What is a means of expressive speech? Fine and expressive means of artistic speech. The main thing is not to overdo it

Means of speech expression- this is one of the most important factors thanks to which the Russian language is famous for its richness and beauty, which has been sung more than once in the poems and immortal works of Russian literary classics. To this day, Russian is one of the most difficult languages ​​to learn. This is facilitated by the huge number of means of expression that are present in our language, making it rich and multifaceted. Today there is no clear classification of means of expression, but two can still be distinguished: conditional type: stylistic figures and tropes.

Stylistic figures- these are speech patterns that the author uses in order to achieve maximum expressiveness, which means it is better to convey the necessary information or meaning to the reader or listener, as well as give the text an emotional and artistic coloring. Stylistic figures include such means of expression as antithesis, parallelism, anaphora, gradation, inversion, epiphora and others.

Trails- these are figures of speech or words that are used by the author in an indirect, allegorical meaning. These means of artistic expression- an integral part of any work of art. The tropes include metaphors, hyperboles, litotes, synecdoche, metonymies, etc.

The most common means of expression.

As we have already said, there are a very large number of means of lexical expressiveness in the Russian language, so in this article we will consider those that can most often be found not only in literary works, but also in the everyday life of each of us.

  1. Hyperbola(Greek hyperbole - exaggeration) is a type of trope based on exaggeration. Through the use of hyperbole, the meaning is enhanced and the desired impression is made on the listener, interlocutor or reader. For example: sea ​​of ​​tears; Ocean Love.
  2. Metaphor(Greek metaphora - transference) is one of the most important means of speech expressiveness. This trope is characterized by the transfer of characteristics of one object, creature or phenomenon to another. This trope is similar to a comparison, but the words “as if”, “as if”, “as” are omitted, but everyone understands that they are implied: tarnished reputation; glowing eyes; seething emotions.
  3. Epithet(Greek epitheton - application) is a definition that gives the most ordinary things, objects and phenomena an artistic coloring. Examples of epithets: golden summer; flowing hair; wavy fog.

    IMPORTANT. Not every adjective is an epithet. If an adjective indicates clear characteristics of a noun and does not carry any artistic meaning, then it is not an epithet: green grass; wet asphalt; bright sun.

  4. Antithesis(Greek antithesis - opposition, contradiction) - another means of expressiveness that is used to enhance drama and is characterized by a sharp contrast of phenomena or concepts. Very often the antithesis can be found in poetry: “You are rich, I am very poor; you are a prose writer, I am a poet...” (A.S. Pushkin).
  5. Comparison- a stylistic figure, the name of which speaks for itself: when comparing, one object is compared with another. There are several ways in which comparison can be presented:

    - noun (“…storm haze the sky covers...").

    A figure of speech that contains the conjunctions “as if”, “as if”, “as”, “like” (The skin of her hands was rough, like the sole of a boot).

    - subordinate clause (Night fell on the city and in a matter of seconds everything became quiet, as if there was no such liveliness in the squares and streets just an hour ago).

  6. Phraseologisms- a means of lexical expressiveness of speech, which, unlike others, cannot be used by the author individually, since it is, first of all, a stable phrase or phrase peculiar only to the Russian language ( neither fish nor fowl; play the fool; how the cat cried).
  7. Personification is a trope that is characterized by endowing inanimate objects and phenomena with human properties (And the forest came to life - the trees spoke, the wind began to sing in the tops of fir trees).

In addition to the above, there are the following means of expression, which we will consider in the next article:

  • Allegory
  • Anaphora
  • Gradation
  • Inversion
  • Alliteration
  • Assonance
  • Lexical repetition
  • Irony
  • Metonymy
  • Oxymoron
  • Multi-Union
  • Litotes
  • Sarcasm
  • Ellipsis
  • Epiphora and others.

Our language is a holistic and logically correct system. Its smallest unit is sound, its smallest meaningful unit is morpheme. Words, which are considered the basic unit of language, are made up of morphemes. They can be considered from the point of view of their sound, as well as from the point of view of structure, as or as members of a sentence.

Each of the named linguistic units corresponds to a certain linguistic layer, tier. Sound is a unit of phonetics, a morpheme is a unit of morphemics, a word is a unit of vocabulary, parts of speech are a unit of morphology, and sentences are a unit of syntax. Morphology and syntax together make up grammar.

At the level of vocabulary, tropes are distinguished - special turns of speech that give it special expressiveness. Similar means at the syntax level are figures of speech. As we see, everything in the language system is interconnected and interdependent.

Lexical means

Let us dwell on the most striking linguistic means. Let's start with the lexical level of the language, which - recall - is based on words and their lexical meanings.

Synonyms

Synonyms are words of the same part of speech that are close in their lexical meanings. For example, beautiful – wonderful.

Some words or combinations of words acquire a close meaning only in a certain context, in a certain linguistic environment. This context synonyms.

Consider the sentence: “ Day was August, sultry, painfully boring" . Words August , sultry, painfully boring are not synonyms. However, in this context, when characterizing a summer day, they acquire a similar meaning, acting as contextual synonyms.

Antonyms

Antonyms are words of the same part of speech with opposite lexical meaning: tall - low, high - low, giant - dwarf.

Like synonyms, antonyms can be contextual, that is, acquire the opposite meaning in a certain context. Words wolf And sheep, for example, are not antonyms out of context. However, in A.N. Ostrovsky’s play “Wolves and Sheep” two types of people are depicted - human “predators” (“wolves”) and their victims (“sheep”). It turns out that in the title of the work the words wolves And sheep, acquiring the opposite meaning, become contextual antonyms.

Dialectisms

Dialecticisms are words that are used only in certain areas. For example, in the southern regions of Russia beet has another name - beetroot. In some areas the wolf is called the biryuk. Växa(squirrel), hut(house), towel(towel) - all these are dialecticisms. In literary works, dialectisms are most often used to create local color.

Neologisms

Neologisms are new words that have recently entered the language: smartphone, browser, multimedia and so on.

Outdated words

In linguistics, words that have fallen out of active use are considered obsolete. Obsolete words are divided into two groups - archaisms and historicisms.

Archaisms– these are outdated names of objects that still exist today. Other names, for example, used to have eyes and a mouth. They were named accordingly eyes And mouth.

Historicisms– words that have fallen out of use due to the disappearance of the concepts and phenomena they denote from everyday use. Oprichnina, corvee, boyar, chain mail- objects and phenomena called by such words, in modern life no, which means these are historicism words.

Phraseologisms

Phraseologisms are adjacent to lexical linguistic means - stable combinations of words reproduced equally by all native speakers. Like snow fell on your head, play spillikins, neither fish nor fowl, work carelessly, turn up your nose, turn your head... There are so many phraseological units in the Russian language and what aspects of life they do not characterize!

Trails

Tropes are figures of speech based on playing with the meaning of a word and giving speech special expressiveness. Let's look at the most popular trails.

Metaphor

Metaphor is the transfer of properties from one object to another based on some similarity, the use of a word in a figurative meaning. Metaphor is sometimes called a hidden comparison - and for good reason. Let's look at examples.

Cheeks are burning. The word is used in a figurative meaning are burning. Cheeks seem to be on fire - that’s what hidden comparisons are like.

Sunset bonfire. The word is used in a figurative meaning bonfire. The sunset is compared to a fire, but the comparison is hidden. This is a metaphor.

Expanded metaphor

With the help of metaphor, a detailed image is often created - in this case, not one word, but several, appears in a figurative meaning. Such a metaphor is called expanded.

Here is an example, lines from Vladimir Soloukhin:

“The Earth is a cosmic body, and we are astronauts making a very long flight around the Sun, together with the Sun across the infinite Universe.”

The first metaphor is Earth is a cosmic body- gives birth to the second - we, people - astronauts.

As a result, a whole detailed image is created - human cosmonauts make a long flight around the sun on an Earth ship.

Epithet

Epithet– colorful artistic definition. Of course, epithets are most often adjectives. Moreover, the adjectives are colorful, emotional and evaluative. For example, in the phrase golden ring word golden is not an epithet, it is a common definition characterizing the material from which the ring is made. But in the phrase gold hair, golden soul - gold, golden- epithets.

However, other cases are also possible. Sometimes a noun plays the role of an epithet. For example, frost-voivode. Voivode V in this case application - that is, a type of definition, which means it may well be an epithet.

Often epithets are emotional, colorful adverbs, for example, funny in a phrase walks merrily.

Constant epithets

Constant epithets are found in folklore and oral folk art. Remember: in folk songs, fairy tales, epics, the good fellow is always kind, the maiden is red, the wolf is gray, and the earth is damp. All these are constant epithets.

Comparison

Likening one object or phenomenon to another. Most often it is expressed comparative turnover with unions as, as if, exactly, as if or comparative clauses. But there are other forms of comparison. For example, the comparative degree of an adjective and adverb or the so-called instrumental comparison. Let's look at examples.

Time flies, like a bird(comparative turnover).

Brother is older than me(comparative turnover).

I younger than brother(comparative degree of the adjective young).

Squirms snake. (creative comparison).

Personification

Endowing inanimate objects or phenomena with the properties and qualities of living things: the sun is laughing, spring has come.

Metonymy

Metonymy is the replacement of one concept with another based on contiguity. What does it mean? Surely in geometry lessons you studied adjacent angles - angles that have one common side. Concepts can also be related - for example, school and students.

Let's look at examples:

School went out on a cleanup day.

Kiss plate ate.

The essence of metonymy in the first example is that instead of the word students the word is used school la. In the second example we use the word plate instead of the name of what is on the plate ( soup, porridge or something similar), that is, we use metonymy.

Synecdoche

Synecdoche is similar to metonymy and is considered a type of it. This trope also consists of replacement - but the replacement must be quantitative. Most often, the plural is replaced by the singular and vice versa.

Let's look at examples of synecdoche.

“From here we will threaten Swede… “- thinks Tsar Peter in A.S. Pushkin’s poem “The Bronze Horseman”. Of course, this meant more than one Swede, A Swedes- that is, the singular number is used instead of the plural.

And here is a line from Pushkin’s “Eugene Onegin”: "We all look at Napoleons". It is known that the French Emperor Napoleon Bonaparte was alone. The poet uses synecdoche - uses the plural instead of the singular.

Hyperbola

Hyperbole is excessive exaggeration. “At one hundred and forty suns the sunset glowed”, writes V. Mayakovsky. And Gogolsky had trousers “as wide as the Black Sea.”

Litotes

Litotes is the opposite trope of hyperbole, an excessive understatement: a boy with a finger, a man with a nail.

Irony

Irony is hidden mockery. At the same time, we put into our words a meaning that is directly opposite to the true one. “Get off, smart one, your head is delusional”, - such a question in Krylov’s fable is addressed to the Donkey, who is considered the embodiment of stupidity.

Periphrase

We have already considered paths based on the replacement of concepts. At metonymy one word is replaced by another according to the contiguity of concepts, when synecdoche The singular number is replaced by the plural or vice versa.

A paraphrase is also a replacement - a word is replaced by several words, a whole descriptive phrase. For example, instead of the word “animals” we say or write “our little brothers.” Instead of the word "lion" - king of beasts.

Syntactic means

Syntactic means are such language means, which is associated with a sentence or phrase. Syntactic means are sometimes called grammatical, since syntax, along with morphology, is part of grammar. Let's look at some syntactic means.

Homogeneous members of the sentence

These are members of a sentence that answer the same question, refer to the same word, are one member of a sentence and, in addition, are pronounced with a special intonation of enumeration.

Grew in the garden roses, daisies,bells . — This sentence is complicated by homogeneous subjects.

Introductory words

These are words that more often express an attitude towards what is being communicated, indicate the source of the message or the way the thought is expressed. Let's analyze the examples.

Fortunately, snow.

Unfortunately, snow.

Maybe, snow.

According to a friend, snow.

So, snow.

The above sentences convey the same information (snow), but it is expressed with different feelings (fortunately, unfortunately) with uncertainty (maybe), indicating the source of the message (according to a friend) and the way to formulate thoughts (So).

Dialogue

A conversation between two or more people. Let us recall, as an example, a dialogue from a poem by Korney Chukovsky:

- Who's talking?
- Elephant.
- Where?
- From a camel...

Question-and-answer form of presentation

This is the name for constructing a text in the form of questions and answers to them. "What's wrong with a piercing gaze?" — the author asks the question. And he answers to himself: “Everything is bad!”

Separate members of the sentence

Secondary members of a sentence, which are distinguished by commas (or dashes) in writing, and by pauses in speech.

The pilot talks about his adventures, smiling at the listeners (a sentence with a separate circumstance, expressed by an adverbial phrase).

The children went out into the clearing, illuminated by the sun (a sentence with a separate circumstance expressed by a participial phrase).

Without a brother his first listener and admirer, he would hardly have achieved such results.(offer with a separate widespread application).

Nobody, except her sister, didn't know about it(sentence with a separate addition).

I'll come early at six o'clock in the morning (sentence with a separate clarifying circumstance of time).

Figures of speech

At the syntax level, special constructions are distinguished that give expressiveness to speech. They are called figures of speech, as well as stylistic figures. These are antithesis, gradation, inversion, parcellation, anaphora, epiphora, rhetorical question, rhetorical appeal, etc. Let's look at some of the stylistic figures.

Antithesis

In Russian, antithesis is called opposition. An example of this is the proverb: “Learning is light, but ignorance is darkness.”

Inversion

Inversion - reverse order words As you know, each member of a sentence has its own “legitimate” place, its own position. So, the subject must come before the predicate, and the definition must come before the word being defined. Certain positions are assigned to adverbial and complementary elements. When the order of words in a sentence is violated, we can talk about inversion.

Using inversion, writers and poets achieve the desired sound of a phrase. Remember the poem "Sail". Without inversion, his first lines would sound like this: “A lonely sail whitens in the blue fog of the sea”. The poet used inversion and the lines sounded amazing:

The lonely sail turns white

In the blue sea fog...

Gradation

Gradation is the arrangement of words (usually homogeneous members, in ascending or descending order of their meanings). Let's look at examples: "This optical illusion, hallucination, mirage« (a hallucination is more than an optical illusion, and a mirage is more than an optical illusion). Gradation can be either ascending or descending.

Parcellation

Sometimes, to enhance expressiveness, the boundaries of a sentence are deliberately violated, that is, parcellation is used. It consists of fragmenting a phrase in which incomplete sentences(that is, such constructions, the meaning of which is unclear outside the context). An example of parcellation can be considered a newspaper headline: “The process has begun. “Backward” (“The process has gone backward,” this is what the phrase looked like before fragmentation).

AT 8 suggests finding and identifying means of linguistic expression in the text.

List of terms:

Anaphora(= unity of beginning) - repetition of words or phrases at the beginning of one or more sentences:

August - asters,
August - stars
August - grapes
Grapes and rowan...
(M. Tsvetaeva)

Antithesis- comparison of the opposite:

I'm stupid and you're smart
Alive, but I'm dumbfounded.
(M. Tsvetaeva)

Question-and-answer form of presentation- presentation in the form of a sequence: question-answer:

My phone rang.
- Who's talking?
- Elephant.
- Where?
- From a camel.
(K.I. Chukovsky)

Exclamatory sentence- a sentence expressing the expressiveness, emotionality, and evaluativeness of the speaker’s speech. An exclamation mark is placed in exclamatory sentences in writing. How many apples! Apples!

Hyperbola- exaggeration, for example: Haven't seen each other for a hundred years!

Gradation- arrangement of homogeneous members in order of increasing intensity of a sign, action, state, quantity, etc., enhancing the effect of the enumeration:

In the corner there was a basket with fragrant, large, ripe apples filled with sweet juice.

Dialectism- a word whose use is limited geographically, and therefore is not included in the layer of the general literary language.

Inversion- changing the order of words in order to draw attention to a phrase or word:

On what seems to be a cut rope
I'm a little dancer.
(M. Tsvetaeva)

Irony- use of words, statements with the opposite meaning attached to them: How smart! (in meaning: stupid, fool).

Contextual antonyms, contextual synonyms- words that serve as antonyms or synonyms only in a given context, but are not such in other contexts.

The hut was not cold, but chilled to such an extent that it seemed to be even colder inside than outside.

Cold - chilled- are not antonyms, but in this sentence, due to the opposition, they are used as antonyms.

Lexical repetition- repetition of the word:

Wind, wind -
All over God's world!
(A. Blok)

Litotes- understatement: man with marigold, Thumb Boy.

Metaphor- transfer of meaning by similarity: golden autumn, gloomy sky, cold look .

August - bunches
grapes and rowan
rusty - August!
(M. Tsvetaeva)

Metonymy- transfer by adjacency: win gold, the audience applauded, put on Chekhov .

Name sentences- sentences with one main member - subject: Noon. The heat is terrible.

Incomplete sentences- sentences that are frequent in colloquial and artistic speech, in which one of the main members, clear from the context, is omitted.

She came to me yesterday (1). She came and said... (2) .

The second sentence has a missing subject she to avoid repetition and make the story more dynamic. But the subject is easy to reconstruct from the context.

Personification- endowing inanimate objects with human traits and qualities: The sky above him shook. The sky was frowning .

Parallelism(= use of parallel constructions) - similar syntactic design of neighboring sentences:

It’s not the wind that bends the branch,
It’s not the oak tree that makes noise.
My heart is groaning
Like an autumn leaf trembling.
(Russian folk song)

I like that you are not sick of me,
I like that I'm not sick with you.
(M. Tsvetaeva)

Parcellation- dividing a phrase into parts, possibly into words, formed as independent incomplete sentences. Often used to create the effect of a dynamic unfolding of events or their drama

She turned away sharply. She went to the window. I started crying.

Periphrase- replacing a word with a descriptive expression: capital of our Motherland, a city on the Neva.

Opposition- comparison, juxtaposition of something in order to draw attention to the dissimilarity, opposition of characteristics, states, actions, etc. Opposition is the basis of antithesis. The examples are the same.

Spoken words- stylistically colored words used in colloquial speech: electric train, disheveled, boring . Many such words are expressively colored.

A rhetorical question- a statement aimed not at obtaining an answer or finding out information, but at expressing emotions, feelings, assessment, expression: When will this all end? Where do you get patience?

Rhetorical appeal often precedes a rhetorical question or exclamation:

It's boring to live in this world, gentlemen! (N.V. Gogol)

Dear companions who shared our overnight stay! (M. Tsvetaeva)

Rows of homogeneous members

Who knows what fame is!
At what price did he buy the right?
Opportunity or grace
Over everything so wise and crafty
Joking, mysteriously silent
And call a leg a leg?..
(A. Akhmatova)

Comparison- comparison of an object, attribute, state, etc. with another having common feature or similarity line: shop windows are like mirrors, love flashed like lightning(= lightning fast, would stro).

Comparative turnover- an extended comparison, introduced by comparative conjunctions like, as if, as if, as if, like (simple), like.

Poems grow like stars and like roses,
How beautiful...
(M. Tsvetaeva)

Like the right and left hand,
Your soul is close to my soul.
(M. Tsvetaeva)

Term- a word denoting the concept of any professional field of activity or science and therefore having limited use: epithet, periphrasis, anaphora, epiphora .

Citation- using someone else's text as a quotation.

Emotionally evaluative words: daughter, my little one, my sunshine.

Epithet- definition:

And he, the rebellious one, is looking for storms,
It's like there's peace in the storm.
(M.Yu. Lermontov)

Epiphora - (general ending), repetition of a word or phrase at the end of adjacent sentences in order to attract special attention to them:

After all, the stars were larger
After all, the herbs smelled different,
Autumn herbs.
(A. Akhmatova. “Love conquers deceitfully”)

The meaning of the terms must be understood and the terms themselves must be remembered.

Now test yourself on the tasks from the demo versions of the Unified State Exam 2010 and 2011.
Since the wording of the tasks does not provide for choice, an interactive form is not offered. Answers to the assignments are given after the assignment.

Sample from demo 2010

(1) Private Fedoseev, a telephone operator, appeared at the battery with good news: he himself saw how the Nazis were driven out of Krasnaya Polyana. (2) Now it was not difficult to guess that the battery was about to be transferred to another site. (3) The lieutenant decided to take advantage of this. (4) I saw the political officer and asked permission, while the battery was changing position, for him and the young telephone operator Fedoseev to go to the city: the guy had never seen Moscow. (5) “I’ll allow it at the expense of the allotted time,” the political officer said sternly. (6) - Indeed, it is unbecoming for the defender of Moscow not to see Moscow! (7) We got out through alleys and alleys onto Dmitrovskoe Highway, then took a tram to the Sokol station, entered an almost invisible door, shrouded in frosty steam. (8) Fedoseev was disappointed that there were no escalators at the station, but he really liked everything in the carriage. (9) We unexpectedly quickly arrived at Revolution Square. (10) The Muscovite lieutenant said that it is in the very center of the city. (11) It's time to go out. (12) Fedoseev very hesitantly stepped onto the escalator. (13) Everything was new to him in the underground floor of Moscow. (14) “Stand on the right, pass on the left, do not place canes, umbrellas or suitcases.” (15) Those who come down to meet them on the next escalator, just from the cold, are ruddy, especially the girls... (16) But again there is a hard floor under their feet. (17) They crossed the square, walked past Stereokino, past the Central Children's Theater, and stood on Sverdlov Square.
(18) The facade of the Bolshoi Theater, familiar to Fedoseev from photographs and film magazines, is unrecognizable. (19) The entire top is hung with two decorations: on the left is a two-story house, on the right is a grove. (20) The lieutenant explained that this was camouflage. (21) We went out to Red Square, and Fedoseev was accompanied by the feeling that he was walking through long-familiar places. (22) The lieutenant promised to show Minin and Pozharsky, the people’s militias of old Rus', but the monument was covered with sandbags. (23) But Pushkin, whom they soon reached, turned out to be uncovered: he stood with his head uncovered, his bronze shoulders covered with snow. (24) The lieutenant was seriously worried about this. (25) True, an air barrage balloon looms in the ashen sky, but still... (26) We walked along the boulevards to Arbat and slowly returned to Revolutionary Square. (27) We went down to the metro again: there is time to take a ride and explore the underground palaces. (28) Fedoseev liked the “Mayakovskaya” station with its steel columns, and liked the “Red Gate” - red and white slabs under his feet. (29) In the huge bomb shelter that it became Moscow Metro, my life took shape. (30) At the Arbatskaya station there is a sign on the service door “For women in labor.” (31) At the Kurskaya station there was a branch of the public Historical Library: it opened when train traffic stopped. (32) Fedoseev was imbued with respect for underground readers: they study during air raid raid hours! (33) The telephone operator was overcome by the joy of recognizing a new big city. (34) This feeling is sharper for a person who has traveled little and lived somewhere in a bearish corner. (35) And pride grew more and more in Fedoseev’s heart: not everyone had the opportunity to defend the capital of such a country. (36) But every soldier, no matter where he fought, defended the capital. (37) He had something to protect!

(According to E. Vorobyov)

Q8 “In order to transport the reader to wartime Moscow, E. Vorobyov uses such a lexical device as _____ (“camouflage”, “transfer”, etc.). The author is stingy with detailed descriptions. His speech is more like a laconic report, from syntactic means most often used non-union proposals and_____(sentence 17). The more expressive are the rare paths that convey emotional condition heroes:_____ (“in the ashen sky” in sentence 25) and _____ (“pride grew in the heart” in sentence 35).”

1) epithet
2) series of homogeneous members
3) irony
4) metaphor
5) professional vocabulary
6) dialectism
7) antithesis
8) comparative turnover
9) rhetorical appeal

* Attention:In the forms, write numbers without spaces.

Sample from demo 2011

(1) I was sitting in a bathtub with hot water, and my brother was restlessly turning around the small room, grabbing soap and a sheet in his hands, bringing them close to his myopic eyes and putting them back again. (2) Then he stood facing the wall and continued passionately: (3) - Judge for yourself. (4) We were taught goodness, intelligence, logic - we were given consciousness. (5) The main thing is consciousness. (6) You can become ruthless, but how is it possible, having known the truth, to throw it away? (7) Since childhood, I was taught not to torture animals, to be compassionate. (8) The books I read taught me the same thing, and I am painfully sorry for those who suffer in your damned war. (9) But time passes, and I begin to get used to all the suffering, I feel that in everyday life I am less sensitive, less responsive and respond only to the strongest stimulation. (10) But I cannot get used to the very fact of war; my mind refuses to understand and explain what is fundamentally insane. (11) Millions of people, gathered in one place and trying to give correctness to their actions, kill each other, and everyone is equally hurt, and everyone is equally unhappy - what is this, because this is madness? (12) Brother turned around and stared at me questioningly with his myopic eyes. (13) - I'll tell you the truth. (14) My brother trustingly put his cold hand on my shoulder. (15) - I can’t understand what is happening. (16) I can't understand, and it's terrible. (17) If someone could explain it to me, but no one can. (18) You were in the war, you saw it - explain to me.
(19) - What an eccentric you are, brother! (20) Let me have some more hot water. (21) It felt so good to sit in the bathtub, as before, and listen to a familiar voice, without thinking about the words, and see everything familiar, simple, ordinary: a copper, slightly green faucet, walls with a familiar pattern, photographic accessories, in order laid out on shelves. (22) I will take up photography again, take pictures of simple and quiet views of my son: how he walks, how he laughs and plays pranks. (23) It was as if I had forgotten at that moment, splashing in the hot water, everything that I saw there. (26) “I need to get out of the bath,” I said frivolously, and my brother smiled at me, like a child, like a younger one, although I was three years older than him, and thought - like an adult, like an old man who has big and heavy thoughts . (27) The brother called the servant, and together they took me out and dressed me. (28) Then I drank fragrant tea from my glass and thought that it was possible to live without legs, and then they took me to the office to my desk, and I got ready to work. (29) My joy was so great, the pleasure so deep that I decided to start reading and just sorted through the books, gently caressing them with my hand. (30) How much intelligence and sense of beauty there is in all this!

(According to L. Andreev)

B1 “Syntactic means of expression: ______ (sentence 6) and ______ (in sentences 21-23) help the author to partially convey the feelings of the characters. A device such as _____ (sentences 15, 16) emphasizes the main idea of ​​the younger brother in discussions about the war. At some point, the brothers seem to change their age roles, which is emphasized by ______ ("child" - "adult" in sentence 26)"

1) anaphora
2) hyperbole
3) rhetorical question
4) personification
5) parallelism
6) dialectism
7 exclamation sentence
8) series of homogeneous members
9) antonyms

* Attention:In the forms, write words and numbers without spaces.

Sample B8 from demo version 2012

(1) Polya’s inflamed state, and most importantly, her confused, ambiguous speech - everything suggested the worst guesses, much more terrible than even Rodion’s captivity or his mortal wound.
(2) “No, this is completely different,” Polya shuddered and, turning to the wall, took out a crumpled, over-read triangle from under the pillow.
(3) Subsequently, Varya was ashamed of her initial assumptions. (4) Although rare transit trains did not stay in Moscow, the stations were nearby, and Rodion knew Polina’s address. (5) Of course, the command might not have allowed the soldier to leave the train to the Blagoveshchensk dead-end street, then why didn’t he at least write a postcard to his beloved one on his way to the active army?..
(6) So, this was the first news from the front with a delay of more than two weeks. (7) In any case, now it will become clear with what thoughts he went to war. (8) Varya impatiently unfolded the piece of paper, which was all pierced with a pencil - apparently it was written on her knee. (9) I had to go to the lamp to make out the dim, half-finished lines.
(10) Varya immediately came across the main place.
(11) “Perhaps the only reason, my dear, why I was silent all this time - there was nowhere to settle down,” Rodion wrote briefly, with unexpected completeness and straightforwardly, as in a confession. (12) “We are still retreating for now, day and night we retreat, take more profitable defensive lines, as the reports say. (13) I was also very sick, and even now I have not fully recovered: my illness is worse than any shell shock. (14) The most bitter thing is that I myself am quite healthy, completely intact, there is not a single scratch on me yet. (15) Burn this letter, I can tell you alone in the whole world about this,” Varya turned the page.
(16) The incident happened in a Russian village, which our unit passed through in retreat. (17) I was the last in the company... and maybe the last in the entire army. (18) In front of us on the road stood a local girl of about nine years old, just a child, apparently taught at school to love the Red Army... (19) Of course, she did not really understand the strategic situation. (20) She ran up to us with wildflowers, and, as it happened, I got them. (21) She had such inquisitive, questioning eyes - the midday sun is a thousand times easier to look at, but I forced myself to take the bouquet, because I am not a coward, I swear to you by my mother, Polenka, that I am not a coward. (22) I closed my eyes, but took it from her, abandoned to the mercy of the enemy... (23) Since then, I have kept that dried broom with me constantly, on my body, like a burden of fire in my bosom, I order it to be put on myself in the grave, if what will happen. (24) I thought I would bleed seven times before I became a man, but this is how it happens, dry... and this is the font of maturity! (25) Then two lines were completely illegible. - (26) And I don’t know, Polenka, whether my whole life will be enough to pay for that gift..."
(27) “Yes, he has grown up a lot, your Rodion, you’re right...” Varya said, folding the letter, because with such a line of thinking, it is unlikely that this soldier would be capable of any reprehensible act.
(28) Hugging, the girlfriends listened to the rustle of the rain and the rare, faded beeps of cars. (29) The topic of the conversation was the events of the past day: the exhibition of captured aircraft that opened on the central square, the unfilled crater on Veselykh Street, as they were already accustomed to calling it among themselves, Gastello, whose selfless feat resounded throughout the country in those days.

(According to L. Leonov)

*Leonid Maksimovich Leonov (1899-1994)
Russian writer, public figure.

B8 A fragment from L. Leonov’s novel “Russian Forest” confirms the idea that even about complex philosophical problems you can speak clearly. This is achieved with the help of tropes:______("font of maturity" in sentence 24), _____( inquisitive, interrogative eyes" in sentence 21), _____("the midday sun is a thousand times easier to look at" in sentence 21). Enhances the effect of reading______ ("retreat" in sentence 12, "I'm not a coward" in sentence 21). This technique captures attention the reader on the main thing, emphasizes the most important thoughts of the author.

List of terms:

1) anaphora
2) metaphor
3) hyperbole
4) professional vocabulary
5) parcellation
6) lexical repetition
7) opposition
8) epithets
9) contextual synonyms

2,8,3,6 (can be: 2836)

Attention: The answer is written without spaces.

In contact with

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

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

business style of speech.

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

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

Dictionary- minimum

Lexical facilities expressiveness

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

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

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

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

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

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

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

I am looking for other features in your features;

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

In the eyes there is a fire of faded eyes.

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

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

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

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

artistic expression, for example:

You are rich, I am very poor,

You are a prose writer, I am a poet,

You are blushing like poppies,

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

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

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

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

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

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

lexical means of artistic expression or language play:

You fed the white swans,

Throwing away the weight of black braids...

I was swimming nearby; the helmsmen came together;

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

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

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

models that exist in it and are used in literary text

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

sickle soviet passport", "I don't care about bronze medals..." V.

Mayakovsky) or language game:

Smart girl,

bent over the table,

squints, bespectacled girl,

mischievous viper.

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

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

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

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

Dark glory brand,

not empty and not hateful,

but tired and cold,

Vocabulary of limited scope

DIALECTISM- words and expressions inherent in folk speech, local

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

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

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

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

methods of speech characterization of a character).

ARCHAISMS- outdated words and expressions,

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

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

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

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

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

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

disgrace..." (B. Zakhoder

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

different from the commonly used one; profane conventional language any

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

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

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

PROFESSIONALISM- words and expressions characteristic of human speech

various professions and serving various areas of professional

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

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

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

car. IN fiction P., like other vocabulary that has

limited scope of use (colloquial elements, dialectisms,

jargon) are used as one of the ways to characterize

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

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

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

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

Khlebnikov).

Phraseological stylistics

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

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

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

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

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

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

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

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

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

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

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

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

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

translated from the source language

Phonetic means of expression

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

consonant sounds in order to enhance its expressiveness.

The hiss of foamy glasses

And the punch flame is blue.

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

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

enhancing the expressiveness of artistic speech.

Do I wander along the noisy streets

I enter a crowded temple,

Am I sitting among crazy youths,

I indulge in my dreams.

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

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

laughter", "clatter of hooves").

Paths (words and phrases in a figurative sense)

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

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

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

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

personification (see) and reification (see).

Nineteenth century, iron,

Truly a cruel age!

By you into the darkness of the night, starless

A careless abandoned man!

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

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

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

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

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

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

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

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

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

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

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

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

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

metaphors (see).

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

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

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

PERSONALIZATION- type of trope: image of inanimate objects,

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

What are you howling about, night wind?

Why are you complaining so madly?

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

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

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

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

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

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

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

depicted objects and phenomena that are especially important to him in

artistically. Unimaginative P. only rename objects,

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

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

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

From here we will threaten the Swede,

The city will be founded here

To spite the arrogant neighbor...

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

definition emphasizing any property of an object or phenomenon,

having a special artistic expression. For example: iron

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

expressive-emotional load, while the same adjectives

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

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

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

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

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

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

noun as an application.

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

the same radium mining.

Per gram production,

per year labor.

Harassing

for the sake of a single word

Thousands of tons

verbal ore.

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

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

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

the same radium mining.

Per gram production,

per year labor.

Harassing

for the sake of a single word

Thousands of tons

verbal ore.

V. Mayakovsky

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

subtle, hidden mockery. The comic effect is achieved by

it says exactly the opposite of what is meant:

He [Onegin] sat down with a laudable purpose

Appropriating someone else's mind for yourself;

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

Syntactic figurative means (figures of speech )

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

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

The waves splash in the blue sea.

IN blue sky the stars are shining.

A.S. Pushkin

ANAPHORA(from the Greek anaphora - bringing up) - stylistic figure:

unity of beginning, repetition of a word or group of words at the beginning of poetic lines or

prose phrases; one of the varieties of parallel syntactic constructions

I love you, Petra's creation,

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

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

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

PARALLELISM).

I won't deceive myself

Concern lay in a hazy heart.

Why am I known as a charlatan?

Why am I known as a brawler?

……………………………………….

And now I won’t get sick.

The hazy pool in my heart cleared up.

That's why I became known as a charlatan,

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

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

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

Thank you with my heart and hand

Because you have me - without knowing yourself! -

So love: for my night's peace,

For the rare meeting at sunset hours,

For our non-walking under the moon,

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

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

stylistic figure: syntactic highlighting of individual parts or words

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

(complex) sentences as independent sentences with

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

And his shadow dances in the window

Along the embankment. In the autumn night.

There. Beyond the Araks. In that country.

P. Antokolsky

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

RHETORICAL EXCLAMATIONÁ NIE

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

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

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

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

framed as a question that does not require an answer:

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

His free, bold gift

And they inflated it for fun

A slightly hidden fire?...

M.Yu. Lermontov

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

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

(solemnity, cordiality, irony, etc.).

Flowers, love, village, idleness,

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

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

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

gives speech special expressiveness, for example:

He ascended higher with his rebellious head

Pillar of Alexandria... A.S. Pushkin

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

The booths and women flash past,

Boys, benches, lanterns,

Palaces, gardens, monasteries,

Bukharians, sleighs, vegetable gardens,

Merchants, shacks, men,

Boulevards, towers, Cossacks,

Pharmacies, fashion stores,

Balconies, lions on the gates

And flocks of jackdaws on crosses.

A.S. Pushkin

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

which is used for intonation and logical emphasis

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

And the azure, and the midday heat...

Speech. Analysis of means of expression.

It is necessary to distinguish between tropes (visual and expressive means of literature) based on the figurative meaning of words and figures of speech based on the syntactic structure of the sentence.

Lexical means.

Typically, in a review of assignment B8, an example of a lexical device is given in parentheses, either as one word or as a phrase in which one of the words is in italics.

synonyms(contextual, linguistic) – words close in meaning soon - soon - one of these days - not today or tomorrow, in the near future
antonyms(contextual, linguistic) – words with opposite meanings they never said you to each other, but always you.
phraseological units– stable combinations of words that are close in lexical meaning to one word at the end of the world (= “far”), tooth does not touch tooth (= “frozen”)
archaisms- outdated words squad, province, eyes
dialectism– vocabulary common in a certain territory smoke, chatter
bookstore,

colloquial vocabulary

 daring, companion;

corrosion, management;

waste money, outback

Paths.

In the review, examples of tropes are indicated in parentheses, like a phrase.

Types of tropes and examples for them are in the table:

metaphor– transferring the meaning of a word by similarity dead silence
personification- likening any object or phenomenon to a living being dissuadedgolden grove
comparison– comparison of one object or phenomenon with another (expressed through conjunctions as if, as if, comparative degree of adjective) bright as the sun
metonymy– replacing a direct name with another by contiguity (i.e. based on real connections) The hiss of foamy glasses (instead of: foaming wine in glasses)
synecdoche– using the name of a part instead of the whole and vice versa a lonely sail turns white (instead of: boat, ship)
paraphrase– replacing a word or group of words to avoid repetition author of “Woe from Wit” (instead of A.S. Griboyedov)
epithet– the use of definitions that give the expression figurativeness and emotionality Where are you going, proud horse?
allegory– expression of abstract concepts in specific artistic images scales – justice, cross – faith, heart – love
hyperbola- exaggeration of the size, strength, beauty of the described at one hundred and forty suns the sunset glowed
litotes- understatement of the size, strength, beauty of the described your spitz, lovely spitz, no more than a thimble
irony- the use of a word or expression in a sense contrary to its literal meaning, for the purpose of ridicule Where are you, smart one, wandering from, head?

Figures of speech, sentence structure.

In task B8, the figure of speech is indicated by the number of the sentence given in brackets.

epiphora– repetition of words at the end of sentences or lines following each other I'd like to know. Why do I titular councilor? Why exactly titular councilor?
gradation– construction of homogeneous members of a sentence with increasing meaning or vice versa I came, I saw, I conquered
anaphora– repetition of words at the beginning of sentences or lines following each other Irontruth - alive to envy,

Ironpestle, and iron ovary.
pun– pun It was raining and there were two students.
rhetorical exclamation (question, appeal) – exclamation point, interrogative sentences or a proposal with an appeal that does not require a response from the addressee Why are you standing there, swaying, thin rowan tree?

Long live the sun, may the darkness disappear!
syntactic parallelism– identical construction of sentences young people are welcome everywhere,

We honor old people everywhere
multi-union– repetition of redundant conjunction And the sling and the arrow and the crafty dagger

The years are kind to the winner...
asyndeton– construction complex sentences or a number of homogeneous members without unions The booths and women flash past,

Boys, benches, lanterns...
ellipsis- omission of an implied word I'm getting a candle - a candle in the stove
inversion– indirect word order Our people are amazing.
antithesis– opposition (often expressed through conjunctions A, BUT, HOWEVER or antonyms Where there was a table of food, there is a coffin
oxymoron– a combination of two contradictory concepts living corpse, ice fire
citation– transmission in the text of other people’s thoughts and statements indicating the author of these words. As it is said in the poem by N. Nekrasov: “You have to bow your head below a thin epic…”
questionably-response form presentation– the text is presented in the form of rhetorical questions and answers to them And again a metaphor: “Live under minute houses...”. What does this mean? Nothing lasts forever, everything is subject to decay and destruction
ranks homogeneous members of the sentence– listing homogeneous concepts A long, serious illness and retirement from sports awaited him.
parcellation- a sentence that is divided into intonational and semantic speech units. I saw the sun. Over your head.

Remember!

When completing task B8, you should remember that you are filling in the gaps in the review, i.e. you restore the text, and with it both semantic and grammatical connections. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates consistent with the omissions, etc.

It will make it easier to complete the task and divide the list of terms into two groups: the first includes terms based on changes in the meaning of the word, the second - the structure of the sentence.

Analysis of the task.

(1) The Earth is a cosmic body, and we are astronauts making a very long flight around the Sun, together with the Sun across the infinite Universe. (2) The life support system on our beautiful ship is so ingeniously designed that it is constantly self-renewing and thus allows billions of passengers to travel for millions of years.

(3) It is difficult to imagine astronauts flying on a ship through outer space, deliberately destroying a complex and delicate life support system designed for a long flight. (4) But gradually, consistently, with amazing irresponsibility, we are putting this life support system out of action, poisoning rivers, destroying forests, and spoiling the World Ocean. (5) If on a small spaceship the astronauts will begin to fussily cut wires, unscrew screws, and drill holes in the casing, then this will have to be classified as suicide. (6) But there is no fundamental difference between a small ship and a large one. (7) The only question is size and time.

(8) Humanity, in my opinion, is a kind of disease of the planet. (9) They started, multiplied, and swarmed with microscopic creatures on a planetary, and even more so on a universal scale. (10) They accumulate in one place, and immediately deep ulcers and various growths appear on the body of the earth. (11) One has only to introduce a drop of a harmful (from the point of view of the earth and nature) culture into the green coat of the Forest (a team of lumberjacks, one barracks, two tractors) - and now a characteristic, symptomatic painful spot spreads from this place. (12) They scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste.

(13) Unfortunately, such concepts as silence, the possibility of solitude and intimate communication between man and nature, with the beauty of our land, are just as vulnerable as the biosphere, just as defenseless against the pressure of so-called technological progress. (14) On the one hand, a person, delayed by the inhuman rhythm of modern life, overcrowding, a huge flow of artificial information, is weaned from spiritual communication with the outside world, on the other hand, this external world itself has been brought into such a state that sometimes it no longer invites a person to spiritual communication with him.

(15) It is unknown how this original disease called humanity will end for the planet. (16) Will the Earth have time to develop some kind of antidote?

(According to V. Soloukhin)

“The first two sentences use the trope of ________. This image " cosmic body” and “cosmonauts” is key to understanding the author’s position. Reasoning about how humanity behaves in relation to its home, V. Soloukhin comes to the conclusion that “humanity is a disease of the planet.” ______ (“scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste”) convey the negative actions of man. The use of _________ in the text (sentences 8, 13, 14) emphasizes that everything said to the author is far from indifferent. Used in the 15th sentence, ________ “original” gives the argument a sad ending that ends with a question.”

List of terms:

  1. epithet
  2. litotes
  3. introductory words and plug-in constructions
  4. irony
  5. extended metaphor
  6. parcellation
  7. question-and-answer form of presentation
  8. dialectism
  9. homogeneous members offers

We divide the list of terms into two groups: the first – epithet, litotes, irony, extended metaphor, dialectism; the second – introductory words and inserted constructions, parcellation, question-answer form of presentation, homogeneous members of the sentence.

It is better to start completing the task with gaps that do not cause difficulties. For example, omission No. 2. Since the whole sentence is presented as an example, some kind of syntactic device. In a sentence “they scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste” series of homogeneous sentence members are used : Verbs scurrying around, multiplying, doing business, participles eating away, exhausting, poisoning and nouns rivers, oceans, atmosphere. At the same time, the verb “transfer” in the review indicates that the word in the place of the omission should be plural. In the list in the plural there are introductory words and inserted constructions and homogeneous clauses. A careful reading of the sentence shows that the introductory words, i.e. those constructions that are not thematically related to the text and can be removed from the text without loss of meaning are absent. Thus, in place of gap No. 2, it is necessary to insert option 9) homogeneous members of the sentence.

Blank No. 3 shows sentence numbers, which means the term again refers to the structure of sentences. Parcellation can be immediately “discarded”, since authors must indicate two or three consecutive sentences. The question-answer form is also an incorrect option, since sentences 8, 13, 14 do not contain a question. What remains are introductory words and plug-in constructions. We find them in the sentences: In my opinion, unfortunately, on the one hand, on the other hand.

In place of the last blank you must substitute the term male, since the adjective “used” must be consistent with it in the review, and it must be from the first group, since only one word is given as an example “ original". Masculine terms – epithet and dialectism. The latter is clearly not suitable, since this word is quite understandable. Turning to the text, we find what the word is combined with: "original disease". Here the adjective is clearly used in a figurative sense, so we have an epithet.

All that remains is to fill in the first gap, which is the most difficult. The review says that this is a trope, and it is used in two sentences where the image of the earth and us, people, is reinterpreted as the image of a cosmic body and astronauts. This is clearly not irony, since there is not a drop of mockery in the text, and not litotes, but rather, on the contrary, the author deliberately exaggerates the scale of the disaster. Thus, the only thing left is possible variant– metaphor, the transfer of properties from one object or phenomenon to another based on our associations. Expanded - because it is impossible to isolate a separate phrase from the text.

Answer: 5, 9, 3, 1.

Practice.

(1) As a child, I hated matinees because my father came to our kindergarten. (2) He sat on a chair near the Christmas tree, played his button accordion for a long time, trying to find the right melody, and our teacher sternly told him: “Valery Petrovich, move up!” (3) All the guys looked at my father and choked with laughter. (4) He was small, plump, began to go bald early, and although he never drank, for some reason his nose was always beet red, like a clown’s. (5) Children, when they wanted to say about someone that he was funny and ugly, said this: “He looks like Ksyushka’s dad!”

(6) And I, first in kindergarten and then at school, bore the heavy cross of my father’s absurdity. (7) Everything would be fine (you never know what kind of fathers anyone has!), but I didn’t understand why he, an ordinary mechanic, came to our matinees with his stupid accordion. (8) I would play at home and not disgrace either myself or my daughter! (9) Often getting confused, he groaned thinly, like a woman, and a guilty smile appeared on his round face. (10) I was ready to fall through the ground from shame and behaved emphatically coldly, showing with my appearance that this ridiculous man with a red nose had nothing to do with me.

(11) I was in third grade when I caught a bad cold. (12) I started getting otitis media. (13) I screamed in pain and hit my head with my palms. (14) Mom called an ambulance, and at night we went to the district hospital. (15) On the way, we got into a terrible snowstorm, the car got stuck, and the driver, shrilly, like a woman, began to shout that now we would all freeze. (16) He screamed piercingly, almost cried, and I thought that his ears also hurt. (17) Father asked how long was left to the regional center. (18) But the driver, covering his face with his hands, kept repeating: “What a fool I am!” (19) Father thought and quietly said to mother: “We will need all the courage!” (20) I remembered these words for the rest of my life, although wild pain swirled around me like a snowflake in a snowstorm. (21) He opened the car door and went out into the roaring night. (22) The door slammed behind him, and it seemed to me as if a huge monster, clanging its jaws, swallowed my father. (23) The car was rocked by gusts of wind, and snow rustled down on the frost-covered windows. (24) I cried, my mother kissed me with cold lips, the young nurse looked doomedly into the impenetrable darkness, and the driver shook his head in exhaustion.

(25) I don’t know how much time passed, but suddenly the night was illuminated by bright headlights, and the long shadow of some giant fell on my face. (26) I closed my eyes and saw my father through my eyelashes. (27) He took me in his arms and pressed me to him. (28) In a whisper, he told his mother that he had reached the regional center, raised everyone to their feet and returned with an all-terrain vehicle.

(29) I dozed in his arms and through my sleep I heard him coughing. (30) Then no one attached any importance to this. (31) And for a long time afterwards he suffered from double pneumonia.

(32)…My children are perplexed why, when decorating the Christmas tree, I always cry. (33) From the darkness of the past, my father comes to me, he sits under the tree and puts his head on the button accordion, as if he secretly wants to see his daughter among the dressed-up crowd of children and smile cheerfully at her. (34) I look at his face shining with happiness and also want to smile at him, but instead I start crying.

(According to N. Aksenova)

Read a fragment of a review compiled on the basis of the text that you analyzed while completing tasks A29 - A31, B1 - B7.

This fragment examines the linguistic features of the text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list. If you do not know which number from the list should appear in the blank space, write the number 0.

Write down the sequence of numbers in the order in which you wrote them down in the text of the review where there are gaps in answer form No. 1 to the right of task number B8, starting from the first cell.

“The narrator’s use of such a lexical means of expression as _____ to describe the blizzard (“terrible blizzard", "impenetrable darkness"), gives the depicted picture expressive power, and such tropes as _____ (“pain circled me” in sentence 20) and _____ (“the driver began to scream shrilly, like a woman” in sentence 15), convey the drama of the situation described in the text . A device such as ____ (in sentence 34) enhances the emotional impact on the reader.”

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