TRAILS AND STYLISTIC FIGURES.

TRAILS(Greek tropos - turn, turn of speech) - words or figures of speech in a figurative, allegorical meaning. Paths are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litotes, etc.

STYLISTIC FIGURES- figures of speech used to enhance the expressiveness of a statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek hyperbole - exaggeration) - a type of trope based on exaggeration (“rivers of blood”, “sea of ​​laughter”). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole occurs already in ancient epic at different nations, in particular in Russian epics.
In the Russian litera, N.V. Gogol, Saltykov-Shchedrin and especially

V. Mayakovsky (“I”, “Napoleon”, “150,000,000”). In poetic speech, hyperbole is often intertwinedwith other artistic means (metaphors, personification, comparisons, etc.). Opposite – litotes.

LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; a figurative expression, a turn of phrase that contains an artistic understatement of the size, strength, or significance of the depicted object or phenomenon. Litotes is in folk tales: “a boy as big as a finger”, “a hut on chicken legs”, “a little man as big as a finger”.
The second name for litotes is meiosis. The opposite of litotes is hyperbola.

N. Gogol often turned to litotes:
“Such a small mouth that it can’t miss more than two pieces” N. Gogol

METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transfer of the properties of one object or phenomenon to another based on common features(“work is in full swing”, “forest of hands”, “dark personality”, “heart of stone”...). In metaphor, as opposed to

comparisons, the words “as”, “as if”, “as if” are omitted, but are implied.

Nineteenth century, iron,

Truly a cruel age!

By you into the darkness of the night, starless

Careless abandoned man!

A. Blok

Metaphors are formed according to the principle of personification (“water runs”), reification (“nerves of steel”), abstraction (“field of activity”), etc. Various parts of speech can act as a metaphor: verb, noun, adjective. Metaphor gives speech exceptional expressiveness:

In every carnation there is fragrant lilac,
A bee crawls in singing...
You ascended under the blue vault
Above the wandering crowd of clouds...

A. Fet

The metaphor is an undifferentiated comparison, in which, however, both members are easily seen:

With a sheaf of your oat hair
You stuck with me forever...
The dog's eyes rolled
Golden stars in the snow...

S. Yesenin

In addition to verbal metaphor, metaphorical images or extended metaphors are widespread in artistic creativity:

Ah, the bush of my head has withered,
I was sucked into song captivity,
I am condemned to hard labor of feelings
Turning the millstone of poems.

S. Yesenin

Sometimes the entire work represents a broad, expanded metaphorical image.

METONYMY(Greek metonymia - renaming) - trope; replacing one word or expression with another based on similar meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "the forest is noisy" - meaning trees; etc.).

The theater is already full, the boxes are sparkling;

The stalls and the chairs, everything is boiling...

A.S. Pushkin

In metonymy, a phenomenon or object is denoted using other words and concepts. At the same time, the signs or connections that bring these phenomena together are preserved; Thus, when V. Mayakovsky speaks of a “steel orator dozing in a holster,” the reader easily recognizes in this image a metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of ​​a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:

You led swords to a bountiful feast;

Everything fell with a noise before you;
Europe was dying; grave sleep
Hovered over her head...

A. Pushkin

When is the shore of hell
Will take me forever
When he falls asleep forever
Feather, my joy...

A. Pushkin

PERIPHRASE (Greek periphrasis - roundabout turn, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its signs, as a rule, the most characteristic ones, enhancing the figurativeness of speech. (“king of birds” instead of “eagle”, “king of beasts” - instead of “lion”)

PERSONALIZATION(prosopopoeia, personification) - a type of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays...).

My bells

Steppe flowers!

Why are you looking at me?

Dark blue?

And what are you calling about?

On a merry day in May,

Among the uncut grass

Shaking your head?

A.K. Tolstoy

SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one object to another based on the quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche:
1) A part of a phenomenon is called in the sense of the whole:

And at the door -
pea coats,
overcoats,
sheepskin coats...

V. Mayakovsky

2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:

Oh, there you are! Fight with a helmet?
Well, aren't they a vile bunch!

3) Singular in the sense of general and even universal:

There a man groans from slavery and chains...

M. Lermontov

And the proud grandson of the Slavs, and the Finn...

A. Pushkin

4) Replacing a number with a set:

Millions of you. We are darkness, and darkness, and darkness.

A. Blok

5) Replacing the generic concept with a specific one:

We beat ourselves with pennies. Very good!

V. Mayakovsky

6) Replacing the specific concept with a generic one:

"Well, sit down, luminary!"

V. Mayakovsky

COMPARISON – a word or expression containing the likening of one object to another, one situation to another. (“Strong as a lion”, “said as he cut”...). The storm covers the sky with darkness,

Whirling snow whirlwinds;

The way the beast will howl,

Then he will cry like a child...

A.S. Pushkin

“Like a steppe scorched by fires, Gregory’s life became black” (M. Sholokhov). The idea of ​​the blackness and gloom of the steppe evokes in the reader that melancholy and painful feeling that corresponds to Gregory’s state. There is a transfer of one of the meanings of the concept - “scorched steppe” to another - the internal state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:

The view of the steppe is sad, where there are no obstacles,
Disturbing only the silver feather grass,
The flying aquilon wanders
And he freely drives dust in front of him;
And where all around, no matter how vigilantly you look,
Meets the gaze of two or three birch trees,
Which are under the bluish haze
They turn black in the empty distance in the evening.
So life is boring when there is no struggle,
Penetrating into the past, discerning
There are few things we can do in it, in the prime of life
She will not amuse the soul.
I need to act, I do every day
I would like to make him immortal, like a shadow
Great hero, and understand
I can't, what does it mean to rest.

M. Lermontov

Here, with the help of the detailed S. Lermontov conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by conjunctions “as”, “as if”, “as if”, “exactly”, etc. Non-union comparisons are also possible:
“Do I have fine curls - combed flax” N. Nekrasov. Here the conjunction is omitted. But sometimes it is not intended:
“The execution in the morning, the usual feast for the people” A. Pushkin.
Some forms of comparison are constructed descriptively and therefore are not connected by conjunctions:

And she appears
At the door or at the window
The early star is brighter,
Morning roses are fresh.

A. Pushkin

She's cute - I'll say between us -
Storm of the court knights,
And maybe with the southern stars
Compare, especially in poetry,
Her Circassian eyes.

A. Pushkin

A special type of comparison is the so-called negative:

The red sun does not shine in the sky,
The blue clouds do not admire him:
Then at mealtimes he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.

M. Lermontov

In this parallel depiction of two phenomena, the form of negation is both a method of comparison and a method of transferring meanings.
A special case is represented by the instrumental case forms used in comparison:

It's time, beauty, wake up!
Open your closed eyes,
Towards northern Aurora
Be the star of the north.

A. Pushkin

I don't soar - I sit like an eagle.

A. Pushkin

Often there are comparisons in the form of the accusative case with the preposition “under”:
“Sergei Platonovich... sat with Atepin in the dining room, covered with expensive oak wallpaper...”

M. Sholokhov.

IMAGE -a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Moroz - commander of the patrol

Walks around his possessions.

ON THE. Nekrasov

ALLEGORY(Greek allegoria - allegory) - a specific image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images go back to Greek and Roman mythology. Thus, the image of a blindfolded woman with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes.

Unlike metaphor, in allegory the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).

GROTESQUE (French grotesque - whimsical, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Enraged, I rush into the meeting like an avalanche,

Spewing wild curses on the way.

And I see: half the people are sitting.

Oh devilishness! Where is the other half?

V. Mayakovsky

IRONY (Greek eironeia - pretense) - expression of ridicule or deceit through allegory. A word or statement acquires a meaning in the context of speech that is opposite to the literal meaning or denies it, casting doubt on it.

Servant of powerful masters,

With what noble courage

Thunder with your free speech

All those who have their mouths covered.

F.I. Tyutchev

SARCASM (Greek sarkazo, lit. - tearing meat) - contemptuous, caustic ridicule; the highest degree of irony.

ASSONANCE (French assonance - consonance or response) - repetition of homogeneous vowel sounds in a line, stanza or phrase.

Oh spring without end and without edge -

An endless and endless dream!

A. Blok

ALLITERATION (SOUNDS)(Latin ad - to, with and littera - letter) - repetition of homogeneous consonants, giving the verse a special intonational expressiveness.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

A storm is coming. It hits the shore

A black boat alien to enchantment...

K. Balmont

ALLUSION (from Latin allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, a literary work (“the glory of Herostratus”).

ANAPHORA(Greek anaphora - carrying out) - repetition initial words, lines, stanzas or phrases.

You're miserable too

You are also abundant

You're downtrodden

You are omnipotent

Mother Rus'!…

ON THE. Nekrasov

ANTITHESIS (Greek antithesis - contradiction, opposition) - a sharply expressed opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blushing like poppies,

I am like death, skinny and pale.

A.S. Pushkin

You're miserable too
You are also abundant
You are mighty
You are also powerless...

N. Nekrasov

So few roads have been traveled, so many mistakes have been made...

S. Yesenin.

Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the entire work is built on the principle of antithesis

APOCOPE(Greek apokope - cutting off) - artificially shortening a word without losing its meaning.

...When suddenly he came out of the forest

The bear opened its mouth at them...

A.N. Krylov

Barking, laughing, singing, whistling and clapping,

Human rumor and horse top!

A.S. Pushkin

ASYNDETON (asyndeton) - a sentence with the absence of conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.

Night, street, lantern, pharmacy,

Pointless and dim light.

Live for at least another quarter of a century -

Everything will be like this. There is no outcome.

A. Blok

MULTI-UNION(polysyndeton) - excessive repetition of conjunctions, creating additional intonation coloring. The opposite figure isnon-union

Slowing down speech with forced pauses, polyunion emphasizes individual words and enhances its expressiveness:

And the waves crowd and rush back,
And they come again and hit the shore...

M. Lermontov

And it’s boring and sad, and there’s no one to give a hand to...

M.Yu. Lermontov

GRADATION- from lat. gradatio - gradualism) is a stylistic figure in which definitions are grouped in a certain order - increasing or decreasing their emotional and semantic significance. Gradation enhances the emotional sound of the verse:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.

S. Yesenin

INVERSION(Latin inversio - rearrangement) - a stylistic figure consisting of a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of a phrase gives it a unique expressive tone.

Legends of deep antiquity

A.S. Pushkin

He passes the doorman with an arrow

Flew up the marble steps

A. Pushkin

OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting words with opposite meanings (living corpse, giant dwarf, heat of cold numbers).

PARALLELISM(from the Greek parallelos - walking next to) - identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.

The waves splash in the blue sea.

The stars shine in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is as high as the mountains.

V. Bryusov

Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and literary works close to them in their artistic features (“Song about the merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Rus'” by N. A Nekrasov, “Vasily Terkin” by A. T, Tvardovsky).

Parallelism can have a broader thematic nature in content, for example, in the poem by M. Yu. Lermontov “Heavenly clouds are eternal wanderers.”

Parallelism can be either verbal or figurative, or rhythmic or compositional.

PARCELLATION- an expressive syntactic technique of intonation division of a sentence into independent segments, graphically highlighted as independent sentences. (“And again. Gulliver. Standing. Slouching.” P. G. Antokolsky. “How courteous! Kind! Sweet! Simple!” Griboedov. “Mitrofanov grinned, stirred the coffee. He narrowed his eyes.”

N. Ilyina. “He soon quarreled with the girl. And that’s why.” G. Uspensky.)

TRANSFER (French enjambement - stepping over) - a discrepancy between the syntactic division of speech and the division into poetry. When transferring, the syntactic pause inside a verse or hemistich is stronger than at the end.

Peter comes out. His eyes

They shine. His face is terrible.

The movements are fast. He is beautiful,

He's like God's thunderstorm.

A. S. Pushkin

RHYME(Greek “rhythmos” - harmony, proportionality) - a variety epiphora ; the consonance of the ends of poetic lines, creating a feeling of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.

ELLIPSIS (Greek elleipsis - deletion, omission) - a figure of poetic syntax based on the omission of one of the members of a sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech and conveys a tense change of action. Ellipsis is one of the types of default. In artistic speech, it conveys the speaker’s excitement or the tension of the action:

We sat down in ashes, cities in dust,
Swords include sickles and plows.

Introduction to the work

The dissertation research is devoted to the consideration of the peculiarities of the poetics of “The Tale of Igor’s Campaign” in the light of folklore tradition.

“The Tale of Igor’s Campaign” is an outstanding literary work of a secular nature, based on historical material, written by an unknown author of the 12th century. The study of “The Lay” revealed its important artistic feature: being an original author’s work, focused on the genre and stylistic literary traditions of its time, it at the same time reveals a close connection with folklore. This shows up on different levels poetics: in composition, in plotting, in the depiction of artistic time and space, in the stylistic features of the text. One of the characteristic features of medieval literature, which has common traditions with folklore, was anonymity. Author ancient Russian work did not seek to glorify his name.

History of the issue. The study of the relationship between the “Word” and folklore was developed in two main directions: “descriptive”, expressed in the search and analysis of folklore parallels to the “Word”, and “problematic”, the adherents of which aimed to find out the nature of the monument - oral-poetic or book and literary.

For the first time, the most vivid and complete embodiment of the idea of ​​the connection between the “Word” and folk poetry was found in the works of M.A. Maksimovich. However, in the works of Vs. F. Miller examined the parallels between the Lay and the Byzantine novel. Polar points of view - about the folklore or bookishness of the “Word” - were subsequently united in a hypothesis about the dual nature of the monument. Some results of the development of the problem “The Word and Folklore” were summed up in the article by V.P. Adrianova-Peretz “The Tale of Igor’s Campaign” and Russian folk poetry,” where it was pointed out that supporters of the idea of ​​the “folk poetic” origin of the “Tale” often lose sight of the fact that “in oral folk poetry, lyricism and epic each have their own artistic system.” , while in the author’s integral organic poetic system “inextricably fused best sides lyrical and epic style". D.S. Likhachev also justifiably pointed out the closeness of the Lay to folklore, especially to folk laments and glories, in ideological content and form. This is how the problem of the relationship between folklore and literary elements in the text was stated, still unresolved in literary criticism. the most famous monument ancient Russian literature.

A number of works expressed ideas about the relationship of the “Word” with certain genres of folklore. Various aspects The problems of the relationship between the monument and folklore were covered in the works of I.P. Eremin, L.A. Dmitrieva, L.I. Emelyanova, B.A. Rybakova, S.P. Pinchuk, A.A. Zimina, S.N. Azbeleva, R. Manna. These and many works similar in type are united by a common attitude: according to their authors, “The Lay” is genetically and in form connected with folk poetry, to which it has its roots.

At one time, a very accurate, from our point of view, idea was expressed by Academician M.N. Speransky, who wrote: “In “The Lay” we see constant echoes of those elements and motives with which we deal in oral folk poetry... This shows that “The Lay” is a monument that combines two areas: oral and written." This attitude became the impetus for us to turn to the comparative study of “The Tale of Igor’s Campaign” and the folklore tradition and the need to raise the question of the origin and connection of mythological images with the author’s worldview.

Scientific novelty: Despite the scientific searches of researchers mentioned above, issues of formation artistic skill author in the early Middle Ages, reliance on folklore tradition has not yet received a comprehensive answer in literary criticism. D.S. Likhachev wrote: “A complex and responsible question... about the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. Without a series of extensive preliminary studies, this question not only cannot be resolved, but even ... correctly posed.

this work is an attempt to resolve the question of why “The Tale of Igor’s Campaign” is so rich in folklore, as well as the key question of the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. The work is carried out comprehensive analysis folklore tradition in “The Tale of Igor’s Campaign”: it is revealed how the worldview influenced the design of the plan and the embodiment of the idea of ​​the work, clarifications have been made to the problem of studying the system of folklore genre forms used by the author, the connection between the elements of the folklore chronotope, folklore images and poetic techniques that are discovered is analyzed in the text of a literary monument of the 12th century, with images and tropes of “The Tale of Igor’s Campaign.”

The study proves that the poetic system that was formed in oral folk art undoubtedly influenced the poetics of the emerging medieval Russian literature, including the artistic structure of “The Tale of Igor’s Campaign” because during the period of artistic searches, during the period of the formation of written literature culture of oral poetic creativity developed over centuries

influenced the formation of literature in that there were already ready-made genre forms and artistic poetic techniques that were used by ancient Russian writers, including the author of “The Tale of Igor’s Campaign.”

The “Word” is usually published in parallel: in the original language and in translation, or separately in each of these two versions. For our analysis of “The Tale of Igor’s Campaign,” it was necessary to turn to the ancient Russian text, since the original text allows us to better understand the artistic specifics of the work.

Object of study is the text “The Tale of Igor’s Host” in Old Russian, as well as folklore texts of different genres in the records of the 19th-20th centuries, necessary for comparative analysis.

Relevance of the work. An appeal in the dissertation research to the relationship between oral (folklore) and written (Old Russian literary) traditions is very relevant, because reveals the relationship between the poetics of a literary work and the poetics of folklore, as well as the process of influence of one artistic system to another in early period the formation of Russian literature.

Subject of study- implementation of folklore poetics in the text of an ancient Russian literary monument.

Purpose dissertation research is a comprehensive study of the features of folklore poetics in the artistic structure of “The Lay of Igor’s Campaign.

Based on the general goal, the following specific ones are formulated: tasks:

To identify the basis of the author’s artistic worldview, to determine the role of its various structural elements in the poetics of “The Lay,” to consider the elements of animist and pagan beliefs reflected in the work.

Consider in the “Word” elements of folklore genres, general genre models, elements of composition, features of the chronotope, common with folklore, folklore images.

Determine in the “Word” the specifics of the image of a person, the type of hero, its connection with the folklore system of images.

Identify artistic features, general stylistic patterns in the creation of the text of the monument and folklore works.

Methodological basis The dissertation was based on the fundamental works of Academician D.S. Likhachev "Man in Culture" Ancient Rus'", "Development of Russian literature of the 11th - 17th centuries: eras and styles", "Poetics of Old Russian literature", "The Tale of Igor's Campaign. Sat. research and articles (Oral origins of the artistic system “The Tale of Igor’s Campaign.” As well as the works of V.P. Adrianova-Peretz “The Tale of Igor’s Campaign and Russian folk poetry”, “The Tale of Igor’s Campaign and monuments of Russian literature of the 11th - 13th centuries” Collection of studies. These works made it possible to consider the following aspects of the poetics of the “Word”: categories of artistic time and space, system artistic means in the context of folklore.

Research methodology includes a comprehensive analysis of the text, combining historical, literary, comparative and typological methods.

Theoretical significance of the study consists in a comprehensive study of the features of the poetics of folklore in the artistic system of “The Tale of Igor’s Campaign,” which is important for understanding the aesthetic values ​​of ancient Russian literature as a whole. Identification of folklore traditions at different levels of text poetics presupposes further development of the problem in literary criticism.

Practical significance of the study: dissertation research materials can be used when delivering lectures in university courses on the history of Russian literature, in the special course “Literature and Folklore”, for compiling educational and methodological manuals in ancient Russian literature, as well as in school courses in literature, history, and courses in “World Artistic Culture”.

Provisions for defense:

1. The poetics of the “Word” reflects the worldview ancient Russian man, having absorbed the most ancient mythological ideas of the Slavs about the world, but already perceiving them at the level of aesthetic categories. Mythological characters associated with ancient ideas about the world around us penetrate into literature, but they are no longer perceived as divine beings, but as some kind of mythological magical characters.

2. “The Tale of Igor’s Campaign” reveals elements of numerous folklore genres. From ritual folklore traces of wedding and funeral rites are noted, elements of conspiracy and spells are present.

In the artistic structure of the monument, the influence of epic genres, in particular fairy tales and epics, is noticeable: in the elements of composition, in plot construction, in the chronotope. The system of images is close to a fairy tale, although types of heroes are found that are similar to the epic ones. Folklore images-symbols of the lyrical song influenced the poetics of the Lay. Small genre forms - proverbs, sayings, parables - are a means of characterizing and enhancing emotionality.

3. The “Word” uses the inseparability of tropes and symbols characteristic of folklore, with the help of which the author gives a vivid and imaginative description of the characters and finds out the reasons for their actions. The syntax of the monument is archaic (influence of oral tradition) and is largely related to the poetic syntax of folk lyrical songs. The rhythmic structure of the “Lay” creates an artistic context that is correlated with the epic tradition of reproducing the text.

4. Folklore was the “nutrient medium” that influenced the formation of the artistic system of Old Russian literature in the early period of its formation, which is clear from the analysis of the outstanding work of the 12th century, permeated with folklore traditions. During the period of creation of “The Tale of Igor’s Campaign,” the process of formation of literary poetics, occurring under the influence of folklore, deepened.

Dissertation structure, determined by the goals and objectives of the study, includes an introduction, three chapters (the first and second chapters consist of four paragraphs, the third contains three paragraphs), a conclusion and a bibliographic list of references, including 237 titles. The total volume of the dissertation is 189 pages.

Make a plan for your essay and check whether it is written correctly? and are the punctuation marks correct? In Ivan Sergeevich Turgenev's story "Mumu", the janitor Gerasim is the most remarkable person among all the servants. this is a man
tall, powerfully built and deaf and dumb from birth. Any work can be done in his hands, because nature has endowed him with extraordinary strength. Lady Gerasima from the village to her city for service. bought him clothes
boots and identified him as a janitor. The janitor Gerasim performed his work diligently and carefully, he loved order in everything. For these qualities he was respected and feared. The lady favored Gerasim as a faithful and strong watchman. she
kept numerous servants. Of all the servants, the main character fell in love with the laundress Tatyana for her meek and timid disposition. Having met her, he rejoiced and tried to please her. Gerasim guarded and protected Tatyana from ridicule and
caustic words. By order of the lady, the shoemaker Kapiton was married to the washerwoman Tatyana. Of course, Gerasim didn’t like this; he was worried and sat in his closet for a long time. and then gave Tatyana a red paper handkerchief. And
When the shoemaker and the washerwoman were sent to the village, Gerasim went to see them off. This showed his meek and kind disposition. On the way back, Gerasim found a hungry and frozen puppy, which he took with him out of his kindness. He
looked after his pet like a mother cares for her child. Gerasim named the dog Mumu. he fell in love with her very much, and she was affectionate towards everyone, but she loved one janitor. of course, the lady did not even suspect the existence
Mu Mu. After one unpleasant incident, she ordered that the dog should no longer appear in the yard; the servant carried out her order and took it to the market. at the time when Gerasim did not find a dog in the closet and in the yard, he
very upset. then mumu returned to the janitor. Gerasim became careful, walked the dog only at night and tried in every possible way to hide it from human eyes. In the end, they finally found out about the dog. followed from the lady
order to kill the puppy. It was difficult for Gerasim to do this, but he decided. The next day the janitor went to the tavern, ate himself and fed the mumu. he decided to go to the river and drown the dog. Of course, Gerasim felt sorry for the mumu, but he couldn’t
disobey the lady's orders. After all this, the janitor Gerasim returned to his village and began to live as before. I like the janitor Gerasim because he is strong, courageous, diligent, hardworking. he any
strives to do the job well. Gerasim is kind, tries to protect those who are weaker than him. he loves animals and cares for them tenderly. It’s for these qualities that I like Gerasim from the story. With. Turgenev "mumu".

Lesson topic:

The role of figurative and expressive means of language in works of fiction

Lesson objectives:

educational : repeat terms; develop the ability to distinguish between tropes, stylistic figures and other means of expression; determine their role in the text;

developing : develop the mental and speech activity of students, the ability to analyze, compare, classify, generalize, and logically correctly express their thoughts; continue to work on discovering creative abilities; on the development of critical, imaginative thinking; create conditions for the development of communication skills;

educational: development of a system of value relations towards the native language; fostering a caring attitude towards the author’s word, a responsible attitude towards one’s own word, and towards the culture of speech.

DURING THE CLASSES.

1. Organizing time.

2. Opening remarks. Let's start our lesson by reading and analyzing a poem by O. Mandelstam. Reading and analysis of O. Mandelstam's poem. (1 slide).

What is this poem about? What is the theme and main idea of ​​this poem? What helps the author create such a picture of St. Petersburg and convey his feelings? (comparisons – “like a jellyfish”; epithets – “transparent spring”, personifications – “spring is dressing”, metaphors – “sea wave heavy emerald”, etc.).

What can expressive means be used for?

Conclusion : figurative and expressive means make speech bright, figurative, expressive.

Based on all that has been said, how can we formulate the topic and objectives of the lesson?

3. Record the topic of the lesson. ( 2 slide). What are the objectives of the lesson? (3 slide).

Let's turn to the epigraph of our lesson. We read lines from the works of N.V. Gogol, V. Bryusov, A. Akhmatova.

What do these quotes have in common? How do they reflect the topic of our lesson?

4. Conversation on issues. Repetition.

1 .What three groups are the visual and expressive means of language divided into?

2. List the figurative and expressive means of language, write down the terms in a notebook, give oral definitions.

METAPHOR – the use of a word or expression in a figurative sense based on the similarity of two objects or phenomena.

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

EPITHET – figurative definition.

METONYMY - a trope consisting in the fact that instead of the name of one object, the name of another is given.

HYPERBOLA - a figurative expression containing an exorbitant exaggeration of the strength, size, or significance of any phenomenon.

LITOTES - a trope containing an excessive understatement of the subject, force, or significance of any phenomenon.

IRONY - a trope consisting of using a word in a sense opposite to the literal one.

ALLEGORY – expression of an abstract concept or idea in a specific artistic image.

PERSONALIZATION - a trope consisting in the transfer of human properties to inanimate objects and abstract concepts.

PERIPHRASE - a trope consisting of replacing the usual one-word name of an object with a descriptive expression.

ANAPHORA – repetition of individual words or phrases at the beginning of a sentence.

EPIPHORA – repetition of words or expressions at the end of neighboring, adjacent sentences.

ANTITHESIS - a turn in which opposing concepts are sharply contrasted.

GRADATION - an arrangement of words in which each subsequent one contains an intensifying meaning.

INVERSION - a special arrangement of words that violates the usual order.

SYNECDOCHE - , variety , based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them.

OXYMORON - “smart stupidity” stylistic or error, a combination of words with the opposite meaning (that is, a combination ).

SYNTACTIC PARALLELISM – samesyntacticstructureneighboringproposals.

PARCELLATION – sentence division.

Consolidation and generalization of material

5. Distribute the terms into two groups. ( Slide 5)

6. Find the mistake in the definition of the trope. (Slide 6)

7. Match the definition and the stylistic figure. (Slide 7)

8. Match the definition and lexical means . (Slide 8).

9. Physical education minute (Slides 10 - 16)

Metonymy, phraseological units, periphrasis, parallelism, epithet, synonyms, comparison, a rhetorical question, colloquial words, litotes.

10. Working with texts of works of art (based on printouts) Examples from works of fiction of tropes and stylistic figures.

What language means are found in these texts?

Until Apollo demands the poet to the sacred sacrifice, He is cowardly immersed in the worries of the vain world;Silent his holy lyre: Souleats a cold dream, And among the insignificant children of the world, Perhaps he is the most insignificant of all. (A.S. Pushkin, “The Poet”) (Metaphors)

Red brush Rowanlit up . Leaves were falling. I was born

(M. Tsvetaeva, From poems about Moscow) (Metaphor)

And you fall like that,

Like a fallen leaf from a tree, it will fall!

And you will die like this,

How your last slave will die .

(G.R. Derzhavin, “To Rulers and Judges”) (Comparisons)

But only a divine verb

It will touch your hearing clearly

The poet's soul will stir,

Like an awakened eagle.

(A.S. Pushkin “The Poet”) (Comparison)

There is dark oak and ash hereemerald,

And there's azuremelting tenderness…

As if from realitywonderful

You're carried away intomagical vastness.

(A.A. Fet, “Mountain Gorge”) (Epithets)

Feigned don't demand tenderness from me,

I will not hide the coldness of my heartsad .

You're right, it's not there anymorebeautiful fire

My original love.

(E.A. Baratynsky, “Confession”) (Epithets)

We need a language like the Greeks had,

What the Romans had and, following them in that,

As Italy and Rome now say.

(A. Sumarokov) (Metonymy)

8. He is a man! They are ruled by the moment

He is a slave to rumors, doubts and passions;

Forgive him for his wrongful persecution:

He took Paris, he founded the Lyceum.

(A.S. Pushkin) (Metonymy)

And it was heard until dawn,

How rejoicedFrenchman …

(M.Yu. Lermontov, “Borodino”) (Synecdoche)

10.Everything is sleeping - man, beast, and bird

(Gogol) (Synecdoche)

11.“It rained in one place, sothe river, which the hare had swam a day earlier, swollen and overflowed for ten miles.”

(M.E. Saltykov-Shchedrin “Selfless Hare”). (Hyperbola)

12. Jumping dragonfly

Summer is redsang,

I didn’t have time to look back,

How winter rolls into your eyes.

(I.A. Krylov, “Dragonfly and Ant”) (Personification)

13.Where are you, where are you,thunderstorm of kings,

Freedom's proud singer?

Come, tear off the wreath from me,

Break the pampered lyre...

I want to sing freedom to the world,

On the trails, defeat vice.

(A.S. Pushkin, Ode “Liberty”) (Periphrase)

14. You're miserable too

You are also abundant

You are mighty

You are also powerless...

(N.A. Nekrasov, “Who Lives Well in Rus'”) (Anaphora)

15. Let thunder shake the sky,

Villains oppress the weak

Madmen praise their intelligence!

My friend! It's not our fault.

(N.M. Karamzin) (Gradation)

16. Nor peace full of proud trust,

Nor the dark old cherished legends

No joyful dreams stir within me.

(M.Yu. Lermontov “Motherland”)(Inversion)

17. And walking importantly, in orderly calm,
A man leads a horse by the bridle
In big boots, in a short sheepskin coat,
In big mittens...and from the nails myself!

(N.A. Nekrasov) (Litota)

18. The forest is not the same!
- The bush is not the same!
- The blackbird is not the same!

(M. Tsvetaeva) (Epiphora)

And the day has come. Gets up from his bed
Mazepa, this frail sufferer,
Thiscorpse alive , just yesterday
Moaning weakly over the grave.

( . «

11. Reading and listening to A. Blok’s poem “Stranger” " (Slides 17 – 21)

Analysis of the visual and expressive means of the poem, their role in the text.

12. Conclusion: What is the role of visual and expressive means in works of fiction?

What is the practical orientation of knowledge of visual and expressive means and their role in the text? (Completing task 24 of the Unified State Examination in the Russian language).

13. Work with text and review from KIM Unified State Examination in the Russian language. ( Slides 22 – 26)

Complete task 24 using the algorithm.

14. Reflection. (Slide 27). Let's summarize what we learned in class.

What role do figurative and expressive means of language play in works of fiction and in human life?

Creation of new, bright, fresh images.

The thought is expressed fully, accurately, deeply, in accordance with the plan

Impact on the thoughts and feelings of the reader, purification on the spiritual and, as a result, on the physical level.

15. Homework. (Slide28)

1. Analyzefrom the point of view of the use of visual and expressive means, a poem by a Silver Age poet.

2. Complete task 24 of the Unified State Exam in the Russian language.

AESOP'S LANGUAGE

(Aesopian language) - (on behalf of the ancient Greek fabulist Aesop, a slave who lived in the 6th century BC) - a type of allegory: the language of hints, omissions, used primarily in satirical works (fables, satires, epigrams, feuilletons, etc.). etc.) and allows you to veil, disguise the true essence of a statement in cases where it cannot be expressed directly (for example, for censorship reasons). The term was introduced into literary use by M.E. Saltykov-Shchedrin, calling E. I. a special (“rabya”) manner of allegorical presentation, which writers had to resort to in order to deceive the tsarist censorship (see censorship). In the works of M.E. Saltykov-Shchedrin, for example, a spy, an informer is called a “heart expert”, “collector of statistics”; slaps - "applause". N.G. Chernyshevsky in the novel "What to do?" calls the narrow-minded man in the street, alien to public interests, a “discerning reader.” Possibilities E. I. M. Zoshchenko, M. Bulgakov, V. Vysotsky and others widely used as satirical allegory, in foreign literature- J. Swift, A. France et al.

Dictionary of literary terms. 2012

See also interpretations, synonyms, meanings of the word and what is AESOPIC LANGUAGE in Russian in dictionaries, encyclopedias and reference books:

• AESOP'S LANGUAGE
  (named after the fabulist Aesop) secret writing in literature, an allegory that deliberately disguises the thought (idea) of the author. Resorts to a system of “deceptive means”: traditional allegorical...
• AESOP'S LANGUAGE in big Soviet encyclopedia, TSB:
  language (named after the ancient Greek fabulist Aesop), a special type of secret writing, censored allegory, which was used in fiction, criticism and journalism, ...
• AESOP'S LANGUAGE
  (named after the fabulist Aesop), secret writing in literature, a veiled statement that deliberately masks the thought (idea) of the author (often from censorship). Resorts to the system...
• AESOP'S LANGUAGE
  [named after the ancient Greek fabulist Aesop] allegorical language, what you need to be able to read “between the lines”, a disguised way of expressing your...
• AESOP'S LANGUAGE in the Phraseology Handbook:
  allegorical language, full of omissions, hints, allegories. The expression comes from the name of the legendary Greek fabulist Aesop. Aesop was a slave; because...
• AESOP'S LANGUAGE
  (named after the ancient Greek fabulist Aesop) - a special style of presentation designed to disguise for censorship the direct, immediate expression of ideas that contradict official policy, ...
• AESOP'S LANGUAGE in the New Dictionary of Foreign Words:
  Aesopian language (named after the ancient Greek fabulist Aesop (aisopos), 6th century BC translation of thoughts through hints, omissions and ...
• AESOP'S LANGUAGE in the Modern Explanatory Dictionary, TSB:
  (named after the fabulist Aesop), secret writing in literature, an allegory that deliberately disguises the thought (idea) of the author. Resorts to a system of “deceptive means”: traditional...
• AESOP'S LANGUAGE in the Large Modern Explanatory Dictionary of the Russian Language:
  m. Secret writing in literature, an allegory that deliberately masks the thought, the idea of ​​the author (named after the fabulist Aesop) ...
• LANGUAGE in Wiki Quotebook:
  Data: 2008-10-12 Time: 10:20:50 * Language is also of great importance because with its help we can hide our...
• LANGUAGE in the Dictionary of Thieves' Slang:
  - investigator, operative...
• LANGUAGE in Miller's Dream Book, dream book and interpretation of dreams:
  If in a dream you see your own tongue, it means that soon your friends will turn away from you. If in a dream you see...
• LANGUAGE in the Newest Philosophical Dictionary:
  a complex developing semiotic system, which is a specific and universal means of objectifying the content of both individual consciousness and cultural tradition, providing the opportunity...
• LANGUAGE in the Dictionary of Postmodernism:
  - a complex developing semiotic system, which is a specific and universal means of objectifying the content of both individual consciousness and cultural tradition, providing...
• LANGUAGE
  OFFICIAL - see OFFICIAL LANGUAGE...
• LANGUAGE in the Dictionary of Economic Terms:
  STATE - see STATE LANGUAGE...
• LANGUAGE in the Encyclopedia Biology:
  , an organ in the oral cavity of vertebrates that performs the functions of transportation and taste analysis of food. The structure of the tongue reflects the specific nutrition of animals. U...
• LANGUAGE in the Brief Church Slavonic Dictionary:
  , pagans 1) people, tribe; 2) language, ...
• LANGUAGE in the Bible Encyclopedia of Nikephoros:
  like speech or adverb. “The whole earth had one language and one dialect,” says the writer of everyday life (Gen. 11:1-9). A legend about one...
• LANGUAGE in the Lexicon of Sex:
  multifunctional organ located in the oral cavity; pronounced erogenous zone persons of both sexes. With the help of Ya, orogenital contacts of various kinds are carried out...
• LANGUAGE in Medical terms:
  (lingua, pna, bna, jna) a muscular organ covered with a mucous membrane located in the oral cavity; participates in chewing, articulation, contains taste buds; ...
• LANGUAGE in the Big Encyclopedic Dictionary:
  ..1) natural language, the most important means of human communication. Language is inextricably linked with thinking; is a social means of storing and transmitting information, one...
• LANGUAGE in the Modern Encyclopedic Dictionary:
• LANGUAGE
  1) natural language, the most important means of human communication. Language is inextricably linked with thinking; it is a social means of storing and transmitting information, one...
• ESOPOV in the Encyclopedic Dictionary:
  Aesopian language - . [named after the ancient Greek fabulist Aesop]. allegorical language, what you need to be able to read “between the lines”, disguised...
• ESOPOV in the Encyclopedic Dictionary:
  a, oh, ESOPian, aya, oe Aesopian (Aesopian) language is speech replete with allegories, omissions to hide the direct meaning; how the technique is used...
• LANGUAGE in the Encyclopedic Dictionary:
  2, -a, pl. -i, -ov, m. 1. Historically developed system of sound, vocabulary and grammatical means, objectifying the work of thinking and being ...
• LANGUAGE
  MACHINE LANGUAGE, see Machine language...
• LANGUAGE
  LANGUAGE, natural language, the most important means of human communication. Self is inextricably linked with thinking; is a social means of storing and transmitting information, one...
• LANGUAGE in the Big Russian Encyclopedic Dictionary:
  TONGUE (anat.), in terrestrial vertebrates and humans, a muscular outgrowth (in fish, a fold of the mucous membrane) at the bottom of the oral cavity. Participates in …
• ESOPOV in the Big Russian Encyclopedic Dictionary:
  AESOP'S LANGUAGE (named after the fabulist Aesop), secret writing in literature, an allegory that deliberately disguises the thought (idea) of the author. Resorts to a system of “fraudulent...
• LANGUAGE
  languages"to, languages", languages", language"in, language", language"m, languages", language"in, language"m, languages"mi, language", ...
• LANGUAGE in the Complete Accented Paradigm according to Zaliznyak:
  languages" to, languages", languages", language" in, language", languages"m, languages"to, languages", language"m, languages"mi, language", ...
• LANGUAGE in the Linguistic Encyclopedic Dictionary:
  - the main object of study of linguistics. By Ya, first of all, we mean natural. human self (in opposition to artificial languages ​​and ...
• LANGUAGE in the Dictionary of Linguistic Terms:
  1) A system of phonetic, lexical and grammatical means, which is a tool for expressing thoughts, feelings, expressions of will and serves as the most important means of communication between people. Being...
• LANGUAGE in the Popular Explanatory Encyclopedic Dictionary of the Russian Language.
• LANGUAGE
  "My Enemy" in...
• LANGUAGE in the Dictionary for solving and composing scanwords:
  Weapon …
• LANGUAGE in Abramov's Dictionary of Synonyms:
  dialect, dialect, dialect; syllable, style; people. See people || the talk of the town See spy || master the tongue, restrain the tongue, ...
• ESOPOV in the New Explanatory Dictionary of the Russian Language by Efremova:
  adj. Same as:...
• ESOPOV in Lopatin’s Dictionary of the Russian Language:
  Ez'opov, -a, -o (Ez'opov's b'asni); but: ez'opov...
• ESOPOV in the Complete Spelling Dictionary of the Russian Language:
  Aesopov, -a, -o (Aesop's Fables); but: Aesopian...
• ESOPOV in the Spelling Dictionary:
  ez'opov, -a, -o (ez'opov's b'asni); but: ez'opov...

We have repeatedly heard the expression “Aesopian language.” What does this term mean and where does it come from? It is not known for certain whether such a person lived, or whether this is a collective image. There are many legends about him, and in the Middle Ages his biography was compiled. According to legend, he was born in the 6th century BC. e. in and was a slave of Croesus, however, his resourceful mind, ingenuity and cunning helped him gain freedom and glorified him for many generations.

Naturally, it was the founding father of this technique who first used Aesopian language. Examples of this are given to us by a legend that says that Croesus, having drunk too much, began to claim that he could drink the sea, and made a bet, putting his entire kingdom at stake. The next morning, having sobered up, the king turned to his slave for help and promised to grant him freedom if he helped him out. The wise slave advised him to say: “I promised to drink only the sea, without the rivers and streams that flow into it. Block them and I will fulfill my promise." And since no one could fulfill this condition, Croesus won the bet.

Being a slave and then a freedman, the sage wrote fables in which he ridiculed the stupidity, greed, lies and other vices of the people he knew - mainly his own former owner and his slave-owning friends. But since he was a forced man, he clothed his narrative in allegories, periphrases, resorted to allegories, and depicted his heroes under the names of animals - fox, wolf, crow, etc. This is Aesopian language. The characters in the funny stories were easily recognizable, but the “prototypes” could do nothing but rage silently. In the end, ill-wishers planted a vessel stolen from the temple on Aesop, and the priests of Delphi accused him of theft and sacrilege. The sage was given the choice to declare himself a slave - in this case, his master only had to pay a fine. But Aesop chose to remain free and accept execution. According to legend, he was thrown from a cliff at Delphi.

Thus, thanks to his ironic but allegorical style, Aesop became the founder of such a fable. In subsequent eras of dictatorships and infringement of freedom of expression, the fable genre enjoyed great popularity, and its creator remained a real hero in the memory of generations. We can say that the Aesopian language has long outlived its creator. Thus, there is an antique bowl with a drawing of a hunchback (according to legend, Aesop had an ugly appearance and was a hunchback) and a fox, which tells something - art historians believe that the founder of the fable is depicted on the bowl. Historians claim that in the sculpture row of the “Seven Sages” in Athens there once stood a statue of Aesop by the chisel of Lysippos. At the same time, a collection of the writer’s fables appeared, compiled by an anonymous person.

The Aesopian language was extremely popular: the famous “Tale of the Fox” is composed in just such an allegorical style, and in the images of the fox, wolf, rooster, donkey and other animals the entire ruling elite and clergy of the Roman Church are ridiculed. This manner of speaking vaguely, but aptly and caustically, was used by La Fontaine, Saltykov-Shchedrin, the famous composer of fables Krylov, and the Ukrainian fabulist Glibov. Aesop's parables were translated into many languages, they were composed in rhyme. Many of us probably know the fable about the raven and the fox, the fox and the grapes from school - the plots of these short moralizing stories were invented by an ancient sage.

It cannot be said that the Aesopian language, the meaning of which during regimes where censorship ruled the roost, is irrelevant today. The allegorical style, which does not directly name the target of satire, seems to be addressed in its “letter” to a harsh censor, and in its “spirit” - to the reader. Since the latter lives in realities that are subject to veiled criticism, he easily recognizes it. And even more than that: a quirky manner of ridicule, full of secret hints that require guessing, hidden symbols and images, is much more interesting to readers than a direct and undisguised accusation of the authorities of any offenses, so even those writers and journalists who have nothing to do with it resort to elements of Aesopian language afraid. We see its use in journalism, journalism, and pamphlets on current political and social topics.

Report 7th grade.

A literary image can only exist in a verbal shell. Everything that a poet needs to express: feelings, experiences, emotions, thoughts - is expressed through the verbal fabric of a lyrical work, through the word. Consequently, the word, language is the “primary element” of literature, therefore, when analyzing a lyrical work, much attention is paid to the verbal structure.

The most important role in poetic speech is played by tropes: words and expressions used not in a literal, but in a figurative meaning. Tropes create allegorical imagery in a lyrical work, when the image appears from the convergence of the properties of one object or phenomenon with another. The general role of all artistic and expressive means is to reflect in the structure of the image a person’s ability to think by analogy and identify the essence of a certain phenomenon. When analyzing, it is necessary to highlight the author’s tropes, that is, those that are used once by the poet in a particular case. It is the author's tropes that create poetic imagery.

When analyzing a poem, it is important not only to indicate this or that artistic and expressive means, but to determine the function of a given trope, explain for what purpose, why the poet uses this particular type of trope; assess how allegorical imagery is characteristic of a particular artistic text or poet, how important it is in the overall imagery system, in the formation of an artistic style.

There are a large number of varieties of tropes: the author needs all of them to express his own ideas in poetic speech. Lyrical speech is characterized by increased expressiveness of individual words and speech structures. In lyric poetry, compared to epic and drama, there is a greater share of artistic and expressive means.

Let us give a typical example of the use of artistic and expressive means. In the poem by A.A. Akhmatova “After all, somewhere there is a simple life and light...” (1915), her beloved city of Petersburg is recognized through the description:

But we won’t exchange the lush Granite city of glory and misfortune for anything,

Wide rivers of shining ice, Sunless, gloomy gardens And the voice of the Muse, barely audible.

This paraphrase not only allows the poetess to characterize hometown, but also to express his ambivalent attitude towards the city of “glory and misfortune.” We see that any object (city, natural phenomenon, thing, famous person) can be described using its characteristics.

Basic artistic and expressive means:

An epithet is a figurative definition that gives an additional artistic characteristic of an object or phenomenon in the form of comparison.

Below us, with a cast-iron roar, instantaneous bridges rattle.

A constant epithet is one of the tropes of folk poetry: a definition word that is consistently combined with one or another defined word and denotes some characteristic, always present generic feature in an object.

From beyond the mountains, from overseas, Yes, the rock dove flies. Oh, yes, a dove flew into the village, Yes, into the village, into the village, Yes, he began to ask about the people, Oh, the people, his family: Gentlemen, brothers, guys! Have you seen the doves?

(Russian folk song)

A simple comparison is a simple type of trope, which is a direct comparison of one object or phenomenon with another on some basis.

The road is like a snake's tail, full of people, moving...

(A.S. Pushkin)

Metaphor is a type of trope, the transfer of the name of one object to another based on their similarity.

A golden cloud spent the night on the chest of a giant rock; In the morning she rushed off early, playing merrily across the azure...

(M.Yu. Lermontov)

Personification is a special type of metaphor, transferring the image of human traits onto inanimate objects or phenomena.

Farewell, love letter, farewell!..

(A.S. Pushkin)

Hyperbole is a type of trope based on exaggerating the properties of an object or phenomenon in order to enhance the expressiveness and imagery of artistic speech.

And half-asleep shooters are too lazy to toss and turn on the dial, And the day lasts longer than a century And the embrace does not end.

(B.L. Pasternak)

Litotes is a figurative expression that contains an artistic understatement of the properties of an object in order to enhance the emotional impact.

Only in the world is there something shady

Dormant maple tent.

Periphrasis is a type of trope, replacing the name of an object or phenomenon with a description of its characteristics.

And after him, like the noise of a storm, Another genius rushed away from us, Another ruler of our thoughts. He disappeared, mourned by freedom, leaving his crown to the world. Make noise, get excited by bad weather: He was, O sea, your singer.

(A.S. Pushkin)

Functions of artistic and expressive means (tropes):

Characteristics of an object or phenomenon;

Conveying an emotionally expressive assessment of what is being depicted.

Questions about the report:

1) For what purpose do poets use tropes when creating poems?

2) What artistic and expressive means do you know?

3) What is an epithet? How does a regular epithet differ from a permanent epithet?

4) How does a hyperbole differ from a litote?

As you know, the word is the basic unit of any language, as well as the most important component of its artistic means. The correct use of vocabulary largely determines the expressiveness of speech.

In context, a word is a special world, a mirror of the author’s perception and attitude to reality. It has its own metaphorical precision, its own special truths, called artistic revelations; the functions of vocabulary depend on the context.

Individual perception of the world around us is reflected in such a text with the help of metaphorical statements. After all, art is, first of all, the self-expression of an individual. The literary fabric is woven from metaphors that create an exciting and emotionally affecting image of a particular work of art. Additional meanings appear in words, a special stylistic coloring, creating a unique world that we discover for ourselves while reading the text.

Not only in literary, but also in oral, we use, without thinking, various techniques of artistic expression to give it emotionality, persuasiveness, and imagery. Let's figure out what artistic techniques exist in Russian.

The use of metaphors especially contributes to the creation of expressiveness, so let's start with them.

Metaphor

It is impossible to imagine artistic techniques in literature without mentioning the most important of them - the way of creating a linguistic picture of the world based on meanings already existing in the language itself.

The types of metaphors can be distinguished as follows:

1. Fossilized, worn out, dry or historical (bow of a boat, eye of a needle).
2. Phraseologisms are stable figurative combinations of words that are emotional, metaphorical, reproducible in the memory of many native speakers, expressive (death grip, vicious circle, etc.).
3. Single metaphor (eg homeless heart).
4. Unfolded (heart - “porcelain bell in yellow China” - Nikolay Gumilyov).
5. Traditionally poetic (morning of life, fire of love).
6. Individually-authored (sidewalk hump).

In addition, a metaphor can simultaneously be an allegory, personification, hyperbole, periphrasis, meiosis, litotes and other tropes.

The word “metaphor” itself means “transfer” in translation from Greek. In this case, we are dealing with the transfer of a name from one item to another. For it to become possible, they must certainly have some similarity, they must be adjacent in some way. A metaphor is a word or expression used in a figurative meaning due to the similarity of two phenomena or objects in some way.

As a result of this transfer, an image is created. Therefore, metaphor is one of the most striking means of expressiveness of artistic, poetic speech. However, the absence of this trope does not mean the lack of expressiveness of the work.

A metaphor can be either simple or extensive. In the twentieth century, the use of expanded ones in poetry is revived, and the nature of simple ones changes significantly.

Metonymy

Metonymy is a type of metaphor. Translated from Greek, this word means “renaming,” that is, it is the transfer of the name of one object to another. Metonymy is the replacement of a certain word with another based on the existing contiguity of two concepts, objects, etc. This is the imposition of a figurative word on the direct meaning. For example: “I ate two plates.” Mixing of meanings and their transfer are possible because objects are adjacent, and the contiguity can be in time, space, etc.

Synecdoche

Synecdoche is a type of metonymy. Translated from Greek, this word means “correlation.” This transfer of meaning occurs when the smaller is called instead of the larger, or vice versa; instead of a part - a whole, and vice versa. For example: “According to Moscow reports.”

Epithet

It is impossible to imagine the artistic techniques in literature, the list of which we are now compiling, without an epithet. This is a figure, trope, figurative definition, phrase or word denoting a person, phenomenon, object or action with a subjective

Translated from Greek, this term means “attached, application,” that is, in our case, one word is attached to some other.

The epithet differs from a simple definition in its artistic expressiveness.

Constant epithets are used in folklore as a means of typification, and also as one of the most important means of artistic expression. In the strict sense of the term, only those whose function is words in a figurative meaning, in contrast to the so-called exact epithets, which are expressed in words in a literal meaning (red berries, beautiful flowers), belong to tropes. Figurative ones are created when words are used in a figurative sense. Such epithets are usually called metaphorical. Metonymic transfer of name may also underlie this trope.

An oxymoron is a type of epithet, the so-called contrasting epithets, forming combinations with defined nouns of words that are opposite in meaning (hateful love, joyful sadness).

Comparison

Simile is a trope in which one object is characterized through comparison with another. That is, this is a comparison of different objects by similarity, which can be both obvious and unexpected, distant. It is usually expressed using certain words: “exactly”, “as if”, “similar”, “as if”. Comparisons can also take the form of the instrumental case.

Personification

When describing artistic techniques in literature, it is necessary to mention personification. This is a type of metaphor that represents the assignment of properties of living beings to objects of inanimate nature. It is often created by referring to such natural phenomena as conscious living beings. Personification is also the transference of human properties to animals.

Hyperbole and litotes

Let us note such techniques of artistic expression in literature as hyperbole and litotes.

Hyperbole (translated as “exaggeration”) is one of the expressive means of speech, which is a figure with the meaning of exaggeration of what is being said. we're talking about.

Litota (translated as “simplicity”) is the opposite of hyperbole - an excessive understatement of what is being discussed (a boy the size of a finger, a man the size of a fingernail).

Sarcasm, irony and humor

We continue to describe artistic techniques in literature. Our list will be complemented by sarcasm, irony and humor.

• Sarcasm means "tearing meat" in Greek. This is evil irony, caustic mockery, caustic remark. When using sarcasm, a comic effect is created, but at the same time there is a clear ideological and emotional assessment.
• Irony in translation means “pretense”, “mockery”. It occurs when one thing is said in words, but something completely different, the opposite, is meant.
• Humor is one of the lexical means of expressiveness, translated meaning “mood”, “disposition”. Sometimes entire works can be written in a comic, allegorical vein, in which one can sense a mocking, good-natured attitude towards something. For example, the story “Chameleon” by A.P. Chekhov, as well as many fables by I.A. Krylov.

The types of artistic techniques in literature do not end there. We present to your attention the following.

Grotesque

The most important artistic techniques in literature include the grotesque. The word "grotesque" means "intricate", "bizarre". This artistic technique represents a violation of the proportions of phenomena, objects, events depicted in the work. It is widely used in the works of, for example, M. E. Saltykov-Shchedrin (“The Golovlevs,” “The History of a City,” fairy tales). This is an artistic technique based on exaggeration. However, its degree is much greater than that of a hyperbole.

Sarcasm, irony, humor and grotesque are popular artistic techniques in literature. Examples of the first three are the stories of A.P. Chekhov and N.N. Gogol. The work of J. Swift is grotesque (for example, Gulliver's Travels).

What artistic technique does the author (Saltykov-Shchedrin) use to create the image of Judas in the novel “Lord Golovlevs”? Of course it's grotesque. Irony and sarcasm are present in the poems of V. Mayakovsky. The works of Zoshchenko, Shukshin, and Kozma Prutkov are filled with humor. These artistic techniques in literature, examples of which we have just given, as you can see, are very often used by Russian writers.

Pun

A pun is a figure of speech that represents an involuntary or deliberate ambiguity that arises when used in the context of two or more meanings of a word or when their sound is similar. Its varieties are paronomasia, false etymologization, zeugma and concretization.

In puns, the play on words is based on homonymy and polysemy. Anecdotes arise from them. These artistic techniques in literature can be found in the works of V. Mayakovsky, Omar Khayyam, Kozma Prutkov, A.P. Chekhov.

Figure of speech - what is it?

The word "figure" itself is translated from Latin as " appearance, outline, image." This word is polysemantic. What does this term mean in relation to artistic speech? Syntactic means of expressiveness related to figures: questions, appeals.

What is a "trope"?

“What is the name of an artistic technique that uses a word in a figurative sense?” - you ask. The term “trope” combines various techniques: epithet, metaphor, metonymy, comparison, synecdoche, litotes, hyperbole, personification and others. Translated, the word "trope" means "turnover". Literary speech differs from ordinary speech in that it uses special turns of phrase that embellish the speech and make it more expressive. Different styles use different means of expression. The most important thing in the concept of “expressiveness” for artistic speech is the ability of a text, a work of art to provide aesthetic, emotional impact on the reader, create poetic pictures and vivid images.

We all live in a world of sounds. Some of them cause us positive emotions, others, on the contrary, excite, alarm, cause anxiety, calm or induce sleep. Different sounds evoke different images. Using their combination, you can emotionally influence a person. Reading works of literature and Russian folk art, we perceive their sound especially keenly.

Basic techniques for creating sound expressiveness

• Alliteration is the repetition of similar or identical consonants.
• Assonance is the deliberate harmonious repetition of vowels.

Alliteration and assonance are often used simultaneously in works. These techniques are aimed at evoking various associations in the reader.

Technique of sound recording in fiction

Sound recording is an artistic technique that is the use of certain sounds in a specific order to create a certain image, that is, the selection of words that imitate sounds real world. This technique in fiction is used both in poetry and prose.

Types of sound recording:

1. Assonance means “consonance” in French. Assonance is the repetition of the same or similar vowel sounds in a text to create a specific sound image. It promotes the expressiveness of speech, it is used by poets in the rhythm and rhyme of poems.
2. Alliteration - from This technique is the repetition of consonants in literary text to create some sound image, in order to make poetic speech more expressive.
3. Onomatopoeia is the transmission of auditory impressions in special words reminiscent of the sounds of phenomena in the surrounding world.

These artistic techniques in poetry are very common; without them, poetic speech would not be so melodic.

Expressive means of vocabulary and phraseology
In vocabulary and phraseology, the main means of expressiveness are trails(in translation from Greek - turn, image).
The main types of tropes include: epithet, comparison, metaphor, personification, metonymy, synecdoche, periphrasis, hyperbole, litotes, irony, sarcasm.
Epithet- a figurative definition that marks an essential feature for a given context in the depicted phenomenon. An epithet differs from a simple definition in its artistic expressiveness and imagery. Epithets include all colorful definitions, which are most often expressed by adjectives.

Epithets are divided into general language (coffin silence), individually-authored (dumb peace (I.A. Bunin), touching charm (S.A. Yesenin)) and folk-poetic(permanent) ( red Sun, Kind Well done) .

The role of epithets in the text

Epithets are aimed at enhancing the expressiveness of the images of depicted objects, at highlighting their most significant features. They convey the author’s attitude towards the depicted, express the author’s assessment and perception of the phenomenon, create a mood, and characterize the lyrical hero. (“...Dead words smell bad” (N.S. Gumilyov); “...foggy and quiet azure over the sadly orphaned earth” (F.I. Tyutchev))

Comparison- this is a visual technique based on the comparison of one phenomenon or concept with another.

Ways to express comparison:

Instrumental case form of nouns:

Migratory nightingale

Youth flew by... (A.V. Koltsov)

Shape comparative degree adjective or adverb:

These eyes greener sea ​​and cypress trees darker. (A. Akhmatova)

Comparative turnover with unions as if, as if, as if and etc.:

How beast of prey, to the humble abode

The winner breaks in with bayonets... (M.Yu. Lermontov)

With words similar, similar:

On the eyes of a cautious cat

Similar your eyes (A. Akhmatova)

Using comparative subordinate clauses:

Golden leaves swirled

In the pinkish water of the pond,

Like a light flock of butterflies

Flies breathlessly towards a star. (S. Yesenin)

The role of comparisons in the text.

Comparisons are used in the text in order to enhance its imagery and imagery, create more vivid, expressive images and highlighting, emphasizing any significant features of the depicted objects or phenomena, as well as for the purpose of expressing the author’s assessments and emotions.

Metaphor is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena on some basis.

A 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 and etc.

The role of metaphors in the text

Metaphor is one of the most striking and powerful means of creating expressiveness and imagery in a text.

Through the metaphorical meaning of words and phrases, the author of the text not only enhances the visibility and clarity of what is depicted, but also conveys the uniqueness and individuality of objects or phenomena. Metaphors serve as an important means of expressing the author's assessments and emotions.

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

The wind sleeps and everything goes numb

Just to fall asleep;

The clear air itself becomes timid
To die in the cold. (A.A. Fet)

The role of personifications in the text

Personifications serve to create bright, expressive and imaginative pictures of something; they enliven nature and enhance conveyed thoughts and feelings.

Metonymy- this is the transfer of a name from one object to another based on their contiguity. Adjacency can be a manifestation of connection:

I three plates ate (I.A. Krylov)

Scolded Homer, Theocritus,

But 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 an object and the material from which the object is made:

…not on silver, but on gold ate (A.S. Griboyedov)

Between a place and the people in that place:

The city was noisy, the flags were crackling... (Y.K. Olesha)

The role of metonymy in the text

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

Synecdoche is a type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them.

Most often, transfer occurs:

From less to more:

To him and bird doesn't fly

AND tiger not coming... (A.S. Pushkin)

From part to whole:

Beard Why are you still silent?

The role of synecdoche in the text

Synecdoche enhances the expressiveness and expression of speech.

Periphrase, or paraphrase– (in translation from Greek – a descriptive expression) is a phrase that is used instead of any word or phrase.

Petersburg – Peter's creation, city of Petrov(A.S. Pushkin)

The role of paraphrases in the text

Paraphrases allow you to:

Highlight and emphasize the most significant features of what is being depicted;

Avoid unjustified tautology;

Paraphrases (especially expanded ones) allow you to give the text a solemn, sublime, pathetic sound:

O sovereign city,

Stronghold of the northern seas,

Orthodox crown of the Fatherland,

The magnificent dwelling of kings,

Petra is a great creation!(P. Ershov)

Hyperbola- (translated from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any attribute of an object, phenomenon, action:

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

Litotes- (translated from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any attribute of an object, phenomenon, action:

What tiny cows!

There's less than a pinhead right. (I.A. Krylov)

The role of hyperbole and litotes in the text The use of hyperbole and litotes allows the authors of texts to sharply enhance the expressiveness of what is depicted, to give thoughts unusual shape and bright emotional coloring, evaluativeness, emotional persuasiveness. Biographies, stories, facts, photographs Friedrich Schiller short biography