Test “Means of artistic expression. Working with text (means of artistic expression) Assignment to text A
Before considering the question of the visual means of language, which include tropes and figures of speech, it is necessary to understand what
Before considering the issue of pictorialmeans of language, which include tropes and figures of speech,
need to understand what is polysemy or ambiguity
words
There are few words in Russian,
who have only one
meaning. Usually these terms are:
leg, copper, suffix,
cellulose.
Have one meaning
some words that call
specific item:
stool, pencil, bedside table,
TV.
Most words have
more than one meaning: I'm going
home; interesting
broadcast; the clock goes forward;
the bus does not go there; this
the hat suits you very well.
One of the meanings of the multivalued
words is direct - it is
the simplest meaning
context dependent and most
common.
All other values
are called portable
specifically defined
context
Trope (Greek tropos)
means "turn,
turn of speech." This
changing the main
word meanings,
name transfer from
traditionally
denoted
object or phenomenon
to another connected
some semantic
relationship with the first.
Figure (lat. figure -
image, appearance), on the contrary,
- form of speech, not
poetic
thinking: she's not
brings nothing new
expanding our
artistic
knowledge. Her main
purpose - to strengthen
impression of something, make it more
bright
Tropes and figures of speech (means of artistic expression)
TRAILSMetaphor
personification
Epithet
Synecdoche
Metonymy
Comparison
Litotes
Hyperbola
Irony
Sarcasm
FIGURES
gradation
Anaphora
Epiphora
Oxymoron
Inversion
Unionlessness (asindeton)
polyunion
(polysyndetone)
Ellipsis
tropes and figures of speech
POETIC VOCABULARY
Epithet - artistic definition:
"golden cloud", "giant cliff", "in
desert stunted and stingy.
Comparison - comparison of two
objects or phenomena in order to explain
one of them with the help of the other: "eyes,
like the sky is blue”, “look - ruble
bestow."
Allegory (allegory) - image
abstract concept through concrete
objects and images.
Irony - hidden mockery: "I scored
I am a shell in the cannon tight / / And I thought: I will treat
friend! / / Wait a minute, brother, Musya ... ".
Litota - artistic
understatement: "thumb boy"
"man with a fingernail."
Hyperbole - artistic
exaggeration: “Resting against the globe of the earth
kicking,//The sun ball I keep on
hands..."
Impersonation - image
inanimate objects, which
they are endowed with the properties of living
creatures - the gift of speech, the ability
think and feel: "Caution
wind / / Came out of the gate ... ".
Metaphor is a hidden comparison,
based on similarity or contrast
phenomena: "Spruce sleeve me path
hung ”(i.e. branch).
Synecdoche - transfer of the name of the whole
subject to its part: "And it was heard
before dawn, as the Frenchman rejoiced.
Metonymy is the transfer of a name by adjacency. IN
different from metaphorical transfer, which
necessarily implies the similarity of objects,
phenomena, properties, actions, with metonymy
there is no resemblance, BUT OBJECTS
ARE IN SOME LOGICAL
LINK WITH EACH OTHER: The whole school came to
stadium; Moscow is ready to vote again for
their mayor; Ate two plates; canvases
Levitan; Lady in furs; We use at work
Ushakov; Levitan exhibition; She
collects Gzhel; Forbidden sale
Borjomi
An oxymoron is a combination of words that
mutually exclusive concepts: "Hot snow",
"Living Dead"
Let's remember the definitions of some tropes and figures of speech
Let's look at the definitions of somePOETIC SYNTAX
tropes and figures of speech
Rhetorical questions, appeals, exclamations -
enhance the reader's attention without requiring him to answer: "What
is he looking for in a distant country? What did he throw in his native land?
friend, let us dedicate to the fatherland / / Beautiful impulses of the soul!
Anaphora - monogamy: “I swear on the first day
creations,//I swear by his last day,//I swear by shame
crimes, / / And eternal truth triumph.
Epiphora - the unity of the endings: "The unceasing rain is streaming,
heavy rain…”
Gradation is a kind of grouping of definitions either according to
increase or weakening of the emotional and semantic
significance: “I don’t regret, I don’t call, I don’t cry, / / Everything will pass, as with
white apple smoke.
Antithesis - opposition: “Black evening, white
snow. Wind. Wind."
An invective is a harsh accusation (as opposed to
panegyric-praise): “And you, arrogant descendants ...
meanness of glorified fathers.
Unionlessness is a deliberate omission of unions: “Flash by
booths, women, / / Boys, shops, lanterns, / / Palaces, gardens,
monasteries...
Polyunion - an increase in the number of unions between words with
purpose to slow down speech with forced pauses, to make it
more expressively: “And the waves crowd, and rush back, / / And again
they come and hit the shore ... ".
Parallelism is a homogeneous syntactic construction
sentences: “Your mind is as deep as the sea, / / Your spirit is high, which
mountains".
Inversion is a violation of the generally accepted word order,
rearrangement of parts of the phrase: “... where the eye of people breaks off
stubby", "And the death of a stranger to this land, restless guests."
Parceling - dismemberment of the statement; part design
simple or complex sentence as a separate
syntactic structure: Wife called him a freak. Sometimes
affectionately
Ellipsis - the omission of any members of the sentence in order to
highlighting the remaining words: “We are villages - in ashes, cities - in
dust, into swords - sickles and plows ... "
POETIC PHONETICS
Alliteration - repetition of consonants
sounds: "The guns from the pier are firing ...", "
It's time, the pen of rest asks ... ".
Assonance - repetition of vowel sounds:
“It became dark in the room.//Overshadows
elephant window. / Or is it a dream? / / Ding -
Don. Ding-don."
Anaphora - unanimity: “Evening.
Seaside. Sighs of the wind. Stately
the sound of the waves."
Sarcasm - (Greek sarkasmos, from sarkaso - a ditch
meat) The highest degree of irony, caustic,
caustic mockery, often expressed in
social denunciations:
That's who we should respect in the wilderness!
Here are our strict connoisseurs and judges!
Task: indicate in the given passages the means of artistic expression:
Ice stare, pearl of poetry, raindrumming, screeching saws, an ocean of tears, a mountain of books,
chocolate tan, hair gold, tail
trains, onions of churches, tape roads.
metaphor
A star dances before the stars,
The water is dancing like a bell,
A bumblebee dances and blows a pipe,
David dances in front of the tabernacle.
(A. Tarkovsky)
Anaphora
Dear friend, and in this quiet house
The fever hits me.
Can't find me a place in a quiet house
Near peaceful fire.
(A. Blok)
Epiphora
It's over with Russia ... On the last
We chatted her, chatted,
Slipped, drank, spat,
Smeared on dirty squares.
(M. Voloshin)
gradation
Yesterday I was suffocating with happiness,
Today I'm crying out in pain.
(R. Ivnev)
Antithesis
There dead glory is given
Me - your living hands.
(A. Akhmatova)
Antithesis
They roam the fields and the village only in
abundance of cows chewing, sheep bleating and
chickens clucking
(I. Goncharov)
Inversion
Petersburg - Peter's capital, city
Petra, the city on the Neva, the northern capital,
second Russian capital, northern
Venice.
paraphrase
But there was a wet mark in the wrinkle
Old cliff. Alone
He stands deep in thought
And he weeps softly in the desert.
personification
I look harder every day
dictionary.
The multi-storey hall trembled,
Sparks flicker in its columns
And full of youth
feelings.
Rayok applauded the singer,
It will descend into the cellars of words more than once
Then - stalls and lodges.
art,
S. Marshak
Holding in your hand your secret
Everything decorates the office.
flashlight.
Philosopher at the age of eighteen.
S. Marshak
Amber on the pipes of Tsaregrad,
The barge of life stood on the big
Porcelain and bronze on the table, And,
aground.
feelings of pampered joy,
Perfume in faceted crystal.
A. Blok
A. S. Pushkin Russian ship, released in
free swimming in
Branil Homer, Theocritus; But
wayward ocean of the world
read Adam Smith.
market with its storms and hurricanes,
A. S. Pushkin
unlikely to achieve the desired
coast.
(From newspapers)
Metonymy
Metaphor expanded
Each passage contains the same tropes and figures of speech. Name them.
Tell me, uncle, it's not for nothingThe answer to me was eloquent
silence. Super secret is happening:
Moscow burned by fire
now originality
given to the French?
will happen again.
M. Lermontov
N. Matveeva
He is ready to run after every skirt.
I love the magnificent nature
Suspicious trousers were already
wilting.
far.
A. S. Pushkin
Synecdoche
Oxymoron
Friends of Lyudmila and Ruslan!
With the hero of my novel
Without preamble, this very hour
Let me introduce you.
A. S. Pushkin
Foggy Albion.
Land of the Rising Sun.
paraphrase
10. The task contains metaphors. However, one example was misplaced. Find it, name the trope or figure of speech.
1) The sun is an eternal window into golden dazzle.2) The memory silently develops before me its long
scroll.
3) As a native Petersburger, I am pleased that the venue
this congress became the city on the Neva.
4) But even through the noise of the street, I hear the ebb and flow of the whole world
hugging thoughts.
5) Dawn from the garden doused the glass with bloody tears of September.
3-paraphrase
The task contains examples of metonymy. However, one example
hit by mistake. Find it, name the trope or figure of speech.
1) Well, eat another plate, my dear!
2) No, my Moscow did not go to him with a guilty head.
3) I read Apuleius willingly, but I did not read Cicero.
4) Here, on their new waves, all the flags will visit us.
5) Oh, if only I were as dim as the Sun!
6) But our open bivouac was quiet.
5-oxymoron, comparison
11. The task contains epithets. However, one example was misplaced. Find it, name the trope or figure of speech.
1) “I’ll tell you frankly,” Panama answered, “Snowden’s fingers are indon't put your mouth in."
2) I will eat blue grapes with my darling, I will drink golden wine and
to watch the gray-haired waterfall flowing onto the siliceous wet bottom.
3) The trees are so gloomy-strangely silent.
4) White, white, tin smoke comes out of the chimney.
5) And a gray-haired peasant woman in a worn old scarf got up from
earth, silent, sad, harsh.
6) Ring, sultry, red-cheeked, clear-clear day!
1-synecdoche
Comparisons are given in the task. However, several examples have been
by mistake. Find them, name the tropes or figures of speech.
1) Then the exorbitantly deaf lanes of the soul appear.
2) Chatterbox is like a pendulum: both must be stopped.
3) And the dream, like the echo of a bell, fell silent.
4) I drink you, captivating life, with my eyes, heart, sighs and
skin.
5) You rushed with the movement of a frightened bird.
6) As the night is blind, so I was blind, and I thought to live blind.
1-metaphor, epithets; 4-metaphor, gradation, epithet.
12. The table on the left shows the stanzas of various poets, on the right - the tropes and figures of speech that the author used. Prove that the right side of the table
compiled correctly.Pavement in the mounds. Between snow forts
B. Pasternak
metaphor
comparison
epithet
B. Pasternak
anaphora
asyndeton
metaphor
parceling
So loud, so young
Just a very recent spring.
personification
epithet
metaphor
S. Marshak
gradation
13. Answers to the task
Pavement in the mounds. Between snow fortsFrozen bottles of bare black ice floes.
Rolls of lanterns, and on the pipe, like an owl,
Unsociable smoke drowned in feathers.
B. Pasternak
metaphor
comparison
epithet
In everything I want to get to the very essence.
In work, in search of a way, In heart trouble.
To the essence of past days, to their cause,
To the foundations, to the roots, to the core.
All the time grasping the thread of Fates, events,
Live, think, feel, love, make discoveries.
B. Pasternak
anaphora
The autumn garden does not remember, fading,
What is buried in the fiery foliage
So loud, so young
Just a very recent spring.
personification
epithet
metaphor
S. Marshak
Asyndeton (no unions)
metaphor
Parceling (all over
text)
gradation
14. The table on the left shows the stanzas of various poets, on the right - the tropes and figures of speech that the author used. Prove that the right side of the table
compiled correctly.Everything is cleared, betrayed, sold, -
Why did we get light?
gradation,
metaphor,
rhetorical question, epithet
A. Akhmatova
Syntactic
parallelism
epithet
metaphor
personification
inversion
anaphora
He nods his head in a friendly way,
And in the sky I see God.
M. Lermontov
hillocks that ascended the hills, princesses white and red
out to the wide rivers, slender, chiselled bell towers,
carved, rising above the straw and plank everyday life - they
A. Solzhenitsyn
metaphor
comparison
epithet
inversion
15. Answers to the task
Everything is cleared, betrayed, sold, -Black death flashes a wing,
Everything is devoured by hungry longing,
Why did we get light?
gradation,
metaphor,
rhetorical question, epithet
A. Akhmatova
Syntactic
parallelism
epithet
metaphor
personification
inversion
anaphora
When the yellowing field worries,
And the fresh forest rustles at the sound of the breeze,
And the crimson plum hides in the garden
Under the shade of a sweet green leaf;
When sprayed with fragrant dew,
Ruddy evening or morning at a golden hour,
From under the bush I silver lily of the valley
He nods his head in a friendly way,
Then the anxiety of my soul humbles itself,
Then the wrinkles on the forehead diverge,
And I can comprehend happiness on earth,
And in the sky I see God.
M. Lermontov
Passing by country roads Central Russia you begin to understand what the key is
calming Russian landscape. He is in the churches. Run up on
hillocks that ascended the hills, emerging as white and red princesses
to wide rivers, slender, chiseled, carved bell towers
risen above the straw and board everyday life - they
from afar, from afar, they nod to each other, they are from disunited villages, to each other
unseen rise to the one sky.
A. Solzhenitsyn
metaphor
comparison
epithet
Inversion (last
text suggestion)
16. Determine which tropes or figures of speech the author uses by choosing from those listed on the right.
1) Every human head is similarstomach: one digests
food included in it, and the other from
it gets dirty.
2)
Today the old ash tree itself is not
yours - as if horrible dream
worries him. waving branches,
moves the foliage, and why -
no one can say. And leaves
light in discord among themselves, and
bent branches creak, friend with
arguing with another.
ends the beginning?
4) I wanted the sky under the snow, I beat the street
chills, the wind trembled for integrity
Signboards, plaques and staples.
5) Only heard, on the street somewhere
the accordion roams alone.
6) Silent sorrow will be comforted, and
frisky thoughtful joy.
epithet
metaphor
metonymy
personification
comparison
antithesis
rhetorical
question
synecdoche
17. Determine which tropes or figures of speech the author uses by choosing from those listed on the right.
Every human head is likestomach: one digests the incoming
her food, and the other is clogged from it.
2)
Today the old ash tree is not itself, -
It's like a bad dream is haunting him.
Branches waving, leaves moving, A
why no one can say. AND
light leaves in discord among themselves, and
bent branches creak with each other
arguing.
3) Where is the beginning of the end that
ends the beginning?
4) The sky wanted snow, The street was chilly,
The wind trembled for the integrity of the signage, damn
and staples.
5) Only heard, on the street somewhere lonely
the accordion roams.
6) Silent sadness will be comforted, and joy will reflect friskyly.
epithet
metaphor
metonymy
personification
comparison
antithesis
rhetorical
question
synecdoche
18. Determine which tropes or figures of speech the author uses by choosing from those listed on the right.
1. Rain swamped the road.The wind cuts their glass.
He tears the handkerchief from the willow
And she cuts them bald.
3. This star of the sixties has completely departed from the cinema and
dedicated her life to protecting our little brothers.
4. If I were small, like the Great Ocean, on tiptoe of the waves
got up, the tide caressed the moon.
6. The day is leaving, and the coolness
Refreshes and invigorates.
Taking a break from the parade
The festive city is buzzing.
That's when couples meet!
Talkative and alive
Through gardens and boulevards
Moscow is expanding.
Asyndeton
Antithesis
Metaphor
Metonymy
Synecdoche
Oxymoron
paraphrase
personification
Hyperbola
Litotes
19. Determine which tropes or figures of speech the author uses by choosing from those listed on the right.
1. Rain swamped the road.The wind cuts their glass.
He tears the handkerchief from the willow
And she cuts them bald.
2. Our world is wonderfully arranged ... He has an excellent cook, but, to
unfortunately, such a small mouth that more than two pieces
can never miss; the other has a mouth the size of
arch of the main headquarters, but, alas, must be content
some German potato dinner.
3. This 1960s Star Has Completely Stepped Away From Film
and dedicated her life to protecting our little brothers.
4. If I were small, like the Great Ocean, on tiptoe
the waves rose, the tide caressed the moon.
5. Swede, Russian stabs, cuts, cuts.
6. The day is leaving, and the coolness
Refreshes and invigorates.
Taking a break from the parade
The festive city is buzzing.
That's when couples meet!
Talkative and alive
Through gardens and boulevards
Moscow is expanding.
Asyndeton
Antithesis
Metaphor
Metonymy
Synecdoche
Oxymoron
paraphrase
personification
Hyperbola
Litotes
20. Determine which tropes or figures of speech the author uses by choosing from those listed on the right.
1)2)
3)
4)
From the blood shed in battles, from the ashes
turned to dust, from the torment of the executed
generations, From souls baptized in
blood, from hateful love, from
crimes, frenzy
righteous Rus'.
2) I called you, but you did not look back. I
shed tears, but you did not descend.
3) Instead of bread - a stone, instead of
teachings - beaters.
And a moment later we hear.
How fun and fast
All over the green leaves
On all iron roofs,
On flower beds, benches,
By buckets and watering cans
Flying rain knocks.
Anaphora
Oxymoron
Syntactic
Parallelism
Ellipsis
Epithet
Asyndeton
21. Determine which figures of speech are used by choosing from those listed on the right.
1)2)
3)
4)
5)
This is a cool pouring whistle,
This is the clicking of crushed ice floes,
This is the night chilling the leaf
This is a duel between two nightingales.
I'm still with you, but in the car.
I'm still at home, but on the road.
Writer's Weight by Machine
They measured in conversation:
Genius - on ZIL long,
Just talent - on the "Victory".
And who failed to reach
In the art of special success,
Buys a Moskvich car.
Or walking.
Like Chekhov.
There was something elusively oriental in his face, but gray-haired
huge eyes shone with denseness, burned, shone.
Who is not tired of threats,
Prayers, oaths, imaginary fear,
Notes on six sheets,
Deceptions, gossip, rings, tears,
Supervision of aunts, mothers
And heavy friendship of husbands!
Anaphora
Ellipsis
gradation
Inversion
Parceling
Asyndeton
syntactic
uy
parallelism
22. Determine which tropes or figures of speech are used by the author.
1) Looking at the sun, squint your eyes, and you can boldly see on itspots.
Kozma Prutkov
2) At the window, late for the performance, A blizzard knits stockings from flakes.
B. Pasternak
3) No, I wanted... maybe you... I thought It was time for the baron to die.
A. Pushkin
4) Guys - for axes.
5) The rich feast even on weekdays, but the poor mourn even on holidays.
6) The pen of his revenge breathes.
A. Tolstoy
7) Pyramidal poplars look like mourning cypresses.
8) He soon quarreled with the girl. Because of the sheer rubbish.
9) You are in the cabins! You are in the pantries!
V. Mayakovsky
10) He laughed loudly, sobbing.
11) The white coat moved farther and farther along the snow-covered path of the park.
12) And the stone word fell
On my living chest.
Nothing, because I was ready
I'll deal with it somehow.
A. Akhmatova
23. Determine which tropes or figures of speech are used by the author.
13) I have a lot to do today:We must kill the memory to the end,
It is necessary that the soul turned to stone,
We must learn to live again.
A. Akhmatova
14) As if the soul asked for the desired,
And they hurt her undeservedly,
And the heart forgave, but the heart froze,
And cries, and cries, and cries involuntarily.
K. Balmont
15) You alone burn for me, like a star in the silence of distance;
You are a ship that sinks neither in dreams, nor in waves, nor in darkness.
K. Balmont
16) I fell in love with you unexpectedly, immediately, by accident.
K. Balmont
17) Dry deserts of shame, Seas of inexhaustible tears.
A. Bely
18) And about that free will, the Wind cries by the river.
A. Blok
24. Determine which tropes or figures of speech are used by the author.
19) The girl sang in the church choirAbout all the tired in a foreign land,
About all the ships that have gone to sea,
About all those who have forgotten their joy.
A. Blok
A. Blok
A. Blok
20) I was sitting by the window in a crowded room,
Somewhere they sang bows about love.
21) Oh, I want to live crazy:
Everything that exists - to perpetuate,
Impersonal - incarnate,
Unfulfilled - to embody.
22) And the pain came like a quiet blue light,
And wrapped around the heart like a wrist.
M. Voloshin
23) I hear - history and humanity,
I hear - exile or fatherland.
I read in books - goodness, hypocrisy,
Hope, despair, faith, unbelief.
G. Ivanov
25. Determine which tropes or figures of speech are used by the author.
24) No one gave me so much grief And so much joy as you.No one gave love so sad And at the same time so joyful.
R. Ivnev
25) The beds are bald and empty,
A furrow will widow in the fields,
Only belly elastic cabbage,
Like a woman with a new thing, proud.
26) There is one alarm ahead, and one alarm behind.
S. Klychkov
27) Oh, if I were a beggar, like a billionaire!
N. Klyuev
B. Mayakovsky.
28) How many times have I tried to speed up
The time that carried me forward
Whip it up, scare it, spur it on
To hear how it goes.
C. Marshak
29) There was no soul more frank, more subtle and more penetrating,
than Turgenev. There was no talent more captivating than Turgenev's talent.
There was no heart more honest and more noble than the heart of Turgenev.
26.
Further task related toanalysis used by the author in
visual text,
similar to those that will be
offered on the exam.
Enter the names of the trails
figures of speech or lexical units;
find them in each
offers.
27.
(1) Who wants to see with a single glance our under-sinked Russia, do notmiss a look at the Kalyazin bell tower.
(2) She stood at the cathedral, in the midst of abundant trading city, near
Gostiny Dvor, and on the square the streets of two-story houses descended to it.
merchant mansions. (3) And no seer then foretold that
this ancient city, which survived cruel devastation both from the Tatars and from
Poles, in its eighth century will be an ignorant will
tyrannical authorities drowned by two-thirds in the Volga: everything would be saved
the second dam, but stint on it.
(4) But a tall bell tower remained from the drowned city. (5)
The cathedral was blown up or taken to pieces for the sake of our future. (6)
And for some reason the bell tower was not knocked down, it was not even touched. (7) And here it is
from water, good masonry, white brick, in six tiers
narrowing up. (8) It stands, not at all squinting, not twisting,
with an onion and a spire - into the sky! (9) And even on the spire - what a miracle? -
the cross survived. (10) From large Volga ships, waves slap on
white walls, and passengers have been staring from the decks for fifty years.
(11) As if wounded, you wander through the sad surviving streets with
rickety houses hastily resettled. (12)
Half-frozen, broken, unfinished city with a small remnant
former excellent buildings. (13) But the deceived people left here
there is no other choice but to live. (14) And live here.
(15) And for them, and for everyone, there is a bell tower! (16) Like ours
hope. (17) Like our prayer: no, all of Rus' will not let go to the end
Lord drown.
A. Solzhenitsyn
28. Assignment to the text by A. Solzhenitsyn
Reflections of A. Solzhenitsyn, great writer, laureateNobel Prize, set the reader up for joint
reflections. The text is based on a symbol. To convey your
feelings, Solzhenitsyn introduces ............................. (sentences 1, 4, 12).
The author writes with bitterness and ................................... sentence 5). Wide
are used............(sentences 3, 11, 12). Special
expressiveness is achieved through
(sentences 11, 16, 17). Among other pictorial
funds............(8,17).
List of terms:
1) metaphor
3) irony
5) epithets
6) contextual antonyms
7) colloquial words
9) comparison
Answer: 2, 3,5,9,1
29. What visual means of language did the author use? Choose from those given in the list of terms.
(1) Lermontov always looked for the scale of thoughts, feelings,desires. (2) And did not find. (3) Therefore, it was for him to live among people
unbearably hard: he had to constantly bend down to them,
to understand why their thoughts and feelings are so insignificant. (4)
That's why he loved being alone. (5) However, his soul contained the entire
world and responded with a tragic sound to the slightest pain in this
the world. (6) His heart did not know fear, but it constantly
experienced pain. (7) The ordinary human heart does not experience such pain
could endure. (8) Perhaps this is the reason for his
an absurd death in an absurd duel.
List of terms:
1) irony
2) parceling
3) anaphora
4) gradation
5).hyperbole
6) epiphora
7) synecdoche
8) comparison
9) epithet
10) metaphor
30. What visual means of language did the author use? Choose from those given in the list of terms.
(1) St. Petersburg figure skating coaches are considered the bestin the world, and their pupils have received Olympic gold more than once.
(2) And therefore it is quite logical that it is in the northern capital
opened the first figure skating academy in our country. (3)
Now to St. Petersburg figure skaters, both experienced and very young,
there is room to expand. (4) During the grand opening
Academy guests were able to see the performances of the stars
figure skating, whose names are known throughout Russia.
List of terms:
1) colloquial words
2) parceling
3) phraseological unit
4) metonymy
5) hyperbole
6) paraphrase
7) synecdoche
8) comparison
9) epithet
10) metaphor
31. What visual means of language did the author use? Choose from those given in the list of terms.
(1) At sunset, before evening tea, he would sit on a bicycle, put his hands onsteering horns and rolled straight into the dawn. (2) He always chose the same path.
(3) He knew this path, then narrow, packed, running along a dangerous
ditches, now paved with cobblestones, along which the front wheel jumped, then
pitted with insidious ruts, then smooth, pinkish, hard. (4) He knew
this path to the touch and to the eye, as you know a living body, and rolled along it without a hitch
ki, pushing elastic pedals into the rustling emptiness.
(5) In a pine copse on rough trunks, the evening sun lay
fiery ruddy stripes. (6) Sometimes he stopped on the highway and,
leaning on his bicycle, looked across the fields at one of those forest edges that
there are only in Russia, distant, jagged, black. (7) And above her golden
the west was crossed only by a purple cloud, from under which
beams fanned out.
List of terms:
1) polysyndeton
2) parceling
3) phraseological unit
4) litote
5) hyperbole
6) paraphrase
7) anaphora
8) comparison
9) epithet
10) metaphor
32. linguistic features of the text are considered. Some
Read the text and a review fragment based on the text. In this snippetnumber 0.
(1) Cities are generally full of irritation. (2) Big cities filled with them. (3) But
Moscow is the absolute champion in this. (4) And no wonder: that's how many people around,
tired of everything unbearably. (5) Moscow has recently been declared by scientific researchers to be
either the most or one of the roughest cities in the world. (6) Worse than us, it seems, only
Bombay. (7) It's not even a matter of direct rudeness, to which we are naturally more prone,
than Europeans or Americans brought up by centuries of cramped hostel, respecting
each other since the days when mutual respect was introduced by the Colts and Winchesters
ramie. (8) But now we are not talking about rudeness, but about irritation, most often hidden, from
which the irritated one suffers the most. (9) My God, how did they get everything!
(10) Riding against the rules, going ahead, throwing rubbish all around! (eleven)
Girls talking to each other all over the street obscenities. (12) And young men with beer
bottles and cans, drinking on the go...
(13) How unfortunate we are with our countrymen! (14) Meanwhile, they are what we are. (15)
Having just cut off someone else's car, and even driving into the oncoming one, we are furious,
being cut themselves or barely missing some goat who captured part
our lane. (16) Without giving way at the door to the one leaving, we freak out after a few
minutes, leaving through the same door and resting against the non-stop rushing towards the crowd.
(17) Startled by a loud and unbearably indecent conversation behind his back,
we remember what words we just used in our company, and in
public hearing. (18) And we never reach the urn with a cigarette butt: hide it in your pocket, which
whether? (19) All the same, there is a dump all around!
(20) In one store where I sometimes go, the walls are mirrored. (21) And always happens
one and the same thing: if you look inadvertently - what kind of freak is walking nearby ?! (22) Not right away
realize that it is you yourself. (23) Just looked from the side and imbued with nature
a genuine feeling of disgust towards one's neighbor. (24) The feeling is understandable. (25) But
life does not decorate.
According to A. Kabakov
33. Assignment to the text by A. Kabakov
The problem that the writer A. Kabakov raises in his article isconcerns each of us. The content of the article determined
features of its language, in particular the use of .....................,
for example, how did they get everything (sentence 9), we rage
(proposition 15). Intonation expressiveness of speech
achieved through ............... (sentences 18, 21), as well as
using exclamatory sentences. For the same purpose, and
also to achieve the compositional integrity of the text
The author uses a figure of speech such as
(sentences 10, 11 and 12; 15, 16 and 17). Expressiveness of speech
also provides an introduction......................(sentences 1, 2, 3)
and ................................, for example, mutual respect was introduced
Colts and Winchesters (Proposition 7).
List of terms:
1) metonymy
2) individually-author's words
3) synecdoche
4) rows of homogeneous members of the proposal
5) epithets
6) litote
7) colloquial and colloquial words
8) question-answer form of presentation
9) parceling
10) syntactic parallelism
34. Read the text and the review fragment based on the text. This fragment examines the language features of the text. Some
Read the text and a review fragment based on the text. In this snippetlinguistic features of the text are considered. Some of the terms used in
reviews omitted. Fill in the gaps with the numbers corresponding to the number of the term
from the list. If you do not know which number from the list should be in place of the gap, write
number 0.
(1) For everyone the reality is in himself. (2) And yet all "I" are merged into "WE": from
separate "I", at least for a living thread sewn together, but it turns out a society. (3) Some one
made of loneliness. (4) And the most amazing paradox is the city. (5) City, soy
reeking of loneliness. (6) After all, the need to be alone almost coincides with
self-preservation. (7) And if people unite in society, then only so that at the cost
hard work to buy the opportunity to be without each other. (8) They hoard coin to coin in order to
buy walls. (9) There, behind walls and curtains, their solitudes are organized and
carefully hidden. (10) Thinking something like this, I turned onto Strastnoy Boulevard, and at me
there was smoke and heat. (11) Asphalt was laid. (12) And at that time I saw a step away from
me a thin, pale half-girl, half-girl. (13) In the folds between long and narrow
eyebrows, in a slight trembling of the lips I thought I was alone, about which I have just
pondered. (14) I took a few steps to the side, continuing to watch the girl.
(15) She abruptly turned her head, and we were eye to eye.
- (16) Why are you looking?
(17) Without resisting suddenly surging, long languishing thoughts, I began to speak,
what a man is to a man, or a wolf, or a ghost. (18) Wolf - takes everything, devours
ruthlessly. (19) Well, if the ghost slips and disappears without leaving a trace, equally
stuffy and cold.
(20) Having finished speaking, I saw a still smiling face turning towards me.
- (21) I'm here, - (22) she said thoughtfully and climbed the steps of the entrance. (23)
Now we are the same height.
(24) And after a pause, she added:
- (25) So be it. (26) But there is a third formula: in the end, man to man ...
Human.
According to S. Krzhizhanovsky
35. Assignment to the text by S. Krzhizhanovsky
An essay by the writer S. Krzhizhanovsky, published back in the 30sof the last century, raises the problem that has always been facing
man. The author builds the entire essay on the basis of such a trope,
how.................................(sentences 2, 3, 5, 7, 8, 9,17,
18, 19). Expressiveness of speech is given by ............, for example
thin, pale half-girl (sentence 12), in a lung
lip trembling (sentence 13), ghost... indifferent and cold
(proposition 19). It serves the same purpose....
for example, on a living thread sewn (proposal 2), at the cost of stubborn
labor (sentence 7), man is a wolf to man (sentence 17).
Variety and expressiveness of the rhythmic
drawing of the text is achieved by ..............................
(propositions 3, 5).
List of terms:
3) irony
4) stable phrases, phraseological units
5) epithets
6) contextual antonyms
7) colloquial words
8) question-answer form of presentation
9) parceling
10) syntactic parallelism
36.
means of expressionwill also help you understand
author's attitude to
depicted.
37. Let's turn to the already familiar text.
(1) Boris Evgenievich Ermolkin was wonderful in his wayeditor.
(2) It was an old newspaper wolf, as he proudly called himself.
(Z) An unremarkable-looking person, Ermolkin possessed
sizzling passion - straighten any article or note from
beginning to the end so that it was completely impossible to read it. (4)C
morning until late in the evening, not noticing neither the rain, nor the sun, nor
time of day, no change of seasons, forgetting about your own family,
he spent time in his office reading the layout. (5) Ermolkin
they brought gray sheets, rough from the type pressed into them.
(b) It was disgusting to take these sheets in hand, but he clung to them,
trembling with impatience, spread it out on the table, and the
priesthood.
(7) Aiming at the layout, a sharp pencil, Ermolkin intently
peered at the printed words and threw himself like a hawk if
at least one of them was alive.
Figurative and expressive means of language
Author's irony
Inversion
gradation,
Comparison
Sections: Literature
1 option
1). In the garden, a fire of red rowan is burning,
A) epithet
B) metaphor
B) antithesis
D) an oxymoron
2). Dangerous bear hunting
terrible wounded animal.
A) comparison
B) personification
B) epithet
D) inversion
3). A cloud with thunder conspired:
you, thunder, thunder, and I will pour rain.
A) anaphora
B) comparison
B) epithet
D) personification
4). And a wonderful beam flashed from him,
like a heavenly day from a black cloud.
A) comparison
B) metaphor
B) impersonation
D) litote
5). Not on silver -
ate on gold.
A) metaphor
B) hyperbole
B) litote
D) metonymy
1). A lonely sail turns white
in the blue fog of the sea.
A) trochee
B) iambic
B) dactyl
D) anapaest
2). An oak leaf broke away from a native branch,
And he rolled off into the steppe, driven by a cruel storm ...
A) trochee
B) dactyl
B) iambic
D) amphibrachs
Answers: 1). 1-b, 2-d, 3-d, 4-a, 5-d 2). 1-b, 2-d
Option 2
1. Define a means of expression:
1). Under blue skies, magnificent carpets,
Shining in the sun, the snow lies.
A) comparison
B) epiphora
B) impersonation
D) anaphora
2). What are you howling about, night wind,
what are you complaining about so much?
A) personification
B) comparison
B) an oxymoron
D) inversion
3). You are rich, I am very poor
you are a prose writer, I am a poet.
A) metaphor
B) hyperbole
B) antithesis
D) comparison
4). The air is clean and fresh, like a baby's kiss.
A) epithet
B) comparison
B) an oxymoron
D) epiphora
5). Bitter joy.
A) an oxymoron
B) antithesis
B) anaphora
D) antithesis
3. Determine the poetic size:
1). you and I are stupid people:
What a minute, then the flash is ready.
A) trochee
B) anapaest
B) amphibrachs
D) iambic
2). The last cloud scattered storm!
Alone you rush through the clear azure ...
A) amphibrachs
B) dactyl
B) iambic
D) trochee
Answers: 1). 1-a, 2-a, 3-c, 4-b, 5-a 2). 1-b, 2-a
3 option
1. Define a means of expression:
1). Maturity joked, youth sang.
A) epithet
B) personification
B) antithesis
D) an oxymoron
2). I do not regret, do not call, do not cry.
A) comparison
B) gradation
B) epithet
D) inversion
3). The rich feast even on weekdays, while the poor mourn even on holidays.
A) anaphora
B) comparison
B) epithet
D) antithesis
4). In the forest, a fire of red mountain ash burns,
but he cannot warm anyone.
A) comparison
B) metaphor
B) impersonation
D) litote
5). Her love for her son was like madness.
A) anaphora
B) hyperbole
B) litote
D) comparison
2. Determine the poetic size:
1). Stands alone in the wild north
Pine on the bare top.
A) trochee
B) amphibrachs
B) dactyl
D) anapaest
2). How cheerful the roar of summer storms.
A) trochee
B) dactyl
B) iambic
D) amphibrachs
Answers: 1) 1-d, 2-b, 3-d, 4-b, 5-d 2) 1-b, 2-c
4 option
1. Define a means of expression:
1). I love big houses
and narrow city streets.
A) epithet
B) personification
B) antithesis
D) metonymy
2). Sad birch at my window.
A) comparison
B) gradation
B) anaphora
D) inversion
3). Winter is getting angry.
A) anaphora
B) personification
B) epithet
D) antithesis
4). It's snowy, it's snowy all over the earth, to all limits.
A) comparison
B) metaphor
B) impersonation
D) hyperbole
5). With a heavy resentment, like a stone on the heart
a flower fell, crumpled with lelem.
A) anaphora
B) hyperbole
B) litote
D) comparison
2. Determine the poetic size:
1). The golden leaf covers the wet earth in the forest.
A) trochee
B) amphibrachs
B) dactyl
D) anapaest
2). Mirror to mirror
with a trembling babble
I put it on by candlelight.
A) trochee
B) dactyl
B) iambic
D) amphibrachs
Answers: 1) 1-a, 2-d, 3-b, 4-d, 5-d 2) 1-d, 2-b
5 option
1). And the impossible is possible.
A) epithet
B) an oxymoron
B) a metaphor
D) comparison
2). The moon is like a pale spot
turned yellow through the gloomy clouds.
A) anaphora
B) antithesis
Comparing to
D) inversion
3). Evening, do you remember, the blizzard was angry,
there was darkness in the cloudy sky.
A) personification
B) hyperbole
B) litote
D) comparison
4). It's snowy, it's snowy all over the earth,
to all limits.
A) metonymy
B) hyperbole
B) epithet
D) epiphora
5). And wax with tears from the night light
dripped on the dress.
A) epithet
B) comparison
B) impersonation
D) metaphor
2. Determine the poetic size:
1). Shagane, you are mine, shagane!
because I'm from the north, or something,
I'm ready to tell you, field,
about wavy rye in the moonlight.
A) trochee
B) iambic
B) anapaest
D) dactyl
2) when the foliage is damp and rusty
A bunch of rowan will turn red.
A) trochee
B) iambic
B) anapaest
D) dactyl
Answers: 1). 1-b, 2-c, 3-a, 4-b, 5-d 2).1-c, 2-b
6 option
1. Name the means of expression:
1). Her golden braids
tightened up like cords.
on the dress, on the blue chintz,
as in a field, flowers flicker.
A) epithet
B) comparison
B) a metaphor
D) hyperbole
2). All flags will visit us,
and hang out in the open.
A) personification
B) antithesis
B) synecdoche
D) epithet
3). bells ringing,
and green maples
and bats.
A) epithet
B) anaphora
Comparing to
D) metaphor
4). For a breath of internal frost,
opening the blush of the lips,
how strangely the rose smiled
on the fast-flying day of September.
A) litho
B) personification
Comparing to
D) metonymy
5). We have a road for young people everywhere,
old people are respected everywhere.
A) hyperbole
B) antithesis
B) inversion
D) epithet
2. Determine the poetic size:
1). Wind, wind, you are mighty
you drive flocks of clouds ...
A) trochee
B) iambic
B) anapaest
D) dactyl
2). A lonely sail turns white
in the blue fog of the sea.
A) trochee
B) iambic
B) dactyl
D) anapaest
Answers: 1) 1-b, 2-c, 3-b, 4-b, 5-b 2) 1-a, 2-b
Lesson - workshop in Russian for grade 11
"Means of artistic expression".
Goals:
Systematization and generalization of work with the taskAT 8 (preparation for the exam)
Development logical thinking ability to prove their point of view and defend it.
Education of communication skills, ability to work in groups.
Task number 1.
Students are divided into multi-level groups of 4 people.
When working, students take turns commenting on the text, finding all the paths and figures of speech.
Each student must take part in the analysis of the text.
If someone has difficulties, the rest help the student to understand the topic.
All members of the group should get the same work, the assessment is set one for all.
The work uses the memo "Paths and figures of speech"
The following text is proposed for work:
GREAT JOY...
The city was asleep. Silence stopped the vain chaotic molecular movement. The darkness was tangibly viscous, and even the standard joyful pre-New Year's illumination did not help illuminate this impenetrability.
And he walked, ran, flew ... Where to? For what? What's there? He did not know. Yes, it was not so important! The main thing is that they were waiting for him there.
A series of dull, monotonous school days suddenly turned into festive fireworks, into the sweet torment of waiting for each new day, when one day SHE entered the class .. Entered. She sat down next to her and, famously clicking a pink bubble inflated from chewing gum, said “Hi” with a smile. This simple word turned his whole gray life upside down! Small, boyishly angular, fragile, with huge eyes the color of the sky and a red explosion of naughty small curls on her head, she instantly drove the entire male population of the class crazy. The school buzzed every time this amazing creature swept along the long corridor like a fiery torch.
He understood that the chances were zero, but his heart and reason were clearly out of tune! It rustled with a crazy whisper, stirring balls in the soul with hope ... And he took a chance. The note, which she had suffered in sleepless nights, went into her notebook. Time stopped. Freeze. Gone. He waited. The days dragged on like thick raspberry syrup. Two. Five. Ten... Hope dies last. And he waited.
The night call woke him up, breaking off her long, wonderful kiss. "I'm in the hospital, come." The whisper of rustling leaves, the rattle of a strong, fragile, iridescent ice crust underfoot simply tore the brain. Her throat was beating: “She is sick. She needs me. She called me."
And he walked. Ran. Flew. Without looking at the road. not noticing the cold and uninvited peas of tears on the cheeks. My heart was bursting with thousands of emotions. Where? Why?... There... Then...
5. Summing up.
6. Homework.
Create your own text by analogy with the work done, complicating it as much as possible.
THEORETICAL MATERIALS TO HELP.
1. Antonyms – different words related to the same part of speech, but opposite in meaning (kind - evil, mighty - powerless). The opposition of antonyms in speech is a vivid source of speech expression, which establishes the emotionality of speech: he was weak in body, but strong in spirit.
2. Contextual (or contextual) antonyms - these are words that are not opposed in the language in meaning and are antonyms only in the text: Mind and heart - ice and fire - this is the main thing that distinguished this hero.
3. Hyperbole - a figurative expression that exaggerates any action, object, phenomenon. It is used to enhance the artistic impression.: Snow fell from the sky in pounds.
4. Litota - an artistic understatement: a man with a fingernail. Used to enhance the artistic impression.
5. Synonyms - these are words related to one part of speech, expressing the same concept, but at the same time differing in shades of meaning: Love - love, friend - friend.
6. Contextual (or contextual) synonyms - words that are synonymous only in this text: Lomonosov - a genius - a beloved child of nature. (V. Belinsky)
7. Stylistic synonyms – differ stylistic coloring, sphere of use: grinned - giggled - laughed - neighed.
8. Syntactic synonyms – parallel syntactic constructions having a different structure, but coinciding in their meaning: start preparing lessons - start preparing lessons.
9.Metaphor - a hidden comparison based on the similarity between distant phenomena and objects. At the heart of any metaphor is an unnamed comparison of some objects with others that have a common feature.
good people there were, are and, I hope, will always be more than bad and evil, otherwise disharmony would set in in the world, it would warp ... capsize and sink. Epithet, personification, oxymoron, antithesis can be considered as a kind of metaphor.
10. Expanded metaphor - a detailed transfer of the properties of one object, phenomenon or aspect of being to another according to the principle of similarity or contrast. Metaphor is particularly expressive. Possessing unlimited possibilities in bringing together a wide variety of objects or phenomena, metaphor allows you to rethink an object, reveal, expose its inner nature. Sometimes it is an expression of the individual author's vision of the world.
11. Metonymy – transfer of values (renaming) according to the adjacency of phenomena. The most common cases of transfer:
a) from a person to his any external signs: Is lunch coming soon? - asked the guest, referring to the quilted waistcoat;
b) from the institution to its inhabitants: The entire boarding house recognized the superiority of D.I. Pisarev;
12. Synecdoche - a technique by which the whole is expressed through its part (something less included in something more) A kind of metonymy. "Hey beard! And how to get from here to Plyushkin?
13. Oxymoron - a combination of contrasting words that create a new concept or idea. Most often, an oxymoron conveys the author's attitude to an object or phenomenon: The sad fun continued ...
14. Personification - one of the types of metaphor, when the transfer of a sign is carried out from a living object to an inanimate one. When personified, the described object is externally used by a person: Trees, bending down towards me, extended their thin arms.
15. Comparison - one of the means of expressiveness of the language, helping the author to express his point of view, create whole artistic pictures, give a description of objects. Comparison is usually joined by unions: like, as if, as if, exactly, etc. but serves to figuratively describe the most various signs objects, qualities, actions. For example, comparison helps to give an accurate description of the color: Like the night, his eyes are black.
16. Phraseologisms - these are almost always bright expressions. Therefore, they are an important expressive means of language used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality, etc.: people like my hero have a spark of God.
17. Epithet - a word that highlights in an object or phenomenon any of its properties, qualities or signs. An epithet is an artistic definition, i.e. colorful, figurative, which emphasizes some of its distinctive properties in the word being defined. Anything can be an epithet. meaningful word, if it acts as an artistic, figurative definition to another:
1) noun: magpie talker.
2) adjective: fatal hours.
3) Adverb and participle: eagerly peers; listens frozen; but most often epithets are expressed with the help of adjectives used in a figurative sense: sleepy, tender, loving eyes.
SYNTAXIC MEANS OF EXPRESSION.
1. Anaphora - this is the repetition of individual words or phrases at the beginning of a sentence. Used to enhance the expressed thought, image, phenomenon: How to talk about the beauty of the sky? How to tell about the feelings that overwhelm the soul at this moment?
2. Antithesis - a stylistic device that consists in a sharp opposition of concepts, characters, images, creating the effect of a sharp contrast. It helps to better convey, depict contradictions, contrast phenomena. It serves as a way of expressing the author's view of the described phenomena, images, etc.
3. Gradation – stylistic figure, which consists in the consistent injection or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means artistic speech: For the sake of your child, for the sake of the family, for the sake of the people, for the sake of humanity - take care of the world!
4 Inversion - Reverse word order in a sentence. At direct order the subject precedes the predicate, the agreed definition is before the word being defined, the inconsistent definition is after it, the object after the control word, the adverb of the mode of action is before the verb: Modern youth quickly realized the falsity of this truth. And with inversion, the words are arranged in a different order than is established by grammatical rules. It's strong means of expression used in an emotional, excited speech: Beloved homeland, my native land, should we protect you!
5.Parcellation - the technique of dividing a phrase into parts or even into individual words. Its goal is to give speech intonational expression by its abrupt pronunciation: The poet suddenly stood up. Turned pale.
6.Repeat - the conscious use of the same word or combination of words in order to enhance the meaning of this image, concept, etc.: Pushkin was a sufferer, a sufferer in the full sense of the word.
7. Rhetorical questions and rhetorical exclamations - a special means of creating the emotionality of speech, expressing the author's position.
What summer, what summer? Yes, it's just magic!
8. Syntactic parallelism - the same construction of several adjacent sentences. With its help, the author strives to highlight, emphasize the expressed idea: Mother is an earthly miracle. Mother is a sacred word.
Theoretical part
Ability to analyze lyrical works, episodes of a prose text is one of the most important skills of literary and language training. Among the other requirements of this work, the most difficult is finding figurative expressive means in the text, as well as determining the purpose of their use by the author. The table below shows the main means of artistic speech, examples of their use. You are already familiar with some of them, others you will be able to determine in the process of studying at our lyceum.
language tool |
Definition |
Example |
Anaphora (unity) |
Repetition of words or phrases at the beginning of a sentence |
Hands let go when a person reads one thing in the newspapers, but sees another in life. Hands let go from constant confusion, mismanagement, terry bureaucracy.Hands let go when you realize that no one around you is responsible for anything and that everything is “to the point”. That's what gives up! (R. Rozhdestvensky) |
Antithesis (oppositions) ) |
A sharp opposition of concepts, characters, images, creating the effect of a sharp contrast |
I divide all world literature into 2 types -literature at home and literature of homelessness. The literature of achieved harmony and the literature of longing for harmony. Mad unrestrained Dostoevsky- and powerful slow rhythm Tolstoy. How dynamic Tsvetaeva and how static Akhmatova! (F. Iskander) |
Question-answer form of presentation |
Many believe that the fight against manifestations of fascism is the business of law enforcement agencies. Well, what about ourselves? Pawns, right? Pieces of history? Slaves of time and circumstances? Yes, not a single institution of society alone can cope with human phobia, inhumanity - this is the task of all of us. |
|
Hyperbola |
Artistic exaggeration. |
Russia is stricken with a grave ideological disease, which heavier than H-bomb 20th century. The name of this disease is xenophobia (I. Rudenko). |
gradation |
A syntactic construction within which homogeneous expressive means are arranged in order of strengthening or weakening of a feature. |
Vedas and truth: what's the point courage, in fearlessness, in selfless courage if there is no conscience behind them?! Bad, unworthy, stupid and disgusting laugh at a person. (L. Panteleev) |
Grotesque |
Artistic exaggeration to the incredible, fantastic. |
If some universal saboteurs were sent to destroy all life on Earth and turn it into a dead stone, if they carefully developed this operation of theirs, they could not have acted more intelligently and cunningly than we humans on earth do. (V. Soloukhin) |
Inversion |
Reverse word order in a sentence. (In direct order, the subject precedes the predicate, the agreed definition is before the word being defined, the inconsistent definition is after it, the addition is after the control word, the circumstances of the mode of action are before the verb. And with inversion, the words are arranged in a different order than is established by grammatical rules). |
Month out dark night , looks lonely from the black cloud at the polya desert , on distant villages , on nearby villages .(M.Neverov) dazzling bright fire burst out of the furnace (N.Gladkov) I don't believe into the good intentions of today's new Russians. (D.Granin) |
Irony |
A type of other statement when a mockery is hidden behind an outwardly positive assessment. |
Men's suits for sale, one style. And what are the colors? ABOUT, huge selection colors! Black, black-gray, gray-black, blackish gray, slate, slate, emery, the color of transfer iron, coconut color, peat, earthen, garbage, cake color and the color that in the old days was called "robber's dream". In general, you yourself understand, there is only one color, pure mourning at a poor funeral. (I.Ilf, E.Perov) |
Composite joint |
The repetition at the beginning of a new sentence of the word from the previous sentence, usually ending it. |
We walked to this glory long years. Long years our people lived as one: everything for the front, everything for victory, because only after it is a simple human life possible. life. Life for which millions have died. |
Contextual (or contextual) anonymous |
Words that are not opposed in the language in meaning and are anonymous only in the source text. |
The inferiority complex is capable ruin human soul. Or maybe elevate to heaven. Something similar is happening with atomic energy. She can warm up the whole Earth. Can isplit it into a thousand parts. (S. Dovlatov) |
Contextual (or contextual) synonyms |
There was, however, old table lamp, bought on commission alien antiquity , which does not evoke any memories, therefore it is not expensive at all (D. Granin) That was leading... Appeared before me two angels..two geniuses. I say:angels..geniuses -because both of them had no clothes on their burnt bodies and each had strong long wings behind their shoulders. (I. Turgenev) |
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Lexical repetition |
Repetition of the same word in the text. |
- These People – your relatives ? “Yes,” he said. - All these people are relatives ? “Definitely,” he said. - People all over the world? All nationalities? People all eras? (S. Dovlatov) |
Litotes |
Artistic understatement. |
We with our ambitions are less forest ants .(V. Astafiev) |
Metaphor (including expanded) |
The transfer to an object or phenomenon of any sign of another phenomenon or object (an extended metaphor is a metaphor that is consistently carried out throughout a large fragment of a message or the entire message as a whole |
There were, are, and, I hope, always will be more good people in the world than bad and evil ones, otherwise disharmony would come in the world, it would have warped, ……… capsized and sunk. It is cleansed, the soul is that, and it seems to me, the whole world held its breath, this bubbling, formidable world of ours thought, ready to fall on its knees with me, to repent, to fall with a dry mouth to the holy spring of goodness .... (N. Gogol) |
Metonymy |
Transfer value (rename) based on the adjacency of phenomena. |
Winter. Freezing . The village smokes in the cold clear sky with gray smoke (V. Shukshin) Mourning Mozart sounded under the arches of the cathedral (V. Astafiev). Black tailcoats rushed about and in heaps here and there. (N. Gogol). |
Homogeneous members of a sentence |
A syntactic means of expression that allows a) to emphasize the various qualities of something B) see the dynamics of action C) see, hear, understand something in detail. |
The vaults of the cathedral are filled with organ singing. From the sky. above. floats then roar, then thunder, then gentlevoice lovers, then call vestals. then the rolls of the horn, then sounds harpsichord, then dialect erratic stream…. The hall is full of people old and young, Russian and non-Russian, evil and kind, strong and bright, tired and enthusiastic, all sorts. If we are destined die, burn, disappear then let fate punish us now, even at this moment, for all our evil deeds and vices. (V. Astafiev) |
oxymoron |
Connection in the image or phenomenon of incompatible concepts. |
sweet torment he, an exile, experienced when he returned to Russia. Anxious joyful expectation was replaced in him by calm confidence in the morrow. (N. Krivtsov) |
Occasionalisms |
How would we ourselves make sure that our truth does notexpanded at the expense of the rights of others. (A. Solzhenitsyn) |
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Personification (personification) |
Assignment to objects of inanimate nature of the properties of living beings. |
Hops, crawling along the ground, grabs oncoming herbs, but they turn out to be rather weak for him,and he crawls, crouching, farther and farther….. He must constantly look around and fumble around you looking for something to grab onto, something to lean on reliable earth support. (V. Soloukhin) |
Parcelery |
Deliberate fragmentation of the sentence into meaningful semantic parts. |
There lived a fragile sickly young man in Germany.Stuttered with uncertainty. Avoided entertainment. And only at the piano he was transformed. His name was Mozart . (S.Dovlatov) |
paraphrase |
A descriptive expression used in place of a word. |
The word “gold” occupied a special place in his dictionary. Everything you want was called gold. Coal and oil- "black gold". Cotton-"White gold". Gas - “blue gold”. (V. Voinovich) |
A rhetorical question |
Expression of the statement in interrogative form. |
Who among us has not admired the sunrise, the summer herbs of the meadows, the raging sea? Who has not admired the shades of colors of the evening sky? Who hasn't been thrilled by the sight of a sudden valley in the mountain gorges? (V. Astafiev) |
Rhetorical exclamation |
Expression of a statement in exclamation form. |
What magic, kindness, light in the word teacher! And how great is its role in the life of each of us! (V. Sukhomlinsky) |
Rhetorical address |
A figure of speech in which the attitude of the author to what is being said is expressed in the form of an address. |
My dears! But who, besides us, will think about us? (V. Voinovich) And you, mentally wretched vandals, also shout about patriotism? (P. Voshchin) |
Sarcasm |
Caustic irony. |
And every time, frankly hacking at work (“it will do ..!”, blinding something at random (“it will grind ..!”), not thinking something up, not calculating, not checking (“come on, it will cost ..! ”), closing our eyes to our own negligence (“I don’t care ..!”), we ourselves, with our own hands, own so-called labor we are building training grounds for the upcoming demonstration of mass heroism, we are preparing tomorrow's accidents and disasters for ourselves! (R. Rozhdestvensky) |
Comparative turnover (including detailed comparison) |
Comparison of objects, concepts, phenomena in order to emphasize a particularly important feature. The comparison can be passed: 1) with the help of comparative unions as, exactly, as if, as if, that, as if, etc. |
Night, like a gloomy oratorio of ancient masters, grew in the garden, where the stars scattered likered, blue and white petals of hyacinths… |
2) With the help of words similar to, similar to, similar to, reminiscent of, similar to ... |
And cabinet the master looked more like the abode of a warlock than a simple musician . |
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3) Genitive case of a noun. |
Lacquer on the violin was the color of blood. |
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4) The instrumental case of a noun. |
The old master never attended mass because his playing was so wild rise to the impossible, perhaps the forbidden... |
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5) Comparative turnover. |
Together with her, an agonizing impatience grew in the master’s soul and,like a thin icy stream of water, flooded the calm fire of creativity. |
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6) Negation (i.e. not a comparison, but a contrast of one object or phenomenon to another). |
Not a violin - a soul musician sounded in this longing melody. |
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7) Comparative clause. |
Next to him, perhaps for a long time, walked a short, flexible stranger with a black and curly beard and a sharp look., as in the old days German minnesingers were portrayed |
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Syntax parallelism |
The same (parallel) construction of several adjacent sentences of paragraphs. |
What is a clerk? This is the displacement of the verb, that is, movement, action, participle, gerund, noun (especially verbal!), which means stagnation, immobility. This is a heap of nouns in oblique cases, most often long chains of nouns in the same case - the genitive, so that it is no longer possible to understand what refers to what and what is being discussed. This is the displacement of active revolutions by passive ones, almost always heavier, cumbersome. (N. Gogol) |
Epithet |
Artistic definition, that is, colorful, figurative, which emphasizes some of its distinctive properties in a certain word. |
There is only mine condescending, insubstantial soul, it oozes incomprehensible pain and tearsquiet delight .... Let the vaults of the cathedral collapse, and instead of the executioner about bloody, criminally built the path will take people to the heart of music genius , but notanimal killer roar. (V. Astafiev) |
Epiphora |
The same ending of several sentences, reinforcing the meaning of this image, concept, etc. |
How did the French influence Pushkin? we know . How did Schiller influence Dostoyevsky?we know. How Dostoevsky influenced all the latest world literature we know. |
We give options for completing tasks
A) From this passage Write down one example of personification, comparison and epithet.
The wind screeches, rushes about like a mad one, red clouds rush, low, as if torn to shreds, clouds, everything unraveled, mixed up, overwhelmed, a zealous downpour swayed in sheer pillars, lightning blinds with fiery greenery, jerky thunder shoots like a cannon, it smells of sulfur ...
I.S. Turgenev "Doves"
(from the cycle "poems in prose")
Answer: 1) The wind screeches - personification
2) shoots like a cannon - comparison
3) zealous downpour - an epithet
b) Drawing a picture of a thunderstorm, I.S. Turgenev uses comparisons. Write them out from the text, answer the question: for what purpose does the author use these artistic means?
Answer:
rushing about like crazy
clouds torn to shreds
the downpour swayed with sheer pillars
shoots like a cannon
With the help of comparisons, the author draws a powerful movement of nature, disturbing and at the same time purifying. A storm and a thunderstorm inspire fear in the hero of the story and at the same time it is fun for him! One can imagine in this picture both a rabid, indomitable animal, ready to trample on all living things, and heavy streams of water, from a distance similar to moving pillars, and one can hear the cannonade of the approaching battle.
practice tests
"3" - 5-6 correct answers.
Test 1
Exercise:
1. Under it, a stream of lighter azure.
(M. Lermontov.)
2. A heroic horse jumps through the forest.
3. The golden stars dozed off.
(S. Yesenin.)
4. Ahead is a deserted September day.
(K. Paustovsky.)
5 . Water is tired of singing, tired of flowing,
Shine, flow and shimmer.
(D. Samoilov.)
6 . Sleep dandelions went to bed with us,
children, and stood up with us.
(M. Prishvin.)
7. She chirps and sings
On the eve of boron,
as if guarding the entrance
In forest burrows.
(B. Pasternak.)
8. Forests clad in crimson and gold.
(A. Pushkin.)
9. Autumn will wake up soon
and cry awake.
(K. Balmont.)
10. But it's still cold
And not to sing, but, like armor, to ring.
(D. Samoilov.)
Answers: 1.Comparison (simple). 2. Hyperbola. 3 .Incarnation. 4 .Epithet. 5 .Homogeneous members of the proposal. 6 .Incarnation. 7 .Comparison. 8 .Metaphor 9. Personifications 10 .Comparison.
Test 2 .
Exercise: Name the means of expression used by the author.
1. The life of a mouse running ...
What are you worrying me about? (A. Pushkin)
2. Boy with a thumb.
3. The forest is like a painted tower. (I. Bunin)
4. When the people...
Belinsky and Gogol
From the market will carry. (N. Nekrasov)
5. O Volga, my cradle! (N. Nekrasov)
6. It's snowy, it's snowy all over the earth,
To all limits.
The candle burned on the table
The candle was burning. (B.Pasternak)
7. They agreed. Wave and stone
Poetry and prose, ice and fire,
Not so different from each other. (A. Pushkin)
8. We haven't seen each other for a hundred years!
9. Seahorses seemed much more interesting. (V. Kataev)
10. And punch flame blue. (A. Pushkin)
Answers: 1. A rhetorical question 2. Litotes 3 .Comparison 4. Metonymy 5 .Handling 6 .Lexical repetition 7 .Antithesis 8 .Hyperbola 9 .Comparison 10 . Metaphor
TRACKS AND STYLISTIC FIGURES.
TRAILS(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.
STYLISTIC FIGURES- figures of speech used to enhance the expressiveness (expressiveness) of the statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.
HYPERBOLA (Greek hyperbole - exaggeration) - a kind of trail based on exaggeration ("rivers of blood", "sea of laughter"). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole is already found in the ancient epic in different peoples, in particular in Russian epics.
In the Russian litera, N.V. Gogol, Saltykov-Shchedrin, and especially
V. Mayakovsky ("I", "Napoleon", "150,000,000"). In poetic speech, hyperbole is often intertwinedwith others artistic means(metaphors, personifications, comparisons, etc.). The opposite - litotes.
LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. The litote is in folk tales: "boy with a finger", "hut on chicken legs", "man with a marigold".
The second name for litotes is meiosis. The opposite of litote hyperbola.
N. Gogol often addressed the litote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol
METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another based on common features (“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,
Truly a cruel age!
You in the darkness of the night, starless
Careless abandoned man!
A. Blok
Metaphors are formed according to the principle of personification ("water runs"), reification ("nerves of steel"), distraction ("field of activity"), etc. Various parts of speech can act as a metaphor: verb, noun, adjective. Metaphor gives speech exceptional expressiveness:
In every carnation fragrant lilac,
Singing, a bee crawls in ...
You ascended under the blue vault
Above the wandering crowd of clouds...
A. Fet
The metaphor is an undivided comparison, in which, however, both members are easily seen:
With a sheaf of their oatmeal hair
You touched me forever...
The eyes of a dog rolled
Golden stars in the snow...
S. Yesenin
In addition to verbal metaphor, a large distribution in artistic creativity have metaphorical images or extended metaphors:
Ah, my bush withered my head,
Sucked me song captivity
I am condemned to hard labor of feelings
Turn the millstones of poems.
S. Yesenin
Sometimes the entire work is a broad, detailed metaphorical image.
METONYMY(Greek metonymia - renaming) - tropes; 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 noise" - trees are meant; etc.).
The theater is already full, the boxes are shining;
Parterre and chairs, everything is in full swing ...
A.S. Pushkin
In metonymy, a phenomenon or object is denoted with the help of other words and concepts. At the same time, signs or connections that bring these phenomena together remain; Thus, when V. Mayakovsky speaks of "a steel speaker dozing in a holster," the reader easily guesses 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 plentiful feast;
Everything fell with a noise before you;
Europe perished; grave dream
Worn over her head...
A. Pushkin
When is the shore of hell
Forever will take me
When forever fall asleep
Feather, my consolation...
A. Pushkin
PERIPHRASE (Greek periphrasis - roundabout, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its features, as a rule, the most characteristic, enhancing the figurativeness of speech. ("king of birds" instead of "eagle", "king of beasts" - instead of "lion")
PERSONALIZATION(prosopopoeia, 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 talking about
On a happy May day,
Among the uncut grass
Shaking your head?
A.K. Tolstoy
SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one object to another on the basis of a quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche are:
1) Part of the phenomenon is called in the sense of the whole:
And at the door
jackets,
overcoats,
sheepskin coats...
V. Mayakovsky
2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:
Oh, how are you! Fight with a helmet?
Well, isn't it a vile parod!
3) Singular 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. Blok
5) Replacing a generic concept with a specific one:
We beat a penny. Very good!
V. Mayakovsky
6) Replacing a specific concept with a generic one:
"Well, sit down, luminary!"
V. Mayakovsky
COMPARISON - a word or expression containing the likening of one object to another, one situation to another. (“Strong as a lion”, “said how he cut off” ...). A storm covers the sky with mist,
Whirlwinds of snow twisting;
The way the beast she howls
He will cry like a child...
A.S. Pushkin
"Like a steppe scorched by fires, Grigory's life became black" (M. Sholokhov). The idea of the blackness and gloom of the steppe evokes in the reader that dreary and 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 internal state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:
The view of the steppe is sad, where there are no obstacles,
Exciting only a silver feather grass,
Wandering flying aquilon
And before him freely drives the dust;
And where around, no matter how vigilantly you look,
Meets the gaze of two or three birches,
Which under the bluish haze
Blacken in the evening in the empty distance.
So life is boring when there is no struggle,
Penetrating into the past, distinguish
There are few things we can do in it, in the color of years
She will not cheer the soul.
I need to act, I do every day
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 expanded S. Lermontov, he conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by unions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"Do I have curls - combed linen" N. Nekrasov. Here the union is omitted. But sometimes it's not meant to be:
"Tomorrow is the execution, the usual feast for the people" A. Pushkin.
Some forms of comparison are built descriptively and therefore are not connected by conjunctions:
And she is
At the door or at the window
The early star is brighter,
Fresh morning roses.
A. Pushkin
She is sweet - I will say between us -
Storm of the court knights,
And you can with southern stars
Compare, especially in verse,
Her Circassian eyes.
A. Pushkin
A special type of comparison is the so-called negative:
The red sun does not shine in the sky,
Blue clouds do not admire them:
Then at the meal he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.
M. Lermontov
In this parallel depiction of two phenomena, the form of negation is at the same time a way of comparing and a way of transferring meanings.
A special case is the forms of the instrumental case used in comparison:
It's time, beauty, wake up!
Open your closed eyes,
Towards North Aurora
Be the star of the north.
A. Pushkin
I do not soar - I sit like an eagle.
A. Pushkin
Often there are comparisons in the accusative case with the preposition "under":
"Sergey Platonovich ... sat with Atepin in the dining room, pasted over with expensive, oak-like wallpaper ..."
M. Sholokhov.
IMAGE -a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.
It is not the wind that rages over the forest,
Streams did not run from the mountains,
Frost - warlord patrol
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 aspects, qualities or functions and belongs to the group of metaphorical tropes.
Unlike metaphor, in allegory figurative meaning expressed by a phrase, a whole thought, or even a small work (fable, parable).
GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.
Enraged at the meeting, I burst into an avalanche,
Spouting wild curses 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 mockery or slyness through allegory. A word or statement acquires in the context of speech a meaning that is opposite to the literal meaning or denies it, calling it into question.
Servant of powerful masters,
With what noble courage
Thunder with speech you are free
All those who had their mouths shut.
F.I. Tyutchev
SARCASM (Greek sarkazo, lit. - tear meat) - contemptuous, caustic mockery; the highest degree of irony.
ASSONANCE (French assonance - consonance or respond) - repetition in a line, stanza or phrase of homogeneous vowel sounds.
Oh spring without end and without edge -
Endless and endless dream!
A. Blok
ALLITERATION (SOUND)(lat. ad - to, with and littera - letter) - the repetition of homogeneous consonants, giving the verse a special intonational expressiveness.
Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
Storm is near. Beats on the shore
A black boat alien to charms ...
K. Balmont
ALLUSION (from Latin allusio - a joke, a hint) - a stylistic figure, a hint through a similar-sounding word or a mention of a well-known real fact, historical event, literary work ("the glory of Herostratus").
ANAPHORA(Greek anaphora - pronouncement) - repetition initial words, lines, stanzas or phrases.
You are poor
You are abundant
You are beaten
You are almighty
Mother Rus'!…
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 a poppy color,
I am like death, and thin and pale.
A.S. Pushkin
You are poor
You are abundant
You are powerful
You are powerless...
N. Nekrasov
So few roads traveled, so many mistakes 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.
... Suddenly, out of the forest
The bear opened its mouth on them ...
A.N. Krylov
Lay, laugh, sing, whistle and clap,
People's talk and horse top!
A.S. Pushkin
ASYNDETON (asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.
Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least a quarter of a century -
Everything will be like this. There is no exit.
A. Blok
POLYUNION(polysyndeton) - excessive repetition of unions, creating additional intonational coloring. The opposite figureunionlessness.
Slowing down speech with forced pauses, polyunion emphasizes individual words, enhances its expressiveness:
And the waves are crowding, and rushing back,
And they come again, and hit the shore ...
M. Lermontov
And boring and sad, and there is no one to give a hand to ...
M.Yu. Lermontov
GRADATION- from lat. gradatio - gradualness) - a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. Gradation enhances the emotional sound of the verse:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
S. Yesenin
INVERSION(lat. inversio - rearrangement) - a stylistic figure, consisting in a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.
Traditions of antiquity deep
A.S. Pushkin
Doorman past he's an arrow
Flew up the marble steps
A. Pushkin
OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting, opposite in meaning words (a living corpse, a giant dwarf, the heat of cold numbers).
PARALLELISM(from the Greek. parallelos - walking side by side) - an identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.
Waves crash in the blue sea.
The stars are shining in the blue sky.
A. S. Pushkin
Your mind is as deep as the sea.
Your spirit is as high as mountains.
V. Bryusov
Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and close to them in their own way. artistic features literary works(“The Song about the Merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Rus'” by N. A. Nekrasov, “Vasily Terkin” by A. T, Tvardovsky).
Parallelism can have a broader thematic character in content, for example, in the poem by M. Yu. Lermontov "The clouds of heaven are eternal wanderers."
Parallelism can be both verbal and figurative, as well as rhythmic, compositional.
PARCELLATION- an expressive syntactic technique of intonational division of a sentence into independent segments, graphically identified as independent sentences. ("And again. Gulliver. Standing. Stooping" P. G. Antokolsky. "How courteous! Good! Mila! Simple!" Griboedov. "Mitrofanov grinned, stirred the coffee. Squinted."
N. Ilyina. “He had a fight with a girl. And that's why." G. Uspensky.)
TRANSFER (French enjambement - stepping over) - a mismatch between the syntactic articulation of speech and articulation into verses. When transferring, the syntactic pause within a verse or half-line 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 God's thunderstorm.
A. S. Pushkin
RHYME(Greek "rhythmos" - harmony, proportionality) - variety epiphora ; the consonance of the ends of poetic lines, creating a sense of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.
ELLIPSIS (Greek elleipsis - loss, omission) - a figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech, a tense change of action is transmitted. Ellipsis is one of the default types. In artistic speech, it conveys the excitation of the speaker or the intensity of the action:
We sat down - in ashes, cities - in dust,
In swords - sickles and plows.
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