The meaning of the word anaphora in the dictionary of literary terms. Anaphora is repetition in the name of the triumph of meaning. What is anaphora in literature examples

Hello, dear readers of the blog site. Today we will talk about a literary device called ANAPHOR (for correct pronunciation, the emphasis must be placed on the second letter “A”).

This term, like many others, came into the Russian language from Ancient Greece. And the word “αναφορα” itself is translated as “ repetition, return, ascension, unity of command.”

Definition - what is it?

Anaphora is a stylistic device that consists in repeating some sounds, words or . It is used by poets and writers to enhance the emotional part of the work, create a sublime tone or semantically highlight the most important, in the opinion of the author, pieces of text.

Unlike other literary devices, anaphora is most often located at the beginning of sentences, that is, they begin on the same lines.

Let's give a few examples from life. Remember the lines of the famous song by Yuri Antonov:

MY years are MY wealth

Here the anaphora is “my”. Thus, the author emphasizes, firstly, that this is about him, and secondly, he directly makes it clear that he is proud of his age.

But football fans probably remember the scandalous phrase of Andrei Arshavin after the disastrous 2012 European Championship for the Russian national team. To the fans’ reproaches of a weak game, he replied:

YOUR expectations are YOUR problems

The anaphora in this case turned out to be very unambiguous and emotional. But Arshavin himself has probably already regretted what he said a hundred times.

Examples of anaphors in poetry

Most often, anaphors can be found in poetry. This technique gives poems greater expressiveness and brightness. And it can be regarded as a kind of “voice of the poet”; it allows you to convey the author’s state of mind and the emotions that he experienced while writing.

The most striking example can be found in Alexander Sergeevich Pushkin - in his poem “”:

I love you, Petra's creation,
I love your strict, slender appearance...

The verb “love” very emotionally conveys the author’s attitude towards St. Petersburg. After all, Pushkin really adored the city on the Neva, and this is especially felt in these lines.

I love your cruel winter
Still air and frost...
I love the warlike liveliness
Amusing Fields of Mars...
I love you, military capital,
Your stronghold is smoke and thunder...

And as an opposite - the famous poems of Vladimir Vysotsky"I do not like":

I don't like myself when I'm afraid
And I don’t like it when innocent people are beaten.
I don't like it when they get into my soul,
Especially when they spit on her.
I don't like arenas and arenas,
They exchange a million for a ruble, -
May there be big changes ahead
I'll never like it.

And remember how emotionally Vysotsky sang. And combined with anaphora, it generally looked like a cry from the heart.

And not a whole word, but only a prefix to it can be used as an anaphor. For example, the negation of “NOT” in a famous poem Sergei Yesenin:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
Withered in gold,
I won't be young anymore.

Anaphora in prose literature

Anaphors are much less common because this technique is more difficult to use. With the wrong approach, it always only leads to harm. But if done correctly, it creates very powerful and emotional text. Good examples can even be found in the Bible:

For everything there is a time, and a time for every thing under heaven: a time to be born, and a time to die; a time to plant, and a time to pluck up what is planted.

Anaphora was rarely used, but they liked to resort to classics of Russian literature:

All variety, all charm, all beauty is made up of shadow and light (Tolstoy)
Falling in love does not mean loving. You can fall in love and hate. (Dostoevsky)
There are books that are read; there are books that are studied by patient people; there are books that are kept in the heart of the nation. (Leonov)

Types of anaphora (examples)

All anaphors are conventionally divided into several types:

Sound. This is when there are different words at the beginning of sentences, but they sound very similar.
Bridges demolished by thunderstorms,
A coffin from a washed-out cemetery. (Pushkin)
Morphemic anaphora. Words that have similar syllables are used.
BLACK-EYED GIRL
BLACK-MANED horse. (Lermontov)
Lexical. The most common type, which we talked about before, is when words or phrases are completely repeated.
You are my abandoned land,
You are my land, wasteland. (Yesenin)
Syntactic. There is repetition of entire structures.
Perhaps all of Nature is a mosaic of colors?
Perhaps all Nature is a variety of voices? (Balmont)
Strophic anaphora. Not only individual words are repeated here, but also the rather complex construction of the entire work.
Earth!..
From snow moisture
She's still fresh.
She wanders by herself
And breathes like deja.
Earth!..
More and more beautiful and visible
She's lying around.
And there is no better happiness - on her
To live until death. (Tvardovsky)

Anaphora in everyday life

Stylistic repetitions, which are designed to strengthen speech, are often used for advertising purposes:

Your day is your water (Arkhyz)
New computers - new income (Intel)

Repetition structures can often be heard in court hearings or in any large gathering. They are used, for example, as greetings:

Dear judge, dear jury, dear present...

And finally, political strategists love to use anaphors when they write speeches for their “masters.” One striking example is Winston Churchill’s speech before Great Britain entered World War II.

In it, he used the pronoun “WE” in every sentence to inspire all his fellow citizens:

“We will go to the end. We will fight in France, we will fight on the seas and oceans, we will fight with growing confidence and growing strength in the air, we will guard our island, whatever the cost, we will fight on the beaches, we will fight on the spot landings, we will fight in the fields and in the streets, we will fight on the hills. We will never give up."

Instead of a conclusion

There is a technique in the Russian language that is very similar to anaphora. It , and it also uses repetition of various words or phrases. But the difference is that anaphora is placed at the beginning of the text, while epiphora is placed at the end.

But we’ll tell you more about this next time. See you again on the pages of our blog.

Good luck to you! See you soon on the pages of the blog site

Varieties of anaphora

1. Sound anaphora - repetition of the same combinations of sounds.

For example:
Bridges destroyed by thunderstorms,
Gr both from the blurred cemetery"
(Pushkin A.S.)

2. Anaphora morpheme - repetition of the same morphemes or parts of words.

For example:
I blackly eye the girl,
Black-maned horse!..
(Lermontov M.Yu.)

3. Lexical anaphora - repetition of the same words:

For example:
It was not in vain that the winds blew,
It was not in vain that the storm came.
(Yesenin S.A.)

4. Syntactic anaphora - repetition of the same syntactic structures:

For example:
Do I wander along the noisy streets,
I enter a crowded temple,
Am I sitting among crazy youths,
I indulge in my dreams.
(Pushkin A.S.)

5. Strophic anaphora
Earth!..
From snow moisture
She's still fresh.
She wanders by herself
And breathes like deja.
Earth!..
She's running, running
Thousands of miles ahead
Above her the lark trembles
And he sings about her.
Earth!..
Everything is more beautiful and visible
She's lying around.
And there is no better happiness - on her
To live until death.
Earth!..
To the west, to the east,
To the north and to the south...
I would fall down and hug Morgunok,
There aren't enough hands...
(Tvardovsky A.T.)

6. Strophic-syntactic anaphora

For example:
Until the machine gun craves
Gut the human mass,
Omet lives and lives
Among the mills, the harvest is chewing.

Until he suffers army commander
Cut the enemy with one blow,
It’s not for nothing that the barns are full
Fields with gold-bearing gifts.

Until the enemy thunder speaks
Your opening remarks,
There can be no other way in the fields
A space catcher than an agronomist.
(Tikhonov N.S.)

Anaphora may be located at the beginning of hemistiches (" The city is lush, the city is poor"), lines (" She was not afraid of retribution, She was not afraid of loss"), stanzas, are carried out through the entire poem in certain combinations (Lermontov " When he gets worried";Fet" This morning, this joy" etc.).

Anaphora also called a poem whose words all begin with the same sound.

For example:
Pure flax lovingly sculpts
The azure of caressing forests,
I love the crafty babble of lilies,
Flowing incense of petals.

Often anaphora connects with another rhetorical figure - gradation.

GRADATION(from lat. gradatio- gradual elevation) is a stylistic figure consisting of a consistent intensification or, conversely, weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech.

There are two types gradations- menopause (climb) And anticlimax (descent).

Climax - one of the popular figures of Russian poetry, in which words and expressions in a phrase are arranged in order of their increasing meaning.

For example:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
(S.A. Yesenin)

And the thoughts in my head are agitated in courage,
And light rhymes run towards them,
And fingers ask for pen, pen for paper,
a minute - and the poems will flow freely.
(A.S. Pushkin)

Anticlimax - a figure in which words and expressions are arranged according to the strength of intonation and meaning in descending order.

For example:
I swear to the wounds of Leningrad,
The first devastated hearths;
I won’t break, I won’t waver, I won’t get tired,
I will not forgive my enemies a single grain.
(O.G. Bergolts)

Most common threefold gradation.

For example:
I came, I saw, I conquered. (Caesar);

And where is Mazepa? Where is the villain?
Where did Judas run in fear?(Pushkin);

In sweet-foggy care
Not an hour, not a day, not a year will leave.(Boratynsky);

The impression of gradation is enhanced by a special rhythmic-syntactic structure, often - anaphora(see above).

For example:
Love you capricious dream
I love you with all the strength of my soul,
I love you with all my young blood,
I love you, I love you, hurry up!

Sometimes the middle terms of the gradation, in their logical meaning, do not form a strict increase, but thanks to the melody of the verse and its syntactic features, the impression of gradation is obtained, which in this case is more obvious during recitation.

For example, at the beginning of the poem F.I. Tyutcheva „ Malaria“:
"...I love this, invisibly
There is a mysterious evil spilled throughout everything -
In flowers, in a source transparent as glass,
And in the rainbow rays, and in the very sky of Rome" -

In themselves, more or less equivalent images of flowers, a source, rays and the sky form an increasing series, mainly due to the fact that the first image is expressed in one word - a general concept, in the second an essential feature is highlighted, and the third and fourth begin with anaphoric and, increasing intonation, which culminates in the intensifying adjective “most”, which precedes the last image.

And conversely, semantic growth, not supported rhythmically and syntactically, does not provide sufficient sensation gradations.

For example, from Zhukovsky:
"Both summer and autumn were rainy,
Pastures and fields were drowned,
The grain in the fields was not ripe and disappeared,
There was a famine, people were dying".

Gradation may be the principle of composition of an entire poem.

For example strophic gradation with anaphora in Tyutchev's poem: " The East turned white... The East turned red... The East flared up..."or Fet's poem: " I came to you with greetings»:
I came to you with greetings,
Tell me that the sun has risen
What is it with hot light
The sheets began to flutter;

Tell that the forest has woken up,
All woke up, every branch,
Every bird was startled
And full of thirst in spring;

Tell me that with the same passion,
Like yesterday, I came again,
That the soul is still the same happiness
And I’m ready to serve you;

Tell me that from everywhere
It blows me away with joy,
That I don’t know myself that I will
Sing - but only the song is ripening.

In a similar way, we can observe gradation in the plot structure of larger literary genres, fairy tales, short stories, etc., for example, in the folk tale “ Mena"(in Afanasyev, parallels in the brothers Grimm, Andersen, etc.), in " The Tale of the Fisherman and the Fish"and others, in the story by Leonid Andreev" Life of Vasily Fiveysky", in the biblical story of Job, etc.

EPIPHORA(from Greek epiphora- addition, repetition) - stylistic figure - repetition of the same word at the end of adjacent segments of speech, one of the varieties of parallel syntactic constructions.

For example:
I won't deceive myself
Concern lay low in a hazy heart.
Why did he become famous? I'm a charlatan,
Why am I known as a brawler?
And now I won’t get sick.
The pool has cleared up in a hazy heart.
That's why I became known as a charlatan,
That's why I became known as a brawler.
(S. Yesenin)

Dear friend, and in this quiet house
The fever hits me.
I can't find a place in a quiet house
Near the peaceful fire!
(A. Blok)

Well, I... I'm walking along the road,
The usual work is not hard:
There are some places that believe in God.
No priest
And here I am.
There the bride and groom are waiting, -
No priest
And here I am.
There they take care of the baby, -
No priest
and here I am.
(A. Tvardovsky)

They call me a youth without a mustache,
It really doesn't matter to me.
But they don’t call him a coward...
A long time ago... A long time ago...

Another mustache twirls furiously,
Everyone looks at the bottom of the bottles,
But he himself is only a copy of the hussar...
A long time ago... A long time ago...

Another swears by ardent passion,
But when the wine is drunk,
All his passion is at the bottom of the bottle...
A long time ago... A long time ago...

The sea is knee-deep for lovers,
I'm with them in this together,
But treason watches over everyone...
A long time ago... A long time ago...
(A. Gladkov)

The stylistic device of repeating the same sounds at the ends of adjacent words in lines can be clearly demonstrated with a simple rhyme. This is a grammatical epiphora: Sometimes, in order to emphasize the importance of a single word or phrase, it is repeated at the end of a stanza or lines, forming a so-called tautological rhyme.

Epiphora, as well as anaphora, has its own varieties:

1. Grammatical epiphora - the technique of repeating the same sounds at the ends of adjacent words in lines. Examples of it are often found in children's poems.

For example:
We lived together on the balcony
Poppy, narcissist.
They were friends.

2. Lexical epiphora - repetition of the same word at the end of a segment of speech.

For example:
When the ocean rises
The waves are roaring around me,
When the clouds burst into thunder,
Keep me safe, my talisman.

In the solitude of foreign countries,
In the bosom of boring peace,
In the anxiety of a fiery battle
Protect me, my talisman...
(A.S. Pushkin)

Scallops, all scallops: a cape made of scallops, scallops on the sleeves, epaulettes made of scallops, scallops at the bottom, scallops everywhere.(N.V. Gogol)

3. Semantic epiphora - repetition at the end of a synonymous word.

For example:
Under the pipes there are twists, under the helmets they are cherished, the end is a copy of the education...("A Word about Igor's Campaign")

4. Rhetorical epiphora.

Examples of this technique can be found in songs, especially often in Russian folk songs. The children's song about two geese demonstrates this perfectly with its unforgettable lines: “ One is gray, the other is white, two cheerful geese", as well as poems by Yulia Drunina " You're near»:
You are nearby, and everything is fine:
And rain and cold wind.
Thank you, my clear one,
For the fact that you exist in the world.

Thank you for these lips
Thank you for these hands.
Thank you, my dear,
For the fact that you exist in the world.

You are nearby, but you could
You won’t be able to meet each other at all...
My only one, thank you
For the fact that you exist in the world!

Often in poetry they use repetition of the first quatrain in the conclusion. Sometimes they are slightly different, more often they are repeated verbatim. it's the same rhetorical epiphora.

Examples are poems by the same Yu. Drunina “ There's a time to love" They begin with the words: “ There is a time to love, there is a time to write about love", and at the end these lines are repeated with a slight change: instead of the word " write"the author uses the verb " read».

There's a time to love
Eat - write about love.
Why ask:
“Tear up my letters”?
I'm happy -
There is a man alive on earth,
who doesn't see
What time is it snowing
For a long time with my head
He brought that girl
That I sipped to my heart's content
And happiness and tears...
No need to ask:
“Tear up my letters!”
There's a time to love
Eat - read about love.

This is how the vigilant orator Cicero uses epiphora: “ You mourn that three armies of the Roman people were destroyed - Antony destroyed them. You are short of illustrious citizens - and Antony took them away from us. The authority of our class has been overthrown - Anthony overthrew it. In a word, if we think strictly, everything that we subsequently saw (and what kind of disasters did we not see?), we will attribute to Anthony alone"(Cicero. Second Philippica against Mark Antony).

Epiphora constantly used in a variety of poetic genres.

For example, in the poem by F.G. Lorca " Desert"(translation by M. Tsvetaeva):
The labyrinths dug by time have disappeared.
The desert remains.
The incessant heart - the source of desires - has dried up.
The desert remains.
The sunset haze and kisses are gone.
The desert remains.
It fell silent, died out, cooled down, dried up, disappeared.
The desert remains.

The epiphora contained in the epigram of O.E. is perceived in a completely different way. Mandelstam to the artist N.I. Altman (who painted the portrait of the poet):
This is the artist Altman,
very old man.
In German it means Altmann -
very old man."

The true tragedy of loneliness is expressed in the poems of Z.N. Gippius, a very middle-aged poetess who lost her husband D.S. Merezhkovsky, from whom she was not separated for a single day for more than 50 years. Poems dedicated to her and her husband’s secretary and longtime friend V.A. Zlobin, are an example of an epiphora that even has a graphic expression:

Loneliness with you... It is like that
What is better and easier to be ALONE.

It embraces with thick melancholy,
And I want to be completely ALONE.

This melancholy - no! - not thick - empty.
In silence it is easier to be ALONE.

Clock birds, like a sightless flock,
They don’t fly by - one to ONE.

But your silence is not silent,
Noises, shadows, all to ONE.

With them, perhaps, it’s not sickening, not boring,
The only desire is to be ONE.

Nothing will be born from this silence,
It’s easier to give birth yourself - ALONE.

There's just something flowing idly inside of him...
And at night it’s so scary to be ALONE.

Maybe this is offensive to you,
You are used to being ALONE.

And you won’t understand... And isn’t it obvious
It’s easier for you too, without me - ALONE.

Epiphora in its pure form it is used less often than anaphora, but in a weakened version (parallelism of synonyms or grammatical forms) - much more often.

Epiphora how the figure is opposite anaphora, in combination with which it forms a new figure - simploc.

Parallelism is close to these figures - the same syntactic structure of segments of speech.

PARALLELISM(from Greek - walking next to, parallel) - a compositional technique that emphasizes the structural connection of two (usually) or three elements of style in a work of art; the connection between these elements lies in the fact that they are located in parallel in two or three adjacent phrases, poems, stanzas, due to which their commonality is revealed.

Modern poetics have established the following types of parallelism:

1. Syntactic parallelism , the most common, is that adjacent verses follow the same sentence structure.

For example:
The waves splash in the blue sea,
The stars shine in the blue sky.
(A. Pushkin)

And, devoted to new passions,
I couldn’t stop loving him;
So the temple abandoned - all the temple,
The defeated idol is all god!
(M. Lermontov)

The light wind subsides,
The gray evening is coming,
The raven sank to the pine tree,
Touched a sleepy string.
(A. Blok)

When horses die, they breathe,
When the grasses die, they dry up,
When the suns die, they go out,
When people die, they sing songs.
(V. Khlebnikov)

A green fish swam to me,
A white seagull flew towards me!
(A. Akhmatova)

The candles fluttered like a wave of light.
Thoughts stirred like a dark wave.
(M. Tsvetaeva.)

I don't know where the border is
Between North and South
I don't know where the border is
Between comrade and friend...
...I don't know where the border is
Between flames and smoke
I don't know where the border is
Between a friend and a loved one.
(M. Svetlov)

A diamond is polished by a diamond,
The line is dictated by the line.
(S. Podelkov)

Two immortalities at the Volga -
mouth and source.
A soldier has two worries -
West and East!
Trees have two hopes -
autumn and spring.
A soldier has two worries -
gun and war...
(A. Nedogonov)

Syntactic parallelism contributes to the rhythm of speech and performs an amplifying and excretory function in the text. It can be supported by lexical repetition, the use of words of one lexical-semantic or thematic group.

For example:
The moon is high.
The frosts are high.
Distant carts creaking.
And it seems that we can hear
Arkhangelsk silence.
(I. Severyanin.)

Syntactic parallelism as a stylistic device often found in works of oral folk art in the form of an analogy, a convergence of phenomena (for example, natural phenomena and human life).
It’s not the wind that bends the branch,
It is not the oak tree that is making noise.
My heart is groaning,
Like an autumn leaf trembling.
(Russian folk song).

2. Strophic parallelism consists in the fact that in adjacent stanzas of the poem the same syntactic and sometimes lexical construction is repeated:
You bear grief - you think,
How to throw it off your shoulders,
Where should I leave him?
Where should I leave it?
You bring happiness - you think
How can I avoid stumbling with him?
No matter how it breaks,
Who wouldn't take it away?
(V. Tushnova)

M. Lermontov’s poem “ Sail»:
The lonely sail is white
In the blue sea fog.
What is he looking for in a distant land??
What did he throw in his native land??
The waves are playing, the wind is whistling,
And the mast bends and creaks...
Alas, he not looking for happiness
And he’s not running out of happiness!
Below him is a stream of lighter azure,
Above him is a golden ray of sun.
And he, the rebellious one, asks for a storm,
It's like there's peace in the storm!

3. Rhythmic parallelism is expressed in the fact that the motives of the poem are emphasized by the corresponding repetition of the rhythmic pattern.

For example:
The garden is all in bloom
Evening on fire,
It makes me so refreshingly happy!
Here I stand
Here I come,
I'm waiting for a mysterious speech.
This dawn
This spring
So incomprehensible, but so clear!
Are you full of happiness?
Am I crying?
You are my blessed secret.
(A.A. Fet)

4. Besides direct parallelism , found in poetry negative concurrency , consisting in the fact that the first term of the parallel is given with a negative particle " Not" This form of parallelism is especially common in folk poetry, and it is also common in original poems.

For example:
It's not the cold winds that rustle,
It's not the quicksand that runs, –
The grief rises again
Like an evil black cloud.

It is not the wind that rages over the forest,
Streams did not run from the mountains,
Moroz the voivode on patrol
Walks around his possessions.
(N. Nekrasov)

LEXICAL REPEATS– repetition of the same word or phrase.

For example:

And so mom prepared three lunches, three breakfasts and three dinners for three days and showed the boys how to heat them up.(E. Schwartz)

By repeating a word in the text the key concept is highlighted. Therefore, it is not always necessary to remove lexical repetitions from speech.

In some cases this is impossible, in others it will be an unnecessary impoverishment and discoloration of speech.

Several cognate words in a sentence are stylistically justified even if related words are the only carriers of the corresponding meanings and cannot be replaced by synonyms.

Lexical repetitions can also be used as a means of humor. In a parody text, the accumulation of identical words reflects the comedy of the situation being described.

1) Express yourself without expressing yourself !

2) It seemed that I wanted to, but it turned out that I wanted to, because it seemed;

3) It is very important to be able to behave in society. If inviting a lady to dance, you stepped on her foot and she pretended not to notice it, as she noticed, but pretended not to notice.

In artistic speech, verbal repetitions can perform different stylistic functions. This must be taken into account when giving a stylistic assessment of the use of a word in the text.

SIMPLOCA(Greek - plexus) - a figure of syntactic parallelism in adjacent verses, which a) have the same beginning and end with a different middle and b) on the contrary, have different beginnings and ends with the same middle.

Samples simplocs The first type is more often found in folk poetry.

For example:
There was a birch tree in the field,
There was a curly girl standing in the field.
(Folk song)

There was a feast, an honorable feast,
There was a table, a table of honour.
(Russian epic)

Very rare simploc of the first type in original poetry.

For example:
Always and everywhere
Two people walk like this
And they think -
The whole universe is here.
Everything - just extend your hand - everything is here.
Everything - just take a closer look - everything is here.
That's it - just hug me tighter - everything is here.
And the nightingales sing,
And kiss
And the crunch of steps in the forest...
(V. Lugovskoy)

What are you, my song,
Are you silent?
What are you, my fairy tale,
Are you silent?
(P. Vasiliev)

Examples simplocs of the second type :
We have a place for young people everywhere,
Old people are respected everywhere.
(V. Lebedev-Kumach)

I love the sea with ships,
I love the sky with cranes.
(V. Bokov)

I hate all kinds of dead things!
I love all kinds of life!
(V. Mayakovsky)

Simploc, at first glance, can be easily confused with parallelism. However, this is true only at first glance, because in fact simploc has little to do with parallelism. At parallelism it is the constructions themselves that are repeated (and completely, exactly), not the words: words in parallel structures are always different. As for simploki, words are reproduced with its help and only therefore, as a consequence, constructions.

In Russian poetry, in order to enhance the impact of expressions, various types of rhetorical and stylistic figures are used (epithets, allegories, tropes, etc.).

One of these figures is anaphora. Let's try to figure out what exactly it is and how it is used in Russian language and literature.

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Anaphora: meaning

Anaphora means unity of command or in other words, the simultaneous beginning and repetition of sounds, syllables, one word or several in the beginning phrases or stanzas of a poem or prose passage. Let's take as an example the famous lines of A. S. Pushkin:

I love you, Peter's creation, I love... slender look...

The repetition of the word “love” in this case is a mysterious stylistic move that serves as a connection between speech segments and gives the poem brightness and expressiveness.

The term comes from a word that, translated from ancient Greek into Russian, means “carrying up.” For example, in the poem “Autumn” by A. S. Pushkin, the anaphora “uzh” is used, it is repeated in the first two stanzas, thereby strengthening the approaching autumn. When reading this poem, a feeling of melancholy arises, because it reminds us of the approaching cold and damp season.

Anaphora: Wikipedia

Anaphora(translated from ancient Greek ἀναφορά - ascent) - a stylistic figure that consists of the repetition of related sounds, one word or a group of words located at the beginning of each row parallel to each other, i.e. in the repetition of the beginning parts of two or more independent segments of speech (verses, hemistiches, prose passages or stanzas).

Meaning and examples of anaphora in literature

Anaphora in literature is a figure of artistic speech, a literary device, which is based on the similarity of words in prose passages and verses, repeated in words, phrases, sounds, syntactic structures and morphemes at the beginning of parts of complex sentences, stanzas, phrases, paragraphs and periods.

Examples:

In works of this kind, a stylistic device is used with the aim of emotionally influencing the reader, often this is expressed in raising the tone, as well as by logical and semantic highlighting of important thoughts that combine into one whole the selected constructions that are different in structure and syntactic level.

Also the stylistic figure is considered as a type of continuous sentence. In Old Germanic poetry, this turn of phrase occurs as a form of connection of certain sentences or parts of a sentence and forms the so-called “anaphoric trisyllabic.” There is also a connection between anaphora and a rhetorical figure such as gradation; in this case, in literary techniques there is a gradual increase in the emotional nature of speech (for example: “A cattle dies, a friend dies, a man dies too”).

In prose speech, it is closely related to the forms of farewell and greeting. Poets and prose writers call these forms anaphoric; often they manifest themselves in imitation of folk meaning and in the works of modern writers.

It is worth noting the historical and cultural basis of this literary device. A similar appeal has long been considered an important turn of phrase to rulers, gods or those who sit together; everyone was treated equally so as not to anger anyone (e.g. , at a meeting, at a banquet or at a trial they said: “most venerable, respected, highly learned, wise gentlemenburgomasters and ratmans»; “most respectable, eminent and prudent gentlemen Elterman and old people" and so on.).

ANAPHORA

- (from the Greek anaphora - bringing up) - stylistic figure: unity of beginning, repetition of a word or group of words at the beginning of poetic lines or prose phrases; one of the varieties of parallel syntactic constructions (see parallelism).

I love you, Petra's creation,

I love your strict, slender appearance.

A.S. Pushkin

What is anaphora

This is a stylistic figure that is literally translated from Greek as “ascent.” Its essence is that related or similar sounds, words or combinations thereof are repeated at the beginning of each parallel row. And if it’s a little simpler, then we can take a poem as an example, then the parallel rows will simply be its lines, which, if we are talking about anaphora, will begin somehow uniformly.

Due to the fact that in the formation of this stylistic structure sounds, words and entire phrases can be used, quite a few varieties of such a phenomenon as anaphora are distinguished.

Examples

So, sound anaphora to begin with. Consider this simple poem:

The grotesque is incomprehensible... My God...
The tombs are in a circle, dressed in concrete...

Obviously, the combination of sounds “gro” forms anaphora. Then we observe morphemic formation, when there is a repetition of a part of a word that has its own lexical purpose. For example, here is a short excerpt:

Long-haired tigress,
Long-winged tit.

And everything like that. As we see, “long”, being only part of a word, nevertheless forms a completely meaningful lexical unit. And so it is possible to distinguish many more varieties of anaphora, the meaning, it seems, has already been learned by the reader. Having answered the question, what is anaphora, we move forward in the stylistic education of our beloved “great and mighty”.

Epiphora

Since we have begun to analyze such an interesting phenomenon as rhythmic elements in language, then in context we can turn to the antipode of the structure presented earlier. Consonant with the word “anaphora” is epiphora. We will discuss it in our linguistic study of the Greek language.

From the latter, this formation is translated as “bringing.” At the same time, it means the same thing, only relative to the end of the line in rhythmic repetition. For example, again, in a poem. Let's take a short sketch performed by Marina Tsvetaeva, so as not to bore the reader:

We gave you sons as beautiful as night,
Sons as poor as night.

Epiphora, as a rhythmic structure, is much more in demand in prose presentation than anaphora. Let us recall Nietzsche’s famous “thus preached madness.” Similar examples can be found in the prose works of classics and not only. Continuing the conversation about stylistic figures, we can consider a couple more interesting types of them in context. And let's start with one, rather elusive in ordinary language, which, nevertheless, is also associated with anaphora.

Inversion

It is worth emphasizing that this stylistic figure relates more to the field of rhetoric, since the technique itself, which, by the way, is translated from Latin as “reversal,” relates more to language and its features. So-called analytical languages like English, where words in a sentence are arranged according to established norms, do not tend to use inversion. But Russian and some others are a completely different matter. There is no such specific routine here, so mixing words in a sentence leads to interesting phenomena, which are essentially called inversions. Thus, the definition of this term is breaking the order of words in a sentence in order to create expressiveness in the language. Characteristic of both poetry and prose.

When we discussed what anaphora is, we leaned towards the rhythm of language, and this unites the concepts under consideration. However, the place of the latter is mostly in poetry. But inversions allow you to create truly amazing effects, including within the framework of the use of prose. Finally, another stylistic figure of speech can be considered in context. It absorbs an incredible number of phenomena of any language, allowing you to obtain the most sophisticated semantic and figurative constructions using living language.

Metaphor

Anaphora, being a clear example of a figure, can be contrasted with metaphor as a representative of the so-called tropes. That is, the figurative meaning of words and expressions comes onto the scene. This is precisely the mechanism thanks to which any language begins to play with all its bright facets, representing an excellent means for expressing absolutely any fantasy. Anaphora, examples of which we briefly reviewed, is essentially a means of creating rhythm in language. Metaphor allows you to develop language, make it brighter, richer, deeper, and so on. There are no limits to a language that actively uses metaphor as a means of self-development.

In general, a lot can be said separately about this instrument. Let us recall only the basic definition. Metaphor is the use of words or phrases in a figurative sense. Essentially, it is a constant game of associations that allows you to create the entire intricate structure of any language. Without metaphor, the language of storytelling is dry and boring, and poetry without this tool is simply impossible to imagine. Therefore, all researchers emphasize its importance, giving metaphor a central place in the harmonious chorus of paths.

Conclusion

Thus, we were able to consider several of the most important stylistic figures of the language, use examples to understand what anaphora is, how it is related to other representatives of the figures, and even grasp the main meaning of the most important representative of the tropes.

The main conclusion at the end of this short journey into the world of linguistics is the fact that any cultured person should know not only what his native language consists of, but also how this wealth can be used. Therefore, when expanding your own education, you should think about how it can be applied. Then the language, and with it life, will be much more interesting, richer, deeper and more meaningful. We wish the reader to be not only literate, but also successful thanks to the knowledge he receives.