Stylistic figures - syntactic means of expression

Stylistic figures - elements of poetic language that enhance the impact of the text on the reader, forming a special figurative structure of poetic speech; they make perception artwork more alive and bright. Stylistic figures have been known since antiquity, they were first described in the works of Aristotle ("Poetics", "Rhetoric").

Stylistic figures of speech are a powerful means of linguistic expressiveness, but it is dangerous to overload a work with them: in this case, anyone will look cumbersome and awkward, turn into a dry catalog of metaphors, comparisons, epithets. Artistic taste, feeling artistic tact- this is no less important for a novice (and venerable) author than talent, giftedness.

Language can be divided into two headings. The first includes compositional turns that enhance the brightness of the statement (actually stylistic figures - anaphora, grotesque, irony, epiphora, synecdoche, antithesis, gradation, oxymoron and many others). The second group consists of tropes - words used in an indirect sense; their expressiveness, expressiveness lies in the artistic rethinking lexical meaning(semantics) of the word. Tropes include metaphor, metonymy, litote, hyperbole, simile, epithet, etc.

Let us dwell in more detail on some of the most frequently used stylistic figures and tropes.

• Anaphora - translated from Greek - single-mindedness. A stylistic figure based on an accentuated repetition of the initial words or part of a phrase.

• or question - a statement constructed in the form of a question or appeal, as a rule, to an inanimate object; usually does not imply an answer, is used to highlight, draw attention to a part of the text.

Oh, you whom poetry has banished,

Who did not find a place in our prose,

I hear the cry of the poet Juvenal:

“Shame, nightmare, he transferred me!” (R. Burns).

• Antithesis is an artistically enhanced opposition.

I'm rotting in the ashes,

I command the thunder with my mind!

I am a king - I am a slave;

I am a worm - I am a god! (G.R. Derzhavin).

• Polyunion is the excessive use of conjunctions, which enhances the expressiveness of the statement.

I don't want to choose either a cross or a churchyard... (I. Brodsky).

• Inversion is a deliberate change in the usual order of words in a sentence.

If stylistic figures are mainly used in poetic works, then with the help of tropes it is possible to enrich, make the prose text more expressive and expressive.

Metaphor occupies an important place among the tropes, almost all other tropes are related to it or are special type expressions of metaphor. So, a metaphor is the transfer of a name from an object to an object on the basis of the similarity of external or internal features, the similarity of the impression or idea of ​​the structure of the subject. It is always based on analogy, many linguists define it as a comparison with an omitted comparative connective. But still a metaphor harder to compare, it is more finished, completed.

There are the following main types of metaphor: general language (occasional) and artistic (usual). The general language metaphor is the source of the emergence of new names in the language (the leg of a chair, the spout of a teapot, the handle of a bag). The idea of ​​comparison, the living expressive image underlying such a metaphorical transfer, is gradually erased (a linguistic metaphor is also called erased), the expressive coloring of the statement is lost. live artistic metaphor, on the contrary, becomes the center of a literary text:

Anna threw him this ball of coquetry ... (L.N. Tolstoy).

Particular cases of metaphor are epithet (expressive, expressive definition) and personification (metaphorical transfer of a sign according to the type “from a living to an inanimate object”):

Silent sadness will be consoled and joy will quickly reflect .... (A.S. Pushkin).

Hyperbole (artistic exaggeration) is considered a very expressive and powerful means of linguistic expression: rivers of blood, a deafening cry.

Stylistic figures and tropes of speech are the basis of the figurative structure of the language. The skill of the writer does not at all consist in the constant use of old, bored with all forms of linguistic expressiveness. On the contrary, a talented author will be able to breathe life content even into a well-known to everyone, thus attracting the reader's attention, refreshing the perception of a literary text.

concept imagery of the word associated with the phenomenon of ambiguity. It is known that words that name only one object are considered unambiguous. (pavement, sidewalk, trolleybus, tram), and words denoting several objects, phenomena of reality, are polysemantic. The ambiguity to some extent reflects the complicated relationship that actually exist. So, if an external resemblance is found between objects or they have some kind of hidden common feature, if they occupy the same position in relation to something, then the name of one object can become the name of another. For example: needle - sewing, at the spruce, at the hedgehog; fox - an animal and a mushroom; flexible reed - flexible human - flexible mind.

The first meaning with which a word appeared in a language is called direct, and the subsequent portable. Direct meanings are directly related to certain objects, the names of which they are.

Trope- name transfer, which consists in the fact that a word that traditionally names one object (phenomenon, process, property) is used in this speech situation to refer to another object (phenomenon, etc.). Russian language. Encyclopedia. M., 1997.

Metaphor based on the transfer of the name from one object to another according to the similarity of these objects. The source of the new metaphorical meaning is comparison. For example, the stars of the eyes lit up(eyes compared to stars); the eyes of the night lit up(stars are compared with eyes). Metaphors are formed by transferring the properties of animate objects to inanimate ones. (water runs, storm cries) and vice versa (windy weather and windy man). Features of an object can be transformed into features of abstract concepts (superficial judgment, empty promises) etc.

Different parts of speech can act as a metaphor: verb, noun, adjective. Quite often, metaphors are used in everyday speech. We often hear and say: it is raining, the clock is steel, iron character, warm relations, sharp eyesight. However, these metaphors have lost their figurativeness and are everyday in nature.

Metaphors should be original, unusual, evoke emotional associations, in this case they decorate speech, for example: The silhouettes of crimson hearts are showered from maples all day long(N. Zabolotsky).

The abundance of metaphors distracts listeners from the content of the speech, the attention of the audience is concentrated on the form of presentation, and not on the content.

Metonymy unlike metaphor is based on contiguity. If, in metaphor, two identically named objects, phenomena should be somewhat similar to each other, then in metonymy, two objects, phenomena that have received the same name, must be adjacent. Word related in this case, it should be understood not just as neighboring, but somewhat broader - closely related to each other.

Synecdoche- a trope, the essence of which lies in what is called a part instead of the whole, the singular is used instead of the plural, or, conversely, the whole is used instead of the part, the plural is used instead of the singular. For example: “All flags will visit us” (A.S. Pushkin). Word flags(part) denotes here "states" (whole).

An example of the use of synecdoche is the emotional, figurative, deep in content words of M.A. Sholokhov about the character of the Russian people. Using the word human and own name Ivan the writer means the whole people:

The symbolic Russian Ivan is this: a man dressed in a gray overcoat, who, without hesitation, gave the last piece of bread and thirty grams of front-line sugar to a child orphaned in the terrible days of the war, a man who selflessly covered his comrade with his body, saving him from inevitable death , a man who, gritting his teeth, endured and will endure howling hardships and hardships, going to a feat in the name of the Motherland.

Good name Ivan!

Comparison. This is a figurative expression built on a comparison of two objects or states that have a common feature. Comparison presupposes the presence of three data: firstly, what is compared (“object”), secondly, what is compared with (“image”), thirdly, on the basis of which one is compared with another (“feature” ). For example: Facts are the scientist's air(I.N. Pavlov). Facts (subject) are compared with air (image) on the basis of "essential, necessary for existence."

Vivid, expressive comparisons give speech a special poetic quality. A completely different impression is produced by comparisons, which, as a result of their frequent use, have lost their imagery and turned into speech clichés. It is unlikely that such common expressions will cause positive emotions in anyone: brave as a lion; cowardly as a hare; reflected as in a mirror and etc.

epithets - artistic definitions. They allow you to more clearly characterize the properties, qualities of an object or phenomenon and thereby enrich the content of the statement. Pay attention to what expressive epithets A.E. Fersman to describe the beauty and splendor of green stones:

In the scientific literature, three types of epithets are usually distinguished: general language (they are constantly used in the literary language, have stable connections with a certain word, have lost their figurativeness: biting frost, quiet evening, fast run); folk-poetic (used in oral folk art, the so-called constant epithets: red girl, open field, violent little head); individual-author's (created by the authors, distinguished by originality, imagery, unexpectedness of compared semantic plans: marmalade mood(A. Chekhov), stupid indifference(D. Pisarev), curiously thoughtful tenderness(N. Gumilyov).

Hyperbola - a technique of expressiveness of speech used by the speaker in order to create an exaggerated idea of ​​the subject of speech among the listeners. For example: they are strawberries - with a fist, You are always late, I told you this a hundred times. Hyperbole is characteristic mainly of live colloquial and artistic speech as well as journalism.

Litotes- - reception of expressiveness of speech, deliberate understatement of the small size of the subject of speech: a little man with a fingernail, two inches from the pot, one second, two steps away from here.

personification - a stylistic device consisting in the fact that properties, actions, actions inherent in a person are attributed to an inanimate object, an abstract concept, a living being not endowed with consciousness: Some lightning bolts of fire, Flaming in succession, ... They are talking among themselves(Tyutchev); The waltz calls for hope, it sounds ... And it speaks loudly to the heart(Polonsky). Personifications are divided into generally recognized, "linguistic": longing takes, time runs and creative, individually-author's: Nevka swayed by the railing, Suddenly the drum began to speak(Zabolotsky).

paraphrase - replacing the usual one-word name of an object, phenomenon, person, etc. with a descriptive phrase, for example: white stone capital(Moscow), king of beasts(a lion), singer of "birch chintz"(Yesenin). Paraphrases usually contain an assessment of the signified, for example: flowers of life(children), stationery rat(official). Some of the paraphrases can become clichés: field workers, seafood. They have lost their figurativeness, and they can hardly be considered as a means of speech expressiveness.

So, trails perform the following functions: give speech emotionality (reflect a person's personal view of the world, express assessments, feelings when comprehending the world); visibility (contribute to a visual reflection of the picture of the outside world, inner world person); contribute to the original reflection of reality (show objects and phenomena from a new, unexpected side); allow you to better understand the inner the state of the speaker (writer); make speech attractive.

Figures of speech - special forms syntactic constructions that enhance the impact of speech on the addressee.

To enliven speech, give it emotional expressiveness, figurativeness, stylistic syntax techniques, the so-called figures, are used. There are figures in which the structure of the phrase is determined by the ratio of the meanings of the words-concepts in it: antithesis, gradation; syntactic figures that have the property of facilitating listening, understanding and memorizing speech: repetition, parallelism, period; rhetorical forms, which are used as methods of dialogization of monologue speech, attract the attention of the listener: an appeal, a rhetorical question, a question-answer move, etc.

Antithesis - a technique based on a comparison of opposite phenomena and signs. Aphoristic judgments, proverbs, sayings are often clothed in the form of antithesis: Teaching is light, but ignorance is darkness, There would be no happiness, but misfortune helped, As it comes back to haunt, it will respond, It is thick on the head, but empty in the head. To compare two phenomena, antonyms can be used - words with opposite meanings: light - darkness, happiness - misfortune, backfire - respond, thick - empty.

A valuable means of expressiveness in a speech - inversion, i.e., changing the usual word order in a sentence with a semantic and stylistic purpose. So, if the adjective is placed not before the noun to which it refers, but after it, then this enhances the meaning of the definition, the characteristic of the subject. Here is an example of such an arrangement: He was passionately in love not just with reality, but with constantly evolving reality, with reality forever new and unusual. To draw the attention of listeners to one or another member of the sentence, a variety of permutations are used, up to placing the predicate in the declarative sentence at the very beginning of the phrase, and the subject at the end. For example: The hero of the day was honored by the whole team; As difficult as it is, we must do it.

gradation - a figure of speech, the essence of which is the arrangement of several elements listed in speech (words, phrases, phrases) in ascending order of their meaning (“ascending gradation”) or in descending order of values ​​(“descending gradation”). Under the "increase", "decrease" of meanings understand the degree of expressiveness (expressiveness), emotional strength, "tension" of the expression (word, turnover, phrase). For example: I beg you, I beg you very much; I beg of you(ascending gradation). Beastly, alien, unsightly world...(descending gradation). Gradation, like antithesis, is often found in folklore, which indicates the universality of these rhetorical figures. Often, to strengthen the utterance, to give speech dynamism, a certain rhythm, they resort to such a stylistic figure as repeats. There are many different forms of repetition. Anaphora(translated from Greek - “unanimity”) - a technique in which several sentences begin with the same word or group of words. For example: Such are the times! These are our manners! Repetitive words are service units, for example, unions and particles. So, repeat, interrogative particle unless in a fragment of a lecture by A.E. Fersman enhances the intonation color of speech, creates a special emotional mood: Doesn't it (artificial diamond) respond more than anything else to precisely these qualities? Are not the precious stones themselves the emblem of firmness, constancy and eternity? Is there anything harder than diamond that can match the strength and indestructibility of this form of carbon?

epiphora figure- repetition of the final elements of successive phrases - less frequent and less noticeable in speech products. For example: I would like know, Why am I a titular adviser? Why a titular adviser? (A. Chekhov).

Parallelism - the same syntactic construction of adjacent sentences, the location of similar sentence members in them, for example:

Proverb- a short folk saying with instructive content, folk aphorism.

The generalizing nature of proverbs and sayings makes it possible to express the essence of the statement in a figurative and extremely brief form. Folk sayings are also given to formulate individual provisions of the statement.

Often proverbs and sayings serve as a starting point for starting a speech, developing a topic, revealing a position, or they are the final chord, a conclusion, they are used to summarize what has been said. Here, for example, is how D. Solzhenitsyn ended the Nobel lecture:

In Russian, proverbs about truth are favorite. They insistently express the considerable hard experience of the people, and sometimes strikingly:

ONE WORD OF TRUTH WILL DRAW THE WHOLE WORLD.

Proverb- a short, stable expression, mostly figurative, which, unlike a proverb, does not constitute a complete statement. Proverbs and sayings are also given as illustrations, figurative parallels to what is being said. This use of proverbs and sayings allows you to express the idea more vividly and convincingly. Figurative illustrations are remembered for a long time by listeners.

The phraseology of the Russian language is used to create imagery and emotionality of speech. It is unusually rich and diverse in its composition, has great stylistic possibilities.

Phraseologism- a stable expression with independent meaning.

Phraseological units help to say a lot with a few words, since they define not only the subject, but also its sign, not only the action, but also its circumstances. Yes, a solid combination. wide leg means not just “rich”, but “rich, luxurious, not embarrassed in means”. Phraseologism cover their tracks means not just "destroy, eliminate something", but "eliminate, destroy what can serve as evidence in something." Phraseological units deserve special attention, the evaluation of which is due to their origin. Indeed, in order to understand the accusatory nature of phraseological units, for example, the gifts of the Danes, the scapegoat, you need to know the history of the emergence of a set phrase. Why gifts of the Danes -“insidious gifts that bring death to those who receive them”, what is the history of the appearance of this phraseological unit? The expression is taken from Greek legends about the Trojan War. “The Danes, after a long and unsuccessful siege of Troy, resorted to a trick: they built a huge wooden horse, left it near the walls of Troy, and pretended to float away. Antique phraseological units serve as an excellent means for conveying the author's irony, mockery. This function is performed by revolutions: exploits of Hercules, Trojan horse, Sisyphean labor, Pandora's box, between Scylla and Charybdis, Pyrrhic victory, Aesopian language, Babylonian pandemonium.

Phraseologism Procrustean bed comes from the nickname of the robber Polypemon. In Greek mythology, it is said that Procrustes laid all those he caught on his bed and cut off the legs of those who did not fit, and stretched out the legs of those for whom the bed was long. Procrustean bed means "that which is a measure for something, to which something is forcibly adjusted or adapted."

Winged words- figurative, well-aimed expressions, sayings that are in common use. Notable is the origin of the expression scapegoat. It is found in the Bible and is associated with a special rite among the ancient Jews to lay the sins of the whole people on a goat, which is why they call a person who is blamed for someone else's guilt, who is responsible for others.

It must be remembered that the correctness of our speech, the accuracy of the language, the clarity of the wording, the skillful use of terms, foreign words, successful application visual and expressive means of the language, proverbs and sayings, winged words, phraseological expressions, the richness of the individual dictionary increase the effectiveness of communication, enhance the effectiveness of the spoken word. -

In Russian, additional means of expression e.g. tropes and figures of speech

Tropes are such speech turns that are based on the use of words in a figurative sense. They are used to enhance the expressiveness of the writer or speaker.

Tropes include: metaphors, epithets, metonymy, synecdoche, comparisons, hyperbole, litotes, paraphrase, personification.

Metaphor is a technique in which words and expressions are used in a figurative sense based on analogy, similarity or comparison.

And my tired soul is embraced by darkness and cold. (M. Yu. Lermontov)

An epithet is a word that defines an object or phenomenon and emphasizes any of its properties, qualities, signs. Usually an epithet is called a colorful definition.

Your thoughtful nights transparent dusk. (A S. Pushkin)

Metonymy is a means of replacing one word with another on the basis of adjacency.

The hiss of frothy goblets and punch blue flames. (A.S. Pushkin)

Synecdoche is one of the types of metonymy - the transfer of the meaning of one object to another on the basis of the quantitative relationship between them.

And it was heard until dawn how the Frenchman rejoiced. (M.Yu. Lermontov)

Comparison is a technique in which one phenomenon or concept is explained by comparing it with another. Comparative conjunctions are usually used in this case.

Anchar, like a formidable sentry, stands alone in the whole universe. (A.S. Pushkin).

Hyperbole is a trope based on the excessive exaggeration of certain properties of the depicted object or phenomenon.

For a week I won’t say a word to anyone, I’m all sitting on a stone by the sea ... (A. A. Akhmatova).

Litota is the opposite of hyperbole, an artistic understatement.

Your spitz, lovely spitz, is no more than a thimble ... (A.S. Griboedov)

Personification is a means of transferring the properties of animate objects to inanimate ones.

Silent sadness will be consoled, and joy will reflect friskyly. (A.S. Pushkin).

Paraphrase - a trope in which the direct name of an object, person, phenomenon is replaced by a descriptive turn, which indicates the signs of an object, person, phenomenon that is not directly named.

"King of beasts" instead of a lion.

Irony is a technique of ridicule, containing an assessment of what is ridiculed. In irony there is always a double meaning, where the true is not directly stated, but implied.

So, in the example, Count Khvostov is mentioned, who was not recognized by his contemporaries as a poet because of the mediocrity of his poems.

Count Khvostov, a poet beloved by heaven, was already singing with immortal verses of the misfortune of the Neva banks. (A.S. Pushkin)

Stylistic figures are special turns that go beyond the necessary norms for creating artistic expressiveness.

It is necessary to emphasize once again that stylistic figures make our speech information redundant, but this redundancy is necessary for the expressiveness of speech, and therefore, for a stronger impact on the addressee.

These figures include:

And you, arrogant descendants…. (M.Yu. Lermontov)

A rhetorical question is such a structure of speech in which the statement is expressed in the form of a question. A rhetorical question does not require an answer, but only enhances the emotionality of the statement.

And over the fatherland of enlightened freedom will the longed-for dawn finally rise? (A. S. Pushkin)

Anaphora is the repetition of parts of relatively independent segments.

As if you curse the days without a light,

As if gloomy nights scare you ...

(A. Apukhtin)

Epiphora - repetition at the end of a phrase, sentence, line, stanza.

Dear friend, and in this quiet house

The fever hits me

Can't find me a place in a quiet house

Near peaceful fire. (A.A. Blok)

Antithesis is an artistic opposition.

And the day, and the hour, both in writing and orally, for the truth yes and no ... (M. Tsvetaeva)

An oxymoron is a combination of logically incompatible concepts.

You are the one who loved me with the falseness of truth and the truth of lies ... (M. Tsvetaeva)

Gradation - grouping homogeneous members sentences in a certain order: according to the principle of increasing or decreasing emotional and semantic significance

I don’t regret, I don’t call, I don’t cry ... (With A. Yesenin)

Silence is a deliberate interruption of speech, based on the guess of the reader, who must mentally finish the phrase.

But listen: if I owe you ... I own a dagger, I was born near the Caucasus ... (A.S. Pushkin)

Polyunion - the repetition of the union, perceived as redundant, creates the emotionality of speech.

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

Non-union is a construction in which unions are omitted to enhance expression.

Swede, Russian, cuts, stabs, cuts, drumming, clicks, rattle ... (A.S. Pushkin)

Parallelism is the identical arrangement of speech elements in adjacent parts of the text.

Some houses are as long as the stars, others as long as the moon .. (V. V. Mayakovsky).

Chiasmus is a cross arrangement of parallel parts in two adjacent sentences.

Automedons (coachman, charioteer - O.M.) are our strikers, our troikas are indomitable ... (A.S. Pushkin). Two parts complex sentence in the example, in order of arrangement of the members of the sentence, they are, as it were, in a mirror image: Subject - definition - predicate, predicate - definition - subject.

Inversion - the reverse order of words, for example, the location of the definition after the word being defined, etc.

At the frosty dawn under the sixth birch, around the corner, by the church, wait, Don Juan... (M. Tsvetaeva).

In the above example, the adjective frosty is in the position after the word being defined, which is the inversion.

To check or self-control on the topic, you can try to guess our crossword

Materials are published with the personal permission of the author - Ph.D. O.A. Maznevoy

Did you like it? Do not hide your joy from the world - share

Phrasal components, which are called figures of speech, differ. These are usually phrases or sentences.

They are expressive syntactic constructions that convey the expression of the text.

If trope is a word with figurative meaning(it has to do with vocabulary), then a figure is a part of a sentence that plays a certain function in it (here syntax acquires its rights).

Consider examples various figures of speech.

paraphrase- replacement of a word or phrase with a descriptive expression, turnover.

Greetings, desert corner,

Shelter of tranquility, work and inspiration.

A.S. Pushkin

The light of day has gone out;

Fog fell on the blue evening sea.

Noise, noise, obedient sail,

Wave under me, sullen ocean.

A.S. Pushkin

Inversion– stylistically significant change normal word order.

Where people's eyes break off stubby,

head of the hungry hordes,

in the crown of thorns revolutions

the sixteenth year is coming.

V. Mayakovsky

Anaphora- unity of command, repetition of words or phrases at the beginning of a sentence, poetic lines or stanzas.

I love you, Peter's creation,

I love your strict, slim look...

A.S. Pushkin

Epiphora The repetition of a word or phrase at the end of a line of poetry.

Steppes and roads

The account is not over;

Stones and thresholds

Account not found.

E. Bagritsky

Antithesis- contrast, opposition of phenomena and concepts.

I am a king - I am a slave, I am a worm - I am a god!

G.R. Derzhavin

When in a circle murderous worries

Everything freezes us - and life is like a pile of stones,

Lies on us - suddenly God knows where

We will breathe comfort into our souls,

The past will wrap around and hug us

And a terrible load will instantly lift.

F. Tyutchev

gradation- the arrangement of words and expressions in increasing or decreasing importance.

I do not regret, do not call, do not cry …

S. Yesenin

The earth is warmed by the breeze of spring.
Yet not the beginning spring, and harbinger ,
and even more not a harbinger – hint,
What will happen,
what's next
that the time is not far off.

V. Tushnova

Oxymoron - a combination of words opposite in meaning for the purpose of an unusual, impressive expression of a new concept.

But their ugly beauty

I soon comprehended the mystery

And I'm bored of them incoherent

And deafening language.

M. Lermontov

Toy sad joy that I was alive.

S. Yesenin

Rhetorical question- a turn of speech in an interrogative form that does not require an answer.

What are you howling about, night wind?

What are you complaining about so madly? ..

Either deafly plaintive, then noisy?

F. Tyutchev

Familiar clouds! How do you live?

Who do you intend to threaten now?

M. Svetlov

Rhetorical address- an underlined appeal to something inanimate or to someone unfamiliar.

hello tribe.

Young, unfamiliar! Not me

I will see your mighty late age,

When you outgrow my friends...

A.S. Pushkin

Flowers, love, village, idleness,

Fields! I am devoted to you in soul.

I'm always glad to see the difference

Between Onegin and me...

A.S. Pushkin

Rhetorical exclamation- an exclamatory statement.

What a summer! What a summer!

Yes, it's just witchcraft.

F. Tyutchev

Default- a figure that provides the listener or reader with the opportunity to guess and think about what could be discussed in a suddenly interrupted statement.

Every house is alien to me, every temple is empty to me,

And everything is the same, and everything is one,

But if on the way - a bush

Stands up, especially rowan...

M. Tsvetaeva

Parallelism- a similar construction of adjacent phrases, lines or stanzas.

I look to the future with fear

I look at the past with longing .

M. Lermontov.

I came to you with greetings
Tell what Sun is up…
Tell what the forest wakes up...
Tell what with the same passion...
Tell what from everywhere
It exudes joy for me...

Ellipsis- the omission of a word that is easily recovered from the context.

The beast needs a lair

Wanderer - the road ...

M. Tsvetaeva

The rich fell in love with the poor, man - girl

The scientist fell in love - stupid,

I fell in love with ruddy - pale,

Loved the good - the bad...

M. Tsvetaeva

Parceling- intentional division of the phrase in order to enhance expressiveness, expressiveness.

Any verses for the sake of the last line.

Which comes first.

M. Tsvetaeva

"I? To you? Did you give me a phone? What nonsense!” - not understanding, said Nikitin.

Beyond the trails important means imagery of the Russian language are also stylistic figures.

stylistic figure(lat. "stіlus" - stylus for writing and "figura" - image, appearance) - unusual syntactic turns that violate language norms and are used to decorate speech. Stylistic figures are quite common in poetry, where they are designed not only to individualize the author's speech, but also to enrich it with emotional nuances, to make the artistic image more expressive. Therefore, stylistic figures are also called figures of poetic speech. Stylistic figures should be strictly distinguished from tropes, which are not built according to the syntactic principle. Among the main and most used stylistic figures are anaphora, epiphora, ring (anepiphora), parallelism, gradation, ellipsis, inversion, chiasm, anacoluf, asyndeton, polysyndeton. Bogdanova L.I. Stylistics of the Russian language and culture of speech. Lexicology for speech actions. - M.: Nauka, 2011. - 520 p.

Let's analyze them in more detail. Anaphora(from Greek - bringing up, repetition) - stylistic figure, which is formed by the repetition of words or phrases at the beginning of adjacent language units. For example, " I swear I am the first day of creation, I swear his last day. I swear the shame of crime And the triumph of eternal truth ... ”(M. Lermontov).

Most often, anaphora is found in poetic texts, less often in prose. prosaic anaphora usually connects the beginning of adjacent sentences, for example: " No matter how people tried, gathered in one small place ..., no matter how they stoned the ground with stones so that nothing would grow on it...” (L. Tolstoy). Very rarely, anaphoric repetition connects not adjacent, but separated linguistic units in the text, for example, the beginnings of chapters of a story or a novel. A prosaic anaphora most often enhances and makes more emotionally expressive the content of what is being told, although it can also perform a purely compositional function, which is usually marked by an anaphoric repetition in poetic texts, where the anaphora serves as an additional (along with a constant pause) signal for the end of the previous line and start of the next one. Often, anaphoric repetition can be maintained throughout the entire poetic work (usually small in volume).

The opposite of anaphora is such a stylistic figure as epiphora- repetition of individual words or phrases at the end of adjacent language units: “Here they came ashore guests, Tsar Saltan is calling them visit... "(A. Pushkin). Much less often, epiphora is found in prose: “I would like to know why I titular councilor? Why exactly titular councilor? (N. Gogol). Sometimes also isolated epanophora (joint or anadiplosis) - repetition of a word or phrase at the end of the previous language unit, as well as at the beginning of the next, for example: “The barrels rolled with a fierce potion, with a fierce potion, with black powder…” (folklore). Similar repetition most often found in folklore, but sometimes, mainly as a compositional technique, it is also used in prose. An interesting example is found in famous novel M. Bulgakov "The Master and Margarita", the twenty-fourth chapter of which ends like this: “... and as much as you like, at least until dawn, Margarita could rustle the letters of notebooks, look at them and kiss them, and reread them again: - The darkness that came from mediterranean sea , covered the garden hated by the procurator ... Yes, darkness, ”and the twenty-fifth begins with the words: "The darkness that came from the Mediterranean, covered the garden hated by the procurator. The suspension bridges connecting the temple with the terrible Anthony Tower disappeared, the abyss fell from the sky ... ". Krupchanov L. M. Theory of Literature. - M.: Nauka, 2012. - 360 p.

ring or anepithora called a stylistic figure of speech that connects the beginning and end of adjacent language units (paragraph, stanza) and/or one unit (sentence or line of verse) by repeating individual words or phrases. Explaining the name of this figure, literary theorists, in particular, write: “The repetition of the initial word or phrase at the end of that very sentence, verse, stanza or whole play, due to which this sentence or a series of sentences that form a logical unity, receive a certain kind of rounding; hence the name of the figure. For example: " in vain! Wherever I look, I meet failure everywhere, And it is painful to my heart that I am obliged to lie all the time; I smile at you, but inwardly I cry bitterly, in vain"(A. Fet).

Often the anepiphora is also simplock- a combination of anaphora with epiphora, which is reflected in the very name of the term: " We have a road for young people everywhere, We honor old people everywhere"(V. Lebedev-Kumach). Artistic text. Structure and poetics. - St. Petersburg: Publishing House of St. Petersburg University, 2005. - 296 p.

The next similar stylistic figure is parallelism(Greek "one who walks beside") or syntactic parallelism- this is a figure based on the same type of syntactic construction of two or more adjacent language units, mainly lines poetic text, which gives rise to a sense of their symmetry. For example: " Your mind is as deep as the sea, Your spirit is as high as the mountains."(V. Bryusov).

Most often, parallelism, symmetry in the syntactic construction of adjacent poetic lines is accompanied by a figurative comparison of the thoughts expressed in them - the so-called figurative-psychological parallelism: for example, between the life of nature and fragments human life. Parallelism can often include symbols that we wrote about earlier when analyzing paths. Therefore, we can come to the conclusion that tropes and stylistic figures do not exclude, but mutually complement each other.

Parallelism occupies an important place in the Russian language, especially in poetry, and has been known since ancient times. Most often, it is also resorted to in folk poetry. It gained significant distribution in romantic poetry at the beginning of the 19th century, often as a pastiche of folklore motifs. This stylistic figure can form the compositional basis of a lyrical poetic work.

gradation- this is a stylistic figure, which consists in the gradual injection of means of artistic expression in order to increase (the so-called. menopause, for example, “In the care of sweet-foggy Not an hour, not a day, not a year will leave ... "E. Baratynsky) or demotion ( anticlimax, for example, " I won't break, I won't falter, I won't get tired, Not a grain I won’t forgive my enemies” O. Bergolts) their emotional and semantic significance. Gradation differs according to spatio-temporal (mainly in prose), intonation-emotional (poetry) and psychological (drama) features. The expressiveness of gradation is enhanced by combining it with anaphora, for example, in the famous saying of Julius Caesar: “I came, I saw, I conquered!”.

Ellipsis(Greek - “omission”, “lack”) is a stylistic figure built by skipping a word or several words. For example, “Eyes like the sky, blue, smile, linen curls - all in Olga... (A. Pushkin). In this case, the poet omitted the word "combined" or another close in meaning. Ellipsis can enhance the dynamism of the phrase, the intensity of the change of action, emphasize laconism, lyrical excitement, colloquial intonations. It is often found in proverbs and sayings. This figure can underlie a whole work of art, especially a poetic one, or part of it.

Has always been in high demand inversion- a stylistic figure built on a violation of the order of words in a sentence that seems normalized, ordinary, for example, " Obedient Perun old man alone... "(A. Pushkin), instead of" The old man is obedient to one Perun. Russian, like other East Slavic languages, belongs to languages ​​with a free word order in sentences, however, a certain syntactic sequence, due to its familiarity, and also because of its subordination to the logic of the development of the expressed thought, seems more natural, while changing such a sequence psychologically perceived as a deviation from a certain constant norm. Logical sequence of thought development regulates, in particular, the order of the main members of the sentence, which form a kind of syntactic skeleton of the expressed thought. The normal logical sequence of the development of thought presupposes its movement from the already known (i.e., what has already been said, or what is presented as obviously known) to the unknown, what, in fact, is reported about this “already known” and fixes it has some changes. Since the “already known” in a sentence is usually expressed through the subject (the subject of thought), and the “unknown”, the new through the predicate (the predicate of the thought), it is natural or, as they say, word order is correct, in which the predicate will be placed after the subject, and inversion there will be their reverse order: the predicate before the subject. Sannikov V.Z. Russian syntax in the semantic-pragmatic space. - M.: Languages ​​of Slavic culture, 2008. - 624 p.

If the syntactic order of the main members of a sentence is regulated by the norms of the logical sequence of the unfolding of the expressed thought, then the order of the secondary members of the sentence in each national language is established by the historically established norms of the syntactic construction of verbal constructions in it. In particular, for the Russian language, it will be more natural to place additions and adverbs expressed by nouns in position - after the word to which they refer, and definitions and adverbial circumstances in position - before the word to which they refer. The reverse order of their placement is perceived as inverted. For example, “In the evening, rainy autumn, In the distant the maiden walked places... "(A. Pushkin).

Inversion individualizes and emotionally emphasizes speech and its components. But this is not its main function. The syntactically inverted order of the members of the sentence serves, first of all, the purpose of highlighting the individual words that are most significant in the context of the given utterance. This function of inversion reveals itself especially clearly in the case when the inverted word not only changes its generally accepted syntactic position, but also separates from the member of the sentence to which it is subordinate.

A type of inversion is chiasm- a linguo-stylistic device used in poetry, the essence of which is to rearrange the main members of the sentence to increase the expressiveness of poetic speech, for example: " Divide fun - everyone is ready: Nobody doesn't want sadness to share"(M. Lermontov).

A similar variety can be considered anacoluthon- a stylistic figure built with a violation of grammatical consistency between words, members of a sentence, for example, " Approaching this station and looking at nature through the window, my hat fell off"(A. Chekhov). As we can see, the anacoluf is used deliberately, more often to give an ironic or comic connotation to speech in its given context.

Somewhat reminiscent of inversion and asyndeton or asyndeton- a stylistic figure, which consists in skipping conjunctions that connect individual words and parts of phrases. For example: " Night, street, lantern, pharmacy, Senseless and dim light"(A. Blok). Non-union enhances the expressiveness of speech, emphasizing the dynamic aspect in it, serves to highlight individual words.

The opposite of asyndeton is polysyndeton or polyunion- a cluster of unions that connect individual words and parts of a phrase, for example, “The ocean walked before my eyes, and swayed and thundered, and sparkled, and faded away and glowed, and went somewhere to infinity ”(V. Korolenko). Polyunion is used as a means that slows down speech, serves to highlight meaningful words, makes the speech solemn, as it is often associated with polyunion syntactic constructions of biblical texts. The figure of a polyunion can be formed, firstly, by different unions. Secondly, - not only by unions as such, but also by other service words that are received in the context of the function of unions.

Rarer stylistic figures include pleonasm and tautology, as well as amplification, paronomasia(comparison of words similar in sound, but different in meaning) and antithesis(opposition). Telpukhovskaya Yu.N. Russian language. Phonetics. Graphic arts. Word formation. Morphology. Syntax. Vocabulary and phraseology. - M.: Vesta, 2008. - 64 p.

Pleonasm(Greek “excess”) is a stylistic figure that is based on the synonymic repetition of the previous word, for example, “fell down”, “ gestured with his hands», « nostalgia for home», « top priority », « incriminate guilt"," hackneyed banality. Pleonastic repetition is not logically motivated and is used as a means of stylistic diversity of speech. Most often it is used in folklore, but it is also found in author's poetry.

Related to pleonasm tautology implies a single-root repetition of words, for example: " miraculous wonder miraculous wonder" etc.

Amplification(lat. “spread”, “increase”) - a stylistic figure that consists in the emphasized accumulation within adjacent statements (usually one, two or three sentences or a short paragraph) of the same type of language units, for example, “ Beret- like a bomb beret- like a hedgehog, like a double-edged razor, beret like a two-meter tall snake rattling at 20” (V. Mayakovsky).