Expand the role of poetic means to the artistic structure of the word. The role of artistic and expressive means in the analysis of a lyric work. Lesson summary "the role of pictorial - expressive means of language in works of fiction

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1. The originality of the genre "Words ...".
2. Features of the composition.
3. Linguistic features of the work.

Shouldn't we, brothers, begin with the old words of war stories about Igor's campaign, Igor Svyatoslavich? To begin this song according to the times of our time, and not according to the custom of Boyanov.

"The Lay of Igor's Campaign" Literary scholars have long recognized the undoubted artistic value of this work of Old Russian literature - "The Lay of Igor's Campaign." Most researchers of this literary monument agree that the "Word ..." was created in the XII century, that is, shortly after the events about which it refers. The work tells about a real historical event - the unsuccessful campaign of Prince Igor Novgorod-Seversky against the steppe-Polovtsy, which ended in the complete defeat of the prince's squad and the capture of Igor himself. Mentions of this campaign were found in a number of other written sources. As for the "Lay ...", the researchers primarily consider it as a work of art, and not as historical evidence.

What are the features of this work? Even with a superficial acquaintance with the text of the work, it is easy to notice its emotional richness, which, as a rule, are devoid of dry lines of chronicles and chronicles. The author praises the valor of the princes, laments the lost soldiers, points out the reasons for the defeats that the Russians suffered from the Polovtsi ... Such an active author's position, atypical for a simple statement of facts, which are the chronicles, is quite natural for a literary work of fiction.

Speaking about the emotional mood of "Lay ...", it is necessary to say about the genre of this work, an indication of which is already contained in its very title. "Word ..." is also an appeal to the princes with a call for unification, that is, speech, narration and song. Researchers believe that its genre is best defined as a heroic poem. Indeed, this work has the main features that characterize the heroic poem. The Lay ... tells about events, the consequences of which turned out to be significant for the whole country, and also praises military valor.

So, one of the means of artistic expression of the Lay ... is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved due to compositional features. What is the composition of the monument of Ancient Russia? In the storyline of this work, you can see three main parts: this is actually the story of Igor's campaign, the ominous dream of the Kiev prince Svyatoslav and the "golden word" addressed to the princes; Yaroslavna's cry and Igor's flight from Polovtsian captivity. In addition, "The Word ..." consists of thematically integral pictures-songs, which often end with phrases that play the role of a chorus: "looking for honor for myself, and for the prince - glory", "O Russian land! You are already behind the hill! "," For the Russian land, for the wounds of Igor, the buoy Svyatoslavich. "

Pictures of nature play an important role in enhancing the artistic expressiveness of the Lay ... Nature in the work is by no means a passive background of historical events; She acts as a living being, endowed with reason and feelings. A solar eclipse before the campaign foreshadows trouble:

"The sun blocked his path with darkness, the night awakened the birds with fearsome groans, a beastly whistle arose, Div, cries at the top of a tree, orders to listen to a foreign land: the Volga, and Pomorie, and Posulia, and Surozh, and Korsun, and you, the Tmutorokan idol." ...

The image of the sun is very symbolic, the shadow of which covered the entire army of Igor. In the literary works of princes and rulers, they were sometimes compared to the sun (remember the epics about Ilya Muromets, where Prince Vladimir of Kiev is called the Red Sun). And in the very "Word ..." Igor and his kin-princes are compared with four suns. But not light, but gloom falls on the warriors. The shadow, the darkness that enveloped Igor's squad is a harbinger of imminent death.

Igor's reckless determination, who is not stopped by the omen, makes him related to the mythical heroes-demigods, fearlessly ready to meet their fate. The prince's desire for glory, his unwillingness to turn back fascinates with its epic scope, probably also because we know that this campaign is already doomed: “Brothers and retinue! Better to be killed than to be captured; so let us sit down, brothers, on our greyhound horses and look at the blue Don. " It should be noted that in this case, the author of "Lay ...", wanting to enhance the artistic expression of the work, even "postponed" the eclipse a few days earlier. It is known from the chronicles that it happened when the Russians had already come to the borders of the Polovtsian steppe and to turn back was tantamount to a shameful flight.

Before the decisive battle with the Polovtsians, “the earth is humming, the rivers are flowing muddy, the dust covers the fields,” that is, nature itself seems to be opposing what is about to happen. At the same time, you should pay attention: the land, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know that there will be something to profit from: “Igor is leading an army to the Don. Birds are already waiting for him in the oak forests, the wolves call the thunderstorm by the yarugs, the eagles call the scream of animals on the bones, the foxes crack on scarlet shields. " When Igor's army fell in battle, "the grass crumbles with pity, and the tree bowed to the ground from sorrow." The Donets River appears as a living being in the Lay ... She speaks to the prince and helps him during his escape.

Speaking about the means of artistic expression in "The Lay of Igor's Campaign", of course, one cannot remain silent about the linguistic features of this work. To attract the attention of his audience, to create an appropriate mood, the author used questions to which he himself answers (exclamations that emphasize the emotional tone of the narrative, appeals to the heroes of the work): “What is making noise, what is ringing at this hour early before the dawn?”, “Oh Russian land! You are already behind the hill! ”,“ And Igor's brave regiment cannot be resurrected! ”,“ Yar-Tur Vsevolod! You are standing in front of everyone, you shower the soldiers with arrows, you beat the helmets with damask swords. "

The author of "Lay ..." makes extensive use of epithets characteristic of oral folk poetry: "greyhound horse", "gray eagle", "open field". In addition, metaphorical epithets are not uncommon: "iron shelves", "golden word".

In the "Word ..." we also find the personification of abstract concepts. For example, the author depicts resentment in the form of a maiden with swan wings. And what does this phrase mean: "... Karna screamed, and Zhlya rushed across the Russian land, sowing grief to people from a fiery horn"? Who are they, Karna and Zhlya? It turns out that Karna is formed from the Slavic word "carity" - to mourn the dead, and "Zhlya" - from "regret".

In the "Word ..." we also find symbolic pictures. For example, the battle is described as sowing, then as threshing, then as a wedding feast. The skill of the legendary storyteller Boyan is compared to falconry, and the collision of the Polovtsians with the Russians is described as an attempt by “black clouds” to close the “four suns”. The author also uses symbolic designations traditional for folk poetry: he calls the Russian princes falcons, the raven is the symbol of the Polovtsian, and the yearning Yaroslavna is compared with the cuckoo.

The high poetic merits of this work inspired talented people to create new works of art. The plot of "Words ..." formed the basis of AP Borodin's opera "Prince Igor", and the artist V.M. Vasnetsov created a number of paintings based on "The Lay of Igor's Campaign."

The language of fiction, in other words, poetic language, is the form in which the form of art of the word, verbal art is materialized, objectified, in contrast to other types of art, for example, music or painting, where the means of materialization are sound, colors, and color.

Each nation has its own language, which is the most important feature of the national specifics of the people. Possessing its own vocabulary and grammatical norms, the national language mainly performs a communicative function, serves as a means of communication. The Russian national language in its modern form basically completed its formation during the time of A.S. Pushkin and in his work. On the basis of the national language, the literary language is formed - the language of the educated part of the nation.

The language of fiction is the national language, processed by the masters of the artistic word, subject to the same grammatical norms as the national language. The specificity of poetic language is only its function: it expresses the content of fiction, verbal art. Poetic language carries out this special function at the level of living linguistic use of words, at the level of speech, which in turn forms an artistic style.

Of course, the speech forms of the national language presuppose their own specifics: dialogical, monologic, fairy tale features of written and oral speech. However, in fiction, these means should be considered in the general structure of the ideological-thematic, genre-compositional and linguistic originality of the work.

The visual and expressive means of the language play an important role in the implementation of these functions. The role of these means is that they add a special flavor to the speech.

Flowers nod to me, bowing their heads,

And the bush beckons with a fragrant branch;

Why are you alone haunting me

With your silk net?

(A. Fet. "Moth boy")

In addition to the fact that this line from a poem with its own rhythm, its size, rhyme, a certain syntactic organization, it contains a number of additional pictorial and expressive means. Firstly, this is the speech of a moth addressed to the boy, a meek plea for the preservation of life. In addition to the image of a moth, created by means of personification, here are personified flowers that "nod" to the moth with their heads, a bush that "beckons" with its branches. Here we will find a metonymically depicted image of a net ("silk net"), an epithet ("fragrant branch"), etc. In general, the stanza recreates a picture of nature, images of a moth and a boy in certain respects.

By means of language, typification and individualization of characters' characters, unique use, use of speech forms, which outside of this use may not be special means, are carried out. So, the word "brother", characteristic of Davydov ("Virgin Soil Upturned" by M. Sholokhov), includes him among the people who served in the navy. And the words "fact", "factual" that he constantly uses, distinguish him from all those around him and are a means of individualization.

There are no areas in the language where the possibility of the artist's activity would be excluded, the possibility of creating poetic pictorial and expressive means. In this sense, one can conventionally speak of "poetic syntax", "poetic morphology", "poetic phonetics". We are not talking here about special laws of language, but, according to the correct remark of Professor G. Vinokur, about “a special tradition of linguistic use” (GO Vinokur. Selected works on the Russian language. 1959.).

Thus, expressiveness in itself, special pictorial and expressive means are not a monopoly of the language of fiction and do not serve as the only formative material of a literary work. In the vast majority of cases, the words used in a work of art are taken from the general arsenal of the national language.

“He treated peasants and servants strictly and capriciously,” says A. Pushkin about Troekurov (“Dubrovsky”).

There is no expression here, no special means of expression. And nevertheless, this phrase is a phenomenon of art, since it serves as one of the means of depicting the character of the landowner Troekurov.

The possibility of creating an artistic image by means of the language is based on the general laws inherent in the language. The fact is that a word carries not just elements of a sign, a symbol of a phenomenon, but is its image. Saying "table" or "house", we imagine the phenomena designated by these words. However, there are no artistic elements in this image yet. It is possible to speak about the artistic function of a word only when, in the system of other methods of depiction, it serves as a means of creating an artistic image. This, in fact, is the special function of the poetic language and its sections: "poetic phonetics", "poetic syntax", etc. We are not talking about a language with special grammatical principles, but about a special function, a special use of forms of the national language. Even the so-called word-images receive an aesthetic load only in a certain structure. So, in the famous line from M. Gorky: "Over the gray plain of the sea, the wind collects clouds" - the word "gray" in itself does not have an aesthetic function. It acquires it only in combination with the words "sea plain". “The gray plain of the sea” is a complex verbal image, in the system of which the word “gray” begins to have the aesthetic function of a path. But this trope itself becomes aesthetically significant in the integral structure of the work. So, the main thing that characterizes the poetic LANGUAGE is not saturation with special means, but an aesthetic function. Unlike any other use of them in a work of art, all linguistic means are, so to speak, aesthetically charged. “Any linguistic phenomenon under special functional and creative conditions can become poetic,” Acad. V. Vinogradov.

But the internal process of "poeticization" of language, however, is portrayed by scientists in different ways.

Some scholars believe that the core of an image is a representation, a picture fixed in the forms of language, while other researchers, developing the position of the linguistic core of an image, consider the process of "poeticization of speech as an act of incrementing" an additional quality or meaning to a word. In accordance with this point of view, the word becomes a phenomenon of art (figurative) not because it expresses an image, but because, due to its inherent immanent properties, it changes its quality.

In one case, the primacy of the image is affirmed, in the other - the primacy and primacy of the word.

There is no doubt, however, that the artistic image in its verbal expression is an integral unity.

And if it is undoubted that the language of a work of art should be studied, like any phenomenon, on the basis of mastering the general laws of the development of language, that, without special linguistic knowledge, it is impossible to deal with the problems of poetic language, then at the same time it is quite obvious that as a phenomenon of verbal art language cannot be withdrawn from the sphere of literary sciences, studying verbal art at the figurative-psychological, social and other levels.

Poetic language is studied in connection with the ideological-thematic and genre-compositional specifics of a work of art.

The language is organized in accordance with certain tasks that a person sets for himself in the course of his activities. So, the organization of language in a scientific treatise and in a lyric poem is different, although in both cases the forms of the literary language are used.

The language of a work of art has two main types of organization - poetic and prosaic (the language of drama is close in its organization to the language of prose). Forms and means of organizing types of speech are at the same time speech means (rhythm, size, ways of personification, etc.).

The source for the poetic language is the national language. However, the norms and level of language development at a given historical stage do not in themselves determine the quality of verbal art, the quality of the image, just as they do not determine the specificity of the artistic method. In the same periods of history, works were created that were different in their artistic method and in their poetic significance. The selection process of linguistic means is subordinated to the artistic concept of a work or image. Only in the hands of the artist does language acquire high aesthetic qualities.

Poetic language recreates life in its movement and in its possibilities with great completeness. With the help of a verbal image, you can "draw" a picture of nature, show the history of the formation of human character, depict the movement of the masses. Finally, the verbal image can be close to the musical one, as is observed in the verse. The word is firmly connected with a thought, with a concept, and therefore, in comparison with other means of creating an image, it is more capacious and more active. A verbal image that has a number of advantages can be characterized as a "synthetic" artistic image. But all these qualities of a verbal image can be revealed and realized only by an artist.

The process of artistic creation or the process of poetic processing of speech is deeply individual. If in everyday communication it is possible to distinguish a person by the manner of his speech, then in artistic creation it is possible to determine the author by the way of artistic processing of the language peculiar only to him. In other words, the artistic style of the writer is refracted in the speech forms of his works, etc. On this feature of the poetic language all the infinite variety of forms of verbal art is based. In the process of creativity, the artist does not passively apply the treasures of the language already obtained by the people - a great master with his work influences the development of the national language, improving its forms. At the same time, it relies on the general laws of the development of the language, its folk basis.

Publicism (from Lat.publicus - public) is a type of literature, the content of which is mainly contemporary issues of interest to the general reader: politics, philosophy, economics, morality and ethics, law, etc. The closest in terms of the specifics of creativity to journalism are journalism and criticism.

The genres of journalism, journalism, criticism are often identical. This is an article, a series of articles, a note, an essay.

A journalist, critic, publicist often appear in one person, and the boundaries between these types of literature are quite mobile: for example, a journal article can be critical and journalistic. Quite a common thing is the performance of writers in the role of publicists, although often a publicistic work is not fiction: it is based on real facts of reality. The goals of a writer and a publicist are often close (both can contribute to solving similar political and moral problems), but the means are different.

The figurative expression of content in a work of art corresponds to the direct, conceptual expression of the problematics in publicistic work, which in this respect is closer in form to scientific knowledge.

Fiction and journalistic literature includes works in which specific life facts are clothed in a figurative form. At the same time, elements of creative imagination are used. The most common genre is fiction.

Introduction to literary criticism (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin, etc.) / Ed. L.M. Krupchanov. - M, 2005

When we talk about art, literary creation, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. In fiction and poetry, special methods of enhancing expressiveness are distinguished. Good presentation, public speaking - they also need ways to build expressive speech.

For the first time the concept of rhetorical figures, figures of speech, appeared among the orators of ancient Greece. In particular, Aristotle and his followers were engaged in their research and classification. Going into details, scientists identified up to 200 varieties that enrich the language.

The means of expressiveness of speech are divided according to the language level into:

phonetic;
lexical;
syntactic.

The use of phonetics is traditional for poetry. The poem is often dominated by musical sounds, which give the poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, combinations of sounds are used for amplification.

Anaphora- repetition of sounds, words or phrases at the beginning of sentences, lines of poetry or stanzas. "The golden stars have dozed off ..." - a repetition of the initial sounds, Yesenin used a phonetic anaphora.

And here is an example of the lexical anaphora in Pushkin's poems:

Alone you rush along the clear azure
You alone cast a dull shadow
You alone sadden a joyous day.

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

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

Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.

Trails

Trails are the use of words and phrases figuratively. Paths make speech more imaginative, enliven and enrich it. Some tropes and their examples in literary work are listed below.

Epithet- artistic definition. Using it, the author gives the word an additional emotional coloring, his own assessment. To understand how an epithet differs from an ordinary definition, you need to catch when reading whether the definition gives a new shade to the word? Here's a simple test. Compare: late autumn - golden autumn, early spring - young spring, quiet breeze - gentle breeze.

Impersonation- the transfer of signs of living beings to inanimate objects, nature: "Gloomy rocks looked sternly ...".

Comparison- direct comparison of one object, phenomenon with another. "The night is gloomy as an animal ..." (Tyutchev).

Metaphor- transfer of the meaning of one word, object, phenomenon to another. Revealing similarities, implicit comparison.

"A fire of red mountain ash is burning in the garden ..." (Yesenin). Rowan brushes remind the poet of a bonfire.

Metonymy- renaming. Transfer of properties, values from one subject to another according to the principle of contiguity. "Who is in felt, let's go for a bet" (Vysotsky). In felt (material) - in a felt hat.

Synecdoche- a kind of metonymy. Transferring the meaning of one word to another on the basis of a quantitative relationship: the only one is plural, the part is the whole. “We all look at Napoleons” (Pushkin).

Irony- the use of a word or expression in an inverted sense, mocking. For example, an appeal to Donkey in Krylov's fable: "Split, smart, are you delirious, head?"

Hyperbola- a figurative expression containing excessive exaggeration. It can relate to size, meaning, strength, other qualities. Litota, on the other hand, is an exorbitant understatement. Hyperbole is often used by writers, journalists, and litota is much less common. Examples. Hyperbole: "At one hundred and forty suns, the sunset blazed" (V.V. Mayakovsky). Litota: "a little man with a fingernail."

Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of the allegory is to bring up the subtext, to force one to seek hidden meaning while reading. It is widely used in fable.

Alogism- deliberate violation of logical connections for the sake of irony. "There was that stupid landowner, he read the newspaper" Vesti "and his body was soft, white and crumbly." (Saltykov-Shchedrin). The author deliberately mixes up logically dissimilar concepts in the enumeration.

Grotesque- a special technique, a combination of hyperbole and metaphor, a fantastic surreal description. N. Gogol was an outstanding master of Russian grotesque. His story "The Nose" is based on the use of this technique. A special impression when reading this work is made by the combination of the absurd with the ordinary.

Figures of speech

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

Repeat	At the beginning, end, at the junction of sentences	This scream and strings These flocks, these birds
Antithesis	Contrast. Antonyms are often used.	Hair is long - mind is short
Gradation	Arrangement of synonyms in ascending or decreasing order	Smolder, burn, blaze, explode
Oxymoron	Combining contradictions	A living corpse, an honest thief.
Inversion	Word order changes	He came late (He came late).
Parallelism	Comparison in the form of collation	The wind stirred the dark branches. Fear stirred in him again.
Ellipsis	Skipping an implied word	By the hat and at the door (grabbed, went out).
Parcelling	Dividing a single sentence into separate ones	And I think again. About you.
Multi-Union	Connecting through repeated unions	And me, and you, and all of us together
Asyndeton	Eliminating unions	You, me, he, she - together the whole country.
Rhetorical exclamation, question, appeal.	Used to heighten the senses	What a summer! Who if not we? Listen, country!
Default	Interruption of speech based on guesswork to reproduce intense excitement	My poor brother ... execution ... Tomorrow at dawn!
Emotional evaluative vocabulary	Words expressing attitude, as well as direct assessment of the author	A henchman, a dove, a boob, a sycophant.

Test "Means of artistic expression"

To test yourself on the assimilation of the material, take a short test.

Read the following passage:

"There the war smelled of gasoline and soot, burnt iron and gunpowder, it gnashed at caterpillars, scribbled from machine guns and fell into the snow, and again rose under fire ..."

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

Swede, Russian - stabs, chops, cuts.

Drum beat, clicks, grinding,

The thunder of the guns, the stomp, the neigh, the groan,

And death and hell on all sides.

A. Pushkin

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

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

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

Test Answer

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

A. Pushkin. The poem lacks conjunctions in the first lines. In this way, the tension, the intensity of the battle is conveyed. In the phonetic drawing of the scene, the sound "r" in various combinations plays a special role. When reading, a roaring, growling background appears, ideologically conveying the noise of a battle.

If answering the test, you could not give the correct answers, do not be upset. Just re-read the article.

In the modern world, we are faced with a huge variety of trends and trends in art. The twentieth century becomes a turning point in the transition from "classical" works to "post-non-classical": for example, free verses appear in poetry - free poems in which both the usual rhyme and the metric rhythm are absent.

The question of the role of poetry in modern society is becoming topical. Giving preference to prose, readers justify this by the fact that prose provides more opportunities for the author to convey his thoughts and ideas. It is more informative, simple and understandable, more plot than poetry, which exists rather to enjoy the beauty of form, conveys an emotional charge, feelings, but at the same time the form can hide the content and complicate the conveyed meaning. Poetry requires a special attitude and often causes misunderstanding. It turns out that poetry, which in the process of development of a work of art seems to be simpler in comparison with prose, since it has a poetic rhythm as an expressive means that helps to convey meanings (Yu.M. Lotman, A.N. Leontyev), among readers it becomes very difficult for understanding the text, where the rhythm, form - can interfere.

In this regard, the main task of the study was to highlight the internal criteria of readers according to which a particular text belongs to the category of prose or poetry, aspects of form that are important for defining a text as poetic, and the significance of these criteria in the perception of works of art.

We identified the following as possible aspects of the poetic form: dividing the text into lines, metric rhythm, rhyme, as well as the rhythm of end pauses, the presence of caesura, difference in feet, similarity of stanzas. The subjects were presented with three tasks. The technique of "experimental deformation" of the text (E.P. Krupnik) was used. This technique consists in consistently "destroying" a work of art in such a way that the magnitude of the destruction is known. At the same time, a change in the possibility of text recognition is recorded depending on the degree of destruction (in our study, the classification of a text in the category of prose or poetry). The "disruption" in our study concerned only the rhythmic scheme, keeping the verbal content intact. In task 1 and 2, 2 variables were varied, so 4 texts were presented in each task. In task 1 we compared the influence of the form of writing the text and the metric rhythm, in task 2 - the influence of the metric rhythm and rhyme. In task 3, 7 different texts were presented, each of which contained a different richness of rhythmic components. The subjects presented the texts in each task on the "prose - poetry" scale according to the degree of closeness to one category or another (the gradations of the scales were not indicated). It was also proposed to select the text that best represents the author's intention and justify his decision. In task 3, it was additionally asked to rate each text according to the degree of preference by the reader himself.

When drawing up tasks 1 and 2, the possible influence of the sequence of presenting texts was taken into account, therefore, 4 types of tasks were drawn up (the scheme of a balanced Latin square).

For each task, a hypothetical sequence of the location of the texts on the scale was compiled, which was then compared with the sequence obtained experimentally.

The study involved 62 people in the age category from 18 to 50 years, 23 men and 39 women, education: technical (17.7%), humanitarian (41.9%) and natural science (40.3%). Excerpts from the works were used: A. Blok "Song of Hell", "Night violet", "When you stand in my way ...", M. Lermontov "Demon", "Duma", A. Pushkin "Poltava", M. Tsvetaeva " You, who loved me ... ", E. Vinokurov" Through my eyes ", N. Zabolotsky" Testament ".

Metric rhythm and form: most of the subjects consider the metric rhythm to be the most pronounced sign of poetry. A text that has only the form of a poem is more often referred to as prose. But 20% of our subjects, when answering this task, focused primarily on the form of writing. As a rule, this was due to a little experience of acquaintance with poetry (poems are not very pleasant and are read either rarely or not read at all).

Metric rhythm and rhyme (all texts are written in the form of prose, without dividing into lines). The metric rhythm was recognized as a more important sign of poetry. Rhyme does not carry an independent poetic load if there are no other rhythms, but it helps to unambiguously classify the text as poetic, even if the present metric size is violated or is present only in a part of the text. A clear metric rhythm without rhymes (signs of white verse) has a more independent meaning.

Saturation with rhythmic components. Among the proposed 7 texts, two groups can be clearly distinguished: vers libre (the rhythm of end pauses, the repetition of stressed syllables, which does not create a clear metric rhythm, or the presence of only a metric rhythm that changes from line to line) and more classical examples of poetic texts (metric rhythm, rhyme, number of syllables, caesura, rhythm of end and internal pauses). At the same time, M. Tsvetaeva's text turned out to be ambiguous in determining its place in the sequence. Some subjects assessed it as very poetic, strong, with a clear rhythm, recognizing in it the "standard" of the poem, while others, on the contrary, attributed it to more prosaic ones, justifying this by the fact that the rhythm in it is inconsistent and there are sharp transfers. If you look at this poem, its rhythmic structure, then this contradiction is inherent in the text itself by the author, which creates a certain tension and sharpness of the text.

The attitude to vers libre, a new direction in the versification of the twentieth century, remains very ambiguous. The reader, brought up on rhymes and classical works (studying poetry only within the school curriculum), most often refers these texts either to prose or to an unsuccessful attempt by the author to write a poem. A richer experience of communication with various poetic works allows one to catch the rhythmic schemes of a different level, the special poetry of these texts.

Municipal educational institution

secondary school number 44

RESEARCH

IN RUSSIAN

Artistic means of expressiveness in the lyrics of the Khabarovsk poet Igor Tsarev

Completed: student of grade 9 "B"

Parfenova Love;

Teacher: Vitokhina Lyudmila Aleksandrovna

Khabarovsk, 2016

1. Introduction ………………………………………………………………

2. The main part.

A) Table "Artistic means of expression in the poetry of I. Tsarev ... ... 6-20

B) Practical part …………………………………………… 20-25

3. Conclusion ……………………………………………………………… 26

4. Used literature ………………… 27

Introduction

With this little research, we discover something new for the majority. Khabarovsk is a creative phenomenon, a new name for researchers - Igor Tsarev.

At the end of 2012, the poet Igor Tsarev was awarded the Golden Pen badge, the Poet of the Year national literary prize. And in April 2013 Igor Tsarev passed away, "... disliked, not having smoked the last cigarette", stepped into eternity. Poet and friend Andrei Zemskov in the preface to a selection of fifteen hundred poems sent for the magazine "Far East" by Igor Tsarev himself and publishedafter his death - in the autumn issue of 2013, he wrote very sincerely: “Stooping and even embarrassed, I went on the stage of the Central House of Writers to receive a well-deserved Golden Pen. Igor was, as it were, aloof from all these awards, ratings, and recognitions. Modest, smiling, wise. And most importantly - kind and light. "

Having made the decision to follow in his father's footsteps, Igor entered the Leningrad Electrotechnical Institute. By distribution he worked in Moscow in a "secret box", was engaged in the calculations of flights ... to Mars. A small excursion into the biography of the poet, much when analyzing his work will turn out to be incomprehensible and will remain incomprehensible, so let's start from the beginning. Future journalist, poet and writer Igor Vadimovich Mogila (Igor Tsarev)was born in the Primorsky village of Grodekovo on November 11, 1955. He began to study at school 78 in Khabarovsk(now school No. 15 is a "school of five heroes", from the walls of which five Heroes of the Soviet Union emerged). He continued his studies at school number 5, and completed his studies atmathematical school in Khabarovsk.

Igor Tsarev's literary and journalistic activities ended in the post of responsible editor of "Rossiyskaya Gazeta", Deputy Chief Editor of "RG-Nedelya"On April 4, 2013, the parents of our fellow countryman, a poet from the Far East, live right at the table in his office in Khabarovsk:Igor's mother - Ekaterina Semyonovna Kirillova- teacher of the Russian language and literature of the Khabarovsk school, Excellence in public education; father - Vadim PetrovichGrave, professor at the Far Eastern State University of Railways, "a real physicist."

Physics and lyrics - parental principles - intertwined in life and work

Since ancient times, the word has had great power. For a very long time, people understood the meaning of the word as follows: what is said is realized. It was then that the belief in the magical power of the word arose. "The word can do everything!" - said the ancients.

More than four thousand years ago, the Egyptian pharaoh told his son: "Be skillful in speech - the word is stronger than the weapon."

How relevant these words are today! This should be remembered by every person.

You should also recall the famous words of the poet V.Ya. Bryusov about his native language:

My faithful friend! My devious friend!

My king! My slave! Native language!..

Relevance the chosen topic is confirmed by the fact that interest in studying the poetry of the Far East and in the means of creating expressiveness and imagery in poetic textsnever weakened.What is the secret of the influence of Igor Tsarev's work on the reader, what is the role of the speech structure of works in this, what is the specificity of artistic speech, in contrast to other types of speech.

Object research are poetic texts by Igor Tsarev.

Subject studies are the means of linguistic expressiveness in the work of I. Tsarev

The purpose is the definition of the function and features of the means of linguistic expressiveness in the process of forming imagery and expressiveness in the texts of poems by Igor Tsarev

Tasks:

- consider a short biographical path of the author;

Reveal morphological techniques for creating expressiveness;

Consider the means of linguistic expressiveness;

Determine the features of the artistic style and their impact on the use of pictorial and expressive means

The theoretical and practical basis of the work is made up of articles, monographs, dissertations, and various collections.

Research methods used in the work:

direct observation, descriptive, component analysis, directly constituent, contextual, comparative-descriptive.

The scientific novelty lies in the fact that in this study: a relatively complete list of features that distinguish the language of poetry (artistic speech) from the language of practical (non-artistic speech) is presented and systematized; the linguistic means of expressiveness in the texts of the poems of the Khabarovsk poet Igor Tsarev are characterized

Practical significance The research is that the materials of the work can be used in practical classes in the Russian language in the study of the sections "Lexicology", "Analysis of the literary text", when reading special courses, in classes with in-depth study of literary studies in gymnasiums and lyceums.

The structure and scope of research work.

The work consists of an introduction, two chapters, a conclusion, a list of used literature.

Chapter I. General information about means of artistic expression

1.1. Means of artistic expression in poetry.

In literature, language occupies a special position, since it is that building material, that matter perceived by hearing or sight, without which a work cannot be created. The artist of the word - a poet, a writer - finds, in the words of L. Tolstoy, "the only necessary placement of the only necessary words" in order to correctly, accurately, figuratively express an idea, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author ... The best in a work is achieved by the artistic means of the language.

The means of artistic expression are varied and numerous.

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

Metaphor (Greek "transfer") is a word or expression used in a figurative meaning based on the similarity or contrast in any relation of two objects or phenomena:

Windows of Khabarovsk

Knife in my pocket, jacan in the trunk,
The gait is special ...
Ayda to the Siberian men
Drive along the sable hills,
Where the kestrel trail winds
Lilac gullies
And the taiga darns the soul
Spruce needles. ("Ayda!"

Metonymy - this is the replacement of a word or concept with another word, one way or another involved in it, adjacent to it:

Visiting Severyanin

In a snow-white shirt barefoot winter

V descent in the Sea of Okhotsk

Life-giving dawn hemoglobin ,
The sun comes up from the silent depths

Comparison -

He, thundering like a cymbal,

Nodded his trumpet

As if the waves were rhyming

Among themselves.

Applications

Appendix No. 1

Possible role in the text

Epithet

artistic figurative definition.

Enhance the expressiveness, imagery of the language of the work;

Give artistic, poetic brightness to speech;

Allocate a characteristic feature or quality of an object, phenomenon, emphasize its individual feature;

Create a vivid idea of the subject;

Evaluate an object or phenomenon;

They cause a certain emotional attitude towards them;

I could…

Prospector ice.

Ayda.

Smug Moscow.

Night dive.

Phantom shrimp, suburban bathysphere, unframed doors, zodiacal light, grounded porch.

Rain.

Resounding staff, blind rain.

Windows of Khabarovsk

I myself am now a part of the Moscow circus,
I spent more than one vacation in Crimea,
But more and more often I dream gray-haired Khekhtsir ,

Sunrise in the Sea of Okhotsk

And through the storm and the angry cries of the seagulls,
Through the scalpel incision of the eastern eyes
Warmth, motherly studies
We have not yet enlightened -
Unshaved, tired, small -
Sympathizes and strokes the whirlwinds ...

Evil word hits right through, crushes his toes with his boot.

Visiting Severyanin

In a snow-white shirt barefoot winter

Comparison

assimilation of one object to another on the basis of a common feature between them.

It informs the phenomenon and the concept of the illumination, the shade of meaning that the writer intends to give it;

Helps to more accurately represent an object or phenomenon;
-helps to see new, invisible sides in the object;

Comparison makes the description more descriptive. creates a picture of an elegant, noisy forest, its beauty.

Koktebel.

And milk is like clouds

Above Koktebel.

He, thundering like a cymbal,

Nodded his trumpet

As if the waves were rhyming

Among themselves.

Let's drink, brothers, to Rubtsov.

Well, I managed to live with a talent, as with a lamp in my chest.

Night dive.

Overgrown garden, where the shadows of the branches,

Like the legs of a ghostly shrimp.

And midnight is like good coffee.

Night dances .

Night like Linda Evangelista.

Windows of Khabarovsk

I AM, still a wolf leaving the roof,
I did not allow enemies to offend myself,
After allthe Amur wave was boiling blood

Let, over the years, gaining gloss,
I did not mind swimming, but obliquely.
My wife has a wonderful hair color -
Like the Amur braids golden sand .

Night dive.

And midnight is like good coffee
And fragrant and dark.

CARNIVAL IN PIAZZA SAN MARCO
The flute plays like a light in a diamond.
On a white chair in a cafe on the piazza

And even though I'm not a great speaker,
Far from the absolute
Poems under the vaults of the basilica
They sound more solemn than fireworks.

Sunrise in the Sea of Okhotsk

And with our faces we blissfully catch the glare,
Like neophytes on the doorstep to the temple.

Koktebel

And milk is like clouds
Above Koktebel.

Let's drink, brothers, to Rubtsov!

Heaviness in the back of the head, and a candle for peace.
Unopened bottle like a kitten at hand.

VISITING A NORTHERN

Parted all the birches around,
The wind rubs the mongrel on the sled.
Five centuries without losing your posture.

Visiting Severyanin

Perfection scares and beckons.
And the silver of the northerners' lines rings

VISITING A NORTHERN

Leaving, at least for a moment I will turn around on the edge,

I will admire the piercing sky ...
I will be back, I will certainly be back,
Let, at least, and fallen snow.

Metaphor

the use of a word in a figurative sense based on the similarity of two objects or phenomenon.

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, individuality of objects or phenomena, while showing the depth and nature of his own associative-figurative thinking, vision of the world, a measure of talent.

Ayda.

Will be overwhelmed by melancholy, it will seem like a prison

Moscow, The current pulls.

Night dive.

The paws of ghostly shrimp claw at the window.

The zodiacal light flows.

Windows of Khabarovsk

Curtain not embroidered with stars -
The windows of Khabarovsk shine in the heart .

Ayda

And the taiga darns the soul
Spruce needles.

V DRINK, BROTHERS, FOR R UBTSOVA !

It would be a mediocrity - and okay. Their, dear, a dime a dozen.
Well, I managed to live with a talent, as with a lamp in my chest -
She burned in winter and summer, so God save me! -
And without this, poets did not happen in Russia.

Evil word hits right through, crushes his toes with his boot.
Hey, diamonds, weren't you hooting in pursuit?

Visiting Severyanin

Centuries pass here in a draft on the legs,
Time waves its spruce paw.
And the organ plays the creaky steps
Silence royal marches.

Visiting Severyanin

The icy horizon is laconic and strict -
Perfection scares and beckons.
And the silver of the northerners' lines rings
The talisman in the breast pocket.

Impersonation

transfer of signs of a living being to natural phenomena, objects and concepts.

Impersonations give the text a bright, visible character, emphasize the individuality of the author's style.

Rain.

The blind rain fell over the river.

Someone grew up in Crimea, ate persimmon in winter,
Someone could look at the capital's circus,
What about me all childhood Amur rocked,
AND Khekhtsir gave drink to the cedar.

Metonymy

the use of the name of one object instead of the name of another object on the basis of an external or internal connection between them. The connection can be between content and form, author and work, action and tool, object and material, place and people in this place.

Metonymy allows you to concisely

express a thought, it serves as a source of imagery.

AND taiga gave its strength .

Windows of Khabarovsk

AND calling, missing me, Cupid.

On the sleep kukane - not a carp weight.
Though the river sleeps but the wave is sharp.

CARNIVAL IN PIAZZA SAN MARCO

And we can hardly forget
How Venice kissed us
Warmed hearts from everyday life,
And she crowned a carnival ...

R USSK TUMBALAIKA

Throwing yellow leaves into the wind,
Autumn made friends with a tavern melancholy,
An unlucky star shines in the sky,
In the field, the jingle bell rings.

V GUESTS WITH EVERYANINA
Parted all the birches around,
The wind rubs the mongrel on the sled.
The Cathedral of the Assumption floats over the field,
Five centuries without losing your posture.

Visiting Severyanin

In a snow-white shirt barefoot winter
She walks over Sheksna, yes by the Court.

V WASTE IN O SEA OF HOTS

All sunrises on the sea are excellent,
Life-giving dawn hemoglobin,
When the siren of the steamship
The sun rises from the dumb depths

Synecdoche

the name of a part of an object is transferred to the whole object, and vice versa - the name of the whole is used instead of the name of the part. A part is used instead of a whole, singular. instead of plural, and vice versa.

Synecdoche enhances the expression of speech and gives it a deep generalizing meaning

Periphrase

replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features.

Periphrases allow you to:
highlight and emphasize the most essential features of the depicted;
avoid unjustified tautology;
express the author's assessment of the depicted more clearly and fully.

Periphrases play an aesthetic role in speech, they are distinguished by a bright emotional - expressive coloration. Figurative paraphrases can give speech a variety of stylistic shades, acting either as a means of high pathos, or as a means of naturally sounding speech.

Visiting Severyanin

Well, it would seem, a roof, four walls,
But not with the boring dust of cornices -
The air of the mystery of birch bark letters
And permeated with rhymed tremors.

Hyperbola

a figurative expression containing an exaggerated exaggeration of the size, strength, meaning of an object, phenomenon.

a figurative expression containing an exorbitant understatement of the size, strength, significance of an object, phenomenon.

The use of hyperbole and litota allows the authors of texts to sharply enhance the expressiveness of what is depicted, to give thoughts an unusual form and bright emotional coloring, evaluativeness, emotional persuasiveness.
Hyperbole and litota can also be used as a means of creating comic images.

Russian tumbalalaika Hail The honey of our life is sometimes sweet, sometimes bitter.
It is a pity that there is not much of it on the scales.
So isn't it time, having climbed the hillock,
Hands outstretched, step into heaven.

D ESTIMATE P ETROV DESCENDING INTO THE SUBWAY

Associate Professor Petrov, leaving the warm shelter,
With a cloak sheltered from the rain and wind,
Having overcome a hundred meters to the metro,
Descends into the rumbling bowels.

Associate Professor Petrov is afraid of the catacombs.
The way to work - more than a feat.

Allegory

an allegorical image of an abstract concept using a concrete, life image.

In fables or fairy tales, stupidity, stubbornness, cowardice of people are shown through the images of animals. Such images are of a general linguistic nature.

TO OKTEBEL

Ofonareli city
From the Crimean night.
In her brine Kara-Dag
Wet the sole.
The soul is ready to fall on its face
But the prophetic stone
Guests are greeted with a barbecue,
Not poetry.
V WASTE IN O SEA OF HOTS

Let the cyclone swell the abyss overboard,
Shafts lifting and throwing themselves down,
Let the smuggled snow dashing clouds
They drag to Russia across a hundred borders -
Our trawler (fishing breed!),
Having collected all the pollock in a trawl bag,
To the king of the sea a proud chin
Insolently lathers with foam from the screw.

Figures of speech

Possible role in the text

Examples of

A rhetorical question

stylistic figure, speech construction, in which the statement is expressed in the form of a question. A rhetorical question does not imply an answer, but only enhances the emotionality of the statement, its expressiveness.

To draw the reader's attention to what is depicted; enhance emotional perception

Rhetorical questions are used in artistic and journalistic styles to create a question for a response form of presentation. With the help of it, the illusion of a conversation with the reader is created.
Rhetorical questions are also a means of artistic expression. They draw the reader's attention to the problem.

N VERY DANCING

In the morning friends will ask: "Who were you with?
The skin is wrinkled, the color is earthy ... "
What will I answer? With Naomi Campbell?
Or with Linda Evangelista?

V DRINK, BROTHERS, FOR R UBTSOVA !

How much is a cigarette useful? Is there much happiness from the mind?
I lost my life and gave it up. Or did you leave it yourself?

The evil word hits right through, crushes his toes with his boot.
Hey, diamonds, weren't you hooting in pursuit?

Visiting Severyanin

In a snow-white shirt, barefoot winter
She walks over Sheksna, yes by the Court.
Together with her, I go crazy line by line.
Or am I recovering my sanity?

Rhetorical appeal

an emphasized appeal to someone or something to enhance expressiveness.

Rhetorical appeal serves not so much to name the addressee of speech, but to express an attitude towards what is said in the text. Rhetorical addresses can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state.

Appeal:

N VERY DANCING

From gentle sounds frost on the skin.
Have mercy, God, well, how can you ?!
And I am a nobleman in the doge's jacket,
And you are enthusiastic and noble.

R USSK TUMBALAIKA

Come on, come on, buddy, play along
So that the ash does not cool in the oven:
Russian tumbala, tumbalalaika,
Tumbalalaika, tumbala-la! ..

Rhetorical exclamation

exclamation sentence, which serves to express strong feelings. It is used to enhance emotional perception, especially in cases where interrogative and exclamatory intonations are combined.

Rhetorical exclamation marks the highest point of incandescence of feelings and at the same time - the most important thought of speech (often at its beginning or end).

R USSK TUMBALAIKA

God my God tell me why
Does your heart get worse as the days go by?
Our path is getting narrower and narrower,
The nights are longer, the rains are colder.

V DRINK, BROTHERS, FOR R UBTSOVA !

Let's drink, brothers, for Rubtsov - he was a real poet!

repetition of sounds, words or phrases at the beginning of poetic lines; consonance

combinations of sounds, morphemes, words, syntactic constructions) at the beginning of each parallel row (verse, stanza, prosaic passage)

Even if he did not live in an exemplary way - who is sinless, show yourself!
Let's drink, brothers, to Rubtsov's restless life.

V DRINK, BROTHERS, FOR R UBTSOVA !

The sailors have no questions. I am probably not a sailor ...
Why do we look askance at the one who has grown into the sky?
A stove in a tiled tile overshadows the light with smoke.
Let's drink, brothers, to Rubtsov - he was a real poet!

Let him live not in an exemplary way - show yourself who is sinless!
Let's drink, brothers, to Rubtsov restless life.

Conclusions on Chapter II:

Analyzing the above, we can conclude that the lexical and syntactic means of expressiveness in the poetry of I. Tsarev are very diverse. It is worth noting their active use by the author in his work. The use of metaphors and symbols allows the poet to have an emotional, aesthetic impact on the reader, to describe the inner world of a person and the state of a person. Complex, intricate words and expressions are the poet's incorruptible style. The originality, that is, the originality of the author's work, makes the reader involuntarily re-read and once again plunge into the diverse, interesting, colorful world of their works.

Conclusion

In the lyrics of Igor Tsarev, we saw various modifications of the poetics of allegories.

After analyzing and synthesizing the means of linguistic expressiveness in the poetry of Igor Tsarev, it should be emphasized that the expressiveness of speech in creativity can be created both by linguistic units of lexical groups (expressively colored vocabulary, everyday vocabulary, neologisms, etc.), if they are skillfully, The author uses it in a peculiar way, both by figurative means of language (epithets, personifications, metaphors, etc.), syntactic figures (inversion, anaphora, addresses, etc.). It should be noted that a special place in I. Tsarev's lyrics is occupied by metaphors and symbols that reflect the emotions of the lyric hero, helping to reveal the main intention of the authors.

Igor Tsarev's poems are not rhymed prose, not a literary "remake", but Russian poetry, which reflects the deepest culture, powerful textual knowledge: life, literature, poetry.

A very personal poem "Windows of Khabarovsk" is a tribute to his native city. The composition of the text is set in several positions: the strong position of the text - the title and the absolute finale - the line “Shine in the heart of the Khabarovsk window”. The phrase "windows of Khabarovsk" closes the ideal circular (frame) classical composition of the text. However, the author once again strengthens the frame of the text of the poem, using for this a variable distant repetition of the first quatrain in the penultimate stanza: I myself am now entering the Moscow circus, / I spent more than one vacation in the Crimea, / But more and more often the gray-haired Khekhtsir is dreaming, / And he calls Missing me Cupid. One can say with a fair amount of confidence that the signs of Igor Tsarev's idiostyle are not only internal rhyme, but also the circular composition of the text, the saturation of verse texts with details, details; an appeal to significant personal names, geographical specifics that distinguished the style of the great predecessor of I. Tsarev - Nikolai Gumilyov, whose medal the poet was awarded for literary creativity ("Nikolai Gumilyov's Great Silver Medal", 2012). Love for his native city, for the Far East is inseparable for the poet with the feeling for a loved one, captured in a touching comparison: "My wife has a wonderful hair color - / Like golden sands of Amur braids." Interesting for research is the change of rhythm in the last quatrain of the text, the re-emerging inner rhyme, which creates the microimage “river - cut”.

Someone grew up in Crimea, ate persimmon in winter,
Someone could look at the capital's circus,
And Cupid rocked me all my childhood,
And Khekhtsir gave drink to the cedar.

I, still a wolf cub, left the shelter,
I did not allow enemies to offend myself,
After all, the blood boiled with a wave of the Amur,
And the taiga gave its strength.

Let, over the years, gaining gloss,
I did not mind swimming, but obliquely.
My wife has a wonderful hair color -
Like the golden sand of the Amur braids.

I myself am now a part of the Moscow circus,
I spent more than one vacation in Crimea,
But more and more often the gray-haired Khekhtsir is dreaming,
And calling, missing me, Cupid.

There is no weight on the carp of sleep.
Although the river is sleeping, the wave is sharp.
Curtain not embroidered with stars -
The windows of Khabarovsk are shining in the heart.

The memory of the poet is his poems, they should sound, because

... What is in them - neither false, nor aplomb,
Only the heart is torn off the seal
From a restless soul ...

The Golden Pen of Russia has left a golden mark. The circle of readers, including young ones, is, perhaps, future poets who today choose between "physics and lyrics" not yet in favor of the latter ... But the example of Igor Tsarev is instructive: it is never too late for poetry! As it is never too late for their professional understanding and analysis .

List of used literature

Elena Kradozhen - Mazurova. The individuality of the poetic style of Igor Tsarev: textological analysis.

Valgina N.S. Syntax of the modern Russian language: Textbook, Publishing house: "Agar", 2000. 416 p.

Vvedenskaya L.A. Rhetoric and culture of speech / L.A. Vvedenskaya, L.G. Pavlova. - Ed. 6th, supplemented and revised. - Rostov - on - Don: Publishing house "Phoenix", 2005. - 537 p.

Veselovsky A.N. Historical poetics. L., 1940.S. 180-181.

Vlasenkov A.I. Russian language: grammar. Text. Styles of speech: textbook for 10-11 grades. general Institutions / A.I. Vlasenkov, L.M. Rybchenkov. - 11th ed. - M .: Education, 2005. - 350 p., P. 311

Expressive syntax facilities. Russian language video tutor. - G.

TRAILS AND STYLISTIC FIGURES.

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

STYLISTIC FIGURES- turns of speech used to enhance the expressiveness (expressiveness) of an utterance: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek hyperbole - exaggeration) - a kind of path 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 makes fun of. Hyperbole is already found in the ancient epic among different peoples, in particular in Russian epics.
In the Russian liter, 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, personifications, comparisons, etc.). The opposite is litotes.

LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the magnitude, strength, meaning of the depicted object or phenomenon. There is litota in folk tales: "a boy with a finger", "a hut on chicken legs", "a little man with a fingernail".
The second name of litota is meiosis. The opposite of a lithote is hyperbola.

N. Gogol often addressed the littote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol

METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transfer of properties of one object or phenomenon to another on the basis of common signs ("work is in full swing", "forest of hands", "dark personality", "stone heart" ...). In metaphor, unlike

comparisons, the words "as", "as if", "as if" are omitted, but implied.

Nineteenth century, iron,

A cruel age indeed!

Into the darkness of the night, starless

A careless abandoned man!

A. Block

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

There is a fragrant lilac in each carnation,
Singing, a bee creeps in ...
You ascended under the blue vault
Above the wandering crowd of clouds ...

A. Fet

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

With a sheaf of her oat hair
You settled on me forever ...
Dog eyes rolled
Gold stars in the snow ...

S. Yesenin

In addition to the verbal metaphor, metaphorical images or expanded metaphors are widespread in artistic creation:

Ah, the bush of my head has withered,
The song captivity sucked me in
I am condemned to the hard labor of feelings
Turn the millstones of the poems.

S. Yesenin

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

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

The theater is already full, the boxes shine;

Parterre and chairs, everything is boiling ...

A.S. Pushkin

In metonymy, a phenomenon or an object is designated with the help of other words and concepts. At the same time, signs or connections that bring these phenomena closer together remain; so, when V. Mayakovsky speaks of "a steel orator dozing in a holster," the reader can easily guess in this image the 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 rich feast;

Everything fell with a noise before you;
Europe was perishing; grave dream
Was hovering over her head ...

A. Pushkin

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

A. Pushkin

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

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

My bells

Steppe flowers!

What are you looking at me

Dark blue?

And what are you ringing about

Happy May Day

Among the unmown 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 subject to another on the basis of the quantitative relationship between them. Synecdoche is an expressive means of typing. The most common types of synecdoches:
1) The part of the phenomenon is called in the meaning of the whole:

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

V. Mayakovsky

2) Whole in the meaning of part - Vasily Terkin in a fist duel with a fascist says:

Oh, how are you! Fight with a helmet?
Well, isn't it a vile fellow!

3) The only number in the meaning 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. Us - darkness and darkness and darkness.

A. Block

5) Replacement of a generic concept with a specific one:

We beat you with a penny. Very good!

V. Mayakovsky

6) Replacement of a specific concept with a generic one:

"Well, sit down, shine!"

V. Mayakovsky

COMPARISON - a word or expression containing the assimilation of one object to another, one situation to another. ("Strong as a lion", "said how he cut it off" ...). The storm covers the sky with darkness,

Whirling snow whirlwinds;

How the beast she will howl

It will cry like a child ...

A.S. Pushkin

"Like the steppe scorched by fires, the life of Grigory became black" (M. Sholokhov). The idea of the blackness and gloominess of the steppe also evokes in the reader that melancholy, painful feeling that corresponds to the state of Gregory. There is a transfer of one of the meanings of the concept - "scorched steppe" to another - the inner state of the character. Sometimes, in order to compare certain phenomena or concepts, the artist resorts to detailed comparisons:

The view of the steppe is sad, where without obstacles,
Exciting only the silver feather grass,
Flying Aquilon roams
And before him freely drives the dust;
And where all around, no matter how vigilantly you look,
Meets the gaze of birch two or three,
Which are under the bluish haze
They turn black in the evening in the empty distance.
Life is so boring when there is no struggle
Having penetrated into the past, to distinguish
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 everyday
I would like to make immortal like a shadow
Great hero, and understand
I can't what it means to rest.

M. Lermontov

Here, with the help of unfolded S. Lermontov conveys a whole gamut of lyrical experiences and reflections.
Comparisons are usually combined by conjunctions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"I have curls for a fine fellow - combed flax" N. Nekrasov. The union is omitted here. But sometimes it is not supposed to be:
"Execution in the morning, a familiar feast for the people" A. Pushkin.
Some forms of comparison are constructed descriptively and therefore are not connected by unions:

And she is
At the door or at the window
An early star is lighter
Morning roses are fresh.

A. Pushkin

She is sweet - I will say between us -
The thunderstorm of the court knights,
And it is possible with southern stars
Compare, especially with verses,
Her Circassian eyes.

A. Pushkin

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

The sun does not shine on the palate,
The blue clouds do not admire him:
At the meal he sits in a crown of gold
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 the instrumental forms used in comparison:

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

A. Pushkin

I do not soar - I sit as 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-like wallpaper ..."

M. Sholokhov.

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

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Frost - Voivode of the Watch

Bypasses his possessions.

ON THE. Nekrasov

ALLEGORY(Greek. allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
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 date back to Greek and Roman mythology. So, the image of a woman blindfolded and 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 sides, 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 - bizarre, comical) - depicting people and phenomena in a fantastic, ugly comic form, based on sharp contrasts and exaggerations.

Furious at the meeting, I burst into an avalanche

Wild curses belching dear.

And I see: half of the people are sitting.

O devilry! Where is the other half?

V. Mayakovsky

IRONY (Greek eironeia - pretense) - an expression of ridicule or deceit through allegory. A word or utterance acquires, in the context of speech, a meaning that is opposite to the literal meaning or denies it, calls into question.

Servant of powerful gentlemen

With what courage noble

Smash with the speech you are free

All those who got their mouth shut.

F.I. Tyutchev

SARCASM (Greek sarkazo, literally - tearing meat) - contemptuous, sarcastic mockery; the highest degree of irony.

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

Oh spring without end and without edge -

A dream without end and without edge!

A. Block

ALLITERATION (SOUND)(lat. ad - to, at 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.

The storm is near. Beats on the shore

A black boat alien to enchantment ...

K. Balmont

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

ANAPHORA(Greek anaphora - carrying out) - repetition of the initial words, line, stanza or phrase.

You and wretched

You are abundant

You and downtrodden

You are omnipotent

Mother Russia! ...

ON THE. Nekrasov

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

You are a prose writer, I am a poet;

You are blush, like poppies,

I am like death, and skinny and pale.

A.S. Pushkin

You and wretched
You are abundant
You and mighty
You are powerless ...

N. Nekrasov

So few roads have been covered, 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 whole work is built on the principle of antithesis.

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

... When suddenly from the woods

The bear opened its mouth on them ...

A.N. Krylov

Bark, laugh, sing, whistle and clap,

Human rumor and horse top!

A.S. Pushkin

ASYNDETON (asyndeon) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives dynamics and richness to speech.

Night, street, lantern, pharmacy,

Pointless and dim light.

Live for at least a quarter of a century -

Everything will be like this. There is no way out.

A. Block

MULTI-UNION(polysindeon) - excessive repetition of conjunctions, creating an additional intonation coloration. The opposite figure isnon-union.

Slowing down speech by forced pauses, multi-union emphasizes individual words, enhances its expressiveness:

And the waves are crowding and rushing back
And again they come, and they beat on the shore ...

M. Lermontov

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

M.Yu. Lermontov

GRADATION- from lat. gradatio - gradualness) is a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. The gradation enhances the emotional resonance of the verse:

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

S. Yesenin

INVERSION(lat. inversio - permutation) - a stylistic figure that violates the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.

Legends of deep antiquity

A.S. Pushkin

The doorman is past him with an arrow

Soared up the marble steps

A. Pushkin

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

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

In the blue sea, waves are splashing.

Stars shine in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is high that 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 characteristics ("Song about the merchant Kalashnikov" by M. Yu. Lermontov, "Who lives well in Russia" N. And . Nekrasov, "Vasily Terkin" A. T, Tvardovsky).

Parallelism can have a broader thematic character in content, for example, in M. Yu. Lermontov's poem "Heavenly Clouds - Eternal Wanderers."

Parallelism can be both verbal-figurative and rhythmic, compositional.

PARCELATION- an expressive syntactic technique of intonational division of a sentence into independent segments, graphically highlighted as independent sentences. ("And again. Gulliver. Standing. Slouching" PG Antokolsky. "How courteous! Kind! Nice! Simple!" Griboyedov. "Mitrofanov grinned, stirred the coffee.

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

TRANSFER (French enjambement - stepping over) - mismatch of syntactic division of speech and division into verses. When transferring, the syntactic pause inside a verse or semi-verse is stronger than at its end.

Peter comes out. His eyes

Shine. His face is terrible.

The movements are fast. He is beautiful,

He's all like a storm of God.

A. S. Pushkin

RHYME(Greek "rhythmos" - harmony, proportionality) - a variety epiphores ; consonance of the ends of poetic lines, creating a feeling of their unity and kinship. The rhyme emphasizes the border between the verses and links the verses into stanzas.

ELLIPSIS (Greek elleipsis - loss, omission) - a figure of poetic syntax based on the omission of one of the members of a sentence, easily reconstructed by meaning (most often predicate). This achieves the dynamism and conciseness of speech, a tense change of action is conveyed. Ellipsis is one type of default. In artistic speech, it conveys the speaker's emotion or the intensity of the action:

We sat down - in ashes, hails - in dust,
In swords - sickles and plows.

1. The originality of the genre "Words ...".
2. Features of the composition.
3. Linguistic features of the work.

EZOP 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 mainly in satirical works (fables, satires, epigrams, feuilletons, etc.) and allowing to disguise, disguise the true essence of the statement in cases where it cannot be directly expressed (for example, for censorship reasons). The term was introduced into literary use by M.E. Saltykov-Shchedrin, calling E. I. a special ("slave") 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, the informer is called a "heart expert", "a collector of statistics"; slaps - "applause". N.G. Chernyshevsky in the novel What Is to Be Done? calls the narrow-minded man in the street, alien to public interests, "an astute reader." Possibilities of E. i. M. Zoshchenko, M. Bulgakov, V. Vysotsky and others were widely used as a satirical allegory, in foreign literature - J. Swift, A. France and others.

Dictionary of literary terms. 2012

Metaphor

Artistic techniques in literature cannot be imagined without mentioning the most important of them - a way of creating a linguistic picture of the world on the basis of meanings already existing in the language itself.

The types of metaphors are as follows:

Fossilized, worn out, dry or historic (boat bow, eye of a needle).
Phraseologisms are stable figurative combinations of words that have emotionality, metaphor, reproducibility in the memory of many native speakers, expressiveness (death grip, vicious circle, etc.).
Single metaphor (e.g. homeless heart).
Unfolded (heart - "porcelain bell in yellow China" - Nikolai Gumilyov).
Traditionally poetic (morning of life, fire of love).
Individually-author's (hump of the sidewalk).

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

The word "metaphor" itself means "transfer" in translation from Greek. In this case, we are dealing with the transfer of the name from one subject to another. For it to become possible, they must certainly have some kind of similarity, they must be related in some way. A metaphor is a word or expression that is used figuratively 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 brightest means of expressing artistic, poetic speech. However, the absence of this trope does not mean the lack of expressiveness of the work.

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

Metonymy

Metonymy is one of the varieties 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 on the basis of the existing contiguity of two concepts, objects, etc. This is an imposition on the direct meaning of the figurative. For example: "I ate two plates." Mixing of meanings, their transfer are possible because objects are contiguous, and the contiguity can be in time, in space, etc.

Synecdoche

Synecdoche is a kind of metonymy. Translated from Greek, this word means "correlation". Such a transfer of meaning takes place when instead of a larger one is called a smaller one, or vice versa; instead of a part, a whole, and vice versa. For example: "According to Moscow reports."

Epithet

Artistic techniques in literature, the list of which we are now compiling, cannot be imagined 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, attachment", that is, in our case, one word is attached to some other.

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

Permanent epithets are used in folklore as a means of typing, and also as one of the most important means of artistic expression. In the strict sense of the term, only those of them belong to the paths, the function of which has words in a figurative meaning, in contrast to the so-called exact epithets, which are expressed in words in a direct meaning (red berry, beautiful flowers). Figuratives are created by using words in a figurative sense. Such epithets are usually called metaphorical. Metonymic transfer of the name can also underlie this trail.

Oxymoron is a type of epithet, the so-called contrasting epithets, which form combinations with the nouns defined by the words opposite to them in meaning (hating love, joyful sadness).

Comparison

Comparison is a trope in which one object is characterized through comparison with another. That is, this is a comparison of various objects in terms of similarity, which is both obvious and unexpected, distant. It is usually expressed using certain words: "exactly", "like", "like", "like". Also, comparisons can take the form of the instrumental case.

Impersonation

Describing artistic techniques in literature, it is necessary to mention personification. This is a kind of metaphor, which is the assignment of properties of living things to objects of inanimate nature. It is often created by referring to such natural phenomena as conscious living beings. Impersonation is also the transfer of human properties to animals.

Hyperbola and litota

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

Hyperbole (translated as "exaggeration") is one of the expressive means of speech, representing a figure with the meaning of exaggeration of what is being discussed.

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

Sarcasm, irony and humor

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

Sarcasm means "tear meat" in Greek. This is an evil irony, a stinging mockery, a caustic remark. When using sarcasm, a comic effect is created, but at the same time there is a clearly ideological and emotional assessment.
Irony in translation means "pretense", "mockery". It arises when one thing is said in words, but something completely different is meant, the opposite.
Humor is one of the lexical means of expressiveness, which in translation means "mood", "disposition". In a comic, allegorical vein, sometimes whole works can be written in which a mockingly good-natured attitude towards something is felt. 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 is 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 hyperbole.

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

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

Pun

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

In puns, puns are based on homonymy and ambiguity. Jokes 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, shape, image". This word has many meanings. 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, litota, hyperbole, personification and others. In translation, the word "trope" means "turnover". Artistic speech differs from ordinary speech in that it uses special turns that decorate speech, making 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 have an aesthetic, emotional impact on the reader, to create poetic pictures and vivid images.

We all live in a world of sounds. Some of them evoke positive emotions in us, while others, on the contrary, excite, alert, cause anxiety, soothe or induce sleep. Different sounds evoke different images. With the help of their combination, you can emotionally affect a person. Reading works of literature and Russian folk art, we perceive their sound especially sharply.

Basic techniques for creating sonic expressiveness

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

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

Acceptance of sound writing in fiction

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

Varieties of sound writing:

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

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 the lane from Greek - turn, image).
The main types of tropes include: epithet, comparison, metaphor, personification, metonymy, synecdoche, paraphrase, hyperbole, lithote, irony, sarcasm.
Epithet- a figurative definition that marks a feature essential for a given context in the depicted phenomenon. The epithet differs from a simple definition in artistic expressiveness and imagery. All colorful definitions that are most often expressed by adjectives belong to epithets.

Epithets are divided into general language (coffin silence), individual copyright (dumb peace (I.A.Bunin), sweet beauty (S.A. Yesenin)) and folk poetry(constant) ( red Sun, kind well done) .

The role of epithets in the text

Epithets are aimed at enhancing the expressiveness of the images of the depicted objects, at highlighting their most significant features. They convey the author's attitude to the depicted, express the author's assessment and the author's perception of the phenomenon, create a mood, give a characterization of the lyrical hero. ("... dead words smell bad" (N.S. Gumilyov); "... foggy and quiet azure over a sad orphaned land" (F.I. Tyutchev))

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

Ways to Express Comparison:

The form of the instrumental case of nouns:

Vagrant nightingale

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

The comparative form of an 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.:

Like a beast of prey to a humble abode

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

With words similar, similar:

In the eyes of a cautious cat

Similar your eyes (A. Akhmatova)

Using comparative clauses:

The golden foliage swirled

In the pinkish water on the pond

Like a flock of butterflies

With a daze flies to the star... (S. Yesenin)

The role of comparisons in the text.

Comparisons are used in the text in order to enhance its depiction and imagery, to create brighter, more expressive images and highlight, to emphasize any essential features of the depicted objects or phenomena, as well as to express the author's assessments and emotions.

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

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

The role of metaphors in text

Metaphor is one of the brightest and most powerful means of creating expressiveness and imagery of 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, individuality of objects or phenomena. Metaphors serve as an important means of expressing author's assessments and emotions.

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

The wind sleeps and everything goes numb

If only to fall asleep;

The clear air itself is timid
To die in the frost. (A.A. Fet)

The role of impersonations in text

Impersonations serve to create vivid, expressive and imaginative pictures of something, they revive nature, enhance the transmitted thoughts and feelings.

Metonymy Is the transfer of a name from one subject to another based on their contiguity. Adjacency can be a manifestation of a connection:

I AM 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 the item and the material the item is made of:

…not that on silver, - on gold eating (A.S. Griboyedov)

Between the place and the people in this place:

The city was noisy, flags were fluttering ... (Yu.K. Olesha)

The role of metonymy in the text

The use of metonymy allows you to make a thought brighter, laconic, expressive, gives the depicted object visualization.

Synecdoche Is a kind of metonymy based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them.

Most often, the transfer occurs:

From less to more:

To him and bird does not fly

AND Tiger does not exist ... (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 periphrase- (in the lane from Greek - a descriptive expression) is a turnover 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

Periphrases allow you to:

Highlight and emphasize the most essential features of the depicted;

Avoid unjustified tautology;

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

Oh sovereign city,

Stronghold of the northern seas

Orthodox crown of the fatherland,

The magnificent dwelling of kings,

Peter is a sovereign creation!(P. Ershov)

Hyperbola- (in the lane from Greek - exaggeration) is a figurative expression containing an exaggerated exaggeration of any sign of an object, phenomenon, action:

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

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

What tiny cows!

There is a less pinhead right. (I.A.Krylov)

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

Introduction to work

The dissertation research is devoted to the consideration of the peculiarities of poetics of "The Lay of Igor's Host" in the light of folklore tradition.

"The Lay of Igor's Host" is an outstanding literary work of a secular nature, based on historical material, written by an unknown author of the XII century. The study of the Lay revealed its important artistic feature: being an original author's work focused on the genre and style literary traditions of its time, it at the same time reveals a close connection with folklore. This manifests itself at different levels of poetics: in composition, in plot construction, 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. The author of the ancient Russian work did not seek to glorify his name.

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

For the first time, the most vivid and complete embodiment of the idea of the connection between the Lay and folk poetry was found in the works of MAMaksimovich. 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 Lay - were later combined into a hypothesis about the dual nature of the monument. Some of the results of the development of the problem "Word" and folklore were summed up in the article by V.P. Adrianova-Peretz "The Lay of Igor's Campaign and Russian Folk Poetry", where it was indicated that the supporters of the idea of the "folk poetic" origin of the Lay often overlook the fact that "in oral folk poetry, lyric poetry and epic poetry each have their own artistic system." , while in the author's integral organic poetic system "the best sides of the lyric and epic style are indissolubly merged." D.S. Likhachev also reasonably pointed to the closeness of the Lay to folklore, especially to popular laments and glories, in terms of ideological content and form. This is how the unresolved problem in literary criticism was declared about the ratio of folklore and literary elements in the text of the most famous monument of ancient Russian literature.

In a number of works, ideas have been expressed about the relationship between the Lay and certain genres of folklore. Various aspects of the problem of the relationship between the monument and folklore were highlighted in the works of I.P. Eremin, L.A. Dmitrieva, L.I. Emelyanova, B.A. Rybakova, S.P. Pinchuk, A.A. Zimin, S.N. Azbeleva, R. Mann. These and many similar to them in type of work are united by a common attitude: in the opinion of their authors, the Lay is genetically and in form connected with folk poetry, to which it has its roots.

At one time, from our point of view, a very accurate 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 are dealing in oral folk poetry ... This shows that the“ Lay ”is a monument that combines two areas: oral and written. " This attitude became for us an incentive to turn to a comparative study of "The Lay of Igor's Host" and folklore tradition and the need to raise the issue of the origin and connection of mythological images with the author's worldview.

Scientific novelty: Despite the scientific searches of the researchers mentioned above, the issues of the formation of the author's artistic skill in the early Middle Ages, reliance on folklore tradition have not yet received an exhaustive answer in literary criticism. D.S. Likhachev wrote: “A difficult and responsible question ... about the relationship between the system of literary genres of ancient Russia and the system of folklore genres. Without a series of large 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 Lay of Igor's Campaign" is so saturated with folklore, as well as the key question about the relationship between the system of literary genres of ancient Russia and the system of folklore genres. The paper provides a comprehensive analysis of the folklore tradition in the "Lay of Igor's Campaign": it reveals how the worldview influenced the design and implementation of the idea of the work, clarifies the problem of studying the system of folklore genre forms used by the author, analyzes the connection between the elements of the folklore chronotope, folklore images and poetic techniques, which are found in the text of the literary monument of the XII century, with images and tropes "The Lay of Igor's Host."

The study proves that the poetic system formed in oral folk art undoubtedly influenced the poetics of the emerging medieval Russian literature, including the artistic structure of The Lay of Igor's Host, because during the period of artistic searches, during the formation of written literature the culture of oral poetry developed over the centuries

influenced the formation of literature by the fact that there were already ready-made genre forms and artistic poetic techniques that were used by ancient Russian writers, including the author of "The Lay 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 Lay of Igor's Campaign, it was necessary to turn to the Old Russian text, since the original text allows us to better understand the artistic specifics of the work.

Research object is the text of "The Lay of Igor's Campaign" in the Old Russian language, as well as folklore texts of different genres in the records of the Х1Х-ХХ centuries, necessary for a comparative analysis.

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

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

The purpose dissertation research is a comprehensive study of the peculiarities of the poetics of folklore in the artistic structure “Words about Igor's Host.

Based on the general goal, the following particular tasks:

To reveal the basis of the author's artistic perception of the world, to determine the role of its various structural elements in the poetics of the Lay, to consider the elements of animistic and pagan beliefs reflected in the work.

Consider in the Lay the elements of folklore genres, general genre models, elements of composition, the peculiarity of the chronotope, common with folklore, folklore images.

Determine in the "Lay" the specifics of the image of a person, the type of hero, his connection with the folklore system of images.

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

Methodological framework the dissertation was based on the fundamental works of Academician D.S. Likhachev "Man in the Culture of Ancient Rus", "Development of Russian Literature in the XI-XVII Centuries: Epochs and Styles", "Poetics of Old Russian Literature", "A Word about Igor's Regiment. Sat. studies and articles (Oral sources of the artistic system "The Lay of Igor's Campaign." And also the works of V.P. Adrianova-Peretz "The Lay of Igor's Campaign and Russian Folk Poetry", "The Lay of Igor's Campaign and Monuments of Russian Literature of the 11th - 13th centuries" Collection of research These works made it possible to consider the following aspects of the poetics of the Lay: categories of artistic time and space, the system of artistic means in the context of folklore.

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

The theoretical significance of the study consists in a comprehensive study of the peculiarities of the poetics of folklore in the artistic system "The Lay of Igor's Campaign", which is important for understanding the aesthetic values of Old Russian literature as a whole. Revealing folklore traditions at different levels of poetics of the text presupposes further development of the problem in literary criticism.

The practical value of the research: the materials of the dissertation research can be used when giving lectures in university courses on the history of Russian literature, in the special course "Literature and Folklore", for the compilation of educational and methodological manuals on Old Russian literature, as well as in school courses on literature, history, courses "World Art Culture" ...

Provisions for Defense:

1. The poetics of the Lay reflects the worldview of an ancient Russian man who absorbed the ancient mythological ideas of the Slavs about the world, but already perceives them at the level of aesthetic categories. The literature is penetrated by mythological characters associated with ancient ideas about the world around them, but they are no longer perceived as divine beings, but as some mythological magic characters.

2. In "The Lay of Igor's Campaign" elements of numerous folklore genres are revealed. From ritual folklore, traces of wedding and funeral rites are noted, there are elements of conspiracy and spells.

In the artistic structure of the monument, the influence of epic genres is noticeable, in particular, fabulous and epic: 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 epic ones. Folklore images-symbols of the lyric song influenced the poetics of the Lay. Small genre forms - proverbs, sayings, parables - are a means of characterizing and enhancing emotionality.

3. The "Lay" uses the indivisibility of tropes and symbols characteristic of folklore, with the help of which the author gives a vivid and figurative description of the heroes, finds out the reasons for their actions. The syntax of the monument is archaic (influenced by oral tradition) and is largely associated with the poetic syntax of a folk lyric song. The rhythmic structure of the Lay creates an artistic context consistent with the epic tradition of text reproduction.

4. Folklore was the "breeding ground" that influenced the formation of the artistic system of Old Russian literature in the early period of its formation, which is evident from the analysis of the outstanding work of the XII century, permeated with folklore traditions. During the period of the creation of The Lay of Igor's Host, the process of the formation of literary poetics, which takes place under the influence of folklore, deepens.

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 bibliography of used literature, including 237 titles. The total volume of the dissertation is 189 pages.

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