with longing.
Antithesis - a stylistic device that consists of a sharp contrast of concepts, characters, images, creating the effect of sharp contrast. It helps to better convey, depict contradictions, and contrast phenomena. Serves as a way to express the author’s view of the described phenomena, images, etc.
AND we hate us and love we accidentally, without sacrificing anything anger, nor love.
Asyndeton - intentional omission of connecting conjunctions between members of a sentence or between sentences.
Long shadows descend
Lanterns are burning outside the window,
The high hall is getting dark,
Mirrors disappear into themselves.
Exclamation particles - a way of expressing the author’s emotional mood, a technique for creating the emotional pathos of the text:
ABOUThow beautiful you are, my land! A how beautiful are your fields!
Exclamatory sentences express the author’s emotional attitude to what is being described (anger, irony, regret,) joy, admiration:
Ugly attitude! How can you not cherish happiness!
Exclamatory sentences also express a call to action:
Let's preserve our soul as a shrine!
Gradation - a stylistic figure consisting in the consistent intensification or, conversely, weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech:
For your own sake baby, for the sake of families, for the sake of the people, for the sake of humanity - take care of the world!
Inversion - reverse word order in a sentence. In direct order, the subject precedes the predicate, the agreed definition comes before the word being defined, the inconsistent definition comes after it, the complement comes after the control word, the adverbial manner of action comes before the verb:
Modern youth quickly realized the falsity of this truth.
And with inversion, words are arranged in a different order than established by grammatical rules. This is a strong expressive means used in emotional, excited speech:
My beloved homeland, my dear land, shouldn’t we take care of you!
It was a shame, they were expecting a fight. The old people were grumbling...
Compositional joint - this is the repetition at the beginning of a new sentence of a word or words from the previous sentence, usually ending it:
She did everything for me Homeland. Motherland taught me, raised me, gave me a start in life. Life which I am proud of.
Multi-Union - a rhetorical figure consisting of the deliberate repetition of coordinating conjunctions for the logical and emotional highlighting of the listed concepts:
ANDthere was no thunder And the sky didn't fall to the ground, And the rivers did not overflow from grief!
But between us is the ocean, and all your London fog, and the roses of the wedding feast, and the valiant British lion, and the wrath of the fifth commandment.
Parallelism - identical syntactic construction of adjacent sentences or segments of speech.
A diligent person in a team is a treasure, a lazy person is a heavy burden.
Parcellation - a technique of dividing a phrase into parts or even into individual words. Its goal is to give speech intonation expression by abruptly pronouncing it:
The poet suddenly stood up. He turned pale.
We will be betrayed. Prudently. With love.
Purpose in the text
Anaphora
To strengthen the previous word
Antonyms
As an expressive means of creating contrast
Asyndeton
To create the impression of a quick change of pictures
Introductory words
Express the speaker's attitude towards the statement
Expression of emotional assessment of what is being communicated
Indication of the expressive nature of the statement
Indication of the sequence of presentation
An indication of the way to formulate a thought
An appeal to the reader in order to draw his attention to the facts presented
Interrogative sentences
Serve as a question
Emphasize the desired idea
Express an assumption
Are an emotional response to a situation
Exclamation
Expression of strong feelings, excitement
Expression of emotional interruption of speech
Plug-in design
Additional explanation, clarification
Amendment, reservation
Side note
Additional information
Hyperbola
To exaggerate a phenomenon
Gradation
Make an impression in increments
Participles and participial phrases
To express brevity, dynamism
Dialectisms
As a means of expression
To create local flavor
To convey the speech characteristics of residents of a certain area
Play on words
To attract attention, to focus on something
Inversion
To create additional semantic and expressive shades
Metaphor
To create imagery and compactness in terms of linguistic means
Particular expressiveness and emotionality of speech
Metonymy
Extremely brief expression of thought
Source of imagery
Multi-Union
For logical and intonation emphasis of sentence parts connected by conjunctions
To enhance speech expressiveness
Neologisms
To create a touch of unusualness and novelty
Incomplete sentences
In order to save language resources
Figurative expressions
In order to create a presentation that is lively and easy to understand
Homogeneous members
Showing the dynamics of action
Sketching the big picture as a whole
Creating a range of colors and sounds
Creation of a number of epithets
Creating a rhythmic pattern
Creation of expressive semantic correlation and unique symmetry
Personification
To create imagery and expressiveness
Parcellation
As a means of representation, allowing to enhance semantic and expressive shades of meaning
Incentive offer
To express the will of the speaker
Lexical repetition
To designate a large number of objects, phenomena
To enhance a characteristic, degree of quality or action
To indicate duration of action
Stylistic repetition
To highlight any details
To create expressive coloring
Professionalism
As an indicator of education in a certain field
Direct speech
Verbatim translation of someone else's statement
Means of characterizing the speaker
Artistic image creation tool
Conversational vocabulary
To create an atmosphere of ease and spontaneity
A rhetorical question
To attract the reader's attention
Rhetorical appeal
To express an attitude towards a particular object, give its characteristics, enhance the expressiveness of speech
Rows of synonyms
In order to indicate shades of meaning
To characterize expression or emotion
Synecdoche
Make speech precise, bright, artistic
To avoid repetition
As a reflection of high artistic skill
Comparison
To create artistic expression
Terms
Contains much more information than other words
Phraseologisms
To give expressiveness to a statement
To create imagery
Citation
For the purpose of literal transmission of other people's words
As reliability
Ellipsis
To give the statement dynamism, intonation of lively speech, artistic expressiveness
Epithets
For the purpose of artistic expression.
Phonetic means
Alliteration – repetition of consonant sounds. It is a technique for highlighting and joining words in a line. Increases the euphony of the verse.
Alliteration is the repetition of consonant sounds. For example: A roar of thunder passed across the blue sky. (S. Marshak) A sonorous trembling [r] in combination with [g] creates the impression of a clap of thunder. Examples of alliteration:
I am the free wind, I always blow, I wave the waves, I caress the willows, I sigh in the branches, sighing, I grow dumb, I cherish the grass, I cherish the fields. (To Balmont)
The repetition of [l], [l], [v], [v] creates an image of wind, the blow of which you feel almost physically.
A. S. Pushkin mastered this technique perfectly. In the novel “Eugene Onegin” he describes two ballroom dances:
The Mazurka sounded. It used to happen, when the mazurka thunder rumbled, everything in the huge hall shook, the parquet cracked under the heel, the frames shook and rattled; Now it’s not the same: we, like ladies, Slide along varnished boards.
The selection of consonant sounds gives the reader a clear idea of the difference between the dances: the smoothness and slowness of the second dance is emphasized by the abundance of sounds [l] and [m]; on the contrary, the accumulation of sounds [g], [p], [z], [z] when describing the first dance evokes a feeling of its swiftness and energy.
Assonance - repetition of vowel sounds.
Assonance is the repetition of vowels: It's time, it's time, the horns are blowing. (A. Pushkin) Assonance is usually based on only stressed vowels, since in an unstressed position the vowels often change. Examples of assonance:
I fly quickly along cast iron rails, I think my thoughts. (N. Nekrasov)
The sound [у] is repeated, creating the impression of a buzzing, rushing train.
But in the atonement of a long punishment, Having endured the blows of fate, Rus' grew stronger. So heavy damask steel, crushing glass, forges damask steel. (A. Pushkin)
Chalk, chalk all over the earth
To all limits.
The candle was burning on the table,
The candle was burning. (B. Pasternak)
In the last example, assonance on [e] is combined with alliteration on [m], [l], [v], [s]. All this creates a special musicality of poetic lines.
In artistic speech, by means of sound recording, certain images of the work are often emphasized. For example, reading Pushkin’s lines,
Once a collapse broke out,
And fell with a heavy roar,
And all the gorge between the rocks
Blocked
And the Terek is a mighty rampart
Stopped...
Visual and expressive means of language
The figurative and expressive means of language can be divided into two large groups: lexical means and syntactic means.
Lexical means
Allegory - an allegorical depiction of an abstract concept using a concrete, life-like image. In fables and fairy tales, cunning is shown in the form of a fox, greed in the form of a wolf, and deceit in the form of a snake.
Antonyms - different words related to the same part of speech, but opposite in meaning (Kind- evil, powerful- powerless). The contrast of antonyms in speech is a vivid source of speech expression, enhancing the emotionality of speech:
He was weak body, but strong in spirit.
Contextual (or contextual) antonyms - these are words that are not contrasted 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.
Hyperbola - a figurative expression that exaggerates any action, object, phenomenon. Used to enhance the artistic impression:
Snow fell from the sky in pounds.
IN one hundred and forty suns the sunset was glowing.
Alone at home as long as the stars, other - as long as the moon.
...how can we ensure that our rights are not expanded at the expense of the rights of others?(A. Solzhenitsyn)
Irony - using a word or expression in the opposite sense for the purpose of ridicule.
Fine-expressive language means of fiction include:
Epithet- an artistic and figurative definition of an object or phenomenon.
Example: sadness - "inexpressible" eyes - "huge" May - "solar", fingers - "the finest"(O. Mandel-shtam “Inexpressible sadness...")
Hyperbola- artistic exaggeration.
Example: The earth was shaking— like our breasts; Horses, people, and volleys mixed in a heap thousands of guns Merged into a long howl... (M.Yu. Lermontov “Borodino”)
Litotes- artistic understatement (“reverse hyperbole”).
Example: “The youngest son was as tall as a finger..."(A.A. Akh-matova. “Lullaby”).
Trails- words or phrases used not in a literal, but in a figurative meaning. The trails include allegory, allusion, metaphor, metonymy, personification, periphrase, symbol, symphora, synecdoche, comparison, euphemism.
Allegory- allegory, depiction of an abstract idea through a concrete, clearly represented image. The allegory is unambiguous and directly points to a strictly defined concept.
Example: fox- cunning wolf- cruelty, donkey - stupidity (in fables); gloomy Albion- England (A.S. Pushkin “When you squeeze your hand again...”).
Allusion- one of the tropes that consists in using a transparent hint of some well-known everyday, literary or historical fact instead of mentioning this fact itself.
Example: A. S. Pushkin’s mention of the Patriotic War of 1812:
Why? be responsible: for whether,
What's on the ruins of burning Moscow
We did not recognize the arrogant will
The one under whom you trembled?
(“To the slanderers of Russia”)
Metaphor- this is a hidden comparison based on some characteristics common to the compared objects or phenomena.
Example: The east is burning with a new dawn(A.S. Pushkin “Poltava”).
Personification- endowing objects and phenomena of non-living nature with the features of a living being (most often a person).
Example: “The night thickened, flew nearby, grabbed those jumping by the cloaks and, tearing them off their shoulders, exposed the deceptions(M. A. Bulgakov “The Master and Margarita”).
Metonymy- a poetic trope consisting of replacing one word or concept with another that has a causal connection with the first.
Example: There is a Museum of Ethnography in this city
Over the Neva, wide as the Nile,
(N. S. Gumilyov “Abyssinia”)
Synecdoche- one of the tropes that is built on the relationship of quantity; more instead of less or vice versa.
Example: Say: how soon will we Warsaw Will the proud man prescribe his own law? (A. S. Pushkin “Borodin Anniversary”)
Periphrase- a trope that is built on the principle of expanded metonymy and consists of replacing a word or phrase with a descriptive figure of speech, which indicates the characteristics of an object not directly named.
Example: in the poem by A. A. Akhmatova “The dark-skinned youth wandered through the alleys...” using periphrasis, A. S. Pushkin himself is depicted:
Here lay his cocked hat and the disheveled volume of Guys.
Euphemism- replacement of a rude, indecent or intimate word or statement with others that transparently hint at the true meaning (close to periphrasis in stylistic organization).
Example: woman in an interesting position instead of pregnant, recovered instead of getting fat, borrowed instead he stole it, etc.
Symbol- hidden comparison, in which the object being compared is not named, but is implied to a certain extent
variability (multiple meanings). A symbol only points to some reality, but is not compared with it unambiguously and directly; this contains the fundamental difference between a symbol and a metaphor, with which it is often confused.
Example: I'm just a cloud full of fire(K.D. Balmont “I do not know wisdom”). The only point of contact between the poet and the cloud is “fleetingness.”
Anaphora (unity of principle)- this is the repetition of similar sounds, words, syntactic and rhythmic repetitions at the beginning of adjacent verses, stanzas (in poetic works) or closely spaced phrases in a paragraph or at the beginning of adjacent paragraphs (in prose).
Example: Kohl love so crazy Kohl threaten, so seriously, Kohl scold, so rashly, Kohl chop, just like that! (A.K. Tolstoy “If you love, you go crazy...”)
Multi-Union- such a construction of a stanza, episode, verse, paragraph, when all the main logically significant phrases (segments) included in it are connected by the same conjunction:
Example: And the wind, and the rain, and the darkness
Above the cold desert of water. (I. A. Bunin “Loneliness”)
Gradation- gradual, consistent strengthening or weakening of images, comparisons, epithets and other means of artistic expression.
Example: No one will give us deliverance, Neither God, nor king, nor hero...
(E. Pothier “Internationale”)
Oxymoron (or oxymoron)- a contrasting combination of words with opposite meanings in order to create an ethical effect.
Example: “I love lush nature fading..."(A.S. Pushkin “Autumn”).
Alliteration- a technique of sound writing that gives lines of verse or parts of prose a special sound through the repetition of certain consonant sounds.
Example: “Katya, Katya,” they are cutting out the horseshoes for my race...” In I. Selvinsky’s poem “The Black-Eyed Cossack Woman,” the repetition of the sound “k” imitates the clatter of hooves.
Antiphrasis- the use of a word or expression in a sense opposite to its semantics, most often ironic.
Example: ...He sang faded color of life"Almost at eighteen years old. (A. S. Pushkin “Eugene Onegin”)
Stylization- this is a technique that consists in the fact that the author deliberately imitates the style, manner, poetics of some other famous work or group of works.
Example: in the poem “Tsarskoye Selo Statue” A. S. Pushkin resorts to stylization of ancient poetry:
Having dropped the urn with water, the maiden broke it on a cliff. The virgin sits sadly, idle holding a shard. Miracle! The water does not dry up, pouring out from the broken urn, the Virgin sits eternally sad over the eternal stream.
Anthology- the use of words and expressions in the work in their direct, immediate, everyday meaning. This is neutral, “prosaic” speech.
Example: Winter. What should we do in the village? I meet a Servant bringing me a cup of tea in the morning with questions: is it warm? Has the snowstorm subsided? (A.S. Pushkin “Winter. What should we do in the village?..”)
Antithesis- artistic contrast of images, concepts, positions, situations, etc.
Example: here is a fragment of the historical song “Choice of Er-mak as Ataman”:
Unclear falcons flew together - They gathered and gathered Good fellows...
Fine and expressive means of language.
Didactic material for
Compiled by E. V. Beloshapkina,
teacher of Russian language
Municipal educational institution secondary school №3.
Bogotol
Preface
The manual “Didactic materials for preparing for the Unified State Exam in the Russian Language” is intended for teachers of the Russian language and literature preparing graduate students for certification in the form of the Unified State Exam.
Its purpose is to help the teacher develop in schoolchildren the skills of recognizing the visual and expressive means of language in the text, to teach the children to see their purpose (role) in a work of art.
These “Didactic Materials” can be used by teachers and students at the stage of preparing students to complete task B8, as well as when practicing the skills of writing an argumentative essay (Part C).
These tasks, as a rule, cause serious difficulties for students, since most graduates have a rather weak understanding of the most significant figurative and expressive means of language and their role in the text, and it is impossible to master the skills of using linguistic means in one’s own speech without a well-developed conceptual apparatus .
Today, the Unified State Examination in the Russian language requires the graduate to be able to formulate his point of view on a particular problem, and for this, the student must be able to refer to the proposed text, see this problem, and reveal the position of the author. Turning to the analysis of linguistic means helps to reveal the author's intention and formulate one's view of the problem.
“Didactic materials” contain a list of the most important language means with a detailed explanation of concepts, introduce ways of expressing individual language means, and their role in the text.
The articles in the manual are supported by examples.
Practical tasks specially selected for each type of tropes and stylistic figures can be used at the stage of consolidating the material being studied.
Test tasks allow you to check the level of students' mastery of this topic.
The material is presented in an accessible form and can be used during independent preparation for the exam.
Fine- expressive means of language.
In various linguistic styles, especially in fiction, journalism, and colloquial speech, linguistic means are widely used that enhance the effectiveness of the statement due to the fact that various expressive and emotional shades are added to its purely logical content.
Strengthening the expressiveness of speech is achieved by various means, primarily by using tropes.
TROPE- a figure of speech in which a word or expression is used figuratively.
The trope is based on a comparison of two concepts that seem
close to us in some way.
EPITHET- this is a word that defines an object or action and emphasizes some characteristic property or quality in them.
The stylistic function of the epithet lies in its artistic expressiveness. Adjectives and participles are especially expressive in the function of epithets, due to their inherent semantic richness and diversity.
For example, in the sentence:
And the waves of the sea sad roared against the stone(M. G.) the adjective acts as an epithet sad, defining a noun roar due to its use in a figurative meaning.
The adverb plays the same role proudly in a sentence: Between the clouds and the sea proudly flies Petrel...(M.G.)
Or noun voivode in a sentence Freezing- voivode patrols the property theirs (I.)
COMPARISON - it is a comparison of two phenomena in order to explain one of them with the help of the other.
“Comparison is one of the most natural and effective means for description,” pointed out L. N. Tolstoy.
The stylistic function of comparison is manifested in the artistic expressiveness that it creates in the text.
For example, in the sentence The Dreadnought fought like a living creature even more majestic among the roaring sea and thunderous explosions (A.T.) not only is the Dreadnought and a living creature compared, it is not just explained how the Dreadnought fought, but an artistic image is created.
Comparisons are expressed in various ways:
2) the form of the comparative degree of an adjective or adverb: You are the cutest of all, everyone expensive, Russian, loamy, hard soil(Marmot.);
3) revolutions with various unions: Below him is Kazbek, like the face of a diamond shone with eternal snows (L.); However, these were more caricatures than portraits (T.);
4) lexically (using words similar, similarAnd etc.): Her love for her son was like madness(M.G.).
Along with simple comparisons, in which two phenomena are brought closer together based on some common characteristic, detailed comparisons are used, in which many similar features are compared:... Chichikov was still standing still in the same place, like a man who went out entirely into the street to take a walk, with his eyes disposed to look at everything, and suddenly stopped motionless, remembering that he had forgotten something, and then nothing could be more stupid to be such a person: instantly the carefree expression flies from his face; he is trying to remember what he forgot, is it not a handkerchief, but a handkerchief in his pocket, is it not money, but money is also in his pocket; everything seems to be with him, and yet some unknown spirit whispers in his ears that he has forgotten something.
METAPHOR- is a word or expression that is used figuratively on the basis of similarity in some respect between two objects or phenomena.
For example, in the sentence Reconciled you, my spring high-flown dreams (P.) the word spring is used metaphorically in the meaning of the word “youth.”
In contrast to the binomial comparison, which also states that
is compared, and that with which it is compared, the metaphor contains only that with which it is compared. Like a simile, a metaphor can be simple and extensive, built on various associations of similarity:
Here comes the wind flocks waves hug strong and throws them with a swing in wild anger onto the cliffs, smashing them into dust and emerald splashes
communities (M.G.)
METONYMY- this is a word or expression that is used in a figurative meaning on the basis of external and internal connections between two objects or phenomena.
This connection could be:
1) between content and content: I three plates ate(Kr.)
3) between an action and the instrument of that action: He doomed their villages and fields for a violent raid swords and fires (P.)
4) between an object and the material from which the object is made: Not on silver - on gold ate (Gr.)
5) between a place and the people in that place: All field gasped. (P.)
SYNECDOCHE - This is a type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them.
Typically used in synecdoche:
3) part instead of whole: ((Do you need anything? - “In roof for my family" (Hertz.);
4) generic name instead of specific name: Well, sit down, light(M.; instead of the sun);
5) specific name instead of generic name: Above all, take care a penny(G.; instead of money).
HYPERBOLA is a figurative expression containing an exorbitant exaggeration of the size, strength, significance, etc. of any phenomenon:
The sunset glowed at one hundred and forty suns (M.).
LITOTA - this is an expression containing an exorbitant understatement of the size, strength, significance of any phenomenon I:
Below a thin blade of grass you have to bow your head... (N).
Another meaning of litotes- definition of a concept or object by negating the opposite
(cf. not bad said - Fine said): Not expensive I appreciate loud rights, from which more than one person’s head is spinning (P).
Our world is wonderfully designed... It has an excellent cook, but, unfortunately, such a small mouth that it can’t miss more than two pieces; the other has a mouth the size of the arch of the General Staff building, but, alas, I must be content with some German potato dinner (G).
IRONY- This is the use of a word or expression in a sense contrary to its literal meaning, for the purpose of ridicule:
Otkole, smart, you're crazy!(Kr.) - addressing a donkey.
ALLEGORY- this is an allegorical depiction of an abstract concept using a specific life image.
Allegory is often used in fables and fairy tales, where animals, objects, and natural phenomena act as carriers of human properties. For example, cunning is shown in the form of a fox, greed in the form of a wolf, deceit in the form of a snake, etc.
PERSONALIZATION- this is the transfer of human properties to inanimate objects and abstract concepts:
I will whistle, and obediently, timidly will creep in bloody villainy, and hand will to me lick, and in the eyes look, in them is a sign of my reading of my will (P.);
Will be consoled silent sadness, and frisky joy will reflect... (P.)
PERIPHRASE (or PERIPHRASE) - this is a turnover consisting of replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features:
king of beasts(instead of a lion).
Wed. at A. S. Pushkin: creator of Macbeth(Shakespeare),
Lithuanian singer(Mickiewicz),
singer of Gyaur and Juan(Byron)
Stylistic figures.
To enhance the figurative and expressive function of speech, special syntactic structures are used - the so-called stylistic (or rhetorical) figures.
The most important stylistic figures include:
Anaphora (or unity of command)
Epiphora (or ending)
Parallelism
Antithesis
Oxymoron
(Greek: “witty-stupid”)
Gradation
Inversion
Ellipsis
Default
Rhetorical appeal
A rhetorical question
Multi-Union
Asyndeton
ANAPHOR (or UNITY)- this is the repetition of individual words or phrases at the beginning of the passages that make up the utterance.
For example, (lexical anaphor):
I swear I am the first day of creation,
I swear his last day,
I swear the shame of crime
And triumph of eternal truth... (L.)
The same type of syntactic constructions can be repeated (syntactic anaphora):
I am standing at the high doors,
I I'm watching at your work (St.)
I won’t break, I won’t waver, I won’t get tired*
I will not forgive my enemies a single grain (Berg.).
EPIPHORA (or ENDING)- this is the repetition of words or expressions at the end of adjacent passages (sentences):
I would like to know why I titular advisor? Why exactly titular advisor?(G.)
PARALLELISM- this is the same syntactic construction of neighboring sentences or segments of speech:
Young people are treasured everywhere, old people are honored everywhere (L.-K.). An example of parallelism is the famous poem by M. Yu. Lermontov “When the yellowing field is agitated...”:
When the yellowing field is agitated
And a fresh trail rustles with the sound of the breeze...
When, sprinkled with fragrant dew,
On a ruddy evening or morning at the golden hour...
When the icy spring plays along the ravine
And, plunging the thought into some kind of vague dream...
ANTITHESIS - This is a figure of speech in which, to enhance expressiveness, opposing concepts are sharply contrasted:
Where there was a table of food, there the coffin stands (Derzh.).
Often the antithesis is built on lexical antonyms: The rich even feast on weekdays, but poor and in holiday grieves (last).
OXYMORON- this is a stylistic figure consisting of a combination of two concepts that contradict each other, logically excluding one another:
bitter joy; ringing silence; eloquent silence;
“Living Corpse” (L. T.);
"Optimistic tragedy" (Vishn.)
GRADATION - This is a stylistic figure consisting of such an arrangement of words in which each subsequent one contains an increasing (less often - decreasing) meaning, due to which an increase (less often - weakening) of the impression they make is created.
Examples of ascending gradation: In autumn, the feather grass steppes completely change and receive their special, original, unlike anything else view(ax);
Arriving home, Laevsky and Nadezhda Fedorovna entered their dark, stuffy, boring rooms (Ch.).
Example of descending gradation:
I swear to the wounds of Leningrad,
The first devastated hearths;
I won’t break, I won’t waver, I won’t get tired
I won’t give a single grain to my enemies (Berg.)
INVERSION- this is the arrangement of the members of a sentence in a special order, violating the usual, so-called direct order, in order to enhance the expressiveness of speech. But not every reverse word order is an inversion; we can talk about it only when stylistic goals are set when using it - increasing the expressiveness of speech:
WITH horror I thought, where is all this leading! AND with despair recognized his power over my soul (P.);
The horses were brought out. Didn't like it they tell me (T.);
After all, he was a friend to me (L.T.);
Inversion enhances the semantic load of the members of the sentence and transfers the statement from a neutral plane to an expressive-emotional one . hand gave it to me as a farewell (Ch.);
Amazing our people (Er.);
He asked for dinners excellent(T.);
Soul to high stretches (Pan.).
ELLIPSIS- this is a stylistic figure consisting in the omission of any implied member of the sentence:
We villages- into ashes, hail into dust, into swords - sickles and plows (Zhuk.);
Instead of bread- stone instead of teaching- beater (S.-Sch.);
An officer with a pistol, Tyorkin with a soft bayonet (Te.).
The use of ellipsis gives the statement dynamism, intonation of lively speech, and artistic expressiveness.
DEFAULT- this is a turn of phrase in which the author deliberately does not fully express a thought, leaving the reader (or listener) to guess what is unspoken: No, I wanted... maybe you... I thought it was time for the baron to die (P.);
What did you both think and feel? Who will know? Who's to say? There are such moments in life, such feelings. You can only point them out- and pass by (T.)
RHETORICAL APPEAL- this is a stylistic figure consisting of an emphasized appeal to someone or something to enhance the expressiveness of speech:
Flowers, love, village, idleness, field!
I am devoted to you with my soul (P.);
ABOUT You, whose letters are many, many in my briefcase on the bank! (H);
"Quiet, speakers! Your word, Comrade Mauser (M.)
Rhetorical appeals serve not so much to name the addressee of speech, but rather to express an attitude towards a particular object, characterize it, and enhance the expressiveness of speech.
A RHETORICAL QUESTION- this is a stylistic figure, consisting in the fact that a question is posed not with the goal of getting an answer to it, but in order to attract the attention of the reader (or listener) to a particular phenomenon:
Do you know Ukrainian night? (G.);
Is it new to argue over Europe? Or is the Russian unaccustomed to victories? (P.)
MULTI-UNION- this is a stylistic figure consisting of the deliberate use of repeated conjunctions for logical and intonational emphasis of the members of the sentence connected by the conjunctions. Serves to enhance the expressiveness of speech:
A thin rain fell on the forests, and on the fields, and on the wide Dnieper (G.);
The ocean walked before our eyes, and swayed, and thundered, and sparkled, and faded, and shone, and went into infinity (Cor.).
The same when repeating a conjunction between parts of a complex sentence:
At night, houses burned, and the wind blew, and black bodies swayed from the wind on gallows, and crows screamed over them (Kupr.)
ASYNDETON - this is a stylistic figure consisting of the deliberate omission of connecting conjunctions between members of a sentence or between sentences :
the absence of conjunctions gives the statement speed and richness of impressions within the overall picture:
Swede, Russian - stabbing, chopping, cutting, drumming, yushki, grinding, thunder of guns, stomping, neighing, groaning... (P.)
A non-union listing of subject names can be used to create the impression of a quick change of pictures:
Booths, women, boys, shops, lanterns, palaces, gardens, monasteries, Bukharians, sleighs, vegetable gardens, merchants, shacks, men, boulevards, towers, Cossacks, pharmacies, fashion stores, balconies, lions on the gates flash past... ( P.)
Functions of individual figurative and expressive means of language
Type of trail | Functions in speech |
Emphasizes the most significant feature of an object or phenomenon. Used with the word it defines, enhancing its imagery. |
|
Comparison | These linguistic means help to see unity of the world, notice similarities in dissimilar phenomena. By bringing such distant objects closer together, they discover their new properties, something we did not know before. Gives an emotional tone to a statement |
Metaphor |
|
Personification |
|
Metonymy | Thanks to metonymy, we see this object, this action in its uniqueness. |
Synecdoche | Indicates similarities and differences, connections and relationships between objects. |
|
In folklore they often serve as means of creating an image. |
|
Based on contrast. Reveals the true meaning of the attitude towards the hero. |
|
Allegory | Serves to create a bright artistic image. |
Periphrase (or paraphrase) |
Increases expressiveness of speech. |
Types of stylistic figures | Functions in speech |
Anaphora (or unity of command) | They add melodiousness and musicality to the poems. |
Epiphora (or ending) |
|
Parallelism |
|
Antithesis | The combination of concepts that are contrasting in meaning further emphasizes their meaning and makes poetic speech more vivid and figurative. Using this medium, writers can more accurately paint a picture, convey a feeling or thought, and discover the contradictions that exist in life. |
Oxymoron (Greek: “witty-stupid”) | This linguistic device is used to characterize teristics of complex life phenomena. |
Gradation | |
Inversion | Increasing the expressiveness of speech. |
Ellipsis | In works of literature, it gives speech dynamism, ease, and makes it look like an oral conversation: |
Default | Helps convey the emotional state of the hero (author) |
Rhetorical appeal Rhetorical exclamation | They serve to enhance the emotional and aesthetic perception of what is depicted. |
A rhetorical question | Serves to attract the reader's attention to what is depicted. |
Multi-Union | Serves to enhance the expressiveness of speech. |
Asyndeton | Gives the statement speed, richness of impressions within the overall picture or to create the impression of a quick change of pictures: |
Tasks that allow you to practice the skills of finding and determining the function of figurative and expressive means of language in speech.
Tasks for the “Paths” section:
I. INDICATE EPITHETS AND DETERMINE THEIR STYLISTIC FUNCTION .
1.Among the flowering fields and mountains, a friend of humanity sadly notices the murderous shame of ignorance everywhere. (P.)
2. If some goose - a landowner - comes to them, the bear will come straight into the living room. (G.)
3. He boldly and straightly walks to the shore with long steps, he loudly calls out to his comrades and menacingly calls the marshals. (L.)
4. As if he himself was engulfed in slumber, the old man-ocean seemed to become silent. (Art.)
5.He was especially embarrassed by Olga’s childish angry words. (M.G.)
6. Petrograd lived in these January nights tensely, excitedly, angrily, furiously. (A.T.)
7.The shadow of Miloslavsky, terrible since childhood, rose again. (A.T.)
8. We go into the attack in steel ranks with a firm step. (Marmot.)
9. Let the wind of iron vengeance sweep the rapist into the abyss.
10. Come on, sing us a song, cheerful wind. (OK.)
II . INDICATE COMPARISONS AND DETERMINE WHAT WAYS THEY ARE EXPRESSED.
1. He ran faster than a horse... (P.)
2. Below, like a steel mirror, the lakes of jets turn blue. (Tyutch.)
3. And the old cat Vaska was, it seems, more affectionate towards him than towards anyone else in the house.
4. (Pushkin's verse) tender, sweet, soft, like the murmur of a wave, viscous and thick, like resin, bright, like lightning, transparent and pure, like crystal, fragrant and fragrant, like spring, strong and powerful, like a blow from a sword in the hands of a hero. (White)
5. Whiter than the snowy mountains, the clouds are moving to the west. (L.)
6. The fragile ice lies on the chilly river like melting sugar. (N.)
7.Farewell tears flowed like hail from the chopped old birch tree. (N)
8. Now touching the wave with his wing, now soaring up to the clouds like an arrow, he screams, and the clouds hear joy in the bold cry of the bird, (M. G.)
9. Pyramid poplars are similar to mourning cypresses. (Ser.)
10.On Red Square, as if through the fog of centuries, the outlines of walls and towers appear unclear. (A.T.)
11. Our guys melted like candles. (F.)
III. SPECIFY METAPHORS. DETERMINE WHAT THE METAPHORICAL USE OF WORDS IS BASED ON.
1. The sun of Russian poetry has set (about Pushkin). (Bug.)
2. The east is burning with a new dawn. (P.)
3.Memory silently develops its long scroll in front of me (P).
4. Nature here destined us to open a window to Europe. (P.)
5.A kite swam high and slowly over the gardens. (Gonch.)
b. Everything in him breathed with the happy gaiety of health, breathed with youth. (T.)
7.People tamed animals only at the dawn of human culture. (Priv.)
8. The wind is blowing, snow is fluttering. (Bl..)
9. Having unfurled my troops in a parade, I walk along the line front. (M.)
10.The river sleeps quietly. (Her.)
IV. UTELL US WHAT METONYMY IS BASED ON.
1. Well, eat another plate, my dear! (Kr.)
2. No, my Moscow did not go to him with a guilty head. (P.)
3. Here the wild nobility, without feeling, without law, has appropriated to itself with a violent vine the labor, property, and time of the farmer. (P).
4. I read Apuleius willingly, but did not read Cicero. (P.)
5. Here, along their new waves, all the flags will visit us. (P.)
6. But our open bivouac was quiet. (L.)
7. Cry, Russian land! But also be proud. (N.)
8. His pen breathes revenge. (ACT.)
9. And in the door there are pea coats, overcoats, sheepskin coats. (M.)
10. You can only hear a lonely accordion wandering somewhere on the street. (Isa.)
V. MAKE SENTENCES USING SYNECDOCHE IN VARIOUS MEANINGS.
VI. FIND EXAMPLES OF HYPERBOLE IN THE DESCRIPTION OF THE DNIEPR
N. V. GOGOL (“Terrible Revenge”, Chapter 10).
VII. USING I. A. KRYLOV'S FABLES AS AN EXAMPLE, SHOW THE USE OF ALLEGORY.
VIII. COMPOSE A SMALL TEXT USING ONE OF THE FIGURES OF REPETITION (parallelism, anaphora or epiphora).
IX. MAKE SEVERAL PERIPHRASES, REPLACING THEM:
1) the names of writers, scientists, public figures;
2) names of animals;
3) names of plants;
4) geographical names.
Tasks for the section “Stylistic figures”:
I. SELECT 10 PROVERBS BUILDED ON THE PRINCIPLE OF ANTITHESIS.
II. FIND EXAMPLES OF USING INVERSION IN STORIES BY MODERN AUTHORS.
III. FIND EXAMPLES OF RHETORICAL APPEAL IN THE POEMS OF A. S. PUSHKIN, N. A. NEKRASOV, V. V. MAYAKOVSKY.
IV. FIND CASES OF POLY UNION AND LESS UNION IN WORKS OF MODERN FICTION. EXPLAIN THE USE OF THOSE AND OTHER REVERSES.
CHECK YOURSELF.
1.The whole room has an amber shine
Illuminated...
2.I lived like my grandfathers, in the old fashioned way.
Z. With your feet resting on the globe,
I hold the ball of the sun in my hands...
4. The moon looks timidly into the eyes,
I'm surprised the day hasn't passed...
5. The spruce covered my path with its sleeve.
6. He led swords to a bountiful feast.
7.3 I hit the shell tightly into the gun
And I thought: I’ll treat my friend!
Wait a minute, brother monsieur!
8. A boy with a thumb.
9. The Poet died! - slave of honor.
10. No, my Moscow did not go to him with a guilty head.
1. The golden cloud spent the night
On the chest of a giant cliff.
2. Eyes as blue as the sky.
3. Be careful of the wind
He came out of the gate.
4. Trees in winter silver.
5....Tears a mouth wider than the Gulf of Mexico.
6.... You will fall asleep, surrounded by care
dear and beloved family.
7. The scarlet dawn rises
She scattered her golden curls...
8. Above all, save a penny...
9. The cheat approaches the tree on tiptoe,
He twirls his tail and doesn’t take his eyes off the crow.
0. No, my Moscow didn’t go
To him with a guilty head.
1. Black evening, white snow.
Wind. Wind....
2. The rain is pouring incessantly,
Tormenting rain...
3. Your mind is silent, like the sea,
Your spirit is as high as the mountains.
4. My friend! Let's dedicate it to the Fatherland
Beautiful impulses from the soul!
5. And the waves crowd and rush back,
And they come again and hit the shore...
6. Not the wind, blowing from above,
The sheets were touched by the moonlit night...
7. They came together: a wave and a stone,
Poems and prose, ice and fire...
8. He moans through the fields, along the roads,
He groans in prisons, in prisons...
9. What is he looking for in a distant country?
What did he do in his native country?..
lO. I don’t regret, I don’t call, I don’t cry...
1. Ah! Calm down, storm!
2. The bride and groom are waiting there, -
No priest
And here I am.
There they take care of the baby, -
No priest
And here I am.
3. Everything flew far away, past.
4.I came, I saw, I conquered..
5. The driver whistled
The horses galloped.
b. That's what this book is like. Completely simple and complex. For children and adults. The book of my childhood...
7.On the window, silver with frost.
The chrysanthemums bloomed overnight.
8. Women flash past the booth,
Boys, benches, lanterns...
9. I swear by the first day of creation,
I swear on his last day...
10. Eloquent silence.
1.The blue sky laughs...
2. There are too many people in the room in a day.
3. Poor luxury.
4. City on the Yenisei.
5. My life! Or did I dream about you?
6.They entered their dark, stuffy, boring rooms.
7. The word settled into crumbs in my hands.
8. Wind Tramp.
9. The rich man feasts on weekdays, but the poor man grieves on holidays.
Yu. All the flags will come to visit us.
Answers to tests
Test No. 1. Test No. 3.
Epithet Antithesis
Epiphora comparison
Hyperbole Parallelism
Personification Rhetorical exclamation
Metaphor Polyunion
Metonymy Inversion
Irony Antithesis
Litota Anaphora
Periphrase Rhetorical question
Metonymy. Gradation.
Test No. 2. Test No. 4.
Epithet Rhetorical address
Epiphora comparison
Personification Ellipsis
Comparison Gradation
Hyperbole Parallelism
Irony Parcellation
Metaphor Inversion
Synecdoche Bessoyuzie
Allegory Anaphora
Metonymy. Oxymoron
Metaphor
Hyperbola
Oxymoron
Periphrase
A rhetorical question
Gradation
Comparison
Antithesis
Metonymy
Table simulator*
To the section "Trails"
Type of trail | Definition |
A word that defines an object or action and emphasizes some characteristic property or quality in them. |
|
Comparison | A comparison of two phenomena in order to explain one of them with the help of the other. |
Metaphor | A word or expression that is used figuratively based on the similarity in some respect of two objects or phenomena. |
Metonymy | A word or expression that is used figuratively on the basis of an external and internal connection between two objects or phenomena. |
Synecdoche | A type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them. |
Hyperbola | A figurative expression containing an exorbitant exaggeration of the size, strength, significance, etc. of any phenomenon. |
An expression containing an exorbitant understatement of the size, strength, or significance of any phenomenon. Definition of a concept or object by negating the opposite |
|
Using a word or expression in a meaning contrary to its literal meaning for the purpose of ridicule. |
|
Allegory | An allegorical depiction of an abstract concept using a specific life image. |
Personification | Transferring human properties to inanimate objects and abstract concepts. |
Periphrase (or paraphrase) | A turnover consisting of replacing the name of an object or phenomenon with a description of its essential features or an indication of its characteristic features. |
To the section “Stylistic figures”
Types of stylistic figures | Definition |
Anaphora (or unity of command) | Repetition of individual words or phrases at the beginning of passages that make up a statement. |
Epiphora (or ending) | Repeating words or expressions at the end of adjacent passages (sentences). |
Parallelism | Identical syntactic construction of adjacent sentences or segments of speech. |
Antithesis | A figure of speech in which, to enhance expressiveness, opposing concepts are sharply contrasted: |
Oxymoron (Greek: “witty-stupid”) | A stylistic figure consisting of a combination of two concepts that contradict each other, logically excluding one another. |
Gradation | A stylistic figure consisting of such an arrangement of words in which each subsequent one contains an increasing (decreasing) meaning, due to which an increase (weakening) of the impression they make is created. |
Inversion | Arranging the members of a sentence in a special order, violating the usual, so-called direct order, in order to enhance the expressiveness of speech |
Ellipsis | A stylistic figure consisting in the omission of some implied member of the sentence |
Default | |
Rhetorical appeal | A stylistic figure consisting of an emphasized appeal to someone or something to enhance the expressiveness of speech |
A rhetorical question | A stylistic figure consisting in the fact that a question is posed not with the goal of getting an answer, but in order to attract the attention of the reader (or listener) to a particular phenomenon: |
Multi-Union | A stylistic figure consisting of the deliberate use of repeated conjunctions for logical and intonation emphasizing the parts of a sentence connected by conjunctions, to enhance the expressiveness of speech: |
Asyndeton | A stylistic figure consisting of the deliberate omission of connecting conjunctions between members of a sentence or between sentences: the absence of conjunctions gives the statement speed, richness of impressions within the overall picture |
* These tables can be used in lessons to reinforce the concepts of tropes and stylistic figures. (Possible form of work – “Find your match”)
Used Books:
D. E. Rosenthal. Practical stylistics of the Russian language
As one of the art forms, literature has its own based on the capabilities of language and speech. They are generally referred to as “visual means in literature.” The task of these means is to extremely expressively describe the depicted reality and convey the meaning, artistic idea of the work, as well as create a certain mood.
Paths and figures
Expressive and figurative means of language are various tropes and the word “trope” translated from Greek means “turnover”, that is, it is some kind of expression or word used in a figurative meaning. The author uses the trope for greater imagery. Epithets, metaphors, personification, hyperbole and other artistic devices are tropes. Figures of speech are figures of speech that enhance the emotional tone of a work. Antithesis, epiphora, inversion and many others are figurative means in literature, referred to under the general name of “figures of speech”. Now let's look at them in more detail.
Epithets
The most common literary device is the use of epithets, that is, figurative, often metaphorical, words that pictorially characterize the object being described. We will find epithets in folklore (“the feast is honorable,” “the treasury is countless in gold” in the epic “Sadko”) and in author’s works (“the cautious and dull” sound of a fallen fruit in Mandelstam’s poem). The more expressive the epithet, the more emotional and vivid the image created by the artist of words.
Metaphors
The term “metaphor” came to us from the Greek language, as does the designation of most tropes. It literally means "figurative meaning". If the author likens a drop of dew to a grain of diamond, and a crimson bunch of rowan to a fire, then we are talking about a metaphor.
Metonymy
A very interesting figurative means of language is metonymy. Translated from Greek - renaming. In this case, the name of one object is transferred to another, and a new image is born. The great dream come true of Peter the Great about all the flags that will “visit us” from Pushkin’s “Bronze Horseman” - this word “flags” replaces in this case the concepts of “country, state”. Metonymy is readily used in the media and in colloquial speech: “White House,” for example, is not a building, but its inhabitants. When we say “the teeth are gone,” we mean that the toothache has disappeared.
Synecdoche in translation is a ratio. This is also a transfer of meaning, but only on a quantitative basis: “the German moved to attack” (meaning German regiments), “no bird flies here, no beast comes here” (we are, of course, talking about many animals and birds).
Oxymoron
A figurative means of expression in literature is also an oxymoron. which may also turn out to be a stylistic error - a combination of incompatible things; in literal translation this Greek word sounds like “witty-stupid.” Examples of an oxymoron are the names of famous books “Hot Snow”, “Virgin Soil Upturned” or “The Living Corpse”.
Parallelism and parcellation
Parallelism (the deliberate use of similar syntactic structures in adjacent lines and sentences) and parcellation (dividing a phrase into separate words) are often used as an expressive technique. An example of the first can be found in the book of Solomon: “A time to mourn, and a time to dance.” Example of the second:
- “I'm going. And you go. You and I are on the same path.
I will find. You won't find it. If you follow along."
Inversion
What other visual means can be found in artistic speech? Inversion. The term comes from a Latin word and translates as “rearrangement, reversal.” is the rearrangement of words or parts of a sentence from normal to reverse order. This is done so that the statement looks more significant, biting or colorful: “Our long-suffering people!”, “A crazy, stunned age.”
Hyperbola. Litotes. Irony
Expressive visual means in literature are also hyperbole, litotes, and irony. The first and second fall into the category of exaggeration-understatement. The description of the hero Mikula Selyaninovich, who with one hand “pulled” out of the ground a plow that all of Volga Svyatoslavovich’s “good squad” could not budge, can be called hyperbole. Litota, on the contrary, makes the image ridiculously small when a miniature dog is said to be “no bigger than a thimble.” Irony, which literally sounds like “pretense” in translation, is intended to call an object not what it seems. This is a subtle mockery in which the literal meaning is hidden under the opposite statement. For example, here is an ironic appeal to a tongue-tied person: “Why, Cicero, can’t put two words together?” The ironic meaning of the address lies in the fact that Cicero was a brilliant orator.
Personification and comparison
The picturesque paths are comparison and personification. These visual means in literature create a special poetics that appeals to the cultural erudition of the reader. Simile is the most frequently used technique, when a swirling whirlwind of snowflakes near a window pane is compared, for example, with a swarm of midges flying towards the light (B. Pasternak). Or, as in Joseph Brodsky, a hawk flies in the sky “like a square root.” When personified, inanimate objects acquire “living” properties through the will of the artist. This is the “breath of the pan”, from which “the skin becomes warm”, in Yevtushenko, or the small “maple tree” in Yesenin, which “sucks” the “green udder” of the adult tree near which it grew up. And let us remember the Pasternak blizzard, which “sculpts” “circles and arrows” on the window glass!
Pun. Gradation. Antithesis
Among the stylistic figures we can also mention pun, gradation, antithesis.
A pun, a term of French origin, involves a witty play on the different meanings of a word. For example, in the joke: “I pulled my bow and went to a masquerade dressed as Cipollino.”
Gradation is the arrangement of homogeneous members according to the strengthening or weakening of their emotional intensity: entered, saw, took possession.
Antithesis is a sharp, stunning opposition, like Pushkin’s in “Little Tragedies,” when he describes the table at which they recently feasted, and now there is a coffin on it. The device of antithesis enhances the dark metaphorical meaning of the story.
Here are the main visual means that the master uses to give his readers a spectacular, relief and colorful world of words.
Expressiveness of Russian speech. Means of expression.
Visual and expressive means of language
TRAILS -using the word figuratively. Lexical argument
|
List of tropes |
Meaning of the term |
Example |
|
Allegory |
Allegory. A trope consisting in an allegorical depiction of an abstract concept using a concrete, life-like image. |
In fables and fairy tales, cunning is shown in the form of a fox, greed - in the form of a wolf. |
|
Hyperbola |
A means of artistic representation based on exaggeration |
Huge eyes, like spotlights (V. Mayakovsky) |
|
Grotesque |
Extreme exaggeration, giving the image a fantastic character |
The mayor with a stuffed head at Saltykov-Shchedrin. |
|
Irony |
Ridicule, which contains an assessment of what is being ridiculed. A sign of irony is a double meaning, where the truth is not what is directly expressed, but its opposite, implied. |
Where are you getting your head from, smart one? (I. Krylov). |
|
Litotes |
A means of artistic representation based on understatement (as opposed to hyperbole) |
The waist is no thicker than a bottle neck (N. Gogol). |
|
Metaphor, extended metaphor |
Hidden comparison. A type of trope in which individual words or expressions are brought together by the similarity of their meanings or by contrast. Sometimes the entire poem is an expanded poetic image |
With a sheaf of your oat hair You belong to me forever. (S. Yesenin.) |
|
Metonymy |
A type of trope in which words are brought together by the contiguity of the concepts they denote. A phenomenon or object is depicted using other words or concepts. For example, the name of the profession is replaced by the name of the instrument of activity. There are many examples: transfer from a vessel to its contents, from a person to his clothes, from a locality to residents, from an organization to participants, from an author to works |
When will the shore of hell take me forever, When will Pero, my joy, fall asleep forever... (A. Pushkin.) I ate on silver and gold. Well, eat another plate, son. |
|
Personification |
Such an image of inanimate objects in which they are endowed with the properties of living beings, the gift of speech, the ability to think and feel |
What are you howling about, wind? night, Why are you complaining so madly? (F. Tyutchev.) |
|
Periphrase (or paraphrase) |
One of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its most characteristic features, enhancing the figurativeness of speech |
King of beasts (instead of lion) |
|
Synecdoche |
A type of metonymy consisting in transferring the meaning of one object to another based on the quantitative relationship between them: part instead of the whole; whole in the meaning of part; singular in the meaning of general; replacing a number with a set; replacing a species concept with a generic concept |
All flags will be visiting us. (A. Pushkin.); Swede, Russian stabs, chops, cuts. We all look at Nap oleons. |
|
Epithet |
Figurative definition; a word that defines an object and emphasizes its properties |
The grove dissuaded golden with Birch's cheerful tongue. |
|
Comparison |
A technique based on comparing a phenomenon or concept with another phenomenon |
The fragile ice lies on the chilly river like melting sugar. (N. Nekrasov.) |
FIGURES OF SPEECH
A generalized name for stylistic devices in which a word, unlike tropes, does not necessarily have a figurative meaning. Grammatical argument.
|
Figure |
Meaning of the term |
Example |
|
Anaphora (or unity) |
Repetition of words or phrases at the beginning of sentences, poetic lines, stanzas. |
I love you, Petra’s creation, I love your strict, slender appearance... |
|
Antithesis |
Stylistic device of contrast, opposition of phenomena and concepts. Often based on the use of antonyms |
And the new so denies the old!.. It ages before our eyes! Already shorter than the skirt. It's already longer! The leaders are younger. It's already older! Kinder morals. |
|
Gradation |
(graduality) - a stylistic means that allows you to recreate events and actions, thoughts and feelings in the process, in development, in increasing or decreasing significance |
I do not regret, do not call, do not cry, Everything will pass like smoke from white apple trees. |
|
Inversion |
Rearrangement; a stylistic figure consisting of a violation of the general grammatical sequence of speech |
He passed the doorman like an arrow and flew up the marble steps. |
|
Lexical repetition |
Intentional repetition of the same word in the text |
Forgive me, forgive me, forgive me! And I forgive you, and I forgive you. I don’t hold any grudges, I promise you that, But only you will forgive me too! |
|
Pleonasm |
Repetition of similar words and phrases, the intensification of which creates a particular stylistic effect. |
My friend, my friend, I am very, very sick. |
|
Oxymoron |
A combination of words with opposite meanings that do not go together. |
Dead souls, bitter joy, sweet sorrow, ringing silence. |
|
Rhetorical question, exclamation, appeal |
Techniques used to enhance the expressiveness of speech. A rhetorical question is asked not with the goal of getting an answer, but for the emotional impact on the reader. Exclamations and addresses enhance emotional perception |
Where will you gallop, proud horse, and where will you land your hooves? (A. Pushkin.) What a summer! What a summer! Yes, this is just witchcraft. (F. Tyutchev.) |
|
Syntactic parallelism |
A technique consisting in similar construction of sentences, lines or stanzas. |
I lookI look at the future with fear, I look at the past with longing... |
|
Default |
A figure that leaves the listener to guess and think about what will be discussed in a suddenly interrupted statement. |
You'll be going home soon: Look... So what? my To tell the truth, no one is very concerned about fate. |
|
Ellipsis |
A figure of poetic syntax based on the omission of one of the members of a sentence, easily restored in meaning |
We turned villages into ashes, cities into dust, and swords into sickles and plows. (V. Zhukovsky.) |
|
Epiphora |
A stylistic figure opposite to anaphora; repetition of a word or phrase at the end of poetic lines |
Dear friend, and in this quiet At home. The fever hits me. I can't find a quiet place HomeNear the peaceful fire. (A. Blok.) |
VISUAL POSSIBILITIES OF VOCABULARY
Lexical argument
|
Terms |
Meaning |
Examples |
|
Antonyms, contextual antonyms |
Words with opposite meanings. Contextual antonyms - it is in the context that they are opposite. Outside the context, this opposition is lost. |
Wave and stone, poetry and prose, ice and fire... (A. Pushkin.) |
|
Synonyms, contextual synonyms |
Words that are close in meaning. Contextual synonyms - it is in the context that they are close. Without context, intimacy is lost. |
To desire - to want, to have a desire, to strive, to dream, to crave, to hunger |
|
Homonyms |
Words that sound the same but have different meanings. |
Knee - a joint connecting the thigh and lower leg; passage in birdsong |
|
Homographs |
Different words that match in spelling but not in pronunciation. |
Castle (palace) – lock (on the door), Flour (torment) – flour (product) |
|
Paronyms |
Words that are similar in sound but different in meaning |
Heroic - heroic, double - dual, effective - valid |
|
Words in figurative meaning |
In contrast to the direct meaning of the word, which is stylistically neutral and devoid of imagery, the figurative meaning is figurative and stylistically colored. |
Sword of justice, sea of light |
|
Dialectisms |
A word or phrase that exists in a certain area and is used in speech by the residents of this area |
Draniki, shanezhki, beetroot |
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Jargonisms |
Words and expressions that are outside the literary norm, belonging to some kind of jargon - a type of speech used by people united by common interests, habits, and activities. |
Head - watermelon, globe, pan, basket, pumpkin... |
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Professionalisms |
Words used by people of the same profession |
Galley, boatswain, watercolor, easel |
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Terms |
Words intended to denote special concepts of science, technology, and others. |
Grammar, surgical, optics |
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Book vocabulary |
Words that are characteristic of written speech and have a special stylistic connotation. |
Immortality, incentive, prevail... |
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Prostorechnaya vocabulary |
Words, colloquial use, characterized by some roughness, reduced character. |
Blockhead, fidgety, wobble |
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Neologisms (new words) |
New words emerging to represent new concepts that have just emerged. Individual author's neologisms also arise. |
There will be a storm - we will argue And let's be brave with her. |
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Obsolete words (archaisms) |
Words displaced from modern language others denoting the same concepts. |
Fair - excellent, zealous - caring, stranger - foreigner |
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Borrowed |
Words transferred from words in other languages. |
Parliament, Senate, deputy, consensus |
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Phraseologisms |
Stable combinations of words, constant in their meaning, composition and structure, reproduced in speech as entire lexical units. |
To prevaricate - to be a hypocrite, to beat the crap - to mess around, to hastily - quickly |
EXPRESSIVE-EMOTIONAL VOCABULARY
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Conversational. |
Words that have a slightly reduced stylistic coloring compared to neutral vocabulary, are characteristic of spoken language, and are emotionally charged. |
Dirty, loud, bearded |
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Emotionally charged words |
Estimatedcharacter, having both positive and negative connotations. |
Adorable, wonderful, disgusting, villain |
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Words with suffixes of emotional evaluation. |
Cute, little bunny, little brain, brainchild |
PICTURE POSSIBILITIES OF MORPHOLOGY
Grammatical argument
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1. Expressive usage case, gender, animation, etc. |
Something air it is not enough for me, I drink the wind, I swallow the fog... (V. Vysotsky.) We are relaxing in Sochach. How many Plyushkins divorced! |
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2. Direct and figurative use of verb tense forms |
I'm comingI went to school yesterday and I see announcement: “Quarantine.” Oh and was delighted I! |
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3. Expressive use of words from different parts of speech. |
Happened to me most amazing story! I got unpleasant message. I was visiting at her place. The cup will not pass you by this. |
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4. Use of interjections and onomatopoeic words. |
Here's closer! They gallop... and into the yard Evgeniy! "Oh!"- and lighter than the shadow Tatyana jump to the other entrance. (A. Pushkin.) |
SOUND EXPRESSIVENESS
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Means |
Meaning of the term |
Example |
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Alliteration |
A technique for enhancing imagery by repeating consonant sounds |
Hissingfoamy glasses and blue flames of punch... |
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Alternation |
Alternation of sounds. Change of sounds that occupy the same place in a morpheme in different cases of its use. |
Tangent - touch, shine - shine. |
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Assonance |
A technique to enhance imagery by repeating vowel sounds |
The thaw is boring to me: the stench, the dirt, in the spring I am sick. (A. Pushkin.) |
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Sound recording |
A technique for enhancing the visual quality of a text by constructing phrases and lines in such a way that would correspond to the reproduced picture |
For three days I could hear how on a boring, long road They tapped the joints: east, east, east... (P. Antokolsky reproduces the sound of carriage wheels.) |
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Onomatopoeia |
Using the sounds of language to imitate the sounds of living and inanimate nature |
When the mazurka thunder roared... (A. Pushkin.) |
PICTURE POSSIBILITIES OF SYNTAX
Grammatical argument
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1. Rows of homogeneous members of a sentence. |
When empty And weak a person hears flattering feedback about his dubious merits, he revels in with your vanity, gets arrogant and completely loses your tiny ability to be critical of your own actions and to your person.(D. Pisarev.) |
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2. Sentences with introductory words, appeals, isolated members. |
Probably,there, in their native places, just as in my childhood and youth, the ashes bloom in the swampy backwaters and the reeds rustle, who made me, with their rustling, their prophetic whispers, that poet, who I have become, who I was, who I will be when I die. (K. Balmont.) |
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3. Expressive use of sentences of various types (complex, complex, non-union, single-component, incomplete, etc.). |
They speak Russian everywhere; this is the language of my father and my mother, this is the language of my nanny, my childhood, my first love, almost all moments of my life, which entered my past as an integral property, as the basis of my personality. (K. Balmont.) |
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4. Dialogic presentation. |
- Well? Is it true that he is so good-looking? - Surprisingly good, handsome, one might say. Slender, tall, blush all over his cheek... - Right? And I thought his face was pale. What? What did he look like to you? Sad, thoughtful? - What do you? I've never seen such a mad person in my life. He decided to run with us into the burners. - Run into the burners with you! Impossible!(A. Pushkin.) |
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5. Parcellation - a stylistic technique of dividing a phrase into parts or even individual words in a work in order to give the speech intonation expression through its abrupt pronunciation. Parcel words are separated from each other by dots or exclamation marks, subject to other syntactic and grammatical rules. |
Liberty and Fraternity. There will be no equality. Nobody. No one. Not equal. Never.(A. Volodin.) He saw me and froze. Numb. He fell silent. |
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6. Non-union or asyndeton - deliberate omission of conjunctions, which gives the text dynamism and swiftness. |
Swede, Russian stabs, chops, cuts. People knew: somewhere, very far from them, there was a war going on. To be afraid of wolves, don’t go into the forest. |
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7. Polyconjunction or polysyndeton - repeating conjunctions serve to logically and intonationally emphasize the parts of the sentence connected by the conjunctions. |
The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and glowed, and went somewhere into infinity. I will either burst into tears, or scream, or faint. |
Tests.
1. Choose the correct answer:
1) On that white April night Petersburg I saw Blok for the last time... (E. Zamyatin).
a) metaphorb) hyperbole) metonymy
2.You'll freeze in the shine of moonlight,
You're moaning, doused with foam wounds.
(V. Mayakovsky)
a) alliterationb) assonancec) anaphora
3. I drag myself in the dust and soar in the skies;
Strange to everyone in the world - and ready to embrace the world. (F. Petrarch).
a) oxymoronb) antonymc) antithesis
4. Let it fill up with years
life quota,
costs
only
remember this miracle
tears apart
mouth
yawn
wider than the Gulf of Mexico.
(V. Mayakovsky)
a) hyperbolab) litotav) personification
5. Choose the correct answer:
1) It was drizzling with beaded rain, so airy that it seemed that it did not reach the ground and mist of water mist floated in the air. (V. Pasternak).
a) epithetb) similec) metaphor
6.And in autumn days The flame that flows from life and blood does not go out. (K. Batyushkov)
a) metaphorb) personificationc) hyperbole
7. Sometimes he falls in love passionately
In your elegant sadness.
(M. Yu. Lermontov)
a) antithesis) oxymoronc) epithet
8.The diamond is polished with a diamond,
The line is dictated by the line.
a) anaphora b) comparison c) parallelism
9. At the mere suggestion of such a case, you would have to tear out the hair from your head by the roots and let go streams... what am I saying! rivers, lakes, seas, oceans tears!
(F.M. Dostoevsky)
a) metonymy b) gradation c) allegory
10. Choose the correct answer:
1) Black tailcoats rushed about separately and in heaps here and there. (N. Gogol)
a) metaphorb) metonymy c) personification
11. The quitter sits at the gate,
With my mouth wide open,
And no one will understand
Where is the gate and where is the mouth.
a) hyperbolab) litotav) comparison
12. C insolent modesty looks into the eyes. (A. Blok).
a) epithetb) metaphorc) oxymoron
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Option |
Answer |