What are figurative means of expression? Means of artistic expression

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 shows fixed assets artistic speech, 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. We haven't seen each other for a hundred years!

9. The seahorses seemed much more interesting.

10. (V. Kataev)

And the punch flame is blue. (A. Pushkin) Answers: 1. 2. A rhetorical question 3 Litotes 4. .Comparison 5 Metonymy 6 .Appeal 7 .Lexical repetition 8 .Antithesis 9 Litotes 10 .Hyperbola

. Metaphor.

When we talk about art and literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. In fiction and poetry, there are special techniques for enhancing expressiveness. A competent presentation, public speaking - they also need ways to construct

expressive speech

• For the first time, the concept of rhetorical figures, figures of speech, appeared among the orators of ancient Greece. In particular, Aristotle and his followers were engaged in their study and classification. Delving into the details, scientists have identified up to 200 varieties that enrich the language.
• Means of expressive speech are divided according to language level into:
• phonetic;

lexical;

syntactic. The use of phonetics is traditional for poetry. Musical sounds often predominate in a poem, giving poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, and combinations of sounds are used for emphasis. Anaphora– repetition of sounds, words or phrases at the beginning of sentences, poetic lines or stanzas. “The golden stars dozed off...” – repetition

initial sounds

Yesenin used phonetic anaphora.
And here is an example of lexical anaphora in Pushkin’s poems:
Alone you rush across the clear azure,

Epiphora You alone cast a dull shadow,

You alone sadden the jubilant day.

- a similar technique, but much less common, in which words or phrases are repeated at the end of lines or sentences.

The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax, is considered as a tradition of literary creativity, although it is also widely found in poetry.

Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures. Trails Tropes are the use of words and phrases in

Epithet figurative meaning . Paths make speech more figurative, enliven and enrich it. Some tropes and their examples in literary work are listed below., early spring - young spring, quiet breeze - gentle breeze.

Personification- transferring the signs of living beings to inanimate objects, nature: “The gloomy rocks looked sternly...”.

Comparison– direct comparison of one object or phenomenon with another. “The night is gloomy, like a beast...” (Tyutchev).

Metaphor– transferring the meaning of one word, object, phenomenon to another. Identifying similarities, implicit comparison.

“There is a red rowan fire burning in the garden...” (Yesenin). The rowan brushes remind the poet of the flame of a fire.

Metonymy– renaming. Transferring a property or meaning from one object to another according to the principle of contiguity. “The one in felt, let’s argue” (Vysotsky). In felt (material) - in a felt hat.

Synecdoche- a type of metonymy. Transferring the meaning of one word to another based on a quantitative connection: singular - plural, part - whole. “We all look at Napoleons” (Pushkin).

Irony- the use of a word or expression in an inverted, mocking sense. For example, the appeal to the Donkey in Krylov’s fable: “Are you crazy, smart one?”

Well, what about us ourselves?- a figurative expression containing exorbitant exaggeration. It may relate to size, meaning, strength, and other qualities. Litota is, on the contrary, an exorbitant understatement. Hyperbole is often used by writers and journalists, and litotes is much less common. Examples. Hyperbole: “The sunset burned with one hundred and forty suns” (V.V. Mayakovsky). Litota: “a little man with a fingernail.”

Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of allegory is to suggest subtext, to force one to look for hidden meaning when reading. Widely used in fable.

Alogism– deliberate violation of logical connections for the purpose of irony. “That landowner was stupid, he read the newspaper “Vest” and his body was soft, white and crumbly.” (Saltykov-Shchedrin). The author deliberately mixes logically heterogeneous concepts in the enumeration.

Bad, unworthy, stupid and disgusting– a special technique, a combination of hyperbole and metaphor, a fantastic surreal description. An outstanding master of Russian grotesque was N. Gogol. His story “The Nose” is based on the use of this technique. A special impression when reading this work is made by the combination of the absurd with the ordinary.

Figures of speech

Stylistic figures are also used in literature. Their main types are shown in the table:

Test "Means of Artistic Expression"

To test your understanding of the material, take a short test.

Read the following passage:

“There the war smelled of gasoline and soot, burnt iron and gunpowder, it scraped with caterpillar tracks, screeched from machine guns and fell into the snow, and rose again under fire...”

What means of artistic expression are used in the excerpt from K. Simonov’s novel?

Swede, Russian - stabs, chops, cuts.

Drumming, clicks, grinding,

The thunder of guns, stomping, neighing, groaning,

And death and hell on all sides.

A. Pushkin

The answer to the test is given at the end of the article.

Expressive language is, first of all, an internal image that arises when reading a book, listening to an oral presentation, or a presentation. To manipulate images, visual techniques are needed. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their own image in your speech pattern.

Study expressive language and its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your language will become an obedient tool and your weapon.

Answer to the test

K. Simonov. The personification of war in the passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically connects them into a generalized image of war. The techniques of expressive language used are polyunion, syntactic repetition, parallelism. Through this combination of stylistic techniques when reading, a revived, rich image of war is created.

A. Pushkin. The poem lacks conjunctions in the first lines. In this way the tension and richness of the battle are conveyed. In the phonetic design of the scene, the sound “r” plays a special role in different combinations. When reading, a rumbling, growling background appears, ideologically conveying the noise of battle.

If you were unable to give the correct answers while answering the test, do not be upset. Just re-read the article.

Every word contains an abyss of images.
K. Paustovsky

Lexical means

Antonyms- (from the Greek “anti” - against and “onima” - name) - words related to one part of speech, but opposite in meaning (good - evil, powerful - powerless). Antonymy is based on an association by contrast, reflecting existing differences in the nature of objects, phenomena, actions, qualities and characteristics. The contrast of antonyms in speech is a clear source of speech expression that establishes the emotionality of speech:
He was weak in body, but strong in spirit.

Contextual (or contextual) antonyms- these are words that are not contrasted in meaning in the language and are antonyms only in the text:
Mind and heart - ice and fire - these are the main things that distinguished this hero.

Hyperbola- a figurative expression that exaggerates any action, object, phenomenon. Used to enhance the artistic impression:
Snow was falling from the sky in buckets.

Litotes- artistic understatement:
A man with a fingernail.
Used to enhance artistic impression.

Individually authored neologisms (occasionalisms)- thanks to their novelty, they allow you to create certain artistic effects, express the author’s view on a topic or problem: ...how can we ourselves ensure that our rights are not expanded at the expense of the rights of others? (A. Solzhenitsyn)
The use of literary images helps the author to better explain a situation, phenomenon, or another image:
Grigory was apparently brother Ilyusha Oblomov.

Synonyms- (from the Greek “synonymos” - the same name) - these are words related to the same part of speech, expressing the same concept, but at the same time differing in shades of meaning: Infatuation - love, buddy - friend.

Contextual (or contextual) synonyms- words that are synonyms only in this text:
Lomonosov is a genius - the beloved child of nature. (V. Belinsky)

Stylistic synonyms- differ in stylistic coloring and scope of use:
He grinned - giggled - laughed - neighed.

Syntactic synonyms- parallel syntactic constructions, having a different structure, but coinciding in meaning:
Start preparing lessons - start preparing lessons.

Metaphor- (from the Greek “metaphor” - transfer) - a hidden comparison based on the similarity between distant phenomena and objects. The basis of any metaphor is an unnamed comparison of some objects with others that have a common feature.

In a metaphor, the author creates an image - an artistic representation of the objects, phenomena that he describes, and the reader understands on what similarity the semantic connection between the figurative and direct meaning of the word is based:
There were, are and, I hope, there will always be more good people in the world than bad and evil people, otherwise there would be disharmony in the world, it would become warped... capsize and sink.

Epithet, personification, oxymoron, antithesis can be considered as a type of metaphor.

Expanded metaphor- a detailed transfer of the properties of one object, phenomenon or aspect of existence to another according to the principle of similarity or contrast. The metaphor is particularly expressive. Possessing unlimited possibilities in bringing together a wide variety of objects or phenomena, metaphor allows you to rethink the subject in a new way, to reveal and expose its inner nature. Sometimes it is an expression of the author’s individual vision of the world.

Unconventional metaphors (Antiquities Shop – Grannies on a bench at the entrance; Red and Black – Calendar;)

Metonymy– (from the Greek “metonymy” - renaming) - transfer of meanings (renaming) according to the contiguity of phenomena. The most common transfer cases:
a) from a person to his any external signs:
Is it lunchtime soon? - asked the guest, turning to the quilted vest;
b) from the institution to its inhabitants:
The entire boarding house recognized the superiority of D.I. Pisareva;
c) the name of the author on his creation (book, painting, music, sculpture):
Magnificent Michelangelo! (about his sculpture) or: Reading Belinsky...

Synecdoche- a technique by which the whole is expressed through its part (something smaller included in something larger) A type of metonymy.
“Hey, beard! How do you get from here to Plyushkin?” (N.V. Gogol)

Oxymoron- a combination of words with contrasting meanings that create a new concept or idea. This is a combination of logically incompatible concepts that sharply contradict in meaning and are mutually exclusive. This technique prepares the reader to perceive contradictory, complex phenomena, often the struggle of opposites. Most often, an oxymoron conveys the author’s attitude towards an object or phenomenon:
The sad fun continued...

Personification– one of the types of metaphor when a characteristic is transferred from a living object to an inanimate one. When personified, the described object is externally used by a person: The trees, bending towards me, extended their thin arms. Even more often, actions that are permissible only to humans are attributed to an inanimate object:
The rain splashed bare feet along the garden paths.

Evaluative vocabulary– direct author’s assessment of events, phenomena, objects:
Pushkin is a miracle.

Paraphrase(s)– using a description instead of your own name or title; descriptive expression, figure of speech, replacement word. Used to decorate speech, replace repetition:
The city on the Neva sheltered Gogol.

Proverbs and sayings, used by the author, make speech figurative, apt, expressive.

Comparison- one of the means of expressive language that helps the author express his point of view, create entire artistic pictures, and give a description of objects. In comparison, one phenomenon is shown and evaluated by comparing it with another phenomenon.

Comparisons are usually added by conjunctions: as, as if, as if, exactly, etc. but serves for figurative description the most diverse characteristics of objects, qualities, actions.
For example, comparison helps to give exact description colors:
His eyes are black as night.

A form of comparison expressed by a noun in the instrumental case is often found:
Anxiety crept like a snake into our hearts.
There are comparisons that are included in a sentence using the words: similar, similar, reminiscent:
...butterflies look like flowers.
A comparison can also represent several sentences that are related in meaning and grammatically. There are two types of such comparisons:
1) An expanded, branched comparison-image, in which the main, initial comparison is specified by a number of others:
The stars came out into the sky. With thousands of curious eyes they rushed to the ground, with thousands of fireflies they lit up the night.
2) Expanded parallelism (the second part of such comparisons usually begins with the word like this):
The church shook. This is how a man taken by surprise flinches, this is how a tremulous doe takes off from its place, not even understanding what happened, but already sensing danger.

Phraseologisms– (from Greek “phrasis” - expression) – these are almost always vivid expressions. Therefore, they are an important expressive means of language, used by writers as ready-made figurative definitions, comparisons, as emotional and graphic characteristics of characters, the surrounding reality, etc.:
People like my hero have a spark of God.

Quotes from other works help the author to prove a thesis, the position of the article, show his passions and interests, make the speech more emotional and expressive:
A.S. Pushkin, “like first love,” will not be forgotten not only by the “heart of Russia,” but also by world culture.

Epithet– (from the Greek “epiteton” - application) – a word that highlights in an object or phenomenon any of its properties, qualities or characteristics. An epithet is an artistic definition, i.e. colorful, figurative, which emphasizes some of its distinctive properties in the word being defined. Anything can be an epithet meaningful word, if it acts as an artistic, figurative definition of another:
1) noun: chatty magpie.
2) adjective: fatal hours.
3) adverb and gerund: greedily peers; listens frozen;
But most often epithets are expressed using adjectives used in a figurative meaning:
Half-asleep, tender, loving gazes.

Metaphorical epithet- a figurative definition that transfers the properties of another object to one object.

Allusion– a stylistic figure, an allusion to real literary, historical, political fact, which is assumed to be known.

Reminiscence- features in a work of art that evoke memories of another work. How artistic technique designed for the memory and associative perception of the reader.

Syntactic means

Author's punctuation- this is the placement of punctuation marks not provided for by punctuation rules. Author's signs convey the additional meaning invested in them by the author. Most often, a dash is used as copyright symbols, which emphasizes or contrasts:
Born to crawl, cannot fly
or emphasizes the second part after the sign:
Love is the most important thing.
The author's exclamation marks serve as a means of expressing a joyful or sad feeling or mood.

Anaphora, or unity of command- This is the repetition of individual words or phrases at the beginning of a sentence. Used to enhance the expressed thought, image, phenomenon:
How to talk about the beauty of the sky? How to tell about the feelings overwhelming the soul at this moment?
Antithesis- a stylistic device that consists of a sharp contrast of concepts, characters, images, creating the effect of sharp contrast. It helps to better convey, depict contradictions, and contrast phenomena. Serves as a way to express the author’s view of the described phenomena, images, etc.

Exclamation particles– a way of expressing the author’s emotional mood, a technique for creating the emotional pathos of the text:
Oh, how beautiful you are, my land! How beautiful are your fields!

Exclamatory sentences express the author’s emotional attitude to what is being described (anger, irony, regret, joy, admiration):
Ugly attitude! How can you preserve happiness!
Exclamatory sentences also express a call to action:
Let's preserve our soul as a shrine!

Gradation- a stylistic figure, which involves the subsequent intensification or, conversely, weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech:
For the sake of your child, for the sake of your family, for the sake of the people, for the sake of humanity - take care of the world!
The gradation can be ascending (strengthening the characteristic) and descending (weakening the characteristic).

Inversion– reverse word order in a sentence. In direct order, the subject precedes the predicate, the agreed definition comes before the word being defined, the inconsistent definition comes after it, the object after the control word, the adverbial modifier comes before the verb: Modern youth quickly realized the falsity of this truth. And with inversion, words are arranged in a different order than established by grammatical rules. This is a strong expressive means used in emotional, excited speech:
My beloved homeland, my dear land, should we take care of you!

Compositional joint- this is the repetition at the beginning of a new sentence of a word or words from the previous sentence, usually ending it:
My Motherland did everything for me. My homeland taught me, raised me, and gave me a start in life. A life I'm proud of.

Multi-Union– a rhetorical figure consisting of the deliberate repetition of coordinating conjunctions for the logical and emotional highlighting of the listed concepts:
And thunder did not strike, and the sky did not fall to the ground, and the rivers did not overflow from such grief!

Parcellation- a technique of dividing a phrase into parts or even into individual words. Its goal is to give speech intonation expression by abruptly pronouncing it:
The poet suddenly stood up. He turned pale.

Repeat– conscious use of the same word or combination of words in order to strengthen the meaning of this image, concept, etc.:
Pushkin was a sufferer, a sufferer in the full sense of the word.

Connection structures- construction of a text in which each subsequent part, continuing the first, main part, is separated from it by a long pause, which is indicated by a dot, sometimes an ellipsis or a dash. This is a means of creating the emotional pathos of the text:
Belorussky railway station on Victory Day. And a crowd of greeters. And tears. And the bitterness of loss.

Rhetorical questions and rhetorical exclamations– a special means of creating emotionality in speech and expressing the author’s position.
Who hasn’t cursed the stationmasters, who hasn’t sworn at them? Who, in a moment of anger, did not demand from them a fatal book in order to write into it his useless complaint about oppression, rudeness and malfunction? Who does not consider them monsters of the human race, equal to the late clerks or, at least, the Murom robbers?
What summer, what summer? Yes, this is just witchcraft!

Syntactic parallelism– identical construction of several adjacent sentences. With its help, the author seeks to highlight and emphasize the expressed idea:
Mother is an earthly miracle. Mother is a sacred word.

A combination of short simple and long complex or complicated sentences with various turns of phrase helps convey the pathos of the article and the emotional mood of the author.
“Binoculars. Binoculars. People want to be closer to Gioconda. Examine the pores of her skin, eyelashes. The glare of the pupils. They seem to feel the breath of Mona Lisa. They, like Vasari, feel that “Gioconda’s eyes have that sparkle and that moisture that is usually visible in a living person... and in the deepening of the neck, with a careful look, you can see the beating of the pulse... And they see and hear it. And this is not a miracle. Such is Leonardo's skill."
"1855. The zenith of Delacroix's fame. Paris. Palace of Fine Arts... in the central hall of the exhibition there are thirty-five paintings by the great romantic.”

One-part, incomplete sentences make the author’s speech more expressive, emotional, enhance the emotional pathos of the text:
Gioconda. Human babble. Whisper. The rustle of dresses. Quiet steps... Not a single stroke, I hear the words. - No brush strokes. Like alive.

Epiphora– the same ending of several sentences, reinforcing the meaning of this image, concept, etc.:
I've been coming to you all my life. I believed in you all my life. I've loved you all my life.

Words and expressions used in a figurative meaning and creating figurative ideas about objects and phenomena are called paths(from the Greek “tropos” - a figurative expression).
In fiction, the use of tropes is necessary in order to give the image plasticity, imagery and liveliness.
The tropes include: epithet, comparison, metaphor, personification, metonymy, allegory, etc.

Euphemisms– (Greek “euphemismos” - I speak well) – words or expressions used instead of words or expressions of direct meaning (“Where the legs grow from”, “Keeper of the hearth”).

Euphemism is a powerful means of enriching thought, a catalyst for fantasy and associative thinking. Let us note that euphemism, among other things, plays the role of a synonym, but it is not a legalized synonym by the linguistic tradition, but a newly invented synonym by the author.

Allegory– (from the Greek “allegory” - allegory) - expressions of abstract concepts in specific artistic images. In fables and fairy tales, stupidity and stubbornness are a donkey, cunning is a fox, cowardice is a hare.
____________________________________________
We are all looking at Napoleons (A.S. Pushkin) - antonomasia

Winter lay soft and damp on the roofs. (K. Paustovsky) – metaphor

Hey beard! How to get from here to Plyushkin? (N.V. Gogol) – metonymy

He laughed loudly and sobbingly - oxymoron

How courteous! Of good! Sweet! Simple! – parcellation

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 fabric of the soul, and a red-hot iron, and lumps of dirt... Wise and kind word brings joy, stupid and evil, thoughtless and tactless - brings misfortune, in a word you 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 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 psychological characteristics 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. Great opportunities syntax, the so-called stylistic figures of speech, 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, authors use tropes works of art when describing nature, 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 direct meaning words are erased, and sometimes completely lost. Their use in speech does not create in our minds artistic image. The trope can develop into speech stamp 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 in full and short adjective, noun and adverb: “Do 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 classify in the following way:

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 Flame, the peak sparkles during the day emerald ice..." (IN.

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, in which both what is being compared and what is being compared with are given, 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 bringing together of objects and phenomena according to one particular common feature- “the dawn is burning”, “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 the 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 inanimate objects and abstract concepts of 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, there is a sign of my will in them, 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 deviation in one direction or another quantification subject and in speech can be combined, 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 it is very useful to know them. 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 native language, and each of us should 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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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 space, deliberately destroying the complex and fine system life support 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 will 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 a fundamental difference small ship with the big one no. (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 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.

(13) Unfortunately, as vulnerable as the biosphere, just as defenseless against the pressure of the so-called technical progress There are such concepts as silence, the possibility of solitude and intimate communication between a person and nature, with the beauty of our land. (14) On the one hand, a man twitched by an inhuman rhythm modern life, overcrowding, a huge flow of artificial information, wean ourselves off spiritual communication with the outside world, on the other hand, this very external world 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 " cosmic body” and “cosmonauts” 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 the word in the place of the omission should be plural. 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 blank you must substitute the term male, 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 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 snowstorm. (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. Aksyonova)

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

This excerpt discusses language features 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.”