What expressive means of language are there? Working with text (means of artistic expression)

Speech. Analysis of means of expression.

It is necessary to distinguish between tropes (visual and expressive means of literature) based on the figurative meaning of words and figures of speech based on the syntactic structure of the sentence.

Lexical means.

Typically, in a review of assignment B8, an example of a lexical device is given in parentheses, either as one word or as a phrase in which one of the words is in italics.

Paths.

In the review, examples of tropes are indicated in parentheses, like a phrase.

Types of tropes and examples for them are in the table:

Figures of speech, sentence structure.

In task B8, the figure of speech is indicated by the number of the sentence given in brackets.

Remember!

When completing task B8, you should remember that you are filling in the gaps in the review, i.e. you restore the text, and with it both semantic and grammatical connections. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates consistent with the omissions, etc.

It will make it easier to complete the task and divide the list of terms into two groups: the first includes terms based on changes in the meaning of the word, the second - the structure of the sentence.

Analysis of the task.

(1) The Earth is a cosmic body, and we are astronauts making a very long flight around the Sun, together with the Sun across the infinite Universe. (2) The life support system on our beautiful ship is so ingeniously designed that it is constantly self-renewing and thus allows billions of passengers to travel for millions of years.

(3) It is difficult to imagine astronauts flying on a ship through outer space, deliberately destroying a complex and delicate life support system designed for a long flight. (4) But gradually, consistently, with amazing irresponsibility, we are putting this life support system out of action, poisoning rivers, destroying forests, and spoiling the World Ocean. (5) If on a small spaceship the astronauts begin to fussily cut wires, unscrew screws, and drill holes in the casing, then this will have to be classified as suicide. (6) But there is no fundamental difference between a small ship and a large one. (7) The only question is size and time.

(8) Humanity, in my opinion, is a kind of disease of the planet. (9) They started, multiplied, and swarmed with microscopic creatures on a planetary, and even more so on a universal scale. (10) They accumulate in one place, and immediately deep ulcers and various growths appear on the body of the earth. (11) One has only to introduce a drop of a harmful (from the point of view of the earth and nature) culture into the green coat of the Forest (a team of lumberjacks, one barracks, two tractors) - and now a characteristic, symptomatic painful spot spreads from this place. (12) They scurry around, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste.

(13) Unfortunately, such concepts as silence, the possibility of solitude and intimate communication between man and nature, with the beauty of our land, are just as vulnerable as the biosphere, just as defenseless against the pressure of so-called technological progress. (14) On the one hand, a person, delayed by the inhuman rhythm of modern life, overcrowding, a huge flow of artificial information, is weaned from spiritual communication with the outside world, on the other hand, this external world itself has been brought into such a state that sometimes it no longer invites a person to spiritual communication with him.

(15) It is unknown how this original disease called humanity will end for the planet. (16) Will the Earth have time to develop some kind of antidote?

(According to V. Soloukhin)

“The first two sentences use the trope of ________. This image of the “cosmic body” and “astronauts” is key to understanding the author’s position. Reasoning about how humanity behaves in relation to its home, V. Soloukhin comes to the conclusion that “humanity is a disease of the planet.” ______ (“scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste”) convey the negative actions of man. The use of _________ in the text (sentences 8, 13, 14) emphasizes that everything said to the author is far from indifferent. Used in the 15th sentence, ________ “original” gives the argument a sad ending that ends with a question.”

List of terms:

1. epithet
2. litotes
3. introductory words and plug-in constructions
4. irony
5. extended metaphor
6. parcellation
7. question-and-answer form of presentation
8. dialectism
9. homogeneous members of the sentence

We divide the list of terms into two groups: the first – epithet, litotes, irony, extended metaphor, dialectism; the second – introductory words and inserted constructions, parcellation, question-answer form of presentation, homogeneous members of the sentence.

It is better to start completing the task with gaps that do not cause difficulties. For example, omission No. 2. Since a whole sentence is presented as an example, some kind of syntactic device is most likely implied. In a sentence “they scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste” series of homogeneous sentence members are used : Verbs scurrying around, multiplying, doing business, participles eating away, exhausting, poisoning and nouns rivers, oceans, atmosphere. At the same time, the verb “transfer” in the review indicates that a plural word should take the place of the omission. In the list in the plural there are introductory words and inserted constructions and homogeneous clauses. A careful reading of the sentence shows that the introductory words, i.e. Those constructions that are not thematically related to the text and can be removed from the text without loss of meaning are absent. Thus, in place of gap No. 2, it is necessary to insert option 9) homogeneous members of the sentence.

Blank No. 3 shows sentence numbers, which means the term again refers to the structure of sentences. Parcellation can be immediately “discarded”, since authors must indicate two or three consecutive sentences. The question-answer form is also an incorrect option, since sentences 8, 13, 14 do not contain a question. What remains are introductory words and plug-in constructions. We find them in the sentences: In my opinion, unfortunately, on the one hand, on the other hand.

In place of the last gap, it is necessary to substitute a masculine term, since the adjective “used” must be consistent with it in the review, and it must be from the first group, since only one word is given as an example “ original". Masculine terms – epithet and dialectism. The latter is clearly not suitable, since this word is quite understandable. Turning to the text, we find what the word is combined with: "original disease". Here the adjective is clearly used in a figurative sense, so we have an epithet.

All that remains is to fill in the first gap, which is the most difficult. The review says that this is a trope, and it is used in two sentences where the image of the earth and us, people, is reinterpreted as the image of a cosmic body and astronauts. This is clearly not irony, since there is not a drop of mockery in the text, and not litotes, but rather, on the contrary, the author deliberately exaggerates the scale of the disaster. Thus, the only possible option remains - metaphor, the transfer of properties from one object or phenomenon to another based on our associations. Expanded - because it is impossible to isolate a separate phrase from the text.

Answer: 5, 9, 3, 1.

Practice.

(1) As a child, I hated matinees because my father came to our kindergarten. (2) He sat on a chair near the Christmas tree, played his button accordion for a long time, trying to find the right melody, and our teacher sternly told him: “Valery Petrovich, move up!” (3) All the guys looked at my father and choked with laughter. (4) He was small, plump, began to go bald early, and although he never drank, for some reason his nose was always beet red, like a clown’s. (5) Children, when they wanted to say about someone that he was funny and ugly, said this: “He looks like Ksyushka’s dad!”

(6) And I, first in kindergarten and then at school, bore the heavy cross of my father’s absurdity. (7) Everything would be fine (you never know what kind of fathers anyone has!), but I didn’t understand why he, an ordinary mechanic, came to our matinees with his stupid accordion. (8) I would play at home and not disgrace either myself or my daughter! (9) Often getting confused, he groaned thinly, like a woman, and a guilty smile appeared on his round face. (10) I was ready to fall through the ground from shame and behaved emphatically coldly, showing with my appearance that this ridiculous man with a red nose had nothing to do with me.

(11) I was in third grade when I caught a bad cold. (12) I started getting otitis media. (13) I screamed in pain and hit my head with my palms. (14) Mom called an ambulance, and at night we went to the district hospital. (15) On the way, we got into a terrible snowstorm, the car got stuck, and the driver, shrilly, like a woman, began to shout that now we would all freeze. (16) He screamed piercingly, almost cried, and I thought that his ears also hurt. (17) Father asked how long was left to the regional center. (18) But the driver, covering his face with his hands, kept repeating: “What a fool I am!” (19) Father thought and quietly said to mother: “We will need all the courage!” (20) I remembered these words for the rest of my life, although wild pain swirled around me like a snowflake in a blizzard. (21) He opened the car door and went out into the roaring night. (22) The door slammed behind him, and it seemed to me as if a huge monster, clanging its jaws, swallowed my father. (23) The car was rocked by gusts of wind, and snow rustled down the frosty windows. (24) I cried, my mother kissed me with cold lips, the young nurse looked doomedly into the impenetrable darkness, and the driver shook his head in exhaustion.

(25) I don’t know how much time passed, but suddenly the night was illuminated by bright headlights, and the long shadow of some giant fell on my face. (26) I closed my eyes and saw my father through my eyelashes. (27) He took me in his arms and pressed me to him. (28) In a whisper, he told his mother that he had reached the regional center, raised everyone to their feet and returned with an all-terrain vehicle.

(29) I dozed in his arms and through my sleep I heard him coughing. (30) Then no one attached any importance to this. (31) And for a long time afterwards he suffered from double pneumonia.

(32)…My children are perplexed why, when decorating the Christmas tree, I always cry. (33) From the darkness of the past, my father comes to me, he sits under the tree and puts his head on the button accordion, as if he secretly wants to see his daughter among the dressed-up crowd of children and smile cheerfully at her. (34) I look at his face shining with happiness and also want to smile at him, but instead I start crying.

(According to N. Aksenova)

Read a fragment of a review compiled on the basis of the text that you analyzed while completing tasks A29 - A31, B1 - B7.

This fragment examines the linguistic features of the text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list. If you do not know which number from the list should appear in the blank space, write the number 0.

Write down the sequence of numbers in the order in which you wrote them down in the text of the review where there are gaps in answer form No. 1 to the right of task number B8, starting from the first cell.

“The narrator’s use of such a lexical means of expression as _____ to describe the blizzard (“terrible blizzard", "impenetrable darkness"), gives the depicted picture expressive power, and such tropes as _____ (“pain circled me” in sentence 20) and _____ (“the driver began to scream shrilly, like a woman” in sentence 15), convey the drama of the situation described in the text . A device such as ____ (in sentence 34) enhances the emotional impact on the reader.”

1. Leading.

2. Expressive means of language

3. Conclusion

4. References

Introduction

The word is the subtlest touch to the heart; it can become a tender, fragrant flower, and living water, restoring faith in goodness, and a sharp knife, picking at the delicate tissue of the soul, and a red-hot iron, and lumps of dirt... A wise and kind word brings joy, a stupid and evil, thoughtless and tactless - brings misfortune, a word can kill - and revive, wound - and heal, sow confusion and hopelessness - and spiritualize, dispel doubts - and plunge into despondency, create a smile - and cause tears, generate faith in a person - and instill mistrust, inspire to work - and numb the strength of the soul.

V.A. Sukhomlinsky

Expressive means of language

The lexical system of a language is complex and multifaceted. The possibilities of constant updating in speech of the principles, methods, and signs of combining words taken from different groups within the whole text also conceal the possibility of updating speech expressiveness and its types.

The expressive capabilities of the word are supported and strengthened by the associativity of the reader’s figurative thinking, which largely depends on his previous life experience and the psychological characteristics of the work of thought and consciousness in general.

Expressiveness of speech refers to those features of its structure that support the attention and interest of the listener (reader). Linguistics has not developed a complete typology of expressiveness, since it would have to reflect the entire diverse range of human feelings and their shades. But we can speak quite definitely about the conditions under which speech will be expressive:

The first is the independence of thinking, consciousness and activity of the author of the speech.

The second is his interest in what he talks or writes about. Third, a good knowledge of the expressive capabilities of the language. Fourth - systematic conscious training of speech skills.

The main source of increased expressiveness is vocabulary, which provides a number of special means: epithets, metaphors, comparisons, metonymies, synecdoche, hyperbole, litotes, personification, periphrases, allegory, irony. Syntax, the so-called stylistic figures of speech, have great potential to enhance the expressiveness of speech: anaphora, antithesis, non-union, gradation, inversion (reverse word order), polyunion, oxymoron, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora.

Lexical means of a language that enhance its expressiveness are called tropes in linguistics (from the Greek tropos - a word or expression used in a figurative sense). Most often, tropes are used by authors of works of art when describing nature and the appearance of heroes.

These visual and expressive means are of the author's nature and determine the originality of the writer or poet, helping him to gain an individual style. However, there are also general language tropes that arose as the author’s own, but over time became familiar, entrenched in the language: “time heals,” “battle for the harvest,” “military thunderstorm,” “conscience has spoken,” “curl up,” “like two drops.” water ".

In them, the direct meaning of words is erased, and sometimes completely lost. Their use in speech does not give rise to an artistic image in our imagination. The trope can develop into a speech cliche if used too often. Compare expressions that define the value of resources using the figurative meaning of the word “gold” - “white gold” (cotton), “black gold” (oil), “soft gold” (fur), etc.

Epithets (from the Greek epitheton - application - blind love, foggy moon) artistically define an object or action and can be expressed by full and short adjectives, nouns and adverbs: “Whether I wander along noisy streets, or enter a crowded temple...” (A.S. Pushkin)

“She is as restless as leaves, she is like a harp, multi-stringed...” (A.K. Tolstoy) “Frost the governor patrols his possessions...” (N. Nekrasov) “Uncontrollably, uniquely, everything flew far and past ..." (S. Yesenin). Epithets are classified as follows:

1) constant (characteristic of oral folk art) - “kind
well done”, “pretty maiden”, “green grass”, “blue sea”, “dense forest”
“the mother of cheese is the earth”;

2) pictorial (visually draw objects and actions, give
the opportunity to see them as the author sees them) -

“a crowd of motley-haired fast cats” (V. Mayakovsky), “the grass is full of transparent tears” (A. Blok);

3) emotional (convey the author’s feelings, mood) -

“The evening raised black eyebrows...” - “A blue fire began to sweep...”, “Uncomfortable, liquid moonlight...” (S. Yesenin), “... and the young city ascended magnificently, proudly” (A. Pushkin ).

Comparison is matching (parallelism) or

opposition (negative parallelism) of two objects according to one or more common characteristics: “Your mind is as deep as the sea. Your spirit is as high as the mountains"

(V. Bryusov) - “It is not the wind that rages over the forest, it is not the streams that run from the mountains - Voivode Frost is patrolling his possessions” (N. Nekrasov). Comparison gives the description a special clarity and imagery. This trope, unlike others, is always two-part - it names both compared or contrasted objects. 2 In comparison, three necessary existing elements are distinguished - the subject of comparison, the image of comparison and the sign of similarity.

1 Dantsev D.D., Nefedova N.V. Russian language and speech culture for technical universities. - Rostov n/D: Phoenix, 2002. p. 171

2 Russian language and culture of speech: Textbook / ed. V.I. Maksimova - M.: 2000 p. 67.

For example, in the line by M. Lermontov “Whiteer than the snowy mountains, the clouds go to the west...” the subject of comparison is the clouds, the image of comparison is the snowy mountains, the sign of similarity is the whiteness of the clouds. The comparison can be expressed:

1) comparative phrase with conjunctions “as”, “as if”, “as if”, “like”
as if”, “exactly”, “than... that”: “Crazy years of faded fun

It’s hard for me, like a vague hangover, “But, like wine, the sadness of days gone by In my soul, the older, the stronger” (A. Pushkin);

2) comparative degree of an adjective or adverb: “there is no beast worse than a cat”;

3) a noun in the instrumental case: “The white drifting snow rushes along the ground like a snake...” (S. Marshak);

“Dear hands - a pair of swans - dive into the gold of my hair...” (S. Yesenin);

“I looked at her with all my might, like children look...” (V. Vysotsky);

“I will never forget this battle, the air is saturated with death.

And the stars fell from the sky like silent rain” (V. Vysotsky).

“These stars in the sky are like fish in ponds...” (V. Vysotsky).

“Like Eternal Fire, the peak sparkles with emerald ice during the day...” (V.

Vysotsky).

Metaphor (from the Greek metaphora) means transferring the name of an object

(actions, qualities) based on similarity, this is a phrase that has the semantics of a hidden comparison. If an epithet is not a word in the dictionary, but a word in speech, then all the more true is the statement: metaphor is not a word in the dictionary, but a combination of words in speech. You can hammer a nail into a wall. You can hammer thoughts into your head - a metaphor arises, rough but expressive.

There are three elements in a metaphor: information about what is being compared; information about what it is being compared with; information about the basis of comparison, i.e. about a characteristic common to the objects (phenomena) being compared.

Speech actualization of the semantics of metaphor is explained by the need for such guessing. And the more effort a metaphor requires for consciousness to turn a hidden comparison into an open one, the more expressive, obviously, the metaphor itself is. Unlike a binary comparison, which contains both what is being compared and what is being compared with, a metaphor contains only the second component. This gives imagery and

compactness of the path. Metaphor is one of the most common tropes, since the similarity between objects and phenomena can be based on a wide variety of features: color, shape, size, purpose.

The metaphor may be simple, detailed and lexical (dead, erased, petrified). A simple metaphor is built on the convergence of objects and phenomena according to one common feature - “the dawn is blazing,” “the talk of the waves,” “the sunset of life.”

The extended metaphor is built on various associations of similarity: “Here the wind embraces flocks of waves in a strong embrace and throws them with wild anger onto the cliffs, smashing the emerald masses into dust and splashes” (M. Gorky).

Lexical metaphor is a word in which the initial transfer is no longer perceived - “steel pen”, “clock hand”, “door handle”, “sheet of paper”. Close to metaphor is metonymy (from the Greek metonymia - renaming) - the use of the name of one object instead of the name of another on the basis of an external or internal connection between them. Communication may be

1) between the object and the material from which the object is made: “The amber in his mouth was smoking” (A. Pushkin);

3) between the action and the instrument of this action: “The pen is his revenge
breathes"

5) between the place and the people located in this place: “The theater is already full, the boxes are shining” (A. Pushkin).

A type of metonymy is synecdoche (from the Greek synekdoche - co-implication) - the transfer of meaning from one to another based on the quantitative relationship between them:

1) part instead of the whole: “All flags will come to visit us” (A. Pushkin); 2) generic name instead of specific name: “Well, why, sit down, luminary!” (V. Mayakovsky);

3) the specific name instead of the generic name: “Take care of the penny above all else” (N. Gogol);

4) singular instead of plural: “And it was heard until
dawn, how the Frenchman rejoiced” (M. Lermontov);

5) plural instead of singular: “Not even a bird flies to him, and
the beast is not coming” (A. Pushkin).

The essence of personification is to attribute to inanimate objects and abstract concepts the qualities of living beings - “I will whistle, and bloody villainy will obediently, timidly crawl towards me, and will lick my hand, and look into my eyes, in them is a sign of my will, reading my will” (A. Pushkin); “And the heart is ready to run from the chest to the top...” (V. Vysotsky).

Hyperbole (from the Greek hyperbole - exaggeration) - stylistic

a figure consisting of figurative exaggeration - “they swept a stack above the clouds”, “the wine flowed like a river” (I. Krylov), “The sunset burned in one hundred and forty suns” (V. Mayakovsky), “The whole world is in the palm of your hand...” (In . Vysotsky). Like other tropes, hyperboles can be proprietary and general language. In everyday speech, we often use such general linguistic hyperboles - seen (heard) a hundred times, “be scared to death”, “strangle in your arms”, “dance until you drop”, “repeat twenty times”, etc. The opposite stylistic device to hyperbole is - litotes (from the Greek litotes - simplicity, thinness) is a stylistic figure consisting of emphasized understatement, humiliation, reticence: “a little boy”, “...You should bow your head to a low blade of grass...” (N. Nekrasov).

Litota is a type of meiosis (from the Greek meiosis - decrease, decrease).

MEIOSIS represents the trope of understatement

intensity of properties (signs) of objects, phenomena, processes: “wow”, “will do”, “decent*, “tolerable” (about good), “unimportant”, “hardly suitable”, “leaving much to be desired” (about bad ). In these cases, meiosis is a mitigating version of the ethically unacceptable direct name: cf. “old woman” - “a woman of Balzac’s age”, “not in her first youth”; “an ugly man” - “it’s hard to call him handsome.” Hyperbole and litotes characterize a deviation in one direction or another in the quantitative assessment of an object and can be combined in speech, giving it additional expressiveness. In the comic Russian song “Dunya the Thin-Spinner” it is sung that “Dunya spun a tow for three hours, spun three threads,” and these threads were “thinner than a knee, thicker than a log.” In addition to the author’s, there are also general linguistic litotes - “the cat cried”, “just a stone’s throw”, “can’t see beyond your own nose”.

Periphrasis (from the Greek periphrasis - from around and I speak) is called

a descriptive expression used instead of one word or another (“the one who writes these lines” instead of “I”), or a trope consisting of replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features (“the king of beasts is the lion” , “foggy Albion” - England, “Northern Venice” - St. Petersburg, “the sun of Russian poetry” - A. Pushkin).

Allegory (from the Greek allegoria - allegory) consists of an allegorical depiction of an abstract concept using a concrete, life-like image. Allegories appear in literature in the Middle Ages and owe their origin to ancient customs, cultural traditions and folklore. The main source of allegories is tales about animals, in which the fox is an allegory of cunning, the wolf is an allegory of anger and greed, the ram is stupidity, the lion is power, the snake is wisdom, etc. From ancient times to our time, allegories are most often used in fables, parables, and other humorous and satirical works. In Russian classical literature, allegories were used by M.E. Saltykov-Shchedrin, A.S. Griboyedov, N.V. Gogol, I.A. Krylov, V.V. Mayakovsky.

Irony (from the Greek eironeia - pretense) is a trope that consists in the use of a name or an entire statement in an indirect sense, directly opposite to the direct one, this is a transfer by contrast, by polarity. Most often, irony is used in statements containing a positive assessment, which the speaker (writer) rejects. “Where are you, smart one, are you delusional?” - asks the hero of one of I.A.’s fables. Krylova at Donkey's. Praise in the form of censure can also be ironic (see A.P. Chekhov’s story “Chameleon”, characterization of a dog).

Anaphora (from the Greek anaphora -ana again + phoros bearing) - unity of beginning, repetition of sounds, morphemes, words, phrases, rhythmic and speech structures at the beginning of parallel syntactic periods or poetic lines.

Bridges demolished by thunderstorms,

A coffin from a washed-out cemetery (A.S. Pushkin) (repetition of sounds) ...A black-eyed maiden, a black-maned horse! (M.Yu. Lermontov) (repetition of morphemes)

It was not in vain that the winds blew,

It was not in vain that the storm came. (S.A. Yesenin) (repetition of words)

I swear by odd and even,

I swear by the sword and the right battle. (A.S. Pushkin)

Conclusion

In conclusion of this work, I would like to note that the means of expression, the stylistic figures that make our speech expressive, are diverse, and knowing them is very useful. A word, speech is an indicator of a person’s general culture, his intelligence, his speech culture. That is why mastering the culture of speech and its improvement, especially at the present time, is so necessary for the current generation. Each of us is obliged to cultivate a respectful, reverent and caring attitude towards our native language, and each of us must consider it our duty to contribute to the preservation of the Russian nation, language, and culture.

List of used literature

1. Golovin I.B. Fundamentals of speech culture. St. Petersburg: Slovo, 1983.

2. Rosenthal D.E. Practical style. M.: Knowledge, 1987.

3. Rosenthal D.E., Golub I.B. Secrets of stylistics: rules of good speech M.: Znanie, 1991.

4. Farmina L.G. Let's learn to speak correctly. M.: Mir, 1992.

5. Dantsev D.D., Nefedova N.V. Russian language and speech culture for technical universities. - Rostov n/D: Phoenix, 2002.

6. Russian language and culture of speech: Textbook / ed. V.I. Maksimova - M.: Gardariki, 2000.

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Comparison is a comparison of one object or phenomenon with another on some basis, based on their similarity. The comparison can be expressed:

By using conjunctions (as, as if, exactly, as if, as if, like, than):

I am moved, silently, tenderly, admiring you like a child! (A.C.

Pushkin);

Form of the instrumental case: And the net, lying on the sand as a thin through shadow, moves, continuously grows in new rings (A.S. Serafimovich);

Using words like similar, similar: The rich are not like you and me (E. Hemingway);

Using negation:

I’m not such a bitter drunkard that I could die without seeing you. (S.A. Yesenin);

Comparative degree of an adjective or adverb:

Neater than fashionable parquet The river shines, dressed in ice. .(A.S. Pushkin)

Metaphor is the transfer of the name (properties) of one object to another based on the principle of their similarity in some respect or by contrast. This is the so-called hidden (or abbreviated) comparison, in which the conjunctions as, as if, as if... are absent. For example: the lush gold of the autumn forest (K.G. Paustovsky).

Varieties of metaphor are personification and reification.

Personification is an image of inanimate objects, in which they are endowed with properties, traits of living beings. For example: And the fire, trembling and wavering in the light, restlessly glanced with red eyes at the cliff that protruded for a second from the darkness (A.S. Serafimovich).

Reification is the assimilation of living beings to inanimate objects. For example: The front rows lingered, the back rows became thicker, and the flowing human river stopped, just as noisy waters, blocked in their channel, stop in silence (A.S. Serafimovich).

Metonymy is the transfer of a name from one object to another based on the associative contiguity of these objects. For example: The entire gymnasium is in hysterical convulsive sobs (A.S. Serafimovich).

Synecdoche (a type of metonymy) is the ability of a word to name both the whole through its part, and a part of something through the whole. For example: Black visors, boots like a bottle, jackets, black coats flashed (A.S. Serafimovich).

An epithet is an artistic definition that emphasizes any attribute (property) of an object or phenomenon, which is a definition or circumstance in a sentence. The epithet can be expressed:

Adjective:

Cabbage blue freshness. And red maples in the distance. The last gentle tenderness of the silent autumn land.

(A. Zhigulin);

Noun: Heavenly clouds, eternal wanderers (M.Yu. Lermontov);

Adverb: And the midday waves rustle sweetly (A.S. Pushkin).

Hyperbole is a means of artistic depiction based on excessive exaggeration of the properties of an object or phenomenon. For example: The sidewalk whirlwinds rushed the pursuers themselves so hard that they sometimes overtook their headdresses and came to their senses only by touching the feet of the bronze figure of Catherine’s nobleman, who stood in the middle of the square (IL. Ilf, E.P. Petrov).

Litotes is an artistic technique based on downplaying any properties of an object or phenomenon. For example: Tiny toy people sit for a long time under the white mountains near the water, and the grandfather’s eyebrows and rough mustache move angrily (A.S. Serafimovich).

Allegory is an allegorical expression of an abstract concept or phenomenon through a concrete image. For example:

You will say: windy Hebe, Feeding Zeus's eagle, spilled a loud-boiling cup from the sky, laughing, onto the ground.

(F.I. Tyutchev)

Irony is an allegory that expresses ridicule when a word or statement in the context of speech takes on a meaning that is directly opposite to the literal one or calls it into question. For example:

“Did you sing everything? this business:

So come and dance!” (I.A. Krylov)

An oxymoron is a paradoxical phrase in which contradictory (mutually exclusive) properties are attributed to an object or phenomenon. For example: Diderot was right when he said that art lies in finding the extraordinary in the ordinary and the ordinary in the extraordinary (K.G. Paustovsky).

A periphrasis is the replacement of a word with an allegorical descriptive expression. For example: Direct duty obliged us to enter this terrifying crucible of Asia (as the author called the smoking Kara-Bugaz Bay) (K.G.

Paustovsky).

Antithesis is the opposition of images, concepts, properties of objects or phenomena, which is based on the use of antonyms. For example:

I had everything, suddenly lost everything; As soon as the dream began... the dream disappeared! (E. Baratynsky)

Repetition is the repeated use of the same words and expressions. For example: My friend, \ my tender friend... I love... yours... yours!.. (A.C. Pushkin).

Varieties of repetition are anaphora and epi-phora.

Anaphora (single beginning) is the repetition of initial words in adjacent lines, stanzas, and phrases. For example-1 measure:

You are all full of an immense dream, You are all full of mysterious melancholy. (E. Baratynsky)

Epiphora is the repetition of final words in adjacent lines, stanzas, phrases. For example:

We do not value earthly happiness, We are accustomed to valuing people; Both of us will not change ourselves, But they cannot change us.

(M.Yu. Lermontov)

Gradation is a special grouping of homogeneous members of a sentence with a gradual increase (or | decrease) of semantic and emotional significance. I For example:

And for him, both deity and inspiration, and life, and tears, and love were resurrected again. (A.S. Pushkin)

Parallelism is a repetition of a type of adjacent sentences or phrases in which the order of the words coincides, at least partially. For example:

I'm bored without you - I yawn; I feel sad in front of you - I endure... (A.S. Pushkin)

Inversion is a violation of the generally accepted order of words in a sentence, a rearrangement of parts of a phrase. For example:

There was once in the mountains, full of heartfelt thoughts, Over the sea I eked out thoughtful laziness... (A.S. Pushkin)

Ellipsis is the omission of individual words (usually easily restored in context) to give the phrase additional dynamism. For example: Afinogenych transported pilgrims less and less often. For whole weeks - no one (A.S. Serafimovich).

Parcellation is an artistic technique in which a sentence is intonationally divided into separate segments, graphically highlighted as independent sentences. For example: They didn’t even look at the one brought here, one of the thousands who were here. Searched. Made measurements. We wrote down the signs (A.S. Serafimovich).

A rhetorical question (address, exclamation) is a question (address, exclamation) that does not require an answer. Its function is to attract attention and enhance impressions. For example: What is in my name for you? (A.S. Pushkin)

Non-union is the deliberate omission of conjunctions to make speech dynamic. For example:

To lure with exquisite attire, play of the eyes, brilliant conversation... (E. Baratynsky)

Polyconjunction is the deliberate repetition of conjunctions in order to slow down speech with forced pauses. At the same time, the semantic significance of each word highlighted by the conjunction is emphasized. For example:

And every tongue that is in it will call me,

And the proud grandson of the Slavs, and the Finn, and now wild

Tungus, and friend of the steppes Kalmyk. (A.S. Pushkin)

Phraseologisms, synonyms and antonyms are also used as means to enhance the expressiveness of speech.

Phraseological unit, or phraseological unit -

this is a stable combination of words that functions: in speech as an expression indivisible in terms of meaning and composition: lie on the stove, fight like a fish on ice, [ neither day nor night.

Synonyms are words of the same part of speech; close in meaning. Types of synonyms:

General language: brave - brave;

Contextual:

You will hear the judgment of a fool and the laughter of a cold crowd: But you remain firm, calm and gloomy. (A.S. Pushkin)

Antonyms are words of the same part of speech that have opposite meanings. Types of antonyms:

General language: good - evil;

Contextual:

I give up my place to you: It’s time for me to smolder, for you to bloom. (A.S. Pushkin)

As you know, the meaning of a word is most accurately determined in the context of speech. This allows, in particular, to determine the meaning of polysemantic words, as well as to distinguish between homonyms (words of the same part of speech, identical in sound or spelling, but having different lexical meanings: a tasty fruit is a reliable raft, a defect in work - happy marriage).

Means of speech expression- this is one of the most important factors thanks to which the Russian language is famous for its richness and beauty, which has been sung more than once in the poems and immortal works of Russian literary classics. To this day, Russian is one of the most difficult languages ​​to learn. This is facilitated by the huge number of means of expression that are present in our language, making it rich and multifaceted. Today there is no clear classification of means of expression, but two conventional types can still be distinguished: stylistic figures and tropes.

Stylistic figures- these are speech patterns that the author uses in order to achieve maximum expressiveness, which means it is better to convey the necessary information or meaning to the reader or listener, as well as give the text an emotional and artistic coloring. Stylistic figures include such means of expression as antithesis, parallelism, anaphora, gradation, inversion, epiphora and others.

Trails- these are figures of speech or words that are used by the author in an indirect, allegorical meaning. These means of artistic expression- an integral part of any work of art. Tropes include metaphors, hyperboles, litotes, synecdoche, metonymies, etc.

The most common means of expression.

As we have already said, there are a very large number of means of lexical expression in the Russian language, so in this article we will consider those that can most often be found not only in literary works, but also in the everyday life of each of us.

1. Hyperbola(Greek hyperbole - exaggeration) is a type of trope based on exaggeration. Through the use of hyperbole, the meaning is enhanced and the desired impression is made on the listener, interlocutor or reader. For example: sea ​​of ​​tears; Ocean Love.
2. Metaphor(Greek metaphora - transference) is one of the most important means of speech expressiveness. This trope is characterized by the transfer of characteristics of one object, creature or phenomenon to another. This trope is similar to a comparison, but the words “as if”, “as if”, “as” are omitted, but everyone understands that they are implied: tarnished reputation; glowing eyes; seething emotions.
3. Epithet(Greek epitheton - application) is a definition that gives the most ordinary things, objects and phenomena an artistic coloring. Examples of epithets: golden summer; flowing hair; wavy fog.

   IMPORTANT. Not every adjective is an epithet. If an adjective indicates clear characteristics of a noun and does not carry any artistic meaning, then it is not an epithet: green grass; wet asphalt; bright sun.

4. Antithesis(Greek antithesis - opposition, contradiction) - another means of expressiveness that is used to enhance drama and is characterized by a sharp contrast of phenomena or concepts. Very often the antithesis can be found in poetry: “You are rich, I am very poor; you are a prose writer, I am a poet..." (A.S. Pushkin).
5. Comparison- a stylistic figure, the name of which speaks for itself: when comparing, one object is compared with another. There are several ways in which comparison can be presented:

   - noun (“…storm haze the sky covers...").

   A figure of speech in which there are conjunctions “as if”, “as if”, “as”, “like” (The skin of her hands was rough, like the sole of a boot).

   - subordinate clause (Night fell on the city and in a matter of seconds everything became quiet, as if there was no such liveliness in the squares and streets just an hour ago).

6. Phraseologisms- a means of lexical expressiveness of speech, which, unlike others, cannot be used by the author individually, since it is, first of all, a stable phrase or phrase peculiar only to the Russian language ( neither fish nor fowl; play the fool; how the cat cried).
7. Personification is a trope that is characterized by endowing inanimate objects and phenomena with human properties (And the forest came to life - the trees spoke, the wind began to sing in the tops of fir trees).

In addition to the above, there are the following means of expression, which we will consider in the next article:

• Allegory
• Anaphora
• Gradation
• Inversion
• Alliteration
• Assonance
• Lexical repetition
• Irony
• Metonymy
• Oxymoron
• Multi-Union
• Litotes
• Sarcasm
• Ellipsis
• Epiphora and others.

Theoretical part

The ability to analyze lyrical works and episodes of prose text is one of the most important skills in literary and language training. Among other requirements of this work, the most difficult is finding visual expressive means in the text, as well as determining the purpose of their use by the author. The table below presents the main means of artistic speech and examples of their use. You are already familiar with some of them, others you will be able to identify during your studies at our lyceum.

Here are options for completing tasks

A) From this passage, write down one example of personification, simile and epithet.

The wind is screeching, rushing like mad, red clouds are rushing, low, as if torn to shreds, everything is unfurled, mixed, overwhelmed, a zealous downpour swayed in sheer columns, lightning blinds with fiery green, abrupt thunder shoots like from a cannon, there is a smell of sulfur...

I.S. Turgenev “Pigeons”

(from the series “poems in prose”)

Answer: 1) The wind screeches - personification

2) shoots like a cannon - comparison

3) zealous downpour - epithet

b) Drawing a picture of a thunderstorm, I.S. Turgenev uses comparisons. Write them out from the text, answer the question: for what purpose does the author use these artistic means?

Answer:

rushing around like crazy

like clouds torn to shreds

the downpour swayed in vertical columns

shoots like a cannon

Using comparisons, the author draws a powerful movement of nature, disturbing and at the same time cleansing. Storms and thunderstorms instill fear in the hero of the story and at the same time it is fun for him! You can imagine in this picture both a mad, indomitable animal, ready to trample all living things, and heavy streams of water that from a distance look like moving pillars, and you can hear the cannonade of an approaching battle.

Practice Tests

“3” - 5-6 correct answers.

Test 1.

Exercise:

1. Below him is a stream of lighter azure.

(M. Lermontov.)

2. A heroic horse jumps through the forest.

3. The golden stars dozed off.

(S. Yesenin.)

4. Ahead is a deserted September day.

(K. Paustovsky.)

5 .

The water is tired of singing, tired of flowing,

Shine, flow and shimmer.

6 (D. Samoilov.)

.

The dandelions went to bed with us,

7. children, and stood up with us.

(M. Prishvin.)

She chirps and sings

On the eve of the forest,

as if protecting the entrance

8. In forest holes.

(B. Pasternak.)

9. Forests dressed in scarlet and gold.

(A. Pushkin.)

Autumn will wake up soon

10. and will cry sleepily.

(K. Balmont.)

Shine, flow and shimmer.

But it still has to freeze, And not to sing, but to ring like armor. 2. Answers: 1 3 .Comparison (simple). 4 Hyperbola. 5 .Personification. 6 .Comparison (simple). 7 .Epithet. 8 .Homogeneous members of the sentence. 9. .Comparison. 10 .Metaphor

Personifications .

Exercise:.Comparison.

1. Test 2

Name the means of expression that the author used.

2. Life is a mouse race...

3. Why are you bothering me? (A. Pushkin)

4. Boy with a thumb.

The forest is like a painted tower. (I. Bunin)

When people...

5. Belinsky and Gogol

6. It will come from the market. (N. Nekrasov)

O Volga, my cradle! (N. Nekrasov)

Chalk, chalk all over the earth,

To all limits.

7. The candle was burning on the table,

The candle was burning. (B. Pasternak)

They got along. Wave and stone

8. Poetry and prose, ice and fire,

9. Not so different from each other. (A. Pushkin)

10. We haven't seen each other for a hundred years!

The seahorses seemed much more interesting.(V. Kataev) 2. And the punch flame is blue. (A. Pushkin) 3 Answers: 1. 4. A rhetorical question 5 Litotes 6 .Comparison 7 Metonymy 8 .Appeal 9 Answers: 1. 10 .Lexical repetition