Ellipsis - a stylistic figure, consisting in the omission of any. Paths and stylistic figures
The lexical system of the language is many-sided and complex. Therefore, a typology of various lexical means has not yet been developed, since it should be able to recreate a diverse range of human feelings. However, there are three main groups. Expressive means are usually classified, dividing into phonetic, syntactic and lexical.
Trope
Lexical means enhance the expressiveness of the language. They are called tropes in linguistics. Typically, tropes are used by authors of various works of art when it is required to describe the appearance of characters or nature.
A trope, therefore, is a pictorial technique that consists in using an expression or word in a figurative sense. The purpose of this technique is not only to create a new meaning, but also to enrich, decorate speech, make it more expressive. Distinguish between tropes and figures of speech. Examples of tropes: simile, hyperbole, metaphor, epithet, personification, and paraphrase.
Figure of speech
Figures of speech are special syntactic constructions that serve to enhance expressiveness. These include antithesis, oxymoron, gradation, rhetorical exclamation, rhetorical question, rhetorical appeal, ellipsis, syntactic parallelism, lexical repetition, epiphora, anaphora, default, inversion, polyunion, non-union.
Expressiveness of speech - features of its structure, allowing to maintain the interest and attention of the reader (listener).
Antithesis
Antithesis is a turnover consisting in a sharp opposition of characters, concepts, images, with the help of which the effect of sharp contrast arises. Antithesis helps to better oppose phenomena, depict contradictions. It is a way of expressing the author's view of the described images, phenomena, etc. An example can be given as follows: "Softly spread, but hard to sleep."
Syntax parallelism
These are the main figures of expressiveness of speech.
Stylistic (or rhetorical) figures are special syntactic constructions used to enhance the figurative and expressive function of speech.
Anaphora (unity) - the repetition of individual words or phrases at the beginning of the passages that make up the statement.
Lexical anaphora:
I swear on the first day of creation
I swear it last day,
I swear on the shame of crime
And eternal truth triumph ... (Lermontov)
Syntactic constructions of the same type can be repeated (syntactic anaphora):
I'm standing at high doors,
I follow your work (Svetlov).
Epiphora(ending) - repetition of words or expressions at the end of adjacent passages (sentences): I would like to know why I am a titular councilor? Why a titular adviser? (Gogol).
Parallelism- the same syntactic construction neighboring sentences or segments of speech: Young people are dear to us everywhere, old people are honored everywhere (Lebedev-Kumach).
Antithesis- a turn in which, to enhance the expressiveness of speech, opposite concepts are sharply contrasted: Where the table was clear, there is a coffin (Derzhavin).
Often the antithesis is based on antonyms: The rich man feasts even on weekdays, and the poor grieves even on holidays.
Oxymoron(Greek "witty-stupid") - a stylistic figure consisting in the combination of two concepts that contradict each other, logically excluding one another: bitter joy, ringing silence, eloquent silence.
gradation- stylistic figure, concluding. in such an arrangement of words, in which each subsequent one contains an increasing (less often decreasing) meaning, due to which an increase (less often weakening) of the impression they make is created: Arriving home, Laevsky and Nadezhda Fedorovna entered their dark, stuffy, boring rooms (Chekhov) (ascending gradation).
Descending gradation: "I will not break, I will not falter, I will not get tired"
Inversion- stylistic figure, concluding. in the arrangement of the members of the sentence in a special order that violates the direct order to enhance the expressiveness of speech: They brought out the horses. I did not like them (Turgenev). He gave me his hand in farewell (Chekhov). After all, he was a friend to me (L. Tolstoy).
Ellipsis- omission of any implied member of the sentence: Men - for axes (A. Tolstoy). The use of an ellipsis gives the statement dynamism, intonation of lively speech, and artistic expressiveness.
Default- a turn of speech, which consists in the fact that the author deliberately does not fully express the thought, leaving the reader to guess the unspoken: What did you think? What did both feel? Who will know? Who will say? There are such moments in life, such feelings ... You can only point at them - and pass by (Turgenev).
Rhetorical address- a stylistic figure, consisting in an underlined appeal to someone or something to enhance expressiveness: Flowers, love, village, idleness, field! I am devoted to you with my soul (Pushkin). O you, whose letters are many, many in my portfolio! (Nekrasov).
Rhetorical appeals serve not so much to name the addressee of the speech, but to express the attitude towards this or that object, to characterize it, to enhance the expressiveness of the speech.
A rhetorical question- a stylistic figure, consisting in the fact that the question is posed not in order to get an answer to it, but in order to draw the reader's attention to this or that phenomenon: Do you know the Ukrainian night? (Gogol) Is it new for us to argue with Europe? Has the Russian lost the habit of victories? (Pushkin).
polyunion(polysyndeton) - a stylistic figure consisting in the deliberate use of repeating unions for logical and intonational underlining of the members of the sentence connected by the unions, to enhance the expressiveness of speech: A thin rain sown on the forests, and on the fields, and on the wide Dnieper (Gogol).
Asyndeton(asyndeton) - a stylistic figure consisting in the intentional omission of connecting unions between members of a sentence or between sentences. The absence of unions gives the statement swiftness, richness of impressions within the overall picture: Swede, Russian - stabs, cuts, cuts, drumming, clicks, rattle, thunder of cannons, stomp, neigh, groan ... (Pushkin). The non-union enumeration of subject names is used to create the impression of a quick change of pictures: Booths, women, boys, shops, lanterns, palaces, gardens, monasteries flicker past […] (Pushkin).
Anaphora (unity)- repetition of individual words or phrases at the beginning of passages (poems, stanzas that make up the statement. For example:
Wait for me and I will come back,
Just keep waiting...
Wait for sadness
yellow rain,
Wait for the snow to come
Wait when it's hot
Wait when others are not expected
Forgetting yesterday
Wait, when from distant places..
(K. Simonov).
seven won't come...
Parallelism- identical syntactic constructions of neighboring sentences or segments of speech. For instance: Young oak trees have grown along the road, age-old willows are located near the river.
Antithesis- a turn in which, to enhance the expressiveness of speech, concepts, phenomena, objects are sharply opposed. for instance : “The rich feast on weekdays, and the poor mourn on holidays” (proverb).
Paraphrase(Greek paraphrases - descriptive turnover, description) - a descriptive transfer of the meaning of an expression, replacing the name of a person, object or phenomenon by describing their essential features: the one who writes these lines (vm. I), the king of beasts (vm. lion).
Antithesis(Greek antithesis - opposition) - a stylistic figure that serves to enhance the expressiveness of speech by sharply contrasting concepts, thoughts, images: "Where the table was food, there is a coffin" (G.R. Derzhavin).
Asyndeton- a stylistic figure, consisting in the intentional omission of connecting unions between members of a sentence or between sentences, conveying swiftness, saturation of impressions within the overall picture or used to create the impression of a quick change of events:
"Swede, Russian - stabs, cuts, cuts, drumming, clicks, rattle, thunder of cannons, stomping, neighing, groaning ..." (M.Yu. Lermontov).
gradation(lat. gradatio - gradual strengthening) - the arrangement of words in a phrase in order of increasing (less often decreasing) meaning. Increasing gradation example: I don’t regret, I don’t call, I don’t cry, Everything will pass like smoke from white apple trees. (S. Yesenin). "P I came, I saw, I conquered."
Inversion(Greek inversio - permutation) - the arrangement of the members of the sentence in a special order that violates the direct order in order to enhance the expressiveness of speech: "At first I was very upset" (A.S. Pushkin). “The soul reaches for the high” (V. Panov).
Pun(French calembour - a play on words) - a figure of speech consisting in the humorous use of the ambiguity of a word or the sound similarity of various words: "It was raining and two students."
polyunion- a stylistic figure, consisting in the deliberate use of repeating unions for logical and intonation underlining the members of a sentence connected by unions or parts of a complex sentence to enhance the expressiveness of speech: "A thin rain sown on the forests, and on the fields, and on the wide Dnieper" (N.V. Gogol). “The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and shone, and went somewhere to infinity ...” (Korolenko).
Oxymoron(Greek oxymoron - witty-stupid) - a stylistic figure, consisting in the combination of two concepts; contradicting each other: bitter joy, ringing silence.
Parallelism(Greek parallelos - the same syntactic construction (arrangement) of adjacent sentences or segments of speech: "Your mind is deep like the sea. Your spirit is high like mountains" (V. Bryusov).
When the yellowing field worries
And a fresh trail rustles at the sound of the breeze ...
When dew sprinkled with fragrant ...
When the cold spring plays in the ravine...
(M.Yu. Lermontov)
A rhetorical question- a stylistic figure, consisting in the fact that the question is posed not in order to get an answer to it, but to draw the attention of the reader (listener) to this or that phenomenon: "Do you know the Ukrainian night?" (N.V. Gogol). ... Russia,
Our own mother!
What lofty word can I call your feat? With what high glory crown your deeds? What measure measure What did you endure? ..
(M. Isakovsky)
Rhetorical address- a stylistic figure consisting in an underlined appeal to someone or something to enhance the expressiveness of speech: "Hush, speakers! Your word, Comrade Mauser!" (V.V. Mayakovsky).
Default- a turn of speech, which consists in the fact that the author deliberately does not fully express the thought, leaving the reader (listener) to guess for himself about the unspoken: "No, I wanted ... maybe you ... I thought ... What can the baron time to die "(A.S. Pushkin).
Ellipse(from the Greek ellepsis - omission, lack) - a figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning (most often predicate): "We are villages - to ashes, cities - to dust, swords - sickles and plows" (V.A. Zhukovsky).
Epiphora(Greek epi - after, phoros - bearing) - a stylistic figure consisting in the repetition of the same elements at the end of each parallel row: "I would like to know why I am a titular adviser? Why a titular adviser?" (N.V. Gogol).
MKOU "Verkh-Bekhtemir middle comprehensive school»
Grade 11
Tsvetenberg Svetlana Semyonovna
teacher of Russian language
the highest category
Instruction
In the test “Means of Expression. Theory" - 15 tasks.
Each task has 4 possible answers. You need to choose the right one.
For a correctly completed task - 1 point
Test
means of expression. Theory
1. A stylistic figure, consisting in the omission of any implied member of the sentence (incomplete sentences) in order to give the statement dynamism, intonation of lively speech.
1) non-union
2) parallelism
3) ellipsis
4) default
2. What stylistic figure is that the question is posed not in order to get an answer to it, but in order to draw the attention of the reader or listener to a particular phenomenon, to emotionally highlight the semantic centers of the text?
1) default
2) rhetorical question
3) rhetorical exclamation
4) rhetorical appeal
3. What stylistic figure does this interpretation correspond to: “A kind of repetition: the same word, several words, are repeated at the beginning of several phrases following one after another.” For instance:
The girl sang in the church choir
About all those who are tired in a foreign land,
About all the ships that have gone to sea,
About all those who have forgotten their joy.(A. Blok)
1) default
2) inversion
3) gradation
4) anaphora
4. The same syntactic construction of adjacent sentences, the same arrangement of similar members of the sentence in them is ...
1) parceling
2) antithesis
3) inversion
4) parallelism
5. Deliberate fragmentation of a sentence into meaningful semantic parts is ...
1) parceling
2) gradation
3) inversion
4) parallelism
6. Reverse word order in a sentence in order to enhance the expressiveness of speech - this is ...
1) allegory
2) gradation
3) inversion
4) epiphora
7. The same ending of several sentences, reinforcing the meaning of this image, concept is ...
1) lexical repetition
2) inversion
3) antithesis
4) epiphora
8. A syntactic construction within which homogeneous expressive means are arranged in order of strengthening or weakening of a feature.
1) polyunion
2) gradation
3) ellipsis
4) parceling
9. What term denotes stylistic contrast, opposition of different phenomena and concepts?
1) an oxymoron
2) antithesis
3) antonyms
4) anaphora
10. A figure of speech in which the attitude of the author to what is being said is expressed in the form of an address.
1) rhetorical question
2) rhetorical appeal
3) impersonation
4) epithet
11. A verbatim excerpt from any text, essay, cited to confirm one's thought is ...
1) proverb
2) aphorism
3) saying
4) quote
12. Connection in the image or phenomenon of incompatible concepts.
1) antithesis
2) antonyms
3) an oxymoron
4) zeugma
13. Individually-author's neologisms.
1) neologisms
2) colloquial vocabulary
3)
occasionalisms
4) terms
14. Indicate an incorrect statement:
1) paraphrase - a trope consisting in the use of a descriptive combination instead of a word or name.
2) gradation - artistic exaggeration to the incredible, fantastic.
3)
irony is a kind of allegory, when an outwardly positive assessment hides
mockery.
4) metonymy - the transfer of meaning (renaming) based on the adjacency of phenomena.
15. Artistic understatement.
1) litote
2) synecdoche
3) metonymy
4) metaphor
Key
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
3
2
4
4
1
3
4
2
2
2
4
3
3
2
1
Evaluation scale
"5"
"4"
"3"
"2"
13-15 points
10 -12
8 - 9
7
Test
"Fine and expressive means"
Instruction
There are 12 tasks in the "Visual and expressive means" test.
1-3 assignments for correspondence between sentences and stylistic (rhetorical) figures.
4-6 assignments for matching between sentences and paths.
Each correct match is worth 1 point, in total - 5 points for a correctly completed task.
7-10 assignments for the definition of the trail in the quoted line. For a correctly completed task - 1 point.
11-12 assignments to determine the means of expression that are used in sentences. For a correctly completed task - 3 points.
Total 40 points.
Test
"Fine and expressive means"
I. Establish a correspondence between sentences and stylistic (rhetorical) figures.
1. Wait for me and I will return.
Just keep waiting...
Wait for sadness
yellow rain,
Wait for the snow to come
Wait when it's hot
Wait when others are not expected
Forgetting yesterday.(TO. Simonov)
2. Dear friend, and in this quiet house,
The fever hits me.
Can't find me a place in a quiet house
Near peaceful fire. (A. Blok)
3. Young people are dear to us everywhere, old people are honored everywhere. (Lebedev - Kumach)
4. The rich feast on weekdays, but the poor mourn on holidays. (proverb)
5. Amazing our people. (I. Ehrenburg)
A. inversion B. anaphora C. epiphora
D. antithesis D. parallelism
II. Establish a correspondence between sentences and stylistic (rhetorical) figures.
1. Men - for axes.
2. No, I wanted to. .. maybe you... I thought
it's time for the baron to die. (A.S. Pushkin)
3. I don’t regret, I don’t call, I don’t cry,
Everything will pass like smoke from white apple trees. (S. Yesenin)
4. The soul reaches for the high.
5. Noise, noise, obedient sail, worry under me the gloomy ocean. (A.S. Pushkin)
A. gradation B. inversion C. default D. rhetorical address E. ellipse
(For each correct answer - 1 point, total 5 points)
III. Establish a correspondence between sentences and stylistic (rhetorical) figures.
1. Do you know the Ukrainian night? (Gogol)
2. Officer - from a pistol,
Terkin - with a soft bayonet (A. Tvardovsky)
3. We were sick of the darkness of the dungeon, and through the bars the light of the daylight, and the guards of clicks, and the ringing of chains, and the slight noise of a stray bird. (A.S. Pushkin)
4. Do not try to run!
This is what I called.
I will find.
I'll drive it.
I'll finish it.
I'll joke.
(V. Mayakovsky)
5. I stand at high doors,
I follow your work.
A. polyunion B. ellipsis C. syntactic anaphora
D. rhetorical question E. gradation
(For each correct answer - 1 point, total 5 points)
IV. Match sentences and paths.
1. The golden days of a carefree, cheerful childhood quickly flash by. (D.V. Grigorovich)
2. mighty oak stands like a fighter near a beautiful linden. (I.S. Turgenev)
3. Where, where have you gone, my golden days of spring. (A.S. Pushkin)
4. I ate three plates. (I.A. Krylov)
5. A rare bird will fly to the middle of the Dnieper. (N.V. Gogol)
A. metaphor B. simile C. epithet D. hyperbole E. metonymy
(For each correct answer - 1 point, total 5 points)
V. Match sentences and paths.
1. And it was heard before dawn how the Frenchman rejoiced. (M.Yu. Lermontov)
2. Your Pomeranian, lovely Pomeranian, no more than a thimble. (A.S. Griboyedov)
3. Otkol, smart, wandering, you head. (I.A. Krylov)
4. And here comes the sorceress winter herself. (A.S. Pushkin)
5. Joy sang like a bird in her chest. (M. Gorky)
A. comparison B. litote C. epithet D. synecdoche E. irony
(For each correct answer - 1 point, total 5 points)
VI. Match sentences and paths.
1. Silent sadness will be comforted and joy will reflect friskyly. (A.S. Pushkin)
2. You know the land where everything breathes in abundance, where rivers flow purer than silver. (A.K. Tolstoy)
3. Your eyes look like the eyes of a cautious cat. (A. Akhmatova)
4. It will pass - as if it will shine with the sun!
Look - the ruble will give. (N. Nekrasov)
5. Sometimes he falls passionately in love with his smart sadness.(M. Lermontov)
A. Paraphrase B. Comparison C. Hyperbole D. Oxymoron E. Personification
(For each correct answer - 1 point, total 5 points)
VII. What technique is used in the quoted line by M. Lermontov?
“But I soon comprehended the mystery of their ugly beauty.”
1. metonymy 2. comparison 3. oxymoron 4. gradation 5. antithesis
VIII. What technique is used in the quoted line of A. Tvardovsky?
“Midnight enters my city window with gifts of the night.
1. hyperbole 2. litote 3. comparison 4. personification 5. synecdoche
(For the correct answer - 1 point)
IX. What technique is used in the quoted line of A.S. Pushkin?
"I read Apuleius willingly, but I did not read Cicero."
1. metaphor 2. metonymy 3. epithet 4. comparison 5. oxymoron
(For the correct answer - 1 point)
X. What technique is used in the quoted line of A.S. Pushkin?
"The Land of the Rising Sun is the dream of every traveler" .
1. personification 2. litote 3. paraphrase 4. epithet 5. allegory
(For the correct answer - 1 point)
XI. Mark the means of expression that are used in the sentences.
1. We all looked at the Napoleons. (A.S. Pushkin)
2. In a hundred and forty suns, the sunset was blazing. (V. Mayakovsky)
3. He ran faster than a horse. (A.S. Pushkin)
4. Dreams, dreams! Where is your sweetness?
5. I look at the future with fear,
I look at the past with longing.
A. comparison B. metaphor C. synecdoche D. syntactic parallelism
D. ellipsis
XII. Mark the means of expression that are used in the sentences.
1. The land was blistered by volcanoes. (Yu. Ovchinnikov)
2. The air is clean and fresh, like a baby's kiss. (M.Yu. Lermontov)
3. It seems that some giant furiously cut with a shovel and even more furiously threw giant clods of clay from the crater, which stuck to each other, twisted, twisted and hardened. (Yu. Ovchinnikov)
4. Familiar Tui! How do you live?
5. Gray helmets with a red star in a white horn shouted: "Stop!"
A. metaphor B. default C. epiphora D. metonymy E. gradation
(For the correct answer - 3 points)
Keys
I. 1B, 2C, 3D, 4G, 5A
II. 1D, 2V, 3A, 4B, 5G
III. 1G, 2B, 3A, 4D, 5V
IV. 1B, 2B, 3A, 4D, 5G
V. 1G, 2B, 3D, 4V, 5A
VI. 1D, 2A, 3B, 4V, 5G
VII. 3
VIII. 4
TRAILS(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense.
Trails - important element artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.
STYLISTIC FIGURES- turns of speech used to enhance the expressiveness (expressiveness) of the statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, chiasmus, etc.
ANTITEZA- this is a stylistic device based on a sharp opposition of concepts and images, most often based on the use of antonyms:
I am a king - I am a slave, I am a worm - I am a god!
G.R.Derzhavin.
ELLIPSIS (st. figure)- omission for stylistic purposes of any implied member of the sentence. Ellipsis gives speech a swift, dynamic character: We are cities - to ashes, villages - to dust (V. Zhukovsky). ELLIPSIS(Greek elleipsis- dropout, omission) - an omission in the speech of the implied word that can be restored from the context.
day in dark night in love
Spring is in love with winter
Life into death...
And you? ... You are in me!
(G. Heine)
DEFAULT- a stylistic device in which the expression of a thought remains unfinished is limited to a hint, the speech that has been started is interrupted based on the reader's guess; the speaker, as it were, announces that he will not talk about things that do not require a detailed or additional explanation. Quite often, the stylistic effect of silence lies in the fact that an unexpectedly interrupted speech is complemented by an expressive gesture, which, for example, ends the fable of I.A. Krylova "Geese":
This fable could be explained more -
Yes, so as not to annoy the geese ...
(Here it is clearly implied: “Better keep quiet”). Silence as a stylistic device is widely used in Russian poetry of the 19th–20th centuries. One example of this is a fragment from the poem by A.S. Pushkin "Count Nulin":
He enters, hesitates, retreats,
And suddenly fell at her feet,
She ... Now, with their permission,
I ask Petersburg ladies
Imagine the horror of awakening
Natalia Pavlovna my
And let her know what to do?
She opens her big eyes,
Looks at the count - our hero
She pours out written feelings ...
TAUTOLOGY[Greek - tautologéō - “I say the same thing”] - a term of ancient style, denoting the repetition of unambiguous or the same words. Antique stylistics sums up verbosity of speech under three concepts: perissology- accumulation of words with the same meaning, for example. synonyms; macrology- burdening speech with unnecessary explanations, for example. subordinate clauses; tautology- literal repetition of the same words. The latest stylistics applies to all these concepts a common designation - tautology. An example of tautology from Celtic poetry, which in general widely uses tautology as an artistic device: “... For in battle, v fight and in combat, it seemed to him that they were equal ... "" It is easier to fall from a spear of strength, courage and combat dexterity than from a spear shame,shame and vilification” (“Irish sagas”, translated by A. Smirnov).
PLEONASM(Greek "pleonasmos" - "excess") - a term of ancient style, meaning the accumulation of speech words that have the same meaning and therefore unnecessary: "old old man", "young youth". P. should also include some stylistic figures, distinguished by ancient stylistics under special names: epanalepsis, i.e. repetition of what has already been named before (“The nobles they are fled, the commonsthey are cold” - Shakespeare), figura etymologica and annominatio, i.e. repetition with the verb of the complement formed from the same stem, with or without definition ("sleep dead sleep"," laugh with a bitter laugh). Stylistic figures close to pleonasm are tautology (see) and partly paraphrase (see).
In the ancient style and grammar of P., various assessments are given: Quintilian, Donatus, Diomedes define P. as an overload of speech with unnecessary words, therefore, as a stylistic defect; on the contrary, Dionysius of Halicarnassus defines P. as an enrichment of speech with words that are superfluous at first glance, but in reality give it clarity, strength, rhythm, persuasiveness, pathos, unrealizable in laconic speech (brachylogia).
GRADIATION (st. figure) –
Arrangement of words in increasing or decreasing importance: I do not regret, I do not call, I do not cry (S. Yesenin). GRADATION
- sequential injection or, conversely, the weakening of the strength of homogeneous means of expression artistic speech.
I do not regret, do not call, do not cry.
Everything will pass like smoke from white apple trees.
Withering gold embraced,
I won't be young anymore.
(S. Yesenin)
EPITET (trope) - figurative definition of an object or phenomenon. Wed: lead bullet - lead sky. The epithet is most often expressed by a full adjective or participle ( dissolute wind, dancing handwriting), but can also be expressed as a noun as an application ( sorceress-winter), a qualitative adverb in -O(greedily stroking), a genitive noun as an inconsistent attribute ( haven of peace, work and inspiration). In folk poetry, constant epithets are widely used ( good fellow).
EUPHONY- (from Greek- euphony) - the sound organization of artistic speech, which acquires special significance in poetry; phonic (sound) composition of the poem. The features of euphony are determined not only by formal euphony (an excessive accumulation of vowels or consonants is dissonant), but also by the tasks of the content of the verse, although in Russian poetry of the early 20th century attempts were made to establish a direct relationship between sound and meaning:
rye paint,
The air is clean;
Curls in a dance
Red leaf -
It's autumn
Further, please,
hums of pines,
Branch whistle…
(M.A. Voloshin)
It is customary to refer to the phenomena of euphony all types of sound repetitions that occur in a work either as through sound parts, or as accidentally occurring in a poetic text.
Questions connected with euphony cannot be distinguished from the most essential problems of the sound (phonic) organization of verse.
Comparison is a figurative definition of an object, phenomenon, action based on its comparison with another object, phenomenon, action.
Comparison is always binomial: it has a subject (what is compared) and a predicate (what
compared):
Under blue skies
splendid carpets,
Glittering in the sun
snow lies (Pushkin).
Seven hills as seven bells (Tsvetaeva).
ANDNVERSIYA (st. figure) – an arrangement of words that breaks the usual word order:
A lonely sail turns white
In the fog of the blue sea (M. Lermontov)
RHISTORICAL QUESTION (Art. figure)- a question that does not require an answer, it is asked in order to attract the attention of the addressee: Do you love theater as much as I do? (V. Belinsky).
METAPHORA (trail)- transferring the name from one object to another based on similarity: The silhouettes of crimson hearts fall from the maples all day long (N. Zabolotsky). Metaphor, in contrast to comparison, is usually monomial. There are individual-author's and general language metaphors ( back chairs, a storm of feelings), simple and expanded. A simple metaphor is built on the convergence of objects or phenomena according to some one attribute. The extended one is built on various similarity associations. An expanded metaphor is a kind of stringing of new metaphors related in meaning to the first one: The golden grove dissuaded with a cheerful birch tongue (S. Yesenin).
METONYMY (rename)(trope)- transfer of the name from one subject to another on the basis of their adjacency. Renaming may be associated with replacing the title of the work with the name of the author: He willingly read Apuleius, but did not read Cicero (A. Pushkin); the whole phenomenon is part of it: All flags will visit us (A. Pushkin); things - the material from which it is made: Not that on silver - on gold I ate (A. Griboyedov).
A type of metonymy is synecdoche- replacement of a generic concept by a specific one, plural unique and vice versa: We all look at Napoleons (A. Pushkin).
WITHEQUALIZATION (trope)- comparison of two objects, phenomena, qualities based on similarity: Thick as blue, the sea (K. Paustovsky). Comparison is always binomial: it names both compared objects. In any comparison, one can single out the object of comparison, the image of comparison and the sign of similarity, for example: The swans glided over the water like two huge black bouquets (S. Dovlatov). Has a formal indicator: unions ( as, as if, as if, exactly), prepositions ( like, like, like), lexical means (similar, resembling, resembling, resembling). In comparison, the instrumental case of a noun is used, the so-called instrumental comparison: Frost beats a wounded bear (N. Aseev). There are general language comparisons ( white as snow) and individually-author's: Tea in glasses is liquid, like a December dawn (A. Mariengof).
Along with simple comparisons, in which two phenomena have one common feature, detailed comparisons are used, in which several features serve as the basis for comparison.
OPERSON (trope)- transfer of properties, human actions to inanimate objects, animals: birches whisper. When personified, the described object is likened to a person. Especially often, writers turn to personification when describing pictures of nature. Personifications are divided into general language: time is running and individual author's: Suddenly the drum began to speak (N. Zabolotsky).
GIPERBOLA (trope)- a figurative expression, consisting in an exaggeration of the size, strength, beauty, meaning of the described: In a hundred and forty suns, the sunset was blazing (V. Mayakovsky). They can be individual-author's and general language ( at the edge of the earth).
LILOTA (trail)- an artistic understatement of size, strength and sign: Below a thin bylinochka, one must bow one's head (N. Nekrasov). Common language litotes are also known: a drop in the sea.
ALLEGORY (trope)- the image of an abstract concept through a specific image. Any allegorical expression can be called an allegory, for example, the train left can mean: there is no return to the past. Such an allegory is of a general language character. However, there are also individual author's allegories, for example, the allegorical meaning is contained in M. Lermontov's poem "Sail".
PREPHRAZE (trope)- a descriptive expression used instead of a particular word, for example: King of beasts (lion), city on the Neva (St. Petersburg). General language periphrases usually get a stable character. Many of them are constantly used in the language of newspapers: people in white coats (doctors). Stylistically, figurative and non-figurative paraphrases are distinguished, cf.: The sun of Russian poetry and the author of "Eugene Onegin" (V. G. Belinsky). Euphemism – variety paraphrases. Euphemisms replace words, the use of which by the speaker or writer for some reason seems undesirable.
ANDRONIA (trope)- the use of the word in the opposite sense of the literal: Where, smart, are you wandering, head? (I. Krylov). Smart person- an appeal to the donkey. Irony is a subtle mockery, expressed in the form of praise or positive characteristic subject.
ANTITEZA (trope)- a figure of contrast, a sharp opposition of objects, phenomena, properties: Both the rich and the poor, and the wise, and the stupid, and the good, and the evil, sleep (A. Chekhov).
OXYUMORON (trope) - combination in which incompatible concepts are combined: living corpse, big things
ANTONOMASIA - trope, consisting in the use of one's own name in the meaning of a common noun.
PARALLELISM (art. figure)- the same syntactic construction of neighboring sentences, the location of similar members of the sentence in them.
Your mind is as deep as the sea.
Your spirit is as high as the mountains (V. Bryusov).
ANAFORA(unity) ( Art. figure) – repetition of the same words or phrases at the beginning of sentences:
I stand at the high doors.
I follow your work (M. Svetlov).
EPIFORA (st. figure) – repetition of individual words or phrases at the end of sentences: I would like to know why I am a titular councillor? Why a titular adviser? (N. Gogol).
ASINDETON (non-union) (st. figure)- lack of alliances between homogeneous members or parts complex sentence: Swede, Russian - stabs, cuts, cuts (A. Pushkin).
POLISINDETON (polyunion) (st. figure) – repetition of the same union with homogeneous members or parts of a complex sentence: It is both boring and sad, and there is no one to give a hand to in a moment of spiritual adversity (M. Lermontov).
RITORIC EXCLAMATION (st. figure)- a figure containing a statement in the form of an exclamation; serves to increase the emotional level of speech: The poet is dead! Slave of honor ... (M. Lermontov).
RITORICAL APPEAL (st. figure)- a statement addressed to an inanimate object, an abstract concept, an absent person: You are my fallen maple, icy maple(S. Yesenin).
HYPERBOLA(Greek hyperbole - exaggeration) - a kind of trail based on exaggeration (“rivers of blood”, “sea of laughter”). The opposite is litote.
LITOTES(Greek litotes - simplicity) - a trope opposite to hyperbole; deliberate understatement ("man with a fingernail"). The second name for litotes is meiosis. The opposite of litote is hyperbole.
METAPHOR (Greek metaphora - transfer) - trope, hidden figurative comparison, transfer of the properties of one object or phenomenon to another on the basis of common features(“work is in full swing”, “forest of hands”, “dark personality”, “stone heart” ...). In metaphor, in contrast to comparison, the words "like", "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)
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 ” – I mean wine in a glass ; "the forest is noisy" - trees are meant; etc. ).
The theater is already full, the boxes are shining;
Parterre and chairs, everything is in full swing ...
(A.S. Pushkin)
PERIPHRASE(Greek periphrasis - roundabout, allegory) - tropes; replacement of one word with a descriptive expression that conveys the meaning (“king of beasts” - instead of “lion”, etc.).
PERSONALIZATION(prosopopoeia, personification) - a type 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) - a trope and a type of metonymy, the name of a part instead of the whole, or vice versa.
– Tell me, uncle, it's not for nothing
Moscow burned by fire
French given away?
(M. V. Lermontov)
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” ...). Unlike a metaphor, the comparison necessarily contains the words “like”, “as if”, “as if”.
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)
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.
(N.A. Nekrasov)
ALLEGORY(Greek allegoria - allegory) - a figurative image of an abstract thought, idea or concept through a similar image (lion - strength, power; justice - a woman with scales). Unlike a metaphor, in an allegory, a figurative meaning is expressed by a phrase, a whole thought or even a small work (fable, parable). In literature, many allegorical images are taken from folklore and mythology.
GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form and 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. - I 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.
About spring a without end a and without cr a Yu -
No end a and without cr a you dream a!
(A. Blok)
ALLITERATION(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 - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work(“Glory to 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!…
(N.A. Nekrasov)
ANTITHESIS(Greek antithesis - opposition) - a stylistic figure; comparison or opposition of contrasting concepts or images. “ So few roads traveled, so many mistakes made...” (S. Yesenin).
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)
ANTIPHRASIS- use of the word in the opposite sense ("hero", "eagle", "sage" ...).
APOCOPE(Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.
Barking, laughing, singing, whistling and clap,
human 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 (" And boring and sad, and there is no one to give a hand to ... " M.Yu. Lermontov) .
The opposite figure is non-union.
INVECTIVE(late Latin invectiva oratio - swearing) - a sharp denunciation, ridicule of a real person or group of people; kind of satire And you, arrogant descendants…”, M.Yu. Lermontov)
RING- sound or lexical repetition at the beginning and end of any speech construction (" A horse, half a kingdom for a horse! W. Shakespeare).
In vain!
Wherever I look, I meet failure everywhere,
And it is painful to the heart that I am obliged to lie all the time;
I smile at you, but inwardly I cry bitterly,
In vain!
(A.A. Fet)
METATHESIS(Greek metathesis - permutation) - permutation of sounds or syllables in a word or phrase. Used as a comic device (weathered - wrapped around, quail - quail, a blacksmith in the grass ...)
CATAHRESIS(Greek katachresis - abuse) - a combination of words that are incompatible in meaning, nevertheless, forming a semantic whole ( when the cancer dangles, eat with your eyes ...). Catachresis is like an oxymoron.
OXYMORON(Greek oxymoron - witty-silly) - a combination of contrasting words that are opposite in meaning ( a living corpse, a giant dwarf...).
PARALLELISM- identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.
Waves crash in the blue sea. Clouds are rolling, clouds are rolling...
The stars are shining in the blue sky. (M.Yu. Lermontov)
(A. S. Pushkin)
Parallelism can be both verbal and figurative, as well as rhythmic, compositional.
chiasm(Greek chiasmos) - a type of parallelism: the arrangement of two parts in reverse order (“We eat to live, not live to eat”).
PARCELLATION- an expressive syntactic device of intonational division of a sentence into independent segments, graphically distinguished as independent sentences (" And again. Gulliver. Costs. slouching» P. G. Antokolsky).
TRANSFER(French enjambement - stepping over) - a mismatch between the syntactic division of speech and division 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, proportion) - a kind of 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.
SYLLEPS(Greek syllepsis - capture) - the union of heterogeneous members in a common semantic or syntactic subordination (" The gossip's eyes and teeth flared up”, A.N. Krylov). Often used for comic purposes (" it's raining outside the window, and we have a concert»).
SIMPLOKA (Greek symploke - plexus) - the repetition of initial and final words in adjacent verses or phrases with a different middle or middle at different beginnings and ends (" And I'm sitting, full of sadness, I'm sitting alone on the shore»).
JOINT - sound repetition on the verge of two adjacent words, verses, stanzas or sentences.
O spring without end and without edge -
Endless and endless dream!
I recognize you life! I accept!
And I greet with the sound of the shield!
(A. Blok)
EUPHEMISM(Greek euphemismos, from eu - good, phemi - I say) - replacing indecent, rude, delicate words or expressions with more vague and soft ones (instead of "pregnant" - "preparing to become a mother", instead of "fat" - "full", etc. .P.).
EMPHASA(Greek emphasis - indication, expressiveness) - emotionally expressive highlighting of a part of an utterance through intonation, repetition, word order, etc. (" I'm telling you this).
EPITHET(Greek epitheton - application) - a figurative definition that gives an additional artistic characteristic to someone or something ("lonely sail", "golden grove" ...).
I remember a wonderful moment!
You appeared before me
Like a fleeting vision
Like a genius of pure beauty.
(A.S. Pushkin)
