Figuratively expressive means and their definitions. Expressive means of vocabulary and phraseology

Figurative means of expressiveness of the language are artistic and speech phenomena that create the verbal figurativeness of the narrative: tropes, various forms of instrumentation and rhythmic-intonational organization of the text, figures.

In the center are examples of the use of figurative means of the Russian language.

Vocabulary

trails- a turn of speech in which a word or expression is used in a figurative sense. The paths are based on an internal convergence, a comparison of two phenomena, one of which explains the other.

Metaphor- a hidden comparison of one object or phenomenon with another based on the similarity of features.

(p) “A horse is galloping, there is a lot of space,

It snows and lays a shawl"

Comparison- comparison of one object with another according to the principle of their similarity.

(p) “Anchar, like a formidable sentry,

It stands alone in the whole universe"

personification- a kind of metaphor, the transfer of human qualities to inanimate objects, phenomena, animals, endowing them with thoughts with speech.

(p) “Sleepy birches smiled,

Disheveled silk braids "

Hyperbola- an exaggeration.

(p) "Tears a yawning mouth wider than the Gulf of Mexico"

Metonymy- replacement of the direct name of an object or phenomenon with another one that has a causal relationship with the first.

(p) "Farewell, unwashed Russia,

The country of slaves, the country of masters ... "

paraphrase- similar to metonymy, often used as a characteristic.

(p) "Kisa, we will see the sky in diamonds" (get rich)

Irony- one of the ways of expressing the author's position, the skeptical, mocking attitude of the author to the depicted.

Allegory- the embodiment of an abstract concept, phenomenon or idea in a specific image.

(p) In Krylov's fable "Dragonfly" - an allegory of frivolity.

Litotes- an understatement.

(p) "... in big mittens, and himself with a fingernail!"

Sarcasm- a kind of comic, a way of displaying the author's position in a work, a caustic mockery.

(p) “I thank you for everything:

For the secret torment of passions... the poison of kisses...

For everything that I was deceived"

Grotesque- a combination of contrasting, fantastic with the real. Widely used for satirical purposes.

(p) In Bulgakov's novel The Master and Margarita, the author used the grotesque, where the funny is inseparable from the terrible, in a performance staged by Woland in a variety show.

Epithet- a figurative definition that emotionally characterizes an object or phenomenon.

(p) “The Rhine lay before us all silver…”

Oxymoron- a stylistic figure, a combination of opposite in meaning, contrasting words that create an unexpected image.

(p) "heat of cold numbers", "sweet poison", "Living corpse", "Dead souls".

Stylistic figures

Rhetorical exclamation- the construction of speech, in which one or another concept is affirmed in the form of an exclamation, in a heightened emotional form.

(p) “Yes, this is just witchcraft!”

Rhetorical question- a question that does not require an answer.

(p) "What summer, what summer?"

Rhetorical address- an appeal that is conditional in nature, informing poetic speech of the desired intonation.

stanza ring- sound repetition located at the beginning and at the end of a given verbal unit - lines, stanzas, etc.

(p) "Affectionately closed the darkness"; " Thunder skies and guns thunder"

polyunion- such a construction of a sentence when all or almost all homogeneous members are interconnected by the same union

Asyndeton- omission of unions between homogeneous members giving thin. speech compactness, dynamism.

Ellipsis- an omission in speech of some easily implied word, a member of a sentence.

Parallelism- concomitance of parallel phenomena, actions, parallelism.

Epiphora- repetition of a word or combination of words. Identical endings of adjacent poetic lines.

(p) “Baby, we are all a bit of a horse!

Each of us is a horse in his own way ... "

Anaphora- monotony, repetition of the same consonances, words, phrases at the beginning of several poetic lines or in a prose phrase.

(p) “If you love, then without reason,

If you threaten, it’s not a joke ... "

Inversion- a deliberate change in the order of words in a sentence, which gives the phrase a special expressiveness.

(p) “Not the wind, blowing from a height,

Sheets touched on a moonlit night ... "

gradation- the use of means of artistic expression, consistently reinforcing or weakening the image.

(p) “I don’t regret, I don’t call, I don’t cry ...”

Antithesis- opposition.

(p) “They came together: water and stone,

Poetry and prose, ice and fire…”

Synecdoche- transfer of meaning based on the convergence of the part and the whole, the use of singular instead of pl.

(p) “And it was heard before dawn how the Frenchman rejoiced ...”

Assonance- repetition in verse of homogeneous vowel sounds,

(p) "A son grew up without a smile at night"

Alliteration- repetition or consonance of vowels

(p) "Where the grove whinnying guns whinnying"

Refrain- exactly repeated verses of the text (as a rule, its last lines)

Reminiscence - in a work of art (mainly poetic), individual features inspired by involuntary or deliberate borrowing of images or rhythmic-syntactic moves from another work (someone else's, sometimes one's own).

(p) "I have experienced many, many"

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Introduction

Chapter 1

Chapter 2 Expressive means language

§one. Expressive means of phonetics

§2. Expressive means of vocabulary and phraseology

§4. Expressive means of syntax

§five. Paralinguistic means of expression

Conclusion

List of used literature

Introduction

The Russian language stands out among other languages of the world with its extraordinary richness, amazing beauty and exceptional expressiveness.

Many great Russian writers skillfully used all the wealth of the Russian language in their works. As A.I. Kuprin, "the Russian language in skillful hands and in experienced lips is beautiful, melodious, expressive, flexible, obedient, dexterous and roomy."

But in Lately, unfortunately, the expressiveness and beauty, the richness of Russian speech tends to decline. Z.V. Savkova in her book “The Art of the Orator” writes: “The rushing stream of foreign words, dry, cold, intonationless, expressionless, careless, cultureless, unreasonably fast, dissonant speech kills all the accumulated wealth of the uniquely beautiful Russian sounding word.” Are we able to express our thoughts beautifully, using all the possibilities of our great language? Will we be able to preserve all the diversity and originality of our speech?

It directly depends on how we relate to our native language, whether we love it, whether it is interesting to us. Knowledge of the means of figurativeness and expressiveness of the language will help to get closer to the language, to understand what distinguishes the Russian language from many others. After all, Russian literature gained world fame precisely because of its language.

“Language is the history of a people. Language is the way of civilization and culture. That is why the study and preservation of the Russian language is not an idle hobby from nothing to do, but an urgent need. (A. I. Kuprin)

Chapter 1

expressiveness figurativeness Russian speech

Figurativeness is the quality of speech that makes it visual. It is based not only on conceptual, but also on figurative information (visual, auditory, olfactory, gustatory, tactile). Visual speech is perceived faster, evokes emotions and is closely related to evaluativeness (what is good, what is bad). Therefore, it is better stored in memory.

For a more complete, accurate, vivid and figurative transmission of his thoughts, feelings and assessments, the author of the text can use various means of linguistic expression.

The expressiveness of speech is understood as such features of its structure that make it possible to enhance the impression of what is said (written), to arouse and maintain the attention and interest of the addressee, to influence not only his mind, but also feelings, imagination.

The expressiveness of speech depends on many reasons and conditions - proper linguistic and extralinguistic.

One of the main conditions of expressiveness is the independence of thinking of the author of the speech, which implies a deep and comprehensive knowledge and understanding of the subject of the message. Knowledge extracted from any sources must be mastered, processed, deeply comprehended. This gives the speaker (writer) confidence, makes his speech convincing, effective. If the author does not properly think over the content of his statement, does not comprehend the issues that he will present, his thinking cannot be independent, and his speech cannot be expressive.

To a large extent, the expressiveness of speech also depends on the attitude of the author to the content of the statement. The inner conviction of the speaker (writer) in the significance of the statement, interest, indifference to its content gives speech (especially oral) emotional coloring. An indifferent attitude to the content of the statement leads to a dispassionate presentation of the truth, which cannot affect the feelings of the addressee.

In direct communication, the relationship between the speaker and the listener is also essential, the psychological contact between them, which arises primarily on the basis of joint mental activity: the sender and addressee must solve the same problems, discuss the same questions: the first - setting out the topic of his message, the second - following behind the development of his thought. In establishing psychological contact, it is important to relate to the subject of speech of both the speaker and the listener, their interest, indifference to the content of the statement.

In addition to a deep knowledge of the subject of the message, the expressiveness of speech also implies the ability to convey knowledge to the addressee, to arouse his interest and attention. This is achieved by careful and skillful selection of language means, taking into account the conditions and tasks of communication, which in turn requires a good knowledge of the language, its expressive capabilities and features of functional styles.

One of the prerequisites for speech expressiveness is skills that allow you to easily choose the language tools you need in a particular act of communication. Such skills are developed as a result of systematic and conscious training. The means of training speech skills is attentive reading of exemplary texts (fiction, journalistic, scientific), close interest in their language and style, attentive attitude to the speech of people who can speak expressively, as well as self-control (the ability to control and analyze one’s speech from the point of view of its expressiveness). ).

The speech expressiveness of an individual also depends on the conscious intention to achieve it, on the author's target setting on it.

The means of linguistic expressiveness are diverse. A special place among them is occupied by the so-called means of artistic representation (artistic and graphic means: sound writing, metaphors, personifications, hyperbole, etc.), based on the use of special techniques and methods of combining sounds, words, phrases, sentences. However, the expressiveness of the text is created not only through the use of special artistic and visual means. Significant expressive resources are contained in the vocabulary and phraseology of the language, as well as in its grammatical structure and phonetic features. That is why we can talk about the expressive means of the language at all its levels: phonetics, vocabulary and phraseology, morphology and word formation, syntax.

Chapter 2. Expressive means of language

§one. Expressive means of phonetics

The main expressive means of phonetics is sound writing - an artistic technique associated with the creation of sound images and based on the use of sound repetitions (repetitions of sounds or their combinations), which can imitate the sounds of the real world in the text (wind whistling, rain noise, birds chirping, etc.). etc.), as well as evoke associations with any feelings and thoughts.

The use of sound repetitions in order to imitate the sounds of living and inanimate nature using the sounds of the language is called onomatopoeia.

Midnight sometimes in the swamp silence

Slightly audible, noiselessly rustling reeds.

(K. D. Balmont)

The ability of language sounds to evoke not only auditory, but also visual, tactile, olfactory and gustatory representations, as well as various feelings and emotions, is called sound symbolism.

There are two main types of sound writing: assonance and alliteration.

Assonance is a method of enhancing the expressiveness of a text based on the repetition of the same or similar vowel sounds.

Oh, spring - without end and without edge -

Endless and endless dream!

I recognize you, life, I accept ... (A. A. Blok)

Alliteration is a method of enhancing the expressiveness of the text, based on the repetition of the same or similar consonants.

I love the storm in early May,

When spring, the first thunder,

As if frolicking and playing,

Rumbles in the blue sky. (F. I. Tyutchev)

Sound writing gives speech a special clarity and figurativeness, contributes to a more vivid and figurative transmission of the feelings and moods of the author or lyrical hero.

Assonance and alliteration, as varieties of sound writing, belong to the means of artistic expression and are used in artistic and artistic-journalistic texts.

The sound expressiveness of speech primarily lies in its euphony, i.e. a combination of sounds that is convenient for pronunciation (articulation) and pleasing to the ear (musicality). One of the ways to achieve sound harmony is considered to be a certain alternation of vowels and consonants. At the same time, most consonant combinations contain sounds [m], [n], [p], [l], which have a high sonority.

However, the euphony of speech can often be disturbed. There are several reasons for this, the most common of which is the accumulation of consonant sounds: a sheet of a defective book: [stbr], [ykn]; competition of adult builders: [revzr], [hstr]. To create harmony, the number of sounds included in the consonant combination, their quality and sequence are important. In Russian (this has been proven), the combination of consonant sounds obeys the laws of euphony. However, there are words that include more consonants compared to the normative: meeting, disheveled, stick; there are lexemes containing two or three consonants at the end, which makes pronunciation much more difficult: spectrum, meter, ruble, callous, dating, etc. Usually, with the confluence of consonants in oral speech, in such cases, an additional "syllabicity" develops, a syllabic vowel appears: [rubl "], [m" etar], etc.

The second reason that violates the euphony of speech is the accumulation of vowel sounds. Thus, the opinion that the more vowel sounds in a speech, the more harmonious it is, is incorrect. Vowels give rise to euphony only in combination with consonants. The confluence of several vowels in linguistics is called gaping; it significantly distorts the sound structure of Russian speech and makes articulation difficult. For example, the following phrases are difficult to pronounce: A letter from Olya and Igor; Such changes are observed in the aorist; the name of the poem by V. Khlebnikov "The Word of El".

The third reason for the violation of euphony is the repetition of the same combinations of sounds or the same words: ... They cause the collapse of relationships (N. Voronov). Here, in the words standing next to each other, the combination -sheni- is repeated.

True, in poetic speech it is very difficult to distinguish between a violation of euphony and paronomasia - an intentional play of words similar in sound.

Here we heard

quietly see through

transported first time

the first song of winter.

(N. Kislik)

The euphony also decreases due to the monotonous rhythm of speech created by the predominance of monosyllabic or, conversely, polysyllabic words. One example is the creation of so-called palindromes (texts that have the same reading both from beginning to end and from end to beginning):

Frost in the knot, I climb with a look.

Nightingales call, a cart of hair.

Wheel. It's a pity. Touchstone.

Sleigh, raft and cart, the call of the crowds and us.

Gord doh, move drog.

And I'm lying. Really?

(V. Khlebnikov)

Unsuccessful phonetic organization of speech, difficult articulation, unusual sounding of the phrase distract the reader's attention, interfere with the perception of the text by ear.

Thus, each native speaker should try to avoid the obsessive repetition of identical and similar sounds, the use of dissonant word forms, difficult-to-pronounce combinations of sounds when connecting words, and skillfully use the expressive possibilities of the sounding side of speech.

§2. Expressive means of vocabulary and phraseology

In vocabulary and phraseology, the main means of expression are tropes (in translation from Greek - turn, turn, image) - special figurative and expressive means of the language based on the use of words in a figurative sense. The main types of tropes include: epithet, comparison, metaphor, personification, metonymy, synecdoche, paraphrase (periphrase), hyperbole, litote, irony.

In addition to tropes, the means of linguistic expressiveness in vocabulary and phraseology can be:

Synonyms, antonyms, homonyms, paronyms;

phraseological units;

Stylistically colored vocabulary and vocabulary of limited use.

These linguistic phenomena (conditionally they can be called non-special lexical figurative and expressive means of language) become means of expressiveness only in a specific text, where they are used to enhance the brightness of the depicted and the strength of its impact on the addressee.

Special lexical figurative and expressive means of language (tropes)

An epithet (in translation from Greek - application, addition) is a figurative definition that marks a feature that is essential for a given context in the depicted phenomenon. From a simple definition, the epithet differs in artistic expressiveness and figurativeness. The epithet is based on a hidden comparison.

The epithets include all the “colorful” definitions, which are most often expressed by adjectives: a sad orphan land (F. I. Tyutchev), gray fog, lemon light, mute peace (I. A. Bunin). Epithets can also be expressed:

Nouns acting as applications or predicates, giving a figurative description of the subject: sorceress-winter; mother is damp earth;

Adverbs acting as circumstances:

It stands alone in the wild in the north ... (M. Yu. Lermontov);

Participles: waves rush rattling and sparkling;

pronouns expressing superlatives of one or another state of the human soul:

After all, there were fights,

Yes, they say, what else! (M. Yu. Lermontov);

Participles and participial phrases: Nightingales with rumbling phrases announce the forest limits (B. L. Pasternak);

The creation of figurative epithets is usually associated with the use of words in a figurative sense. From the point of view of the type of figurative meaning of the word acting as an epithet, all epithets are divided into metaphorical (they are based on a metaphorical figurative meaning: a golden cloud, bottomless sky, lilac fog) and metonymic (they are based on a metonymic figurative meaning: suede gait ( V. V. Nabokov), scratching look (M. Gorky)).

From a genetic point of view, epithets are divided into general language (deep silence, lead waves), individual-author's (mute peace (I. A. Bunin), touching charm (F. I. Tyutchev), curly twilight (S. A. Yesenin)) and folk-poetic (permanent) (red sun, violent wind, good fellow).

The epithet can absorb the properties of many tropes. Based on a metaphor or metonymy, it can also be combined with personification ... foggy and quiet azure over a sad orphan land (F. I. Tyutchev), hyperbole (Autumn already knows that such a Deep and mute peace is a Harbinger of a long bad weather (I. A. Bunin)) and other paths and figures.

All epithets as bright, "illuminating" definitions are aimed at enhancing the expressiveness of the images of the depicted objects or phenomena, at highlighting their most significant features.

In addition, epithets can:

Strengthen, emphasize any characteristic features of objects:

Wandering between the rocks, a yellow ray

Sneaked into the wild cave

And the smooth skull lit up ... (M. Yu. Lermontov);

Clarify the distinguishing features of the object (shape, color, size, quality):

Forest, like a painted tower,

Purple, gold, crimson,

Cheerful, colorful wall

Stands over a bright glade (I. A. Bunin);

Create combinations of words that are contrasting in meaning and serve as the basis for creating an oxymoron: miserable luxury (L. N. Tolstoy), a brilliant shadow (E. A. Baratynsky);

Pictorial epithets highlight the essential aspects of what is depicted without introducing a direct assessment (“in the blue mist of the sea”, “in the dead sky”, etc.).

In expressive (lyrical) epithets, on the contrary, the attitude towards the depicted phenomenon is clearly expressed (“images of crazy people flicker”, “a tormenting story of the night”).

Epithets are widely used in artistic and journalistic, as well as in colloquial and popular science styles of speech.

Comparison is a visual technique based on comparing one phenomenon or concept with another.

Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, signs, actions).

Villages are burning, they have no protection.

The sons of the fatherland are defeated by the enemy,

And glow like an eternal meteor

Playing in the clouds, frightens the eye. (M. Yu. Lermontov)

Comparisons are expressed in various ways:

The form of the instrumental case of nouns:

Nightingale stray

Youth has flown

A wave in bad weather

Joy subsided (A. V. Koltsov);

The form of the comparative degree of an adjective or adverb:

These eyes are greener than the sea and our cypresses are darker (A. Akhmatova);

Comparative turnovers with unions like, as if, as if, as if, etc .:

Like a beast of prey, to a humble abode

The winner rushes in with bayonets ...

(M. Yu. Lermontov);

Using the words similar, similar, this is:

Into the eyes of a cautious cat

Look like your eyes (A. Akhmatova);

With the help of comparative clauses:

Golden foliage swirled

In the pinkish water of the pond

Just like a light flock of butterflies

With fading flies to the star. (S. A. Yesenin)

Comparisons can be direct and negative. Negative comparisons are especially characteristic of oral folk poetry and can serve as a way to stylize the text: This is not a horse top,

Not human talk... (A. S. Pushkin)

A special type of comparison is represented by detailed comparisons, with the help of which entire texts can be built (for example, the poem by F. I. Tyutchev “As over hot ashes ...”).

Comparisons, like epithets, are used in the text in order to enhance its figurativeness and figurativeness, create more vivid, expressive images and highlight, emphasize any significant features of the depicted objects or phenomena, as well as to express the author's assessments and emotions.

Comparisons as a means of linguistic expressiveness can be used not only in literary texts, but also in journalistic, colloquial, scientific ones.

Metaphor (in translation from Greek - transfer) is a word or expression that is used in a figurative sense based on the similarity of two objects or phenomena on some basis. In contrast to comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second, which creates compactness and figurativeness of the use of the word.

The metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief, a pearl of poetry, a spark of love, etc.

All metaphors are divided into two groups:

1) general language (“erased”): golden hands, a storm in a teacup, mountains to move, soul strings, love has faded;

And the diamond thrill of the stars fades

In the painless cold of dawn (M. Voloshin);

Metaphor is one of the brightest and most powerful means of creating expressiveness and figurativeness of the text.

Through the metaphorical meaning of words and phrases, the author of the text not only enhances the visibility and visibility of what is depicted, but also conveys the uniqueness, individuality of objects or phenomena, while showing the depth and nature of his own associative-figurative thinking, vision of the world, the measure of talent (“The most important thing is to be skillful in metaphors. Only this cannot be adopted from another - this is a sign of talent "(Aristotle)). Metaphors serve as an important means of expressing the author's assessments and emotions, the author's characteristics of objects and phenomena ("I feel stuffy in this atmosphere! Kites! Owl's nest! Crocodiles!" (A.P. Chekhov))

In addition to artistic and journalistic styles, metaphors are typical for colloquial and even scientific style (“ozone hole”, “electron cloud”, etc.).

Personification is a kind of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts.

Most often, personifications are used to describe nature:

It went out, turning pale, autumn day,

Rolling fragrant leaves,

Eating dreamless sleep

Semi-withered flowers. (M. Yu. Lermontov)

Less commonly, personifications are associated with the objective world:

Isn't it true, never again

We won't break up? Enough?..

And the violin answered yes

But the heart of the violin was in pain.

The bow understood everything, it calmed down,

And in the violin, the echo kept everything ...

And it was a pain for them

What people thought was music. (I. F. Annensky);

Personifications serve to create vivid, expressive and figurative pictures of something, to enhance the transmitted thoughts and feelings.

Personification as a means of expression is used not only in the artistic style, but also in journalistic and scientific (X-ray shows, the device speaks, the air heals, something stirred in the economy).

Metonymy (translated from Greek - renaming) is the transfer of a name from one object to another based on their contiguity. Adjacency can be a manifestation of a relationship:

I ate three plates (I. A. Krylov);

Scolded Homer, Theocritus,

But I read Adam Smith (A. S. Pushkin);

Between action and instrument of action:

Their villages and fields for a violent raid

He doomed swords and fires (A. S. Pushkin);

Between the object and the material from which the object is made:

Not that on silver, - on gold I ate (A. S. Griboyedov);

Between a place and the people in that place:

The city was noisy, flags crackled, wet roses fell from the bowls of flower girls ... (Yu. K. Olesha).

Metonymy, along with metaphor, is one of the most important and most commonly used means of language.

The use of metonymy makes it possible to make the thought more vivid, concise, expressive, and gives the depicted object clarity.

Metonymy is especially widely used in texts of artistic, journalistic and colloquial styles.

Synecdoche (in translation from Greek - correlation) is a kind of metonymy based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them.

Most often, the transfer occurs:

From smallest to largest:

Not even a bird flies to him,

And the tiger won't come... (A. S. Pushkin);

Part to whole:

Beard, why are you still silent? (A.P. Chekhov)

Synecdoche enhances the expressiveness and expressiveness of speech.

In addition to the artistic style, the synecdoche can be used in a colloquial style (eat a spoon, he is the head in this matter), in a journalistic style (the Kremlin - in the meaning of "power", Moscow - in the meaning of "government"), in scientific.

Paraphrase, or periphrase (in translation from Greek - a descriptive expression), is a turnover that is used instead of a word or phrase.

For example, Petersburg in the verses of A. S. Pushkin - “Peter's creation”, “Beauty and wonder of midnight countries”, “city of Petrov”; A. A. Blok in the verses of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.

Paraphrases allow:

Highlight and emphasize the most significant features of the depicted;

Avoid unjustified tautology;

Paraphrases (especially expanded ones) also make it possible to give the text a solemn, sublime, pathetic sound:

O sovereign city,

Stronghold of the northern seas,

The crown of the Orthodox homeland,

The magnificent dwelling of kings,

Peter's sovereign creation. (A. S. Pushkin)

The use of paraphrase is typical for all language styles, with the exception of official business.

Hyperbole (in translation from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any sign of an object, phenomenon, action:

A rare bird will fly to the middle of the Dnieper (N. V. Gogol)

Citizens! Today, the thousand-year-old "Before" is collapsing.

Today the world basis is being revised.

Down to the last button in your clothes

Let's redo life. (V. V. Mayakovsky)

Litota (in translation from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any sign of an object, phenomenon, action:

What tiny cows!

There are, right, less than a pinhead. (I. A. Krylov)

The use of hyperbole and litotes allows the authors of texts to sharply enhance the expressiveness of the depicted, to give thoughts unusual shape and bright emotional coloring, appraisal, emotional persuasiveness.

Hyperbole and litotes can also be used as a means of creating comic images.

In addition to literary texts, hyperbole and litotes are widely used in journalism and colloquial speech.

Irony (in translation from Greek - pretense) is the use of a word or statement in a sense opposite to the direct one. Irony is a type of allegory in which mockery is hidden behind an outwardly positive assessment:

Where, smart, are you wandering, head? (I. A. Krylov)

To enhance the expressiveness of the ironic use of the word and introduce it into the text, graphic means can be used: quotation marks, brackets (such means are more often used in journalistic texts):

And again we return to the question of the "unsinkability" of our hero. (From newspapers)

A variety of irony and its highest manifestation is sarcasm - evil irony, caustic mockery:

For everything, for everything, I thank you:

For the secret torment of passions,

For the bitterness of tears, the poison of a kiss,

For the revenge of enemies and slander of friends;

For the heat of the soul, wasted in the desert.

For everything I've been deceived in my life...

Arrange only so that from now on you

It didn't take long for me to say thank you. (M. Yu. Lermontov)

Irony as an expressive technique is used to create in the text comic effect and expressions of author's assessments and emotions.

Irony is used in texts of artistic, journalistic and colloquial styles.

Synonyms, antonyms, homonyms and paronyms as means of linguistic expressiveness

Synonyms, i.e. words of the same part of speech, different in sound, but the same or similar in lexical meaning and differing from each other either in shades of meaning, or in stylistic coloring (bold - brave, run - rush, eyes (neutr.) - eyes (poet.)), have great expressive power.

Synonyms (including contextual ones) as a means of linguistic expressiveness allow:

Refine the idea and convey its various semantic shades: But in the blackened canvases of Pusson, I did not find anything for myself; landscapes did not seem to me so fictional, pretentious, incredible. (I. E. Repin);

Designate the intensity of the sign and enhance the expression: She needed to charm, captivate, drive crazy every time. (A.P. Chekhov); I am an incorrigible idealist; I seek shrines, I love them, my heart yearns for them. (F. M. Dostoevsky);

More deeply reveal this or that image: His well-shaven cheeks always burned with a blush of embarrassment, modesty, shyness and embarrassment. (I. Ilf, E. Petrov)

Antonyms, that is, words of the same part of speech, opposite in meaning (true - false, good - evil, disgusting - wonderful), also have great expressive possibilities.

Antonyms (including contextual ones) allow:

To clarify the thought, to make it brighter, more figurative: Wealth and poverty, old age and youth, beauty and ugliness - this was what (in a magical variety) is said in fairy tales. (M. I. Tsvetaeva);

give more complete description any phenomenon;

Amplify the content conveyed: That heart will not learn to love, Which is tired of hating. (N. A. Nekrasov)

A special stylistic device, the antithesis, is based on the use of antonyms.

Homonyms (words that match in form, but have different meanings: marriage - flaw and marriage - marriage, abuse - abuse and abuse - war, shop - bench and shop - shop, steep bank and steep boiling water, remove movie - take off your hat), as well as homophones (words that match in sound, but are different in meaning and spelling: company - campaign, offend - run around, chapel - limit, gray - sit), homographs (words that match in spelling, but different in meaning and pronunciation: flour - flour, village - village, home - home) and homoforms (words that coincide in sound and spelling only in separate forms: my house - my hands, three comrades - - spot three carefully) are widely used in the text to create its expressiveness.

Homonyms are used:

For expressiveness and expression of speech:

You fed the white swans

Throwing back the weight of black braids...

I swam nearby; fed together,

The sunset beam was terribly scythe.

(V. Ya. Bryusov);

To create expressiveness of a comic nature (based on their use, puns are usually created):

“Listen to the authorities? No, thank you...” And he was fired. (E. Meek)

Paronyms, that is, words similar in sound and spelling, but having different meanings (individuality - individualism, smoky - smoke, noisy - noisy, payment - payment), have great expressive power.

Paronyms are usually used:

To create greater accuracy and expressiveness (expressiveness) of the statement:

This rod is made in Munich,

constant companion of my life,

Skillfully distracts me from ugliness

Historical - and hysterical! -- days.

I. Severyanin);

To create greater figurativeness, clarity of the image and convey the emotional and evaluative attitude of the author:

Of his villainous homeland, spacious,

In its blasphemy, devout,

Neither souls nor fish are sweet to him

(I. Severyanin);

To create a comic (humorous, ironic, sarcastic) effect:

They call him the master, what kind of master is this, this is a centimeter! (K. Chukovsky)

Synonyms, antonyms, homonyms and paronyms as a means of expression are widely used in all styles of speech, except for official business.

Phraseologisms as a means of linguistic expressiveness

Phraseological units (phraseological expressions, idioms), i.e. word combinations and sentences reproduced in finished form, in which the integral meaning dominates the meanings of their constituent components and is not a simple sum of such meanings (get into a mess, be in seventh heaven, an apple of discord), have great expressive power.

The expressiveness of phraseological units is determined by:

1) their vivid imagery, including mythological (the cat cried like a squirrel in a wheel, Ariadne's thread, the sword of Damocles, Achilles' heel);

2) relatedness of many of them:

a) to the category of high (the voice of one crying in the desert, sink into oblivion) or lowered (colloquial, colloquial: like a fish in water, neither sleep nor spirit, lead by the nose, lather the neck, hang out the ears);

b) to the category of language means with a positive emotional-expressive coloring (keep as the apple of an eye - torzh., golden hands - approved) or with a negative emotional-expressive coloring (without a king in the head - disapproved, small fry - neglected, worthless - contempt).

The use of phraseological units allows:

Strengthen the clarity and imagery of the text:

I fixed my gaze, helplessly greedy:

Everywhere around damp haze.

Which way the thread of Ariadne

Did you drive me to hell? (V. Ya. Bryusov);

Create the desired stylistic tone (solemnity, elevation or reduction):

I was everywhere: in the middle of nowhere.

From the motherland to distant lands (M. A. Dudin);

More clearly express the attitude to the message, convey the author's feelings and assessments:

Like the sword of Damocles, the threat of destruction of natural resources hangs over humanity. (From newspapers)

The expressiveness of phraseological units can be enhanced as a result of their transformations (expansion, reduction, replacement of words) and transformation from

A special group of phraseological units is made up of aphorisms (translated from Greek - definition) - catchwords, sayings from literary sources,

expressing with the utmost brevity any significant, deep thought in an original, memorable form. For example: And the chest just opened; There is no beast stronger than a cat; I did not even notice the elephant; And Vaska listens and eats (I. A. Krylov. Aphorisms in their essence include proverbs and sayings that contain age-old folk wisdom.

Phraseologisms as a means of linguistic expressiveness are widely used in all styles of speech, except for official business.

Stylistically colored vocabulary and vocabulary of limited use

To enhance expressiveness in the text, all categories of stylistically colored vocabulary can be used:

1) emotionally expressive (evaluative) vocabulary, including:

a) words with a positive emotional and expressive assessment:

solemn, sublime (including Old Slavonicisms): inspiration, future, fatherland, aspirations, secret, unshakable;

sublimely poetic: serene, radiant, spell, azure;

approving: noble, outstanding, amazing, courageous;

affectionate: sun, darling, daughter

b) words with a negative emotional-expressive assessment:

disapproving: speculation, bicker, nonsense;

scornful: upstart, businessman;

contemptuous: dunce, crammer, scribbling;

2) functionally-stylistically colored vocabulary, including: a) bookish:

scientific (terms: alliteration, cosine, interference);

official business: undersigned, report;

journalistic: reporting, interview;

artistic and poetic: azure, eyes, cheeks

b) colloquial (everyday household): dad, little boy, braggart, healthy

Stylistically colored vocabulary as a means of expression can:

Give the text an elevated or, conversely, reduced sound: And God's voice called out to me:

“Arise, prophet, and see, and listen,

Fulfill my will

And, bypassing the seas and lands,

With the verb, burn the hearts of people ”(A. S. Pushkin);

Serve as a means of speech characteristics of characters:

“My darling granddaughter, falcon, sunshine,” my grandmother said affectionately, seating her beloved grandson at the table (F. A. Abramov);

Goddess of beauty, love and pleasure!

Long gone days, another generation

Captivating covenant!

Hellas fiery favorite creature,

What negligence, what charm

Your bright myth is dressed! (I. S. Turgenev)

Stylistically colored vocabulary as a means of expression is characteristic of artistic, journalistic and colloquial styles.

To enhance expressiveness in the text, all categories of vocabulary of limited use can also be used, including:

Dialect vocabulary (words that are used by the inhabitants of any locality: kochet - rooster, veksha - squirrel);

Colloquial vocabulary (words with a pronounced reduced stylistic coloring: familiar, rude, dismissive, abusive, - located on the border or outside the literary norm: a beggar, a bastard, a slap, a talker);

Professional vocabulary (words that are used in professional speech and are not included in the general literary language system: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of teachers);

Slang vocabulary (words typical of jargons - youth: party, bells and whistles, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, spirits; jargon of criminals: lads, raspberries);

Vocabulary is obsolete (historicisms are words that have become obsolete due to the disappearance of the objects or phenomena they designate: boyar, oprichnina, konka; archaisms are obsolete words that name objects and concepts for which new names have appeared in the language: forehead - forehead , sail - sail);

Vocabulary is new (neologisms are words that have recently entered the language and have not yet lost their novelty: mass media, slogan, teenager).

Vocabulary of limited use as a means of expression is used:

To enhance the imagery of the text and convey the color of the era, time or any area:

It was clumsily built, “we knocked down”, as they say among us (I. S. Turgenev);

To convey the speech characteristics of the depicted characters:

"Get out, grandma! This moment is gone from otsedova. - Pike pointed to the door. “You didn’t decide me, the miracle of life.” (M. A. Sholokhov);

I grew up when I discovered

That you can cry or get angry,

But everywhere the darkness now mug, then dug,

And those who are unlike are beaten in the face (I. Guberman);

To create an ironic effect:

Ivan Mikhailovich stretched out his beard and lips as far as possible - his stomach prevented him from approaching closer. (A. K. Tolstoy)

Vocabulary of limited use as a means of expression, like stylistically colored vocabulary, is characteristic of artistic, journalistic and colloquial styles.

§3. Expressive means of morphology and word formation

Expressiveness in the text can be created through the use of morphological and word-formation means of the language. The main figurative and expressive means of morphology and word formation include:

1) The use of any grammatical forms not in their direct meaning (for example, the use of the present tense of the verb in the past tense; the forms of the verb subjunctive mood in meaning imperative mood etc.):

Only, you understand, I'm leaving the world, looking - my horses are standing quietly near Ivan Mikhailovich. (I. A. Bunin)

2) The predominant use of words in the text of any part of speech:

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

Sweet face.

Clouds in the haze, purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn! .. (A. A. Fet)

3) Using the expressive possibilities of suffixes and prefixes, including suffixes of subjective assessment (diminutive, magnifying, derogatory, derogatory):

Scallops, all scallops: scalloped cape, scalloped sleeves, scalloped epaulettes, scalloped bottoms... (N. V. Gogol)

I thought - you are an almighty god,

And you are a half-educated, tiny god. (V. V. Mayakovsky)

Figurative and expressive means of morphology and word formation are used:

To enhance the figurativeness and descriptiveness of the text and actualize any actions, events in the past or present, to emphasize the significance of actions or their subject (person);

To create speech characteristics of characters in one or another stylistic tone of the text;

For individualization or, conversely, generalization, typification of what is reported.

Morphological and derivational means of expression can be used in artistic, journalistic and colloquial styles.

§4. Expressive means of syntax

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:

Syntactic sentence structure and punctuation marks;

Special syntactic expressive means (figures);

Special techniques of compositional and speech design of the text (question-answer form of presentation, improperly direct speech, quoting, etc.).

Syntactic sentence structure and punctuation marks

From the point of view of the syntactic structure of the sentence, the following are especially significant for the expressiveness of the text:

grammatical features of the sentence: is it simple or complex, two-part or one-part, complete or incomplete, uncomplicated or complicated (i.e., containing rows of homogeneous members, separate members of the sentence, introductory words or appeals)

type of sentence according to the purpose of the statement: narrative, interrogative, incentive;

characteristic of the sentence by emotional coloring: non-exclamatory - exclamatory.

Any of the listed grammatical features of a sentence can acquire a special semantic significance in the text and be used to strengthen the author's thought, express the author's position, and create imagery.

Interrogative, motivating and exclamatory sentences can also emphasize and reinforce certain aspects of the author's thoughts, assessments and emotions.

For example, in a poem by A. A. Akhmatova:

Why are you pretending

Either by the wind, or by a stone, or by a bird?

Why are you smiling

Me from the sky with a sudden lightning?

Don't torment me anymore, don't touch me!

Let me go to things...

The role of punctuation marks as expressive means in the text is primarily due to their ability to convey a variety of shades of thoughts and feelings of the author: surprise (question mark), doubt or special emotional tension (ellipsis), joy, anger, admiration (exclamation point). A dot can emphasize the neutrality of the author's position, a dash can give dynamism to a phrase, or, conversely, suspend the narration. For the semantic content of the text, which includes a complex unionless proposal, the nature of the punctuation mark between the parts of this sentence matters, etc.

A special role for creating the expressiveness of the text is played by the author's punctuation marks, which do not correspond to generally accepted punctuation rules, violate the automatic perception of the text and serve to enhance the semantic or emotional significance of one or another of its fragments, focus the reader's attention on the content of any concept, image, etc. P.

Special expressive means of syntax (shapes)

Figures (rhetorical figures, stylistic figures, figures of speech) are stylistic devices based on special combinations of words that go beyond the scope of ordinary practical use, and aimed at enhancing the expressiveness and figurativeness of the text.

The main figures of speech include rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron, nominative themes.

A rhetorical question is a figure in which a statement is contained in the form of a question. A rhetorical question does not require an answer, it is used to enhance the emotionality, expressiveness of speech, to draw the reader's attention to a particular phenomenon:

Why did he give his hand to the insignificant slanderers,

Why did he believe the words and caresses false,

He, who from a young age comprehended people? .. (M. Yu. Lermontov);

A rhetorical exclamation is a figure in which a statement is contained in the form of an exclamation. Rhetorical exclamations strengthen the expression of certain feelings in the message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:

That was in the morning of our years -

Oh happiness! oh tears!

O forest! oh life! Oh the light of the sun!

O fresh spirit of birch. (A. K. Tolstoy);

A rhetorical appeal is a stylistic figure consisting in an underlined appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state:

My friends! Our union is wonderful.

He, like a soul, is unstoppable and eternal (A. S. Pushkin);

Rhetorical questions, rhetorical exclamations and rhetorical appeals as a means of linguistic expressiveness are widely used in journalistic and literary texts. The named figures are also possible in the texts of the scientific and colloquial styles, but are unacceptable in the texts of the official business style.

Repetition (positional-lexical repetition, lexical repetition) is a stylistic figure consisting in the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to draw special attention to them.

“You are still young, very young!” Ivan Ignatievich sighed. (V. F. Tendryakov);

Varieties of repetition are anaphora, epiphora and pickup.

Anaphora (in translation from Greek - ascent, rise), or monotony, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:

Hazy noon breathes lazily,

The river flows lazily.

And in the fiery and pure firmament

The clouds are lazily melting (F. I. Tyutchev)

Epiphora (in translation from Greek - addition, final sentence of the period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:

Although man is not eternal,

That which is eternal is human.

What is a day or a century

Before what is infinite?

Although man is not eternal,

What is eternal is humane (A. A. Fet)

A pickup is a repetition of a segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:

He fell on the cold snow

On the cold snow, like a pine,

Like a pine in a damp forest (M. Yu. Lermontov)

Various types of repetitions as a means of enhancing the expressiveness of the text are widely used in artistic, journalistic and colloquial styles of speech. In order to draw attention to a phenomenon or concept, repetition can also be used in scientific and business and official business styles.

Parallelism (syntactic parallelism) (in translation from Greek - going side by side) - an identical or similar construction of adjacent parts of the text: adjacent sentences, lines of poetry, stanzas, which, when correlated, create a single image:

I look to the future with fear

I look at the past with longing... (M. Yu. Lermontov)

Syntactic parallelism as a means of linguistic expressiveness is characteristic of artistic and journalistic styles of speech. In scientific and official business styles, the named stylistic figure is used as one of the means of logical selection.

It should be borne in mind that, in addition to syntactic parallelism, there is compositional parallelism. It is based on the similarity of storylines and the semantic parallelism of parts of the text. For example, a description of some change in nature may precede a description of a change in the character's internal state.

Polyunion (polysyndeton) is a grammatically redundant repetition of unions, felt as superfluous and used as an expressive means:

How strange, and alluring, and bearing, and wonderful in the word: road! And how wonderful she herself is, this road (N. V. Gogol)

Polyunion can be used as a means of increasing the semantic significance of the enumerated elements, giving speech a solemn tone and emotional elation.

Non-union (asindeton) - the intentional omission of unions between homogeneous members of a sentence or parts of a compound sentence:

Flickering past the booth, women,

Boys, benches, lanterns,

Palaces, gardens, monasteries... (A. S. Pushkin);

Non-union as a stylistic device is used to enhance the figurativeness of speech, as well as to enhance the semantic opposition of the components of the statement and increase the expressiveness of the text.

The first of these functions is characteristic of non-union in the artistic style of speech, the second - for non-union in a journalistic style.

Non-union and multi-union as expressive means are used in artistic, journalistic and colloquial styles of speech.

Ellipsis (in translation from Greek - lack, shortage) is a stylistic device consisting in the intentional (deviating from the neutral norm) omission of any member or part of the sentence:

Here I am with your broadsword! - shouted a courier galloping towards with a mustache in arshin (N.V. Gogol);

With ellipsis, the verb-predicate is most often omitted, which gives the text special expressiveness and dynamism, emphasizes the swiftness of the action, the tension of the mental state of the hero.

Ellipsis can also be expressed in the omission of other members of the sentence, including the entire predicative stem:

And if the poet gets too much

Moscow, plague, the nineteenth year,

Well, we can live without bread!

After all, it won’t be long from the roof to the sky (M. I. Tsvetaeva);

In addition to creating a special expressiveness of the text, the ellipsis can perform other stylistic functions:

Give the beginning of the text (beginning) an intriguing character:

After dinner, they left the brightly and hotly lit dining room on deck and stopped at the rail (I. A. Bunin);

Inversion (in translation from Greek - permutation, reversal) is a change in the usual word order in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), to give the phrase a special stylistic coloring: solemn, high-sounding or , on the contrary, colloquial, somewhat reduced characteristics.

The following combinations are considered inverted in Russian:

The agreed definition comes after the word being defined:

I am sitting behind bars in a damp dungeon (M. Yu. Lermontov);

Additions and circumstances expressed by nouns are in front of the word, which includes:

Hours monotonous fight (monotonous fight of hours);

The predicate comes before the subject, known from the previous context (the subject is "given" in the sentence, and the predicate is "new"):

Dear Circassian silence,

Dear native side,

But liberty, liberty for the hero

Mile of homeland and peace (M. Yu. Lermontov);

As a means of linguistic expressiveness, ellipsis and inversion are widely used in artistic and journalistic styles. They are unacceptable in official business and scientific styles of speech (with the exception of popular science).

Parcellation (in translation from French - particle) is a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonation-semantic units - phrases. At the place of division of the sentence, a period, exclamation and question marks, ellipsis can be used.

In the morning, bright as a splint. Terrible. Long. Ratny. The infantry regiment was destroyed. Our. In an unequal battle (R. Rozhdestvensky);

Parceling is able to enhance the expressiveness of the text, highlighting any details of the overall picture, to emphasize the significance of certain parts of the statement, the most important from the author's point of view, to convey the author's attitude to what is being reported.

Parceling is typical for artistic, journalistic and colloquial texts. It is unacceptable in the texts of scientific and official business styles.

Gradation (translated from Latin - a gradual increase, strengthening) is a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in order of strengthening (increasing) or weakening (decreasing) of a sign.

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MINISTRIES OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

MSAO HPE "NORTH-EASTERN FEDERAL UNIVERSITY

NAMED AFTER M.K. AMMOSOVA

abstract

Topic: "Descriptive and expressive means of language"

Completed by: 1st year student

Zhang Alexander Vasilievich

Checked:

Starostina Anna Sofronova

Yakutsk 2016

Introduction

The Russian language stands out among other languages of the world with its extraordinary richness, amazing beauty and exceptional expressiveness.

But lately, unfortunately, the expressiveness and beauty, the richness of Russian speech tends to decline. Z.V. Savkova in her book “The Art of the Orator” writes: “The rushing stream of foreign words, dry, cold, intonationless, expressionless, careless, cultureless, unreasonably fast, dissonant speech kills all the accumulated wealth of the uniquely beautiful Russian sounding word.” Are we able to express our thoughts beautifully, using all the possibilities of our great language? Will we be able to preserve all the diversity and originality of our speech?

Expressive means of language

The lexical system of the language is complex and multifaceted. The possibilities of constant renewal in speech of principles, methods, signs of association within the whole text of words taken from various groups hide in themselves the possibility of updating speech expressiveness and its types.

The expressive possibilities of the word are supported and enhanced by the associativity of the reader's figurative thinking, which largely depends on his previous life experience and the psychological characteristics of the work of thought and consciousness as a whole.

The expressiveness of speech refers to such features of its structure that maintain the attention and interest of the listener (reader). A complete typology of expressiveness has not been developed by linguistics, since it would have to reflect the entire diverse range of human feelings and their shades. But we can quite definitely talk about the conditions under which speech will be expressive:

The first is the independence of thinking, consciousness and activity of the author of the speech. The second is his interest in what he is talking about or writing about. The third is a good knowledge of the expressive possibilities of the language. The fourth is the systematic conscious training of speech skills.

The main source of enhancing expressiveness is vocabulary, which gives a number of special means: epithets, metaphors, comparisons, metonymies, synecdoches, hyperbole, litotes, personifications, paraphrases, allegory, irony. Syntax, the so-called stylistic figures of speech: anaphora , antithesis, non-union, gradation, inversion (reverse word order), polyunion, oxymoron, parallelism, rhetorical question, rhetorical address, silence, ellipsis, epiphora.

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

These figurative and expressive means are of the author's nature and determine the originality of the writer or poet, help him to acquire the individuality of style. However, there are also common language tropes that arose as author's, but over time, became familiar, entrenched in the language: “time heals”, “battle for the harvest”, “military thunderstorm”, “conscience spoke”, “curl up”, “like two water drops ".

In them, the direct meaning of words is erased, and sometimes completely lost. Their use in speech does not give rise to an artistic image in our imagination. A trope can become a cliché if used too often. Compare expressions that determine the value of resources using the figurative meaning of the word "gold", -- " White gold"(cotton), "black gold" (oil), "soft gold" (furs), etc.

epithets(from the Greek epitheton - application - blind love, foggy moon) artistically define an object or action and can be expressed by a complete and short adjective, noun and adverb: “Do I wander along noisy streets, enter a crowded temple ... » (A.S. Pushkin)

“She is anxious, like sheets, she, like a harp, is multi-stringed ...” (A.K. Tolstoy) “The frost-voivode patrols his possessions ...” (N. Nekrasov) “Uncontrollably, uniquely, everything flew far and past ... "(S. Yesenin). Epithets are classified as follows:

1) constant (characteristic of oral folk art) - “good fellow”, “beautiful girl”, “green grass”, “blue sea”, “dense forest”, “mother earth”;

2) pictorial (visually draw objects and actions, make it possible to see them as the author sees them) - “a crowd of motley-haired fast cat” (V. Mayakovsky), “grass is full of transparent tears” (A. Blok);

3) emotional (convey the author’s feelings, mood) - “Evening black eyebrows frowned” - “A blue fire swept up ...”, “Uncomfortable, liquid moonlight ...” (S. Yesenin), “... and young the city ascended magnificently, proudly ”(A. Pushkin).

Comparison is a comparison (parallelism) or opposition (negative parallelism) of two objects according to one or more common features: “Your mind is as deep as the sea. Your spirit is as high as the mountains” (V. Bryusov) - “It’s not the wind that rages over the forest, it’s not the streams that ran from the mountains - the governor’s frost patrols his possessions” (N. Nekrasov). Comparison gives the description a special clarity, descriptiveness. This trope, unlike the others, is always binomial - both juxtaposed or opposed objects are named in it. 2 In comparison, three necessary existing elements are distinguished - the object of comparison, the image of comparison and the sign of similarity.

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

1) a comparative turnover with the unions “like”, “as if”, “as if”, “as if”, “exactly”, “something”: “It’s hard for me that the extinct fun of crazy years is like a vague hangover," But, like wine - the sadness of past days In my soul, the older, the stronger ”(A. Pushkin);

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

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

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

“I looked at her with might and main, as children look ...” (V. Vysotsky);

“I can’t forget this fight, the air is saturated with death.

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

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

“Like an eternal flame, the peak sparkles with emerald ice during the day”

Metaphor(from the Greek. Metaphora) means the transfer of the name of an object (action, quality) based on similarity, this is a phrase that has the semantics of a hidden comparison. If the epithet ~ is not a word in a dictionary, but a word in speech, then the statement is all the more true: metaphor ~ is not a word in a dictionary, but a combination of words in speech. You can drive a nail into the wall. You can hammer thoughts into your head ~ a metaphor arises, rude, but expressive.

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

Speech actualization of the semantics of metaphor is explained by the need for such guessing. And the more effort a metaphor requires in order for consciousness to turn a hidden comparison into an open one, the more expressive, obviously, the metaphor itself. Unlike a two-term comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second component. This is what gives the path its compactness.

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

The metaphor may be simple, expanded and lexical (dead, erased, petrified). A simple metaphor is built on the convergence of objects and phenomena according to one common feature - “the dawn is blazing”, “the sound of waves”, “the sunset of life.” An extended metaphor is built on various associations by similarity: throws them on a grand scale in wild anger at the cliffs, breaking emerald bulks into dust and spray ”(M. Gorky).

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

1) between the object and the material from which the object is made: “Amber smoked in his mouth” (A. Pushkin);

3) between the action and the instrument of this action: “His pen breathes revenge” (A. Tolstoy);

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

A variety of metonymy is synecdoche (from the Greek synekdoche - co-implying) - the transfer of meaning from one to another on the basis of a quantitative relationship between them:

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

3) a specific name instead of a generic one: “Most of all, take care of a penny” (N. Gogol);

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

5) plural instead of the only one: “The bird does not fly to him, and the beast does not go” (A. Pushkin).

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

Hyperbola - (from the Greek hyperbole - exaggeration) - a stylistic figure, consisting in a figurative exaggeration - “they swept a haystack above the clouds”, “wine flowed like a river” (I. Krylov), “A hundred and forty suns the sunset burned” (V. Mayakovsky ), “The whole world in the palm of your hand ...” (V. Vysotsky). Like other tropes, hyperbolas can be authorial and general language. In everyday speech, we often use such general language hyperbole - I saw (heard) a hundred times, “be scared to death”, “strangle in my arms”, “dance until I drop”, “repeat twenty times”, etc. Opposite of hyperbole stylistic device- litote (from the Greek Litotes - simplicity, thinness) - a stylistic figure, consisting in underlined understatement, humiliation, reticence: “a boy with a finger”, “Below the thin grass of the night, you need to bow your head” (N. Nekrasov).

Meiosis - (from the Greek. meiosis - decrease, decrease) is a trope, which consists in underestimating the intensity of the properties (signs) of objects, phenomena, processes: “wow”, “will do”, “decent *, “tolerant” (about good), “ unimportant”, “hardly suitable”, “leaving much to be desired” (about the bad). In these cases, meiosis is a mitigating option for the ethically unacceptable direct naming: cf. " old woman”- “a woman of Balzac age”, “not the first youth”; "ugly man" - "hard to call handsome." Hyperbole and litotes characterize the deviation in one direction or another of the quantitative assessment of the subject and can be combined in speech, giving it additional expressiveness. In the comic Russian song “Dunya the thin-spinner” it is sung that “Dunyushka spun for three hours, spun three threads”, and these threads are “thinner than a knee, thicker than a log”. In addition to the author's, there are also general language litotes - "the cat cried", "at hand", "not to see beyond one's own nose".

paraphrase - (from the Greek. periphrasis - from around and I say) is a descriptive expression used instead of a particular word (“writing these lines” instead of “I”), or a trope, consisting in replacing the name of a person, object or phenomenon with a description of their essential features or pointing to their character traits(“the king of beasts is a lion”, “foggy Albion” - England, “Northern Venice” - St. Petersburg, “the sun of Russian poetry” - A. Pushkin).

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

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

Anaphora- (from the Greek anaphora - ana again + phoros bearing) - monotony, repetition of sounds, morphemes, words, phrases, rhythmic and speech structures at the beginning of parallel syntactic periods or poetic lines. Bridges demolished by a thunderstorm, a coffin from a blurry cemetery

(A.S. Pushkin) (repetition of sounds) Black-eyed girl, Black-maned horse! (M.Yu. Lermontov) (repetition of morphemes)

Not in vain did the winds blow, not in vain did the thunderstorm go. (S.A. Yesenin) (repetition of words) I swear by the odd and even, I swear by the sword and the right battle. (A.S. Pushkin)

Conclusion

In this essay, the main means of expressiveness of the language were considered. The expressive means of a language are sometimes reduced to the so-called expressive-pictorial, that is, tropes and figures, but expressiveness can be strengthened by language units of all its levels - from sounds to syntax and styles.

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

List of used literature

1. Zagorovskaya O.V. Grigorenko O.V. Russian language. Getting ready for the exam. Part C. [Electronic resource] / Publishing house "Enlightenment". Moscow. - Access mode: http://www.prosv.ru/ebooks/Zagorovsk_Grig_Rus_yaz_EG_C/7.html

2. Pleshchenko T.P., Fedotova N.V. Chechet R.G. Stylistics and culture of speech. [Electronic resource] / Russian Internet University for the Humanities. Moscow.

3. Russian language for everyone. Quotes about the Russian language. [Electronic resource]/Reference and information portal GRAMOTA.RU. Moscow. - Access mode: http://www.gramota.ru/class/citations/

4. Savkova Z. The art of the speaker. [Electronic resource] / University of Rhetoric and Public Speaking. Moscow. - Access mode:

http://www.orator.biz/?s=38&d_id=266

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Figurative and expressive means of language.

Didactic material for

Compiled by V.

teacher of Russian language

MOU SOSH №3.

Bogotol

Foreword

The manual "Didactic Materials for Preparing for the Unified State Examination in the Russian Language" is intended for teachers of the Russian language and literature who prepare graduate students for passing certification in the form of the Unified State Examination.

Its purpose is to help the teacher develop the skills of recognizing the figurative and expressive means of the language in the text, to teach the children to see their purpose (role) in a work of art.

These "Didactic Materials" can be used by teachers and students at the stage of preparing students for task B8, as well as when developing the skills of writing an essay-reasoning (part C).

These tasks, as a rule, cause serious difficulties for students, since most graduates have a rather weak idea of the most significant figurative and expressive means of the language and their role in the text, and it is impossible to master the skills of using language means in one's own speech without a well-developed conceptual apparatus. .

Today, the Unified State Examination in the Russian language requires the graduate to be able to formulate his point of view on a particular problem, and for this, the student must be able to refer to the proposed text, see this problem, and reveal the position of the author. Appeal to the analysis of linguistic means helps to reveal the author's intention, to formulate his own view of the problem.

"Didactic materials" contain a list of the most important language tools with a detailed explanation of concepts, introduce the ways of expressing individual language tools, their role in the text.

Articles of the manual are supported by examples.

Practical tasks specially selected for each type of tropes and stylistic figures can be used at the stage of consolidating the studied material.

Test tasks allow you to check the level of mastery of a given topic by students.

The material is presented in accessible form and can be used during self-study to the exam.

Fine- expressive means of language.

In various language styles, especially in fiction, in journalism, in colloquial speech, linguistic means are widely used that enhance the effectiveness of the statement due to the fact that various expressive and emotional shades are added to its purely logical content.

Strengthening the expressiveness of speech is achieved by various means, primarily the use of tropes.

TROPE- a turn of speech in which a word or expression is used in a figurative sense.

The trope is based on a comparison of two concepts that appear

we are close in some way.

EPITHET- this is a word that defines an object or action and emphasizes in them some characteristic property, quality.

The stylistic function of the epithet lies in its artistic expressiveness. Adjectives and participles are especially expressive in the function of epithets, due to their inherent semantic richness and diversity.

For example, in a sentence:

And the waves of the sea sad roaring against the stone beat(M. G.) an adjective acts as an epithet sad, defining a noun roar due to its use in a figurative sense.

The adverb plays the same role proudly in a sentence: Between the clouds and the sea proudly flies Petrel...(M. G.)

or noun governor in a sentence Freezing- governor patrols the domain own (I.)

COMPARISON - it is a comparison of two phenomena in order to explain one of them with the help of the other.

“Comparison is one of the most natural and real means for description,” L. N. Tolstoy pointed out.

The stylistic function of comparison is manifested in the artistic expressiveness that it creates in the text.

For example, in a sentence The dreadnought fought like a living being even more majestic among the roaring sea and thunderous explosions (A.T.) not only the dreadnought and the living creature are compared, it is not just explained how the Dreadnought fought, but it is created artistic image.

Comparisons are expressed in various ways:

2) the form of the comparative degree of an adjective or adverb: You are sweeter than everyone, everyone more expensive, Russian, loamy, hard ground(Surk.);

3) turnovers with various unions: Below him is Kazbek, like the edge of a diamond shone with eternal snows (L.); However, these were more caricatures than portraits (T.);

4) lexically (using words similar, similarAnd etc.): Her love for her son was like madness(M. G.).

Along with simple comparisons, in which two phenomena approach each other according to some common feature, detailed comparisons are used, in which many similar features are compared: ... Chichikov was still standing still in one and the same place, like a man who has completely gone out into the street in order to take a walk, with eyes disposed to look at everything, and suddenly stops motionless, remembering that he has forgotten something, and even then nothing can be more stupid to be such a person: in an instant, a carefree expression flies from his face; he struggles to remember that he has forgotten whether it is not a handkerchief, but a handkerchief in his pocket, or money, but money is also in his pocket; everything seems to be with him, but meanwhile some unknown spirit whispers into his ears that he has forgotten something.

METAPHOR is a word or expression that is used in a figurative sense on the basis of the similarity in some respect of two objects or events.

For example, in a sentence Resigned you, my spring grandiloquent dreams (P.) the word spring is metaphorically used in the meaning of the word "youth".

In contrast to the two-term comparison, which also states that

is compared, and that with which it is compared, the metaphor contains only that with which it is compared. Like a comparison, a metaphor can be simple and detailed, built on various similarity associations:

Here embraces the wind flocks waves embrace strong and throws them with a swing in wild anger at the cliffs, breaking into dust and splashes of emerald

bulks (M. G.)

METONYMY- this is a word or an expression that is used in a figurative sense on the basis of an external and internal connection between two objects or phenomena.

This connection could be:

1) between content and content: I three plates ate(Cr.)

3) between an action and the instrument of that action: He doomed their villages and fields for a violent raid swords and fires (P.)

4) between the object and the material from which the object is made: Not that on silver - on gold atel (Gr.)

5) between a place and the people in that place: Everything field gasped. (P.)

SYNECDOCH - This is a kind of metonymy based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them.

Usually used in synecdoche:

3) part instead of whole: ((Do you need anything? - "In roof for my family” (Hertz);

4) generic name instead of species name: Well, sit down light(M.; instead of the sun);

5) specific name instead of generic name: Take care of the most a penny(G.; instead of money).

HYPERBOLA- this is a figurative expression containing an exorbitant exaggeration of the size, strength, value, etc. of any phenomenon:

In one hundred and forty suns, the sunset was blazing (M.).

LITOTA - is an expression containing an exorbitant underestimation of the size, strength, significance of any phenomenon I:

Below a thin blade you have to bow your head ... (N).

Another meaning of the litote- definition of a concept or object by negating the opposite

(cf. not bad said - Okay said): Not expensive I appreciate high-profile rights, from which more than one dizzy (P).

Our world is wonderfully arranged ... He has an excellent cook, but, unfortunately, such a small mouth that it can never miss more than two pieces; the other has mouth the size of the arch of the General Staff, but, alas, I must be content with some German potato dinner (D).

IRONY- This is the use of a word or expression in the reverse sense of the literal, for the purpose of ridicule:

breakaway, smart, you're shaking your head!(Kr.) - an appeal to a donkey.

ALLEGORY- this is an allegorical image of an abstract concept with the help of a specific life image.

Allegory is often used in fables and fairy tales, where animals, objects, natural phenomena act as carriers of human properties. For example, cunning is shown in the form of a fox, greed - in the form of a wolf, deceit - in the form of a snake, etc.

PERSONALIZATION- is the transfer of human properties to inanimate objects and abstract concepts:

I whistle, and to me obediently, timidly creep in bloodied villainy, and hand will to me lick, and in the eyes look, in them is a sign of my reading will (P.);

be comforted silent sadness, and frisky joy will think ... (P.)

PERIPHRASE (or PERIPHRASE) - this is a turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features:

king of beasts(instead of a lion).

Wed at A. S. Pushkin: creator of Macbeth(Shakespeare),

Lithuanian singer(Mickiewicz),

singer Giaura and Juan(Byron)

stylistic figures.

To enhance the figurative and expressive function of speech, special syntactic constructions are used - the so-called stylistic (or rhetorical) figures.

The most important stylistic figures include:

Anaphora (or monogamy)

Epiphora (or ending)

Parallelism

Antithesis

Oxymoron

(Greek "witty-stupid")

gradation

Inversion

Ellipsis

Default

Rhetorical address

Rhetorical question

polyunion

Asyndeton

ANAPHORA (or UNITY)- this is the repetition of individual words or phrases at the beginning of the passages that make up the statement.

For example, (lexical anaphora):

I swear I am the first day of creation,

I swear his last day

I swear shame of crime

And eternal truth triumph ... (L.)

Syntactic constructions of the same type (syntactic anaphora) can be repeated:

I'm standing at high doors

I I follow at your work (St.)

I won't break, I won't falter, I won't get tired*

I will not forgive a grain of the enemies (Berg.).

EPIPHORA (or ENDING)is the repetition of words or expressions at the end of adjacent passages (sentences):

I would like to know why I titular adviser? Why exactly titular adviser?(G.)

PARALLELISM- this is the same syntactic construction of adjacent sentences or segments of speech:

The young are dear to us everywhere, the old people are honored everywhere (L.-K.). An example of parallelism is the well-known poem by M. Yu. Lermontov “When the yellowing field is agitated ...”:

When the yellowing field worries

And a fresh trail rustles at the sound of the breeze ...

When, sprinkled with fragrant dew,

Ruddy evening or morning at a golden hour ..

When the cold key plays in the ravine

And, plunging the thought into some kind of vague dream...

ANTITHESIS - This is a turn of speech in which opposite concepts are sharply contrasted to enhance expressiveness:

Where the table was food, there is a coffin (Hold).

Often the antithesis is built on lexical antonyms: The rich feast on weekdays, but poor and in celebration mourns (last).

OXYMORON- this is a stylistic figure, consisting in the combination of two concepts that contradict each other, logically exclude one another:

bitter joy; ringing silence; eloquent silence;

"Living Corpse" (L. T.);

"Optimistic Tragedy" (Vishn.)

GRADATION - this is a stylistic figure, consisting in such an arrangement of words, in which each subsequent one contains an increasing (less often - decreasing) meaning, due to which an increase (less often - weakening) of the impression they produce is created.

Examples of ascending gradation: In autumn, the feather-grass steppes completely change and receive their special, unique, unique view(ax);

Arriving home, Laevsky and Nadezhda Fyodorovna went into their dark, stuffy, boring rooms (Ch.).

Descending gradation example:

I swear to Leningrad wounds,

The first ruined hearths;

I won't break, I won't falter, I won't get tired

I will not give a grain to the enemies (Berg.).

INVERSION- this is the arrangement of the members of the sentence in a special order that violates the usual, so-called direct order, in order to enhance the expressiveness of speech. But not every reverse word order is an inversion; one can talk about it only when stylistic tasks are set when using it - increasing the expressiveness of speech:

FROM horror I wondered where this was leading to! AND with desperation recognized his power over my soul (P.);

The horses were brought out. Did not like they tell me (T.);

After all, he friend was me (L.T.);

Inversion enhances the semantic load of the members of the sentence and translates the statement from a neutral plan into an expressive-emotional one. . hand gave me goodbye (Ch.);

Amazing our people (Er.);

He made dinner excellent(T.);

Soul to high stretches (Pan.).

ELLIPSIS- this is a stylistic figure, consisting in the omission of any implied member of the sentence:

We are villages- into ashes, hailstones into dust, into swords - sickles and plows (Zhuk.);

Instead of bread- stone instead of teaching- beater (S.-Sch.);

An officer with a pistol, Terkin - with a soft bayonet (Te.).

The use of an ellipsis gives the statement dynamism, intonation of lively speech, and artistic expressiveness.

DEFAULT- this is a turn of speech, which consists in the fact that the author deliberately does not fully express the thought, leaving the reader (or listener) to guess what was not said: No, I wanted ... maybe you ... I thought, What time is it for the baron to die (P.);

What did they both think they felt? Who will know? Who will say? There are such moments in life, such feelings. They can only be pointed- and pass by (T.)

rhetorical address- this is a stylistic figure, consisting in an underlined appeal to someone or something to enhance the expressiveness of speech:

Flowers, love, village, idleness, field!

I am devoted to you with my soul (P.);

ABOUT you, whose letters are many, many in my shore portfolio! (H);

"Quiet, speakers! your word, Comrade Mauser (M.)

Rhetorical appeals serve not so much to name the addressee of the speech, but to express the attitude towards this or that object, to characterize it, to enhance the expressiveness of the speech.

RHETORICAL QUESTION- this is a stylistic figure, consisting in the fact that the question is not posed in order to get an answer to it, but to draw the attention of the reader (or listener) to a particular phenomenon:

Do you know Ukrainian night? (G.);

Is it new to argue over Europe? Has the Russian lost the habit of victories? (P.)

POLYUNION- This is a stylistic figure consisting in the deliberate use of repeating unions for the logical and intonational underlining of the members of the sentence connected by the unions. Serves to enhance the expressiveness of speech:

Thin rain was sown on the forests, and on the fields, and on the wide Dnieper (G.);

The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and shone, and went to infinity (Kor.).

The same when repeating the union between parts of a compound sentence:

Houses burned at night, and the wind blew, and black bodies on the gallows swayed from the wind, and crows screamed above them (Kupr.)

ASYNDETON - this is a stylistic figure consisting in the intentional omission of connecting unions between members of a sentence or between sentences :

the absence of unions gives the statement swiftness, saturation with impressions within the overall picture:

Swede, Russian - stabs, cuts, cuts, drumming, yushki, rattle, thunder of cannons, clatter, neigh, groan ... (P.)

The non-union enumeration of subject names can be used to create the impression of a quick change of pictures:

Booths, women, boys, shops, lanterns, palaces, gardens, monasteries, Bukharians, sleighs, kitchen gardens, merchants, shacks, peasants, boulevards, towers, Cossacks, pharmacies, fashion stores, balconies, lions at the gates flicker past ... ( P.)

Functions of individual figurative and expressive means of the language

trail view	Functions in speech
	Emphasizes the most significant feature of an object or phenomenon. It is used with the word it defines, enhancing its figurativeness.
Comparison	These language tools help to see unity of the world, to notice similarities in dissimilar phenomena. Bringing together such distant objects, they discover their new properties, something that we did not know before. Give the expression an emotional coloring
Metaphor
personification
Metonymy	Thanks to metonymy, we see this object, this action in its uniqueness.
Synecdoche	Indicates similarities and differences, connections and relationships between objects.
In folklore, they often serve as means of creating an image.

	Based on contrast. Reveals the true meaning of the relationship to the hero.
Allegory	Serves to create a bright artistic image.
Paraphrase (or paraphrase)	Increases the expressiveness of speech.

Types of stylistic figures	Functions in speech
Anaphora (or monogamy)	Give poetry melodiousness, musicality.
Epiphora (or ending)
Parallelism
Antithesis	The combination of concepts that are contrasting in meaning emphasizes their meaning more strongly and makes poetic speech more vivid and figurative. With this tool, writers can more accurately paint a picture, convey a feeling or thought, discover the contradictions that exist in life.
Oxymoron (Greek "witty-stupid")	This language tool is used to characterize teristics of complex phenomena of life.
gradation
Inversion	Increasing the expressiveness of speech.
Ellipsis	In works of literature, it gives speech dynamism, ease, makes it look like an oral conversation:
Default	Helps convey the emotional state of the character (author)
Rhetorical address Rhetorical exclamation	They serve to enhance the emotional and aesthetic perception of the depicted.
Rhetorical question	Serves to draw the reader's attention to the depicted.
polyunion	Serves to enhance the expressiveness of speech.
Asyndeton	Gives the statement swiftness, saturation of impressions within the overall picture or to create the impression of a quick change of pictures:

Tasks that allow in practice to work out the skills of finding and defining the function in speech of figurative and expressive means of the language.

Tasks for the section "Trails":

I. INDICATE EPITHETS AND DEFINE THEIR STYLISTIC FUNCTION .

1. Among the flowering fields and mountains, a friend of mankind sadly notices a murderous shame everywhere of ignorance. (P.)

2. To them, if some goose comes - the landowner, and brings down, the bear, right into the living room. (G.)

3. He walks boldly and straight to the shore with large steps, he calls his comrades-in-arms loudly and menacingly calls the marshals. (L.)

4. As if he himself was drowsy, the old ocean seemed to have quieted down. (St.)

5. He was especially embarrassed by Olga's childish angry words. (M. G.)

6. Petrograd lived in these January nights tensely, agitatedly, angrily, furiously. (A.T.)

7. The shadow of Miloslavsky, terrible from childhood, rose again. (A.T.)

8. We attack with steel rows with a firm step. (Surk.)

9. Let the wind of iron revenge sweep the rapist into the abyss.

10. Come on, sing a song to us, cheerful wind. (OK.)

II . INDICATE COMPARISONS AND DEFINE THE WAYS THEY ARE EXPRESSED.

1. He ran faster than a horse ... (P.)

2. Below, like a steel mirror, lakes of jets turn blue. (Tyutch.)

3. And the old cat Vaska seemed to be more affectionate towards him than to anyone in the house.

4. (Pushkin's verse) gentle, sweet, soft, like the murmur of a wave, viscous and thick, like tar, bright, like lightning, transparent and pure, like a crystal, fragrant and fragrant, like spring, strong and powerful, like a blow of a sword in the hands of a rich man. (Bel.)

5. Whiter than snowy mountains, clouds go to the west. (L.)

6. The ice is not strong on the icy river, as if it lies like melting sugar. (N.)

7. From the chopped old birch, farewell tears poured in a hail. (H)

8. Now touching the waves with a wing, then soaring up to the clouds with an arrow, he screams, and the clouds hear joy in the bold cry of a bird, (M. G.)

9. Pyramidal poplars look like mourning cypresses. (ser.)

10. On Red Square, as if through the fog of centuries, the outlines of walls and towers are unclear. (A.T.)

11. Our guys melted like candles. (F.)

III. SPECIFY METAPHORS. DEFINE WHAT THE METAPHORICAL USE OF WORDS IS BASED ON.

1. The sun of Russian poetry has set (about Pushkin). (Bug.)

2. The east burns with a new dawn. (P.)

3. Remembrance silently in front of me develops its long scroll (P).

4. Here we are destined by nature to cut a window into Europe. (P.)

5. A kite swam high and slowly above the gardens. (Hound.)

b. Everything in him breathed the happy cheerfulness of health, breathed youth. (T.)

7. People were engaged in domestication of animals only at the dawn of human culture. (Shw.)

8. The wind is walking, the snow is fluttering. (Bl..)

9. Having unfolded my troops in a parade, I pass along the line front. (M.)

10. Quietly the river slumbers. (Her.)

IV. AtSAY WHAT METONYMY IS BASED ON.

1. Well, eat another plate, my dear! (Cr.)

2. No, my Moscow did not go to him with a guilty head. (P.)

3. Here the savage nobility, without feeling, without law, has appropriated to itself by a violent vine both labor, and property, and the time of the farmer. (P).

4. I read Apuleius willingly, but I did not read Cicero. (P.)

5. Here, on their new waves, all the flags will visit us. (P.)

6. But our open bivouac was quiet. (L.)

7. Cry, Russian land! But also be proud. (N.)

8. The pen of his revenge breathes. (ACT.)

9. And at the door are pea jackets, overcoats, sheepskin coats. (M.)

10. You can only hear an accordion wandering somewhere lonely on the street. (Is.)

V. MAKE SENTENCES USING SYNECDOCHES WITH DIFFERENT MEANINGS.

VI. FIND EXAMPLES OF HYPERBOLE IN THE DESCRIPTION OF THE DNEPR

N. V. GOGOL (“Terrible Revenge”, ch. 10).

VII. ON THE EXAMPLE OF I. A. KRYLOV'S FABLES, SHOW THE USE OF ALLEGORIES.

VIII. COMPLETE A SMALL TEXT USING ONE OF THE FIGURES OF REPETITION (parallelism, anaphora or epiphora).

IX. MAKE SEVERAL PERIPHRASES, REPLACING THEM:

1) names of writers, scientists, public figures;

2) names of animals;

3) names of plants;

4) geographical names.

Tasks for the section "Stylistic figures":

I. CHOOSE 10 PROVERBS BUILT ON THE PRINCIPLE OF ANTITHESIS.

II. FIND EXAMPLES OF USE OF INVERSION IN THE STORIES OF MODERN AUTHORS.

III. FIND EXAMPLES OF RHETORICAL APPEAL IN THE POEMS OF A. S. PUSHKIN, N. A. NEKRASOV, V. V. MAYAKOVSKY.

IV. FIND CASES OF MULTIPLE UNION AND NON-UNION IN THE WORKS OF MODERN ART LITERATURE. EXPLAIN THE USE OF THESE AND OTHER SPEECH.

TEST YOURSELF.

1.The whole room with amber luster

Illuminated...

2. I lived like grandfathers, the old fashioned way.

Z. Resting his feet on the globe of the earth,

I hold the ball of the sun in my hands ...

4. Timidly the month looks into the eyes,

I'm surprised the day hasn't passed...

5. Spruce covered the path with my sleeve.

6. He led swords to a plentiful feast.

7.3 I hit the projectile in the cannon tightly

And I thought: I will treat a friend!

Wait a minute, brother Musyu!

8. A boy with a finger.

9. The Poet died! - slave of honor.

10. No, my Moscow did not go to him with a guilty head.

1. A golden cloud spent the night

On the chest of a giant cliff.

2. Eyes like the sky are blue.

3. Beware of the wind

Came out of the gate.

4. Trees in winter silver.

5... .Tears a mouth wider than the Gulf of Mexico.

6.... You will fall asleep, surrounded by care

dear and beloved family.

7. Scarlet dawn rises

She swept her golden curls, ...

8. Above all, take care of a penny ...

9. A cheat approaches a tree on tiptoe,

He wags his tail, does not take his eyes off the crow.

0. No, my Moscow did not go

To him with a guilty head.

1. Black evening, white snow.

Wind. Wind....

2. The unceasing rain is flowing,

The tedious rain...

3. Your mind is silent that the sea,

Your spirit is as high as mountains.

4. My friend! Let's dedicate to the Fatherland

Souls wonderful impulses!

5. And the waves crowd and rush back,

And they come again, and hit the shore ...

6. Not the wind, blowing from a height,

Sheets touched on a moonlit night ...

7. They came together: the wave and the stone,

Poetry and prose, ice and fire...

8. He groans through the fields, along the roads,

He groans in prisons, prisons ...

9. What is he looking for in a distant country?

What did he throw in his native country? ..

lo. I don't regret, I don't call, I don't cry...

1. Ah! Get over it, storm!

2. There the bride and groom are waiting -

no pop,

And I'm here too.

There they take care of the baby, -

no pop,

And I'm here too.

3. Everything flew far, past.

4. I came, I saw, I conquered ..

5. The coachman whistled,

The horses galloped.

b. Such is this book. Quite simple and complex. For children and for adults. The book of my childhood...

7. On the window, silver from frost.

During the night the chrysanthemums bloomed.

8. Flash past the booth, women,

Boys, benches, lanterns, ..

9. I swear by the first day of creation,

I swear on his last day...

10. Eloquent silence.

1. The azure of heaven laughs ...

2. In the room of people - you can’t count them in a day.

3. Poor luxury.

4. City on the Yenisei.

5. My life! Did you dream about me?

6. They entered their dark, stuffy, boring rooms.

7. The word crumbled in the hands.

8. Tramp-wind.

9. The rich feast on weekdays, and the poor mourn on holidays.

Y. All flags will visit us.

Answers to tests

Test number 1. Test number 3.

Epithet Antithesis

Comparison of Epiphora

Hyperbole Parallelism

Personification Rhetorical exclamation

Metaphor Polyunion

Metonymy Inversion

Irony Antithesis

Litota Anaphora

Paraphrase Rhetorical question

Metonymy. gradation.

Test number 2. Test number 4.

epithet rhetorical address

Comparison of Epiphora

Personification Ellipsis

Comparison Gradation

Hyperbole Parallelism

Irony

Metaphor Inversion

Synecdoche Bessoyuzie

Allegory Anaphora

Metonymy. Oxymoron

Metaphor

Hyperbola

Oxymoron

paraphrase

Rhetorical question

gradation

Comparison

Antithesis

Metonymy

Table-simulator*

Back to "Trails"

trail view	Definition
	A word that defines an object or action and emphasizes in them some characteristic property, quality.
Comparison	Comparison of two phenomena in order to explain one of them with the help of the other.
Metaphor	A word or expression that is used in a figurative sense based on the similarity in some respect of two objects or phenomena.
Metonymy	A word or expression that is used in a figurative sense on the basis of an external and internal connection between two objects or phenomena.
Synecdoche	A kind of metonymy based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them.
Hyperbola	A figurative expression containing an exorbitant exaggeration of the size, strength, significance, etc. of a phenomenon.
	An expression containing an exorbitant underestimation of the size, strength, significance of a phenomenon. Definition of a concept or object by negating the opposite
	The use of a word or expression in the reverse sense of the literal, for the purpose of ridicule.
Allegory	Allegorical image of an abstract concept with the help of a specific life image.
personification	The transfer of human properties to inanimate objects and abstract concepts.
Paraphrase (or paraphrase)	A turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features.

To the section "Stylistic figures"

Types of stylistic figures	Definition
Anaphora (or monogamy)	The repetition of individual words or phrases at the beginning of the passages that make up the statement.
Epiphora (or ending)	Repetition of words or expressions at the end of adjacent passages (sentences).
Parallelism	The same syntactic construction of adjacent sentences or segments of speech.
Antithesis	A figure of speech in which opposite concepts are sharply contrasted to enhance expressiveness:
Oxymoron (Greek "witty-stupid")	A stylistic figure consisting in the combination of two concepts that contradict each other, logically excluding one another.
gradation	A stylistic figure consisting in such an arrangement of words, in which each subsequent one contains an increasing (decreasing) meaning, due to which an increase (weakening) of the impression they produce is created.
Inversion	The arrangement of the members of the sentence in a special order that violates the usual, so-called direct order, in order to enhance the expressiveness of speech
Ellipsis	Stylistic figure, consisting in the omission of any implied member of the sentence
Default
Rhetorical address	A stylistic figure consisting in an underlined appeal to someone or something to enhance the expressiveness of speech
Rhetorical question	A stylistic figure, consisting in the fact that the question is not posed in order to get an answer to it, but to draw the attention of the reader (or listener) to a particular phenomenon:
polyunion	A stylistic figure, consisting in the deliberate use of repeating unions for logical and intonational underlining of the members of the sentence connected by unions, to enhance the expressiveness of speech:
Asyndeton	A stylistic figure consisting in the intentional omission of connecting unions between members of a sentence or between sentences: the absence of unions gives the statement swiftness, richness of impressions within the overall picture

* These tables can be used in the lessons to reinforce the concepts of tropes and stylistic figures. (Possible form of work - "Find your mate")

Used Books:

D. E. Rosenthal. Practical style of the Russian language

trails

Tropes - a word or expression used in a figurative sense.

Trail functions:
1. Create an artistic image.
2. Give a more accurate description of the object, phenomenon, action.
3. Transfer the author's assessment of the depicted phenomena
2. Decorate speech, make it brighter, more figurative.

Epithet- this is a word that defines an object or action and emphasizes in them some characteristic property, quality.
And the waves of the sea beat against the stone with a sad roar. (M. Gorky) Frost-governor patrols his possessions. (A. Nekrasov). Come on, sing a song to us, cheerful wind. (Lebedev-Kumach)

Comparison- a comparison of two phenomena in order to clarify one of them with the help of the other.
Snowy dust column standing in the air- comparison is expressed in instrumental case. However, they were more like caricatures. than portraits (Turgenev). Below him is Kazbek, like the edge of a diamond shone with eternal snows(Lermontov) - comparative turnover. Her love for her son was like madness (Bitter) - the comparison is expressed lexically (using the words "similar", "similar") Quietly lived, quietly and die, how in due time the leaf will dry up and fall off from this bush. (I. Bunin) - comparison is expressed by a subordinate clause with the meaning of comparison. "Do not bream, but piglets , - says our host, - but they don’t peck. ”(I. Severyanin) - negative comparison.

Metaphor- this is a word or expression that is used in a figurative sense based on the similarity in any respect of two objects or phenomena.
Howling wind, high prices, low deed, bitter truth, a sea of flowers, sunset gold. People were engaged in the domestication of animals only on dawn of human culture. (Prishvin).

Metonymy- this is a word or expression that is used in a figurative sense on the basis of an external or internal connection between two objects or phenomena.
I ate three bowls. (Krylov) - not the plates themselves, but what was in them. The whole field gasped. (Pushkin) - not the field itself, but the people who were there.

Synecdoche- a kind of metonymy based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them.
1) Everything is sleeping - both man, and beast, and bird.(Gogol) - the singular is used instead of the plural.
2) We all look at Napoleons(Pushkin) - plural instead of singular.
3) Do you have any need?- In the roof for my family. (Herzen) - a part instead of a whole.
4) Best of all, save a penny(Gogol) - a specific name instead of a generic one, "penny" instead of "money".

Hyperbola- a figurative expression containing an exorbitant exaggeration of size, strength, value, etc. any phenomenon. In a hundred and forty suns the sunset burned(Mayakovsky)

Litotes- a trope opposite to hyperbole and consisting in a clearly implausible, exorbitant underestimation of properties, qualities, signs, sizes, strengths, values, etc. any phenomenon.
Tom Thumb; two steps from here. Below a thin bylinochka, one must bow one's head ...(Nekrasov); Your spitz, lovely spitz, no more than a thimble. (Griboyedov).

Allegory(from the Greek. allegoria - allegory) - the image of abstract concepts in specific images. For example, cunning is depicted in the form of a fox, stupidity and stubbornness - in the form of a donkey. Many fables of I.A. Krylov. Some allegories are of a general language character: May there always be sunshine (let happiness be unchanged).

Irony- allegorical words in which various phenomena of life are identified not by contiguity or similarity, but by their contrast. The word "irony" is used to denote a mocking attitude towards life. Naming on purpose. As if feignedly, small is big, stupid is smart, ugly is beautiful, people express their dismissive, mocking attitude towards them.
Oh, what a big man is coming!(about the child). Welcome to my palace(about a small room). Hardly anyone will be seduced by such beauties y (about an ugly woman).

personification- such an image of inanimate or abstract objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and speak, feel.
Thunder muttered awake(Paustovsky). Silent sadness will be comforted, and joy will reflect frisky(Pushkin).

paraphrase(or paraphrase) - a turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features. Paraphrase - roundabout speech.
Author of "A Hero of Our Time"(instead of M.Yu. Lermontov). King of beasts(instead of a lion). Kholmogory man= Lomonosov. queen of the night= moon. Foggy Albion= England. North Venice= St. Petersburg.

Stylistic figures

Stylistic figures are speech turns that perform the function of enhancing expressiveness.

Anaphora (unity) is the repetition of individual words or phrases at the beginning of the passages that make up the statement.
I love you, Peter's creation,
I love your strict, slender look.(A.S. Pushkin)

Epiphora- making the same words or phrases at the end of adjacent verses, or stanzas, or prose paragraphs:
I would like to know why I am a titular councillor.? Why a titular adviser?(Gogol). Flows unceasingly rain, wearisome rain (V. Bryusov)

Antithesis- a pronounced opposition of concepts or phenomena. Antithesis contrasts different objects
Houses are new, but prejudices are old.(A. Griboedov).

Oxymoron- a combination of words that are directly opposite in meaning in order to show the inconsistency, complexity of the situation, phenomenon, object. An oxymoron attributes opposite qualities to one object or phenomenon.
There is happy melancholy in the scares of dawn.(S. Yesenin). It has come eternal moment . (A. Blok). Brazenly modest wild gaze . (Block) New Year I met one. I am rich, was poor . (M. Tsvetaeva) He's coming, saint and sinner, Russian miracle man! (Twardowski). Huge autumn, old and young, in the fierce blue radiance of the window.(A. Voznesensky)

Parallelism- this is the same syntactic construction of adjacent sentences or segments of speech.
Young everywhere we have a road, old people everywhere we honor(Lebedev-Kumach).
Knowing how to speak is an art. Listening is culture.(D. Likhachev)

gradation- this is a stylistic figure, consisting in such an arrangement of words, in which each subsequent contains an increasing (ascending gradation) or decreasing value, due to which an increase or weakening of the impression they produce is created.
BUT) I do not regret, do not call, do not cry ,
Everything will pass like smoke from white apple trees.(S. Yesenin).
IN senate give, ministers, sovereign» (A. Griboedov). "Not hour, not day, not year will leave"(Baratynsky). Look what house - big, huge, huge, straight up grandiose ! - the intonation-semantic tension is growing, intensifying - ascending gradation.

B) "Not a god, not a king, and not a hero"- words are arranged in order of weakening their emotional and semantic significance - descending gradation.

Inversion- this is the arrangement of the members of the sentence in a special order that violates the usual, so-called direct order, in order to enhance the expressiveness of speech. We can talk about inversion when stylistic tasks are set with its use - increasing the expressiveness of speech.
Amazing our people! hand gave me a goodbye.

Ellipsis- this is a stylistic figure, consisting in the omission of any implied member of the sentence. The use of an ellipsis (incomplete sentences) gives the statement dynamism, intonation of lively speech, and artistic expressiveness.
We villages - into ashes, cities - into dust, into swords - sickles and plows(Zhukovsky)
The officer - with a pistol, Terkin - with a soft bayonet.(Twardowski)

Default- this is a turn of speech, which consists in the fact that the author deliberately does not fully express the thought, leaving the reader (or listener) to guess what was not said.
No, I wanted... maybe you... I thought
It's time for the baron to die. ( Pushkin)

Rhetorical address- This is a stylistic figure, consisting in an underlined appeal to someone or something to enhance the expressiveness of speech. Rhetorical appeals serve not so much to name the addressee of the speech, but to express the attitude towards this or that object, to characterize it, to enhance the expressiveness of the speech.
Flowers, love, village, idleness, field! I am devoted to you soul(Pushkin).

Rhetorical question- this is a stylistic figure, consisting in the fact that the question is not posed in order to get an answer to it, but to draw the attention of the reader or listener to a particular phenomenon.
Do you know Ukrainian night? Oh, you don't know the Ukrainian night!(Gogol)

polyunion- a stylistic figure, consisting in the deliberate use of repeating unions and intonational underlining of the members of the sentence connected by unions, to enhance the expressiveness of speech.
A thin rain fell And to the forests And to the fields And on the wide Dnieper. ( Gogol)
Houses burned at night And the wind was blowing And black bodies on the gallows swayed from the wind, And crows were crying over them(Kuprin)

Asyndeton- a stylistic figure consisting in the intentional omission of connecting unions between members of a sentence or between sentences: the absence of unions gives the statement swiftness, richness of impressions within the overall picture.
Swede, Russian - stabs, cuts, cuts, drumming, clicks, gnashing, thunder of cannons, stomping, neighing, moaning ...(Pushkin)