Anaphrase: linguistic phenomenon and literary device. Anaphrasy as a metaphor generator and literary device

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This article introduces the concept of anaphrase, which describes the rearrangement
words in a phrase and the corresponding transformations of its meaning.

Anaphrase and anagram

First of all, you should compare the anaphrase with anagram.
As you know, an anagram is a word or phrase formed
by rearranging the letters of another word or phrase, e.g. arch
– punishment, or decoction – vomiting – author – brand.
A palindrome (reversal) is a type of anagram when the letters
rearranged strictly in reverse order, for example, axe
- murmur. Anagrams also play a huge role in literary
creativity, and in religious scriptures, for example, in the Kabala, where
by rearranging letters, the relationships between words in the Bible and their
secret meanings.

Anaphrases- This lexical anagrams. IN
In them, the unit of permutation is not the letters in the words, but the words
in phrases and sentences.

AnafrAza(English anaphrase, from Greek ana, back, back,
again, up + Greek. phrasis, speech, manner of speech, phraseology)
– a phrase or any piece of text formed by rearranging words
from another phrase or text, with a corresponding change in their lexical and morphological
features and syntactic connections.

AnaphrAsia– changing the order of words in a phrase, as well as
a literary device based on such phrasal transformations.

If the word order in the first (initial) phrase is taken to be direct,
then in anaphrases the ordinal numbers of words change:

People (1) are looking (2) at you (3), take heart (4)! 1 2 3 4 People take courage when they look at you. 1 4 2 3 You take courage when you look at the people. 3 4 2 1 Take courage, look, the people are with you! 4 2 1 3

Anaphrase and periphrase

Anaphrase should be distinguished from paraphrases, which
expresses the same meaning in different words. Anaphrase, on the contrary,
expresses different meanings with the same words.

An example of a paraphrase from A. S. Pushkin:

Send me... twisted steel piercing the tarred head of the bottle,
– i.e. corkscrew.

Paraphrases words for "corkscrew":

1. cork piercer

2. bottle opener

3.wine spiral

4. twisted steel piercing the tarred head of the bottle.

Anaphrases Pushkin's line:

twisted steel piercing the tarred head of a bottle

steel bottle piercing the twisted resin of the head

a tarred bottle piercing the head with twisted steel, etc.

Anaphrase and chiasmus

Among anaphrases, palindromic phrases (mirror phrases,
inverted phrases) in which the significant words are followed in reverse,
inverted order.

A person is born in the world of spirit. The spirit of peace is born in man. Important news about the newspaper. Newspaper news about important things. Everyone shares a little. Few share everything.

The game of upright and inverted word order forms a figure known
in rhetoric and stylistics under the name chiasmus. Chiasmus is a connection
in one statement of two parts with direct and reverse order
words

Saving his soul will lose her;

A lost your soul for my sake will save her

The name "chiasmus" is derived from chi (X or "chi"), twenty-second
letters of the Greek alphabet, and from the Greek chiazein (“to mark
cross").

If we place two parts of a chiasmus statement one below the other
and connect the words in the first and second lines with lines, we will find
figure of a cross.

Not oath(a) makes us believe person
(b),

But Human(b) – oath(a).

If we depict this schematically, the chiasmus takes the shape of a letter
X:

A b

Here are more examples of chiasmus:

Bad people live, to eat and drink

and the good ones eat and drink, to live

Don't be sad that people you don't know

but be sad that You do not you know of people.

Confucius

To my father easier to have children

how children– present father

Pope John 23

Don't let me fools myself kiss

A kisses- myself fool

Women do it better be in love their husbands

than to go out get married behind loved ones

Clare Booth Luce

Love art V to myself

but not myself V art

K. Stanislavsky.

Chiasmus is often used in political rhetoric:

Don't ask what's yours a country can do for
you

ask what You you can do it for yours countries

John Kennedy

We will lead by the power of example, but if necessary,
we are ready to take advantage example his strength

Bill Clinton

The importance of chiasms is especially great in religion and philosophy, since
here, in the vastness of world-encompassing thought, a contradictory
the integrity of being, the reversibility of its opposite principles.

God became person, to Human could
become God

God became man, to the man got adored

From the writings of the church fathers

...In God secret is kept about a human And V
person- secret about God. In man
is born God, And in God is born Human

Nikolay Berdyaev

Women don't know what are they want, and men
want what they don't know.

Women's V male, masculine V
female- this is the Chinese emblem of the beginnings of Yin and
Jan. Women's dark the circle is inscribed in men's light
field, and male light- V dark feminine,
and together they, hugging each other, form a circle.

As you can see, chiasmus includes two anaphrases, with direct and inverted
word order: “art in itself” – “oneself in art”; "force
example” – “an example of strength”; “feminine in masculine” – “masculine in feminine.”
Chiasmus is a combination of two anaphrases with direct and inverted order.
two words. Hence the tetradicity, four-element nature of the chiasms:
two words, usually key in meaning, are used twice,
upright and upside down.

But chiasmus, as a rhetorical figure, as a type of utterance, is far from
not the only way of linguistic and literary work with
anaphrases. Chiasmus is usually limited to only two opposing
(palindromic) anaphrases included in one utterance or
into two dialogically related remarks, for example:

Isadora Duncan wanted a child with Bernard Shaw.

“What a miracle child it will be: my body and your mind!”

To which Shaw replied:

"But what if he has your mind And my body?»

Chiasmus produces such a strong rhetorical effect because
he makes the most of two anaphrases, operates with two opposite
concepts, rearranging them in contrast. Chiasmus refers to anaphrase
roughly the same way a palindrome is to an anagram. Chiasmus reverses
word order, palindrome - letter order. Anagram reverses order
letters, but does not necessarily reverse them. Similarly, anaphrase
changes the order of words, but does not necessarily reverse them. If
palindrome is a type of anagram, then chiasmus is a type
anaphrases.

The world of anaphrases is much more diverse than the world of chiasmus. Firstly,
anaphrases can consist of any number of words, change order
which does not necessarily make them palindromic. Even
limit ourselves to anaphrasy of the first, poorest type, of the three
words can be composed of 6 anaphrases, of which only two will be palindromic,
and out of 4 words - 24 anaphrases, of which only palindromic
2, so the complete reversal of word order is rather an exception,
and not a law among anaphrases. Secondly, anaphrases are not necessary
must be used in a syntagmatic series, as parts of one
utterances or two dialogically related utterances.
Anaphrases can be perceived paradigmatically, as members of one
a variety of varied, “polyphrase” series (see chapter below
"Polyphrase as literary genre), in which the word order is different
creates different types semantic relationships. From the same words
better and worse anaphrases, or equal in quality, can be formed,
but different in meaning. What types of semantic meanings occur?
transformations, can become the subject of a special linguistic discipline
– anaphrazeology.

It should be noted that the Russian language, with its relatively free
word order, especially prone to anaphrasy, compared with
languages ​​where word order is more rigidly fixed. Anagrams and
letter palindromes are more common in languages ​​where
tightness of the letter series, where the morphemic composition of the word is minimal
and almost any combination of letters is word-forming, like,
for example, in Hebrew and, to a much lesser extent, in English.
Accordingly, there is a change in the order of letters almost always or often
entails the formation of a new word. Russian language, with its
multi-letter and multi-morpheme words are not so favorable
anagrams and palindromes. But free word order creates
regime favoring anaphrases.

Symmetrical and asymmetrical anaphrases. Types of symmetry

Anaphrases consisting of only two words that symmetrically change
position in relation to each other are always chiasms:

growth of knowledge – knowledge of growth

stars of eyes - eyes of stars

flame banner – flame banner

high sky - heavenly heights

Such chiasmas can be deeply meaningful:

Everything is in me, And I'm in everything(F. Tyutchev)

What happened at the beginning: chicken in the egg or egg in chicken?
– At the beginning there was a preposition “in”.

What is more important to you: spirit of life or life of the spirit?

He's not old enough yet mature mind. Hope,
waiting for him smart maturity.

If the New Age, according to Heidegger, is characterized by a tendency
create picture of the world, then post-modern time, the so-called
postmodernism takes the next step, as if removing the world behind
picture and delving into world picture.

These are symmetrical, mirror transformations of lexical units.
If a phrase consists of three or more significant words, its transformations
can be symmetrical or asymmetrical.

A white birch tree looks out my window.

My window looks at a white birch tree. (symmetrical)

The birch tree looks out of my white window. (asymmetrical)

The types of symmetry in three-word and longer anaphrases are diverse.
and are not reduced to reverse word order. Symmetry may not be mirror-like,
such as, for example, pairwise rearrangement of two words in anaphrases from
four significant words:

Thick books in thin covers 1 2 3 4 thin books in thick covers 3 2 1 4 ugly thoughts smart people 1 2 3 4 clever thoughts of ugly people 3 2 1 4 beautiful woman in an old dress 1 2 3 4 old woman in a beautiful dress 3 2 1 4 happy struggle for a decent life 1 2 3 4 decent struggle for a happy life 3 2 1 4 long journey to a bright life 1 2 3 4 a bright path to a long life 3 2 1 4

Here the first and third words in a four-word anaphrase change
places, and the second and fourth remain in their places. If reverse
word order can be called a phrasal inversion, then this type
anaphrases can be called let's shift it, because the words
with stable order are being translated words with
in reverse order. In this case, we have before us odd transpositions,
where words with odd serial numbers (1 and 3) are rearranged.
It is also possible even transpositions, but, according to my observations,
they are much less common:

The great dream of passionate love 1 2 3 4 great love to a passionate dream 1 4 3 2

Another type of anaphrase pairs even and odd words:

Our attack on enemy positions 1 2 3 4 enemy attack on our positions 2 4 1 3

A set of three words gives rise to six possible anaphrases (if we exclude
from counting the variation-derivation of individual lexemes):

123 the poor love of a young man (direct order) 132 the poor youth of love 213 the love of a poor young man 231 the love of a young poor man 312 the youthful poverty of love 321 the youthful love of a poor man (reversal)

Of course, any of the anaphrases can be taken as the initial one when
constructing other anaphrases, and then, for example, “poor young man’s love”

will be a reversal of the “poor man’s youthful love.” Additional options are also possible
word-formation variations of lexemes that make up the anaphrase: “young
the love of the poor,” “the youthful love of the poor,” etc.

Number of possible anaphrases if inflectional ones are excluded
and word-formation variations (levels 2-4), formally defined
factorial of the original set of words, i.e. multiplying all natural
numbers from one to a given number of words. For example, from four words
you can make 24 anaphrases, and from five - 120 anaphrases

5!=1x2x3x4x5=120

Theoretically, 720 anaphrases are formed from six words, 5040 from seven words,
out of eight – 40320, out of nine – 362880, out of ten – 3 million
628 thousand 800 anaphrases. After 10, adding each word to the original
the set changes the number of possible anaphrases by more than an order of magnitude: billions,
trillions, quadrillions, etc. Most accessible to combinatorial
study and classification of two-, three- and four-word anaphrases.

Complete and selective anaphrases

An anaphrase is not necessarily full, i.e.
represents a permutation everyone words contained
in the original phrase. The sample can be set arbitrarily, for example,
an anaphrase can be made up of rhyming words from the first stanza
the first chapter of Pushkin’s “Eugene Onegin”, or out of every tenth
words in the second stanza, or from the words of the first three stanzas beginning
with the letter "p", or from all the words of the fifth chapter containing more
ten letters, etc. For example, the sentence “Science makes you bored,
but the rules can make you sick” - an anaphrase of rhyming words in the first
six lines of the first chapter of Eugene Onegin.

Such anaphrases can be called selective, or incomplete,
and further characterize them according to the selection criterion. Defining characteristic
anaphrases: this piece of text(phrase, sentence,
group of proposals), made up of words from another text,
which at the same time change their order and can change their grammatical
signs or replaced by lexical derivatives. Changing the order
can be carried out by rearranging words on a complete sample from another
text or omitting words in an incomplete sample. For the second type
anaphrase would be a good name anaphrases-abbreviations.
Of course, anaphrase can combine features of the first and second
types, i.e. rearrangement of words and their omission.

Another important sign of anaphrase as a result of text transformation
(target text) – volume of source text: than the last one
The more limited, the more obvious is the very presence of anaphrase. Yes, anaphrase
Tolstoy's novel "War and Peace", in terms of lexical composition almost
an equally powerful dictionary of the Russian language of that time can hardly
be perceived as an anaphrase - rather, simply as a text written
in the language of the time.

Four types of anaphrasia. Phrase modification and phrase formation

When you change the order of letters in an anagram, the letters themselves do not change,
but the phonemes they denote can change greatly (voiced-voiced,
hardness-softness, reduction of vowels, variants of phonemes in different
surroundings). Similarly, when changing the order of words in anaphrase
The morpho-syntactic and derivational features of words may change:
entering into new connections, they change according to cases, persons, and may
move to other parts of speech, etc. Sound variations in anagrams
similar to those inflectional and word-formative variations
in anaphrases, which are discussed below.

Four levels and types of anaphrasia should be distinguished:

1. Changing the order of words while maintaining all word forms that form
phrase. In this case, anaphrasia has an intonation meaning, changes
logical stress and actual division of sentences (division
on theme and rheme), but does not change its meaning, for example:

People are looking at you People are looking at you People are looking at you People are looking at you, etc.

2. Change the word order along with the process inflections,
those. change of word forms within the morphological paradigm, while maintaining
all constituent lexemes.

The people are looking at you You are looking at the people You are looking at the people!

Look, the people are with you!
Here the noun “people”, the verb “look” and the pronoun
“you” appear in different grammatical forms, change case (“people
- at the people”, “you - at you - with you”), face (“looks - looks”),
inclination (“look – look”). By analogy with “word change” this type of anaphrasia can be called.

change of phrase 3. Change the word order along with the process,
word formation those. changing lexemes within the derivational paradigm, with

preservation their motivational connection and accessories
one

lexical-semantic group.

People are watching you, take heart!
People look at your courage.
You should look at the courage of the people!
Look at the people's courage!
Here not only word forms change, but also the words themselves. Lexical
the constituent phrases are variable, moving from one part
speeches to another: “courage - take courage”, “people - people”. However
while derivatives from one base or one root are motivationally connected, belong to the same lexical-semantic group, and to.

also form adjacent links in the word-formation chain (people + n + y = folk). By analogy with “word formation” this,
a type of anaphrasia can be called phrase formation
4. Change the word order along with the process word formation while maintaining only the common root morpheme of lexemes, deprived
motivational connection

belonging to

different
lexical-semantic
groups.
lexical-semantic groups and different stages and branches of word formation
process. It is too phrase formation(like type
3), but not related, A free type.

So, there are four levels of anaphrasia:

1) purely syntagmatic - changing only the order of words;

2) including the morphological paradigm - changing the form of the word;

3) including a narrow word-formation paradigm - substitution
related (cognate) words within a given lexical-semantic
groups;

4) including a broad word-formation paradigm - substitution
related words from different lexical-semantic groups.

Obviously, each next level opens up wider
quantitative and semantic possibilities for anaphrasia. On the first
level, the number of anaphrases from a given set of words is determined only
formally, by the number of their possible permutations. On subsequent
levels, paradigmatic series (morphological
and derivational) of each word, its word forms and derivatives.
This greatly increases the content and number of possible
anaphrases and the significance of their selection: after all, not each of them, even with
condition of grammatical coherence, will be equally provided with meaning.

Here we are entering the area of ​​anaphrasy as a literary device.
and genre. It seems that there are two average levels of anaphrasia, the second and
third, are of greatest interest from the point of view of its aesthetic
development. At the first level, anaphrasy is too poor in semantics.
possibilities and is produced purely mechanically by rearranging words.
At the fourth level, on the contrary, anaphrasia includes too broad
a set of lexemes, since any derivatives are allowed among them
from a given root - from different derivational branches and lexical-semantic
groups. In this case, the semantic connection of related phrases may be lost.
– it is preserved only in the formal unity of root morphemes,
which, in the absence of lexical-semantic coherence, can produce
comic effect. Of course, the same root, but different meanings
lexemes carry their own capabilities creative play, irreducible
to puns. Without denying the aesthetic potential of anaphrasia fourth
like, in this article we will focus mainly on those examples
anaphrasia, which belong to the second and third types, where it is observed
a certain measure of diversity and unity in phrasal variations.
From this point of view, anaphrases of the first level are too monotonous,
and the fourth - too heterogeneous.

Polyphrase as a literary genre

A series of anaphrases forms a special whole. having peculiar grammatical
features and artistic structure. The enum expression is important here,
list poetics, where phrase change and phrase formation demonstrate
as if a rotating axis of meaning with a continuous change in order
and forms of lexemes expressing it. Such a superphrasal unit, variations
which are all possible anaphrases of a given set of words,
let's call polyphrase. For example, a polyphrase of the words “I”,
“live”, “Moscow” includes the following anaphrases:

I live in Moscow Moscow lives in me I live in Moscow Moscow lives in me I live in Moscow Moscow lives in me

This is a polyphrase of the second type, including only inflectional
variations. You can set polyphrase parameters more widely, based on
from the word-formation activity of roots, for example, take for
the original unit is the root “zhi” instead of the base “to live” and include derivatives
from this root - “life”, “alive”, “alive”, “alive”; consider
“I” and “my” as suppletive pairs within one lexical-semantic
groups (first person pronouns – personal and possessive). Then
polyphrase - already of the third type - will also cover the following expressions:

The life of Moscow in me I am in the life of Moscow I am alive in Moscow Moscow is alive in me the life of my Moscow Moscow of my life I am alive in Moscow Moscow is alive in me I am alive in front of Moscow Moscow is alive in front of me

It is possible to further soften the structural conditions of anaphrasia, to expand
its parameters, moving to the fourth level, i.e. allowing any
derivatives, including neologisms related to
to different lexical-semantic fields. In this case, the polyphrase becomes
unlimitedly long.

MY LIVING WITH MOSCOW my cohabitation with Moscow cohabitation of Moscow with me I will get hold of Moscow Moscow will get hold of me Moscow will outlive me I will outlive Moscow I - lived in Moscow I am the dwelling of Moscow Moscow lives me life Muscovite me my tenacious Moscow my Muscovite life...... .................................... ............. ...............................

Anaphrasy is like a topological inversion of phrasal
space, the maximum “stretch” of a given set of words, the sum
their semantic-morpho-derivative-syntactic transformations.

Polyfraz as a set of all anaphrases from a given set
A lexeme is, in fact, a special literary genre, the poetics of which
needs study. It is difficult to correlate it with any known
genres of poetry or prose - this is the poetry of the linguistic paradigm itself,
poetry of phrasal transformations produced simultaneously by change
word order and replacement of some word forms and derivatives by others,
– poetry of phrase change and phrase formation. The best literary
results are achieved subject to the greatest freedom of initial
parameters, i.e. the greatest lexico-morphological extensibility
(variability) of each word, subject to maintaining unity
lexical-semantic field. The art of anafrasia is not mechanical
changing word order, that's it art,
since it requires selection among many transformation options
of this lexical unit.

Let us give an example of an expanded polyphrase consisting of variations
on the topic of four words: grey, house,
heavenly, place. In all of my
possible permutations they amount to twenty-four anaphrases,
the combination of which forms the paradigm of phrase change as
a special genre whole. In this case, the roots are preserved invariantly
all significant lexical units, but changes are allowed
not only their morphological, but also word-formation parameters,
up to the transition of the word to another part of speech (“house – home”,
“gray – greyness”, “place – local – local”). notice, that
Each anaphrase has its own meaning, which in the overall composition
phrasal series complements and contrasts the meanings of others
anaphrase.

GRAY HOUSE IN A PARADISE PLACE 1234 gray house in a heavenly place (straight order) 1243 gray house in a local paradise 1324 gray paradise at a home place 1342 gray paradise at a local home 1423 gray place at a home paradise 1432 gray place at a home paradise (even arrangement) 2134 home grayness heavenly place 2143 home grayness of local paradise 2314 house - heaven of gray place 2341 house - paradise of local grayness 2413 house - place of gray heaven 2431 house - place of heavenly grayness 3124 heaven - grayness of home place 3142 heavenly grayness of local house 3214 heavenly house in a gray place (odd rearranged) 3241 paradise house of local grayness 3412 paradise place of a gray house 3421 paradise - place of home grayness 4123 place of grayness - house of paradise 4132 place of grayness - paradise of the house 4213 place of home - gray paradise 4231 place of home - paradise of grayness 4312 place of paradise - gray house 4321 place paradise - domestic dullness (changeling)

These are linguistic polyphrases in which one can note the features of the genre
integrity and literary play. Let us now present two polyphrases,
which have already managed to enter literary literature - texts
Genrikh Sapgir from the cycles “Lubok” and “Modern popular print”, in its entirety
built on anafrasia.

The sergeant grabbed the Kalashnikov assault rifle, placed it in the blue belly and began to shoot with pleasure into the crowd. The crowd rested the assault rifle, grabbed the Kalashnikov - the sergeant, and began to shoot with pleasure in the blue belly. Kalashnikov - the assault rifle began to shoot with pleasure into the crowd... at the sergeant... in the stomach. .. in the blue ones in Kalashnikov, the crowd began to shoot with pleasure at the blue machine gun that stood on the corner, the blue one grabbed the crowd and began to shoot as the machine gun began to shoot with pleasure

This polyphrase is about ecstasy and the expansion of violence that captures
everything and everyone, swapping their subjects, objects and attributes: Sgt.
shoots into the crowd; the crowd shoots the sergeant; machine gun fires
both into the crowd and into the sergeant; the crowd shoots at a machine gun (this time a telephone one);
finally, abstract signs and states begin to shoot -
blue, pleasure... Around the stable predicate “begin to shoot”
all other lexemes rotate, changing their grammatical positions
and functions.

PERSONAL COMPUTER

1. text: skill texts computer work you acquire quickly
necessary personal (see)

2. working with texts on a personal computer, you quickly gain
required skill (see No. 1)

3. working with you, a personal computer quickly acquires the necessary
skill (see text)

4. you quickly acquire a personal computer and work on it
your skill (must see text)

5. The necessary skill is acquired by you personally. you work fast
to a computer (see text)

6. you are a computer. acquire the necessary personal skills.
quickly work with texts (see N 1)....

This polyphrase (abbreviated) is about a new symbiosis of technology
and man, about the becoming cyborg (cybernetic organism),
in which the functions of the computer and its “user” are mutually reversible, so
that both gain and use each other equally. Respectively
the syntactic positions of words and the functions of grammatical
object and subject.

In both texts, anaphrasy has a very specific figurative motivation,
which makes it in this case a literary phenomenon, and not just
language. And although texts entirely based on anaphrasia are exclusively
rare, one can hope that theoretical understanding of this linguistic
phenomenon will pave a wider path for him into literary literature.

Types of relationships between anaphrases

Morpho-syntactic and semantic types of relations between anaphrases
needs independent development, this area has not yet been explored.
In some cases, anaphrases are semantically equivalent, i.e. have
approximately the same degree of meaningfulness and referential orientation.
Such anaphrases can be called homogeneous (uniform):

Blue sea sea blue gray house in a quiet place quiet place in a gray house quiet house in a gray place gray place in a quiet house Whoever loves is loved, whoever is bright is holy, Let the star lead you on the way to a wondrous garden.

(A. Volokhonsky) He who loves, who is loved, is bright, who is holy, Let the star lead you along a wondrous path to the garden.
In most cases, however, anaphrases are semantically heterogeneous.
In anaphrase, a non-figurative expression can become figurative, an ordinary

phrase turn into metaphor:

Insect antennae insect antennae (metaphor) His smug face trembled and seemed to buzz
insects.

antennae

Twilight time twilight time (metaphor) Postmodernism marks the exhaustion of history,
twilight.

time
A standard speech metaphor can give an anaphrase a non-standard

metaphor: Heart of the city city ​​of heart roses of rosy cheeks

rosy cheeks of roses

A comic, parody effect is also possible:

I remember a wonderful moment: you appeared in front of me. (A.S. Pushkin) Do you remember a wonderful moment: I appeared before you.
According to the semantic relationships between anaphrases, we can roughly distinguish

these are their types:
1. Meaningless (empty): any logical or
there is no referential connection with the signified, at least not

visible out of context.

Lilac branch – lilac branches
2. Meaningless (stupid): the usual expression is turned inside out
inside out, but no addition or change in meaning occurs,

It is difficult to imagine the context of such a phrase.

Write to a friend - make friends with a letter

3. Equivalent (neutral).

Dinner invitees dinner for invitees
4. Contrasting (sharp, contrasting): they reverse the original

meaning inside out and often produce a comic, punning effect.

5. Foreign (deep), bringing a different, unexpected meaning.

Wish happiness wish happiness
anaphrases.

To summarize, we can say that there are worsening, equivalent and improving

Worsening: meaningless and meaningless (1, 2)

Equal: neutral and contrasting (3, 4)

Enhancers: alien (5)
Of course, we need a more detailed typology of relations between anaphrases,
based on a systematic study of their semantic effects and

comparative communicative and aesthetic value.

Anaphrasy as a metaphor generator and literary device
Anaphrasy can act as a literary device, even as an independent one genre literary creativity
anaphrase, not polyphrase as a variable phrasal series, but precisely a separate
anaphrase in its relation to the original phrase, or rather, its very reception
transformation, which we call anaphrasia. In that
In this case, anaphrases act as syntactically generated metaphors,
which reveal mutual, inverse similarity of phenomena.

It is common to compare eyebrows to birds, for example:

Round eyebrows fly out like swallows

Inverting this image, I. Brodsky creates a metaphorical palindrome:

“a thrush flies like fused eyebrows”

Many comparisons can be reversed in the same way. Anafrasia
acts as a generator of new metaphors.

Let's open the largest vocabulary collection of images in Russian literature
- "Dictionary poetic images» Natalia Pavlovich – and we will choose
from it, randomly select several poetic expressions to which we can apply
reception of anaphrasia.

Let us divide the anaphrasia procedure into the following points:

A. Text source.

b. Anaphrasia as an algorithm for creating a new image.

V. Text result.

From the chain once again / The dog of the pencil / And the teeth of the letters with saliva
ink into the thigh of paper. V. Shershenevich. (“Dictionary of poetic images”,
vol. 1, p. 696).

Pencil dog dog pencil teeth letters teeth letters

By white snow a yellow dog pencil passed through.

The mysterious letters of someone's teeth were imprinted on her forearm.

Behind me, the banners of the kiss.

V. Khlebnikov. (1, 374)

Kiss banners kiss banners

The kisses of the banners will penetrate into the hearts.

The Caucasus was all in full view / And all like a rumpled bed B. Pasternak (2, 510)

The Caucasus is like a rumpled bed

Jealousy rose up in him when he looked at the Caucasian ridges
her unmade bed.

A train laughing with all its windows.

V. Nabokov (2, 180) ...this laughter came at him like a blinding train.

In the distance a cherub rushed like a crimson meteor... A. Bely (1, 176)

In the distance a meteor rushed like a crimson cherub...

And swollen with venous blood, / Pre-winter roses bloom.
O. Mandelstam (2, 668) And the pre-winter blood blooms like a venous rose.
Anaphrases are not predictable, like any creative act. It is possible, however,
derive a general pattern: if a word is used in two senses,
literal and figurative, it is more suitable for anaphrase. For example,
air and fire can represent physical elements, but also
metaphorically indicate certain properties: air - public
using the literal and figurative meaning of these words.

Why is this particular idea in the air? Because there is air in this idea.

If there is a fire burning in a book, then it itself will not burn in any fire.

Anafrasia and translation
It should be noted that anaphrases, which may seem redundant
luxury in European poetry, absolutely necessary when translating
Chinese and Japanese poetry. In hieroglyphic writing, images are free
from those unambiguous morphological features and syntactic

connections that are imposed on them in translation into European languages.
Chinese is one of the so-called “root” (or
"isolating"), where the word usually equals the root, more precisely, the word
has no morphological forms of change. Hieroglyphs in Russian are better
in general they are conveyed precisely by root morphemes, since they lack

signs of part of speech, gender, case.
Let's say a line from the classic of Chinese poetry Wang Wei (701-761) consists

from the following hieroglyphs:

empty mountains no view someone [person]
How to translate this line into Russian? Only anaphrases that
as if they convey the “empty” polysemy of the hieroglyphic line,

all its possible meanings:

Can't see anyone on the empty mountain can't see anyone on the empty mountain can't see anyone on the empty mountain can't see anyone on the empty mountain can't see anyone on the empty mountain can't see anyone Empty. Mountain. No one to be seen. Emptiness. Mountain. Invisible Someone. Empty. Mining. Invisible. No one.
It is the Russian that is adequate to the ambiguous Chinese source
polyphrases - a set of anaphrases that vary all morpho-syntactic
properties of the original lexical units. Usually European translations
Chinese poetry adds a lot of ad-libs to it, adding words,
designed to somehow fill in grammatical gaps, to complete
what remains unsaid in hieroglyphs. Obviously so prosaic
additions to Eastern poetry are inevitable, but so as not to impose on hieroglyphs
unambiguousness, variability of readings is needed, which is achieved
anaphrasic development of this text. The meaning of hieroglyphs

equal to the sum of their possible anaphrases.

Here is another example from a textbook poem by Meng Hao-ran (689-740):

The boat moored in the river fog island sun sunset putn new sadness The boat moored in the river fog to the island. The sun sets, the traveler becomes sad again. Boats pier - island of the misty river. Sunset is the sadness of a new path. The boat moored to the island of river fog. The setting sun again saddens the traveler.
to its own polyphrase, i.e. a whole set of anaphrases.

Symphrasia

The poet Gregory Mark (Boston) in a letter to the author responded to
previous section of the article: “It seems to me very important that
accurate translations can be realized in polyphrases. I've encountered this
all the time I was trying to evaluate translations of my own poems
to English. Only several translations by different authors of the same
and the same line or even the entire verse, put together, create
polyphrase, which is the real translation - the original verse in
in its entirety and even more than the original verse.”

Agreeing in principle with G. Mark, I must note that the combination
translations that deviate from the identity of words (more precisely, root
morphemes) in the original line, already goes beyond anaphrasia and
should receive a separate name and interpretation. For example,
multi-layered series of translations of each line of Confucius, presented
in the publication “Conversations and Judgments of Confucius” (1999), retains the identity
words of the original, but not the identity of the words used in the translation.
Here is one of the passages (in brackets are the names of the translators):

(1) Confucius said: “Don’t interfere in your own business” (P. S. Popov)

(2) The teacher said: “If you are not in the service, there is nothing to think
about state affairs" (V. A. Krivtsov)

(3) The teacher said:

- Don’t get involved in other people’s affairs.

When you are not in his place (I. I. Semenko)

(4) The teacher said:

– When you do not occupy the corresponding post, do not think about the corresponding
him in management affairs (A. E. Lukyanov)

This phenomenon is closer to periphrasis, when the same thought is expressed
different words than to polyphrase, when the same (or
related words express different thoughts. However, translations
are so different, not only in words, but also in thoughts (especially
1 and 3, on the one hand, 2 and 4, on the other), which is the category “periphrase”
hardly fits here. I would indicate this phenomenon How symfrasia
(Greek prefix sin- or sim- means “with, together with”; cf. symphony,
symbiosis, syntax, synchrony). Symphrasia
- a set of phrases that vary similar thoughts with different words,
translating multiple meanings of one original in different ways.
Symphrasal translation of one text into another language or languages ​​is, indeed,
not only gives the most complete picture of the original, but
and, as it were, radially expands its meaning, creates a new literary
a work in the genre of symfrasia.

Double helix of tongue

Anaphrasy as a phenomenon of language clearly represents the relationship
its two main plans: syntagmatics and paradigmatics. Let us remind you that
that syntagmatics is a linear sequence of words given
in speech or text, and paradigmatics is a set of linguistic
elements present in the consciousness of the speaker/squeaker. Let me remind you
the classic formulation of Ferdinand de Saussure: “Syntagmatic
the relation is always in praesentia: it is based on two or more
number of members of the relationship, equally available in the actual
sequences. On the contrary, an associative relation connects
members of this relationship in a virtual, mnemonic series; members
it is always in absentia." From the list of these associated
elements the speaker chooses the one that, according to its semantics and
grammatical form suitable for expressing the desired meaning and
placed in a specific place in speech. Under each member of speech
syntagms, one can build a paradigmatic series.

Anaphrasy arises at the intersection of these two planes of language, provided
that every permutation of elements in a syntagmatic series entails
followed by the replacement of members of the paradigmatic series. Anafrasia is
minimum, and therefore the most concentrated expression
the relationship between these two plans. Minimum – because all permutations
in the syntagmatic series are carried out with a limited set
words: nothing new is added to it, unlike the open
flow of speech. But it is precisely thanks to this limitation that one can trace
how syntagmatic rearrangement entails displacement
elements of paradigmatic series - inflectional and word-formative.
Unlike those lexical paradigms depicted above,
anaphrasy involves paradigms consisting only of forms
the same word or derivatives of the same root.

This is how polyphrases are born - a set of anaphrases that play out everything
possible relationships between syntagmatics and paradigmatics in the original
recruitment

I LOVE YOU I love you You love me My love for you Your love for me I am your love You are my love Loving you with myself Loving myself with you Your self-love My love for you

Anaphrasy is the crossing of the two main axes of language, according to terminology
R. Jacobson, combinations and selection. In a sense, linguistic
activity is the construction of a graph in two coordinates: each
a word, on the one hand, has a specific place in the chain of speech,
on the combination axis, and on the other hand, correlates with a certain
a set of associative elements placed on the selection axis.
Anaphrasy builds a visible graph of the movement of a word, its grammatical
forms and lexical derivatives, in the coordinates of both axes of the language.

In ordinary, “open” speech, the elements of language are not repeated, but replace
each other, and the choice of one or another element on the selection axis is not
is directly related to the movement of this element on the combination axis.
You can say “the postman brings a newspaper” or “the driver brings
parcel" without any visible connection between the combination of these words
with their selection from the paradigmatic series of each word. But it's worth it
“close” the speech within the confines of a phrase and begin to modify it in such a way
in such a way that the same elements are repeated in different positions
(anaphrasy), as we will see, the very position of the element on the combination axis
is associated with the selection of this element on the selection axis. Detected
topological linkage of two axes of linguistic space: each
the position of the word in the phrase is not empty, but already curved,
semantically and grammatically predisposed to select certain
elements of the paradigmatic series. If “I love”, then “I” and “you”;
if “love”, then “mine” to “you” or “yours” to “me”; if "love"
then “selfishness” or “you love” is “mine” or “yours.” Recombination
elements on the syntagmatic axis brings into play recombination
elements on the paradigm axis, and vice versa. Anaphrase - this living elastic
connection between syntagmatics and paradigmatics in curved space
language, which most clearly demonstrates its curvature precisely
in the tightness of a compressed and repeatedly varied phrasal series. Anafrasia
shows how one, combinatorial axis of language does not simply intersect
with another, selective axis, but as if intertwined many times
with it, forming a double helix - similar to the DNA molecule that
stored in the nucleus of a living cell and contains genetic information
code by which a cell is able to reproduce itself, create
like yourself. That's how anaphrasy is a kind of DNA of language,
its double helix, where they mutually bend and intertwine
bringing together its syntagmatic and paradigmatic series.

In conclusion, as a reverse epigraph - or anagraph - I will give
one of the most beautiful anaphrases of Russian poetry:

In a slow whirlpool heavy delicate roses, Roses heaviness and tenderness braided into double wreaths!

This is a classic anaphrase (of the third type), where the order changes
words and at the same time the words themselves change. And at the same time it is visible
an image of what the poem is actually talking about:
heaviness and tenderness weaves roses into double wreaths - and at the same time
the very words about roses, their heaviness and tenderness are woven into double wreaths.

* I express my deep gratitude to Doctor of Philology,
Professor of St. Petersburg University Lyudmila Vladimirovna
Zubova for valuable and insightful comments that contributed to
revision of this article.

1. A. S. Pushkin. Letter to L. S. Pushkin, PSS, vol. 10, 1958, p. 117.

2. N. A. Berdyaev. The meaning of creativity (chapter ХIY). M., Pravda, 1989,
P. 519.

3. Chiasmus has been known since antiquity, but relatively recently it became
subject of independent study, in particular in connection with the peculiarities
construction of biblical texts. See, for example, John Breck The
Shape of Biblical Language: Chiasmus in the Scriptures and Beyond.
Crestwood:St. Vladimir's Seminary Press, 1994.

4. For example, Nabokov’s letter palindrome “I ate moose meat,
mleya..." is far from sound
palindrome - the same phonemes, when read backwards, give the following literal expression: “ay el masyo lasa mlayai”
(I use one of the many possible methods of phonemic transcription).

5. “Any relationship of the same root should be considered motivational
words, if one of them is included in the semantics of the other, if one of them
these words can be interpreted through something else...” A. N. Tikhonov. Derivational
Dictionary of the Russian language, in 2 vols. M. Russian language, 1985, vol. 1, p.
37. Examples of motivational relationships, according to Tikhonov: run
- run, win - winner, white
- whiteness.“...The meaning of one of them...is identical
lexical meaning of the other, but the syntactic positions of these
words are different..." (ibid.). Lack or weakness of motivational
relationships between cognate words are illustrated by the following examples:
way - unlucky; storm - stormy;
ripe – hurry – success; rotate – pervert
– transform – debauchery"(ibid., pp. 39-40). Of course
the presence or absence of a motivational connection is only the limit,
between which there are many transitional cases of more or less strong/weak
communications.

6. “People” belongs to the same lexical-semantic group
as “nation”, “nationality”, “tribe”, “ethnic group”... “Relative”
– to another group: “mother”, “father”, “brother”, “sister-in-law”... “Be born”
– to the group including the verbs “to be born”, “to appear”, “to arise”,
“disappear”, “die”, etc.

7. The term “polyphrase” is only one of the possible ones to designate
this genre. Other possible names are “frazovik”, “frazikon”
(cf. lexicon). The term "polyphrase", in addition to its clear referential
correlation with the subject (multiplicity of phrases forming a polyvariant
whole), attracts me with its echo and contrast with the term
"periphrase" ("periphrase"). If a paraphrase expresses the same thing
meaning in different words, then the polyphrase expresses the same
words have different meanings.

8. G. Sapgir. Poems and poems. (Small series of the Biblical poet).
St. Petersburg, 2004, pp. 311-322.

9. Natalia Pavlovich. Dictionary of poetic images. Based on the material
Russian fiction of the 18th-20th centuries, vols. 1-2. M., Editorial
URSS, 1999. Further references indicate only the volume and page number.

10. On the reversibility of metaphors, or, more broadly, figurative paradigms, see N.
V. Pavlovich. Language of images. Paradigms of images in Russian poetic
language. M., Azbukovnik, 2004, pp. 87-110. Key takeaway: “Each
the figurative paradigm strives to be reversible” (p. 88). If typical
even the stereotypical image that permeates all literature: “the river,
like time,” then there will always be someone who will say: “time is like a river.”
(A. Bely), “time-shaped river” (S. Sokolov).

11. Poems by Chinese poets are cited from the editions of James J. Liu.
The Art of Chinese Poetry. The University of Chicago Press, 1962;
Chinese Poetry. Major Modes and Genres. Ed. and transl. Wai-Lim
Yip. Berkeley and London: University of California Press, 1976.
The first book provides a rationale for the “root” translation of Chinese
poetry into European languages. The root ones correspond to hieroglyphs
morphemes lacking those grammatical features that define
narrative structure of European poetry based on categories
time, person, inclination.

12. Confucius. Lun Yu, ch. VIII, 14, in the book. Conversations and judgments of Confucius.
St. Petersburg: Crystal, 1999, p. 280. 13. Ferdinand de Saussure. General course
linguistics, part 2, ch. 5, 2, in his book. Works on linguistics, M.,
Progress, p. 156. The concept of “paradigmatics” was later proposed
L. Elmslev (instead of “associativity”) as an addition to
"syntagmatics".

14. Anagraph- any element of a literary text placed
in the reverse order of its usual place in the composition.
For example, in front of us anagraphy, if epigraph or exposition,
the title or preface is placed at the end of the work contrary to
to its usual position at the beginning; or if, on the contrary, the epilogue
or an afterword are placed at the beginning of the work contrary to its
the usual position at the end. The term "anagraph" is included, along with
with "anagram" and "anaphrase", into the family of terms with the prefix
"ana" denoting a changed or inverted order
components of the text - letters, words, composition elements.

15. It would be interesting to consider the “ana-technique” - anagram techniques,
anaphrasia, anagraphy - in languages ​​of other arts, not only verbal:
music, architecture, painting... Obviously, a linguistic phrase has
its equivalent in music is the “musical phrase” as the main syntactic
element musical form, relatively independent construction,
combining several motives. Motive as the smallest independent
formative unit with figurative expressiveness,
can be compared with a word (lexical unit of language).
Respectively, musical anaphrasia- these are diverse
rearrangements and reversals of motives, resulting in the creation
new musical phrases. In this case, the syntagmatic rearrangement
motives, like words, can be accompanied by their variation on the axis
paradigmatics, moving through chords, voices, registers, sequences,
tempo, volume, different musical instruments, etc.

Another possible parallel, no longer to an anaphrase, but rather to an anagram,
– serial music based on the alternation of twelve tones
(dodecaphony). If the motive corresponds to the word, then the musical
tone, devoid of independent expression, corresponds to the letter,
and this means that dodecaphony can be considered as a musical anagram.
It is no coincidence that Arnold Schoenberg, the founder of dodecaphony, gave
a lot of time studying the Torah and Kabbalah, their linguistic and mystical
aspects before developing a new serial technology, the most
sequentially - in the opera “Moses and Aaron”, where the plot itself deepens
into the mystery of God's word. In general, if the world was created from a finite number
letters (22 in the Hebrew alphabet) and a finite set of elementary
particles, then both in the linguistic and physical sense the universe
is a universal, infinitely variable anagram
and anaphrase.

In the fine arts of the twentieth century (K. Malevich, P. Picasso,
A. Matisse, P. Mondrian, I. Kabakov...) the desire for seriality is also obvious,
identifying a limited set of significant elements (geometric,
emblematic, figurative, abstract) and their multiple
permutation, simultaneous variation along the axes of combination and
selection.

As you know, the word is the basic unit of any language, as well as the most important component of its artistic means. The correct use of vocabulary largely determines the expressiveness of speech.

In context, a word is a special world, a mirror of the author’s perception and attitude to reality. It has its own metaphorical precision, its own special truths, called artistic revelations; the functions of vocabulary depend on the context.

Individual perception of the world around us is reflected in such a text with the help of metaphorical statements. After all, art is, first of all, the self-expression of an individual. The literary fabric is woven from metaphors that create an exciting and emotionally affecting image of a particular work of art. Additional meanings appear in words, a special stylistic coloring, creating a unique world that we discover for ourselves while reading the text.

Not only in literary, but also in oral, we use, without thinking, various techniques of artistic expression to give it emotionality, persuasiveness, and imagery. Let's figure out what artistic techniques there are in the Russian language.

The use of metaphors especially contributes to the creation of expressiveness, so let's start with them.

Metaphor

It is impossible to imagine artistic techniques in literature without mentioning the most important of them - the way of creating a linguistic picture of the world based on meanings already existing in the language itself.

The types of metaphors can be distinguished as follows:

1. Fossilized, worn out, dry or historical (bow of a boat, eye of a needle).
2. Phraseologisms are stable figurative combinations of words that are emotional, metaphorical, reproducible in the memory of many native speakers, expressive (death grip, vicious circle, etc.).
3. Single metaphor (eg homeless heart).
4. Unfolded (heart - “porcelain bell in yellow China” - Nikolay Gumilyov).
5. Traditionally poetic (morning of life, fire of love).
6. Individually-authored (sidewalk hump).

In addition, a metaphor can simultaneously be an allegory, personification, hyperbole, periphrasis, meiosis, litotes and other tropes.

The word “metaphor” itself means “transfer” in translation from Greek. In this case, we are dealing with the transfer of a name from one item to another. For it to become possible, they must certainly have some similarity, they must be adjacent in some way. A metaphor is a word or expression used in a figurative meaning due to the similarity of two phenomena or objects in some way.

As a result of this transfer, an image is created. Therefore, metaphor is one of the most striking means of expressiveness of artistic, poetic speech. However, the absence of this trope does not mean the lack of expressiveness of the work.

A metaphor can be either simple or extensive. In the twentieth century, the use of expanded ones in poetry is revived, and the nature of simple ones changes significantly.

Metonymy

Metonymy is a type of metaphor. Translated from Greek, this word means “renaming,” that is, it is the transfer of the name of one object to another. Metonymy is the replacement of a certain word with another based on the existing contiguity of two concepts, objects, etc. This is the imposition of a figurative word on the direct meaning. For example: “I ate two plates.” Mixing of meanings and their transfer are possible because objects are adjacent, and the contiguity can be in time, space, etc.

Synecdoche

Synecdoche is a type of metonymy. Translated from Greek, this word means “correlation.” This transfer of meaning occurs when the smaller is called instead of the larger, or vice versa; instead of a part - a whole, and vice versa. For example: “According to Moscow reports.”

Epithet

It is impossible to imagine the artistic techniques in literature, the list of which we are now compiling, without an epithet. This is a figure, trope, figurative definition, phrase or word denoting a person, phenomenon, object or action with a subjective

Translated from Greek, this term means “attached, application,” that is, in our case, one word is attached to some other.

Epithet from simple definition distinguished by its artistic expressiveness.

Constant epithets are used in folklore as a means of typification, and also as one of the most important means of artistic expression. In the strict sense of the term, only those whose function are words in a figurative meaning, in contrast to the so-called exact epithets, which are expressed in words in a literal meaning (red berries, beautiful flowers), belong to tropes. Figurative ones are created when words are used in a figurative meaning. Such epithets are usually called metaphorical. Metonymic transfer of name may also underlie this trope.

An oxymoron is a type of epithet, the so-called contrasting epithets, forming combinations with defined nouns of words that are opposite in meaning (hateful love, joyful sadness).

Comparison

Simile is a trope in which one object is characterized through comparison with another. That is, this is a comparison of different objects by similarity, which can be both obvious and unexpected, distant. It is usually expressed using certain words: “exactly”, “as if”, “similar”, “as if”. Comparisons can also take the form of the instrumental case.

Personification

When describing artistic techniques in literature, it is necessary to mention personification. This is a type of metaphor that represents the assignment of properties of living beings to objects of inanimate nature. It is often created by referring to such natural phenomena as conscious living beings. Personification is also the transference of human properties to animals.

Hyperbole and litotes

Let us note such techniques of artistic expression in literature as hyperbole and litotes.

Hyperbole (translated as “exaggeration”) is one of the expressive means of speech, which is a figure with the meaning of exaggerating what is being discussed.

Litota (translated as “simplicity”) is the opposite of hyperbole - an excessive understatement of what is being discussed (a boy the size of a finger, a man the size of a fingernail).

Sarcasm, irony and humor

We continue to describe artistic techniques in literature. Our list will be complemented by sarcasm, irony and humor.

• Sarcasm means "tearing meat" in Greek. This is evil irony, caustic mockery, caustic remark. When using sarcasm, a comic effect is created, but at the same time there is a clear ideological and emotional assessment.
• Irony in translation means “pretense”, “mockery”. It occurs when one thing is said in words, but something completely different, the opposite, is meant.
• Humor is one of the lexical means of expressiveness, translated meaning “mood”, “disposition”. Sometimes entire works can be written in a comic, allegorical vein, in which one can sense a mocking, good-natured attitude towards something. For example, the story “Chameleon” by A.P. Chekhov, as well as many fables by I.A. Krylov.

The types of artistic techniques in literature do not end there. We present to your attention the following.

Grotesque

The most important artistic techniques in literature include the grotesque. The word "grotesque" means "intricate", "bizarre". This artistic technique represents a violation of the proportions of phenomena, objects, events depicted in the work. It is widely used in the works of, for example, M. E. Saltykov-Shchedrin (“The Golovlevs,” “The History of a City,” fairy tales). This is an artistic technique based on exaggeration. However, its degree is much greater than that of a hyperbole.

Sarcasm, irony, humor and grotesque are popular artistic techniques in literature. Examples of the first three are the stories of A.P. Chekhov and N.N. Gogol. The work of J. Swift is grotesque (for example, Gulliver's Travels).

What artistic technique does the author (Saltykov-Shchedrin) use to create the image of Judas in the novel “Lord Golovlevs”? Of course it's grotesque. Irony and sarcasm are present in the poems of V. Mayakovsky. The works of Zoshchenko, Shukshin, and Kozma Prutkov are filled with humor. These artistic techniques in literature, examples of which we have just given, as you can see, are very often used by Russian writers.

Pun

A pun is a figure of speech that represents an involuntary or deliberate ambiguity that arises when used in the context of two or more meanings of a word or when their sound is similar. Its varieties are paronomasia, false etymologization, zeugma and concretization.

In puns, the play on words is based on the jokes that arise from them. These artistic techniques in literature can be found in the works of V. Mayakovsky, Omar Khayyam, Kozma Prutkov, A. P. Chekhov.

Figure of speech - what is it?

The word "figure" itself is translated from Latin as " appearance, outline, image." This word is polysemantic. What does this term mean in relation to artistic speech? related to figures: questions, appeals.

What is a "trope"?

“What is the name of an artistic technique that uses a word in a figurative sense?” - you ask. The term “trope” combines various techniques: epithet, metaphor, metonymy, comparison, synecdoche, litotes, hyperbole, personification and others. Translated, the word "trope" means "turnover". Literary speech differs from ordinary speech in that it uses special turns of phrase that embellish the speech and make it more expressive. IN different styles different means of expression are used. The most important thing in the concept of “expressiveness” for artistic speech is the ability of a text or a work of art to have an aesthetic, emotional impact on the reader, to create poetic pictures and vivid images.

We all live in a world of sounds. Some of them evoke positive emotions in us, others, on the contrary, excite, alarm, cause anxiety, calm or induce sleep. Different sounds evoke different images. Using their combination, you can emotionally influence a person. Reading works of art literature and Russian folk art, we are especially sensitive to their sound.

Basic techniques for creating sound expressiveness

• Alliteration is the repetition of similar or identical consonants.
• Assonance is the deliberate harmonious repetition of vowels.

Alliteration and assonance are often used simultaneously in works. These techniques are aimed at evoking various associations in the reader.

Technique of sound recording in fiction

Sound painting is an artistic technique that is the use of certain sounds in a specific order to create a certain image, that is, a selection of words that imitate the sounds of the real world. This technique in fiction is used both in poetry and prose.

Types of sound recording:

1. Assonance means “consonance” in French. Assonance is the repetition of the same or similar vowel sounds in a text to create a specific sound image. It promotes the expressiveness of speech, it is used by poets in the rhythm and rhyme of poems.
2. Alliteration - from This technique is the repetition of consonants in a literary text to create some sound image, in order to make poetic speech more expressive.
3. Onomatopoeia is the transmission of auditory impressions in special words reminiscent of the sounds of phenomena in the surrounding world.

These artistic techniques in poetry are very common; without them, poetic speech would not be so melodic.

Artistic techniques reduce the engaging power of the slogan, but have a positive effect on its perception and memorization by the consumer. Slogan memorization increases:

alliteration:

Aquafresh toothbrush: cleans with shine, works head-on.

Nescafe Classic. Deep fresh taste.

Great taste! Great start!

Coffee Jockey. Look at life more cheerfully!

Wein: Der Weinbrand von achtzehn Karat.

Berliner Pilsner: Das Bier von hier.

Binding: Dir und mir Binding Bier.

Bommerlunder: Vor dem Bier, nach dem Essen, Bommerlunder nicht vergessen.

Wein: Rein aus Wein. Vollausgereifter Geschmack.

Apfelsaft: Apfelsaft wirkt fabelhaft.

Water freezes at 0 C.

Proven by Celsius.

Reliable Appliances exists.

Proven by Zanussi.

The slogan consists of two parts, constructed using the principle of syntactic parallelism. The order of words in sentences, even deliberate lexical repetition (the word proven), inspires the consumer with the idea that there is only one company worthy of trust.

The use of a pun becomes the basis for constructing an advertisement for washing powder:

Cleanliness - pure Tide.

The technique of parallelism - the same syntactic construction of segments of speech - makes the slogan concise and memorable.

There are things that cannot be bought.

For everything else there is Mastercard.

The slogan is based on an antithesis expressed descriptively: a number of things cannot be bought (material values ​​are listed) - everything else can be bought, and Mastercard will help with this.

There is time. There is Meller.

The advertising slogan is based on the use of the polysemy of the word is. Time is - the present tense form of the verb to be is used. There is Meller - the meaning “to eat” is added to the specified meaning of the word. The increase in meaning allows us to perceive the advertising product (iris) on a par with the philosophical category of time. Due to the ambiguity of the slogan, the perception of advertising can be different: it conveys to the buyer the idea that eating “Meller” is as necessary as drinking tea, brushing teeth, taking a shower, etc., that it is easy for the consumer to find time in life to eat toffee “ Meller".

Everyone is delighted with you. And you're from Maybelline.

The use of parcellation in the construction of this slogan and the chain connection between sentences make it possible to highlight the main thing in oral speech. In the first sentence the pronoun everything, in the second - the pronoun you help to perceive the movement of thought about what is a reason for delight.

It's good where we are

The slogan is short, energetic, and attracts attention. The slogan promises a certain benefit, a feeling of comfort and reliability. A transformation of the well-known expression is used. It is good where we are not with a change in meaning to a positive one. The logical emphasis in the original expression is on the word no, in the slogan - on the expression we are, which is perceived in the sense of “we are, we exist.” The slogan inspires a positive emotional state. Being externally distracted from the advertised product, he transfers a positive view as a whole to the advertised product.

The form and content of an advertising slogan can be analyzed at the sentence level. When composing a slogan, the type of statement is taken into account. An exclamatory sentence with a verb in the imperative mood is often found in advertising of youth products or consumer goods with a low price. When the target audience of advertising consists of highly educated people who are offered a technically complex and expensive product, a narrative sentence is used. Western manuals claim that an exclamatory sentence with a verb in the imperative mood can really push the consumer to a specific action.

• 1. Kein Pfand. Kein zurück. Apollinaris Silence ohne Kohlensäure. Jetzt in der neuen pfandfreien Verpackung. // Woman. - No. 15. - S. 1
• 2. Just CAVALLI // Lucky .Das Glamor Shopping-Magazin. - No. 1. - S. 1
• 3. Die Farbe, die nie erlischt. Neu Garnier 100% color. Die erste dauerhafte Coloration mit Mikromineralien. Pure Farbpigmente. Für extrem langen Halt. //Jolie. - No. 7. - S. 10
• 1. Abbreviations, abbreviations - new words with a given meaning

Abbreviations can hide or give rise to a new meaning of a word

• 1. Bin-nicht-da-Kapuze. Sehr passend, wenn deine Eltern mal wieder nicht anklopfen. Läss-dich-nicht-in-Stich-Deo ideal für peinliche Momente, die dich ins Schwitzen bringen. Rexona. Jetzt in drei tollen Duften // Joy. - No. 9. - S. 172
• 2. AYGO Nichts ist unmöglich. Toyota // Joy. - No. 9. - S. 186
• 3. Bei Eiern achten Sie doch auch auf die Herkunft. FSC Das Garantiesiegel für Holz, mit dem Sie weltweit Wälder schützen. // Woman. - No. 15. - S. 16
• 2. Labels, cliches

One of the most important means of manipulating public consciousness is “labeling,” when concepts that evoke contempt or other negative emotions in the common man are attached to a particular phenomenon or personality.

• 1. Ikea - das unmögliche Möbelhaus // Lisa. - No. 13. - S. 29
• 2. Raum für ihre Türme. Der neue Peugeot 308 SW. // Stern. - No. 31. - S. 24
• 3. Citroen - Intelligenz auf Rädern. // Stern. - No. 31. - S. 45
• 3. Quantification of language

Quantification of language occurs by introducing into use words like super, super, mini, etc., which allows us to emphasize the quantitative characteristics of things and relationships. In addition to this means, manipulators often use numbers on their own, because the power of suggestion in numbers is very great, and text based on sometimes meaningless statistics is much more credible. After all, few people would think to count, or even check statistical data.

• 1. Vichy laboratoires. Befreien Sie die Mikrozirkulation und verleihen Sie ihrem Teint mehr Frische und ein stralendes Aussehen. Oligo 25. die Feuchtigkeitspflege für strahlend frischen Teint: +47% strahlendes Aussehen. Bereits nach 14 Tagen. Vichy. Weil Gesundheit auch Hautsache ist. //Jolie. - No. 7. - S. 14
• 2. Dove. Gut gepflegt. GleichmдЯig gebrдunt. Dove Sunshine Body Lotion. Gut für die Haut. Super fürs Aussehen. // Bild der Frau. - No. 19. - S. 19
• 3. Auch serienmдяig: elektrische Fensterheber, Klimaautomatik, Zentralverriegelung, BBS-Leichmetallräder, 195er Breitreifen, Lederlenkrad und noch vieles mehr. - 65.000 km Gleise. 31.000 Brücken. 86,000 Weichen. Mehr kann man für eine Fernbeziehung nicht tun. Die Bahn // Bild der Frau. - No. 4. - S. 51

Communication model

• - Lust glänzend auszusehen? Kein Problem mit dem Nivea Seiden Glanz Gel und Wax. Seidiger Glanz, extra starker Halt und extra Pflege. Alles andere liegt bei dir… Nivea Styling. Glanz. Halt. Pflege. //Jolie. - Nr.7. - S. 19
• - Woher kommt natрlich gepflegte Brdune? 1 Woche Ibiza. 1 Mal Nivea. Mit pflegender Feuchtigkeit für eine natürliche Brdune. Nivea Sun Selbstbrünungsspray. // Lucky. Das Glamor Shopping-Magazin. - Nr.1. - S. 123

Affective model

• - Metallisch blitzende Lippen. Extrem brilliant Halt. Neu forever metallics. Ich fühl" mich schön mit Jade Maybelline NY. // Lucky. -- Nr. 1. - S. 22
• - Gerolsteiner Linee hält den Energiehaushalt auf leichte Art stabil. Macht irgendwie lebendiger. // Bild der Frau. - Nr.19. - S. 46

Subject-professional model

Auch serienmäig: elektrische Fensterheber, Klimaautomatik, Zentralverriegelung, BBS-Leichmetallräder, 195er Breitreifen, Lederlenkrad und noch vieles mehr. - 65.000 km Gleise. 31.000 Brücken. 86,000 Weichen. Mehr kann man für eine Fernbeziehung nicht tun. Deutsche Bahn // Bild der Frau. - No.4. - S. 51

Psychoanalytically oriented approach to lateral programming of the human psyche

Das ideale Make-up für ihre Mischhaut. T-Zone: kein Glanz in Sicht. Trockene Zone: kein Spannungsgefühl! Loreal Paris // Lucky. Das Glamor Shopping-Magazin. - Nr.1. - S. 80

Hypnotic approach

• - Metallisch blitzende Lippen. Extrem brilliant Halt. Neu forever metallics. Ich fühl" mich schön mit Jade Maybelline NY. S.22 // Lucky. Das Glamor Shopping-Magazin. - Nr.1. - S.
• -Raus aus der Falle. Rein in die Frische. Weck deine Haut mit Frishe und Feuchtigkeit von bebe Young Care. // Lucky. Das Glamor Shopping-Magazin. - Nr.1. - S. 139

Neuro-linguistic programming (NLP)

Biotherm Aquasource Skin Perfection: Frisch wie Wasser, kühl wie Eis und sanft wie Schnee. Neu Aquasource Non Stop. 24 Stunden Feuchtigkeit non Stopp. Gesteigerte Wirksamkeit. Und die Kraft wie von 5.000 Litern aktivem Thermalwasser. // Lucky. Das Glamor Shopping-Magazin. - Nr.1. - S. 3

At its core, the language of advertising is imperative and emotive, because the greatest effect of influencing a person’s will and mind is achieved through influencing his feelings. As a rule, the impact is on such primitive feelings as fear and joy.

It is known that the use of humor in advertising texts attracts much more attention, and also contributes to better assimilation of the information of the advertising message. Even if the advertisement talks about things that are unpleasant for the consumer, humor can soften the perception of such advertising, as if telling the consumer that he is not alone in his problem. In addition, the consumer will prefer advertising containing elements of humor rather than aggressive advertising.

Hält länger frisch, als Ihnen lieb ist. Der einzige Platz, an dem Lebensmittel nicht zu lange halten sollten, ist Ihr Teller. In Kühlschränken von AEG dagegen bleibt Frisches jetzt bis zu drei Mal länger frisch, appetitlich - und gesund. Die beiden "longfresh"-0є Celsius-Fächer mit separater Luftfeuchteregulierung lagern Ihren Fang vom Markt so lange artgerecht, bis er auf Ihrem Teller landet. // Stern. - No. 31. - S. 63

Sie weinen am liebsten gemeinsam. Er hat nur etwas im Auge. Kino. Da für werden Filme gemacht. // Joy. - No. 9. - S. 183

A sense of social security and a feeling of universal approval and respect

In the first case, general consumer goods such as drinks, cigarettes, clothing, cars, cosmetics and travel are advertised. In the second case, advertisers often provide statistics reflecting the number of people who have used their services.

Metallisch blitzende Lippen. Extrem brilliant Halt. Neu forever metallics. Ich fühl" mich schön mit Jade Maybelline NY. // Lucky .Das Glamor Shopping-Magazin. - Nr. 1. - S. 22

Status and prestige

Such advertising is aimed at 2 types of buyers: those who have already achieved success, and those who strive for it. Accordingly, goods will be presented as an integral attribute of a luxurious life or one of the ways to achieve it.

Raum für ihre Türüme. Der neue Peugeot 308 SW. // Stern. - No. 31. - S. 24

Just CAVALLI // Lucky .Das Glamor Shopping-Magazin. - No. 1. - S. 1

Healthy lifestyle

Natürlich stark. Ein ganzes Leben lang. Geben Sie ihrem Körper die Kraft der Natur - mit Alpro soya. Leicht bekömmlich und arm an gesättigten Fettsüren. Enorm, was Soya alles kann. Für einen Körper, in dem man gerne lebt. // Bild der Frau. - No. 19. - S. 45

Desire to own property

AYGO Nichts ist unmöglich. Toyota // Joy. - No. 9. - S. 186

Desire for self-expression, self-determination, creativity

I play my way. Vagary 2004 Farbenfroh und mit frischem Design, so präsentiert sich die neuen Vagary Uhren für die junge und aktive Frau. Unterstreichen Sie ihre Persönlichkeit mit einem aufregenden Stil! //Jolie. - No. 7. - S. 6

Sind Arzneimittel bald unbezahlbar? Wir haben was dagegen. Hexal. Arzneimittel ihres Vertrauens. // Woman. - No. 15. - S. 25

Psst...es gibt ein Pflaster, das schützt wie eine zweite Haut. Hansapflast SprühäPflaster - die schnelle Art der Wundversorgung. Hansaplast. Wir helfen heilen. // Bild der Frau. - No. 4. - S. 79

Curiosity

Was ich für meine Fitness tue? GenieYen. Neu: Joghurt Bonifaz! So raffiniert wie vielfältig. //Jolie. - No. 7. - S. 161

Self-indulgence or narcissism

Gönnen Sie sich ein bisschen mehr Aufmerksamkeit. Der Kia Picanto. // Joy. - No. 9. - S. 163

Extrem gut vorbereitet. Der neue Audi A3 Sportback mit agilem Dynamikfahrwerk. // Stern. - No. 31. - S. 8

household technique: AEG Die Form besticht. Die Technik überzeugt.

AgfaTechnik, die vom Profi kommt.

Amazone Ihr starker Partner für Land- und Kommunaltechnik.

Bang & Olufsen Technik zum Verlieben.

Bosch Technik furs Leben.

Constructa Moderne Technik - leicht gemacht.

CTT Technik menschlich.

Esso Forschung und Technik, die man tanken kann.

Fleischhauer TVC Professionelle Audio- und Videotechnik.

Gaggia Tradition. Technik. Kompetenz.

Hitachi Mehr SpaI an der Technik.

Honda Qualität und Technik die begeistert.

Köhler Dachtechnik Qualität an höchster Stelle!

Nordmende Galaxy Technik, die stimmt - in jedem Detail!

cars: Opel Technik, die begeistert.

Opel Ascona Fahrkultur durch reife Technik.

Opel Rekord Dynamische Technik im Windprofil.

Peugeot SpeedFight 2Spitzensportler mit Spitzentechnik.

Renault Autotechnik fur den Menschen.

Nissan Micra Vollgepackt mit Technik.

Kreidler Technik in Bewegung.

Jetbag Der Dachkoffer für alle Fälle. Perfect in Technik und Design!

Honda Ausgewogene Technik: Honda.

Goodyear Technik für morgen.

Fiat Temperament und Technik.

Brose Technik für Automobile.

Boge Technik die Sicherheit gibt.

Autohaus Schnitzler Audi Wir haben die Technik, Sie haben den Vorsprung.

Audi Gelassen fahren mit perfectekter Technik.

Alfa RomeoTechnik der Zukunft. Schon immer.

Financial services:

Deutsche Drzte-Versicherung Finanzen im Ganzen.

Finanzen Carriere für Ihr Geld.

Finanzen Wissen was passiert, bevor es passiert.

Finanzen Clever Geld verdienen.

Finum Finanzhaus Logik in Finanzen.

FrauenVermögen Damit Frauen ihre Finanzen selbst in die Hand nehmen.

Moneyfinder Geld, Vermögen und Finanzen - go for it.

WeGoWir bringen Ihre Finanzen in Schwung.

medical supplies and drugs:

Frubienzym Die meistverwendete Halsmedizin.

Larylin Larylin ist Medizin. gegen Husten.

Activita Gesundheit in der Balance.

5 am Tag Die Gesundheitskampagne mit Biss.

AOK Die Gesundheitskasse.

AOK Für Ihre Gesundheit machen wir uns stark.

Arend/Wessling Gesundheit ist mehr als nicht krank zu sein.

Aronal/Elmex Spezialisten für Zahngesundheit.

Bad Heilbrunner Die Kraft der Natur für Ihre Gesundheit.

Bahn-BKK Zug um Zug Gesundheit.

Bekunis Gute Verdauung ist die Basis für gute Gesundheit.

Bekunis-Tee Für Ihre Gesundheit täglich eine Tasse Bekunis-Tee.

Beurer Gesundheit und Wohlbefinden.

Bioluft Wir holen aus der Luft das heraus, was Ihre Gesundheit gefährdet!

Bionorm Gewicht verlieren, Gesundheit gewinnen.

Doppelherz System Gesundheit mit System.

Dynavit-Trainer Partner der Gesundheit.

Enjoyliving Gesundheit. Entspannung. Wohlbefinden.

Fachapotheken (CH) Gesundheit hat ein neues Zeichen.

Focus Online Gesundheit Wissen, was mir hilft.

Hansal Gesundheit, die schmeckt!

The rest of the slogans examined (about 60%), which advertise alcoholic beverages, cigarettes, jewelry, watches, products for women, and food products, are emotional:

alcoholic drinks beverages:

Henninger Gerste lNicht ohne. Aber ohne Alkohol!

Issumer Alkoholfrei Man trinke und staune.

Veltins Malz Schmeckt frisch. Macht frisch. Alkoholfrei, nicht so sьЯ und voller Energie.

Warsteiner Premium alkoholfrei 100% Genuss - 0.0% Alkohol.

Erdinger Alkoholfrei 100% Regeneration für 100% Leistung.

Paulaner Alkoholfrei Kaum ein Unterschied. Auch im Geschmack. Paulaner Alkoholfrei.

St. Sin No.1 Und die Alkoholfahne ist gegessen.

Suchtprävention Hamburg Alkohol. Irgendwann ist der Spass vorbei.

Anker Mehl (AT) Erst ausprobiert...dann paketiert.

Binding Dir und mir Binding Bier.

Bommerlunder Vor dem Bier, nach dem Essen, Bommerlunder nicht vergessen!

Carlsberg Wahrscheinlich das beste Bier der Welt.

Dab Aus Liebe zum Bier.

Eichhof (CH) Das ist Bierkultur.

Fohrenburger (AT) Das fabelhafte Bier.

GatzGatz. Unser Bier.

Gemeinschaftswerbung Brauereien Ein bier kommt selten allein.

Giessener Pilsner Frischer Genuss ist unser Bier.

Haake-Beck Das bier von hier.

Hansa-PilsEins der Biere, die Dortmund behrmt gemacht haben.

HolstenEin packends Bier.

Jacob Wahrscheinlich das beste Weiäbier der Welt!

Kulmbacher Aus der heimlichen Hauptstadt des Bieres.

LicherLicher Bier. Aus dem Herzen der Natur.

Puntigamer (AT) Das bierige Bier.

Stauder Pils Die feine Art, Bier zu brauen. Die feine Art, Bier zu genieäen.

WeihenstephanUrsprung des Bieres.

jewelry: AurelisSchmuck der mir passt!

Christian BauerSchmuck der Zeichen setzt.

Dugena FachgeschäfteIhre Experten für Uhren, Schmuck und ... gute Ideen!

Fahrner-SchmuckWieder entzückt, beglückt... Fahrner-Schmuck.

Meister DiamantschmuckMoments forever.

SabonaSchmuck mit Funktion.

SeikoDer quarz-genaue Schmuck.

Weiss Goldrichtig für Schmuck und Uhren.

WempeWempe hat den Schmuck von Welt.

Alpina Uhren, die mehr als die Zeit angeben.

Braun Weckuhren So angenehm kann Aufstehen sein.

Chopard Happy SportBrillant rund um die Uhr.

CitizenDie Uhr, um die man Sie beneidet.

Dugena 444 AutomaticEine Uhr, die einfach zu Ihnen gehört.

Dugena AlpinaDugena-Alpina - die Uhr der Dame, die das Edle liebt.

Eterna MaticDas letzte Wort in Uhren.

Georg Jensen SpangenuhrDie zeitlose Uhr.

Iseco TTC LonglifeDie Uhr für eine kleine Ewigkeit.

JunghansGute Zeit mit Junghans-Uhren!

Mauthe FamosDie Markenuhr von Weltruf.

products for women:

Alpecin Coffein Shampoo Doping fur die Haare.

Bebe Young Care Soft Care Shampoos Einfach schönes Haar.

CrisanDie Kur im Shampoo.

Dufipon Shampoo Seidenweiches Haar durch Dufipon.

Glem Das Vorbild des Ei-Shampoos.

Irsa Shampoo Haarwäsche ohne Tränen.

Nivea Shampoo Die Pflege, die man sieht, spürt, fühlt.

Respond Grüner Apfel ShampooSchönes Haar, das man am Duft erkennt.

Shamtu Shampoo Shamtu Shampoo bringt Spannkraft ins Haar!

Wella Balsam Shampoo Die Balsam-milde Schönheitspflege.

Margaret Astor Wir haben den Lippenstift neu erfunden: Flipstick.

8x4 Deo Seife Dreifach wirksam auf einmal: reinigt - erfrischt und desodoriert.

Atlantic Seife Natürlich stimulierend wie eine Meerwassermassage.

Atlantic Seife Die belebende Frische von Seetang und Meer.

Dalli Das ist die Doppelwirkung von Dalli mit waschaktiver Seife.

Dalli ToiletteseifeDalli macht den Alltag froh.

Fa-Seife Die wilde Frische, die unter die Haut geht.

KalodermaSeife, Wie die Haut sie braucht.

Patina Seife Siehst du ein Ding mit Streifen - denk an Patina-Seifen.

Ax Dry Es ist mehr als ein Deodorant. Es ist ein Antitranspirant.

MUM-Deodorant MUM macht die Männer verrückt!

Palmolive Deodorant (CH) Starke Leistung unter höchster Belastung.

Riar Deodorant-SprayWird mit jeder Hitze fertig.

Literary and poetic devices

Allegory

Allegory is the expression of abstract concepts through concrete artistic images.

Examples of allegory:

The stupid and stubborn are often called the Donkey, the coward - the Hare, the cunning - the Fox.

Alliteration (sound writing)

Alliteration (sound writing) is the repetition of identical or homogeneous consonants in a verse, giving it a special sound expressiveness (in versification). In this case, the high frequency of these sounds in a relatively small speech area is of great importance.

However, if entire words or word forms are repeated, as a rule, we are not talking about alliteration. Alliteration is characterized by irregular repetition of sounds, and this is precisely the main feature of this literary device.

Alliteration differs from rhyme primarily in that the repeating sounds are not concentrated at the beginning and end of the line, but are absolutely derivative, albeit with high frequency. The second difference is the fact that, as a rule, consonant sounds are alliterated. The main functions of the literary device of alliteration include onomatopoeia and the subordination of the semantics of words to associations that evoke sounds in humans.

Examples of alliteration:

"Where the grove neighs, guns neigh."

"About a hundred years
grow
we don't need old age.
Year to year
grow
our vigor.
Praise,
hammer and verse,
the land of youth."

(V.V. Mayakovsky)

Repeating words, phrases, or combinations of sounds at the beginning of a sentence, line, or paragraph.

For example:

“The winds did not blow in vain,

It wasn’t in vain that the storm came.”

(S. Yesenin).

The black-eyed girl

Black-maned horse!

(M. Lermontov)

Quite often, anaphora, as a literary device, forms a symbiosis with such a literary device as gradation, that is, increasing the emotional character of words in the text.

For example:

“Cattle die, a friend dies, a man himself dies.”

Antithesis (opposition)

Antithesis (or opposition) is a comparison of words or phrases that are sharply different or opposite in meaning.

Antithesis makes it possible to make a particularly strong impression on the reader, to convey to him the strong excitement of the author due to the rapid change of concepts of opposite meanings used in the text of the poem. Also, opposing emotions, feelings and experiences of the author or his hero can be used as an object of opposition.

Examples of antithesis:

I swear by the first day of creation, I swear by its last day (M. Lermontov).

He who was nothing will become everything.

Antonomasia

Antonomasia - means of expression, when used, the author uses a proper name instead of a common noun to figuratively reveal the character’s character.

Examples of antonomasia:

He is Othello (instead of "He is very jealous")

A stingy person is often called Plyushkin, an empty dreamer - Manilov, a person with excessive ambitions - Napoleon, etc.

Apostrophe, address

Assonance

Assonance is a special literary device that consists of repeating vowel sounds in a particular statement. This is the main difference between assonance and alliteration, where consonant sounds are repeated. There are two slightly different uses of assonance.

1) Assonance is used as an original tool that gives an artistic text, especially poetic text, a special flavor. For example:

Our ears are on top of our heads,
A little morning the guns lit up
And the forests are blue tops -
The French are right there.

(M.Yu. Lermontov)

2) Assonance is widely used to create imprecise rhyme. For example, “hammer city”, “incomparable princess”.

One of the textbook examples of the use of both rhyme and assonance in one quatrain is an excerpt from the poetic work of V. Mayakovsky:

I won’t turn into Tolstoy, but into a thick one -
I eat, I write, I’m a fool from the heat.
Who hasn't philosophized over the sea?
Water.

Exclamation

An exclamation can appear anywhere in a work of poetry, but, as a rule, authors use it to intonationally highlight particularly emotional moments in the verse. At the same time, the author focuses the reader’s attention on the moment that particularly excited him, telling him his experiences and feelings.

Hyperbola

Hyperbole is a figurative expression containing an exorbitant exaggeration of the size, strength, or significance of an object or phenomenon.

Example of a hyperbole:

Some houses are as long as the stars, others as long as the moon; baobabs to the skies (Mayakovsky).

Inversion

From lat. inversio - permutation.

Changing the traditional order of words in a sentence to give the phrase a more expressive shade, intonation highlighting of a word.

Inversion examples:

The lonely sail is white
In the blue sea fog... (M.Yu. Lermontov)

The traditional order requires a different structure: A lonely sail is white in the blue fog of the sea. But this will no longer be Lermontov or his great creation.

Another great Russian poet, Pushkin, considered inversion one of the main figures of poetic speech, and often the poet used not only contact, but also remote inversion, when, when rearranging words, other words are wedged between them: “The old man obedient to Perun alone...”.

Inversion in poetic texts performs an accent or semantic function, a rhythm-forming function for building a poetic text, as well as the function of creating a verbal-figurative picture. In prose works, inversion serves to place logical stresses, to express author's attitude to the characters and to convey their emotional state.

Irony is a powerful means of expression that has a hint of mockery, sometimes light mockery. When using irony, the author uses words with opposite meanings so that the reader himself guesses about the true properties of the described object, object or action.

Pun

A play on words. witty expression, a joke based on the use of words that sound similar but have different meanings or different meanings of one word.

Examples of puns in literature:

In a year, for three clicks on your forehead,
Give me some boiled spelt.
(A.S. Pushkin)

And the verse that served me before,
A broken string, a verse.
(D.D. Minaev)

Spring will drive anyone crazy. The ice – and it started to move.
(E. Meek)

The opposite of hyperbole, a figurative expression containing an exorbitant understatement of the size, strength, or significance of any object or phenomenon.

Example of litotes:

The horse is led by the bridle by a man in big boots, in a short sheepskin coat, in big mittens... and he himself is as tall as a fingernail! (Nekrasov)

Metaphor

Metaphor is the use of words and expressions in a figurative sense based on some kind of analogy, similarity, comparison. Metaphor is based on similarity or resemblance.

Transferring the properties of one object or phenomenon to another based on their similarity.

Examples of metaphors:

A sea of ​​problems.

The eyes are burning.

Desire is boiling.

The afternoon was blazing.

Metonymy

Examples of metonymy:

All flags will be visiting us.

(here flags replace countries).

I ate three plates.

(here the plate replaces the food).

Address, apostrophe

Oxymoron

A deliberate combination of contradictory concepts.

Look, she has fun being sad

So elegantly naked

(A. Akhmatova)

Personification

Personification is the transference of human feelings, thoughts and speech to inanimate objects and phenomena, as well as to animals.

These signs are selected according to the same principle as when using metaphor. Ultimately, the reader has a special perception of the described object, in which the inanimate object has the image of a certain living being or is endowed with qualities inherent in living beings.

Impersonation examples:

What, a dense forest,

Got thoughtful
Dark sadness
Foggy?

(A.V. Koltsov)

Be careful of the wind
Came out of the gate

Knocked on the window
Ran across the roof...

(M.V.Isakovsky)

Parcellation

Parcellation is a syntactic technique in which a sentence is intonationally divided into independent segments and highlighted in writing as independent sentences.

Parcelation example:

“He went too. To the store. Buy cigarettes” (Shukshin).

Periphrase

A paraphrase is an expression that conveys the meaning of another expression or word in a descriptive form.

Examples of paraphrase:

King of beasts (instead of lion)
Mother of Russian rivers (instead of Volga)

Pleonasm

Verbosity, the use of logically unnecessary words.

Examples of pleonasm in everyday life:

In the month of May (suffice it to say: in May).

Local aborigine (suffice it to say: aborigine).

White albino (suffice it to say: albino).

I was there personally (suffice it to say: I was there).

In literature, pleonasm is often used as a stylistic device, a means of expression.

For example:

Sadness and melancholy.

Sea ocean.

Psychologism

An in-depth depiction of the hero’s mental and emotional experiences.

A repeated verse or group of verses at the end of a song verse. When a refrain extends to an entire stanza, it is usually called a chorus.

A rhetorical question

A sentence in the form of a question to which no answer is expected.

Or is it new for us to argue with Europe?

Or is the Russian unaccustomed to victories?

(A.S. Pushkin)

Rhetorical appeal

An appeal addressed to an abstract concept, an inanimate object, an absent person. A way to enhance the expressiveness of speech, to express an attitude towards a particular person or object.

Rus! where are you going?

(N.V. Gogol)

Comparisons

Comparison is one of the expressive techniques, when used, certain properties that are most characteristic of an object or process are revealed through similar qualities of another object or process. In this case, such an analogy is drawn so that the object whose properties are used in comparison is better known than the object described by the author. Also, inanimate objects, as a rule, are compared with animate ones, and the abstract or spiritual with the material.

Comparison example:

Then my life sang - howled -

It hummed like an autumn surf -

And she cried to herself.

(M. Tsvetaeva)

A symbol is an object or word that conventionally expresses the essence of a phenomenon.

The symbol contains a figurative meaning, and in this way it is close to a metaphor. However, this closeness is relative. The symbol contains a certain secret, a hint that allows one to only guess what is meant, what the poet wanted to say. The interpretation of a symbol is possible not so much by reason as by intuition and feeling. The images created by symbolist writers have their own characteristics; they have a two-dimensional structure. In the foreground there is a certain phenomenon and real details, in the second (hidden) plane there is the inner world of the lyrical hero, his visions, memories, pictures born of his imagination.

Examples of symbols:

Dawn, morning - symbols of youth, the beginning of life;

Night is a symbol of death, the end of life;

Snow is a symbol of cold, cold feeling, alienation.

Synecdoche

Replacing the name of an object or phenomenon with the name of a part of this object or phenomenon. In short, replacing the name of a whole with the name of a part of that whole.

Examples of synecdoche:

Native hearth (instead of “home”).

A sail floats (instead of “a sailboat floats”).

“...and it was heard until dawn,
how the Frenchman rejoiced..." (Lermontov)

(here “French” instead of “French soldiers”).

Tautology

Repetition in other words of what has already been said, which means it does not contain new information.

Examples:

Car tires are tires for a car.

We have united as one.

A trope is an expression or word used by the author in a figurative, allegorical sense. Thanks to the use of tropes, the author gives the described object or process a vivid characteristic that evokes certain associations in the reader and, as a result, a more acute emotional reaction.

Types of trails:

Metaphor, allegory, personification, metonymy, synecdoche, hyperbole, irony.

Default

Silence is a stylistic device in which the expression of a thought remains unfinished, is limited to a hint, and the speech that has begun is interrupted in anticipation of the reader’s guess; the speaker seems to announce that he will not talk about things that do not require detailed or additional explanation. Often the stylistic effect of silence is that unexpectedly interrupted speech is complemented by an expressive gesture.

Default examples:

This fable could be explained more -

Yes, so as not to irritate the geese...

Gain (gradation)

Gradation (or amplification) is a series of homogeneous words or expressions (images, comparisons, metaphors, etc.) that consistently intensify, increase or, conversely, reduce the semantic or emotional significance of the conveyed feelings, expressed thoughts or described events.

Example of ascending gradation:

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

(S. Yesenin)

In sweetly misty care

It will not take an hour, not a day, not a year.

(E. Baratynsky)

Example of descending gradation:

He promises him half the world, and France only for himself.

Euphemism

A neutral word or expression that is used in conversation to replace other expressions that are considered indecent or inappropriate in a given case.

Examples:

I'm going to powder my nose (instead of going to the toilet).

He was asked to leave the restaurant (instead, He was kicked out).

A figurative definition of an object, action, process, event. An epithet is a comparison. Grammatically, an epithet is most often an adjective. However, other parts of speech can also be used, for example, numerals, nouns or verbs.

Examples of epithets:

Velvet skin, crystal ringing.

Repeating the same word at the end of adjacent segments of speech. The opposite of anaphora, in which words are repeated at the beginning of a sentence, line, or paragraph.

“Scallops, all scallops: a cape made of scallops, scallops on the sleeves, epaulettes made of scallops...” (N.V. Gogol).

Literary workshop with Larisa Romanovskaya

Artistic techniques

Working with artistic techniques is like building a sand castle. The materials are the same for everyone - sand, pebbles and water, the tools too - buckets and shovels, but the finished castles can be completely different, beautiful and ugly, large and small, high and low, simple and complex.

Artistic techniques can be divided into three groups: phonetic, lexical and stylistic.

Phonetic techniques called "sound writing". Sound writing is the construction of phrases from words that phonetically resemble the sounds of the process being described.

Types of sound writing - alliteration, assonance.

Alliteration is the repetition of the same or similar consonants in adjacent phrases or stanzas. Example of alliteration: “At w they have w ki na maku w ke!” (Lermontov, “Borodino”)

Assonance is the repetition of similar or similar vowels. Sometimes used in conjunction with alliteration. In the quoted line from Lermontov, not only “w” is repeated, but also “u”.

Task 1: Re-read your favorite poems and think - do they have sound? Which one, in what lines?

Lexical artistic devices are created by using words in a figurative meaning, comparing some phenomena with others.

The most famous lexical artistic devices: epithet, comparison, metaphor, the use of synonyms and antonyms, personification.

An epithet is an adjective, sometimes a noun or a participle, which carries an emotional connotation and assessment of the phenomenon being described: “The sail is turning white lonely...", "my funny ringing ball"

Comparison is a construction similar in function using the words “as”, “as if”, “exactly”: “ Like a bitter widow, the queen is crying, beating in her"

Metaphor is a hidden comparison of two objects that are somewhat similar to each other: “whisper of grass”, “chintz of the sky”.

Personification is the transfer of the feelings of a person or animal onto an inanimate object: “The house shook,” “the birches began to whisper.”

Stylistic devices are based on different constructions of verbal constructions. The most famous stylistic devices:

Lexical repetitions, which change the rhythm of the narrative: “I run, run, run...”

Antithesis- contrasting one action with another: “I ask - Vasya is silent”

Oxymoron- a construction of words with diametrically opposed, contradictory meanings. "An expected surprise", "loud silence"

Inversion- rearrangement of words in a sentence: “I told you, don’t mess with Vasya”

Parcelation— breaking down one semantic structure into several sentences: “This. My. Dog."

Allusion- a reference to a well-known literary source or historical event, to a catchphrase, myth... With the help of allusions, the described action receives additional meaning and acquires associations. For example, in Bulgakov’s novel “The Master and Margarita,” the episode with Berlioz’s severed head is an allusion to several Christian subjects, but for the reader who knows nothing about biblical stories, this episode will not gain any additional meaning. The brighter and more famous the source on which the allusion is based, the longer it will last. For example, I. Ilf and E. Petrov in the novels “The Twelve Chairs” and “The Golden Calf” introduced many allusions, a reference to the literary process of that time, which were clear to their contemporaries, and now require comments from literary scholars.

Many once bright and bold epithets, comparisons and metaphors have lost their freshness due to frequent and not always appropriate use and have turned into cliches. But any language is a living phenomenon, it is constantly developing, new words (neologisms) appear in it, and existing ones acquire new meaning. This means that stamps are being replaced by new designs.

Task 2: Think about what techniques your favorite author uses to convey: the hero’s excitement, the solemnity of the moment, joy and sadness, memories of a very important event, which affects the plot. Pay attention to how this author describes the scene. Are there any allusions in his lyrics?

Task 3: Look at your own texts. Do they have the same techniques? How often do you use them?