What is the name of the expression. Means of artistic expression of a literary work
Language means of expression are traditionally called rhetorical figures.
Rhetorical figures - such stylistic turns, the purpose of which is to enhance the expressiveness of speech. Rhetorical figures are designed to make the speech richer and brighter, which means to attract the attention of the reader or listener, arouse emotions in him, make him think. Many philologists have worked on the study of the means of expressiveness of speech, such as
Artistic speech is not a set of some special poetic words and phrases. The language of the people is considered to be the source of turnovers, therefore, in order to create "living pictures" and images, the writer resorts to using all kinds of riches of the folk language, to the subtlest shades of the native word.
Any word, except for the main, direct meaning, denoting the main feature of an object, phenomenon, action (storm, fast driving, hot snow), has a number of other meanings, that is, it is ambiguous. Fiction, in particular lyrical works, is an example of the use of means of expression, the most important source of expressiveness of speech.
At the lessons of the Russian language and literature, schoolchildren learn to find figurative means of language in works - metaphors, epithets, comparisons, and others. They give clarity to the depiction of certain objects and phenomena, but it is precisely such means that cause difficulty both in a thorough understanding of the work and in learning in general. Therefore, an in-depth study of the means is an integral part of the educational process.
Let's look at each path in more detail.
LEXICAL MEANS OF LANGUAGE EXPRESSION
1. Antonyms- different words related to the same part of speech, but opposite in meaning
(good - evil, powerful - powerless).The opposition of antonyms in speech is a vivid source of speech expression, which establishes the emotionality of speech, serves as a means of antithesis: he was weak in body, but strong in spirit. Contextual (or contextual) antonyms are words that are not opposed in meaning in the language and are antonyms only in the text:
Mind and heart - ice and fire- that's the main thing that distinguished this hero.2. Hyperbole- a figurative expression that exaggerates any action, object, phenomenon. Used to enhance the artistic impression:
Snow fell from the sky in pounds. 3. Litota- the worst understatement: man with nails.Used to enhance the artistic impression. Individual-author's neologisms (occasionalisms) - due to their novelty, allow creating certain artistic effects, expressing 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 any situation, phenomenon, other image:
Grigory was, apparently, the brother of Ilyusha Oblomov. Italic4. Synonyms- these are words related to the same part of speech, expressing the same concept, but at the same time differing in shades of meaning:
Love is love, friend is friend.Used Synonyms allow you to more fully express the idea, use. To enhance the feature. Contextual (or contextual) synonyms - words that are synonyms only in the given text:
Lomonosov - a genius - a beloved child of nature. (V. Belinsky)5. Metaphor- a hidden comparison based on the similarity between distant phenomena and objects. At the heart of any metaphor is an unnamed comparison of some objects with others that have a common feature. In artistic speech, the author uses metaphors to enhance the expressiveness of speech, to create and evaluate a picture of life, to convey the inner world of the characters and the point of view of the narrator and the author himself. In a metaphor, the author creates an image - an artistic representation of the objects, phenomena that he describes, and the reader understands what kind of similarity the semantic relationship between the figurative and direct meaning of the word is based on:
There were, are, and, I hope, always will be more good people in the world than bad and evil ones, otherwise disharmony would set in the world, it would warp... capsized and sank.Epithet, personification, oxymoron, antithesis can be considered as a kind of metaphor.
6. Metonymy– transfer of values (renaming) according to the adjacency of phenomena. The most common cases of transfer: a) from a person to his any external signs:
Is lunch coming soon? - asked the guest, referring to the quilted vest; Italicb) from an institution to its inhabitants:
The entire boarding school recognized the superiority of D.I. Pisarev; Magnificent Michelangelo! (about his sculpture) or. Reading Belinsky...7. Oxymoron- a combination of contrasting words that create a new concept or idea. This is a combination of logically incompatible concepts, sharply contradictory in meaning and mutually exclusive. This technique sets the reader to the perception of contradictory, complex phenomena, often - the struggle of opposites. Most often, an oxymoron conveys the author's attitude to an object or phenomenon, or gives an ironic connotation:
The sad fun continues...8. Personification- one of the types of metaphor, when the transfer of a sign is carried out from a living object to an inanimate one. When impersonating, the described object is externally used by a person:
The trees, leaning towards me, stretched out their thin arms. Even more often, actions that are permissible only to people are attributed to an inanimate object: Rain splashed bare feet along the paths of the garden. Pushkin is a miracle.10. Paraphrase(s)– use of a description instead of a proper name or title; descriptive expression, turn of speech, replacement word. Used to decorate speech, replace repetition:
The city on the Neva sheltered Gogol.11. Proverbs and sayings used by the author make the speech figurative, apt, expressive.
12. Comparison- one of the means of expressiveness of the language, helping the author to express his point of view, create whole artistic pictures, give a description of objects. In comparison, one phenomenon is shown and evaluated by comparing it with another phenomenon. Comparison is usually joined by conjunctions:
Like, as if, as if, exactly, etc.
but it serves for a figurative description of the most diverse features of objects, qualities, and actions. For example, comparison helps to give an accurate description of a color:
Like the night, his eyes are black.Often there is a form of comparison expressed by a noun in the instrumental case:
Anxiety snaked its way into our hearts.There are comparisons that are included in the sentence using words:
similar, similar, reminiscent: ... butterflies are like flowers.13. Phraseologisms- these are almost always bright expressions. Therefore, they are an important expressive means of language used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality, use. In order to show the author's attitude to events, to a person, etc.:
people like my hero have a divine spark.Phraseologisms have a stronger effect on the reader.
14. Quotes from other works they help the author to prove any thesis, the position of the article, show his passions and interests, make the speech more emotional, expressive:
A.S. Pushkin like first love", will not forget not only "Russian heart" but also world culture.
15. Epithet- a word that highlights in an object or phenomenon any of its properties, qualities or signs. An epithet is an artistic definition, i.e. colorful, figurative, which emphasizes some of its distinctive properties in the word being defined. Any meaningful word can serve as an epithet, if it acts as an artistic, figurative definition for another:
chatterbox forty, fatal hours. eagerly peers; listens frozen;but most often epithets are expressed using adjectives used in a figurative sense:
sleepy, tender, loving eyes.16. Gradation- a stylistic figure, which concludes in the consequent injection or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech:
For the sake of your child, for the sake of the family, for the sake of the people, for the sake of humanity - take care of the world!Gradation is ascending (strengthening of the feature) and descending (weakening of the feature).
17. Antithesis- a stylistic device that consists in a sharp opposition of concepts, characters, images, creating the effect of a sharp contrast. It helps to better convey, depict contradictions, contrast phenomena. It serves as a way of expressing the author's view of the described phenomena, images, etc.
18. Tautology- repetition (better, the author's words are the words of the author) Colloquial vocabulary adds complement. Expressive-emotional. Coloring (put, deny, reduce) can give a playful, ironic, familiar attitude to the subject.
19. Historicisms-words that have fallen out of use along with the concepts they denoted
(chain mail, coachman)
20. Archaisms- words that are in modern. Rus. The language is replaced by other concepts.
(mouth-mouth, cheeks-cheeks)In the works of the artist Lit. They help to recreate the color of the era, are a means of speech characteristics, or can be used as a means of comic
21. Borrowings- Words - to create humor, a nominative function, give a national. Coloring brings the reader closer to the language of the country whose life is described.
SYNTACTIC MEANS OF EXPRESSION
1. Exclamation particles- a way of expressing the emotional mood of the author, a method of creating an emotional pathos of the text:
Oh, how beautiful you are, my land! And how good are your fields!Exclamatory sentences express the emotional attitude of the author to the described (anger, irony, regret, joy, admiration):
Disgraceful attitude! How can you save happiness!Exclamatory sentences also express a call to action:
Let's save our soul as a shrine!2. Inversion- Reverse word order in a sentence. In direct order, the subject precedes the predicate, the agreed definition is before the word being defined, the inconsistent definition is after it, the addition is after the control word, the adverb of the mode of action is before the verb:
The youth of today quickly realized the falsity of this truth.And with inversion, the words are arranged in a different order than is established by grammatical rules. This is a strong expressive means used in emotional, excited speech:
Beloved homeland, my native land, should we take care of you!3. Polyunion- a rhetorical figure, consisting in the deliberate repetition of coordinating conjunctions for the logical and emotional selection of the enumerated concepts, the role of each is emphasized .:
And the thunder did not strike, and the sky did not fall on the earth, and the rivers did not overflow from such grief!4. Parceling- a technique for dividing a phrase into parts or even into separate words. Its purpose is to give speech intonational expression by its abrupt pronunciation:
The poet suddenly stood up. Turned pale.5. Repeat- the conscious use of the same word or combination of words in order to enhance the meaning of this image, concept, etc.:
Pushkin was a sufferer, a sufferer in the full sense of the word.6. Rhetorical questions and rhetorical exclamations- a special means of creating the emotionality of speech, expressing the author's position.
Who hasn't cursed the stationmasters, who hasn't scolded them? Who, in a moment of anger, did not demand from them a fatal book in order to write in it their useless complaint of oppression, rudeness and malfunction? What summer, what summer? Yes, it's just magic!7. Syntactic parallelism- the same construction of several adjacent sentences. With its help, the author seeks to highlight, emphasize the expressed idea: Mother is an earthly miracle. Mother is a sacred word. The combination of short simple sentences and long complex or complex sentences helps to convey the pathos of the article, the emotional mood of the author.
« 1855 The zenith of Delacroix's glory. Paris. Palace of Fine Arts ... in the central hall of the exposition - thirty-five paintings of the great romantic.One-part, incomplete sentences make the author's speech more expressive, emotional, enhance the emotional pathos of the text:
A human babble. Whisper. The rustle of dresses. Quiet steps ... Not a single stroke, - I hear the words. - No smears. How alive.8. Anaphora, or monotony is the repetition of individual words or phrases at the beginning of a sentence. It is used to strengthen the expressed thought, image, phenomenon:
How to describe the beauty of the sky? How to tell about the feelings that overwhelm the soul at this moment?9. Epiphora- the same ending of several sentences, reinforcing the meaning of this image, concept, etc.:
I have been going to you all my life. I have believed in you all my life. I have loved you all my life.
10. Water words are used to express
confidence (of course), uncertainty (maybe), various feelings (fortunately), source of the statement (according to words), order of events (firstly), evaluation (to put it mildly), to attract attention (you know, you understand, listen)11.Appeals- used to name the person to whom the speech is addressed, to attract the attention of the interlocutor, and also to express the attitude of the speaker to the interlocutor
(Dear and dear mother! - common appeal e)12. Homogeneous members of the proposal- their use helps to characterize the object (by color, shape, quality ...), focus on some point
13. Sentence words
- Yes! But how! Certainly! Used in colloquial speech, express strong feelings of motivation.14. Isolation- is used to highlight or clarify part of the statement:
(At the fence, at the very gate ...)Everyone is well aware that art is the self-expression of an individual, and literature, therefore, is the self-expression of the writer's personality. The “baggage” of a writing person consists of a vocabulary, speech techniques, skills in using these techniques. The richer the artist's palette, the more opportunities he has when creating a canvas. The same with the writer: the more expressive his speech, the brighter the images, the deeper and more interesting the statements, the stronger the emotional impact on the reader will be able to have his works.
Among the means of speech expressiveness, often called "artistic devices" (or otherwise figures, tropes) in literary work, metaphor is in the first place in terms of frequency of use.
Metaphor is used when we use a word or expression in a figurative sense. This transfer is carried out by the similarity of individual features of a phenomenon or object. Most often, it is a metaphor that creates an artistic image.
There are quite a few varieties of metaphor, among them:
metonymy - a trope that mixes meanings by contiguity, sometimes involving the imposition of one meaning on another
(examples: "Let's take another plate!"; "Van Gogh hangs on the third floor");
(examples: “nice guy”; “pathetic little man”, “bitter bread”);
comparison - a figure of speech that characterizes an object by comparing one with another
(examples: “like the flesh of a child is fresh, like the call of a flute is tender”);
personification - "revival" of objects or phenomena of inanimate nature
(examples: “ominous haze”; “autumn cried”; “blizzard howled”);
hyperbole and litote - a figure in the meaning of exaggeration or understatement of the described subject
(examples: “he always argues”; “a sea of \u200b\u200btears”; “there was no poppy dew in his mouth”);
sarcasm - an evil, caustic mockery, sometimes outright verbal mockery (for example, in rap battles that have become widespread recently);
irony - a mocking statement when the speaker means something completely different (for example, the works of I. Ilf and E. Petrov);
humor - a trope that expresses a cheerful and most often good-natured mood (for example, the fables of I.A. Krylov are written in this vein);
grotesque - a figure of speech that deliberately violates the proportions and true sizes of objects and phenomena (often used in fairy tales, another example is Gulliver's Travels by J. Swift, the work of N.V. Gogol);
pun - deliberate ambiguity, a play on words based on their ambiguity
(examples can be found in anecdotes, as well as in the work of V. Mayakovsky, O. Khayyam, K. Prutkov and others);
oxymoron - a combination in one expression of incongruous, two contradictory concepts
(examples: "terribly beautiful", "original copy", "flock of comrades").
However, speech expressiveness is not limited to stylistic figures. In particular, we can also mention sound writing, which is an artistic technique that implies a certain order of construction of sounds, syllables, words to create some kind of image or mood, imitation of the sounds of the real world. The reader will often meet sound writing in poetic works, but this technique is also found in prose.
- Red wolf - a message about a rare animal
Among the known species of animals in the world of fauna, there are those that have features due to which they can be classified as rare. It can be an unusual appearance, warm skin or nutritious animal meat.
- Soap - message in chemistry grade 10
Any self-respecting person will not be able to provide his life without soap. It symbolizes cleanliness and personal hygiene. Scientifically speaking, soap is a solid or liquid substance.
- Laws of Hammurabi - report message
The code of laws of Hammurabi is the oldest monument of written laws. It was created by one of the rulers of Babylon of the Hammurabi dynasty. The text of the laws was carved on basalt tablets. Subsequently, at the beginning of the twentieth
- How to teach a child to work and work?
Today, the younger generation often, instead of doing housework or helping relatives in any other field of activity, simply choose to walk along the street or play computer games.
If you look at the sky, you will see the sun. Without the sun, life on Earth is impossible. The sun has attracted the attention of people for thousands of years. In ancient times, he was worshiped and sacrificed.
Means of expressiveness of artistic speech
Lexical means of expression.
The word in the system of linguistic units is the most important means of expressing thought, because it contains inexhaustible possibilities for conveying the subtlest shades of thought, for revealing the deepest feelings. The significance of the word lies in the fact that it contributes to the understanding of the richness and expressiveness of the Russian language, “radiates poetry” (K. G. Paustovsky). The formation and improvement of the ability to analyze the means of expression begins with the word. Acquaintance with the visual and expressive means of the language begins in the fifth grade, and by the ninth grade, the study and analysis of expressive means becomes more complicated. And already in the 11th grade at the exam, students are invited to complete task No. 25, dedicated to the ability to analyze the means of expression in excerpts from the proposed reviews. Why is this task difficult for students? (often children determine the means of artistic expression by touch).
In order for students to accurately understand these tasks, we will try to present vivid illustrative examples of tools.
To begin with, students must clearly distinguish between tropes, lexical, syntactic means of expression.
Consider the lexical means of expression and tropes and try to define each concept.
Epithet - artistic, figurative definition.
And at night I will listen
Permanent epithet- an epithet that constantly accompanies a certain noun is characteristic of folk art (good fellow, the field is clean, the sun is red ...)
Comparison - a form of poetic speech based on the comparison of one phenomenon or object with another. Cool summer has come
It's like a new life has begun. (A. Akhmatova)
Metaphor - a hidden comparison, a figurative meaning of a word based on the likening of one object or phenomenon to another by similarity or contrast.
In the darkness of the world, I am not alone. (O. Mandelstam)
My words are a pearl water cannon. (A. Bely)
Metonymy - a trope based on a general situation, which in reality can be very different: a common place (“the whole bus laughed”), form and content (“I have already drunk two cups”), a name and what it is called (“I’m getting out on Gorky” (instead of “I go out on Gorky Street”), the author and his work (“Pushkin is standing on the top shelf”), etc.
Hyperbola - a means of artistic representation based on exaggeration. When using hyperbole in colloquial speech, the speaker tries to pay attention to some event or object. And exaggerating so much that in reality it turns out to be beyond the bounds of the possible.
The eyes are huge, like searchlights.
“Ivan Nikiforovich, on the contrary, has trousers in such wide folds that if they were blown up, the whole yard with barns and buildings could be placed in them” - N.V. Gogol.
“For four years we have been preparing an escape, we have saved three tons of grubs ...” - V. Vysotsky.
Litotes - a means of expression based on understatement.
Your Pomeranian, lovely Pomeranian, is no more than a thimble. (A.S. Griboyedov)
It is the litotes that are such well-known expressions as: the cat cried, at hand, the sky is like a sheepskin. Litota is created using the following techniques: the use of diminutive suffixes: “kolobok”, “leaflet”, double negations: “not without intent”, the transition of denial into modality: “I don’t think this is the right choice”, reverse hyperbolization: “ a few steps from here."
Allegory - this is an allegory that is intended to explain an abstract, non-material concept / phenomenon (“wisdom”, “cunning”, “kindness”, “childhood”) through an objectively existing, material image - a figurative-objective component.
Many feelings and properties of the human personality are perceived as an allegory, examples of which are clear to everyone: a hare is cowardice, a snake is wisdom, a lion is courage, a dog is devotion.
The term " paraphrase or paraphrase" goes back to the Greek word "periphrasis" (where peri - "around" and phradzo - "I say") and denotes a trope that is used instead of another word. This turn of phrase is descriptive.
“Look, the first-born of freedom: Frost on the banks of the Neva!” (Z. Gippius) We are talking about the Decembrists.
Oxymoron - a combination of contrasting words that create a new concept or idea. But their ugly beauty
I soon comprehended the mystery. (M. Lermontov)
Oxymorons in Russian are characterized by purposeful, conscious, intentional use by the author of a contradiction in a phrase in order to enhance the stylistic effect of speech. They often become very bright and unexpected expressions, therefore they attract attention and are remembered.
Irony - this is the use of words or sayings with the opposite meaning, the purpose of this manipulation is mockery. Irony is one of the types of tropes. Irony is an artistic technique for creating figurative and expressive speech based on the identification of objects by contrast, and not by similarity of features, as in metaphor, or by contiguity, as in metonymy. A deliberate “renaming” takes place, which expresses a mocking or even negative attitude of the speaker to the subject under discussion, for example: go to my mansions (an invitation to go to a small apartment); here comes a big man (about a baby who has just learned to walk); love like a dog stick; dreamed about it all my life! I only think about it! who needs such beauty.
personification is a speech device by which a thing, idea or animal is endowed with human features. Non-human objects are portrayed in such a way that we feel they have the ability to act like humans. For example, when we say "the sky is crying", we endow the sky with the ability to cry, which is inherent in man.
Examples:
- The first rays of the morning sun crept across the meadow.
- Snow covered the ground like a mother of a baby.
- The moon winked through the clouds.
- At exactly 6:30 am my alarm went off.
- The ocean danced in the moonlight.
- I heard the island calling me.
- Thunder grumbled like an old man.
Synecdoche - this is a stylistic figure that allows the use of some words instead of others in a figurative sense, based on the quantitative relationship between them.
For example,
“Everything is sleeping - both man, and beast, and bird” (N.V. Gogol). In this case, the plural is denoted by the singular; it is understood that many birds, beasts and people sleep.
“And it was heard before dawn how the Frenchman rejoiced” (M. Yu. Lermontov). Here, on the contrary, the singular is denoted by the plural; many French are implied.
“We all look at Napoleons” (A. S. Pushkin). In this example, it is obvious that one person is meant, i.e. the singular is also denoted by the plural.
“Do you need anything? - In the roof for my family ”(A. I. Herzen). This example shows how the whole is denoted by its part; "in the roof" means "in the house."
Lexical means of artistic expression are quite fully studied at school throughout the course of the Russian language and literature. Referring to the textbooks Gavrilina M., Piel E. “Russian language. Theory". Experimental textbook for grades 5-9. 1997 and Bystrova E.A., Kibireva L.V., Gosteva Yu.N. "Russian language: a textbook for the 5th grade of educational institutions." - M .: OOO "Russian Word - Textbook", 2013, we find:
« Homonyms Words that are different in meaning but have the same sound and spelling. The word homonym comes from the Greek. homos - identical + onima - name. For example,
1. DEFEND - protect (defend a friend).
2. DEFEND - stand (to stand in line).
3. DEFEND - to be at some distance from someone, something. (the airport is five kilometers away from the city).
1. BOW - borrowings. Garden plant with a spicy taste.
2. BOW - Art.-Russian. A hand-held weapon for throwing arrows, made from a flexible, resilient rod (usually wooden) tied into an arc with a bowstring.
Homonyms must be distinguished from polysemantic words. The meanings of homonyms are clear only in phrases and sentences. Separately taken the word ROD is not clear. But, if you introduce it into a phrase, it becomes clear what is at stake:
Example:
ancient gender, masculine.
Types of homonyms
Homonyms | homoforms | Homophones | homographs |
words of the same part of speech, differ in meaning: | words of different parts of speech, differ in meaning: sharp saw (n.) - drank with pleasure (ch.) | differ in spelling and meaning: genderOglish underwear - genderAsk for a child | differ in emphasis and meaning: knight's castle - rusty castle |
Often homonyms, homoforms, homophones and homographs are used in puns - witty expressions, jokes.
Example:
You are NOT MINE this umbrella, because it is NOT MINE, you lost it MUMB.
Use homonyms, homoforms, homophones and homographs in your speech should be very careful. Sometimes they lead to unwanted ambiguity.
Example:
Yesterday I visited the Poetry DAY. Poetry day? Or the bottom of poetry?
Synonyms - these are words of the same part of speech that sound and are written differently, but are the same or close in meaning.
The word synonym comes from the Greek. syndnymos - eponymous.
Example:
The words WET, RAW, and WET are synonymous because
1) call the same sign of the object - "not dry";
2) refer to the same part of speech - adjectives;
3) differ in shades of meaning - RAW - “stronger than wet”, WET - “soaked through with moisture”.
Synonyms can differ not only in shades of meaning, but also in use in different styles of speech.
Example:
Synonyms LOOK - LOOK - STARE have the same meaning "look at someone." They differ as follows:
LOOK - the word has a book character, solemn: It is pleasant and easy for me to look At the marvelous creations of art! (I. Panaev);
LOOK - we meet both in book and in ordinary speech, i.e. it is neutral: Sadly, I look at our generation ... (M. Lermontov) and I sit high, I look far away.
STARING - is rude, used only in colloquial speech: Why are you staring at me?
Some synonyms are very close in meaning, but differ in their compatibility with other words.
Example:
BROWN, BROWN and CHESTNUT are synonyms. But both the jacket and the felt-tip pen can be brown, but only the eyes are brown, and only the hair is chestnut.
Synonyms enrich our speech. They help to express our thought more accurately, to convey the most subtle shades of meaning more vividly, make our speech figurative, expressive.
Antonyms - these are words of the same part of speech with the opposite lexical meaning.
The word antonym comes from the Greek. anty - against + onima - name.
Antonyms allow you to see objects, phenomena, signs in contrast.
Example:
hot ↔ cold, loud ↔ quiet, walk ↔ stand, far ↔ close
Not all words have antonyms. Words that denote specific objects (table, desk, goat) usually do not have antonyms.
Different meanings of a polysemantic word can have different antonyms.
Example:
soft (fresh) bread ↔ stale bread; soft (smooth) movements ↔ sharp movements; mild (warm) climate ↔ harsh climate.
Most antonyms are words of different roots. But there are also single-root antonyms.
The opposite value in such cases is created using negative prefixes not-, without-, anti-, counter-, etc.
Example:
experienced - inexperienced, familiar - unfamiliar, tasty - tasteless, military - anti-war, revolution - counter-revolution
Antonyms are widely used by writers and poets to enhance the expressiveness of speech.
Example:
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blush, like a poppy color,
I am like death, and thin and pale. (A. Pushkin)
This technique (the use of antonyms in a literary text) is called antithesis.
Dialectisms - words characteristic of any territorial dialects that do not correspond to the norms of the literary language.
For example: farrier (blacksmith), bruise (russula), hefty (very), kochet (rooster).
Some dialectisms in their sound coincide with the words of the literary language, but have a different meaning in the dialect.
For example: plow (revenge the floor), firefighter (burnt victim), bayat (talk, tell).
jargon - words used by people of certain interests or social groups.
For example: merge (copy digital information), lather (write and send an email), author burn! (the author succeeded perfectly in the idea, the text makes an indelible impression) - from the Internet jargon; teacher (teacher), spur (crib) - from the jargon of schoolchildren and students; score an arrow (arrange a meeting), a barrel (a unit of firearms).
colloquial vocabulary- words that are outside the literary norm and are not assigned to any territory or social group.
For example: inside, for free, brainy, theirs, here. These words are used in oral everyday speech.
Another category of vernacular vocabulary is words that are perceived as rude or frankly rude and even vulgar.
For example: heifer (in the meaning of a woman), snout (in the meaning of a person's face), etc.
The vernacular also includes obscene vocabulary, i.e. mat.
Professionalisms- words and expressions that make up the lexical fund of professional jargon.
For example: a saucepan (synchrophasotron) - from the jargon of physicists; compile (checking a program and recording information about this program), prog (program), executable (ready-to-use program) - from the jargon of programmers.
To develop the skill of the ability to correctly recognize lexical means of expression, students can be offered the following exercises:
Exercise 1. Read the passage. Find words with a figurative meaning, determine their role in the text. Thanks to this, personification is created in the text.
A shadow walks in an open field,
A song rushes from the forest
The green leaf touches
The yellow ear is calling
Behind the mound is given.
Behind the mound, behind the hills,
Smoke-fog stands over the field,
The light flickers in stripes
Dawn cloud sleeves
Closes shamefully.
Rye and forest, dawn radiance, -
Thought, God knows where it flies ...
Vaguely leaves outline,
The wind held its breath
Only lightning flashes.
Exercise 2. Read Sergei Yesenin's poem "Swan". State its theme and main idea. Did you like the text? What attracted you to it? Find words with a figurative meaning, determine their role in the text.
Because of the forest, the dark forest,
The red dawn rose,
Scattered with a clear rainbow
Lights-rays crimson.
Lit up with a bright flame
Pines old, mighty,
Dressed up coniferous nets
Covered in gold woven.
And all around pearl dew
She cast scarlet sparkles,
And over the silver lake
The reeds leaned over and whispered.
This morning with the sun
Is it from those dark thickets
Came out like a dawn,
White swan.
Behind a gang of slender
The swans moved.
And the mirror surface was crushed
Emerald rings.
And from that quiet backwater,
In the middle of that lake
A distant stream passed
Ribbon dark and wide.
A white swan swam away
On the other side of the expanse,
Where to the silent backwater
Silk grass lay down.
On the green coast
Tilting gentle heads,
whispered lilies
With silent streams.
As the swan began to call
Their little swans
Take a walk in the colorful meadow,
Pinch fragrant grass.
The swans came out
Pull grass-ant,
And silver dewdrops
Like pearls, crumbled.
And around the flowers are azure
Dissolved waves spicy
And, like foreign guests,
Smiling at a happy day.
And the little children were walking
Along the wide expanse,
And the winch is snow-white,
Without taking his eyes off, he watched.
Did the kite fly through the grove,
Or the snake crawled across the plain,
The white swan cackled,
Calling the little kids.
The swans were buried
Is it under the wing of the mother,
And when the storm hid
Again they ran and frolicked.
But the swan did not feel
I did not see with a valiant eye,
What is golden from the sun
A black cloud was approaching -
Young eagle under the cloud
Spread the mighty wing
And cast lightning eyes
To the endless plain.
He saw by the dark forest,
On a hillock near a crevasse,
Like a snake crawled out into the sun
And curled into a ring, basking.
And the eagle wanted with malice
Like an arrow to the ground to rush,
But the snake noticed him
And hid under a bump.
With a wave of his wings under the cloud
He spread his sharp claws
And, waiting for prey,
Frozen in the air flattened.
But his eyes are eagle
We saw the steppe in the distance,
And by the wide lake
He saw a white swan.
Terrible wave of the mighty wing
Driven away the gray cloud
And the eagle, like a black dot,
He began to descend to the ground in rings.
At this time the swan is white
Looked at the mirror surface
And reflected in the sky
I saw long wings.
The swan fluttered
Shouted to the swans,
Small children gathered
And buried under the wings.
And the eagle flapping its wings
Like an arrow rushed to the ground,
And sharp claws dug
Right in the neck of a swan.
She spread her white wings
snow white swan
And dead feet
Pushed the little kids away.
The children ran to the lake,
Rushed into the dense thickets,
And from the eyes of a mother
Bitter tears rolled down.
And the eagle with sharp claws
Tore apart her tender body,
And white feathers flew
Like spray, in all directions.
The lake swayed quietly
The reeds, bending down, whispered,
And under the green bumps
The swans were buried.
Exercise 3. Read Yevgeny Yevtushenko's poem "Volga". With the help of what figurative and expressive means does the author present to us the inner world of the lyrical hero? Determine how the theme and the main idea of the work are revealed with the help of expressive means?
We are Russians. We are the children of the Volga.
For us the meanings are full
her slow waves,
heavy as boulders.
Russia's love for her is imperishable.
All souls are drawn to her
Kuban and Dnieper, Neva and Lena,
and Angara and Yenisei.
I love her all in spots of light,
all surrounded by willow...
But the Volga for Russia is
much more than a river.
And what is she - the story is not short.
As if linking the times
she is both Razin and Nekrasov,
and Lenin is all she is.
I am faithful to the Volga and Russia -
the hope of a suffering land.
I was raised in a big family
I was fed the best they could.
At an hour sad and cheerful
so let me live and sing
as if on a high mountain
I'm standing in front of the Volga.
I will fight, make mistakes
knowing no shame.
I will hurt hurt
but I will never cry.
And I live young and loud,
and forever I make noise and bloom,
as long as there is a Volga in the world,
as long as you, Russia, are.
Exercise 4. Read Boris Pasternak's poem "Golden Autumn". With the help of what figurative and expressive means does the author introduce the main character of the work to us?
Autumn. Fairy tale,
All open for review.
clearings of forest roads,
Looking into the lakes
Like in an art exhibition:
Halls, halls, halls, halls
Elm, ash, aspen
Unprecedented in gilding.
Linden hoop gold -
Like a crown on a newlywed.
Birch face - under the veil
Wedding and transparent.
buried earth
Under foliage in ditches, pits.
In the yellow maples of the wing,
As if in gilded frames.
Where are the trees in September
At dawn they stand in pairs,
And sunset on their bark
Leaves an amber trail.
Where you can not step into the ravine,
So that everyone does not know:
So raging that not a step
A tree leaf underfoot.
Where it sounds at the end of the alleys
Echoes at the steep slope
And dawn cherry glue
Freezes in the form of a clot.
Autumn. ancient corner
Old books, clothes, weapons,
Where is the treasure catalog
Flips through the cold.
Exercise 5 Read an excerpt from their poem by A.S. Pushkin "Winter Morning". What artistic and expressive means does the author use to create the atmosphere of a frosty morning? What is the role of epithets in the text? Does the author use the contrast technique, justify the answer.
Frost and sun; wonderful day!
You are still dozing, my lovely friend -
It's time, beauty, wake up:
Open eyes closed by bliss
Towards the northern Aurora,
Be the star of the north!
Evening, do you remember, the blizzard was angry,
In the cloudy sky, a haze hovered;
The moon is like a pale spot
Turned yellow through the gloomy clouds,
And you sat sad -
And now ... look out the window:
Under blue skies
splendid carpets,
Shining in the sun, the snow lies;
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river under the ice glitters.
Syntactic means of expressiveness of artistic speech.
“The syntactic structure of the Russian language is enriched and improved. As a result of the constant interaction of individual elements in the general syntactic system of the language, parallel syntactic constructions appear to express the same content. Structural variability leads, in turn, to stylistic differentiation. The stylistic possibilities of modern Russian syntax are quite tangible and wide enough. The presence of options in the ways of expressing thoughts and, consequently, in the syntactic organization of speech allows us to develop a whole system of syntactic means adapted to functioning in various types of communication, in different speech situations (in different functional styles of speech). The study of syntactic units and their stylistic properties creates the possibility of purposeful selection of the expressive means of the language, their conscious use in different speech contexts. From this it is clear what great importance is the purposeful study of the syntactic system of the language ”(N.S. Valgina FROM modern Russian language. Syntax. - Moscow "Higher School" 2003)
Any text is a combination of sentences according to certain rules. A distinction is made between a chain and a parallel connection: with a parallel connection, sentences are compared, with a chain connection, they are linked by various means. The means of interphrase communication include: substitute words: pronouns (man-he), adverbs (in the garden-here), synonyms (hare-coward), generic words (flowers-cornflowers); lexical repetitions; interrogative sentences; unions, particles; introductory words. “Just as a sentence is built according to certain syntactic patterns, in the same way sentences in a text are combined according to certain rules.”
G.Ya. Solganik. The expressive and figurative qualities of speech are communicated to it by lexical, derivational and grammatical means, tropes and figures of speech, intonational and syntactic organization of sentences. Their skillful use helps the author to convey a complex labyrinth of thoughts and experiences, to create a world of characters' images."All means of language are expressive, you just need to skillfully use them." V.V. Vinogradov
The figurative and expressive means of the language allow not only to convey information, but also to clearly and convincingly convey thoughts. Lexical expressive means make the Russian language emotional and colorful. Expressive stylistic means are used when an emotional impact on listeners or readers is necessary. It is impossible to make a presentation of oneself, a product, a company without the use of special language tools.Stylistic (rhetorical) - figures of speech are designed to enhance the expressiveness of speech and works of art.It is easy to see how rich the system of objective syntactic means that a person receives ready-made in the language and which allow him to independently, without resorting to extraneous extralinguistic means, not only reflect the most complex events, but also formulate the speaker's own attitude to the event.
To enhance the expressiveness of the text, a variety of structural, semantic and intonational features of the syntactic units of the language (phrases and sentences), as well as features of the compositional construction of the text, its division into paragraphs, and punctuation can be used. The most significant expressive means of syntax are: the syntactic structure of the sentence and punctuation marks; special syntactic expressive means (figures); special methods of compositional and speech design of the text (question-answer form of presentation, improperly direct speech, quoting, etc.).
Types of stylistic figures
The name of the syntactic construction | Description and example |
Anaphora | The use of the same syntactic constructions at the beginning of adjacent sentences. Allows you to logically highlight a section of text or a sentence. " Everything diversity, all the charm, all beauty is made up of shadow and light.” (L. Tolstoy) I came to you with greetings Tell, that the sun has risen What is hot light The sheets fluttered; Tell, that the forest woke up All woke up, each branch, Startled by every bird And full of spring thirst; Tell that with the same passion Like yesterday, I came again That the soul is still the same happiness And ready to serve you; Tell that from everywhere Joy blows over me I don't know what I will Sing - but only the song matures.(A.A. Fet)
I dont like cold cynicism, I dont like when half I hate version gossip I dont like well-fed confidence, When I see broken wings - I don't love myself when I shake I dont like arenas and arenas |
Epiphora | The use of the same words and expressions at the end of adjacent sentences. Such figures of speech give the text emotionality, allow you to clearly convey intonations. "The sharp look of an owl, He sees the trail of an animal. Owl's ear is thin, Hears the squeak of a mouse. (I. Baty) Well, I ... I'm walking the road, My name is beardless youth, Another mustache twists vehemently, Lovers knee-deep sea, I don't believe in breakups I'm with you , |
Parallelism | Construction of neighboring sentences in the same form. Often used to reinforce a rhetorical exclamation or question. I don't know where the border is Between North and South I don't know where the border is Between friend and friend... I don't know where the border is Between fire and smoke I don't know where the border is Between a friend and a loved one. (M. Svetlov) Diamond polished by diamond The string is dictated by the string. (S. Podelkov) |
Ellipsis | Deliberate exclusion of an implied member of a sentence. Makes speech more lively. The whole world is my temple, love is my shrine, The universe is my fatherland... (K. Khetagurov) The child's name is Leo Monkey, in the mirror seeing his image, But suddenly the snowdrift stirred, |
gradation | Each subsequent word in the sentence reinforces the meaning of the previous one. Chase her Time changes his appearance. If it's hard to walk: knee-deep in mud, knee-deep in mud |
Inversion | The arrangement of words in a sentence is not in direct order. Reception allows you to enhance the expressiveness of speech. Give the phrase a new sound. An amazing adventure happened to me. (I.S. Turgenev) You will soon receive an answer - news in several lines. ( V.Vysotsky) Over the fields will arch your back |
Default | Conscious understatement in the text. It is designed to awaken deep feelings and thoughts in the reader. He enters, hesitates, retreats, And suddenly fell at her feet, She... Now, with their permission, I ask Petersburg ladies Imagine the horror of awakening Natalia Pavlovna my And let her know what to do? She opens her big eyes, Looks at the count - our hero She pours discharged feelings ... (A.S. Pushkin) |
Rhetorical address | Emphasized appeal to a person or inanimate objects. My friends! Oh deep night! |
Rhetorical question | A question that does not imply an answer, its purpose is to attract the attention of the reader or listener. Or are we born worse than others? Or bloomed unfriendly - spiked? Not! We are no worse than others - and for a long time Grain has been poured and ripened in us. (Nekrasov) Life passed without a clear trace. The soul was torn - who will tell me where? With what pre-selected goal? (A. Fet) |
Rhetorical exclamation | Special figures of speech to convey expression, tension of speech. Make the text emotional. Grab the reader's or listener's attention. I will lay the fields for lovers - |
polyunion | Repeated repetition of the same unions to enhance the expressiveness of speech. «
The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and shone, and went somewhere to infinity ”(V. G. Korolenko) You cried in the evening silence |
Asyndeton | Intentional omission of unions. This technique gives dynamism to speech. Well, it was a day! Through the flying smoke You will not see such battles! .. |
Antithesis | Sharp opposition of images, concepts. The technique is used to create a contrast, it expresses the author's attitude to the event being described. We see particulars, but in the main we are blind; |
Parceling | a sentence that is divided into intonation-semantic speech units. And you can, fear and pain without even betraying a look, |
Vocabulary reflects people's knowledge of objects, forms concepts (any word is always in some sense an understanding of the subject), and syntax reflects the relationship between objects and concepts. The task of syntax is to establish connections between these concepts. Syntax models the world in the same way as vocabulary.In a word, the syntactic pattern of the text depends on many factors. At the same time, many characteristic “violations of the norm” have been described and mastered by world culture, without which artistic speech is hardly possible today. These techniques are called "syntactic figures". Some of these techniques simultaneously concern vocabulary and syntax, they are usually calledlexico-syntactic, others mainly belong to the field of syntax, respectively, are called syntactic proper.
Fixing the material.
Place punctuation marks in sentences. Determine the artistic and expressive means presented in these sentences.
- P I fall into the feather grasses near two trees intricately woven, as if in a dance with trunks, I put a backpack under my head.
- Every minute then fills up like rising dough in a tub, swelling with meanings and symbols.
- And all in order to find yourself in this place on this memorable day and hour in order to collapse under the weight of your fatigue into this grass under the white walls of the old monastery...
- It was here on the island that I realized that if you treat your environment and your time carefully, carefully, that is, slowly, thoughtfully and seriously, then things begin to play with their faces, revealing new entities to the owner.
- Warmed up in the sun, even took a nap.
- Every minute then fills up like rising dough in a tub, swelling with meanings and symbols. Revealing to us the depth of everyday life.
- “My dear child Nikolenka!
- You see, the son of a man is lonely when he does not love anyone.
- Will reciprocity await me? Or maybe I love more and they love me less?
- And you will soon feel that jets of reciprocal love are flowing towards you from everywhere.
- Whoever loves, his heart blooms and smells sweet, and he gives his love as a flower has its own smell.
- They seem to be looking for something. It seems that a vague idea lives in their souls about some unknown land where life is more righteous and better.
- They walked across the spacious Russian land from place to place from end to end.
- This point of the Earth has been reached more than once by dog sleds on motorized sledges, airships, submarines floated on it on planes, the domestic icebreaker Arktika reached here, and after it more than sixty icebreakers from different countries.
- At the South Pole, the researchers once calculated the point and marked it with a flag and a circle of barrels. In the North, because of the ice constantly being moved by the current, the pole must be recalculated every time.
- Young everywhere we have a road, old people everywhere we honor !
- Dreams dreams where is your sweetness?
- The whole world is theater.
- In it, women, men, all actors.On the contrary, Ivan Nikiforovich has trousers with such wide folds that if they were blown up, the whole yard with barns and buildings could be placed in them.
List of terms:
1) anaphora
2) metaphor
3) hyperbole
4) professional vocabulary
5) parceling
6) lexical repetition
7) opposition
8) epithets
9) contextual synonyms
10)handling
11) interrogative sentences
12) Comparison
13) colloquial vocabulary
14) homogeneous members of the proposal
15) antithesis
Answers.
- I fall into feather grasses near two trees, whimsically intertwined, as if in a dance, with trunks, I put a backpack under my head.
- Every minute then fills up like rising dough in a tub, swelling with meanings and symbols.
- And all in order to find yourself in this place on this memorable day and hour, to collapse under the weight of your fatigue into this grass under the white walls of the old monastery...
- It was here, on the island, that I realized that if you treat your environment and your time carefully, carefully, that is, slowly, thoughtfully and seriously, then things begin to play with their faces, revealing new essences to the owner.
- I wander enchantedly along the sleepy, grassy streets of the city-island of Sviyazhsk, immersed in deep patriarchy.
- Having warmed up in the sun, he even took a nap.
- Every minute then fills up like rising dough in a tub, swelling with meanings and symbols. Revealing to us the depth of everyday life.
- “My dear child, Nikolenka!
- You see, son, a man is lonely when he loves no one.
- Will reciprocity await me? Or maybe I love more and they love me less?
- Garlands and huge colored balls were hung everywhere.
- And you will soon feel that jets of reciprocal love are flowing towards you from everywhere.
- Whoever loves, his heart blooms and smells sweet, and he gives his love as a flower gives its scent.
- They seem to be looking for something. It seems that a vague idea of some unknown land lives in their souls, where life is more righteous and better.
- They walked across the spacious Russian land from place to place, from end to end.
- This point of the Earth was reached more than once by dog sleds, motorized sledges, airships, airplanes, submarines floated on it, the domestic icebreaker Arktika reached here, and after it more than sixty icebreakers from different countries.
- At the South Pole, the researchers, having calculated the point once, marked it with a flag and a circle of barrels. In the North, because of the ice constantly being moved by the current, the pole must be recalculated each time.
- Young everywhere we have a road, old people everywhere we honor !
- Dreams, dreams, where is your sweetness?
- The whole world is theater.
In it, women, men - all actors.
15
Bystrova E.A., Kibireva L.V., Gosteva Yu.N. "Russian language: a textbook for the 5th grade of educational institutions." - M .: LLC "Russian Word - Textbook", 2013. - 280 p.
Lvova S.I. "Russian language. Grade 5: a guide for students. M.: Bustard, 2007. - 222 p.
ALLEGORY (Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
ALLITERATION (SOUND) (lat. ad - to, with and littera - letter) - the repetition of homogeneous consonants, giving the verse a special intonational expressiveness.
A gorilla came out to them,
The gorilla told them
The gorilla told them
Sentenced.
(Korney Chukovsky)
ALLUSION (from Latin allusio - a joke, a hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work.
Example: "the glory of Herostratus"
ASSONANCE (French assonance - consonance or response) - repetition in a line, stanza or phrase of homogeneous vowel sounds.
Oh spring without end and without edge -
Endless and endless dream! (A. Blok)
ANAPHORA (Greek anaphora - pronouncement) - repetition of initial words, lines, stanzas or phrases.
You are poor
You are abundant
You are beaten
You are almighty
Mother Russia!…
(N.A. Nekrasov)
ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blush, like a poppy color,
I am like death, and thin and pale. (A.S. Pushkin)
APOKOPA (Greek apokope - cutting off) - an artificial shortening of a word without losing its meaning.
... Suddenly, out of the forest
The bear opened its mouth on them ...
(A.N. Krylov)
UNION (asindeton) - a sentence with the absence of unions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.
Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least a quarter of a century -
Everything will be like this. There is no exit.
HYPERBOLE (Greek hyperbole - exaggeration) - a kind of trail based on exaggeration. By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules.
And prevented the nuclei from flying
A mountain of bloody bodies.
(M.Yu. Lermontov)
GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.
Enraged at the meeting, I burst into an avalanche,
Spouting wild curses dear.
And I see: half of the people are sitting.
O devilry! Where is the other half?
(V. Mayakovsky)
GRADATION - from lat. gradatio - gradualness) - a stylistic figure in which definitions are grouped in a certain order - an increase or decrease in their emotional and semantic significance. Gradation enhances the emotional sound of the verse.
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees. (S. Yesenin)
INVERSION (lat. inversio - rearrangement) - a stylistic figure, consisting in violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.
Doorman past he's an arrow
Flew up the marble steps
(A. Pushkin)
IRONY (Greek eironeia - pretense) - an expression of mockery or slyness through allegory. A word or statement acquires in the context of speech a meaning that is opposite to the literal meaning or denies it, calling it into question.
Servant of powerful masters,
With what noble courage
Thunder with speech you are free
All those who had their mouths shut.
(F.I. Tyutchev)
LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. There is a litote in folk tales: "a boy with a finger", "a hut on chicken legs", "a peasant with a fingernail".
Your spitz is a lovely spitz,
No more thimble!
(A.S. Griboyedov)
METAPHOR (Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another based on common features (“work is in full swing”, “forest of hands”, “dark personality”, “stone heart” ...) .
Nineteenth century, iron,
Truly a cruel age!
You in the darkness of the night, starless
Careless abandoned man!
METONYMY (Greek metonymia - renaming) - tropes; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest noise" - trees are meant; etc.).
The theater is already full, the boxes are shining;
Parterre and chairs, everything is in full swing ...
(A.S. Pushkin)
MULTIPLE UNION (polysyndeton) - excessive repetition of unions, creating an additional intonational coloring.
And boring and sad, and there is no one to give a hand to ...
(M.Yu. Lermontov)
IMAGE - a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.
It is not the wind that rages over the forest,
Streams did not run from the mountains,
Frost - warlord patrol
Bypasses his possessions.
(N.A. Nekrasov)
OXYMORON (Greek oxymoron - witty-stupid) - a combination of contrasting words that are opposite in meaning (a living corpse, a giant dwarf, the heat of cold numbers).
That sad joy that I survived? (S. Yesenin)
PERSONIFICATION (prosopopoeia, personification) - a type of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).
my bells,
Steppe flowers!
What are you looking at me
Dark blue?
And what are you talking about
On a happy May day,
Among the uncut grass
Shaking your head?
(A.K. Tolstoy)
PARALLELISM (from the Greek. parallelos - walking side by side) - an identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.
Waves crash in the blue sea.
The stars are shining in the blue sky.
(A.S. Pushkin)
PARCELLATION - an expressive syntactic technique of intonational division of a sentence into independent segments, graphically highlighted as independent sentences.
“How gracious! Of good! Mila! Simple!”
(Griboyedov)
TRANSFER (French enjambement - stepping over) - a mismatch between the syntactic articulation of speech and articulation into verses. When transferring, the syntactic pause within a verse or half-line is stronger than at its end.
Peter comes out. His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like God's thunderstorm.
A.S. Pushkin
PERIPHRASE (Greek periphrasis - roundabout, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its features, as a rule, the most characteristic, enhancing the figurativeness of speech.
"Sleep, my beautiful baby..."
(M.Yu. Lermontov)
RHETORICAL QUESTION (from the Greek rhetor - speaker) - one of the stylistic figures, such a construction of speech, mainly poetic, in which the statement is expressed in the form of a question. A rhetorical question does not imply an answer, it only enhances the emotionality of the statement, its expressiveness.
Rhetorical exclamation (from the Greek rhetor - speaker) is one of the stylistic figures, such a construction of speech in which one or another concept is affirmed in the form of an exclamation. The rhetorical exclamation sounds emotional, with poetic enthusiasm and elation.
Yes, love like our blood loves
None of you love!
RHETORICAL APPEAL (from the Greek. rhetor - speaker) - one of the stylistic figures. In form, being an appeal, a rhetorical appeal is conditional. It gives poetic speech the necessary authorial intonation: solemnity, pathos, cordiality, irony, etc.
And you, arrogant descendants
Known meanness of the famous fathers.
(M. Lermontov)
RHYTHM (Greek "rhythmos" - harmony, proportionality) - a kind of epiphora; the consonance of the ends of poetic lines, creating a sense of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.
SARKASM (Greek sarkazo, literally - I tear meat) - contemptuous, caustic mockery; the highest degree of irony.
SYNECDOCH (Greek synekdoche - correlation) - one of the tropes, a type of metonymy, consisting in transferring meaning from one object to another on the basis of a quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche are:
And in the door - jackets,
overcoats, sheepskin coats ...
(V. Mayakovsky)
COMPARISON - a word or expression containing the likening of one object to another, one situation to another.
A storm covers the sky with mist,
Whirlwinds of snow twisting;
The way the beast she howls
It will cry like a child ... (A.S. Pushkin)
DEFAULT - unspokenness, reticence. An intentional break in a statement that conveys the excitement of speech and suggests that the reader will guess what was said.
I do not like, oh Russia, your timid
A thousand years of slave poverty.
But this cross, but this ladle is white...
Humble, native traits!
(I.A. Bunin)
ELLIPSIS (Greek elleipsis - loss, omission) - a figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech, a tense change of action is transmitted.
We sat down - in ashes, cities - in dust,
In swords - sickles and plows.
EPITET (Greek epitheton - application) - a figurative definition that gives an additional artistic characteristic to someone or something, "a word that defines an object or phenomenon and emphasizes any of its properties, qualities or features. A sign expressed by an epithet, as it were joins the subject, enriching it in a semantic and emotional sense.
But I love the golden spring
Your solid, wonderfully mixed noise;
You rejoice, not ceasing for a moment,
Like a child without care and thoughts... (N. Nekrasov)
EPIFOR (Greek epiphora - repetition) - a stylistic figure opposite to anaphora: repetition of the last words or phrases. Rhyme is a kind of epiphora (repetition of the last sounds).
Here the guests came to the shore,
Tsar Saltan invites them to visit... (A.S. Pushkin)
hyperbole exaggeration character
TOPIC: Means of linguistic expressiveness in the lyrics of the poets of the Silver Age
Content
Introduction ……………………………………………………………….. .4
Chapter I: General information about the means of artistic expression. Poetic currents of the Silver Age.
1.1. Means of artistic expression in poetry ………...….6
1.2. Poetic currents of the Silver Age…………………………....13
Chapter II: Metaphor and Symbol in the Poetics of Russian Symbolists
2.1. Metaphors in poetic language……………………………………………16
2.2. Metaphors in the lyrics of V. Bryusov…………………………………….21
2.3. Symbol in the poetry of A. Blok………………………………………………28
Conclusion …………………………………………………………… .36
List of used literature……………………………………37
Introduction
The phrase "Silver Age" is a stable historical and cultural metaphor that arose in the circles of Russian émigré writers who considered themselves the heirs of the richest culture at the turn of the 19th and 20th centuries. Appearing by analogy with the concept of the “golden age”, which denoted the Pushkin period of Russian literature, the new historical and literary formula soon began to be used in relation to the entire artistic and spiritual heritage of Russian culture at the beginning of the 20th century.
Relevance selected topic is confirmed the fact that interest in the study of the poetry of the Silver Ageand to the means of creating expressiveness and imagery in poetic textssymbolists, acmeists, futurists never weakened.What is the secret of the impact of the work of poets of the Silver Age on the reader, what is the role of speech construction of works in this, what is the specificity of artistic speech, unlike other types of speech, all these questions have long occupied the minds of linguists, writers, critics.
object studies are the poetic texts of the poets of the Silver Age.
Subject research is a means of linguistic expressiveness in the works of A. Blok, V. Bryusov, N. Gumilyov
aim is to determine the function and features of the means of language expressiveness in the process of forming imagery and expressiveness in the texts of poems by A. Blok, V. Bryusov, N. Gumilyov.
Tasks:
- consider a short biographical path of the author;
- identify morphological techniques for creating expressiveness;
Consider the means of language expressiveness;
Determine the features of the artistic style and their influence on the use of visual and expressive means
The theoretical and practical basis of the course work is made up of articles, monographs, dissertations, various collections devoted to the problems of poetics, the fundamental works of linguists.
Research methods used in the work:
direct observation, descriptive, method of component analysis, directly constituents, contextual, comparative descriptive.
Scientific noveltyis that in this study: a relatively complete list of features that distinguish the language of poetry (artistic speech) from the practical language (non-artistic speech) is presented and systematized; language means of expression in the texts of poems by A. Blok, V. Bryusov and other poets of the Silver Age are characterized.
The practical significance of the study lies in the fact that coursework materials can be used in lectures and practical classes on the modern Russian language in the study of the sections "Lexicology", "Analysis of a literary text", when reading special courses, in classes with an in-depth study of literary criticism in gymnasiums and lyceums.
The structure and volume of the course work.
The work consists of an introduction, two chapters, a conclusion, a list of references (in the amount of 48 sources). The total volume was 39 pages.
Chapter I. General information about the means of artistic expression
1.1. Means of artistic expression in poetry.
In literature, language occupies a special position, since it is that building material, that matter perceived by ear or sight, without which a work cannot be created. The artist of the word - the poet, the writer - finds, in the words of L. Tolstoy, "the only necessary placement of the only necessary words" in order to correctly, accurately, figuratively express an idea, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author . The best thing in the work is achieved by the artistic means of the language. [ 18, p. 311]
The means of artistic expression are varied and numerous.
trails(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.
Metaphor(Greek "transfer") is a word or expression used in a figurative sense based on the similarity or contrast in some respect of two objects or phenomena: “... and the green of my eyes, and a gentle voice, and the gold of hair” (M. Tsvetaeva) and a good example:
Wind. I love him when he's angry
He will cover the rye field with fleur
Ile furrows with gentle summer
Wave across pink lakes
(I. Annensky)
Metonymy- this is the replacement of a word or concept by another word, one way or another involved in it, adjacent to it:
All the seas have kissed our ships,
We honored all the shores with battles.
(N. Gumilev)
Synecdoche(Greek synekdoche - correlation) - one of the tropes, a type of metonymy, consisting in transferring meaning from one object to another on the basis of a quantitative relationship between them
And at the door
jackets,
overcoats,
sheepskin coats...
(V. Mayakovsky)
Replacing a number with a set:
Millions of you. Us - darkness, and darkness, and darkness.
(A. Blok)
Hyperbola(Greek hyperbole - exaggeration) - a means of artistic representation based on excessive exaggeration. Can be idealizing and degrading. By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole is already found in the ancient epic among different peoples, in particular in Russian epics:
In a hundred and forty suns the sunset burned
(V. Mayakovsky)
Let it fill with years
life quota,
costs
only
remember this wonder
tears apart
mouth
yawn
wider than the Gulf of Mexico.
(V. Mayakovsky)
Litotes(Greek litotes - simplicity) - a trope opposite to hyperbole, a figurative expression, a turn, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. There is a litote in folk tales: "a boy with a finger", "a hut on chicken legs", "the waist is thinner than a bottle neck":
Epithet("attached") - an artistic, poetic definition that emphasizes any property of an object or phenomenon that the author wants to draw attention to:
Sand. Smooth, flat, one-color,
wordless, pointless,
sun-scorched sand
Was once in the depths of the sea,
And over him, arguing about the strength,
A squall could fight with a squall
(K.Balmont)
And we, the poet, did not guess you,
Did not understand infantile sadness
In your as if forged verses.
(V. Bryusov)
Avatars - this is a special kind of metaphor-allegory - transferring the features of a living being to inanimate objects and phenomena:
Her nurse lay down beside her in the bedchamber - silence
(A. Blok)
Already of the black Night, the pale Day gave up its torch, flew away. (I. Annensky)
Morning. The clouds are still crying, buzzing,
But the shadow brightens and reluctantly,
And banal behind the rain net,
I tried to smile for a day.
(I. Annensky)
Symbol(translated from Greek - a sign, an identifying sign) - a word or object that conditionally denotes the essence of a phenomenon. The symbol acquires a key role in the poetry of the Symbolists, becomes one of the aesthetic dominants of their work:
In the morning mist with unsteady steps
I went to the mysterious and wonderful shores
(Vl. Solovyov)
I am your love caress
Enlightened and dreaming.
But believe me, I think it's a fairy tale
Unprecedented sign of spring
(A. Blok)
Functions of artistic and expressive means (tropes):
Characteristics of an object or phenomenon;
Transfer of emotional and expressive assessment of the depicted.
Stylistic figures- a term of rhetoric and stylistics, denoting turns of speech that change the emotional coloring of a sentence. Figures of speech are often used in poetry.
These include: anaphora, antithesis, oxymoron, unionlessness, syntactic parallelism, epiphora, gradation, inversion, polyunion, rhetorical question.
Anaphora(Greek anaphora - pronouncement) - repetition of initial words, lines, stanzas or phrases.
When horses die, they breathe
When grasses die, they dry
When the suns die, they go out
When people die, they sing songs
(V. Khlebnikov)
Antithesis(Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena:
Black evening.
White snow.
Wind, wind!
(A. Blok)
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blush, like a poppy color,
I am like death, and thin and pale.
(A.S. Pushkin)
So few roads traveled, so many mistakes made...
(S. Yesenin)
Oxymoron(Greek oxymoron - witty-stupid) - a combination of contrasting words that are opposite in meaning:
Only ominous darkness shone for us
(A. Akhmatova)
That sad joy
that I stayed alive
(S. Yesenin)
Asyndeton- a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness:
Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least a quarter of a century -
Everything will be like this. There is no exit.
(A. Blok)
Parallelism(from the Greek parallelos - walking side by side) - one of the types of repetition (syntactic, lexical, rhythmic); a compositional technique that emphasizes the connection of several elements of a work of art; analogy, convergence of phenomena by similarity:
Your mind is as deep as the sea.
Your spirit is as high as mountains.
(V. Bryusov)
gradation- this is a (gradual increase) sequence in the arrangement of something, successively located stages, steps in the transition from one to another:
All facets of feelings, all facets of truth are erased
In worlds, in years, in hours.
(A. Bely)
Chiasm -(cross-shaped arrangement in the form of the letter "x") - a stylistic figure consisting in the fact that in adjacent phrases or sentences built on syntactic parallelism, the second sentence is built in the reverse order of its members:
The forest is like a fabulous reed.
And reeds - like a forest - a baby.
Silence is like life, and life is like silence.
(I. Severyanin)
We can distinguish polyunion, rhetorical question, appeal, parceling. These and other means of artistic expression are needed in poetry in order to make speech brighter, more colorful, more emotional. As a result, this gives the text an author's originality, which conveys the most subtle nuances of thoughts or images.
1.2. Poetic currents of the Silver Age
Symbolism- the first and most significant of the modernist movements in Russia. By the time of formation and by the peculiarities of the worldview position in Russian symbolism, it is customary to distinguish two main stages. The poets who made their debut in the 1890s are called “senior symbolists” (V. Bryusov, K. Balmont, D. Merezhkovsky, Z. Gippius, F. Sologub and others). In the 1900s, new forces poured into symbolism, significantly updating the appearance of the current (A. Blok, A. Bely, Vyach. Ivanov, and others). The accepted designation of the "second wave" of symbolism is "young symbolists". “Senior” and “younger” were separated not so much by age, but by the difference in attitudes and the direction of creativity. Philosophy and aesthetics of symbolism were formed under the influence of various teachings - from the views of the ancient philosopher Plato to the modern symbolist philosophical systems of V. Solovyov, F. Nietzsche, A. Bergson.
Symbolism has enriched Russian poetic culture with many discoveries. Symbolists gave the poetic word previously unknown mobility and ambiguity, taught Russian poetry to discover additional shades and facets of meaning in the word.
Acmeism(from Greek. 12 butkme – the highest degree of something; heyday; vertex) arose in the 1910s in the "circle of young poets," at first close to symbolism. The impetus for their rapprochement was opposition to symbolic poetic practice, the desire to overcome the speculation and utopianism of symbolic theories. In October 1911, a new literary association was founded - the Workshop of Poets. A narrower and aesthetically more cohesive group stood out from a wide circle of participants in the “Workshop”: N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam, M. Zenkevich, V. Narbut.
The main significance in the poetry of acmeism is the artistic development of the diverse and vibrant earthly world. Acmeists valued such elements of form as stylistic balance, pictorial clarity of images, precisely measured composition, and sharpness of details. Acmeists have developed subtle ways of conveying the inner world of a lyrical hero. Often the state of feelings was not revealed directly, it was conveyed by a psychologically significant gesture, movement, enumeration of things.
Futurism(from lat. - the future) arose almost simultaneously in Italy and Russia. For the first time, Russian futurism manifested itself publicly in 1910, when the first futuristic collection "The Garden of Judges" was published (its authors were D. Burliuk, V. Khlebnikov, V. Kamensky). Together with V. Mayakovsky and A. Kruchenykh, these poets soon formed the most influential group in the new trend. Futurism claimed a universal mission: as an artistic program, a utopian dream of the birth of a super-art capable of transforming the world was put forward. In terms of formal style, the poetics of futurism developed and complicated the symbolic attitude towards the renewal of the poetic language. Syntactic shifts were manifested by the futurists in violation of the laws of lexical compatibility of words, the rejection of punctuation marks. Futurism turned out to be creatively productive: it made us experience art as a problem.
Conclusions on I chapter:
Means of artistic expression in the works of poets of the Silver Age are designed to make the speech richer and brighter, which means to attract the attention of the reader or listener, arouse emotions in him, make him think.
The silver age of Russian poetry lasted about twenty years, but during this period poetry gave the world new names, directions, views.
Each direction introduced its own views on the art of the word. Their poetry can be incomprehensible, and therefore it turns out to be even more attractive to the reader. Poets of the Silver Age often violated all existing rules, norms, laws, their most important law is their own poetic fantasy.
Chapter II Metaphor and Symbol in the Poetics of Russian Symbolists
2.1. Metaphor in poetic language
We call metaphor the change in the meaning of a word based on similarity. Thus, stars are like pearls: "pearl stars", or "pearls of stars", or stars - "pearls of the sky" are various examples of poetic metaphor. The sky resembles a dome or vaults - "vault of heaven", or "firmament", or "dome of heaven" are among the metaphorical expressions. Metaphors are often found in colloquial language: for example, "heavy grief", "bitter disappointment", "bright feeling", "foot of the mountain", "neck of the bottle", etc. The change in the meaning of words occurs in the language according to the categories of metaphor, metonymy, synecdoche, etc. In the process of naming, a new concept is denoted by an old word, but with a changed meaning; for example, "heavy" is generally a designation of weight, otherwise, however, in the combination "heavy feeling". Gradually, the new meaning of the word separates from the original, acquires an independent meaning (for example, “pen” is an insert, next to “pen” is a small hand); in the further process of the semantic life of the word, the new meaning can finally supplant the old one (for example, "lingering" - with the original meaning "extended", "sharp" from "cutting"; the so-called "catahresis", i.e. contradiction between the original meaning of the word and its new use, indicating the oblivion of the original meaning (for example, "red ink", "steam horse"). The process of forgetting the original meaning is natural in practical speech; here the task of linguistic creativity is to give a name to a new object using an old word based on the similarity of certain features ("ink" = "black liquid"). In the future, the feature that served to change the word usage may turn out to be practically insignificant ("ink" is a liquid of known chemical composition used for certain tasks) .
In the poet's language, metaphors come to life. This revitalization of the metaphorical meaning of the word is achieved by various methods. Sometimes - with a somewhat unusual combination of metaphorical words, for example, instead of the prosaic "velvet voice" - I. Annensky has "these sounds that have gone into velvet". In other cases, by a more or less consistent development of the metaphor; for example, instead of the prosaic "poisoned life", "poisoned feeling" - in Baratynsky "we drink sweet poison in love" [8, 112]; instead of the usual "bitter words" - A. Blok has an unusual and consistent development of the same metaphor: "The honey of your words is bitter to me". Finally, often the revival of the metaphor is achieved by a metaphorical neoplasm ("neologism"), replacing the worn-out poetic image with another, similar in meaning, but expressed in other words. For example, instead of the usual "cold feeling", "cold soul" - in A. Blok "snow blizzard in the heart", "snowy love", etc. Instead of prosaic "sharp", "sharp" (= "cutting") words - in Balmont "I want dagger words" (cf. Shakespeare : "I will speak daggers" - "I will speak with daggers").
In realistic art, when a poet strives to bring his language closer to artistically stylized colloquial speech, any new and individual metaphor that has not been decolorized in the process of the development of prose language would seem importunate and immodest.
Against the background of the metaphorical style of symbolist poets, some of the latest poets are distinguished by such modesty and restraint in the use of metaphor. So, compare with Kuzmin:
I console myself with miserable joy,
Bought the same hat as yours.
I'll hang it on a hanger, sighing
And I will always remember you...
The artistic originality of Anna Akhmatova's language is determined, first of all, by "overcoming" the metaphorical style of her predecessors, by the classical simplicity and rigor of word usage:
The last time we met then
On the embankment where we always met.
There was high water in the Neva
And the floods in the city were afraid.
He talked about summer and
That it is absurd for a woman to be a poet.
As I remember the high royal house
And the Peter and Paul Fortress!
In the poetics of Russian symbolists, associated with romanticism by a deep inner relationship and direct historical continuity (Balmont, as a student of Fet; Blok, as the successor of Vl. Solovyov), "metaphorical style" is one of the most essential features of romantic art. The attitude to metaphor as a method of poetic knowledge of the world is especially clearly expressed by A. Blok in the lyrical drama "Rose and Cross". The scene between the poet - Gaetan, penetrating with his prophetic spirit into the mysterious life of nature, and the simple knight Bertrand, not sophisticated in poetic experience, clearly shows us that the mystical truth that the romantic poet tells about, from the point of view of the researcher of style, is a poetic metaphor . The knight sees the sea - waves, raging wind and spray of foam, gray fog over the sea and the light of the rising sun - the poet opens up the fabulous world of the underwater city with its mysterious inhabitants, the treacherous fairy Morgana, the protector of believers Saint Gwennole.
Ocean coast...
Gaetan: Now the underwater city is not far away.
Do you hear the bells ringing?
Bertrand: I hear
How the noisy sea sings.
G: You see
The gray robe of Gwennole rushes
Above the sea?
B .: I see how a gray fog
Divergent.
G: Now you see
How did the roses play on the waves?
B.: Yes. This sun rises behind the fog.
G: No! That siren of evil scales! ..
Morgana rushes through the waves... Look:
Gwennole lifts the cross over her!
B: The fog has thickened again.
G: Can you hear the moans?
The treacherous siren sings...
Don't delay, friend! Through the fog - forward!
For the romantic poet, as for Novalis, the perception of the poet is not an arbitrary fiction, but the revelation of a different, deepest reality. In response to the words of the doubting Bertrand: "You are telling me fairy tales again," Alexander Blok speaks through the mouth of the poet Gaetan: "Can't there be truth in a fairy tale?" In these words of the poet - a romantic justification of the "style of metaphor".
The metaphorical animation of nature can be observed in many symbolist poets. A metaphor becomes a reality when nature really comes to life in romantic lyrics, filled with mysterious and fabulous creatures - mermaids, elves, mountain spirits, etc. We can regard romantic mythology as the result of a process of "realization of metaphor": the metaphorical animation of nature always precedes romantic mythology, artistically justifies and prepares for its emergence.
The preparation of a miraculous vision in the process of implementing a metaphor can be found in Gogol’s famous description of the “Ukrainian night”, where this process is not yet completed, night visions are still hidden in the poet’s soul and have not received an independent reality, as if they stop at the border between metaphor and myth:
"Motionlessly, with inspiration, the forests have become<...>and cast a huge shadow from themselves. Quiet and calm these ponds; the cold and gloom of their waters is sullenly enclosed in the dark green walls of the gardens. Virgin thickets of bird cherry and sweet cherry fearfully stretched their roots into the spring cold and occasionally murmur with leaves, as if angry and indignant, when a beautiful anemone - the night wind, sneaking up instantly, kisses them.<...>And above everything breathes, everything is wonderful, everything is solemn. And in the soul it is both immense and wonderful, and crowds of silver visions harmoniously arise in its depths.
And in K. Balmont's poem "Fantasy", the metaphor became a myth, the process of realization was completed, the "visions" of the poet became a fact of objective reality:
Like living sculptures, in sparks of moonlight,
The outlines of pines, firs and birches tremble a little;
The prophetic forest calmly slumbers, the bright shine of the moon accepts
And listens to the murmuring of the wind, all full of secret dreams.
Hearing the quiet moan of a blizzard, the pines whisper, the firs whisper,
It is comforting to rest in a soft velvet bed,
Remembering nothing, cursing nothing,
The branches are slender, bowing, listening to the sounds of midnight.
Someone's sighs, someone's singing, someone's mournful prayer,
And melancholy, and ecstasy - a star sparkles exactly,
It's like a light rain is streaming, and something is crumpling in the trees,
Something that no one will ever dream of.
It is the spirits of the night that rush, it is their eyes that sparkle,
At the deep hour of midnight spirits rush through the forest.
What torments them? What worries?
Wed Balmont has other examples: "Ghosts" ("Rustle of Leaves"), "Forgotten Bell Tower", etc.
Conclusion: many symbolist poets consciously focused on classical patterns, but offered their own interpretation of the classical theme. This is evidenced by the literal repetition of the titles of many poems, for example:
"Dagger" by M. Lermontov and "Dagger" by V. Bryusov;
"Troika" by N. Nekrasov and "Troika" by A. Bely;
"Monument" by A. Pushkin, V. Bryusov, V. Khodasevich
2.2. Metaphors in the lyrics of V. Bryusov
At the first stage of the existence of symbolism, V. Bryusov was the main theorist of the new trend and its recognized leader. The strength of character, the ability to subordinate life to the goals set, the ability for careful daily work - these qualities were pivotal in the personality of V. Bryusov. Bryusov's aesthetic views definitely took shape already in the 1990s. Their essence is the understanding of symbolism as a purely literary phenomenon, the position of the complete autonomy of art, its independence from social life, religion, and morality. With aphoristic clarity, this attitude was expressed in a poetic line “Perhaps everything in life is just a means for brightly melodious verses” [38, p. 225]
In Bryusov's lyrics, feelings towards natural phenomena are replaced by the use of other metaphors, more rare and exotic. And here we can talk about the metaphorical depiction of nature as a device of romantic art, but not about its intimate lyrical animation. So in the description of the sunset ("Evening Songs"):
And leaving the black depths,
On an azure day from the dark
A bright swarm of peacocks takes off,
Opening centicolor tails.
And Night, a hunter with a faithful bow,
He puts an arrow on the string,
She rose with a lingering sound,
And the birds fall into the darkness.
The whole brood was struck by arrows ...
From the motley flock there is no trace ...
Such metaphors as "peacocks of the dawn", for which there are no corresponding associations in ordinary language metaphors, give the impression of a poetic figure, a fantastic transformation of the world. Similar in another description of the sunset ("On Saimaa"):
Yellow silk, yellow silk
By blue satin
Sew by invisible hands
To the golden horizon
Bright Flame Shard
The sun goes down at the hour of separation.
Festive purple cloth
Removes someone gave
Spreading scarlet,
And in the yellow-azure water
Swept, shone
Red Fire Birds... 14,378
In the cycles "Evening Songs" and "On Saima" (collection "Wreath"), one can find a number of examples that fantastically transform pictures of nature with the help of metaphorical style techniques. A separate analogy to these paintings is presented by some of Gogol's fantastic landscapes ("Terrible Revenge"). "Quietly shines all over the world: then the month appeared from behind the mountain. As if with a Damascus road and white as snow, it covered the mountainous bank of the Dnieper with muslin<...>. Those forests that stand on the hills are not forests: they are hair overgrown on the shaggy head of a forest grandfather. Under her, a beard is washed in the water, and under the beard, and above the hair, the high sky<...>, the wind pulled the water in ripples, and the entire Dnieper was strebered like a wolf's hair in the middle of the night.
In general, Bryusov is not a poet of nature. Among the Russian symbolists, he is the founder of the "poetry of the modern city." Symbolist urban poetry is a particularly characteristic expression of the romantic aspirations of contemporary art. Everyday life appears before us here fantastically transfigured, mysterious and illusory; this impression is achieved through the metaphorical "estrangement" of its familiar, prosaic elements. The modern city, predominantly nocturnal, with its electric lamps and revolving signs, with its light-filled restaurants, stone multi-storey buildings and tall factory chimneys, railway stations and ringing trams, becomes wonderful and mysterious for the poet, as already in the depiction of earlier romantics ( "Nevsky Prospect" by Gogol, "Double and White Nights" by Dostoevsky, "Man of the Crowd" by Edgar Allan Poe, "At the Window" by Hoffmann, etc.) Let us recall, for contrast, the image of a modern city in Pushkin's classical poetry: a simple and accurate description that lovingly highlights artistically significant details, not alienated by everyday life, real prosaic trifles:
The merchant gets up. A peddler is coming.
A cab is pulling to the stock exchange.
The okhtenka is in a hurry with a jug.
Under it, the morning snow crunches ... and so on.
As far as metaphors are inappropriate and impossible in such a description, they play an essential role in the romantic depiction of the fantastic and monstrous everyday life of the City. First of all, from modern poets - in the urban poetry of Emile Verharn ("Villes tentacularies" - "Cities with tentacles"), whose student and interpreter was V. Bryusov. Bryusov has numerous examples of such descriptions in the collections "To Rome and the World" and "Wreath":
Burning with the electricity of the moon
On curved long stems;
Telegraph strings are ringing
In invisible and gentle hands;
Amber dial circles
Magically lit up over the crowd,
And thirsty pavement slabs
Cool peace touched...
Or more:
Shouting posters, luxuriantly motley,
And the signboards of the word moan,
And the lights are sharp
They sting like cries of triumph.
And with the further realization of the metaphor that directly introduces the miraculous into the objective world, after its appearance has been prepared by a number of appropriate metaphors:
Burn with white lights
Narrow streets! Doors to hell
Sparkle in flames before us,
So as not to wander us at random!
Like the faces of women in the blue light
exposed, deepened,
Raise your furious whips
Above all, children of Satan!
The transition from the usual romantic description of the city, its ghostly and fantastic existence, to a miraculous phenomenon from the world of another reality takes place in Bryusov's urban poetry constantly and imperceptibly - apocalyptic visions of the "last days" haunt him precisely in this ghostly and monstrous everyday life of the "City". Compare: "In the days of desolation", "The Last Day", "Glory to the crowd", "Spirits of fire", in particular "Horse Bled":
The street was like a storm. The crowds passed
As if they were pursued by the inevitable Doom.
Omnibuses, cabs and cars rushed by,
There was an inexhaustible furious human flow.
Signboards, spinning, sparkled with a variable eye,
From the sky, from the terrible height of the thirtieth floors;
They merged into a proud anthem with the roar of wheels and lope
The cries of newsmen and the cracking of whips.
Lily light merciless chained moon.
Moons created by the lords of nature.
In this light, in this rumble - the souls were young,
Souls of drunken, city-drunk creatures.
And suddenly - in this storm, in this hellish whisper,
Into this delirium embodied in earthly forms,
An alien, inconsonant clatter burst in, pierced,
Drowning out the hums, conversation, rumbles of carriages.
A fire-faced rider appeared from the turn,
The horse flew swiftly and stood with fire in his eyes.
But there was a moment - awe, eyes were - fear!
The rider had in his hands a developed long scroll,
Fiery letters proclaimed the name: Death...
Stripes bright, like yarn of lush threads,
At a height above the street, the firmament suddenly flared up ...
Among the visions that inhabit the ghostly and fantastic city, one should stop our attention before others - this is a fleeting meeting with an unfamiliar woman, the mysterious Stranger, in which the romantic poet sees his only beloved, fabulous bride, the Beautiful Lady. (Compare the development of this motif in Gogol's Nevsky Prospekt and Dostoyevsky's White Nights.)
Oh, these meetings are fleeting
On the noisy streets of the capitals!
Oh, these unaccountable glances,
Conversation white eyelashes!..
The description of this meeting as mysterious and wonderful, and the very transformation of the beautiful woman she meets into the mysterious Stranger, is accomplished with the help of metaphorical style techniques.
She passed and got drunk
The lingering smell of perfume
And shaded with a quick glance
Possibility of impossible dreams.
Through the street iron rumble
And drunk on blue fire
I suddenly heard a greedy laughter,
And the snakes entwined me.
. . . . . . . . . . . . . . . . . . . . . . . . .
And in the horror of a stubborn struggle,
Between oaths, prayers and threats,
I was entangled in black moisture
Her loose hair.
A number of transformative metaphors surrounding the image of the beloved signify entry into the world of another reality. The poem "In a restaurant" is similar in construction: the poet recognizes his mysterious Friend in an unfamiliar beauty. At the same time, the Stranger's repeated metaphors - "spirits breathe", "silks whisper anxiously" (cf. also "you breathe black silks, opened the sable"). The content of the poem, to which the poet attaches such significance (“I will never forget! ..”), is precisely in this disclosure of the image of the only beloved, in the scene of mystical recognition:
You rushed with the movement of a frightened bird,
You passed, like my dream, easy ...
And the spirits sighed, eyelashes dozed off,
Silk whispered anxiously.
But from the depths of the mirrors you cast your eyes to me,
And throwing, shouted: "Catch! .."
So, in modern life and in the mists of time, the poet liked to reveal the high, the beautiful, and affirmed these properties as stable foundations of human existence.
2.3. Symbol in the poetry of A. Blok
Symbolism as a poetic trend got its name from a special kind of metaphor. In prose speech, we often designate a spiritual experience with a metaphorical word that originally belongs to the external world, for example. "cold house", "gloomy thoughts", "empty dreams", etc. A symbol is a special case of a metaphor - an object or action (ie, usually a noun or a verb) taken to denote an emotional experience.
The folk song has its own traditional symbolism. Pearls denote grief (tears); picking a rose means kissing a girl, tasting her love.
Alexander Blok also uses traditional symbolism in the lyrical drama "The Rose and the Cross" (the symbolism of the Rosicrucians; compare Goethe's poem "The Sacraments"):
Oh, how far from you, Isora,
The one given by the fairy
That faded cross! -
Bloom, oh rose
In the cherished garden...
Stand guard, Bertrand!
Your rose will not fade...
But in this case we already have an example of an individual interpretation of a traditional symbol. The symbolism of Blok's drama cannot be revealed in precise terms; for example, rose = love, earthly happiness; cross = suffering, renunciation. Its content is much broader and more vague. It expresses the complex and individual experience of the mystic poet, which cannot be revealed in a logically precise formula and which is understandable only in its figurative expression, in this individual combination of images.
In the poetry of the Symbolists, based on an individualistic approach to mystical experience, we usually meet with individual symbols or with traditional religious symbols in a new, individual interpretation. In this respect, the lyrics of the Russian Symbolists reveal a deep similarity with the poetic art of the German romantics.
The poet of symbols par excellence in modern Russian lyrics is Alexander Blok. His poetic speech is the language of habitual allegories, like a dictionary of conventional mysterious signs, which he uses with exceptional skill to express mystical experiences in poetic symbols that cannot be conveyed in logically accurate words of poetic language. Reading his works, we can make ourselves such a dictionary of metaphorical images: "night", "gloom", "fogs" (especially "blue fogs"), "twilight", "haze", "wind", "blizzard", "blizzard ", "dawn", "dawn", "azure", "spring", "far country", "far shore", - finally, the usual metaphors of passion: "flame", "bonfire", "wine", "goblet" etc. In such allegory, the events of the mystical life of the poet are transmitted; in particular, the early "Poems about the Beautiful Lady" form a thin interweaving of translucent allusions to a different, mysterious and inexpressible meaning:
We live in an old cell
At the flood of water.
Spring is full of fun here
And the river sings.
And in a harbinger of fun
On the day of spring storms
Cells will spill to us at the door
Light azure.
And full of cherished trembling
Long awaited years
We'll rush off-road
Into the unspeakable light.
However, in Blok's later poems there is a mysterious double meaning, a mystical background that deepens any situation, gives it a different, infinite perspective; and here the poet denotes, with the help of metaphorical allegory, the contact of two worlds, the feeling of a different reality entering this world. For example, verse. "Commander's Steps" begins with the usual images of fog outside the window, the dead of night, the coming dawn, the meaning of which is twofold between material and allegorical, but can be interpreted in a realistic sense - to the place where the cock crow "from a country blissful, unfamiliar, distant" does not portend the appearance of a ghost. 21.8
Blok's teacher in the field of poetic allegories is Vl. Solovyov, who was rightly called the first Russian symbolist. In Solovyov's poetry we find almost all of Blok's favorite symbols. So, spring: "The still invisible already sounds and blows, the breath of eternity is the coming spring"; azure: "Oh, how many pure azure and black, black clouds are in you." All in azure today my queen appeared before me" 73; dawn: "The dawn fought with the last stars" 74; roses: "Light from darkness. The faces of your roses could not rise above the block" 75; "the circle of earth and sky breathed roses" 76; fog; distant shore: "In the morning mist, with unsteady steps, I walked to the mysterious and wonderful shores" 77; blizzards - sometimes snowy, sometimes sultry (cf. Blok’s usual combination “to burn out in the snows of oblivion” 78): “in the country of frosty blizzards, among gray fogs, you came into the world” 79; blizzards ", etc. However, Solovyov's symbolic image usually appears in a motionless and undeveloped form, as a constant metaphorical cliché; in this respect, his symbols often come close in character to the traditional religious symbolism of such poems as "The Song of the Ofits" and "U my queen has a high palace ... "etc.
In Blok's youthful poetry, poetic symbols are also motionless and stereotyped; the solution of a metaphorical allegory in an abstract concept is not difficult:
Let the moon shine - the night is dark.
May life bring happiness to people
Spring in my soul of love
Will not change the stormy bad weather ... 10.3
This is a naive, abstract-logical symbolism of the type "The darker the night, the brighter the stars", with a frank indication of the allegorical nature of the word usage: "spring of love" - moreover, it is "in my soul" (cf. what was said above regarding Gogol's description of the night : "crowds of silver visions" arise "in the depths of the soul"). The same in another poem of the same years, especially close to Solovyov's symbolism ("In the morning mist..."):
I went to bliss. The path was shining
Evening dew with red light,
And in my heart, dying, I sang
If in his early Blok comes from the symbolism of Vl. Solovyov, then at the top of his work, he gives us the same symbols in a new, individual use, no longer in the stereotyped and fixed form of image-concepts, but in movement and development, in a diverse combination with each other, bold and original deviations from the word usage of prose speech . A few examples will explain the laws of his art.
We say in colloquial language "cold feeling", "cold heart". "I conquered cold oblivion" (Balmont) is a common prose metaphor. Blok renews this metaphor, brings it back to life, or rather, he creates an original metaphorical neologism similar to the usual metaphor of the language "snow heart", further developing this original symbol: "a heart covered in a snow blizzard":
And there is no my enviable share -
Burn out in the snows of oblivion
And on the coastal snowfield
Under the ringing blizzard to die.10,224
The development of metaphor leads to its realization. The poet no longer says that "a snowstorm is in the heart" (cf. "and in the heart, fading, a distant voice sang the song of dawn"). A snow blizzard acquires, as it were, an independent life, becomes an objective reality, at least a poetic reality. Born from the "heart" of the poet, she brings the poet himself. The poet dies "under a ringing blizzard", "on a snowy field".
The symbol of "snow blizzard", "blizzards" in itself already has a dual origin: it connects an updated metaphor like "cold heart", "snowy heart" with another metaphorical series - it "raised a whole storm", in a "whirlwind of passion", etc. P. - whence, as a metaphorical neoplasm, Blok's expression about his love: "blizzard", "blizzard". Usually both rows are connected in a permanent symbol of "snow blizzard". So, in the poem "The heart is betrayed by the rebels":
I forgot everyone I loved
I twisted my heart with a blizzard,
I threw my heart from the white mountains
It's at the bottom! 11, 251
The main metaphor "snow blizzard" in turn becomes the object of further metaphorization; for example: "snow blizzard" and further "snow canopy" - "silver curtain":
There is no way out of the blizzard
And I'm happy to die.
Led into an enchanted circle
She curtained her blizzards with silver... 11,250
Even more consistently this feature of the metaphorical style is given in verse. "Her Songs", where the original symbol of the "snow blizzard" is overgrown with a number of new metaphors - "silver blizzard", "yarn" of white threads, white "sleeve" with which the snow Maiden hugs the poet, finally - "whirling blizzard", as " air carousel "(usually: dance, round dance):
By the sleeve of my blizzards
I'll suffocate.
Silver of my joys
I'll stun.
On the air carousel
I'll spin.
Yarn tangled tow
Shoes. 11.220
Thanks to the consistent development of metaphor, the whole poem becomes metaphorical in its theme. Moreover, even a whole cycle of poems is entitled "Snow Mask", a whole book - "Earth in the Snow". The poet tells here about snowstorms and blizzards, about snowy love and the snowy Maiden, which have become a poetic reality in his work. He writes in the preface: "And here is the Earth in the snow<...>. And the snows that obscure the radiance of the One Star will subside. And the snow covering the ground - before spring. In the meantime, the snow blinds the eyes and the cold has bound the soul, blocks the way, the lonely song of the peddler comes from afar: a victorious, sad, inviting tune, carried by a blizzard.
We have a new complication of an already familiar symbol where the third metaphorical row is connected with the image of a "snow blizzard" - the image of a "troika" that takes away the poet or his happiness. We say in colloquial language: happiness has passed, swept, or life has rushed by. Block renews the old metaphor, creating the image of a trio that takes away happiness:
Earthly happiness is late
On his mad troika!
If in this passage the source of metaphorical allegory is exposed ("happiness ... on the troika ... belatedly"), then in its further development the metaphor-symbol becomes the theme of the whole poem, acquires to some extent a poetic reality:
I'm nailed to the tavern counter.
I've been drunk for a long time. I do not care.
There is my happiness on the troika
In the silvery smoke carried away.
Flies on a troika, drowned
In the snow of time, in the distance of centuries...
And only the soul was overwhelmed
Silvery mist from under the horseshoes...
Sparks are thrown into the deaf darkness,
From sparks all night, all night light ...
The bell babbles under the arc
That happiness has passed...
And only a golden harness
Seen all night... Heard all night...
And you, soul... deaf soul...
Drunk drunk... drunk drunk... 11,168
The combination of the image of the troika, which takes away happiness, life and love, and the image of a snow blizzard, a blizzard, sweeping the heart, is given in the following poem below. The troika no longer takes away happiness - it takes away the poet himself with his snowy girlfriend. The symbol has reached its latest realization:
Here she came. shielded
All smart, all girlfriends,
And my soul entered
In her intended circle.
And under the sultry snow moan
Your features flourished.
Only the troika rushes with a ringing
In snow-white oblivion.
You waved your bells
Take me to the fields...
Strangle with black silks,
Sable opened up...
And about that free will
The wind cries along the river
And they ring and go out in the field
Bells and lights?.. 11,254
We would say in prosaic speech: "she lit me up with her love, sped off, carried me away." But a metaphor-symbol has its own artistic laws when it develops consistently - from a mere allegory into a poetic theme. Therefore, it is not easy to answer in relation to such an overgrown metaphor, what "three" means in the above poems, and, even more so, what "bells" and "golden stream" mean. Once having appeared, the symbolic image develops according to its own internal laws, and the logical precision and immobility of the abstract concept can no longer follow this individual and dynamic development. But the symbolic meaning of this image certainly shines through its poetic reality. It is not for nothing that realist writers, for example, Gorodetsky, in their literary manifesto directed against symbolism and mysticism (Apollo, 1913, No. 1), rebelling against symbolism as a poetic method, indignantly pointed to Blok and demanded from young poets a real troika, and not symbolic 91 . At the same time, literary Old Believers, not accustomed to the language of allegory, the reading of which has become completely familiar and easy for us, often complained about the incomprehensibility of Blok's poetry. We recall a letter to the editors of "Birzhevye Vedomosti", sent relatively recently (in 1909), the author of which asked what was the meaning of a poem by a young "decadent", distinguished by such incomprehensible words:
You are as bright as innocent snow.
You are as white as a distant temple.
I don't believe this night is long
And hopeless evenings...
However, this poem, in its still very primitive symbolism, approaches the old scheme of fixed metaphors, concepts like: "The darker the night, the brighter the stars." Much more difficult for prosaic "understanding", of course, are such unusual in colloquial speech and bold metaphorical neoplasms as the above verses: "I threw my heart from the white mountains, it lies at the bottom" and many others. others
Output:
Alexander Blok lived a short life - only forty years, but his creative path with truly extraordinary brightness, depth and sincerity reflected the most difficult years in the fate of his Motherland. (“I didn’t look for a better life ...” (42, p. 5) Blok’s lyrics are a unique phenomenon. For all the variety of its problems and artistic solutions, for all the difference between early poems and subsequent ones, it acts as a single whole, as one deployed in time work, as a reflection of the "path" traveled by the poet.
- the language of allegories in Blok's poetry is only an example of the consistent application of artistic tendencies that are equally embedded in the work of all symbolists.
Conclusions on Chapter II:
Analyzing the above, we can conclude that the lexical and syntactic means of expression in the poetry of V. Bryusov, A. Blok are very diverse. It is worth noting their active use by the authors in their work. The use of metaphors and symbols allows symbolist poets to have an emotional, aesthetic impact on the reader, to describe the inner world of a person and the state of a person. Complicated, intricate words and expressions - there is an incorruptible style of poets - silversmiths. The originality, that is, the originality of the authors' work, makes the reader involuntarily re-read and once again plunge into the diverse, interesting, colorful world of their works.
Conclusion
In the lyrics of the poets of the Silver Age, we saw various modifications of the poetics of allegories. We said that the generic features of symbolism as a literary school are found in individual symbolist poets as individual features that make up their unique originality. However, behind these individual possibilities, with perfect originality, are the generic features of romantic poetics, which form a harmonious and internally connected artistic system. We tried to approach this system in one of its most essential stylistic features. We have defined the art of romanticism as the "poetics of metaphor" and in the new life consciousness of mystic poets we have found the deepest sources of metaphorical style.
Having analyzed and synthesizedmeans of linguistic expressiveness in the poetry of the Silver Age, it should be emphasized that the expressiveness of speech in creativity can be created as linguistic units of lexical groups (expressive-colored vocabulary, everyday vocabulary, neologisms, etc.), if the author uses them skillfully, in a peculiar way, and figurative means of the language (epithets, personifications, metaphors, etc.), syntactic figures (inversion, anaphora, appeals, etc.). It is worth noting that a special place in the lyrics of Bryusov and Blok is occupied by metaphors and symbols that reflect the emotions of the lyrical hero, helping to reveal the main intention of the authors.
In their poems there is love, and a tender feeling of nature, expressed by exact comparisons, and a jubilant feeling of love for this beauty around, and sadness. It was in these feelings, actions, impulses that the poets of the Silver Age so subtly used syntactic and lexical means that fill their work and make it modern.
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