What expressive means are already known. Figurative and expressive means of the language: a list with a name and description, examples

Figurative and expressive means of language and speech

Allegory
(allegory)

The image of an abstract concept through a specific image.

In fables, an allegorical embodiment: a fox - cunning, a hare - cowardice, a wolf - anger and greed, a donkey - stupidity.

Anaphora
(unity)

The repetition of words or phrases at the beginning of sentences, poetic lines or stanzas.

For example, in M. Lermontov's poem "Gratitude" six lines begin with the preposition for. In G. Derzhavin's poem "Russian Girls" five lines begin with how.

Antithesis
(opposition)

Contrast, opposition of phenomena, concepts, images, states, etc.

Often expressed using antonyms.

Not the flesh, but the spirit has become corrupted in our days. (F. Tyutchev).

Poetry and prose, ice and fire
Not so different from each other. (A. Pushkin).

"War and Peace" (L. Tolstoy), "Crime and Punishment" (F. Dostoevsky), "Deceit and Love" (F. Schiller).

Asyndeton

Intentional omission of unions to give the text dynamism.

Swede, Russian - stabs, cuts, cuts,
Drum beat, clicks, rattle.
(A. Pushkin).

Hyperbola
(exaggeration)

Excessive exaggeration of the properties of the subject; quantitative strengthening of the attributes of an object, phenomenon, action.

In a hundred and forty suns the sunset burned,
Summer rolled in July. (V. Mayakovsky).

Million, million Red roses from the window, you see from the window (Song).

gradation

Arrangement of words and expressions in increasing or decreasing importance.

Fascism robbed, corroded, shook Europe. (I. Ehrenburg).

I came, I saw, I conquered.

Each cultural monument is destroyed, distorted, wounded forever (D. Likhachev).

Inversion

Deliberate violation of the usual (direct) word order.

Weaved out on the lake the scarlet light of dawn.
Capercaillie are crying in the forest with bells (S. Yesenin).

He is from foggy Germany
brought the fruits of learning. (A. Pushkin).

Irony
(hidden sneer)

The use of a word or statement in a sense opposite to the direct one. The opposite meaning can be given to a large context or a whole work.

Where, smart, are you wandering, head? (I. Krylov).

An example of an ironic work is M. Lermontov's poem "Gratitude" (here irony comes to sarcasm - the highest degree of manifestation of irony).

Understatement of the subject (reverse hyperbole)

Your spitz, lovely spitz, no more than a thimble (A. Griboyedov)

Metaphor

The word in a figurative sense; transfer is based on likening one object to another by similarity or contrast; hidden comparison. Variety is an extended metaphor.

A fire of red rowan is burning in the garden. (S. Yesenin).

Placer cranberries in swamps
They burn out in the ashes of hoarfrost (N.Kolychev).

An example of a detailed metaphor is M. Lermontov's poem "The Cup of Life".

polyunion

Repetition of unions for logical and intonational underlining of the connected members of the sentence.

And a sling, and an arrow, and a crafty dagger
Years spare the winner. (A. Pushkin).

Go to battle for the honor of the fatherland,
For faith, for love. (N. Nekrasov).

Personification.
Transferring the properties of a person (person) to inanimate objects, natural phenomena or animals.

Variety is an extended personification.

The moon laughed like a clown (S. Yesenin).

Rhetorical question.
An interrogative sentence that does not require an answer; used to draw attention to the depicted phenomenon or for reflection

Does it make sense to deceive yourself?

Are good deeds done for praise or reward?

How to choose a time so that several family members can immediately gather at the table? Don't pick a time? (S. Lvov).

Rhetorical address

A syntactic construction of an emotionally expressive nature to attract attention, expressing the author's attitude to the object.

O my prophetic soul!
O heart full of anxiety,
Oh how you beat on the threshold
Like a double being (F. Tyutchev).

Wandering spirit! You are less and less
You stir the flame of your mouth.
Oh my lost freshness
A riot of eyes and a flood of feelings. (S. Yesenin).

Comparison

Comparison of two concepts, objects, phenomena in order to explain one of them with the help of the other.

Like a tree sheds its leaves,
So I drop sad words. (S. Yesenin).

Dew drops - white as milk, but translucent with a fiery spark. (V. Soloukhin).

The ice is fragile on the icy river
as if it were melting sugar. (N. Nekrasov).

The moon spread like a golden frog on still water (S. Yesenin).

Her eyes are like two clouds
half smile, half cry (N. Zabolotsky).

Epithet.
A word or phrase that serves as a figurative characteristic of a person, phenomenon or object (most often a metaphorical adjective); "colorful" definition. It must not be confused with defining adjectives, which are simply subjective and logical definitions.

Droplets of crystal moisture; gray dewy meadow (V. Soloukhin).

A curly trace ran from the oars to the shore (A. Fet).

Royal Troy fell. (F. Tyutchev).

The golden grove dissuaded
Berezov, cheerful language (S. Yesenin).

Compare: white snow, soft snow - definitive adjectives; sugar snow, swan snow - epithets.

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 among 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, metaphorical images or extended metaphors are widely used in art:

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 figuratively("foaming glass" - refers to wine in a glass; "forest noise" - refers to trees; 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 values, 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

Here the metonymy "swords" - warriors. The most common metonymy, in which the name of the profession is replaced by the name of the instrument of activity:

When is the shore of hell
Forever will take me
When forever fall asleep
Feather, my consolation...

A. Pushkin

Here the metonymy "falls asleep pen."

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 well!

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 - internal state 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 form accusative 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 a metaphor, in an allegory, the figurative meaning is 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; highest degree 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 lat. allusio - a joke, a hint) - stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work ("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 Russia!…

ON THE. Nekrasov

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

You are a prose writer, I am a poet;

You are blush, like 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

MULTIPLE UNION (polysyndeton ) - excessive repetition of unions, creating additional intonational coloring. The opposite figure asyndeton.

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 oral works. folk art(epics, songs, ditties, proverbs) and close to them in their artistic features literary works(“The Song about the Merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Russia” by N. A. Nekrasov, “Vasily Terkin” by A. T, Tvardovsky).

Parallelism may have a broader thematic nature 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.

V. Zhuko

Day in dark night in love

Spring is in love with winter

Life into death...

And you?... You're into me!

G. Heine

In the lyrics there are poems written with inexpressible constructions, that is, with a wide use of ellipsis, for example, A. Fet's poem "Whisper, timid breathing ..."

EPITHET (Greek epitheton - application) - a figurative definition that gives an additional artistic description to someone or something (“lonely sail”, “golden grove”),

a word that defines an object or phenomenon and emphasizes any of its properties, qualities or features.
The sign expressed by the epithet, as it were, joins the subject, enriching it in a semantic and emotional sense. This property of the epithet is used when creating artistic image:

But I love the golden spring
Your solid, wonderfully mixed noise;
You rejoice, not ceasing for a moment,
Like a child without care and thought...

N. Nekrasov

The properties of an epithet appear in a word only when it is combined with another word denoting an object or phenomenon. So in the above example, the words "golden" and "wonderfully mixed" acquire the properties of zpitet in combination with the words "spring" and "noise". Epithets are possible that not only define an object or emphasize any aspects, but also transfer a new, additional quality to it from another object or phenomenon (not directly expressed):

And we, the poet, did not guess you,
Did not understand infantile sadness
In your as if forged verses.

V. Bryusov.

Such epithets are called metaphorical. The epithet emphasizes in the subject not only its inherent, but also possible, conceivable, transferred features and signs. Various (meaningful) parts of speech (noun, adjective, verb) can be used as an epithet.
A special group of epithets includes permanent epithets that are used only in combination with one specific word: "living water" or "dead water", "good fellow", "greyhound horse", etc. Permanent epithets are characteristic of works of oral folk art .

EPIPHORA (Greek epiphora - repetition) - a stylistic figure opposite anaphora : repetition last words or phrases. Rhyme - type of epiphora (repetition of the last sounds).

Here the guests came to the shore,

Tsar Saltan invites them to visit...

A. S. Pushkin

RHETORICAL QUESTION(from the Greek rhetor - speaker) - one of the stylistic figures, such a construction of speech, mainly poetic, in which the statement is expressed in the form of a question. A rhetorical question does not imply an answer, it only enhances the emotionality of the statement, its expressiveness.

rhetorical exclamation(from the Greek rhetor - speaker) - one of the stylistic figures, such a construction of speech, in which one or another concept is affirmed in the form of an exclamation. The rhetorical exclamation sounds emotional, with poetic enthusiasm and elation:

Yes, love like our blood loves
None of you love!

A. Blok

rhetorical address(from the Greek rhetor - speaker) - one of the stylistic figures. In form, being an appeal, a rhetorical appeal is conditional. It gives poetic speech the necessary authorial intonation: solemnity, pathos, cordiality, irony, etc.:

And you, arrogant descendants
The well-known meanness of the illustrious fathers ..

M. Lermontov

DEFAULT - unspokenness, inconsistency. An intentional break in a statement that conveys the excitement of speech and suggests that the reader will guess what was said.

I do not like, oh Russia, your timid
A thousand years of slave poverty.
But this cross, but this ladle is white...
Humble, native traits!

Though he was afraid to say
It would be easy to guess
When ... but the heart, the younger,
The more timid, the stricter ...

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

And everything is the same, and everything is one.

But if on the road- bush

Gets up, especially - mountain ash…

M.I. Tsvetaeva

POETRY DIMENSIONS

YMB - two-syllable foot with stress on the second syllable

CHOREI - disyllabic foot with stress on the first syllable

DACTYL - three-syllable foot with stress on the first syllable

AMPHIBRACHY - three-syllable foot with stress on the second syllable

ANAPAEST - three-syllable foot with stress on the third syllable

PYRRHIC - additional two-syllable foot, consisting of two unstressed syllables

SPONDEE - an additional foot consisting of two stressed syllables

RHYME

abab - cross, aabb - steam room, abba - ring (girdle), aabsb - mixed

MEN'S - the stress falls on the last syllable of rhyming words

WOMEN'S - the stress falls on the penultimate syllable of rhyming words

In the work of any author, expressive means play a huge role. And to create a good solid detective, with its forcing atmosphere, mysterious murders and even more mysterious and vivid characters, they are simply necessary. Expressive means serve to enhance the expressiveness of statements, to give "voluminousness" to the characters and sharpness of the dialogues. Using expressive means, the writer has the opportunity to more fully and beautifully express his thoughts, to fully bring the reader up to date.

Expressive means are divided into:

Lexical (archaisms, barbarisms, terms)

Stylistic (metaphor, personification, metonymy, hyperbole, paraphrase)

Phonetic (using the sound texture of speech)

Graphic (graphon)

Stylistic expressive means are a way of giving emotionality and expressiveness to speech.

Syntactic expressive means are the use of syntactic constructions for stylistic purposes, for the semantic highlighting (underlining) of any words or sentences, giving them the desired color and meaning.

Lexical expressive means is a special use of words (often in their figurative meaning) in figures of speech.

Phonetic expressive means is the use of the sound texture of speech in order to increase expressiveness.

Graphic - show deviations from the norms of speech.

Lexical expressive means.

Archaisms.

Archaisms are words and expressions that have gone out of everyday use and are felt as outdated, reminiscent of a bygone era. From the Great Soviet Encyclopedia: “Archaism is a word or expression that is outdated and has ceased to be used in ordinary speech. Most often used in literature as a stylistic device to give solemnity to speech and to create realistic coloring when depicting antiquity. Whilome - formerly, to trow - to think - these are obsolete words that have analogues in modern English. There are also words that have no analogue, for example: gorget, mace. You can also give an example from John Galsworthy's book:

“How thou art sentimental, maman!”.

Foreign words (Foreign words).

Foreign words in stylistics are words and phrases borrowed from foreign language and not subjected to grammatical and phonetic transformations in the borrowing language.

Terms (Terms) - words and phrases denoting scientific concepts that reflect the properties and characteristics of an object. Here is an example from Theodore Dreiser's The Financier:

“There was a long conversation - a long wait. His father came back to say I was doubtful whether they could make the loan. Eight per cent, then being secured for money, was a small rate of interest; considering its need. For ten per cent Kugel might make a call-loan."

Stylistic means of expression.

Periphrase (Periphrasis) is the use of a proper name as a common noun, or, conversely, the use of a descriptive phrase instead of a proper name. For example, instead of the word "readers" A.S. Pushkin in his poem "Ruslan and Lyudmila" says "Friends of Lyudmila and Ruslan!". "He is Napoleon of crime" (Conan Dole).

Epithet (Epithet) - a figurative definition of an object, usually characterized by an adjective. Examples are good, bed, cold, hot, green, yellow, big, small, etc.

Hyperbole (Hyperbole) - the use of a word or expression that exaggerates the actual degree of quality, the intensity of the feature or the scale of the subject of speech. Hyperbole deliberately distorts reality, enhancing the emotionality of speech. Hyperbole is one of the oldest expressive means, and it is widely used in folklore and epic poetry of all times and peoples. Hyperbole has become so firmly established in our lives that we often do not perceive it as hyperbole. For example, hyperbole includes such everyday expressions as: a thousand apologies, a million kisses, I haven "t seen you for ages, I beg a thousand pardons. "He heard nothing. He was more remote them the stars" (S. Chaplin) .

Metaphor (Metaphor) - a type of trope (trope - a poetic turn, the use of a word in a figurative sense, a departure from literal speech), a figurative meaning of a word based on likening one object or phenomenon to another by similarity or contrast. Like hyperbole, metaphor is one of the oldest expressive means, and this can be exemplified by ancient Greek mythology, where the sphinx is a cross between a man and a lion, and a centaur is a cross between a man and a horse.

"Love is a star to every wandering bark" (from Shakespeare's sonnet). We see that the reader is given the opportunity to compare such concepts as "star" and "love".

In Russian, we can find such examples of metaphor as "iron will", "bitterness of separation", "warmth of the soul" and so on. Unlike a simple comparison, the metaphor does not contain the words “like”, “as if”, “as if”.

Metonymy (Metonymy) - establishing a connection between phenomena or objects by contiguity, transferring the properties of an object to the object itself, with the help of which these properties are discovered. In metonymy, the effect can be replaced by the cause, the content by the capacity, the material from which the thing is made can replace the designation of the thing itself. The difference between metonymy and metaphor is that metonymy deals only with those connections and combinations that exist in nature. So, in Pushkin, the "hiss of foamy glasses" replaces the foaming wine itself, poured into glasses. At A.S. Griboedov, Famusov recalls: "Not on silver, on gold." In English, there are such examples of metonymy as:

She has a quick pen. Or:

"The stars and stripes invaded Iraq". In the first case, in the example of metonymy, the characteristic is transferred from the girl herself to her pen, and in the second, the color and design of the flag replaces the name of the country.

Gradation (Climax) is a stylistic figure in which definitions are grouped according to the increase or decrease in their emotional and semantic significance. This is a gradual strengthening or weakening of the images used to build up the effect. Example:

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

Everything will pass like smoke from white apple trees. (S.A. Yesenin).

In English, you can find such examples of gradation:

"Little by little, bit by bit, day by day, he stayed of her." Or a sequential enumeration of signs in ascending order: clever, talented, genius.

Oxymoron (Oxymoron) - a special kind of antithesis (opposition), based on the combination of contrasting quantities. An oxymoron is a direct correlation and combination of contrasting, seemingly incompatible signs and phenomena. An oxymoron is often used to achieve the desired effect when describing a person's character, indicating a certain inconsistency of human nature. So, with the help of the oxymoron “splendor of shamelessness”, a capacious characterization of a woman of easy virtue in W. Faulkner’s novel “The City” is achieved. The oxymoron is also widely used in the titles of works ("Young lady-peasant", "Living corpse", etc.). Among English authors, oxymoron is widely used by William Shakespeare in his tragedy Romeo and Juliet:

Oh brawling love! O loving hate!

Oh anything! of nothing first create.

O heavy lightness! serious vanity!

(1 act, scene 1).

Comparison (Simile) is a rhetorical figure close to metaphor, revealing a common feature when comparing two objects or phenomena. Comparison differs from metaphor in that it contains the words "like", "as if", "as if". Comparison is widely used both in literature and in everyday speech. For example, everyone knows such expressions as: “plow like an ox”, “hungry like a wolf”, “stupid as a cork”, etc. We can observe examples of comparisons in A.S. Pushkin in the poem "Anchar":

Anchar, like a formidable sentry,

Worth - alone in the entire universe.

In English, there are such comparisons as: fresh as rose, fat as a pig, to fit like a glove. An example of a comparison can be cited from Ray Bradbury's short story "A sound of thunder" ("And Thunder Rang"):

"Like a stone idol, like a mountain avalanche, Tyrannosaurus fell"

Personification is the endowment of objects and phenomena inanimate nature features of living beings. Personification helps the writer to more accurately convey his feelings and impressions of the surrounding nature.

How soon hath Time, the subtle thief of youth,

Stoln of wing my three and twen teeth year! (classical poetry of the 17th-18th centuries)

Antithesis (Antithesis) - artistic opposition. This is a method of enhancing expressiveness, a way of conveying life's contradictions. According to the writers, the antithesis is especially expressive when it is made up of metaphors. For example, in G.R. Derzhavin’s poem “God”: “I am a king - I am a slave, I am a worm - I am a god!” Or A.S. Pushkin:

They agreed. Water and stone

Poetry and prose, ice and fire

Not so different among themselves ... ("Eugene Onegin")

Also, many artistic oppositions are contained in proverbs and sayings. Here is an example of a common English saying:

"To err is human and to forget is divine." Or like this a prime example antitheses:

"The music professor"s lessons were light, but his fees were high".

Also, stylistic expressive means include the use of slang and neologisms (words formed by the author himself). Slang can be used both to create an appropriate flavor, and to enhance the expressiveness of speech. The authors resort to neologisms, as a rule, when they cannot get by with the traditional set of words. For example, with the help of the neologism "loud-boiling cup", F.I. Tyutchev creates a vivid poetic image in the poem "Spring Thunderstorm". Examples from English are the words headful - a head full of ideas; handful - a handful.

Anaphora - unity of command. This is a technique that consists in the fact that different lines, stanzas, sentences begin with the same word.

"Not a little thing like that! Not a butterfly! cry Eckels".

Epiphora is the opposite of anaphora. Epiphora is the repetition at the end of a segment of the text of the same word or phrase, a single ending of phrases or sentences.

I woke up alone, I walked alone and returned home alone.

Syntactic expressive means.

Syntactic expressive means include, first of all, the author's arrangement of signs, designed to highlight any words and phrases, as well as to give them the desired color. Syntactic means include inversion (inversion) - incorrect word order (You know him?), unfinished sentences (I don "t know ...), italicization of individual words or phrases.

phonetic means of expression.

Phonetic expressive means include onomitopia (Onomethopea) - the use by the author of words whose sound texture resembles any sounds. In Russian, you can find many examples of onomitopy, for example, the use of the words rustles, whispers, crunches, meows, crows, and so on. In English, words such as moan, scrabble, bubbles, crack, scream belong to onomitopy. Onomitopia is used to convey sounds, manners of speech, partly the voice of the hero.

Graphic expressive means.

Graphon (Graphon) - non-standard spelling of words, emphasizing the features of the character's speech. An example of a graphon is an excerpt from Ray Bradbury's story "The sound of thunder":

“His mouth trembled, asking: “Who-who won the presidential election yesterday?”.

The use of expressive means by the author makes his speech more saturated, expressive, emotional, vivid, individualizes his style and helps the reader to feel the author's position in relation to the characters, moral norms, historical figures and era.

It is known that not a single European lexicon can be compared with juiciness: this opinion is expressed by many literary critics who have studied its expressiveness. It has Spanish expansion, Italian emotionality, French tenderness. Language tools used by Russian writers resemble the strokes of an artist.

When experts talk about the expressiveness of a language, they mean not only the figurative means that they study at school, but also an inexhaustible arsenal of literary devices. There is no unified classification of visual and expressive means, however, conditionally language tools are 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 phrases used by the author in a figurative or allegorical sense. The largest group lexical means creation of figurativeness in the Russian language - literary tropes.

Varieties of trails

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

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

Sometimes archaisms, dialectisms, professionalisms are referred to as paths, 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 color of the era, the place described or the working atmosphere.

Specialized expressive means

- words that were once called objects familiar to us (eyes - eyes). Historicisms mean objects or phenomena (actions) that have gone out of use (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 (bosom, right hand, finger).

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

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

Professionalisms are words and expressions that are typical for representatives of a particular profession. For example, a pen for a printer is, first of all, a spare material that was not included in the room, and only then the place where the animals stay. Naturally, a writer who tells about the life of a printing hero will not bypass the term.

Jargon is the vocabulary of informal communication used in the colloquial speech of people belonging to a certain circle of communication. For example, language features text about the life of students will allow the word "tails" to be used in the sense of "exam debt", and not parts of the body of animals. This word often appears in works about students.

Phraseological turns

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

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

Phraseologisms use, to:

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

The figurative expressiveness of phraseological turns is enhanced due to their transformation from well-known to individual author's ones: to shine throughout Ivanovskaya.

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

Aphorisms include works of folk art: proverbs, sayings.

These artistic means are used in literature quite often.

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

Syntactic tricks

Syntactic figures of speech are turns used by the author in order to better convey the necessary information or the general meaning of the text, sometimes to give the passage an emotional coloring. Here are some 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 expressive means that use synonymous words arranged according to the principle of the rise and fall of a feature or quality in the Russian language. For example, the stars shone, burned, shone. Such a lexical chain highlights the main conceptual meaning of each word - “shine”.
3. oxymoron - right opposite words nearby. For example, the expression "fiery ice" figuratively and vividly creates the contradictory character of the hero.
4. Inversions are syntactic expressive means based on the unusual construction of a sentence. For example, instead of "he sang" it says "he sang". At the beginning of the sentence, the word that the author wants to emphasize is taken out.
5. Parceling is the intentional division of one sentence into several parts. For example, Ivan is nearby. Worth watching. In the second sentence, an action, quality or sign is usually taken out, which takes on the author's emphasis.

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

Phonetic means

Sound devices in Russian are the smallest group of literary figures of speech. This is a special use of words with the repetition of certain sounds or phonetic groups in order to depict artistic images.

Usually such figurative means of language used by poets in poetry, or writers in lyrical digressions, when describing landscapes. The authors use repetitive 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 described phenomenon. For example: "In the silky rustle of snow noise." The pumping of sounds С, Ш and Ш creates the effect of imitation of the whistle of the wind.

Assonance - 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 - the selection of words that combine a certain set of sounds that creates a phonetic effect: the howl of the wind, the rustle of grass and other characteristic natural sounds.

Expressive means in Russian, tropes

Use of words of speech expressiveness

Conclusion

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

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 among 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 other 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. There is a litote in folk tales: "a boy with a finger", "a hut on chicken legs", "a peasant with a fingernail".
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, metaphorical images or extended metaphors are widely used in art:

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 well!

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 a metaphor, in an allegory, the figurative meaning is 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 of initial words, lines, stanzas or phrases.

You are poor

You are abundant

You are beaten

You are almighty

Mother Russia!…

ON THE. Nekrasov

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

You are a prose writer, I am a poet;

You are blush, like 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 literary works close to them in their artistic features (“The Song about the Merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Russia” 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.