An important aspect of describing the phenomenon of vocabulary motivation is the analysis of the actualization of motivationally related words in the text. We call motivationally related words that are in a relationship of lexical or structural motivation and function within a sentence (adjacent sentences) studied in various fields of application (colloquial dialect broadcasting, journalism, artistic style).
Motivational related words
Motivational-related words can perform both informative functions in the communicative sphere (classification, text, system-forming, metalinguistic, etc.) and expressive-emotional ones. The last group includes techniques: alliteration, anaphora, antithesis, gradation, pun, etc. Motivational-related words are the main stylistic figures in a poem and in a literary text. Depending on the method of expression, the following models are updated:
1. Lexical motivation - words with the same root (formative and derivative words).
2. Structural motivation - single-structure words.
Updating motivational relationships can be:
- incomplete or complete (within one text, the relations of both lexical and structural motivation are updated);
- contact (motivationally related words are placed adjacent);
- distant (motivationally related words are placed in different parts of the sentence).
Considering the functional aspect of motivationally related words, let us analyze in detail the expressive-aesthetic function. In particular, which stylistic figure in a literary text (both poetic and prose) is the most common.
The expressive-aesthetic function involves the use of artistic means to embody artistic images (imaginative paradigms, imaginative models), artistic generalizations, typified plot-shaped schemes, etc., that is, means of creating the artistic form of a work. Let us note that it is motivationally related words that are regularly used as the basis of many stylistic figures; accordingly, they, along with other means, are exponents of a normalized aesthetic consistency, which is so important for a literary text.
In literary criticism and linguistics there is the concept of “homeology”. This concept is defined as a technique that consists of repeating similar morphemes, most often in parallel passages of text. Homeology accompanies a number of stylistic figures (acromonogram, epiphora, antithesis, gradation, pleonasm, etc.). Serves to enhance the expressive effect. Having analyzed both prose and poetic texts of fiction from the late 19th to early 20th centuries, we can identify frequent stylistic figures built on the basis of motivationally related words (table).
Name | Definition | Examples |
Acromonogram | a technique consisting of repeating the end of a verse at the beginning of the next verse | And a light wave splashes | On the golden sand |
is the repetition of a word or group of words at the beginning of lines or sentences | But don't be scared! We must get down to business with our sleeves rolled up. We must take a hoe and, despite the dirt and burden, stumbling, going into dead ends and returning again, drain the swamp until the gardens bloom in its place! (A. Likhanov) |
|
Antithesis | rhetorical confrontation in the same phrase and in the same period of two completely opposite words or expressions | The city is lush, the city is poor The spirit of bondage, the slender look... (A. Pushkin) |
Alliteration | repetition of identical or consonant consonant sounds | My dear magician, my Maria (Bryusov) |
Gradation | a technique consisting in the sequential arrangement of expressions, words in descending or ascending order of a characteristic | I simply could not sleep from the melancholy that approached my heart, tormented me, rolled over me... (Yu. Bondarev) |
Oxymoron | a technique in which usually incompatible concepts are combined, usually contradicting each other | The crab was still in the same place, near the bed, and when someone leaned over it, it stuck its claw forward with menacing impotence. (Yu. Dombrovsky) |
Tautology | Oil oil |
|
rearranging the main parts of a sentence | In hot summers and blizzard winters |
Acromonogram
An acromonogram as a stylistic figure consists of using cognate (motivationally related) words at the end and at the beginning of a stanza (sentence) in order to enhance the pragmatic effect. Usually the acromonogram is used in poetic texts, but there are also cases of prosaic usage. The acromonogram is based on cases of contact actualization of lexical motivational relations.
Anaphora
Anaphora as unity of command is realized mainly by relations of structural motivation. The author's neologisms found in the texts are motivationally related words that have become the basis of anaphora.
There are other types of stylistic figures in language that are opposite to anaphora, one of them is epiphora. It can also be based on motivationally related words. Epiphora is the same as anaphora, but provides for the distant actualization of motivational relationships.
Antithesis
Antitheses as stylistic figures are built on the opposition of concepts. Polar opposition can be expressed by an antonymic lexeme with a share in two languages. Within one text, antitheses can be used in several cases. In general, antithesis is one of the most frequent stylistic figures based on motivationally related words.
Alliteration
Alliteration is the name of a stylistic figure that involves the repetition of identical consonants. Here, motivationally related words seem to focus the sound effect, creating a sound image. It is important to note that these words, as a rule, are only a fragment (albeit an expressively strong one) of an alliterative series. Alliteration is based on both contact and distance actualization of motivational relationships in poetic and prose text.
Gradation
Gradations provide only contact actualization of motivational relationships. As a rule, it is due to structural motivation that they are realized into stylistic figures. Examples: “I stand here in front of you, covered in wounds, / pierced, pierced through / with these ubiquitous, flexible / bayonets of red light. / Do not believe, good people, this light! / He will beckon with his bloody eye, / will warm you, congratulate you, compel you / and lead you into the red wilds, from which no one can escape.” (P. Perebiinis).
Oxymoron
Oxymorons are stylistic figures that combine contrasting concepts. Motivational related words often form the basis of this phenomenon. As a rule, examples of contact actualization of lexical motives are observed.
The stylistic device of personification also involves the use of motivationally related words, although with less regularity than gradation or oxymoron.
The use of pleonasms enhances expressiveness in a literary text:
“And salty salt will flow from the eyes...” (M. Matios);
“He, he says, would not have allowed such mockery, he would not have given my soul as a sacrifice, and you, they say, are a stranger, serving the murderers.” (P. Golota);
“Not far away, at the edge of the forest, a luminous opening is sown through the green crowns of the spruce world.” (Senik) and others.
Tautology
This name for a stylistic figure, like a tautology, has an ambiguous interpretation: as an error, and as a stylistic device. As a stylistic device, this is a partial semantic repetition of motivationally related words (lexical motivation):
“And here, recently, a new type of peasant intolerance has appeared: not a drunkard, not a womanizer, but unemployed slackers who live on the money of working women” (E. Kononenko).
“The city is in trouble. Having abandoned the cutter, / the workers on the factory porch / are building joints, making noise, / diluting alcohol, starting Varshavyanka” (S. Zhadan).
“I fly into space with this word, I am born again with it, I see the whole world through it, beautiful and pure, I see ever higher earthly peaks, deeper than the depths of the largest seas, I feel a finer ray of sunshine, I hear, I everything I hear, I feel myself, I hear the whole world, full of one - a single word - YOU" (Yu. Pokalchuk), etc.
Examples of tautology require comments in each case, because the line between the actual error and the stylistic function is not always clear. In addition, explanations are required for the criterion of completeness, in particular, duplication of semantic structure.
Chiasmus
Chiasmas as stylistic figures consist of the cross placement of opposing lexemes, and also provide for the effective use of motivationally related words:
“The cuckoo cuckooed, / The cuckoo cuckooed” (E. Moiseenko);
“The mind laughs, laughter saddens...” (E. Moiseenko), etc.
Here we observe cases of actualization of lexical motivation.
So, motivationally related words are regularly used in literary (both prose and poetic) texts as the basis of stylistic devices and figures. Most often they form the basis of such stylistic figures as gradation, pleonasm, tautology, oxymoron, antithesis, anaphora, epiphora, alliteration, chiasmus, personification. Both lexical and structural motivational relations are updated both contactally and distantly.
Fine and expressive means of language allow not only to convey information, but also to clearly and convincingly convey thoughts. Lexical means of expression make the Russian language emotional and colorful. Expressive stylistic means are used when an emotional impact on listeners or readers is necessary. It is impossible to make a presentation of yourself, a product, or a company without using special language tools.
The word is the basis of visual expressiveness of speech. Many words are often used not only in their direct lexical meaning. The characteristics of animals are transferred to the description of a person’s appearance or behavior - clumsy like a bear, cowardly like a hare. Polysemy (polysemy) is the use of a word in different meanings.
Homonyms are a group of words in the Russian language that have the same sound, but at the same time carry different semantic loads, and serve to create a sound game in speech.
Types of homonyms:
- homographs - words are written the same way, change their meaning depending on the emphasis placed (lock - lock);
- Homophones - words differ in one or more letters when written, but are perceived equally by ear (fruit - raft);
- Homoforms are words that sound the same, but at the same time refer to different parts of speech (I’m flying on an airplane - I’m treating a runny nose).
Puns are used to give a humorous, satirical meaning to speech; they convey sarcasm well. They are based on the sound similarity of words or their polysemy.
Synonyms - describe the same concept from different sides, have different semantic load and stylistic coloring. Without synonyms it is impossible to construct a bright and figurative phrase; speech will be oversaturated with tautology.
Types of synonyms:
- complete - identical in meaning, used in the same situations;
- semantic (meaningful) - designed to give color to words (conversation);
- stylistic - have the same meaning, but at the same time relate to different styles of speech (finger);
- semantic-stylistic - have a different connotation of meaning, relate to different styles of speech (make - bungle);
- contextual (author's) - used in the context used for a more colorful and multifaceted description of a person or event.
Antonyms are words that have opposite lexical meanings and refer to the same part of speech. Allows you to create bright and expressive phrases.
Tropes are words in Russian that are used in a figurative sense. They give speech and works imagery, expressiveness, are designed to convey emotions, and vividly recreate the picture.
Defining Tropes
| Definition | |
| Allegory | Allegorical words and expressions that convey the essence and main features of a particular image. Often used in fables. |
| Hyperbola | Artistic exaggeration. Allows you to vividly describe properties, events, signs. |
| Grotesque | The technique is used to satirically describe the vices of society. |
| Irony | Tropes that are designed to hide the true meaning of an expression through slight ridicule. |
| Litotes | The opposite of hyperbole is that the properties and qualities of an object are deliberately understated. |
| Personification | A technique in which inanimate objects are attributed the qualities of living beings. |
| Oxymoron | Connection of incompatible concepts in one sentence (dead souls). |
| Periphrase | Description of the item. A person, an event without an exact name. |
| Synecdoche | Description of the whole through the part. The image of a person is recreated by describing clothes and appearance. |
| Comparison | The difference from metaphor is that there is both what is being compared and what is being compared with. In comparison there are often conjunctions - as if. |
| Epithet | The most common figurative definition. Adjectives are not always used for epithets. |
Metaphor is a hidden comparison, the use of nouns and verbs in a figurative meaning. There is always no subject of comparison, but there is something with which it is compared. There are short and extended metaphors. Metaphor is aimed at external comparison of objects or phenomena.
Metonymy is a hidden comparison of objects based on internal similarity. This distinguishes this trope from a metaphor.
Syntactic means of expression
Stylistic (rhetorical) figures of speech are designed to enhance the expressiveness of speech and artistic works.
Types of stylistic figures
| Name of syntactic structure | Description |
| Anaphora | Using the same syntactic constructions at the beginning of adjacent sentences. Allows you to logically highlight a part of the text or a sentence. |
| Epiphora | Using the same words and expressions at the end of neighboring sentences. Such figures of speech add emotionality to the text and allow you to clearly convey intonation. |
| Parallelism | Constructing adjacent sentences in the same form. Often used to enhance a rhetorical exclamation or question. |
| Ellipsis | Deliberate exclusion of an implied member of a sentence. Makes speech more lively. |
| Gradation | Each subsequent word in a sentence reinforces the meaning of the previous one. |
| Inversion | The arrangement of words in a sentence is not in direct order. This technique allows you to enhance the expressiveness of speech. Give the phrase a new meaning. |
| Default | Deliberate understatement in the text. Designed to awaken deep feelings and thoughts in the reader. |
| Rhetorical appeal | An emphatic reference to a person or inanimate objects. |
| A rhetorical question | A question that does not imply an answer, its task is to attract the attention of the reader or listener. |
| Rhetorical exclamation | Special figures of speech to convey expression and tension of speech. They make the text emotional. Attract the attention of the reader or listener. |
| Multi-Union | Repeated repetition of the same conjunctions to enhance the expressiveness of speech. |
| Asyndeton | Intentional omission of conjunctions. This technique gives the speech dynamism. |
| Antithesis | A sharp contrast of images and concepts. The technique is used to create contrast; it expresses the author’s attitude towards the event being described. |
Tropes, figures of speech, stylistic means of expression, and phraseological statements make speech convincing and vivid. Such phrases are indispensable in public speeches, election campaigns, rallies, and presentations. In scientific publications and official business speech, such means are inappropriate - accuracy and persuasiveness in these cases are more important than emotions.
There are different phrasal components, which are called figures of speech. These are usually phrases or sentences.
They are expressive syntactic constructions that convey the expression of the text.
If a trope is a word with a figurative meaning (it is related to vocabulary), then a figure is a part of a sentence that plays a certain function in it (syntax comes into its own here).
Let's consider examples various figures of speech.
Periphrase– replacing a word or phrase with a descriptive expression or phrase.
Greetings, desert corner,
Haven of tranquility, works and inspiration.
A.S. Pushkin
The daylight has gone out;
The evening fog fell on the blue sea.
Make noise, make noise, obedient sail,
Worry beneath me, sullen ocean.
A.S. Pushkin
Inversion– a stylistically significant change in the usual word order.
Where people's eyes break short,
the head of the hungry hordes,
in the crown of thorns revolutions
the sixteenth year is coming.
V. Mayakovsky
Anaphora- unity of command, repetition of words or phrases at the beginning of a sentence, poetic lines or stanzas.
I love you, Petra's creation,
I love your strict, slender appearance...
A.S. Pushkin
Epiphora- repetition of a word or phrase at the end of a poetic line.
Steppes and roads
The score is not over;
Stones and rapids
Account not found.
E. Bagritsky
Antithesis– contrast, opposition of phenomena and concepts.
I am a king - I am a slave, I am a worm - I am a god!
G.R. Derzhavin
When in a circle killer worries
Everything disgusts us - and life is like a pile of stones,
Lying on us - suddenly God knows from where
It will bring joy to our souls,
The past will envelop and embrace us
And the terrible load will be lifted in a minute.
F. Tyutchev
Gradation– arrangement of words and expressions in ascending or descending order of importance.
I do not regret, do not call, do not cry …
S. Yesenin
The earth is warmed by the breath of spring.
More not the beginning spring, and harbinger
,
and even more not a harbinger
– hint,
What will happen,
what's nearby
that the deadline is not far off.
V. Tushnova
An oxymoron is a combination of words with opposite meanings for the purpose of an unusual, impressive expression of a new concept.
But their beauty is ugly
I soon comprehended the mystery,
And I'm bored with their incoherent
And a deafening tongue.
M. Lermontov
Toy sad joy that I was alive.
S. Yesenin
A rhetorical question– a figure of speech in interrogative form that does not require an answer.
What are you howling about, night wind?
Why are you complaining so madly?..
Either dully plaintive or noisy?
F. Tyutchev
Familiar clouds! How do you live?
Who are you going to threaten now?
M. Svetlov
Rhetorical appeal- an emphatic appeal to something inanimate or to someone unfamiliar.
Hello tribe
Young, unfamiliar! Not me
I will see your mighty late age,
When you outgrow my friends...
A.S. Pushkin
Flowers, love, village, idleness,
Fields! I am devoted to you with my soul.
I'm always happy to notice the difference
Between Onegin and me...
A.S. Pushkin
Rhetorical exclamation– expressing a statement in exclamatory form.
What a summer! What a summer!
Yes, it's just witchcraft.
F. Tyutchev
Default- a figure that gives the listener or reader the opportunity to guess and reflect on what could be discussed in a suddenly interrupted utterance.
Every house is foreign to me, every temple is empty to me,
And everything is the same, and everything is one,
But if there is a bush along the way
Rises, especially - rowan...
M. Tsvetaeva
Parallelism– similar construction of adjacent phrases, lines or stanzas.
I look at the future with fear,
I look at the past with longing .
M. Lermontov.
I came to you with greetings,
Tell me what Sun is up…
Tell me what the forest woke up...
Tell me what with the same passion...
Tell me what from everywhere
I feel joyful...
Ellipsis- omission of a word that can be easily recovered from the context.
The beast needs a den
The way for the wanderer...
M. Tsvetaeva
The rich man fell in love with the poor woman, man - girl
A scientist fell in love with a stupid woman,
I fell in love with ruddy - pale,
I fell in love with the good - the bad...
M. Tsvetaeva
Parcellation- deliberate division of a phrase in order to enhance expressiveness and expressiveness.
All sorts of poems for the sake of the last line.
Which comes first.
M. Tsvetaeva
"I? To you? Did you give me your phone number? What nonsense! - Nikitin said without understanding.
Antithesis (from Greek. antithesis) – a figure based on a sharp contrast of images and concepts (“Thick and thin”, “ice and fire”).
Oxymoron(oxymoron) poignant-stupid - a combination of words with opposite meanings (“Living corpse”, “it’s fun to be sad... elegantly naked”).
Gradation(gradatio - gradual elevation) the arrangement of words that are close in meaning as their emotional meaning increases (“I don’t regret, I don’t call, I don’t cry”).
Parallelism(parallelos - walking next to) - a figure representing a homogeneous syntactic structure of a sentence or its parts.
Chiasmus– reverse parallelism (“Love was without joy, separation will be without sadness”).
Anaphora(anaphora) – unity of command (“I swear by the first day of creation, / I swear by its last day”).
Epiphora(epiphora) – repetition of words or expressions at the end of syntactic phrases .
Ring - repetition of words or phrases at the beginning and end (“You are my Shagane, Shagane!”) of a stanza or poem.
Compositional joint. A line or sentence ends with a word or phrase that is repeated at the beginning of the previous line.
Refrain – periodic repetition of a word or expression.
Anacoluthon(anakoluthos - incorrect, inconsistent) - syntactic inconsistency of parts or members of a sentence (as carelessness or a means of expressiveness). Example: “The Neva all night / Was rushing to the sea against the storm, / Not overcoming their violent foolishness” (instead of “her”).
Ellipsis(Greek elleipsis - omission, loss), the main type of figures of decrease, omission of an implied word in a phrase. Depending on the content, it creates the effect of everyday carelessness, wise laconicism, “telegraphic” efficiency, lyrical emotion, colloquial vernacular. (“They brought in the glass and knock on him! / And don’t breathe to the bottom! / Walk at the wedding, because – / She’s the last one...”."
Inversion(from Lat. inversion - turning over), word figure: violation of direct word order (“And the guests are not appeased by the death of this alien land”).
Default, a turn of phrase associated with the fact that the author deliberately does not fully express his thought.
A rhetorical question(“What are you bowing over the waters, / Willow, the top of your head?”).
Rhetorical appeal(“Look how the grove turns green, / Is drenched in the scorching sun”).
Rhetorical exclamation(“What a night! How clean the air is. / How a silver leaf slumbers!”)
In artistic speech, it is possible for verbal constructions to deviate from the norm and for deformation of syntax.
Trails
Antiphrasis(Greek antiphrasis), the use of the word in the opposite sense: “this Croesus” is about a beggar; “Where, smart one, are you wandering from, head?” (I. Krylov) - about a donkey. A. is the most common form of irony as a trope.
Antonomasia(Greek antonomasia, from antonomazo - I call it differently), a trope related to the name of a person, a type of synecdoche (“Galilean” instead of Jesus - gender instead of a person, “Mentor” instead of a mentor - person instead of a gender) or periphrasis (“earth shaker " instead of Poseidon).
Astheism(in Greek asteismos - wit, joke, lit. capital) a type of irony as a trope: praise (usually to oneself) in the form of censure: “I, a simple man.” In the broad sense of the word, any elegant joke.
Gendiadis(from the Greek hen dia dyoin - one after two), figure of a word: the use of nouns instead of a noun and an adjective. Rome is strong in courage and men (instead of brave men). Rare in Russian; expressions like “road melancholy, iron melancholy” (A. Blok) instead of railway melancholy are close to Gendiadis.
Hyperbole ( from Greek hyperbole - exaggeration), a stylistic figure or artistic device based on exaggeration of certain properties of the depicted object or phenomenon. Hyperbole is an artistic convention: it is introduced into the artistic fabric of a work for greater expressiveness; it is characteristic of the poetics of epic folklore, the poetry of romanticism and the genre of satire (N.V. Gogol, M.E. Saltykov-Shchedrin). The opposite stylistic figure to hyperbole is litotes.
Litota ( from Greek litotes - simplicity) 1) a trope close to emphasis and irony, strengthening the meaning of a word through double negation (“notorious” instead of “notorious”); 2) a trope, the reverse of hyperbole (the more correct name is meiosis), an understatement of the attribute of an object (“a little man with a fingernail”).
Metaphor(Greek metaphora), a type of trope, the transfer of the properties of one object (phenomenon or aspect of existence) to another on the basis of their similarity in some respect or by contrast. A metaphor is a hidden comparison. Of all the tropes, metaphor is distinguished by its expressiveness. Possessing unlimited possibilities in bringing together a wide variety of objects and phenomena, essentially conceptualizing a subject in a new way, metaphor is able to reveal and expose its inner nature; often a metaphor, as a kind of micro-model, is an expression of the individual author’s vision of the world. “My poems! Living witnesses / For the world of shed tears” N.A. Nekrasov, “The Universe is just discharges of passion” B. Pasternak. Expanded metaphors (extends to several periods or covers the entire poem - “The Cart of Life” by A.S. Pushkin). Realized metaphors (a metaphorical expression is taken in the literal sense and its further literal development occurs).
Metonymy(Greek metonymia - lit. renaming), a type of trope based on the principle of contiguity. Like a metaphor, it follows from the ability of a word to peculiarly double the nominative (denoting) function in speech, and represents the imposition of its direct meaning on the figurative meaning of a word.
Phenomena brought into connection through metonymy can relate to each other as a whole and a part (synecdoche: “Hey, beard! How can I get to Plyushkin?” - N.V. Gogol), thing and material (“Not on silver, - ate on gold” - A.S. Griboedov), content and containing (“The flooded oven is cracking” - A.S. Pushkin), the bearer of the property and the property (“The city takes courage”), the creation and the creator (“The Man... Belinsky and he will carry Gogol out of the market” - N.A. Nekrasov).
Personification, prosopopoeia ( from Greek prosopon - face and poieo - do), a special type of metaphor, the transfer of human traits (more broadly, the traits of a living being) onto inanimate objects and phenomena.
Periphrase(from the Greek periphrasis - a roundabout turn), a trope that descriptively expresses one concept with the help of several: from the simplest cases (“fell asleep” instead of “fell asleep”) to the most complex (“with a long mustache powdered by that unforgiving hairdresser who without calling, he appears to both the beauty and the ugly and has been forcibly powdering the entire human race for several thousand years” N.V. Characteristic of the Baroque and Romantic eras. Special cases of periphrasis - euphemism, litotes.
Epithet(from Greek epitheton, lit. - attached), one of the tropes, a figurative definition of an object (phenomenon), expressed mainly by an adjective, but also by an adverb, noun, numeral, verb. Unlike the usual logical definition, which distinguishes a given object from many (“quiet ringing”), an epithet either highlights one of its properties in an object (“proud horse”), or, like a metaphorical epithet, transfers to it the properties of another object (“ living trace").
The first description of figures of speech has been known since the time of Aristotle's Poetics. The great scientist called the tropes of speech an indispensable part of the science of eloquence.
Speech tropes include rhetorical figures, figures of repetition, figures of diminution, and figures of displacement.
Rhetorical figures of speech
Rhetorical figures are a special group of syntactic figures that are formally dialogical, but essentially monological: the interlocutor is assumed, but he does not participate in the speech.
A rhetorical question is a phrase framed by a question mark and enhancing the emotionality of perception. The answer to a rhetorical question is not expected. Example: “Who are the judges?” (A.S. Griboyedov).
Rhetorical - a figure of speech, decorated with an exclamation mark and enhancing the emotionality of perception. Example: “The poet died!” (M.Yu. Lermontov).
Rhetorical appeal is an appeal that is used to attract attention. Example: “Heavenly clouds!” (M.Yu. Lermontov).
Rhetorical silence is indicated by an ellipsis. The turnover is characterized by syntactic incompleteness. The meaning of rhetorical silence is to create the effect of gravitas through understatement. Example: “This is not about that, but still, still, still...” (A.T. Tvardovsky).
Repeat figures
What is common to repetition figures is that they are built on the repetition of any part of the utterance.
Anaphora is a syntactic figure built on the repetition of a word or groups of words at the beginning of several. Example: “I like that you are not sick with me, I like that I am not sick with you” (M.I. Tsvetaeva).
Epiphora - at the end of several verses or. Example: “The candle was burning on the table, The candle was burning” (B.L. Pasternak).
Anadiplosis (joint) - repetition of a word or group of words at the end of a verse or at the beginning of a verse or stanza. Example: “He fell on the cold snow, On the cold snow, like a pine tree...” (M.Yu. Lermontov).
Prosopodosis (ring) - repetition at the beginning of a verse and at the end of the next verse or stanza. Example: “The sky is cloudy, the night is cloudy” (A.S. Pushkin).
Decrease figures
Decrease figures are a group of figures based on the violation of grammatical connections between members of a sentence.
Ellipse (ellipse) - omission of an implied word. Example: “Ticket - click, Cheek - smack” (V.V. Mayakovsky).
Syllepsis (silleps) is the unification of heterogeneous members in a common syntactic subordination. Example: “It was raining and there were two students.”
Non-union (asyndeton) - omission of conjunctions between or parts of a complex sentence. Example: “Cannonballs are rolling, bullets are whistling, Cold bayonets are hanging down” (A.S. Pushkin).
Multi-union - an excessive number of unions. Example: “...And deity, and inspiration, And life, and tears, and love” (A.S. Pushkin).
Move figures
Movement figures are a group of figures based on rearrangement, changing the traditional positions of sentence members.
Gradation is a figure in which homogeneous ones are arranged according to the increasing intensity of a sign or action. Example: “No, I’m not calling, I’m not crying...” (S.A. Yesenin).
Inversion is a violation of the usual word order. Example: “A blue fire began to sweep...” (S.A. Yesenin).
Syntactic parallelism is the same or similar arrangement of sentence members in adjacent parts of the text. Example: “The fairy tale will soon be told, but the deed will not be done soon.”