Linguistic means that create artistic expressiveness of speech. Expressive means of language

Perhaps the most confusing and difficult topic for those who are not friends with literature and verbal figures. If you have never been impressed by classical literature, and especially poetry, then perhaps familiarizing yourself with this topic will allow you to look at many works through the eyes of the author and arouse an interest in the literary word.

Paths - verbal turns

Paths make speech brighter and more expressive, more interesting and richer. These are words and their combinations used in a figurative sense, which is why the very expressiveness of the text appears. Paths help convey various shades of emotions, recreate true images and pictures in the mind of the reader; with their help, masters of words evoke certain associations in the mind of the reader.

Along with the syntactic means of language, tropes (related to lexical means) are quite a powerful weapon in the literary sphere. It is worth paying attention to the fact that many tropes have moved from the literary language into colloquial speech. We have become so accustomed to them that we have ceased to notice the indirect meaning of such words, which is why they have lost their expressiveness. It’s a common occurrence: tropes are so “hackneyed” in colloquial speech that they become cliches and cliches. The once expressive phrases “black gold”, “brilliant mind”, “golden hands” have become familiar and hackneyed.

Classification of tropes

In order to understand and clearly clarify which words and expressions, in what context, are classified as figurative and expressive means of language, let us turn to the following table.

From the examples it becomes clear that the figurative and expressive means of language, namely tropes, are used not only in works of art, but also in living spoken language. You don’t have to be a poet to have competent, rich, expressive speech. It is enough to have a good vocabulary and the ability to express thoughts outside the box. Saturate your vocabulary by reading quality literature, it is extremely useful.

Visual means of phonetics

Paths are only part of the arsenal of artistic means of expression. What is designed to specifically influence our hearing is called phonetic figurative and expressive means of language. Once you understand the essence of the phonetic component of the artistry of a language, you begin to look at many things with different eyes. An understanding of the play on words in the poems of the school curriculum, once studied “through force” comes, and the poetics and beauty of the syllable are revealed.

It is best to consider examples of the use of phonetic means of expression based on classical Russian literature; this is the richest source of alliteration and assonance, as well as other types of sound writing. But it would be wrong to think that examples of figurative and expressive means of language are not found in modern art. Advertising, journalism, songs and poems by modern performers, proverbs, sayings, tongue twisters - all this is an excellent basis for searching for figures of speech and tropes, you just need to learn to hear and see them.

Alliteration, assonance and others

Alliteration is the repetition of identical consonants or their combinations in a poem, which gives the verse sound expressiveness, brightness, and originality. For example, the sound [z] in Vladimir Mayakovsky’s “Cloud in Pants”:

You came in

sharp, like “here!”

mucha suede gloves,

“You know -

I'm getting married".

or right there:

I'll strengthen myself.

See -

how calm!

Like the pulse of a dead man.

Remember?...

And here is a modern example for us. From the singer Utah (“Fall”):

I will smoke and eat bread,

Staring at the dusty lampshade in the hallway...

Assonance is a specially organized repetition of consonant sounds (usually in a poetic text), which gives the verse musicality, harmony, and songfulness. A skillfully created phonetic device can convey the atmosphere, setting, state of mind and even surrounding sounds. Vladimir Mayakovsky’s carefully crafted assonance carries a tinge of fluid hopelessness:

Your son is beautifully sick!

His heart is on fire.

Tell your sisters

Lyuda and Ole,—

he has nowhere to go.

In any poem, Vladimir Vladimirovich combines figurative and expressive means of a phonetic nature with tropes and syntactic figures. This is the author's uniqueness.

Pun rhymes are combinations of words and sounds based on the similarity of sounds.

The realm of rhymes is my element,

And I write poetry easily,

Without hesitation, without delay

I run to line from line,

Even to the Finnish brown rocks

I'm making a pun.

D. D. Minaev

Syntactic means of expressiveness in language

Epiphora and anaphora, inversion, parcellation and a number of other syntactic means help the master of verbal art to saturate his works with expressiveness, creating an individual style, character, and rhythm.

Some syntactic devices enhance the expressiveness of speech and logically highlight what the author wants to emphasize. Others add dynamism and tension to the narrative, or, conversely, make you stop and think, re-read and feel. Many writers and poets have their own individual style, based specifically on syntax. Suffice it to recall A. Blok:

"Night, street, lantern, pharmacy"

or A. Akhmatova:

"Twenty-one. Night. Monday"

The individual author's style consists, of course, not only of syntax, there is a whole set of all components: semantic, linguistic, as well as rhythm and vision of reality. And yet, an important role is played by what figurative and expressive means of language the artist prefers.

Syntax to aid artistic expression

Inversion (rearrangement, reversal) is the reverse or non-standard order of words in a sentence. In prose it is used to semantically highlight any part of a sentence. In poetic form it is sometimes necessary to create rhyme and focus attention on the most important points. In Marina Tsvetaeva’s poem “An Attempt of Jealousy,” inversion conveys an emotional breakdown:

How are you doing - are you healthy -

Maybe? Sung - how?

With the ulcer of an immortal conscience

How are you coping, poor man?

A. S. Pushkin considered inversion to be perhaps the most important means of poetic expression; his poems are mostly inversion, which is why they are so musical, expressive, and simple.

A rhetorical question in a literary text is one that does not require an answer.

The day was innocent and the wind was fresh.

The dark stars went out.

- Grandmother! - This brutal rebellion

In my heart - isn't it from you?..

A. Akhmatova

In Marina Tsvetaeva’s lyrics, her favorite devices were the rhetorical question and the rhetorical exclamation:

I'll ask for a chair, I'll ask for a bed:

“Why, why do I suffer and suffer?”

I learned to live in the fire itself,

He threw it himself - into the frozen steppe!

That's what you, dear, did to me!

My dear, what have I done to you?

Epiphora, anaphora, ellipse

Anaphora is the repetition of similar or identical sounds, words, phrases at the beginning of each line, stanza, sentence. A classic example is Yesenin’s poems:

I didn't know that love is an infection

I didn't know that love is a plague...

Oh, wait. I don't scold her.

Oh, wait. I don't curse her...

Epiphora - repetition of the same elements at the end of phrases, stanzas, lines.

Foolish heart, don't beat!

We are all deceived by happiness,

The beggar only asks for participation...

Foolish heart, don't beat.

Both stylistic figures are more characteristic of poetry than prose. Such techniques are found in all types and genres of literature, including oral folk art, which is very natural, given its specificity.

An ellipse is an omission in a literary text of any linguistic unit (it is easy to restore), while the meaning of the phrase does not suffer.

What yesterday is waist-deep,

Suddenly - to the stars.

(Exaggerated, that is:

Full height.)

M. Tsvetaeva

This gives dynamism, conciseness, and highlights the desired element intonationally in the sentence.

In order to clearly navigate the diversity of linguistic figures and professionally understand the name of a visual and expressive means, you need experience, knowledge of theory and language disciplines.

The main thing is not to overdo it

If we perceive the surrounding information through the prism of linguistic means of expressiveness, we can come to the conclusion that even colloquial speech refers to them quite often. It is not necessary to know the name of a figurative and expressive means of language in order to use it in speech. Rather, it happens unintentionally, unnoticed. It’s another matter when various figures of speech flow in the media, both appropriate and not. The abuse of tropes, stylistic devices, and other means of expressiveness makes speech difficult to perceive and oversaturated. Journalism and advertising are especially guilty of this, apparently because they deliberately use the power of language to influence the audience. The poet, in the rush of the creative process, does not think about what visual and expressive means to use; this is a spontaneous, “emotional” process.

Language is the most powerful tool in the hands of the classics

Each era leaves its mark on the language and its visual means. Pushkin's language is far from Mayakovsky's creative style. The poetics of Tsvetaeva’s legacy differs sharply from the unique texts of Vladimir Vysotsky. The poetic language of A. S. Pushkin is permeated with epithets, metaphors, personifications, I. A. Krylov is a fan of allegory, hyperbole, and irony. Each writer has his own style, created by him in the creative process, in which his favorite visual forms play an important role.

It is known that no European lexicon can compare with richness: this opinion is expressed by many literary scholars who have studied its expressiveness. It has Spanish expansion, Italian emotionality, French tenderness. Language means, used by Russian writers, resemble the brushstrokes of an artist.

When experts talk about the expressiveness of language, they mean not only the figurative means that they study at school, but also an inexhaustible arsenal of literary techniques. There is no unified classification of figurative and expressive means, however, linguistic means are conventionally divided into groups.

In contact with

Lexical means

Expressive means, working at the lexical language level, are an integral part of a literary work: poetic or written in prose. These are words or figures of speech used by the author in a figurative or allegorical meaning. The most extensive group of lexical means of creating imagery in the Russian language is literary tropes.

Varieties of Tropes

There are more than two dozen tropes used in the works. Table with examples combined the most used ones:

The article provides main trails, known in the literature, which are illustrated in a table with examples.

Sometimes archaisms, dialectisms, and professionalisms are considered tropes, but this is not true. These are means of expression, the scope of which is limited to the depicted era or area of ​​application. They are used to create the flavor of an era, a described place or a working atmosphere.

Specialized means of expression

- words that once called objects familiar to us (eyes - eyes). Historicisms denote objects or phenomena (actions) that have come out of everyday life (caftan, ball).

Both archaisms and historicisms - means of expression, which are readily used by writers and screenwriters who create works on historical topics (examples are “Peter the Great” and “Prince Silver” by A. Tolstoy). Poets often use archaisms to create a sublime style (womb, right hand, finger).

Neologisms are figurative means of language that entered our lives relatively recently (gadget). They are often used in literary texts to create the atmosphere of a youth environment and the image of advanced users.

Dialectisms - words or grammatical forms, used in the colloquial speech of residents of the same area (kochet - rooster).

Professionalisms are words and expressions that are characteristic of representatives of a certain profession. For example, a pen for a printer is, first of all, spare material that is not included in the issue, and only then a place for animals to stay. Naturally, a writer telling about the life of a hero-printer will not ignore the term.

Jargon is the vocabulary of informal communication used in the colloquial speech of people belonging to a certain social circle. For example, linguistic features of the text about the lives of students will allow us to use the word “tails” in the sense of “exam debt”, and not parts of the body of animals. This word often appears in works about students.

Phraseological phrases

Phraseological expressions are lexical linguistic means, whose expressiveness is determined by:

1. Figurative meaning, sometimes with a mythological background (Achilles' heel).
2. Each one belongs to the category of high stable expressions (sink into oblivion) ​​or colloquial expressions (hang your ears). These can be linguistic means that have a positive emotional connotation (golden hands - a load of approving meaning), or with a negative expressive assessment (small fry - a shade of disdain for a person).

Phraseologisms are used, to:

• emphasize the clarity and imagery of the text;
• build the necessary stylistic tone (colloquial or sublime), having previously assessed the linguistic features of the text;
• express the author's attitude to the information being communicated.

The figurative expressiveness of phraseological turns is enhanced due to their transformation from well-known to individually authored: to shine throughout Ivanovskaya.

A special group is aphorisms ( idioms). For example, happy hours are not observed.

Aphorisms can also include works of folk art: proverbs, sayings.

These artistic means are used quite often in literature.

Attention! Phraseologisms as figurative and expressive literary means cannot be used in an official business style.

Syntactic tricks

Syntactic figures of speech are phrases used by the author to better convey the necessary information or the general meaning of the text, sometimes to give the passage an emotional overtones. These are what they are syntactic means expressiveness:

1. Antithesis is a syntactic means of expressiveness based on opposition. "Crime and Punishment". Allows you to emphasize the meaning of one word with the help of another, opposite in meaning.
2. Gradations are means of expressiveness that use synonymous words, arranged according to the principle of increase and decrease of a sign or quality in the Russian language. For example, the stars shone, burned, shone. This lexical chain highlights the main conceptual meaning of each word – “to shine.”
3. Oxymoron - straight opposite words, located nearby. For example, the expression “fiery ice” figuratively and vividly creates the contradictory character of the hero.
4. Inversions are syntactic means of expression based on unusual sentence construction. For example, instead of “he sang,” it is written “he sang.” The word that the author wants to highlight is placed at the beginning of the sentence.
5. Parcellation is the deliberate division of one sentence into several parts. For example, Ivan is nearby. Stands, looks. The second sentence usually contains an action, quality or attribute that takes on the author's emphasis.

Important! These figurative means Representatives of a number of scientific schools classify them as stylistic. The reason for replacing the term lies in the influence exerted by the expressive means of this group specifically on the style of the text, albeit through syntactic constructions.

Phonetic means

Sound devices in the Russian language are the smallest group of literary figures of speech. This is the special use of words with the repetition of certain sounds or phonetic groups for the purpose of depicting artistic images.

Usually like this figurative language used by poets in poetic works, or writers in lyrical digressions when describing landscapes. The authors use repeated sounds to convey thunder or the rustling of leaves.

Alliteration is the repetition of a series of consonants that create sound effects that enhance the imagery of the phenomenon being described. For example: “In the silky rustle of snow noise.” The intensification of the sounds S, Ш and Ш creates the effect of imitating the whistle of the wind.

Assonance is the repetition of vowel sounds in order to create an expressive artistic image: “March, march - we wave the flag // We march to the parade.” The vowel “a” is repeated to create an emotional fullness of feelings, a unique feeling of universal joy and openness.

Onomatopoeia is a selection of words that combine a certain set of sounds that creates a phonetic effect: the howl of the wind, the rustling of grass and other characteristic natural sounds.

Means of expression in the Russian language, tropes

Using expressive words

Conclusion

It is the abundance of figurative means expressiveness in Russian makes it truly beautiful, juicy and unique. Therefore, foreign literary scholars prefer to study the works of Russian poets and writers in the original.

Speech. Analysis of means of expression.

It is necessary to distinguish between tropes (visual and expressive means of literature) based on the figurative meaning of words and figures of speech based on the syntactic structure of the sentence.

Lexical means.

Typically, in a review of assignment B8, an example of a lexical device is given in parentheses, either as one word or as a phrase in which one of the words is in italics.

Paths.

In the review, examples of tropes are indicated in parentheses, like a phrase.

Types of tropes and examples for them are in the table:

Figures of speech, sentence structure.

In task B8, the figure of speech is indicated by the number of the sentence given in brackets.

Remember!

When completing task B8, you should remember that you are filling in the gaps in the review, i.e. you restore the text, and with it both semantic and grammatical connections. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates consistent with the omissions, etc.

It will make it easier to complete the task and divide the list of terms into two groups: the first includes terms based on changes in the meaning of the word, the second - the structure of the sentence.

Analysis of the task.

(1) The Earth is a cosmic body, and we are astronauts making a very long flight around the Sun, together with the Sun across the infinite Universe. (2) The life support system on our beautiful ship is so ingeniously designed that it is constantly self-renewing and thus allows billions of passengers to travel for millions of years.

(3) It is difficult to imagine astronauts flying on a ship through outer space, deliberately destroying a complex and delicate life support system designed for a long flight. (4) But gradually, consistently, with amazing irresponsibility, we are putting this life support system out of action, poisoning rivers, destroying forests, and spoiling the World Ocean. (5) If on a small spaceship the astronauts begin to fussily cut wires, unscrew screws, and drill holes in the casing, then this will have to be classified as suicide. (6) But there is no fundamental difference between a small ship and a large one. (7) The only question is size and time.

(8) Humanity, in my opinion, is a kind of disease of the planet. (9) They started, multiplied, and swarmed with microscopic creatures on a planetary, and even more so on a universal scale. (10) They accumulate in one place, and immediately deep ulcers and various growths appear on the body of the earth. (11) One has only to introduce a drop of a harmful (from the point of view of the earth and nature) culture into the green coat of the Forest (a team of lumberjacks, one barracks, two tractors) - and now a characteristic, symptomatic painful spot spreads from this place. (12) They scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste.

(13) Unfortunately, such concepts as silence, the possibility of solitude and intimate communication between man and nature, with the beauty of our land, are just as vulnerable as the biosphere, just as defenseless against the pressure of so-called technological progress. (14) On the one hand, a person, delayed by the inhuman rhythm of modern life, overcrowding, a huge flow of artificial information, is weaned from spiritual communication with the outside world, on the other hand, this external world itself has been brought into such a state that sometimes it no longer invites a person to spiritual communication with him.

(15) It is unknown how this original disease called humanity will end for the planet. (16) Will the Earth have time to develop some kind of antidote?

(According to V. Soloukhin)

“The first two sentences use the trope of ________. This image of the “cosmic body” and “astronauts” is key to understanding the author’s position. Reasoning about how humanity behaves in relation to its home, V. Soloukhin comes to the conclusion that “humanity is a disease of the planet.” ______ (“scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste”) convey the negative actions of man. The use of _________ in the text (sentences 8, 13, 14) emphasizes that everything said to the author is far from indifferent. Used in the 15th sentence, ________ “original” gives the argument a sad ending that ends with a question.”

List of terms:

1. epithet
2. litotes
3. introductory words and plug-in constructions
4. irony
5. extended metaphor
6. parcellation
7. question-and-answer form of presentation
8. dialectism
9. homogeneous members of the sentence

We divide the list of terms into two groups: the first – epithet, litotes, irony, extended metaphor, dialectism; the second – introductory words and inserted constructions, parcellation, question-answer form of presentation, homogeneous members of the sentence.

It is better to start completing the task with gaps that do not cause difficulties. For example, omission No. 2. Since a whole sentence is presented as an example, some kind of syntactic device is most likely implied. In a sentence “they scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste” series of homogeneous sentence members are used : Verbs scurrying around, multiplying, doing business, participles eating away, exhausting, poisoning and nouns rivers, oceans, atmosphere. At the same time, the verb “transfer” in the review indicates that a plural word should take the place of the omission. In the list in the plural there are introductory words and inserted constructions and homogeneous clauses. A careful reading of the sentence shows that the introductory words, i.e. those constructions that are not thematically related to the text and can be removed from the text without loss of meaning are absent. Thus, in place of gap No. 2, it is necessary to insert option 9) homogeneous members of the sentence.

Blank No. 3 shows sentence numbers, which means the term again refers to the structure of sentences. Parcellation can be immediately “discarded”, since authors must indicate two or three consecutive sentences. The question-answer form is also an incorrect option, since sentences 8, 13, 14 do not contain a question. What remains are introductory words and plug-in constructions. We find them in the sentences: In my opinion, unfortunately, on the one hand, on the other hand.

In place of the last gap, it is necessary to substitute a masculine term, since the adjective “used” must be consistent with it in the review, and it must be from the first group, since only one word is given as an example “ original". Masculine terms – epithet and dialectism. The latter is clearly not suitable, since this word is quite understandable. Turning to the text, we find what the word is combined with: "original disease". Here the adjective is clearly used in a figurative sense, so we have an epithet.

All that remains is to fill in the first gap, which is the most difficult. The review says that this is a trope, and it is used in two sentences where the image of the earth and us, people, is reinterpreted as the image of a cosmic body and astronauts. This is clearly not irony, since there is not a drop of mockery in the text, and not litotes, but rather, on the contrary, the author deliberately exaggerates the scale of the disaster. Thus, the only possible option remains - metaphor, the transfer of properties from one object or phenomenon to another based on our associations. Expanded - because it is impossible to isolate a separate phrase from the text.

Answer: 5, 9, 3, 1.

Practice.

(1) As a child, I hated matinees because my father came to our kindergarten. (2) He sat on a chair near the Christmas tree, played his button accordion for a long time, trying to find the right melody, and our teacher sternly told him: “Valery Petrovich, move up!” (3) All the guys looked at my father and choked with laughter. (4) He was small, plump, began to go bald early, and although he never drank, for some reason his nose was always beet red, like a clown’s. (5) Children, when they wanted to say about someone that he was funny and ugly, said this: “He looks like Ksyushka’s dad!”

(6) And I, first in kindergarten and then at school, bore the heavy cross of my father’s absurdity. (7) Everything would be fine (you never know what kind of fathers anyone has!), but I didn’t understand why he, an ordinary mechanic, came to our matinees with his stupid accordion. (8) I would play at home and not disgrace either myself or my daughter! (9) Often getting confused, he groaned thinly, like a woman, and a guilty smile appeared on his round face. (10) I was ready to fall through the ground from shame and behaved emphatically coldly, showing with my appearance that this ridiculous man with a red nose had nothing to do with me.

(11) I was in third grade when I caught a bad cold. (12) I started getting otitis media. (13) I screamed in pain and hit my head with my palms. (14) Mom called an ambulance, and at night we went to the district hospital. (15) On the way, we got into a terrible snowstorm, the car got stuck, and the driver, shrilly, like a woman, began to shout that now we would all freeze. (16) He screamed piercingly, almost cried, and I thought that his ears also hurt. (17) Father asked how long was left to the regional center. (18) But the driver, covering his face with his hands, kept repeating: “What a fool I am!” (19) Father thought and quietly said to mother: “We will need all the courage!” (20) I remembered these words for the rest of my life, although wild pain swirled around me like a snowflake in a snowstorm. (21) He opened the car door and went out into the roaring night. (22) The door slammed behind him, and it seemed to me as if a huge monster, clanging its jaws, swallowed my father. (23) The car was rocked by gusts of wind, and snow rustled down on the frost-covered windows. (24) I cried, my mother kissed me with cold lips, the young nurse looked doomedly into the impenetrable darkness, and the driver shook his head in exhaustion.

(25) I don’t know how much time passed, but suddenly the night was illuminated by bright headlights, and the long shadow of some giant fell on my face. (26) I closed my eyes and saw my father through my eyelashes. (27) He took me in his arms and pressed me to him. (28) In a whisper, he told his mother that he had reached the regional center, raised everyone to their feet and returned with an all-terrain vehicle.

(29) I dozed in his arms and through my sleep I heard him coughing. (30) Then no one attached any importance to this. (31) And for a long time afterwards he suffered from double pneumonia.

(32)…My children are perplexed why, when decorating the Christmas tree, I always cry. (33) From the darkness of the past, my father comes to me, he sits under the tree and puts his head on the button accordion, as if he secretly wants to see his daughter among the dressed-up crowd of children and smile cheerfully at her. (34) I look at his face shining with happiness and also want to smile at him, but instead I start crying.

(According to N. Aksenova)

Read a fragment of a review compiled on the basis of the text that you analyzed while completing tasks A29 - A31, B1 - B7.

This fragment examines the linguistic features of the text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list. If you do not know which number from the list should appear in the blank space, write the number 0.

Write down the sequence of numbers in the order in which you wrote them down in the text of the review where there are gaps in answer form No. 1 to the right of task number B8, starting from the first cell.

“The narrator’s use of such a lexical means of expression as _____ to describe the blizzard (“terrible blizzard", "impenetrable darkness"), gives the depicted picture expressive power, and such tropes as _____ (“pain circled me” in sentence 20) and _____ (“the driver began to scream shrilly, like a woman” in sentence 15), convey the drama of the situation described in the text . A device such as ____ (in sentence 34) enhances the emotional impact on the reader.”

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1. Means of expressive speech

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

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

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

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

In direct communication, the relationship between the speaker and the listener, the psychological contact between them, which arises primarily on the basis of joint mental activity, is also important: the addresser and the addressee must solve the same problems, discuss the same issues: the first - outlining the topic of his message, the second - following the development of his thoughts. In establishing psychological contact, what is important is the attitude of both the speaker and the listener to the subject of speech, their interest, and indifference to the content of the statement.

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

One of the prerequisites for verbal expressiveness is skills that allow you to easily select the language means needed in a particular act of communication. Such skills are developed through systematic and deliberate training. The means of training speech skills is careful reading of exemplary texts (fiction, journalistic, scientific), close interest in their language and style, attentive attention to the speech of people who can speak expressively, as well as self-control (the ability to control and analyze one’s speech from the point of view of its expressiveness ). The verbal expressiveness of an individual also depends on the conscious intention to achieve it, on the author’s target setting for it.

The expressive means of language usually include tropes (figurative use of linguistic units) and stylistic figures, calling them figurative and expressive means. However, the expressive capabilities of language are not limited to this; in speech, any unit of language at all levels (even a single sound), as well as non-verbal means (gestures, facial expressions, pantomime) can become a means of expressiveness.

2. Phonetic means of expression. Euphony of speech

As you know, spoken speech is the main form of existence of language. The sound organization of speech and the aesthetic role of sounds are dealt with by a special branch of stylistics - phonics. Phonics evaluates the peculiarities of the sound structure of a language, determines the conditions of euphony characteristic of each national language, explores various techniques for enhancing the phonetic expressiveness of speech, and teaches the most perfect, artistically justified and stylistically appropriate sound expression of thought.

The sound expressiveness of speech, first of all, lies in its euphony, harmony, the use of rhythm, rhyme, alliteration (repetition of the same or similar consonant sounds), assonance (repetition of vowel sounds) and other means. Phonics is primarily interested in the sound organization of poetic speech, in which the importance of phonetic means is especially great. Along with this, the sound expressiveness of artistic prose and some genres of journalism (primarily on radio and television) is also explored. In non-literary speech, phonics solves the problem of the most appropriate sound organization of linguistic material, facilitating the accurate expression of thought, since the correct use of phonetic means of language ensures quick (and without interference) perception of information, eliminates discrepancies, and eliminates unwanted associations that interfere with the understanding of the statement. For fluency of understanding, the euphony of speech is of great importance, i.e. a combination of sounds that is convenient for pronunciation (articulation) and pleasant to the ear (musicality). One of the ways to achieve sound harmony is a certain alternation of vowels and consonants. Moreover, most combinations of consonants contain the sounds [m], [n], [r], [l], which have high sonority. Consider, for example, one of the poems by A.S. Pushkin:

Driven by the spring rays, There is already snow from the surrounding mountains. They fled through muddy streams to drowned meadows.

Nature's clear smile. Through a dream greets the morning of the year:

The skies are shining blue.

Still transparent, the forests seem to be turning green.

A bee for a field tribute flies from a wax cell...

The sound instrumentation of this poem is interesting. Here, first of all, there is a uniform combination of vowels and consonants (and their ratio itself is approximately the same: 60% consonants and 40% vowels); an approximately uniform combination of voiceless and voiced consonants; There are almost no cases of accumulation of consonants (only two words contain, respectively, three and four consonant sounds in a row - [skvos "] and [fstr" and `ch "aj ьт]. All these qualities together give the verse a special musicality and melody. They are inherent in the best prose works.

However, the euphony of speech can often be disrupted. There are several reasons for this, the most common of which is the accumulation of consonant sounds: a sheet of a defective book: [stbr], [ykn]; competition for adult builders: [revzr], [xstr]. Also M.V. Lomonosov advised “to avoid obscene and unpleasant to the ear combination of consonants, for example: the gaze is nobler than all senses, because six consonants placed side by side - vstv-vz, the tongue is very stuttering.” To create euphony, the number of sounds included in a consonantal combination, their quality and sequence are important. In the Russian language (this has been proven), the combination of consonant sounds obeys the laws of euphony. However, there are words that include a larger number of consonants compared to the normative ones: meeting, disheveled, stuck. There are lexemes containing two or three consonant sounds at the end, which makes pronunciation much more difficult: spectrum, meter, ruble, callous, acquaintances, etc. Usually, when consonants coincide in oral speech, in such cases additional “syllabicity” develops, a syllabic vowel appears: [rubl "], [m" etar], etc. For example:

This Smury came to the theater two years ago... (Yu. Trifonov); In Saratov there was a play staged by Sergei Leonidovich back in the spring (Yu. Trifonov);

The earth is bursting with heat.

The thermometer is blown up. And on me. Rumbling, the worlds are showered with drops of mercury fire.

(E. Bagritsky)

The second reason that disrupts the euphony of speech is the accumulation of vowel sounds. Thus, the opinion that the more vowel sounds in a speech, the more harmonious it is, is incorrect. Vowels produce euphony only in combination with consonants. The combination of several vowel sounds in linguistics is called gaping; it significantly distorts the sound structure of Russian speech and makes articulation difficult. For example, the following phrases are difficult to pronounce: Letter from Olya and Igor; Such changes are observed in the aorist; the title of V. Khlebnikov's poem "The Lay of El".

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

True, in poetic speech it can be very difficult to distinguish between a violation of euphony and paronomasia - the deliberate play of words that are similar in sound. See for example:

So we heard the first song of winter quietly penetrating through the first winter (N. Kislik).

Colleague, employee, drinking buddy, interlocutor How many of these COs! Weightless without each other, carried by menacing times, let's fall into these Somas like a squirrel in a wheel. (V. Livshits).

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

Frost in the knot, I climb with my gaze.

Nightingale's call, cartload of hair.

Wheel. Sorry for the luggage. Touchstone.

The sleigh, the raft and the cart, the call of the crowds and of us.

Gord doh, the move is slow.

And I lie there. Really?

(V. Khlebnikov).

Poor phonetic organization of speech, difficult articulation, and unusual sound of phrases distract the reader’s attention and interfere with the listening comprehension of the text. Russian poets and writers have always closely monitored the sound side of speech and noted the shortcomings of the sound design of a particular thought. For example, A.M. Gorky wrote that young authors often do not pay attention to the “sound vagaries” of living speech, and gave examples of violation of euphony: actresses with passionate looks; wrote poetry, cleverly choosing rhymes, etc. A.M. Gorky also noted that the annoying repetition of the same sounds is undesirable: She unexpectedly found that our relationship needed - even necessary - to be understood differently. V.V. Mayakovsky in the article "How to make poetry?" gives examples of combinations at the junction of words, when a new meaning arises that was not noticed by the authors of poetic texts; in other words, amphiboly arises at the phonetic level: “... in Utkin’s lyric poem placed in “Spotlight” there is a line:

he will not come, just as the summer swan will not come to the winter lakes.

It turns out a certain "belly".

Amphiboly at the sound level can also be noted in A. Voznesensky’s poem “Brighton Beach”:

What is your fault, Willie? What am I, Willie, to blame for? Is it you, is it us? Are we, are you? - Heaven doesn't speak.

The aesthetic perception of texts is disrupted when real participles of the present and past tense are used in speech such as trudged, trudged, wincing, wincing, grinding, as they seem dissonant.

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

3. Vocabulary and phraseology as the main source of expressiveness of speech

The expressive capabilities of a word are associated, first of all, with its semantics, with its use in a figurative meaning. There are many varieties of figurative use of words, their common name is tropes (Greek tropos - turn; turnover, image). The trope is based on a comparison of two concepts that seem close to our consciousness in some respect. The most common types of tropes are comparison, metaphor, metonymy, synecdoche, hyperbole, litotes, personification, epithet, periphrasis. Thanks to the figurative metaphorical use of the word, figurative speech is created. Therefore, tropes are usually classified as means of verbal imagery, or figurative ones.

Metaphorization, one of the most common ways of creating imagery, covers a huge number of commonly used, neutral and stylistically marked words, primarily polysemantic ones. The ability of a word to have not one, but several meanings of a conventional nature, as well as the possibility of updating its semantics, its unusual, unexpected rethinking, lies at the basis of lexical figurative means.

The strength and expressiveness of tropes lies in their originality, novelty, and unusualness: the more unusual and original a particular trope is, the more expressive it is. Tropes that have lost their imagery over time (for example, metaphors of a general linguistic nature such as sharp vision, a clock is running, a river arm, the neck of a bottle, warm relationships, an iron character, or similes that have turned into speech cliches, such as being reflected as in a mirror; cowardly, like hare; runs like a red thread), do not contribute to the expressiveness of speech.

Vocabulary with emotionally expressive overtones is especially expressive. It affects our feelings and evokes emotions. Let us remember, for example, what vocabulary was used by the excellent expert on native speech I.S. Turgenev in the novel “Fathers and Sons” to characterize the meager, miserable economy of the peasants: villages with low huts; crooked threshing sheds; worn-out men on bad nags, etc.

Expressiveness of speech is achieved through a motivated, purposeful collision of words of different functional, stylistic and emotionally expressive colors. For example, from S. Yesenin:

And a swarm of thoughts pass through my head:

What's the homeland? Are these really dreams? After all, for almost everyone here I am a gloomy pilgrim from God knows from what distant side.

And it's me! I, a citizen of the village, which will be famous only for this, That here a woman once gave birth to a Russian scandalous piet.

Here the bookish words duma, homeland, pilgrim, piit are combined with the colloquial words God knows, really, the colloquial woman, the official business citizen.

The motivated collision of words from different spheres of use is widely used as one of the most striking means of comedy. Let's give examples from newspaper feuilletons: Where did Tamara's mentor, a very young girl, come from such a reverent readiness to immediately be fooled by the first charlatan she came across? (combination of book poetic vocabulary with colloquial vocabulary); However, what was the end of the work of the investigative team, which spent more than two years trying to punish Yambulatov? (simple. slammed and book. punished).

In addition to metaphorization and emotional-expressive coloring of the word, polysemantics in their non-figurative meanings, homonyms, synonyms, antonyms, paronyms, vocabulary of limited use, archaisms, neologisms, etc. are used as means of expressiveness.

Polysemantic words and homonyms are often used for ironic and parody purposes, to create puns. To do this, homonym words or different meanings of the same word deliberately collide in the same context. For example, in the sentence They scolded the play, they say, it went, but the play still went (E. Krotkiy), the author collides two homoforms:

1) went - the short form of the adjective vulgar and 2) went - the past tense form of the verb go. Or: And they explained for a long time, // What a sense of duty means (A. Barto).

Many jokes and puns are based on individual author's homonyms: baranka - sheep; carelessness (technical) - lack of a stove or steam heating in the apartment; chickenpox (disapproved) - a frivolous girl; decanter - husband of the countess, etc.

The skillful use of synonyms allows us to pay attention to this or that detail, express a certain attitude towards the named object or phenomenon, evaluate it and, therefore, enhance the expressiveness of speech. For example: Kudrin laughed. Everything that happened seemed to him like wild nonsense, absurdity, chaotic nonsense, which you just have to give up on and it will crumble, dissipate like a mirage (B. Lavrenev). Using the technique of stringing synonyms nonsense - absurdity - nonsense, the author achieves great expressiveness of the narrative.

Synonyms can perform the function of comparison and even opposition of the concepts they denote. At the same time, attention is drawn not to what is common to similar objects or phenomena, but to the differences between them: Nikitin wanted... not just to think, but to reflect (Yu. Bondarev).

Antonyms are used in speech as an expressive means of creating contrast and sharp opposition. They underlie the creation of antithesis (Greek antithesis - opposition) - a stylistic figure built on a sharp contrast of words with opposite meanings. This stylistic device is widely used by poets, writers, and publicists to add emotionality and extraordinary expressiveness to speech. Thus, the prologue to A. Blok’s poem “Retribution” is entirely built on the opposition of antonymous words beginning - end, hell - heaven, light - darkness, holy - sinful, heat - cold, etc.:

Life is without beginning and end...

Know where the light is, and you will understand where the darkness is.

Let everything pass slowly, What is holy in the world, what is sinful in it, Through the heat of the soul, through the coldness of the mind.

Antithesis allows you to achieve aphoristic precision in the expression of thoughts. It is no coincidence that antonymy underlies many proverbs, sayings, figurative expressions, and catchphrases. For example: An old friend is better than two new ones; A little deed is better than a lot of idleness; Learning is light and ignorance is darkness; Pass us by more than all sorrows and lordly anger and lordly love (A. Griboyedov). Antonyms in such cases, creating contrast, more clearly emphasize the idea, allow you to pay attention to the most important thing, and contribute to the brevity and expressiveness of the statement.

Paronymous words have considerable expressive potential. They serve as a means of creating humor, irony, satire, etc. For example: - He [great-grandson] studies at a school with a mathematical inclination. - With an inclination where? - With an inclination towards algebra (from the dialogue between famous television characters Avdotya Nikitichna and Veronika Mavrikievna); When is your wedding procession? - What are you talking about? What card? (V. Mayakovsky).

A striking means of expressiveness in artistic and journalistic speech are individual author’s neologisms (occasionalisms), which attract the attention of the reader (or listener) with their surprise, unusualness, and exclusivity. For example:

Why are you looking away, America? What are your announcers muttering about? What do they intend to explain to you, super-experienced TV nightingales?

(R. Rozhdestvensky);

Tankophobia has disappeared. Our soldiers are hitting the "tigers" with direct fire (I. Ehrenburg).

Lexical repetitions enhance the expressiveness of speech. They help highlight an important concept in the text, delve deeper into the content of the statement, and give the speech an emotionally expressive coloring. For example: A hero is a defender, a hero is a winner, a hero is the bearer of all the high qualities in which the popular imagination dresses him (A.N. Tolstoy); In war you need to be able to endure grief. Grief fuels the heart like fuel fuels an engine. Grief fuels hatred. Vile foreigners captured Kyiv. This is the problem for each of us. This is the grief of the entire people (I. Ehrenburg).

Often the same word, used twice, or words of the same root are contrasted in the context and reinforce the subsequent gradation, giving the context special significance and aphorism: Imperishable for times, I am eternal for myself (E. Baratynsky); I would be glad to serve, but I feel sick to serve (A. Griboyedov). It is no coincidence that tautological and pleonastic combinations underlie many phraseological units, proverbs and sayings: I don’t know; saw the views; forever and ever; if only; Leave no stone unturned; out of the blue; it was overgrown with its former days; friendship is friendship, and service is service, etc.

A living and inexhaustible source of expressiveness of speech are phraseological combinations characterized by imagery, expressiveness and emotionality, which allows not only to name an object or phenomenon, but also to express a certain attitude towards it. It is enough to compare, for example, the A.M. Give bitter phraseological turns of pepper, to tear the skin with equivalent words or phrases (scold, scold, punish; mercilessly, cruelly exploit, oppress someone) to see how much more expressive and figurative the former are than the latter: - Only when we come to the volost -What?... -You're a joker! He, the chief, will give pepper; He owns... he has hundreds of thousands of money, he has steamships and barges, mills and lands... he skins a living person...

Due to their imagery and expressiveness, phraseological units can be used unchanged in the familiar lexical environment. For example: Chelkash looked around triumphantly: - Of course, we swam out! W-well, happy are you, steros cudgel! (M. Gorky). In addition, phrasemes are often used in a transformed form or in an unusual lexical environment, which allows them to increase their expressive capabilities. Each artist’s methods of using and creatively processing phraseological units are individual and quite diverse. So, for example, Gorky used the phraseme bend (bend) in three deaths (“cruelly exploit, tyrannize”) in an unusual context, semantically changing it: Next to him, an old soldier... walked the Lawyer, bent over, without a hat. .., with his hands deep in his pockets. The writer deliberately dissects the general linguistic phraseological phrase "measure with his eyes" with the help of explanatory words, as a result of which its figurative core appears more clearly: He [the prisoner] measured Efimushka from head to toe with narrowed eyes lit up with anger. A favorite method of transforming phraseological units in Gorky's early stories is the replacement of one of the components: abyss from the eyes (dictionary phraseological unit - disappear from the eyes), hang your head (lose your spirit), tear your nerves (fray your nerves), etc.

Compare V. Mayakovsky’s methods of using phraseological units: They won’t leave one stone unturned, they won’t leave a leaf on a leaf, they will beat you (a phraseological unit is formed according to the model presented in the same context: stone upon stone); I would close America, clean it up a little, and then open it a second time (development of the motive given by the phraseological unit).

The expressive capabilities of phraseological units are increased by their ability to enter into synonymous relationships with each other. Reducing phrasemes into a synonymous row or the simultaneous use of lexical and phraseological synonyms significantly enhances the expressive coloring of speech: You and I are not a couple... A goose is not a comrade to a pig, a drunk is not related to a sober one (A. Chekhov); They scratch their tongues all day long and wash the bones of their neighbors (from colloquial speech).

Conclusion

linguistic expressive stylistic

Man is a social being, and the leading means of communication is speech. The main function of speech is the transformation of a person’s internal image, which arises as a result of subconscious internal or spiritual work. To accurately reproduce an image, expressive speech is necessary, thanks to which the reproduced information breaks through the prism of subjective assessment and becomes an integral part of his inner world. The expressiveness of speech refers to those features of its structure that maintain the attention and interest of the listener or reader.

Expressiveness can be spoken by a person who meets the following conditions: independent thinking, caring, good knowledge of the language, as well as language styles, systematic conscious training of speech skills. Expressive means of language are sometimes reduced to the so-called expressive-inventive, i.e. paths and figures, but expressiveness can be enhanced by units of language at all levels, from sounds to syntax and styles.

The expressive capabilities of a word are supported and strengthened by the actualization of its semantics. The actualization of the semantics of the word of poetry is usually associated with what can be called the associativity of figurative thinking. Other expressive means of speech also operate on the principles of association. The syntax of language has no less potential than vocabulary to enhance and weaken the expressiveness of speech.

However, the ability to find expressive and emotional words will not make speech alive if you do not master the secrets of expressive syntax.

Literature

1. Alekseev D.I. Word formation of the modern Russian literary language / 1986 - 299 p.

2. Aleferenko N.F. “Living Word” / 2009 - 341 p.

3. Bazzhina T.V. Russian punctuation: a reference guide. Forum 2010 - 303 p.

4. Gorshkov A.I. History of the Russian literary language. A short course of lectures: a textbook, a manual for government. Un-tov and ped. universities USSR / 2001 - 120s.

5. Life readings. Russian as a state language: ChSU, 2002 - 222 p.

6. Kamynina A.A. Modern Russian language. Morphology: textbook / 2002 - 240 p.

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The topic of our article is the means of expression in a poem. We will tell you what it is below. As an example of analysis and to consolidate the material, the reader is invited to pay attention to F. Tyutchev’s poem “Leaves” and the beautiful poetic lines of Pushkin “Winter Morning”.

What are means of expression?

A means of expressive speech is a complex of sound (phonetic), syntactic, lexical or phraseological elements used to achieve a better effect from what is said, attract attention, and emphasize certain aspects in speech.

Highlight:

• Sound (phonetic) means. This includes the use of certain sounds that are repeated periodically, giving a special sound. Symbolist poets often used such methods. For example, the well-known poem by Konstantin Balmont “Reeds” fascinates with hissing sounds that create the effect of the noise of reeds.
• Syntactic. These are the features of sentence construction. For example, V. Mayakovsky has short, sharp phrases that immediately focus attention on the topic.
• Phraseological. This includes the author’s use of so-called catchphrases - aphorisms.
• Lexical and semantic: related to the word and its meaning.
• Paths. They are most often inherent in artistic speech. These are metaphors and metonymies, hyperboles.

Means of expression in a poem

Before moving on to the poem and studying its means of expression, it is worth paying attention to the style of this genre. As we said above, each genre uses its own means of expression. Most often, these methods of emphasizing the author's intention are found in artistic style. Poetry is clearly an artistic genre (with some very rare exceptions), therefore, means of expression in a poem are used so that the reader can perceive more information and better understand the author. For prose writers, form and style allow them not to be constrained by the size of their works, while it is more difficult for poets to fit their feelings and thoughts, vision and understanding into relatively short lines.

The most commonly used techniques of expression in poetry

The expressions in the poem are quite varied. They are not the property of a specific author, as they were created and improved over decades. But sometimes it becomes very easy to recognize the author using specific examples and favorite means. The poetry of Sergei Yesenin, for example, is always filled with beautiful epithets and amazing metaphors. If you read an unknown poem to a person who knows his style, most likely he will name the author without hesitation.

Means of expression in the poem:

• Allegory. Its essence is in expressing an object or character trait through a certain image. For example, the wolf in fairy tales and fables is always an allegorical symbol of cruelty, ferocity, and self-will.
• Hyperbole and litotes. Simply put, artistic exaggeration and understatement.
• Antithesis. A method of expressiveness that is achieved by comparing or placing two or more contrasting concepts side by side. A.S. Pushkin, for example, says about a storm: “Then it will howl like an animal, then it will cry like a child.”
• the same beginning of several lines, as in the brilliant poem by Konstantin Simonov “Wait for me.”
• Alliteration. The use of consonant sounds of a specific sound series, as in Balmont’s “Reeds,” hissing sounds alternating with each other, creates the mystical presence of plant noise at night.
• Metaphor. The figurative meaning of a word, based on one or more characteristics. “Old Woman's Hut” by Yesenin, for example. The flimsy hut is compared to the old woman due to the advanced age of both.
• Metonymy. One word instead of another, or a part instead of the whole.
• Personification. A technique when a non-living object is attributed the properties of a living thing.
• Comparison and epithet. The first is when one subject is compared with another for a better effect of conveying information. The second is known to many from literature lessons and is an artistic definition.

Means of expression in the poem “Leaves” by Tyutchev

To better consolidate the topic, we will look at specific poems and, using their examples, we will try to figure out what the techniques of expressiveness are.

This poetic attempt by the writer to understand the meaning of life and mourn its transience is a true masterpiece of landscape lyricism. It is like a monologue of leaves that are sad about their fate and the summer that has flown by so imperceptibly.

There are many means of expression here. This is personification (the leaves speak, think, the author presents them to the reader as living beings), and antithesis (the leaves contrast themselves with the pine needles), and comparison (“hedgehog needles” they call pine needles). Here we can also see alliteration techniques (sounds “zh”, “ch”, “sh”).

Playing with tense forms of verbs helps the author achieve the effect of dynamics and movement. Thanks to this technique, the reader practically feels the transience of time and the movement of leaves. Well, like any poem, “Leaves” is not without the use of epithets. There are a lot of them here, they are colorful and alive.

Pay attention to the size of the poem. In just four short lines, the poet uses many means of expression and raises several philosophical questions. Always be attentive when reading poetry, and you will be pleasantly surprised at how much the author tells us.

Poem "Winter Morning"

The means of expression in the poem “Winter Morning” delight with their diversity. This work is an example of the best landscape poetry.

Techniques that A.S. Pushkin uses to achieve a special mood - this is primarily an antithesis. The contrast between the gloomy yesterday and the beautiful today highlights both pictures of nature - a cold snow storm and a beautiful morning - into separate canvases. The reader seems to see both the noise of the blizzard and the blinding snow.

Special positive epithets “charming”, “magnificent”, “wonderful” emphasize the author’s mood and convey it to us. Personification is also present in poetry. The blizzard is “angry” here, and the darkness “rushed” across the gloomy sky.

Finally

The means of expressive speech do not just decorate and complement speech, they make it lively and artistic. They are like bright colors with which an artist brings his painting to life. Their purpose is to emphasize and draw attention, enhance the impression, perhaps even surprise. Therefore, when reading poetry, do not rush, think about what the author wants to convey. By missing the thoughts of great artists hidden between the lines of words, you lose a lot.