Briefly about the artistic style of speech. Artistic style of speech

The artistic style of speech is the language of literature and art. It is used to convey emotions and feelings, artistic images and phenomena.

Artistic style is a way for writers to express themselves, so it is typically used in writing. Orally (for example, in plays) texts written in advance are read. Historically, artistic style functions in three types of literature - lyrics (poems, poems), drama (plays) and epic (stories, novels, novels).

An article about all speech styles -.

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The features of the artistic style are:

2. Language means are a way of conveying an artistic image, emotional state and mood of the narrator.

3. The use of stylistic figures - metaphors, comparisons, metonymies, etc., emotionally expressive vocabulary, phraseological units.

4. Multi-style. The use of linguistic means of other styles (colloquial, journalistic) is subordinated to the implementation of the creative concept. These combinations gradually create what is called the author's style.

5. The use of verbal ambiguity - words are selected in such a way that with their help not only “to draw” images, but also to put hidden meaning into them.

6. The information transfer function is often hidden. The purpose of artistic style is to convey the author’s emotions, to create a mood and emotional state in the reader.

Artistic style: case study

Let's look at the example of the features of the style being analyzed.

Excerpt from the article:

The war disfigured Borovoe. Interspersed with the surviving huts stood charred stoves, like monuments to the people's grief. Gate posts were sticking out. The barn gaped with a huge hole - half of it was broken off and carried away.

There were gardens, but now stumps are like rotten teeth. Only here and there were two or three teenage apple trees nestled.

The village was deserted.

When the one-armed Fedor returned home, his mother was alive. She grew old, grew thin, and had more gray hair. She sat me down at the table, but there was nothing to treat her with. Fyodor had his own, a soldier's. At the table, the mother said: everyone was robbed, damned skinners! We hid pigs and chickens wherever we wanted. Can you really save it? He makes noise and threatens, give him the chicken, even if it’s the last one. Out of fright, they gave away the last one. So I have nothing left. Oh, that was bad! The village was ruined by the damned fascist! You can see for yourself what’s left... more than half of the yards were burned down. The people fled where: some to the rear, some to join the partisans. How many girls were stolen! So our Frosya was taken away...

For a day or two, Fyodor looked around. Our people from Borovsk began to return. They hung a piece of plywood on an empty hut, and on it there were lopsided letters with soot on oil - there was no paint - “The board of the collective farm “Red Dawn” - and off and on! Down and Out trouble started.

The style of this text, as we have already said, is artistic.

His features in this passage:

Borrowing and applying vocabulary and phraseology of other styles ( as monuments of people's grief, fascists, partisans, collective farm rule, the beginning of a daring misfortune).
The use of visual and expressive means ( hijacked, damned skinners, really), the semantic ambiguity of words is actively used ( the war disfigured Borovoe, the barn gaped with a huge hole).
They've robbed everyone, you damn skinners! We hid pigs and chickens wherever we wanted. Can you really save it? He makes noise and threatens, give him the chicken, even if it’s the last one. Oh, that was bad!).
There were gardens, but now stumps are like rotten teeth; She sat me down at the table, but there was nothing to treat her with; on oil - there was no paint).
The syntactic structures of a literary text reflect, first of all, the flow of the author’s impressions, figurative and emotional ( Interspersed with the surviving huts stood charred stoves, like monuments to the people's grief. The barn gaped with a huge hole - half of it was broken off and carried away; There were gardens, but now stumps are like rotten teeth).
The characteristic use of numerous and varied stylistic figures and tropes of the Russian language ( stumps are like rotten teeth; charred stoves stood like monuments to the people's grief; two or three teenage apple trees nestled).
The use, first of all, of vocabulary that forms the basis and creates the imagery of the style being analyzed: for example, figurative techniques and means of the Russian literary language, as well as words that realize their meaning in the context, and words of a wide sphere of use ( grew old, emaciated, burned, in letters, girls).

Thus, the artistic style does not so much tell as it shows - it helps to feel the situation, to visit the places that the narrator is talking about. Of course, there is also a certain “imposition” of the author’s experiences, but it also creates a mood and conveys sensations.

The artistic style is one of the most “borrowing” and flexible: writers, firstly, actively use language of other styles, and secondly, they successfully combine artistic imagery, for example, with explanations of scientific facts, concepts or phenomena.

Scientific and artistic style: case study

Let's look at an example of the interaction of two styles - artistic and scientific.

Excerpt from the article:

The youth of our country loves forests and parks. And this love is fruitful, active. It is expressed not only in the establishment of new gardens, parks and forest belts, but also in the vigilant protection of oak groves and forests. One day, at a meeting, even splinters of wood appeared on the presidium table. Some villain cut down an apple tree growing alone on the river bank. Like a beacon, she stood on the steep mountain. They got used to her, like the appearance of their home, they loved her. And now she was gone. On this day, the conservation group was born. They called it "Green Patrol". There was no mercy for the poachers, and they began to retreat.

N. Korotaev

Features of the scientific style:

Terminology ( presidium, laying forest belts, Krutoyar, poachers).
The presence in a series of nouns of words denoting the concept of a sign or state ( bookmark, security).
Quantitative predominance of nouns and adjectives in the text over verbs ( This love is fruitful, active; in the establishment of new gardens, parks and forest belts, but also in the vigilant protection of oak groves and forests).
Use of verbal phrases and words ( bookmark, protection, mercy, meeting).
Verbs in the present tense, which have a “timeless”, indicative meaning in the text, with weakened lexical and grammatical meanings of time, person, number ( loves, expresses);
A large volume of sentences, their impersonal nature in combination with passive constructions ( It is expressed not only in the establishment of new gardens, parks and forest belts, but also in the vigilant protection of oak groves and forests).

Features of the artistic style:

Wide use of vocabulary and phraseology of other styles ( presidium, laying forest belts, Krutoyar).
The use of various visual and expressive means ( this love is fruitful, in vigilant guard, evil), active use of the verbal polysemy of the word (the appearance of a house, “Green Patrol”).
Emotionality and expressiveness of the image ( They got used to her, like the appearance of their home, they loved her. And now she was gone. On this day the group was born).
Manifestation of the author's creative individuality - author's style ( It is expressed not only in the establishment of new gardens, parks and forest belts, but also in the vigilant protection of oak groves and forests. Here: a combination of features of several styles).
Paying special attention to particular and seemingly random circumstances and situations, behind which one can see the typical and general ( Some villain cut down an apple tree... And now it was gone. On this day the conservation group was born).
The syntactic structure and corresponding structures in this passage reflect the flow of the author’s figurative and emotional perception ( Like a beacon, she stood on the steep mountain. And then she was gone).
The characteristic use of numerous and varied stylistic figures and tropes of the Russian literary language ( this fruitful, active love, like a beacon, it stood, there was no mercy, growing alone).
The use, first of all, of vocabulary that forms the basis and creates the imagery of the style being analyzed: for example, figurative techniques and means of the Russian language, as well as words that realize their meaning in the context, and words of the widest distribution ( youth, evil, fruitful, active, appearance).

In terms of the variety of linguistic means, literary techniques and methods, the artistic style is perhaps the richest. And, unlike other styles, it has a minimum of restrictions - with proper depiction of images and an emotional mood, you can even write a literary text in scientific terms. But, of course, you shouldn’t abuse this.

The artistic style of speech, as the name implies, is characteristic of the language of fiction.

Literary scholars and linguists call it one of the most important means of artistic communication. We can say that it is a linguistic form of expressing figurative content. We should not forget that when we consider the artistic style of speech, we are talking at the intersection of literary criticism and linguistics. It should be noted that the norms of a literary language are just a kind of starting point for qualitatively different language norms.

Features of artistic style of speech

This style of speech can include colloquial, colloquial, clerical, and many other styles. Every writer's language obeys only those laws that the author himself creates. Many linguists note that in recent decades the literary language has gradually removed restrictions - it has become open to dialects, jargon, and colloquial vocabulary. The artistic style of speech presupposes, first of all, freedom in the choice of words, which, however, must be associated with the greatest responsibility, expressed in a sense of proportionality and conformity.

Artistic style of speech: main features

The first sign of the described style is the original presentation of the word: it seems to be torn out of its schematic connections and placed in “unusual circumstances.” Thus, a presentation of the word arises in which it becomes interesting in itself, and not in context. Secondly, it is characterized by a high level of linguistic organization, that is, additional ordering. The degree of organization of speech in prose consists in dividing the text into chapters and parts; in a dramatic work - on acts, scenes, phenomena. The most complex level of linguistic organization in poetic speech seems to be metrication, stanza, and the use of rhymes. By the way, one of the most striking properties of artistic speech in a poetic work is a high degree of polysemy.

In literary prose, as a rule, ordinary human speech comes to the fore, which is one of the means of characterizing characters (the so-called speech portrait of the hero).

Comparison

Comparison is of great importance in the language of almost any work. This term can be defined as follows: “Comparison is the main way of forming new ideas.” It serves mainly to indirectly characterize the phenomenon and contributes to the creation of completely new images.

Language of the work of art

Summarizing all of the above, we can conclude that the artistic style of speech is characterized primarily by imagery. Each of its elements is aesthetically significant: not only words are important, but also sounds, rhythm, and melody of the language. You can find examples of artistic style of speech by opening any literary work. Every writer strives, first of all, for freshness and originality of the image - this explains the widespread use of special means of expression.

Fiction style

Art style- functional style of speech, which is used in fiction. In this style, it influences the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, the possibilities of different styles, and is characterized by imagery and emotionality of speech.

In a work of art, a word not only carries certain information, but also serves to have an aesthetic impact on the reader with the help of artistic images. The brighter and more truthful the image, the stronger its impact on the reader.

In their works, writers use, when necessary, not only words and forms of the literary language, but also outdated dialect and colloquial words.

The means of artistic expression are varied and numerous. These are tropes: comparisons, personification, allegory, metaphor, metonymy, synecdoche, etc. And stylistic figures: epithet, hyperbole, litotes, anaphora, epiphora, gradation, parallelism, rhetorical question, silence, etc.

Fiction is characterized by a concrete, figurative representation of life, in contrast to the abstract, objective, logical-conceptual reflection of reality in scientific speech. A work of art is characterized by perception through the senses and re-creation of reality; the author strives, first of all, to convey his personal experience, his understanding or comprehension of a particular phenomenon. But in a literary text we see not only the world of the writer, but also the writer in this world: his preferences, condemnations, admiration, rejection, and the like. Associated with this is the emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech.

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. The number of words that form the basis of this style primarily includes figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life.

In the artistic style of speech, the verbal ambiguity of the word is widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, thanks to which it becomes possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular.

The emotionality and expressiveness of the image comes to the fore in a literary text. Many words, which in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory ideas. Thus, the styles functionally complement each other. For example, the adjective lead in scientific speech realizes its direct meaning (lead ore, lead bullet), and in artistic speech it forms an expressive metaphor (lead clouds, lead night, lead waves). Therefore, in artistic speech an important role is played by phrases that create a kind of figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, i.e. changing the usual order of words in a sentence in order to enhance the semantic significance of a word, or to give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...” The author’s word order options are varied and subordinated to the general concept. But all these deviations in the text serve the law of artistic necessity.

6. Aristotle on the six qualities of “good speech”

The term “rhetoric” (Greek Retorike), “oratory” (Latin orator, orare – to speak), “oratory” (obsolete, Old Slavonic), “eloquence” (Russian) are synonymous.

Rhetoric - a special science about the laws of “invention, arrangement and expression of thoughts in speech.” Its modern interpretation is the theory of persuasive communication.”

Aristotle defined rhetoric as the ability to find possible beliefs regarding any given subject, as the art of persuasion that uses the possible and probable in cases where real certainty is insufficient. The job of rhetoric is not to convince, but to find ways to persuade in each given case.

Oratory is understood as a high degree of mastery of public speaking, a qualitative characteristic of oratory, and skillful use of words.

Eloquence in V. Dahl’s dictionary of the living Great Russian language is defined as eloquence, science and the ability to speak and write eloquently, convincingly and captivatingly.

Corax, who in the fifth century B.C. opened a school of eloquence in Syrocusa and wrote the first textbook on rhetoric, defining eloquence as follows: eloquence is the handmaiden of persuasion. Comparing the above-mentioned concepts of “rhetoric,” “oratory,” “eloquence,” we find that they are united by the idea of persuasion.

The aesthetics and self-expression of the speaker in oratory, the ability and ability to speak captivatingly inherent in eloquence, as well as the scientific laws of rhetoric, they all serve one goal - to convince. And these three concepts “rhetoric”, “oratory” and “eloquence” are distinguished by different accents that emphasize their content.

In oratory, aesthetics and self-expression of the author are emphasized, in eloquence - the ability and ability to speak captivatingly, and in rhetoric - the scientific nature of principles and laws.

Rhetoric as a science and academic discipline has existed for thousands of years. At different times, different contents were put into it. It was considered both as a special genre of literature, and as the mastery of any type of speech (oral and written), and as the science and art of oral speech.

Rhetoric, as the art of speaking well, needed an aesthetic understanding of the world, an idea of the graceful and the clumsy, the beautiful and the ugly, the beautiful and the ugly. At the origins of rhetoric stood the actor, dancer, singer, delighting and convincing people with their art.

At the same time, rhetoric was based on rational knowledge, on the difference between the real and the unreal, the real and the imaginary, the true and the false. A logician, a philosopher, and a scientist participated in the creation of rhetoric. In the very formation of rhetoric there was a third principle, it united both types of knowledge: aesthetic and scientific. This was the beginning of ethics.

So, the rhetoric was triune. It was the art of persuasion through words, the science of the art of persuasion through words, and the process of persuasion based on moral principles.

Even in antiquity, two main directions emerged in rhetoric. The first, coming from Aristotle, connected rhetoric with logic and proposed that convincing, effective speech be considered good speech. At the same time, effectiveness also came down to persuasiveness, to the ability of speech to win recognition (consent, sympathy, sympathy) of listeners, to force them to act in a certain way. Aristotle defined rhetoric as “the faculty of finding possible modes of persuasion on any given subject.”

The second direction also arose in Ancient Greece. Its founders include Socrates and other rhetoricians. Its representatives tended to consider richly decorated, magnificent speech, built according to aesthetic canons, to be good. Persuasiveness continued to matter, but was not the only or main criterion for assessing speech. Therefore, the direction in rhetoric, originating from Aristotle, can be called “logical”, and from Socrates - literary.

The doctrine of the culture of speech originated in Ancient Greece within the framework of rhetoric as a doctrine of the advantages and disadvantages of speech. Rhetorical treatises gave instructions on what speech should be and what should be avoided in it. These works contained recommendations for compliance correctness, purity, clarity, accuracy, logic and expressiveness of speech, as well as advice on how to achieve this. In addition, Aristotle also called not to forget about the addressee of speech: “Speech consists of three elements: the speaker himself, the object he is talking about, and the person to whom he is addressing and who is, in fact, the final goal of everything.” Thus, Aristotle and other rhetoricians drew the attention of readers to the fact that rhetorical heights and the art of speech can be achieved only on the basis of mastery of the basics of speech skills.

Literary and artistic style- functional style of speech, which is used in fiction. This style affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, the possibilities of different styles, and is characterized by imagery and emotionality of speech.

In their works, writers use, when necessary, not only words and forms of the literary language, but also outdated dialect and colloquial words.

The emotionality of an artistic style differs significantly from the emotionality of colloquial and journalistic styles. It performs an aesthetic function. Artistic style presupposes a preliminary selection of linguistic means; All language means are used to create images. A distinctive feature of the artistic style of speech can be called the use of special figures of speech, which add color to the narrative and the power of depicting reality.

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Style Issues

Subtitles

Expressive and figurative means of language

The means of artistic expression are varied and numerous. This:

Tropes (similes, personification, allegory, metaphor, metonymy, synecdoche, etc.)
Stylistic figures (epithet, hyperbole, litotes, anaphora, epiphora, gradation, parallelism, rhetorical question, silence, etc.)

Trope(from ancient Greek τρόπος - turnover) - in a work of art, words and expressions used in a figurative meaning in order to enhance the imagery of the language, the artistic expressiveness of speech.

Main types of trails:

Metaphor(from ancient Greek μεταφορά - “transfer”, “figurative meaning”) - a trope, a word or expression used in a figurative meaning, which is based on an unnamed comparison of an object with some other on the basis of their common attribute. (“Nature here destined us to open a window to Europe”). Any part of speech in a figurative meaning.
Metonymy(ancient Greek μετονυμία - “renaming”, from μετά - “above” and ὄνομα/ὄνυμα - “name”) - a type of trope, a phrase in which one word is replaced by another, denoting an object (phenomenon) located in one or other (spatial, temporal, and so on) connection with the object, which is denoted by the replaced word. The replacement word is used in a figurative sense. Metonymy should be distinguished from metaphor, with which it is often confused, while metonymy is based on the replacement of the word “by contiguity” (part instead of the whole or vice versa, representative instead of class or vice versa, container instead of contents or vice versa, and the like), and metaphor - “by similarity.” A special case of metonymy is synecdoche. (“All flags will visit us”, where flags replace countries.)
Epithet(from ancient Greek ἐπίθετον - “attached”) - a definition of a word that affects its expressiveness. It is expressed mainly by an adjective, but also by an adverb (“to love dearly”), a noun (“fun noise”), and a numeral (“second life”).

An epithet is a word or an entire expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation, helps the word (expression) gain color and richness. It is used both in poetry (more often) and in prose (“timid breathing”; “magnificent omen”).

Synecdoche(ancient Greek συνεκδοχή) - trope, a type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them. (“Everything is sleeping - man, beast, and bird”; “We are all looking at Napoleons”; “In the roof for my family”; “Well, sit down, luminary”; “Most of all, save a penny.”)
Hyperbola(from ancient Greek ὑπερβολή “transition; excess, excess; exaggeration”) - a stylistic figure of obvious and deliberate exaggeration, in order to enhance expressiveness and emphasize the said thought. (“I’ve said this a thousand times”; “We have enough food for six months.”)
Litota- a figurative expression that diminishes the size, strength, or significance of what is being described. Litotes is called an inverse hyperbola. (“Your Pomeranian, lovely Pomeranian, is no bigger than a thimble”).
Comparison- a trope in which one object or phenomenon is compared to another according to some characteristic common to them. The purpose of comparison is to identify new properties in the object of comparison that are important for the subject of the statement. (“A man is stupid as a pig, but cunning as the devil”; “My home is my fortress”; “He walks like a gogol”; “An attempt is not torture.”)
In stylistics and poetics, paraphrase (paraphrase, periphrase; from ancient Greek περίφρασις - “descriptive expression”, “allegory”: περί - “around”, “about” and φράσις - “statement”) is a trope that descriptively expresses one concept with the help of several.

Periphrasis is an indirect mention of an object by description rather than naming. (“Night luminary” = “moon”; “I love you, Peter’s creation!” = “I love you, St. Petersburg!”).

Allegory (allegory)- a conventional depiction of abstract ideas (concepts) through a specific artistic image or dialogue.

For example:

The nightingale is sad near the fallen rose, and sings hysterically over the flower.
But the garden scarecrow also sheds tears,
loved a rose secretly.

Personification(personification, prosopopoeia) - trope, the assignment of properties of animate objects to inanimate ones. Very often, personification is used when depicting nature, which is endowed with certain human traits.

For example:

And woe, woe, woe! And grief was girded with a bast,
My legs are tangled with washcloths.

folk song

The state is like an evil stepfather, from whom, alas, you cannot escape, because it is impossible to take with you
Motherland - a suffering mother.

Aydin Khanmagomedov, Visa response

Irony(from ancient Greek εἰρωνεία - “pretense”) - a trope in which the true meaning is hidden or contradicts (contrasted) with the explicit meaning. Irony creates the feeling that the subject of discussion is not what it seems. (“Where can we fools drink tea?”)
Sarcasm(Greek σαρκασμός, from σαρκάζω, literally “tear [the meat]”) - one of the types of satirical exposure, caustic ridicule, the highest degree of irony, based not only on the enhanced contrast of the implied and the expressed, but also on the immediate deliberate exposure of the implied.

Sarcasm is a mockery that can be opened with a positive judgment, but in general always contains a negative connotation and indicates a deficiency in a person, object or phenomenon, that is, in relation to which it is happening. Examples.

Art style serves a special sphere of human activity - the sphere of verbal and artistic creativity. Like other styles, artistic style performs all the most important social functions of language:

1) informative (by reading works of art, we gain information about the world, about human society);

2) communicative (the writer communicates with the reader, conveying to him his idea of the phenomena of reality and counting on a response, and unlike a publicist who addresses the broad masses, the writer addresses the addressee who is able to understand him);

3) influencing (the writer strives to evoke an emotional response to his work in the reader).

But all these functions in the artistic style are subordinated to its main function -aesthetic , which consists in the fact that reality is recreated in a literary work through a system of images (characters, natural phenomena, setting, etc.). Every significant writer, poet, playwright has his own, original vision of the world, and to recreate the same phenomenon, different authors use different linguistic means, specially selected and reinterpreted.V.V. Vinogradov noted: “...The concept of “style” when applied to the language of fiction is filled with a different content than, for example, in relation to business or clerical styles and even journalistic and scientific styles... The language of fiction is not entirely correlated with others styles, he uses them, includes them, but in original combinations and in a transformed form..."

Fiction, like other types of art, is characterized by a concrete imaginative representation of life, in contrast, for example, to the abstract, logical-conceptual, objective reflection of reality in scientific speech. A work of art is characterized by perception through the senses and the re-creation of reality. The author strives to convey, first of all, his personal experience, his understanding and comprehension of a particular phenomenon. The artistic style of speech is characterized by attention to the particular and random, followed by the typical and general.The world of fiction is a “recreated” world; the reality depicted is, to a certain extent, the author’s fiction, which means that in the artistic style of speech the subjective element plays the most important role. The entire surrounding reality is presented through the author's vision. But in an artistic text we see not only the world of the writer, but also the writer in this world: his preferences, condemnations, admiration, etc. Associated with this is the emotionality, expressiveness, metaphor, and meaningful diversity of the artistic style. As a means of communication, artistic speech has its own language - a system of figurative forms expressed by linguistic and extralinguistic means. Artistic speech, along with non-fiction, constitute two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The number of words that form the basis and create the imagery of this style, first of all, includes figurative means of literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life. For example, L.N. Tolstoy in the novel “War and Peace” used special military vocabulary when describing battle scenes. We will find a significant number of words from the hunting vocabulary in “Notes of a Hunter” by I. S. Turgenev, in the stories of M. M. Prishvin, V. A. Astafiev. In “The Queen of Spades” by A. S. Pushkin there are many words related to card games, etc.

In the artistic style, the polysemy of the word is very widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, thanks to which it becomes possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create a bright, expressive, figurative text. The emotionality and expressiveness of the image come to the fore in a literary text. Many words that in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech as socially generalized concepts, in artistic speech act as concrete sensory representations. Thus, the styles functionally complement each other. For example, adjective "lead" in scientific speech it realizes its direct meaning (lead ore, lead bullet), and in artistic speech it forms an expressive metaphor (lead clouds, lead night, lead waves). Therefore, in artistic speech an important role is played by phrases that create a kind of figurative representation.

The syntactic structure of artistic speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. In artistic speech, deviations from structural norms are also possible, due to artistic actualization, that is, the author’s highlighting of some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. This technique is especially often used to create a comic effect or a bright, expressive artistic image.

In terms of diversity, richness and expressive capabilities of linguistic means, the artistic style stands above other styles and is the most complete expression of the literary language. A feature of the artistic style, its most important feature is imagery and metaphor, which is achieved by using a large number of stylistic figures and tropes.

Trails – these are words and expressions used in a figurative meaning in order to enhance the figurativeness of the language and the artistic expressiveness of speech. The main types of trails are as follows:

Metaphor - a trope, a word or expression used in a figurative meaning, which is based on an unnamed comparison of an object with some other based on their common characteristic: And my tired soul is enveloped in darkness and cold. (M. Yu. Lermontov)

Metonymy - a type of trope, a phrase in which one word is replaced by another, denoting an object (phenomenon) that is in one or another (spatial, temporal, etc.) connection with the object that is denoted by the replaced word: The hiss of foamy glasses and the blue flame of punch. (A.S. Pushkin). The replacement word is used in a figurative sense. Metonymy should be distinguished from metaphor, with which it is often confused, while metonymy is based on the replacement of the word “by contiguity” (part instead of the whole or vice versa, representative instead of class, etc.), metaphor is based on the replacement “by similarity "

Synecdoche – one of the types of metonymy, which is the transfer of the meaning of one object to another based on the quantitative relationship between them: And you could hear the Frenchman rejoicing until dawn. (M. Yu. Lermontov).

Epithet - a word or an entire expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation, helps the word (expression) gain color and richness. The epithet is expressed primarily by an adjective, but also by an adverb (to love dearly), noun (fun noise), numeral (second Life).

Hyperbola - a trope based on obvious and deliberate exaggeration, in order to enhance expressiveness and emphasize the said idea: Ivan Nikiforovich, on the contrary, has trousers with such wide folds that if they were inflated, the entire yard with barns and buildings could be placed in them (N.V. Gogol).

Litotes – a figurative expression that diminishes the size, strength, or meaning of what is being described: Your Spitz, lovely Spitz, is no bigger than a thimble... (A.S. Griboyedov). Litotes is also called an inverse hyperbola.

Comparison - a trope in which one object or phenomenon is compared to another according to some characteristic common to them. The purpose of comparison is to identify new properties in the object of comparison that are important for the subject of the statement: Anchar, like a formidable sentinel, stands alone in the entire universe (A.S. Pushkin).

Personification – trope, which is based on the transfer of properties of animate objects to inanimate ones:Silent sadness will be consoled, and joy will be playful and reflective (A.S. Pushkin).

Periphrase – a trope in which the direct name of an object, person, phenomenon is replaced by a descriptive phrase, where the characteristics of an object, person, or phenomenon not directly named are indicated: king of beasts (lion), people in white coats (doctors), etc.

Allegory (allegory) – a conventional depiction of abstract ideas (concepts) through a specific artistic image or dialogue.

Irony - a trope in which the true meaning is hidden or contradicts (contrasted) with the explicit meaning: Where can we fools drink tea? Irony creates the feeling that the subject of discussion is not what it seems.

Sarcasm - one of the types of satirical exposure, the highest degree of irony, based not only on the enhanced contrast of the implied and the expressed, but also on the deliberate exposure of the implied: Only the Universe and human stupidity are infinite. Although I have doubts about the first one (A. Einstein). If the patient really wants to live, doctors are powerless (F. G. Ranevskaya).

Stylistic figures – These are special stylistic turns that go beyond the necessary norms for creating artistic expressiveness. It must be emphasized that stylistic figures make speech informationally redundant, but this redundancy is necessary for the expressiveness of speech, and therefore for a stronger impact on the addressee.Stylistic figures include:

Rhetorical appeal – giving the author's intonation solemnity, irony, etc..: And you, arrogant descendants... (M. Yu. Lermontov)

A rhetorical question – this is special construction of speech in which a statement is expressed in the form of a question. A rhetorical question does not require an answer, but only enhances the emotionality of the statement:And will the desired dawn finally rise over the fatherland of enlightened freedom? (A.S. Pushkin).

Anaphora - a stylistic figure consisting of the repetition of related sounds, words or groups of words at the beginning of each parallel series, that is, the repetition of the initial parts of two or more relatively independent segments of speech (hemistymes, verses, stanzas or prose passages):

It was not in vain that the winds blew,
It was not in vain that the thunderstorm came (S. A. Yesenin).

Epiphora - a stylistic figure that consists of repeating the same words at the end of adjacent segments of speech. Epiphora is often used in poetic speech in the form of identical or similar stanza endings:

Dear friend, and in this quiet house
The fever hits me
I can't find a place in a quiet house
Near the peaceful fire (A. A. Blok).

Antithesis - rhetorical opposition, a stylistic figure of contrast in artistic or oratory speech, consisting in a sharp opposition of concepts, positions, images, states, interconnected by a common design or internal meaning: Who was nobody will become everything!

Oxymoron – a stylistic figure or stylistic error, which is a combination of words with the opposite meaning (that is, a combination of the incompatible). An oxymoron is characterized by the deliberate use of contradiction to create a stylistic effect:

Gradation – grouping of homogeneous members of a sentence in a certain order: according to the principle of increasing or decreasing emotional and semantic significance: I don’t regret, I don’t call, I don’t cry... (S. A. Yesenin)

Default – deliberate interruption of speech in anticipation of the reader’s guess, who must mentally complete the phrase:But listen: if I owe you... I own a dagger, I was born near the Caucasus... (A.S. Pushkin).

Polyunion (polysyndeton) - a stylistic figure consisting of a deliberate increase in the number of conjunctions in a sentence, usually to connect homogeneous members. By slowing down speech with pauses, polyunion emphasizes the role of each word, creating unity of enumeration and enhancing the expressiveness of speech: And for him they were resurrected again: deity, and inspiration, and life, and tears, and love (A.S. Pushkin).

Asyndeton (asyndeton)– stylistic figure: construction of speech in which conjunctions connecting words are omitted. Asyndeton gives the statement speed and dynamism, helps to convey the rapid change of pictures, impressions, actions: Swede, Russian, chops, stabs, cuts, drumming, clicks, grinding... (A.S. Pushkin).

Parallelism – a stylistic figure representing the arrangement of identical or similar in grammatical and semantic structure elements of speech in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words:

The stars shine in the blue sky,
In the blue sea the waves are lashing;
A cloud is moving across the sky,
A barrel floats on the sea (A.S. Pushkin).

Chiasmus – a stylistic figure consisting of a cross-shaped change in the sequence of elements in two parallel rows of words: Learn to love art in yourself, and not yourself in art (K. S. Stanislavsky).

Inversion – a stylistic figure consisting of a violation of the usual (direct) word order: Yes, we were very friendly (L.N. Tolstoy).

In the creation of artistic images in a literary work, not only visual and expressive means are involved, but also any units of language, selected and organized in such a way that they acquire the ability to activate the reader’s imagination and evoke certain associations. Thanks to the special use of linguistic means, the described, designated phenomenon loses the features of the general, is concretized, turns into an individual, particular - that unique idea of which is imprinted in the mind of the writer and recreated by him in a literary text.Let's compare two texts:

Oak, a genus of trees in the beech family. About 450 species. It grows in temperate and tropical zones of the Northern Hemisphere and South America. The wood is strong and durable, with a beautiful cut pattern. Forest-forming species. English oak (height up to 50 meters, lives from 500 to 1000 years) forms forests in Europe; sessile oak - in the foothills of the Caucasus and Crimea; Mongolian oak grows in the Far East. Cork oak is cultivated in the subtropics. English oak bark is used for medicinal purposes (contains astringents). Many types are decorative (Encyclopedic Dictionary).

There was an oak tree on the edge of the road. Probably ten times older than the birch trees that made up the forest, it was ten times thicker and twice as tall as each birch tree. It was a huge oak tree, two branches wide, with branches that had apparently been broken off long ago and with broken bark overgrown with old sores. With his huge clumsily, asymmetrically splayed arms and fingers, he stood like an old, angry and suspicious freak between the smiling birch trees. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun (L. N. Tolstoy “War and Peace”).

Both texts describe an oak tree, but if the first one talks about a whole class of homogeneous objects (trees, the general, essential features of which are presented in a scientific description), then the second one talks about one specific tree. When reading the text, an idea arises of an oak tree, personifying self-absorbed old age, contrasted with the birch trees “smiling” at spring and the sun. Concretizing the phenomena, the writer resorts to the device of personification: at the oak tree huge hands and fingers, he looks old, angry, contemptuous freak. In the first text, as is typical in the scientific style, the word oak expresses a general concept, in the second it conveys the idea of a specific person (the author) about a specific tree (the word becomes an image).

From the point of view of the speech organization of texts, the artistic style is opposed to all other functional styles, since the fulfillment of an aesthetic function, the task of creating an artistic image, allows the writer to use the means of not only the literary language, but also the national language (dialectisms, jargon, vernacular). It should be emphasized that the use of extra-literary elements of language in works of art must meet the requirements of expediency, moderation, and aesthetic value.Writers’ free use of linguistic means of different stylistic colors and different functional-style correlations can create the impression of “multiple styles” of artistic speech. However, this impression is superficial, since the involvement of stylistically colored means, as well as elements of other styles, is subordinated in artistic speech to the fulfillment of an aesthetic function : they are used for the purpose of creating artistic images, realizing the ideological and artistic concept of the writer.Thus, artistic style, like all others, is formed on the basis of the interaction of extralinguistic and linguistic factors. Extralinguistic factors include: the sphere of verbal creativity itself, the peculiarities of the writer’s worldview, his communicative attitude; to linguistic: the ability to use various units of language, which in artistic speech undergo various transformations and become a means of creating an artistic image, embodying the author's intention.