Anaphora is repetition in the name of the triumph of meaning. Anaphora, epiphora and other stylistic figures 3 examples of anaphora

• prof.
• Juan Mateos and Robert Taft
• prof. N.D. Uspensky
• A.V. Belousov

Anaphora(from Greek ἀναφορά - offering) - 1) central prayer of the Divine; often called the Eucharistic canon, containing thanksgiving to God and a request to perform the miracle of translating bread and wine into; 2) (sometimes) the entire Liturgy of the Faithful.

Its name is “An A prayer

In Greek and Slavic manuscripts, anaphora sometimes denotes the entire liturgy of the faithful.

General comment

The semantic center of each Eucharistic (full) Liturgy (of the saints, Apostle James and others) is the sacrament of the Eucharist (“Thanksgiving”), and the textual center is, or the Eucharistic prayer Anaphoras, read by a bishop or priest over bread And wine, prepared in a special way at Proskomedia, which precedes this main Christian service. Its name is “An A handicap" (translated from Greek as "exaltation"), prayer received because during its reading the clergy “raise” (at certain moments even in the literal sense) the Eucharistic Gifts to God the Father.

Anaphora, otherwise called Eucharistic canon,- “the most ancient element of the worship of all Churches” (Hierom. M. Arrantz). Christians of the Byzantine liturgical tradition, to which we belong, have the word “Anaphora” at the same as the word "Liturgy". The anaphora begins with the priest’s address (invitation) to the worshipers: “We thank the Lord” - and ends with the glorification of the Divine Name and the statement “Amen”. The “Liturgy” contains the entire rite (entire text) of this service, including extra-anaphoral elements before and after the Eucharistic canon.

Currently, contrary to the original tradition, Anaphora mostly read by the priest in the altar “secretly” (only a few tirades taken out of context are heard). And this deprives the believing people of active participation in the Eucharist, as in the Ancient Church. A person can go to church all his life, but remain in complete ignorance about most important liturgical prayer; Meanwhile, knowledge of its text is absolutely necessary for a Christian to meaningfully perceive the Liturgy. Immediately before the start of the anaphora - with the exclamation “Let’s become a O bre!..” - in our church they light a “big light”, and at the end of it they turn it off (thanks for this instruction too). This is a good visible guide when reading the text of the anaphora. Loud exclamations are indicated in bold; Later insertions and additions that are not in the ancient author's text of the anaphora of St. are highlighted in gray. ; in square and round brackets are editorial scientific headings and explanations, which, of course, are absent in the liturgical text of the Liturgy.

(according to the modern Service Book)

[Dialogue before the anaphora (call to the celebration of the Sacrament after the singing of the Creed):] Deacon.: Let's become d O bre, let us stand with fear, let us listen, the holy offering in the world is brought And you! Face: Mercy of the world, sacrifice of praise. Priest: The grace of our Lord Jesus Christ, and love s(love) of God and the Father, and communion (communion) of the Holy Spirit b at di with you all. Face: And with your spirit. Priest: Gore e them e im hearts. Face: AND mothers to the Lord. Priest:We thank the Lord. Face: Dignified and righteous! there is to worship the Father, and the Son, and the Holy Spirit, the Trinity, Consubstantial and Inseparable.

Priest: It is worthy and righteous to sing to You, to bless You, to praise You, to thank You, to worship You in every place of Your dominion; For you are God, ineffable, unknown, invisible, incomprehensible, everlasting, and likewise; You and Your Only Begotten Son and Your Holy Spirit; You brought us from non-existence into being, and you raised up those who had fallen away, and you did not retreat, all creation I, d O where you raised us to heaven and gave us your future kingdom. For all of these we thank Thee, and Thy Only Begotten Son, and Thy Holy Spirit, for all, their known and their unknown, manifest and unmanifested blessings that have been upon us. We thank You for this Service (Greek Liturgy), Yu from our hands I you deigned, A And before You are thousands of archangels and thousands of angels, cherubs and seraphim, hexacrylates, many eyes, towering pernaties, (proclaims:) singing a song of victory, crying out, calling out and speaking!

Face: Holy, holy, holy, Lord of hosts! Fill heaven and earth with Your glory; Hosanna in the highest, blessed is he who comes in the name of the Lord, Hosanna in the highest.

Priest: With these divine powers, O Lord, more loving of mankind, we cry out and say: Holy am I And and most holy are You, and Your Only Begotten Son, and Your Holy Spirit; holy eu And and most holy and magnificent is Thy glory, Who loved Thy world so much And, I the skin of Your only begotten Son A you, yes everyone e faith in Him will not perish, but And mother belly eternal: AND he came and that’s it e having fulfilled his watch over us, in the night, in the Yu before I walking, p A why did you betray yourself for the world? And th belly, accept the bread into Your holy and most pure and immaculate hands, thanking and blessing, consecrating, breaking, giving e His holy disciple and apostle, rivers [ proclaims the “institutional words” of the Lord at the Last Supper]:We'll accept And those poison And those, this is My Body, e But for you we are broken for the remission of sins! Face: Amen. Priest: Under O bne and cup in supper, verb O la: Drink from not I all, si I This is my blood of the new testament, which is for you and for me O ghee poured out for the remission of sins! Face: Amen.

Priest: Remembering at for now this saving commandment, and all I which was about us: the cross, the tomb, the three-day resurrection, the ascension to heaven, the right hand at yu sed e nie, second and glorious coming again (proclaims): Yours from Yours, brought to You I now about everyone and everything!

Face: We sing to You, we bless You, we thank You, O Lord, and we pray to You, our God.

Priest: More e We offer You this verbal and bloodless Service (Liturgy), and we ask, and we pray, and we pray: send down Your Holy Spirit on us and on those who sit before us. A these are these gifts, [ priest and diak. read: Lord, like Your Most Holy Spirit... Create a pure heart... Do not reject me... - Troparion of the Third Hour and verses of the 50th Psalm; this is a Slavic interpolation from the beginning of the 15th century, alien to the original text of the anaphora; the Greeks do not have it.] Diak.: Bless, Vlad s ko, holy s th bread. Priest: and create at because this bread is honest O f Thy Body of Christ. Diak.: Amen. Bless, Master, the holy cup. Priest: A e in this cup, honestly at th Blood of Thy Christ. Diak.: Amen. Bless, lord, I. Priest: Prelozh And in Your Holy Spirit. Diak.: Amen, amen, amen.

Priest: How to be a communicant for the sobriety of the soul, for the remission of sins, for the communion of Your Holy Spirit, for the fulfillment of the Kingdom of Heaven, for boldness towards You, not for judgment or condemnation. (Here the priest prays that the communicants will find spiritual sobriety in the Holy Gifts, remission of sins, communion with the Holy Spirit, the advent of the Kingdom of Heaven, and that their bold approach to God will not be held against them as condemnation).

Priest: More e We bring this verbal Service to You And but in the faith of those who died: pr A father, father e x, patri A rseh, prophet O workshop, up O stolekh, propov e days, evangelists, martyrs, confessors, air e rzhnitseh, and about every d at behold the righteous, who died in faith, (proclaims:) a lot about the Most Holy, Most Pure, Most Blessed, Most Glorious Our Lady Theotokos and Ever-Virgin Mary!(WITH veshch. brings intercession for the patriarchs, prophets, apostles, martyrs, confessors, and especially “pretty much” for the Mother of God.) Face: It is worthy to eat as truly... (the well-known Theotokos hymn is sung).

Priest: Oh holy e m John the Prophet O this... ( about the Church, about our God-protected country, about civil authorities; then the priest proclaims:)

First remember, Lord, our great lord and father (name), His Holiness Patriarch of Moscow and All Rus', and our Lord (Highly) Eminence (name and title of the ruling bishop), grant them to Thy Holy Churches in peace, whole, honest, healthy, long-living, the right of those who rule Thy word I truth! Face: And everyone and everything.

Priest: Remember, Lord, this city in which we live, and every city and country, and those who live in them by faith. (And then follows the commemoration of those floating, traveling, sick and suffering, captives…; also remembers by name everyone he wants, and in conclusion proclaims:)

And give us food And my lips and food And heartbroken A viti and chant most honorably O e and great e sing Thy Name: Father and Son and Holy Spirit, now and ever and unto ages of ages! (The final doxology of the Divine Name - and the end of the anaphora). Face: Amen. (Turning his face to the people, invisible behind the altar curtain, the priest loudly blesses the people:)And may the mercies of the Great God and our Savior Jesus Christ be with you all!Lik: And with your spirit.(The “big” light in our temple goes out.)

Prefacio: Sanctus, which moves on to the redemptive labors of Jesus Christ, a description of the Last Supper with “institutional words.” Further ( anamnesis) the cross, burial, resurrection, ascension He endured, His sitting at the right hand of the Father are remembered, and our thanksgiving (Eucharist) is offered (“Thine from Thine...”).

Epiclesis begins with a repetition of the idea of ​​offering (“More e we offer"), then follows the diligent invocation of the Holy Spirit for the sake of the “transfiguration” of the Holy Gifts and the sanctification of the faithful who partake of them.

IN Intercessiones at behold the (spirit) righteous"); special remembrance of the Mother of God (“A lot about the Most Holy e th..."), John the Baptist, the apostles, all the saints, commemoration of the heavenly and earthly Church, hierarchy, clergy, authorities, country, city and all people. These are the remains of ancient diptychs, read by the deacon while the priest was performing the anaphora, and then included in its text. A long series of commemorations of “everyone and everything” ends with a loud glorification of the Name of the Holy Trinity - the Father and the Son and the Holy Spirit - which symbolizes the special closeness of Christians to God.

Lit.: Arranz M., priest. Eucharist of East and West. 2nd ed. Rome, 1998 (main bibliography provided).

Anaphora of St. John Chrysostom(in Greek Euchologia "Barberinigr. 336",VIIIV.)

General remarks

The semantic center of each so-called “full” Liturgy (that is, having the Eucharistic canon) is St. John Chrysostom, ap. James and others - is the sacrament of the Eucharist (Greek Eucharist And A- literally means “Thanksgiving”), and the textual center is the prayer of the Eucharistic anaphora, read by the primate (bishop or priest) over bread and wine prepared in a special way at the Proskomedia, which precedes this main Christian service. At present, contrary to the original tradition, the Anaphora is read “secretly,” which deprives the believing people of active participation in the Eucharist, as in the Ancient Church. In any case, knowledge of its text is absolutely necessary for every Christian for a meaningful perception of the Liturgy. The prayer received its name - “Anaphora” (“Offering”) from the fact that during its reading the priest “offers” (at certain moments even in the literal sense) the Eucharistic Gifts to God the Father. [On Anaphora (and Liturgy) in general, see: Anaphora. (Experience of historical and liturgical analysis) // Theological works. M., 1975. No. 13; Arranz M. Eucharist of East and West. 2nd ed. Rome, 1998 (main bibliography provided)].

Anaphora, otherwise called Eucharistic canon- the most ancient element of the worship of all Churches. It should be borne in mind that among Christians of the Byzantine tradition (to which we, the Slavs, also belong), the word anaphora at same as the word Liturgy. The anaphora begins with the priest’s address (invitation) to the worshipers: “We thank the Lord” - and ends with the glorification of the Divine Name and the statement “Amen”! The “Liturgy” contains the entire rite (text) of this service, including extra-anaphoral elements before and after the Eucharistic canon. Before (1652–1658), who sought to bring Russian liturgical usage as close as possible to the Greek one dear to his heart, instead of the word “Liturgy”, its not entirely accurate Russian translation was more often used - “(Divine) Service”. Since the terms Eucharist, Anaphora, Liturgy, Sacrament of the Body and Blood and others designate different aspects of the same Eucharistic service, then they can be used in liturgical literature as synonyms.

The Eucharist - the sacrament of the Body and Blood of the Lord - established by Him at the Last Supper, was then celebrated by His apostles and later Christians “in remembrance” of this event (), that is, in connection with the evening meal, at the end of which doxologies were pronounced over the broken bread and cup and thanksgiving. Therefore, the most ancient anaphors (II–III centuries), known to science, are called anaphors of the refectory type.

Starting from the 2nd century, the Eucharist was separated from the evening meal and transferred to the morning. In the book of the Testament (II–III centuries) we encounter a real service: “praise of the dawn,” readings from Scripture and the Eucharist. In the 4th century in Antioch, individual elements of the Anaphora - “praise, sacrificial and refectory - were processed by great liturgists-theologians, and classical anaphoras of the Antiochian type were created, which, responding to the Greek taste of the era, are literary masterpieces and at the same time very deep theological treatises. The anaphoras of the VIII book of the Apostolic Constitutions, St. James, St. Basil the Great, St. John Chrysostom and several dozen more in Greek, Syriac, Coptic, Armenian and Ethiopian languages” (Jerom. M. Arranz).

This process of formation of a compositionally and logically coherent prayer-anaphora proceeded under the sign of the crystallization of elements, which later received the meaning of indispensable in anaphora, and in liturgical science they became known under the names: pref A cio (praefacio), an A mnesis (ajnavmnesi§), ep And klesis (ejpivklesi§) and intercession O carried (intercessiones), that is introduction, memory, invocation And petitions.

The Anaphora given here is borrowed from the oldest surviving Greek (Byzantine) Service Book (Euchologia), known in science as the Euchologium Barberini 336", VIII century, and stored in the Vatican Library. For a Russian translation (not always accurate), see: Collection of ancient Eastern and Western Liturgies translated into Russian. Vol. 2. St. Petersburg, 1875 (reprint: M., 1998). pp. 124–129. For this lesson, this translation has been corrected from the critical edition of the manuscript text: L ’Eucologio Barberini gr. 336 (ff. 1–263) / Edizione a cura di S. Parenti ed. E. Velkovska. Roma, 1995, p. 31–38; Arranz M., priest. Selected works on liturgics. T. III. Euchologius of Constantinople at the beginning of the 11th century. Rome–M., 2003. pp. 569–575.

Scribe O high charter s e remarks and headings are in italics; in angle brackets – implied Euchologium is a text not cited by the scribe to save space (the same - with ellipses without any parentheses). The modern headings and educational and methodological explanations we have introduced into the text (of course, absent in the manuscript) are enclosed in square brackets. Compare this oldest surviving Greek text of the Anaphora of St. John Chrysostom with the text of his Anaphora in the oldest (surviving) Russian Service Book: according to edition: Ruban Yu. Service book of Varlaam Khutynsky (State Historical Museum, Syn. 604/343, end of the 12th - beginning of the 13th century): (Description, texts, comments). – Euchologion (“Sluzebnik”) Sancti Barlaami Chutynensis, finis XII – initium XIII seculi. – Museum Historicum Nationale (Mosquae). Sectio librorum manuscriptorum. Collectio synodalis, n 604/343 // Scientific Notes of the Russian Orthodox University. John the Theologian. Vol. 2. M., 1996; Ruban Yu. The most ancient Russian Liturgy // Sofia (Novgorod), 1998. No. 4. pp. 11–14.

[Eucharistic Canon]

[Dialogue before Anaphora]

Priest: Peace to all! People: And to your spirit! Deacon: Let's love each other! And, after teaching love, the deacon says: Doors, doors! Let's be careful! People: I believe …[the Creed is sung]. Deacon says: Let's stand with dignity! People: Mercy, peace!

Priest [speaks:]

May the grace of our Lord Jesus Christ, and the love of God and the Father, and the fellowship of the Holy Spirit be with you all.

People: And with Your spirit!

Priest: Gore e Let us have (raise) hearts!

People: We have (let us ascend) to the Lord!

Priest: Let us thank the Lord!

People: Dignified and fair!

The priest begins the Holy Offering (Anaphora)

[ Praefacio – introduction; 1st part of Anaphora: before “Holy, holy, holy”]

It is worthy and just to praise You, to bless You, to praise You, to thank You, to worship You in every place of Your dominion; for You are the ineffable God, e home, invisible, incomprehensible, always existing, identically existing: You, and Your Only Begotten Son, and Your Holy Spirit. You brought us from non-existence into being, and restored those who had fallen again, and did not stop doing everything until you raised us to heaven and bestowed the future Kingdom. For all this we thank You and Your Only Begotten Son and Your Holy Spirit; for all, What We know and what we do not know, the obvious and hidden blessings of Thy done on us. We thank You also for this Service (Liturgy), which You were worthy to receive from our hands, although thousands of archangels and darkness of angels, cherubim and seraphim, six-winged, many-eyed, high-flying, winged, stand before You. Proclaims: Singing a song of victory.<вопиющие, взывающие и говорящие: «Свят, свят, свят, Господь Саваоф…!»>

Priest secretly:

With these powers, O Lord who loves mankind, we also proclaim and say: You are Holy and All-Holy, and Your Only Begotten Son, and Your Holy Spirit; You are holy and all-holy, and Your glory is magnificent. You so loved Your world that You gave Your only begotten Son, so that whoever believes in Him should not perish but have eternal life, Who, having come and fulfilled all His plans for us, [Setting words] on that night on which He gave Himself up, taking bread into His holy and most pure and immaculate hands, thanking and blessing, breaking it and giving it to His holy disciples and apostles, saying: Proclaims: « Prim And“Taste, taste, this is My body, broken for you for the remission of sins!” In the same way, after supper, he gave the cup, saying: “Drink from it, all of you, this is My blood of the new covenant (union), shed for you and for many for the remission of sins!”

People: Amen!

[An A mnesis – memory; offering and thanksgiving]

Priest secretly:

So, remembering this saving commandment and everything that happened for our sake: the Cross, the tomb, the three-day Resurrection, the ascension into heaven, sitting at the right hand of [the Father], the Second and Glorious Coming again, Proclaims: Bringing Yours from Yours to You in everything and for everything!

People: We sing your praises!

The priest secretly says:

[Ep And klesis – Summoning]

We also offer You this verbal and bloodless service, and we ask, and we pray, and we implore: Send down Your Holy Spirit on us and on these presented Gifts.

And, having risen, he signs, saying secretly:

And make this bread the precious body of Your Christ, transforming it with Your Holy Spirit. Amen.

Otherwise, What in this cup, with the precious blood of Thy Christ, transmuted by Thy Holy Spirit. Amen.

[Petition after epiclesis: the meaning of the celebration of the Eucharist]

Priest secretly:

So that they may be for those who partake [gifts] for sobriety of the soul, for the remission of sins, for the communion of Your Holy Spirit, for the achievement (fulfillment) of the Kingdom, for boldness before You, not for judgment or condemnation.

[Intercession O carried - petitions]

[Commemoration of all saints] We also bring to You this verbal service about the fathers, patriarchs, prophets, apostles, preachers, evangelists, martyrs, confessors, abstinents who died in the faith, and about every righteous person who died (literally, reached perfection!) in the faith. Proclaims:Especially [about] the most holy, most pure, glorious, blessed Our Lady Theotokos and Ever-Virgin Mary!

[Commemoration of famous saints][About] Saint John, the Forerunner and Baptist, and the holy and all-glorious apostles, and St. such and such, whose memory we now commemorate, and all Your saints, for whose prayers look upon us, O God.

[General commemoration of the dead] And remember all those who died in the hope of resurrection to eternal life, and rest them where the light of Your face is seen.

[Commemoration of the Priesthood] We also ask You: remember, Lord, every Orthodox bishopric that faithfully teaches Your word of truth, every presbytery, the deaconate in Christ and the entire clergy.

[General remembrance for the whole world] We also bring You this verbal service about the Universe [Greek Oikoumene, or Ecumene, i.e. the Roman Empire], about Your holy Catholic and Apostolic Church, about those who remain in purity and pious life, about those who spend their lives in the mountains, and caves, and gorges of the earth; about the faithful kings, the Christ-loving queen, the whole chamber and their army. Grant them, Lord, a peaceful reign, so that in their peace we too can lead a quiet and serene life in all piety and purity.

[Commemoration of the city] Remember, Lord, the city in which we live, and every city and country, and [the people] living in them with faith. Proclaims:

[Second Priesthood Commemoration]First, remember, Lord, our archbishop ( such and such).

[Final general commemoration] Remember, Lord, those who sail, travel, the sick, the suffering, the captives, and their salvation.

Remember, O Lord, those who bear fruit and do good in Your holy churches, and those who are mindful of the poor, and bestow upon us all And Your graces . Proclaims: And give us with one mouth and one heart to glorify and<воспевать всечтимое и великолепное Имя Твое – Отца, и Сына, и Святого Духа, – ныне, и всегда, и во веки веков>! And there will be the mercies of our great God and Savior Jesus Christ!

ANAPHOR OF ST. JOHN CHRYSOSTOM
(Structure. Topics of the main sections)

[Call of the people to the Anaphora after the singing of the Creed:]

D.: Let’s become kind, let’s become fearful, let’s take in the holy offering in the world... Priest: The grace of our Lord Jesus Christ... Horus e them e their hearts (let us lift our hearts up). People: AND mothers (we have [such an intention]) to the Lord. Priest: We thank the Lord. People: Dignified and righteous!

Anaphora

It is worthy and righteous to sing to You, to bless You, to praise You... (1st prayer of the anaphora, the end of which is the exclamation of the priest): Victory song Yu now, scream Yu now, calling and speaking. People: Holy, holy, holy, Lord of hosts!...

With these divine powers we too, Lord, more loving of mankind, cry out and say... (2nd prayer of the anaphora; ending it, the priest proclaims the establishing words of the Lord at the Last Supper): We'll accept And those, eat, si e eat My body... Drink from not I all, si I there is My blood of the new covenant!...

Remembering at for now this saving commandment... (3rd prayer of the anaphora; ending it, the priest exclaims): Yours I from yours, brought to you I now about everyone and everything!

We also bring Ti... [Lord, And But Thy Most Holy Spirit... Create a pure heart... Do not reject me... - Troparion of the Third Hour and verses of the 50th Psalm; this is a Slavic interpolation from the beginning of the 15th century, alien to the original text of the anaphora; the Greeks currently do not have it].

And create at because this bread is honest O is the body of Thy Christ. ... And in this cup, the precious blood of Thy Christ. … Having changed by Your Holy Spirit (Consecration of the Holy Gifts).

I the skin of being a partaker of the sobriety of the soul... (the priest prays that the communicants will find spiritual sobriety in the Holy Gifts, remission of sins, communion with the Holy Spirit, the advent of the Kingdom of Heaven, and that their bold approach to God will not be imputed to them as condemnation).

We also bring this verbal service to You about And but in the faith of those who have fallen asleep, forefathers... ( the priest brings a petition for patriarchs, prophets, apostles, martyrs, confessors"And about every d at se pr A we know who died in the faith,” especially - considerably- about the Mother of God, - as the exclamation that ends the prayer testifies): Izr I bottom oh Most Holy...!

Oh holy e m John the Prophet O this... ( continuation of memories - John the Baptist, the apostles, all the saints and again - the departed. Then - commemoration of the church hierarchy, prayers about the Church, about our God-protected country.)

The priest proclaims: First, remember, Lord, our great lord and father Alexy (Kirill)… ( patriarch), and our lord, His Eminence... ( ruling bishop). Remember, Lord, this city, in which we live... ( and further commemoration of those floating, traveling, sick and suffering, captives…)

And give us food And my lips and food And glorify and sing with your heart... ( the final doxology of the Name - and the end of the Anaphora).

Prefacio: thanksgiving to God for the creation of the world and providence; the service of people to the Creator leads to the remembrance of angelic service (“sacrifice of praise”): “Holy, holy, holy” - Sanctus, which proceeds to the redemptive deeds of Jesus Christ, a description of the Last Supper with establishing words. Further ( anamnesis) the cross, burial, resurrection, ascension He endured, His sitting at the right hand of the Father are remembered, and our thanksgiving (Eucharist) is offered (“Thine from Thine...”).

Epiclesis begins with a repetition of the idea of ​​offering (“We still offer”), then follows a diligent invocation of the Holy Spirit for the sake of the “transformation” of the Holy Gifts and the sanctification of the faithful who partake of them.

IN Intercessiones- prayers for the deceased (“for every at behold the righteous") - a special remembrance of the Mother of God (“A lot about the Most Holy One”), John the Baptist, the apostles, all the saints, remembrance of the heavenly and earthly Church, the hierarchy, the clergy, the authorities, the country, the city and all people. These are the remains of ancient diptychs, read by the deacon while the priest was performing the anaphora, and then included in its text. The long series of commemorations of “everyone and everything” ends with the glorification of the Name of the Holy Trinity: Father and Son and Holy Spirit.

[In the Lord's Prayer (“Our Father”), which no longer belongs to the Anaphora, the words “daily bread,” according to later tradition, acquire “a special, purely Eucharistic meaning” ( archim. . Eucharist)].

Lit.:Uspensky N. D. Anaphora. (Experience of historical and liturgical analysis) // Theological works. M., 1975. No. 13; Men A., prot. Sacrament, Word and Image: Divine Services of the Eastern Church. Brussels, 1980 and reprints (chapter 3: Liturgy; this contains a translation of the central part of the anaphora of St. John Chrysostom into Russian). See also the literature under the article “Liturgy”.

Materials for the course of lectures “Fundamentals of Orthodox Liturgics”»
Assoc. Yu. Ruban, Candidate of Historical Sciences, Candidate of Theology

The language of any culture, including Russian, contains many devices for enriching speech. One of these methods includes the so-called figures of speech. Since the amount of data about each of them goes far beyond the planned scope of the article, let us first consider one stylistic figure, clearly represented in expressive speech, for example, in poetry. We are talking about the so-called anaphora.

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.

Translated from Greek, “anaphora” means unity of command. Let's try to understand what anaphora is in literature. Anaphora is the repetition of speech phenomena, such as words, sounds, stanzas or phrases, located in the initial parts of the speech flow. This stylistic figure is widely used in poetic speech. In addition, there are many types of anaphora, among which the following are distinguished:

• sound - based on the repetition of the same sounds at the beginning;
• morphemic - repetition of parts of a word or morphemes;
• lexical - repetition of the same words;
• syntactic - repetition of syntactic structures;
• strophic - repetition of stanzas of a poem and the scheme of their construction;
• strophic-syntactic - a combination of strophic and syntactic anaphors;
• rhythmic anaphora - based on repetition of rhythm, rarely used.

Now let's look at examples of anaphora, which occurs most often and is studied in literature classes at school.

Examples of anaphora

Textbooks distinguish many types of anaphora. To find out the role of anaphor, it will be enough to consider lexical anaphor as the most common and expressive. It is always based on emotion and excitement.

Afanasy Afanasyevich Fet often used anaphora in his poems. Let's look at excerpts from some of his poems as illustrative examples. After this, it will become even more clear to you what anaphora is. So:

This blue vault

This cry and the line,

These flocks, these birds,

This is the talk of the waters,

In this example, numerous repetitions are clearly visible: this, this, these. This is the anaphora of the poem; here it points to the regenerating spring nature. Let's consider another excerpt from Fet's poem as an example of anaphora:

Only in the world is there something shady

Dormant maple tent.

Only in the world is there something radiant

Childishly thoughtful look.

When considering this example of a poem, the lexical anaphora is also very clearly visible. The examples given are poems by Fet because he is a poet of anaphora. What is anaphora in Fet’s works? It is an expressive means for poetic speech. It is this poet who brilliantly uses anaphora, achieving a melodic structure in his poems.

Vocabulary provides the language with stylistic material, and syntax builds it, combining these “building blocks” to obtain a complete thought. It is thanks to syntax that the individual characteristics of writers’ creativity are revealed. In literature, syntax, with the help of stylistic means of language, participates in the creation of artistic images and helps convey the author’s attitude to the depicted reality.

To enhance the expressive function of artistic speech, writers use various figures of speech:

• hyperbola;
• gradation;
• oxymoron;
• anaphora;
• parallelism;

Note! Words in figures of speech are not used in a figurative sense, as in tropes, but have a direct meaning, but they are constructed in a special way, combined in an unusual way.

What is anaphora

One of the figures in the Russian language is anaphora. The word itself comes from the Greek language, and it means “repetition.” Typically used at the beginning of lines as well as stanzas. Unlike other stylistic means of language and tropes, this figure has its own strict location - the initial position.

Wikipedia defines this figure of speech and explains what it is and what it is used for.

Anaphora in verse gives poetic speech sharpness and rhythm, melody and expressiveness, serves as the leitmotif of the work, and sounds like the original passionate voice of the author. With the help of this figure, the thoughts that seem most significant to the writer are emphasized.

Attention! Unity of words is used not only in poetic speech - a stylistic device can also be found in prose, when parts of sentences are repeated at the beginning of paragraphs. Anaphora is also actively used in rhetoric in order to evoke emotions in the public.

Types of anaphora and examples

The following types are distinguished:

1. When repeating the same sounds in poetic speech, sound anaphors are created. U: “Bridges demolished by a thunderstorm, / Coffins from a washed-out cemetery.”
2. Morphemic anaphors are characterized by the repetition of the same morphemes or parts of words, as in “The Prisoner” by M. Lermontov: “The black-eyed maiden, / The black-maned horse!..”
3. Writers often resort to the use of lexical anaphors in their works, when the same words are repeated at the beginning of rhythmic lines, as well as stanzas. Such repetitions add lyricism and emotionality, help convey to the reader the main idea of ​​the work, and highlight the most important points in the text. For example, “Farewell, my sun. / Goodbye, my conscience, / Goodbye, my youth, dear son.” (P. Antokolsky)

In the poem “Gratitude” by M. Lermontov, the repetition of the preposition “for” at the beginning of six lines gives words that are not used in their literal meaning a sharp edge of irony. In “The Demon,” the unity of command “I swear” achieves passion of speech, emotionality, and enhances the parallelism of the passage and its semantic expressiveness. In the famous poem “Motherland,” M. Lermontov expresses a strange love for his Motherland; in the very first stanza, by repeating the particle “ni,” the generally accepted concept of patriotism is denied.

Another representative of pure art, F. Tyutchev, who is the discoverer of new imaginative worlds in poetry, glorified the beauty of the universe in his work. Here is an example of an anaphora from the poet: “Quiet dusk, sleepy dusk” . The repetition of this word gives a feeling of lyricism and melody, which have an emotional impact on the reader. Another repetition of the word “edge” and the verbal anaphors “these” and “this” in Tyutchev’s quatrain “These poor villages” at the beginning of each pair of lines of the first stanza, with the help of which the idea is emphasized that this particular region , despite poverty, it is the poet’s native land.

Examples of anaphora in 20th century literature

Poet B. Pasternak his impressionistic poem “February. “Get ink and cry” was created under the impression and impulse of the soul, using nominative and impersonal sentences. In this lyrical miniature, sentences are connected by repetitions of “get” (ink and carriage). One feels lightness, a momentary impression of the view of a spring day.

In the poem “Winter Night” the line “the candle was burning on the table” sounds like a leitmotif. The author, despite everything hostile on earth and the raging elements outside the window, affirms the love of two hearts. The poet’s candle is a symbol of human life. In another poem, “It’s snowing,” the poet used the anaphora “it’s snowing,” it is repeated in almost every stanza and sounds meditative, thoughtful, affirming the beauty of the world order.

Important! Anaphora adds rhythm to the text, with its help the semantic structure of the text is enhanced, it is easier to remember.

In the works of M. Tsvetaeva there are poems dedicated to her favorite poets. The poetess considered A. Blok her teacher; for her he was the embodiment of the ideal. Already in the first poem of the cycle of “Poems about Blok” she perceives with trepidation the sound of the name of her beloved poet. The repetition of the phrase “Your name...” enhances the feeling of admiration for Blok’s talent and emphasizes how much is hidden even in the sound of the teacher’s name.

The philosophical poem “The Old Apple Tree” consists of six lines. Its first two lines begin with a repetition of the word “all.” The use of such unity of command at the beginning of the stanza enhances expressiveness and helps to present the picture of the old apple tree entirely in white.

In “The Reserve,” Vysotsky used a repetition of the phrase at the beginning of the line “how many of them are in the booths...” and the word “how many.” By using these repetitions, the poet expresses outrage at the large scale of extermination of animals by humans.

Useful video: anaphora

Conclusion

With the help of anaphora, artistic speech acquires special emotionality and zest. The use of this figure allows authors to express their attitude to the thought being expressed and to direct the reader’s attention to understanding the essence.

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In poetry, various stylistic and rhetorical figures (epithets, tropes, metaphors, allegories, etc.) are used to enhance the impact. One of them in speech is anaphora - this is unity of command. You can find out what it is by reading this article.

Anaphora: what is it? Examples of using this figure of speech

Why is this stylistic figure needed? Anaphora is a specific word or sounds repeated at the beginning of a verse, several stanzas or hemistiches. They are needed to hold together speech segments and give the entire poem expressiveness and brightness. The term comes from the ancient Greek word ἀναφορά, which means “to bring out.” For example, in Alexander Sergeevich’s poem you can find the anaphora “Uzh,” which is repeated at the beginning of the first two stanzas. It enhances the sensations of the signs of approaching autumn. After reading a poem with the anaphora “uzh”, a sad feeling arises from the approaching damp and cold season.

Examples of anaphors

Like any other repetitions, these, regardless of their location, add a certain zest to the poem, greater expressiveness, as if directing attention to a particular word or thought. The same applies to other stylistic and rhetorical figures, but, unlike, for example, epithets or tropes, anaphora is one that has its strict location - the initial position. Similar techniques exist in music. Here is another example of anaphora that can be found in Vysotsky:

"To avoid falling into a trap,

To avoid getting lost in the dark...

…Draw a plan on the map.”

In this case, the word “so that” seems to list all the adversities that can be encountered if you do not draw a plan.

Varieties of anaphora

This stylistic figure has several varieties, namely:

1. Sound anaphora- These are repeated combinations of the same sounds. For example, in a poem by A. S. Pushkin, at the beginning of the lines, it is not the word that is repeated, but only its first three letters: “Bridges demolished by a thunderstorm, coffins from a washed-out cemetery...”

2.Morphemic. In this case, repetition of morphemes (roots) or other parts of the word is used. Here, at the beginning of the lines of Mikhail Yuryevich Lermontov’s poem “...A black-eyed maiden, a black-maned horse!..” the root “black” is repeated. But not the whole word.

3. Lexical. In this case, entire words are repeated. Here is an example of such an anaphora: “It was not in vain that the winds blew, and it was not in vain that the thunderstorm came.” By the way, this type is the most common. This can be seen from the school course on this subject. In literature textbooks, regardless of the time of their publication, you can always find poems by Afanasy Fet; he is truly a master in the use of these stylistic figures.

Here is an excerpt from one of his poems: “I came to you with greetings, to tell you that the sun has risen,... to tell you that the forest has woken up...” Here the lexical anaphora is the word “tell.”

4. Syntactic. In addition to repeated words and combinations of sounds, anaphora is also the repetition of syntactic structures. For example, “am I wandering..., am I sitting..., am I entering...”.

5. Strophic. Repetition can appear at the beginning of each stanza, and it can be either a single word or a phrase, in most cases an exclamation. For example: “Earth!.. From the moisture of the snow... Earth!.. She runs, runs.”

6.Strophico-syntactic anaphora- this is a type of stylistic figure that is similar in principle to the previous one, but here at the beginning of the stanza a repeating sentence is placed with some semantic changes, for example: “Until the machine gun craves, ... until the army commander suffers...”

By the way, anaphora is also where all the words in a poem begin with the same sound. For example: “Radiant flax lovingly sculpts...”

Epiphora, or stylistic figure opposite to anaphora. What's this?

Unlike anaphora, epiphora is a repetition not at the beginning of a verse or stanza, but, on the contrary, at the end. Thanks to her, the rhyme is created: “The guests have come ashore, Prince Guidon is inviting them to visit...”. Epiphora, like anaphora, is a stylistic figure. It gives this literary work (poem, poem, ballad) expression, brightness, and poignancy. This figure of speech creates a rhyme.

Types of epiphora

Epiphora has several varieties. It can be of the following types:

1. Grammar. When the same sounds are repeated at the end of identical segments, for example, they were friends - they lived, etc., then we are dealing with a grammatical epiphora.

2. Lexical. In poetry, sometimes the same word may be repeated at the end of each stanza. This is a lexical epiphora. This stylistic figure can be found in A. S. Pushkin’s poem “Keep Me, My Talisman.” Here, at the end of each verse, the word “talisman” is repeated.

3.Semantic epiphora. This type of stylistic figure is distinguished by the fact that it is not words and combinations of sounds that are repeated, but synonymous words.

4. Rhetorical. This is often used in folklore works, for example, in a song about geese - “...one white, the other gray - two cheerful geese.” This construction, consisting of two lines, occurs at the end of each of the verses.

Conclusion

Anaphora is unity of command. It is a stylistic figure that gives a poem or the speech of individual characters (in a poem) special semantic and linguistic expressiveness by repeating words, combinations of sounds, phrases, as well as sentences at the beginning of a line, stanza or couplet.