Artistic media Means of speech expression in Russian

Means of expressiveness add brightness to speech, enhance its emotional impact, and attract the attention of the reader and listener to the statement. The means of speech expression are diverse.

There are phonetic (sound), lexical (associated with the word lexeme), syntactic (associated with phrases and sentences), phraseological (phraseologisms), tropes (turns of speech in a figurative meaning) figurative means. They are used in different spheres of communication: artistic, journalistic, colloquial and even scientific speech. The poorest in them are officially

business style of speech.

A special role is played by means of expressiveness in artistic speech. Facilities

the reader to enter the world of a work of art, to reveal the author's intention.

Dictionary- minimum

Lexical facilities expressiveness

SYNÓ NIMS- words that are close in meaning, but are not the same root, for example: enemy,

enemy, adversary. S. help to express a thought most accurately, allow

detail the description of phenomena or objects. The most important stylistic function

S. is a substitution function when it is necessary to avoid repetition of words. Row S.,

arranged so that each successive one reinforces the previous one, creating a gradation (see): “I was in a hurry, flying, trembling...” (A.S. Griboyedov). S. are used in artistic

text (along with antonyms (see), homonyms (see) and paronyms (see)) as a means of artistic expression:

I'm talking to a friend from my younger days;

I am looking for other features in your features;

In the mouths of the living, lips have long been mute,

In the eyes there is a fire of faded eyes.

ANTONYMS- words that are opposite in meaning, helping to better convey, depict contradictions, contrast phenomena: “whiter is only the shine, blacker is the shadow”; “they came together: wave and stone / / poetry and prose,

ice and fire..." A. may be present in titles: “War and Peace” by L.N. Tolstoy,

“Fathers and Sons” by I.S. Turgenev. A. are used in literary text (along with

synonyms (see), homonyms (see) and paronyms (see)) as a lexical means

artistic expression, for example:

You are rich, I am very poor,

You are a prose writer, I am a poet,

You are blushing like poppies,

I am like death, skinny and pale. A.S. Pushkin

HOMONYMS- words that have the same sound and spelling, but different meanings: marriage

(marriage) - marriage (poor quality products). In addition to O. itself, there are

Homophones (words that sound alike but are spelled differently) and homographs

(words that only match in writing). O. are used in artistic

text (along with synonyms (see), antonyms (see) and paronyms (see)) as

lexical means of artistic expression or language play:

You fed the white swans,

Throwing away the weight of black braids...

I was swimming nearby; the helmsmen came together;

The sunset ray was strangely oblique. (V.Ya. Bryusov)

OCCASIONALISM-a type of neologism (see): individually authored words created

a poet or writer in accordance with the laws of word formation of the language, according to

models that exist in it and are used in literary text

as a lexical means of artistic expressiveness (“…hammer-faced,

sickle Soviet passport”, “I don’t care about the bronze medals…” V.

Mayakovsky) or language game:

Smart girl,

bent over the table,

squints, bespectacled girl,

mischievous viper.

A. Levin (“The Little Gray Student,” 1983-95)

PARONYMS- words with the same root, similar (but not identical) in sound, but differing in individual morphemes (prefixes or suffixes) and not the same in meaning: dress -

put on, signature - painting, spectacular - effective. P. are used in

literary text (along with synonyms (see), homonyms (see) and antonyms (see))

Dark glory brand,

not empty and not hateful,

but tired and cold,

Vocabulary of limited scope

DIALECTISM- words and expressions inherent in folk speech, local

dialect (chereviki - shoes, base - yard, biryuk - lonely and gloomy person). D.

are used in a literary text, like other vocabulary that has a limited

sphere of use (colloquial elements (see), professionalisms (see), jargon

(see)), as a means of artistic expression (for example, as one of

methods of speech characterization of a character).

ARCHAISMS- outdated words and expressions,

used, as a rule, in a “high poetic” style and giving

artistic speech solemnity “The wondrous genius has faded away like a torch” (M.Yu.

Lermontov); “Show off, city of Petrov, and stand unshakably, like Russia...” (A.S. Pushkin).

However, A. can also add an ironic tone to the text: “Again I’m in the village. I go to

hunting, // I write my verses - life is easy...” (N.A. Nekrasov); “Once upon a time there was a Monster...//

Ran to the walks, // Gatherings and gatherings. // Loved the spectacle, // In particular -

disgrace..." (B. Zakhoder

JARGON(from French jargon) - emotionally and expressively colored speech,

different from the commonly used one; non-normative conventional language of any kind

social group, containing many words and expressions that are not part of the colloquial

language. Varieties of life: high society or salon, student, army, thieves, sports, youth, family, etc. (for example, in the jargon of bandits: khaza - brothel, gun, volyn - revolver,

to rat - to steal, a sucker - a gap, an ingenuous person, and also - a businessman, trader;

PROFESSIONALISM- words and expressions characteristic of human speech

various professions and serving various areas of professional

activities, but have not become commonly used. P., in contrast to the terms,

are considered “semi-official” words (lexemes) that do not have a strict

of a scientific nature, for example: organics - organic chemistry, steering wheel - steering wheel

car. In fiction, P., like other vocabulary, has

limited scope of use (colloquial elements, dialectisms,

jargon) are used as one of the ways to characterize

character, for example: “We do not speak of storms, but of storms” (V. Vysotsky).

NEOLOGISM- a newly formed or newly introduced into the language) word or expression that reflects the emergence of new concepts, phenomena, objects in people’s lives. N. are formed both on the basis

existing forms, in accordance with the laws of language (“If there is a storm, we will argue

// And let’s be brave with her” (N.M. Yazykov); “Oh, laugh, you laughers” (V.

Khlebnikov).

Phraseological stylistics

PHRASEOLOGISTS- phrases (expressions) that are stable in composition, the meaning of which is fundamentally

cannot be deduced from the meanings of their constituent words, for example: take water into your mouth -

remain silent, the fifth wheel in the cart is superfluous, press all the pedals - do your best

efforts to achieve a goal or accomplish something, etc. For F.

characteristic: constant composition (instead of the cat crying, you can’t say the dog

cried), the inadmissibility of including new words in their structure (one cannot say

instead of seven Fridays this week - seven Fridays this week), sustainability

grammatical structure (you cannot say sewn with white thread instead of sewn with white thread

thread), in most cases there is a strictly fixed word order (it is impossible to replace the beaten unbeaten with the unbeaten with the beaten one). By origin they distinguish F.,

borrowed from the Old Church Slavonic language and, as a rule, going back to the Bible

(the voice of one crying in the desert, the Babylonian pandemonium, etc.), who came from

ancient mythology (Achilles' heel, Gordian knot, etc.), primordially Russian (in full

Ivanovskaya, pull the gimp, etc.), tracing papers, that is, expressions, literally

translated from the source language

Phonetic means of expression

ALLITERATION- one of the types of sound writing (cm): repetition in poetic speech (less often in prose) of the same

consonant sounds in order to enhance its expressiveness.

The hiss of foamy glasses

And the punch flame is blue.

ASSONANCE(from the French assonance - consonance) - 1. One of the types of sound recording (see):

repeated repetition in a poem (less often in prose) of the same vowel sounds,

enhancing the expressiveness of artistic speech.

Do I wander along the noisy streets

I enter a crowded temple,

Am I sitting among crazy youths,

I indulge in my dreams.

ONOMATOPOEIA- one of the types of sound recording (see): use

phonetic combinations capable of conveying the sound of the described phenomena (“echo

laughter", "clatter of hooves").

Paths (words and phrases in a figurative meaning)

METAPHOR(from Greek metaphora - transfer) - type of trope: figurative knowledge of a word,

based on the likening of one object or phenomenon to another; hidden comparison,

built on the similarity or contrast of phenomena, in which the words “as”, “as if”,

“as if” are absent, but implied. The varieties of M. are

personification (see) and reification (see).

Nineteenth century, iron,

Truly a cruel age!

By you into the darkness of the night, starless

A careless abandoned man!

METONYMY(from Greek metonymia - renaming) - type of trail: rapprochement,

comparison of concepts based on replacing the direct name of an object with another

the principle of contiguity (containing - content, thing - material, author - its

work, etc.), for example: “The bows sang frantically...” (A. Blok) - “they sang

bows” - the violinists began to play their instruments; “You brought swords to a bountiful feast...”

(A.S. Pushkin) - “swords” are warriors. “Porcelain and bronze on the table, // And, pampered feelings

joy, // Perfume in cut crystal..." (A.S. Pushkin) - "porcelain and bronze", "in crystal"

Products made of bronze, porcelain and crystal; “The theater is already full, // The boxes are shining, // The stalls and

chairs - everything is boiling..." (A.S. Pushkin) - "the boxes are shining" - women's boxes are shining (shining)

decorations on the ladies sitting in the boxes, “parterre and chairs” - audience in the orchestra

(the space behind the seats) and seats (seats in the front of the auditorium) of the theater.

REIFICATION- type of trope: likening to an object. For example: “Nails b

make of these people: There were no stronger nails in the world” (N.S. Tikhonov). Variety

metaphors (see).

OXYMORON (OXYMORON)- type of trope: a phrase made up of words that are opposite in meaning, based on a paradox: “Look, it’s fun for her to be sad, // So elegant

naked” (A. Akhmatova); “Woman, take heart, it’s okay, // This is life, it happened

after all, it’s worse...” (V. Vishnevsky). O. allows you to give greater expressiveness to the image: bitter joy, sweet tears, “Living Corpse” (L.N. Tolstoy)

PERSONALIZATION- type of trope: image of inanimate objects,

in which they are endowed with the properties of living beings (the gift of speech, the ability to think, feel, experience, act), and are likened to a living being. For example:

What are you howling about, night wind?

Why are you complaining so madly?

PERIPHRASE- type of trope: a descriptive figure of speech used instead of a word or phrase.

In P. the name of an object or phenomenon is replaced for greater expressiveness

indicating its most characteristic features: “Venice of the North” (St.

Petersburg), “king of beasts” (lion). P. are figurative (bearing metaphorical

character) and non-figurative (preserving the direct meaning of the words that form them,

for example: “city on the Neva” - Petersburg). Only figurative ones belong to paths

P. In figurative P. any key feature is highlighted, and all others seem to

depicted objects and phenomena that are especially important to him in

artistically. Unimaginative P. only rename objects,

qualities, actions and perform not so much an aesthetic as a semantic function: they help the author more accurately express a thought, emphasize certain qualities of the described object or phenomenon, avoid repetition of words (for example, instead of A.S. Pushkin - “the author of “Eugene Onegin””, "great Russian poet") In the poem “The Death of a Poet” by M.Yu. Lermontov the same A.S. Pushkin is called a “slave of honor”, ​​a “wonderful genius”, and in a well-known obituary - “the sun of Russian poetry” - these are figurative P., tropes. P. is one of the leading tropes in symbolist poetry of the early twentieth century.

SYNÉ KDOHA- type of trope: a type of metonymy (see). The trope consists of replacing the plural

numbers are singular; using the name of a part instead of the whole or general, and vice versa. For example:

From here we will threaten the Swede,

The city will be founded here

To spite the arrogant neighbor...

EPITHET(from the Greek eritheton - application) - type of trope: figurative

definition emphasizing any property of an object or phenomenon,

possessing special artistic expressiveness. For example: iron

since they are used in a figurative meaning and carry a special semantic and

expressive-emotional load, while the same adjectives

used in the literal sense (iron bed, silver coin),

are not epithets. There are E. “decorating” - denoting permanent

sign (see CONSTANT EPITHET) and E. individual, author's, important

to create a specific image in a given text (for example, in a poem by M.Yu.

Lermontov’s “Cliff”: “golden cloud”, “giant cliff”, stands alone”, “quietly”

cries"). E. is usually expressed by an adjective, participle, adverb or

noun as an application.

HYPERBOLA- type of trope: excessive exaggeration of feelings, meaning, size, beauty, etc.

the same radium mining.

Per gram production,

per year labor.

Harassing

for the sake of a single word

Thousands of tons

verbal ore.

LITOTES(from the Greek litotes - simplicity, smallness, moderation) - a type of trail,

opposite of hyperbole (see): artistic understatement of size, strength,

the meaning of a phenomenon or object (“a boy the size of a finger,” “a little man the size of a fingernail”). For example:

the same radium mining.

Per gram production,

per year labor.

Harassing

for the sake of a single word

Thousands of tons

verbal ore.

V. Mayakovsky

IRONY(from Greek eir?neia - pretense, mockery) - 1. Type of comic:

subtle, hidden mockery. The comic effect is achieved by

it says exactly the opposite of what is meant:

He [Onegin] sat down with a laudable purpose

Appropriating someone else's mind for yourself;

He lined the shelf with a group of books... A.S. Pushkin

Syntactic figurative means (figures of speech )

PARALLELISM(from the Greek parall?los - walking next to) - 1. Identical or

similar arrangement of speech elements in adjacent parts of the text, which, when correlated, create a single poetic image:

The waves splash in the blue sea.

The stars shine in the blue sky.

A.S. Pushkin

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

I love you, Petra's creation,

I love your strict, slender appearance. A.S. Pushkin

EPIPHORA(from Greek epophora - addition) - stylistic figure: repetition of a word or group of words at the end of poetic or prose lines

phrases; one of the varieties of parallel syntactic constructions (see.

PARALLELISM).

I won't deceive myself

Concern lay in a hazy heart.

Why am I known as a charlatan?

Why am I known as a brawler?

……………………………………….

And now I won’t get sick.

The hazy pool in my heart cleared up.

That's why I became known as a charlatan,

That’s why I became known as a brawler. (Yesenin)

GRADATION(from Latin gradatio - gradual elevation) - a stylistic device: such an arrangement of words (phrases, parts of a complex sentence), in which each subsequent one strengthens (or weakens) the meaning of the previous one, which allows you to recreate events, actions, thoughts and feelings in

process, in development - from small to large (direct G.) or from large to small (reverse G.). Thanks to G., intonation increases and the emotionality of speech increases:

Thank you with my heart and hand

Because you have me - without knowing yourself! -

So love: for my night's peace,

For the rare meeting at sunset hours,

For our non-walking under the moon,

For the sun is not above our heads... (Tsvetaeva)

PARCELLATION(from the French parcelle - particle) - intonation-

stylistic figure: syntactic highlighting of individual parts or words

phrases (most often homogeneous members) or parts of a compound

(complex) sentences as independent sentences with

in order to enhance their semantic weight and emotional load in the text:

And his shadow dances in the window

Along the embankment. In the autumn night.

There. Beyond the Araks. In that country.

P. Antokolsky

“And here Latyshev, if he was a scientist, an intellectual, should have pushed the harpooner by the elbow and scolded the captain for thoughtlessness. And protect the white whale from fools, and let the handsome one sail further into legend.”

RHETORICAL EXCLAMATIONÁ NIE

figure: exclamatory sentence that enhances the emotionality of the statement:

"Troika! Bird three! (N.V. Gogol). R.v. may be accompanied by hyperbolization, for example: “Lush! There is no equal river in the world!” (about the Dnieper) (N.V. Gogol).

RHETORICAL QUESTIONÓ WITH(from Greek rhetor - speaker) - stylistic

figure: an interrogative sentence containing an affirmation (or negation),

framed as a question that does not require an answer:

Weren't you the one who persecuted me so viciously at first?

His free, bold gift

And they inflated it for fun

A slightly hidden fire?...

M.Yu. Lermontov

R.v. is not put in order to get an answer, but in order to attract the attention of the reader (listener) to a particular phenomenon. R.v. used in poetic and oratorical speech, in journalistic and scientific texts, in artistic prose, as well as in colloquial speech.

RHETORICAL APPEALÉ NIE(from the Greek rhetor - speaker) - stylistic figure: an emphasized, but conditional appeal to someone (something). In form being an appeal, R. o. serves not so much to name the addressee of the speech, but to express the attitude towards a particular object or phenomenon: to give it an emotional assessment, to give the speech the intonation necessary for the author

(solemnity, cordiality, irony, etc.).

Flowers, love, village, idleness,

Fields! I am devoted to you with my soul. (A.S. Pushkin)

INVERSION(from Latin inversio - rearrangement) - stylistic figure: violation

the generally accepted word order in a given language. Rearranging words or parts of a phrase

gives speech special expressiveness, for example:

He ascended higher with his rebellious head

Pillar of Alexandria... A.S. Pushkin

ASYNDETON- stylistic figure: a structure of speech in which conjunctions connecting words are omitted. Gives the statement speed and dynamism, helps convey the rapid change of pictures, impressions, and actions.

The booths and women flash past,

Boys, benches, lanterns,

Palaces, gardens, monasteries,

Bukharians, sleighs, vegetable gardens,

Merchants, shacks, men,

Boulevards, towers, Cossacks,

Pharmacies, fashion stores,

Balconies, lions on the gates

And flocks of jackdaws on crosses.

A.S. Pushkin

MULTI-UNION- stylistic figure: deliberate repetition of conjunctions,

which is used for intonation and logical emphasis

And flowers, and bumblebees, and grass, and ears of corn,

And the azure, and the midday heat...

When we talk about art and literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. In fiction and poetry, there are special techniques for enhancing expressiveness. A competent presentation, public speaking - they also need ways to construct expressive speech.

For the first time, the concept of rhetorical figures, figures of speech, appeared among the orators of ancient Greece. In particular, Aristotle and his followers were involved in their study and classification. Delving into the details, scientists have identified up to 200 varieties that enrich the language.

Means of expressive speech are divided according to language level into:

• phonetic;
• lexical;
• syntactic.

The use of phonetics is traditional for poetry. Musical sounds often predominate in a poem, giving poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, and combinations of sounds are used for emphasis.

Anaphora– repetition of sounds, words or phrases at the beginning of sentences, poetic lines or stanzas. “The golden stars dozed off...” - repetition of the initial sounds, Yesenin used phonetic anaphora.

And here is an example of lexical anaphora in Pushkin’s poems:

Alone you rush across the clear azure,
You alone cast a dull shadow,
You alone sadden the jubilant day.

Epiphora- a similar technique, but much less common, in which words or phrases are repeated at the end of lines or sentences.

The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax, is considered as a tradition of literary creativity, although it is also widely found in poetry.

Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.

Trails

Tropes are the use of words and phrases in a figurative sense. Paths make speech more figurative, enliven and enrich it. Some tropes and their examples in literary work are listed below.

Epithet- artistic definition. Using it, the author gives the word additional emotional overtones and his own assessment. To understand how an epithet differs from an ordinary definition, you need to understand when reading whether the definition gives a new connotation to the word? Here's a simple test. Compare: late autumn - golden autumn, early spring - young spring, quiet breeze - gentle breeze.

Personification- transferring the signs of living beings to inanimate objects, nature: “The gloomy rocks looked sternly...”.

Comparison– direct comparison of one object or phenomenon with another. “The night is gloomy, like a beast...” (Tyutchev).

Metaphor– transferring the meaning of one word, object, phenomenon to another. Identifying similarities, implicit comparison.

“There is a red rowan fire burning in the garden...” (Yesenin). The rowan brushes remind the poet of the flame of a fire.

Metonymy– renaming. Transferring a property or meaning from one object to another according to the principle of contiguity. “The one in felt, let’s argue” (Vysotsky). In felt (material) - in a felt hat.

Synecdoche- a type of metonymy. Transferring the meaning of one word to another based on a quantitative connection: singular - plural, part - whole. “We all look at Napoleons” (Pushkin).

Irony- the use of a word or expression in an inverted, mocking sense. For example, the appeal to the Donkey in Krylov’s fable: “Are you crazy, smart one?”

Hyperbola- a figurative expression containing exorbitant exaggeration. It may relate to size, meaning, strength, and other qualities. Litota is, on the contrary, an exorbitant understatement. Hyperbole is often used by writers and journalists, and litotes is much less common. Examples. Hyperbole: “The sunset burned with one hundred and forty suns” (V.V. Mayakovsky). Litota: “a little man with a fingernail.”

Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of allegory is to suggest subtext, to force one to look for hidden meaning when reading. Widely used in fable.

Alogism– deliberate violation of logical connections for the purpose of irony. “That landowner was stupid, he read the newspaper “Vest” and his body was soft, white and crumbly.” (Saltykov-Shchedrin). The author deliberately mixes logically heterogeneous concepts in the enumeration.

Grotesque– a special technique, a combination of hyperbole and metaphor, a fantastic surreal description. An outstanding master of Russian grotesque was N. Gogol. His story “The Nose” is based on the use of this technique. A special impression when reading this work is made by the combination of the absurd with the ordinary.

Figures of speech

Stylistic figures are also used in literature. Their main types are shown in the table:

Test "Means of Artistic Expression"

To test your understanding of the material, take a short test.

Read the following passage:

“There the war smelled of gasoline and soot, burnt iron and gunpowder, it scraped with caterpillar tracks, screeched from machine guns and fell into the snow, and rose again under fire...”

What means of artistic expression are used in the excerpt from K. Simonov’s novel?

Swede, Russian - stabs, chops, cuts.

Drumming, clicks, grinding,

The thunder of guns, stomping, neighing, groaning,

And death and hell on all sides.

A. Pushkin

The answer to the test is given at the end of the article.

Expressive language is, first of all, an internal image that arises when reading a book, listening to an oral presentation, or a presentation. To manipulate images, visual techniques are needed. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their own image in your speech pattern.

Study expressive language and its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your language will become an obedient tool and your weapon.

Answer to the test

K. Simonov. The personification of war in the passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically connects them into a generalized image of war. The techniques of expressive language used are polyunion, syntactic repetition, parallelism. Through this combination of stylistic techniques when reading, a revived, rich image of war is created.

A. Pushkin. The poem lacks conjunctions in the first lines. In this way the tension and richness of the battle are conveyed. In the phonetic design of the scene, the sound “r” plays a special role in different combinations. When reading, a rumbling, growling background appears, ideologically conveying the noise of battle.

If you were unable to give the correct answers while answering the test, do not be upset. Just re-read the article.

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

Expressive means are divided into:

Lexical (archaisms, barbarisms, terms)

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

Phonetic (use of sound texture of speech)

Graphic (graphon)

Stylistic means of expression are a way of imparting emotion and expressiveness to speech.

Syntactic expressive means are the use of syntactic constructions for stylistic purposes, to semantically highlight (emphasize) any words or sentences, giving them the desired coloring and meaning.

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

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

Graphic - show deviations from speech norms.

Lexical expressive means.

Archaisms.

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

“How thou art sentimental, maman!”

Foreign words.

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

Terms (Terms) - words and phrases denoting scientific concepts that reflect the properties and characteristics of an object. Let us give an example from Theodore Dreiser’s work “The Financier”:

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

Stylistic means of expression.

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

Epithet is a figurative definition of an object, usually characterized by an adjective. Examples include the words good, bed, cold, hot, green, yellow, big, small, etc.

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

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

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

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

Metonymy - establishing a connection between phenomena or objects by contiguity, transferring the properties of an object to the object itself, with the help of which these properties are revealed. In metonymy, the effect can be replaced by the cause, the content - by the container, the material from which the thing is made can replace the designation of the thing itself. The difference between metonymy and metaphor is that metonymy deals only with those connections and combinations that exist in nature. Thus, in Pushkin, the “hissing of foamy glasses” replaces the foaming wine itself, poured into the glasses. Famusov recalls from A.S. Griboedov: “It’s not like he ate silver, he ate gold.” In English there are such examples of metonymy as:

"She has a quick pen." Or:

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

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

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

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

In English you can find the following examples of gradation:

“Little by little, bit by bit, day by day, he stayed of her.” Or a sequential listing of attributes in increasing order: clever, talented, genius.

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

O brawling love! O loving hate!

O any thing! of nothing first create.

O heavy lightness! serious vanity!

(act 1, scene 1).

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

Anchar, like a formidable sentry,

It stands alone in the entire universe.

In English there are comparisons such as: fresh as rose, fat as a pig, to fit like a glove. An example of a comparison can be given from Ray Bradbury’s story “A sound of thunder”:

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

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

How soon hat Time, the subtle thief of youth,

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

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

They got along. Water and stone

Poetry and prose, ice and fire

Not so different from each other... ("Eugene Onegin")

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

“To err is human and to forget is divine.” Or here’s a striking example of an antithesis:

“The music professor's lessons were light, but his fees were high.”

Stylistic means of expression also include the use of slang and neologisms (words formed by the author himself). Slang can be used both to create an appropriate flavor and to enhance the expressiveness of speech. Authors usually resort to neologisms when they cannot make do with a traditional set of words. For example, with the help of the neologism “loud-boiling cup,” F.I. Tyutchev creates a vivid poetic image in the poem “Spring Thunderstorm.” Examples from the English language include the words headful - a head full of ideas; handful - handful.

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

“Not a little thing like that! Not a butterfly!” cried Eckels."

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

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

Syntactic expressive means.

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

Phonetic means of expression.

Phonetic means of expression include onomitopia (Onomethopea) - the author’s use of words whose sound texture resembles some sounds. In the Russian language you can find many examples of onomitopia, for example, the use of the words rustles, whispers, crunches, meows, crows, and so on. In English, onomitopy includes words such as: moan, scrabble, bubbles, crack, scream. Onomitopia is used to convey sounds, speech patterns, and partly the character’s voice.

Graphic means of expression.

Grafon (Graphon) is a non-standard spelling of words that emphasizes the characteristics of the character’s speech. An example of a graphon is an excerpt from Ray Bradbury’s story “The sound of thunder”:

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

The author’s use of expressive means makes his speech more rich, expressive, emotional, bright, individualizes his style and helps the reader feel the author’s position in relation to heroes, moral standards, historical figures and the era.

Means of expressiveness of artistic speech

The word, as is known, is the basic unit of language, the most noticeable element of its artistic means. And the expressiveness of speech is connected primarily with the word.

The word in a literary text is a special world. The artistic word is a mirror of the author’s individual attitude to reality, a special perception of the surrounding world. A literary text has its own precision - metaphorical, its truths - artistic revelations; the entire functions of the word change, which are determined by the context: “I would like to merge my sadness and sadness into a single word...” (G. Heine).

Metaphorical statements in a literary text are associated with the expression of individual perception of the surrounding world. Art is personal expression. Metaphors are woven into a literary fabric that creates an image that excites us and emotionally affects us in the image of a work of art. Words acquire additional meanings, stylistic coloring, and create a special world into which we immerse ourselves when reading fiction.

And in oral speech, not only in literary, but also in colloquial speech, we, without hesitation, use all expressive means of speech so that the speech is more convincing, more emotional, and more figurative. Metaphors give special expressiveness to our speech.

The word metaphor translated from Greek means “transfer.” This refers to the transfer of a name from one object to another. For such a transfer to occur, these objects must have some similarity, they must be somewhat similar, adjacent. A metaphor is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena for some reason.

As a result of the transfer of meaning from one object or phenomenon to another, an image is created. Metaphor is one of the brightest means of expressiveness of poetic and artistic speech. But at the same time, their absence does not mean a lack of expressiveness of the work of art. Let's compare two excerpts from different poems by B. Pasternak:

Being famous is not nice.

This is not what lifts you up.

No need to create an archive,

Shake over manuscripts.

The goal of creativity is dedication,

Not hype, not success.

Shameful, meaningless

Be the talk of everyone.

…………………………………

July dragging around in clothes

Dandelion fluff, burdock.

July, coming home through the windows,

Everyone talking loudly out loud.

Uncombed steppe disheveled,

Smelling of linden and grass,

Tops and the smell of dill,

The July air is meadow.

In the first poem, B. Pasternak does not use metaphors, while the second poem is full of personification, epithets, metaphors, but each of these poems is artistically expressive. The first one captivates with sincerity, precision of language, and deep meaning, the second one acts on an emotional level and creates a lyrical image.

Through the metaphorical meaning of words and phrases, the writer conveys the individuality and uniqueness of objects, while demonstrating his own associative nature of thinking, his vision of the world.

A metaphor can be simple and extensive. In twentieth-century poetry, the use of extended metaphors is being revived, and the nature of simple metaphors is changing significantly.

METONYMY is a type of metaphor. The Greek word "metonymy" means renaming, that is, giving one thing the name of another. This is the replacement of one word with another based on the contiguity of two objects, concepts, etc. Metonymy is the imposition of one feature on another, the imposition of a figurative meaning on a direct one. For example: 1. The village smokes gray smoke into the cold clear sky - people are warming up. (V.M. Shukshin) (Instead: stove pipes are smoked). 2. The city was noisy, flags were crackling, wet roses were falling from the bowls of flower girls, horses decorated with multi-colored feathers were jumping, and carousels were spinning. (Y.K. Olesha) (People living in the city were noisy). 3. I ate three plates. (I ate soup in bowls). All these transfers of meanings and their mixing are possible because objects that have the same name are located nearby, that is, they are adjacent. This may be contiguity in space, time, etc. Such transfers of names are called metonymic.

SYNECDOCHE. The Greek word synecdoche means correlation. Synecdoche is a type of metonymy. Transfer of meaning occurs when the lesser is called instead of the greater; more instead of less; part instead of whole; whole instead of part.

EPITHET. This word translated from Greek means “appendix, attached,” that is, one word is attached to another.

An epithet is a trope, figure, figurative definition, word or phrase that defines a person, object, phenomenon or action from the subjective position of the author. Differs from the simple definition in artistic expressiveness.

In folklore, constant epithets are used as a means of typification and one of the main means of its artistic expression. Tropes, in the strict sense of this term, include only epithets, the function of which is performed by words used figuratively, in contrast to exact epithets expressed by words used in the literal meaning (beautiful flowers, red berries). The creation of figurative epithets is associated with the use of words in a figurative meaning. Epithets expressed in words that have figurative meanings are called metaphorical. The basis of the epithet may be a metonymic transfer of the name (...we will go to break the wall, we will stand with our heads for our homeland. M.Yu. Lermontov).

Contrasting epithets that form combinations of words with opposite meanings with the defined nouns are called OXYMORONS. (“...joyful sadness, hating love.” I.B. Golub).

COMPARISON is a trope in which the characteristics of one object are given by comparing it with another object. Comparison is a trope that consists of comparing objects by their similarity, which can be obvious or distant and unexpected. Usually comparison is expressed using the words “as if”, “exactly”, “as if”, “similar”. There may be comparisons in the instrumental case.

PERSONIFICATION is a type of metaphor, the assignment of properties of living beings to objects of inanimate nature. Often, personification is created by referring to natural phenomena as living and conscious beings. Personification is also called the transfer of human properties to animals.

HYPERBOLE is one of the expressive means of speech, meaning “exaggeration”. Hyperbole is a figure with the meaning of excessively exaggerating what is being said.

LITOTA - translated from Greek this word means “simplicity”. If hyperbole is an excessive exaggeration of something, then the reverse hyperbole means the same excessive understatement. Litotes is a figure that consists of excessive understatement of what is being said. (A little man as big as a fingernail. A boy as big as a finger. Thumbelina. Quieter than water, lower than the grass. “You have to bow your head below a thin blade of grass” (N.A. Nekrasov).

Expressive means of speech are humor, irony, sarcasm, and grotesque.

HUMOR is one of the expressive means of vocabulary; humor translated from English means disposition, mood. Entire works can be written in a comic, comic-pathetic, or allegorical manner. They show a good-natured, mocking attitude towards something. Remember A.P. Chekhov’s story “Chameleon”. Many of I. Krylov’s fables were written in this vein.

IRONY – translated from Greek “pretense”, “mockery”, when one thing is stated in words, but in the subtext something completely different is meant, the opposite of the expressed thought.

SARCASM - translated from Greek means “tearing meat.” Sarcasm is a caustic mockery, evil irony, caustic, caustic remarks. A comic effect is created, but at the same time an ideological and emotional assessment is clearly felt. The fantastic is combined with the real, the ordinary with the everyday. One of the varieties of painting - caricatures can be with humor, with irony, with sarcasm and with grotesque.

GROTESK means “bizarre”, “intricate”. This artistic technique consists of violating the proportion of depicted objects, phenomena, and events. Many of M.E. Saltykov-Shchedrin’s works are constructed using these expressive means of speech (“The History of a City,” “The Golovlev Gentlemen.” Fairy Tales). The stories of N.N. Gogol and A.P. Chekhov are full of humor, irony, sarcasm, and grotesque. The work of J. Swift (“Gulliver’s Travels”) is also grotesque in its content.

Remember the stories of A.P. Chekhov “Chameleon”, “Thick and Thin”, “Man in a Case”. Grotesque was used by M.E. Saltykov-Shchedrin to create the image of Judas in the novel “The Golovlevs.” Sarcasm and irony in the satirical poems of V. Mayakovsky. The works of Kozma Prutkov, Zoshchenko, and Vasily Shukshin are full of humor.

Such expressive means of word formation as paronyms and paronomas are used by satirists and humorists. Puns are created by playing on words.

PUNS are figures based on the sound similarity of words or combinations of words that are completely different in meaning. Puns are a play on words based on polysemy and homonymy. Puns make jokes. Puns can be found in the works of V. Mayakovsky, in his satirical poems, in Kozma Prutkov, Omar Khayyam, A.P. Chekhov.

What is a figure of speech?

The word “figure” is translated from Latin as “outline, appearance, image.” This word has many meanings. What does this term mean when we talk about artistic speech? Figures include syntactic means of expressive speech: rhetorical questions, exclamations, appeals.

What is a trope?

Tropes are lexical means of expressive speech: metaphor, metonymy, synecdoche, epithet, comparison, personification, hyperbole, litotes and others. Trope means “turnover” in Greek. This term denotes a word used in a figurative sense. Artistic speech differs from ordinary speech in that it uses special turns of words that embellish the speech, make it more expressive and beautiful. Styles of fiction occupy a special place in the study of the discipline; expressive means are used in different styles of speech. The main thing in the concept of “expressiveness” for artistic speech is the ability of a work of art (text) to have an emotional, aesthetic impact on the reader, to create vivid images and poetic pictures.

We live in a world of sounds. Some sounds evoke positive emotions, while others alarm, excite, cause anxiety, or calm and induce sleep. Sounds evoke images. Using a combination of sounds, you can have an emotional impact on a person, which we especially perceive when reading literary works and works of Russian folk art.

K.D. Balmont gave a figurative description of the sounds of speech: the sound is a “small magic gnome”, magic. M.V. Lomonosov wrote: “In the Russian language, it seems, the frequent repetition of the letter “A” can help to depict the splendor of great space, depth and height, also sudden (“remember the song “My native country is wide, there are many fields in it” , forests and rivers..."); increasing frequency of letters “E”, “I”, “Yu” - to depict tenderness, caressing, deplorable or small things (listen to the music of Yesenin’s verse: “I don’t regret, I don’t call, I don’t cry, everything will pass like smoke from white apple trees... "). Through the “I” you can show pleasantness, amusement, tenderness; through “O”, “U”, “Y” - terrible and strong things: anger, envy, sadness.”

SOUND NOTE: ASSONANCE, ALLITERATION, SOUND IMITATION

The use of certain sounds in a certain order as an artistic technique of expressive speech to create an image is called sound writing.

SOUND WRITTEN is an artistic technique that consists of selecting words that imitate the sounds of the real world in the text.

ASSONANCE is a French word meaning consonance. This is the repetition of the same or similar vowel sounds in a text to create a sound image. Assonance contributes to the expressiveness of speech. Poets use assonance in rhyme, in the rhythm of poems.

ALLITERATION is a word of Greek origin from the noun letter. Repetition of consonants in a literary text to create a sound image and enhance the expressiveness of poetic speech.

SOUND IMITATION – the transmission of auditory impressions in words that resemble the sound of phenomena in the world around us.

The word, as is known, is the basic unit of language, the most noticeable element of its artistic means. And the expressiveness of speech is connected primarily with the word.

The word in a literary text is a special world. The artistic word is a mirror of the author’s individual attitude to reality, a special perception of the surrounding world. A literary text has its own precision - metaphorical, its truths - artistic revelations; the entire functions of the word change, which are determined by the context: “I would like to merge my sadness and sadness into a single word...” (G. Heine).
Metaphorical statements in a literary text are associated with the expression of individual perception of the surrounding world. Art is personal expression. Metaphors are woven into a literary fabric that creates an image that excites us and emotionally affects us in the image of a work of art. Words acquire additional meanings, stylistic coloring, and create a special world into which we immerse ourselves when reading fiction.
And in oral speech, not only in literary, but also in colloquial speech, we, without hesitation, use all expressive means of speech so that the speech is more convincing, more emotional, and more figurative. Metaphors give special expressiveness to our speech.

The word metaphor translated from Greek means “transfer.” This refers to the transfer of a name from one object to another. For such a transfer to occur, these objects must have some similarity, they must be somewhat similar, adjacent. A metaphor is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena for some reason.
As a result of the transfer of meaning from one object or phenomenon to another, an image is created. Metaphor is one of the brightest means of expressiveness of poetic and artistic speech. But at the same time, their absence does not mean a lack of expressiveness of the work of art. Let's compare two excerpts from different poems by B. Pasternak:

Being famous is not nice.
This is not what lifts you up.
No need to create an archive,
Shake over manuscripts.

The goal of creativity is dedication,
Not hype, not success.
Shameful, meaningless
Be the talk of everyone.
…………………………………
July dragging around in clothes
Dandelion fluff, burdock.
July, coming home through the windows,
Everyone talking loudly out loud.

Uncombed steppe disheveled,
Smelling of linden and grass,
Tops and the smell of dill,
The July air is meadow.

In the first poem, B. Pasternak does not use metaphors, while the second poem is full of personification, epithets, metaphors, but each of these poems is artistically expressive. The first one captivates with sincerity, precision of language, and deep meaning, the second one acts on an emotional level and creates a lyrical image.
Through the metaphorical meaning of words and phrases, the writer conveys the individuality and uniqueness of objects, while demonstrating his own associative nature of thinking, his vision of the world.
A metaphor can be simple and extensive. In twentieth-century poetry, the use of extended metaphors is being revived, and the nature of simple metaphors is changing significantly.

METONYMY is a type of metaphor. The Greek word "metonymy" means renaming, that is, giving one thing the name of another. This is the replacement of one word with another based on the contiguity of two objects, concepts, etc. Metonymy is the imposition of one feature on another, the imposition of a figurative meaning on a direct one. For example: 1. The village smokes gray smoke into the cold clear sky - people are warming up. (V.M. Shukshin) (Instead: stove pipes are smoked). 2. The city was noisy, flags were crackling, wet roses were falling from the bowls of flower girls, horses decorated with multi-colored feathers were jumping, and carousels were spinning. (Y.K. Olesha) (People living in the city were noisy). 3. I ate three plates. (I ate soup in bowls). All these transfers of meanings and their mixing are possible because objects that have the same name are located nearby, that is, they are adjacent. This may be contiguity in space, time, etc. Such transfers of names are called metonymic.
SYNECDOCHE. The Greek word synecdoche means correlation. Synecdoche is a type of metonymy. Transfer of meaning occurs when the lesser is called instead of the greater; more instead of less; part instead of whole; whole instead of part.

EPITHET. This word translated from Greek means “appendix, attached,” that is, one word is attached to another.
An epithet is a trope, figure, figurative definition, word or phrase that defines a person, object, phenomenon or action from the subjective position of the author. Differs from the simple definition in artistic expressiveness.
In folklore, constant epithets are used as a means of typification and one of the main means of its artistic expression. Tropes, in the strict sense of this term, include only epithets, the function of which is performed by words used figuratively, in contrast to exact epithets expressed by words used in the literal meaning (beautiful flowers, red berries). The creation of figurative epithets is associated with the use of words in a figurative meaning. Epithets expressed in words that have figurative meanings are called metaphorical. The basis of the epithet may be a metonymic transfer of the name (...we will go to break the wall, we will stand with our heads for our homeland. M.Yu. Lermontov).

Contrasting epithets that form combinations of words with opposite meanings with the defined nouns are called OXYMORONS. (“...joyful sadness, hating love.” I.B. Golub).

COMPARISON is a trope in which the characteristics of one object are given by comparing it with another object. Comparison is a trope that consists of comparing objects by their similarity, which can be obvious or distant and unexpected. Usually comparison is expressed using the words “as if”, “exactly”, “as if”, “similar”. There may be comparisons in the instrumental case.

PERSONIFICATION is a type of metaphor, the assignment of properties of living beings to objects of inanimate nature. Often, personification is created by referring to natural phenomena as living and conscious beings. Personification is also called the transfer of human properties to animals.

HYPERBOLE is one of the expressive means of speech, meaning “exaggeration”. Hyperbole is a figure with the meaning of excessively exaggerating what is being said.

LITOTA - translated from Greek this word means “simplicity”. If hyperbole is an excessive exaggeration of something, then the reverse hyperbole means the same excessive understatement. Litotes is a figure that consists of excessive understatement of what is being said. (A little man as big as a fingernail. A boy as big as a finger. Thumbelina. Quieter than water, lower than the grass. “You have to bow your head below a thin blade of grass” (N.A. Nekrasov).

Expressive means of speech are humor, irony, sarcasm, and grotesque.
HUMOR is one of the expressive means of vocabulary; humor translated from English means disposition, mood. Entire works can be written in a comic, comic-pathetic, or allegorical manner. They show a good-natured, mocking attitude towards something. Remember A.P. Chekhov’s story “Chameleon”. Many of I. Krylov’s fables were written in this vein.
IRONY – translated from Greek “pretense”, “mockery”, when one thing is stated in words, but in the subtext something completely different is meant, the opposite of the expressed thought.
SARCASM - translated from Greek means “tearing meat.” Sarcasm is a caustic mockery, evil irony, caustic, caustic remarks. A comic effect is created, but at the same time an ideological and emotional assessment is clearly felt. The fantastic is combined with the real, the ordinary with the everyday. One of the varieties of painting - caricatures can be with humor, with irony, with sarcasm and with grotesque.
GROTESK means “bizarre”, “intricate”. This artistic technique consists of violating the proportion of depicted objects, phenomena, and events. Many of M.E. Saltykov-Shchedrin’s works are constructed using these expressive means of speech (“The History of a City,” “The Golovlev Gentlemen.” Fairy Tales). The stories of N.N. Gogol and A.P. Chekhov are full of humor, irony, sarcasm, and grotesque. The work of J. Swift (“Gulliver’s Travels”) is also grotesque in its content.
Remember the stories of A.P. Chekhov “Chameleon”, “Thick and Thin”, “Man in a Case”. Grotesque was used by M.E. Saltykov-Shchedrin to create the image of Judas in the novel “The Golovlevs.” Sarcasm and irony in the satirical poems of V. Mayakovsky. The works of Kozma Prutkov, Zoshchenko, and Vasily Shukshin are full of humor.
Such expressive means of word formation as paronyms and paronomas are used by satirists and humorists. Puns are created by playing on words.

PUNS are figures based on the sound similarity of words or combinations of words that are completely different in meaning. Puns are a play on words based on polysemy and homonymy. Puns make jokes. Puns can be found in the works of V. Mayakovsky, in his satirical poems, in Kozma Prutkov, Omar Khayyam, A.P. Chekhov.

What is a figure of speech?
The word “figure” is translated from Latin as “outline, appearance, image.” This word has many meanings. What does this term mean when we talk about artistic speech? Figures include syntactic means of expressive speech: rhetorical questions, exclamations, appeals.
What is a trope?
Tropes are lexical means of expressive speech: metaphor, metonymy, synecdoche, epithet, comparison, personification, hyperbole, litotes and others. Trope means “turnover” in Greek. This term denotes a word used in a figurative sense. Artistic speech differs from ordinary speech in that it uses special turns of words that embellish the speech, make it more expressive and beautiful. Styles of fiction occupy a special place in the study of the discipline; expressive means are used in different styles of speech. The main thing in the concept of “expressiveness” for artistic speech is the ability of a work of art (text) to have an emotional, aesthetic impact on the reader, to create vivid images and poetic pictures.

We live in a world of sounds. Some sounds evoke positive emotions, while others alarm, excite, cause anxiety, or calm and induce sleep. Sounds evoke images. Using a combination of sounds, you can have an emotional impact on a person, which we especially perceive when reading literary works and works of Russian folk art.

K.D. Balmont gave a figurative description of the sounds of speech: the sound is a “small magic gnome”, magic. M.V. Lomonosov wrote: “In the Russian language, it seems, the frequent repetition of the letter “A” can help to depict the splendor of great space, depth and height, also sudden (“remember the song “My native country is wide, there are many fields in it” , forests and rivers..."); increasing frequency of letters “E”, “I”, “Yu” - to depict tenderness, caressing, deplorable or small things (listen to the music of Yesenin’s verse: “I don’t regret, I don’t call, I don’t cry, everything will pass like smoke from white apple trees... "). Through the “I” you can show pleasantness, amusement, tenderness; through “O”, “U”, “Y” - terrible and strong things: anger, envy, sadness.”

SOUND NOTE: ASSONANCE, ALLITERATION, SOUND IMITATION

The use of certain sounds in a certain order as an artistic technique of expressive speech to create an image is called sound writing.
SOUND WRITTEN is an artistic technique that consists of selecting words that imitate the sounds of the real world in the text.
ASSONANCE is a French word meaning consonance. This is the repetition of the same or similar vowel sounds in a text to create a sound image. Assonance contributes to the expressiveness of speech. Poets use assonance in rhyme, in the rhythm of poems.
ALLITERATION is a word of Greek origin from the noun letter. Repetition of consonants in a literary text to create a sound image and enhance the expressiveness of poetic speech.
SOUND IMITATION – the transmission of auditory impressions in words that resemble the sound of phenomena in the world around us.