1. Errors associated with the use of nouns.

2. Errors associated with the use of verb forms.

3. Errors associated with the use of adjectives.

4. Errors associated with the use of numerals and pronouns.

Errors associated with the use of nouns. Morphology is a section of grammar that studies the grammatical properties of words, i.e. grammatical meanings, means of expressing grammatical meanings, grammatical categories.

Norm morphology – rules for using morphological forms of different parts of speech.

The peculiarities of the Russian language are that the means of expressing grammatical meanings often vary. At the same time, the options may differ in shades of meaning, stylistic coloring, sphere of use, correspond to the norm of the literary language or violate it.

The largest group consists of options whose use is limited to the functional style or genre of speech.

In colloquial speech, we often find the genitive plural forms orange, tomato, instead of oranges, tomatoes; from her, from her, instead of from her, from her. The use of such forms in official written and spoken speech is considered a violation of the morphological norm.

1. Nouns that end their stem with the sounds -in- in the genitive case have a zero ending, these are:

a) words denoting belonging to a particular nation, for example: Georgian, Abaza;

b) attitude towards a certain territory, for example: southerners, northerners, Volga residents

There are words that cannot be subsumed under one or another classified definition, for example: felt boots, boots, stockings, pagon, partisans, soldiers, waffles, kachers, mokorons, sheets, saucers, towels, gills.

But: socks, Kalmyks, Kyrgyz, Mongols, Tajiks, oranges, tangerines, tomatoes, kilograms, hectares, rakes, mangers, candles, canned food, runs, finances, everyday life, Greeks, Hutsuls, Kurds, Eskimos.

In the prepositional case, the following cases require memorization: many words of the masculine gender, 2 declension, having the meaning of “inanimate” receive the ending at instead of the common one e in the singular prepositional case. If the pretext V or on indicates a place, time, manner of action, for example: in service, in the snow, in the forest, in the nose, in alcohol, in alcohol. However, the prepositional case can also be expressed variably. For example: in the workshop - in the workshop, on vacation - on vacation, in the wind - in the wind. In a business scientific speech, the ending e, and in colloquial at.

In the instrumental case: doors (colloquial) - doors (lit.), horses (colloquial) - horses (lit.).

One can also note “frozen forms”: lie down with bones, be proud of your sons and daughters.

2. Nouns used only in the plural: vacations, burners, christenings, darkness, twilight.

Nominative case.

When choosing the ending –a (ya) or –ы (i) you should pay attention to the fact that many words have normative forms:

A (-i-) - running, doctor, feed, bathed, coachman, watchman, tower;

Y (-i-) – pharmacists, librarians, elections, issues, consuls, tractors, paramedic.

Sometimes endings indicate semantic differences:

Conductor s– devices in technology;

Conductor A– transport workers.

The word accountant in the nominative case, plural, has only the form with the ending - s. Accountants!

Using number forms . The real nouns sugar, fuel, oil, oil, marble are used in the singular form: sugar, fuel, oil, oil, salt, marble. These forms have a stylistic connotation of professional use. In some cases, one of the forms violates the norm of the literary language incorrectly, shoe, and shoe with stress on the first syllable is correct.

Gender category: In the Russian language there are many masculine and feminine words to designate people by their position or profession. With nouns denoting a position, profession, rank, title, the difficulties that arise in speech are explained by the characteristics of this group of words. What are they?

Firstly, in the Russian language there are names of the masculine gender and there are no parallels for them in the feminine gender, or (much less often) there are only names of the feminine gender. For example: rector, businessman, financier, parliamentarian, laundress, nanny, milliner, manicurist, midwife, dowry worker, lacemaker, seamstress motorist, president, ambassador, candidate of sciences, diplomat.

Secondly, there are names, both masculine and feminine, both of which are neutral. For example: athlete - athlete, poet - poetess.

Thirdly, both forms are formed, both masculine and feminine, but feminine words differ in meaning or stylistic coloring.

So, the words professor, doctor, have the meaning of “professor’s wife”, “doctor’s wife” and a colloquial connotation, but as job titles they become colloquial. The generic parallels cashier, watchwoman, accountant, controller, laboratory assistant, watchwoman, usher are classified as colloquial, and doctor as colloquial.

Difficulties arise when it is necessary to emphasize that we are talking about a woman, and there is no neutral feminine parallel in the language. Such cases are increasing. According to scientists, the number of titles that do not have a female gender parallel is increasing every year, for example: cosmophysicist, television commentator, television reporter, bionicist, cyberneticist, etc., while this position can be held by a woman.

What way out do speakers and writers find? As linguists answer, not only in oral speech, but also in newspaper texts, in business correspondence, syntactic reference to persons is increasingly used. Sometimes with masculine nouns the verb in the past tense has a feminine form. For example: The doctor came, the philologist said, the foreman was there, our bibliographer advised me. Such constructions are currently considered acceptable and do not violate the norms of the literary language. The use of masculine nouns that do not have a word-formation parallel of feminine rad as a name for a woman is an excuse for the fact that fluctuations in the forms of agreement have increased. The following options became possible: young physicist Yakovleva - young physicist Yakovleva.

In the frequency-stylistic dictionary of options “grammatical correctness of Russian speech” regarding this use of definitions it is said: “In written strictly official or neutral business speech, the norm of agreement on the external form of the defined noun is accepted: the outstanding mathematician Sofya Kovalevskaya; new Prime Minister of India Indira Gandhi.

The most common grammatical errors are related to the use of gender of nouns. You can hear incorrect phrases: railway rail, French shampoo, big callus, registered parcel, but the noun rail, shampoo is masculine, (lit.v) environment. genus. - open, callus - feminine, cuff - feminine, sandal feminine, curtain - masculine, shoe - feminine, parcel - feminine, ballerina - ballet soloist, dancer, ballet dancer, typist - feminine - copyist on typewriter.

Violation of grammatical norms is associated with the use of prepositions in speech. Prepositions because of and thanks .

The preposition thanks retains its original lexical meaning associated with the verb to thank. U are consumed to indicate the reason that causes the desired result: thanks to the help of comrades, thanks to proper treatment. If there is a sharp contradiction between the original lexical meaning of the preposition thanks and the indication of a negative reason, the use of this preposition is not advisable: I did not come to work due to illness, in this case correctly - because of illness.

The prepositions thanks to, in spite of, according to, towards, according to modern standards, are used only with the dative case.

Errors associated with the use of verb forms.

Insufficient verbs: win, convince, find yourself, wonder. They have insufficient structural features to form 1st person singular verbs. In this regard, this form is formed through descriptive expressions: I can win, I can find myself, I convinced you etc. Abundant verbs: moves - moves, rinses - rinses, waves - waves, sways - sways, etc.

The verbs eat and eat are examples of the complexity of the stylistic system of the Russian language. The verb to eat is not used in either the first or third person; only an imperative mood such as “Eat is served”, “Eat for your health” is possible. This verb can be used when addressing children as an expression of tenderness and affection.

The first form is colloquial, and the second is literary. Lag - lie. The root of lies is not used without a prefix: lend, instead of borrow money.

Dried wet; the norm is the loss of the suffix well in all forms of the past tense of prefixed verbs, get wet - wet, wet.

The perfect participle pine with a vowel sound can be used in two forms: with the suffix in, and with the suffix lice (for example: having listened, having overlooked).

The forms for lice are inherently colloquial in nature, the forms for are commonly used: seen - commonly used. lit. in-t.; vidal - colloquial; notify, cork - talk. V. T.; notify, cork - book. V. T.

Errors associated with the use of adjectives. It is the short forms of the superlative and comparative degrees of adjectives that are the most “vulnerable” and are “tense” points in spelling.

Speech errors.

a) The girl was tall, beautiful and cheerful. In one gender, full and short forms are used.

b) My brother is older than me, he studies well. Older is an expression that is a combination of simple and complex comparative forms in one construction. I must say: My brother is older than me. Good me. From the words good and bad, suppletive forms of degrees are formed - better, worse. He is more capable and smarter than me.

Simple and complex forms of degrees of comparison cannot be used as homogeneous members of a sentence. I should have said: Brother is more capable and smarter than me.

The short forms have a predominantly bookish stylistic flavor: The lecture is interesting and instructive.

Short adjectives sound more categorical in the text, usually expressing an active and specific sign: Thoughts are clear, the girl is beautiful.

Full forms of adjectives are used normally in colloquial speech: The lecture is interesting and instructive.

The long form indicates a permanent sign, the short form indicates a temporary one: The girl is beautiful (in general) the girl is beautiful (at the moment).

Full and short forms of adjectives can form semantic variants, i.e. have different lexical meanings: the boy is deaf - the boy is deaf (to requests).

When forming short forms of adjectives with unstressed - established(natural, solemn) fluctuations are observed. Artificial – artificial, artificial; solemn - solemn, solemn.

Currently, these options are equal; they are entrenched in all styles. But the more common form is the truncated form (on en). Possessive and relative adjectives in speech can be replaced by synonymous forms of indirect cases of nouns: mother's book - mother's book, stone wall - wall of stone. But in a number of cases, such combinations differ in meaning: an old man’s gait - an old man’s gait (figurative meaning), wall painting - wall painting (terminological meaning).

Related information.

Phraseologisms give expressiveness to speech, create a comic effect, provide additional linguistic characteristics, and create a vivid stylistic effect

R. phraseology contains the richest means of speech expressiveness, gives speech expression and national flavor. Units of phrases have varying degrees of expression (neutral railway, powdered sugar, soft sign, white rough) Phraseologisms with a bookish coloring : rest on one's laurels, Achilles' heel, sword of Damocles, take place,. Conversational : out of hand, deaf aunt, even gouge out an eye, lead by the nose, was not, soul to soul. Phraseology functionally colored: Scientific style: surplus value, thyroid gland, current strength, take into account, summarizing what has been said, leave a trace. Officially - business phraseology: confrontation, registration number, resign, be punished, impose on..., take effect. Journalistic phraseology: civic duty, by and large, to shed light, on the world stage, to warm hands, with a light hand, government crisis, Stable phrases often turn into cliches. Ice fighters (hockey players), white gold (cotton), blue fuel (gas). Poetic phraseological units: bonds of friendship, a castle in the air, a knight without fear or reproach. In expressive-emotional styles, phraseological units can be presented as groups with a unique stylistic coloring: high, solemn : from time immemorial, on the battlefield, holy of holies, sons of the fatherland. Disapproving: whip a fever, swim shallowly, suck it out of your finger. Ironic cry into your vest, keep quiet. Joking: feed breakfast, neck and neck, Rough : in the tail and mane, with fat to rage. Stylistically colored phrases. Units are widely used in both written and spoken language and in all functional styles. In scientific and official business, expressively colored phraseological units and colloquial phraseological units are prohibited. Expressively colored phrases are common in colloquial speech and in the arts. journalistic. Features of the use of phraseology in art. In literature and journalism there are various kinds of transformation of phrases of units, figurative play. There are frequent cases of transformation of phraseological units, catchphrases in newspaper speech: Bring the dirty war to clean water. And the guilty wash their hands with soap. I can't brew beer with you.

Morphological means of stylistics

Morphology is that part of the grammatical structure of a language that unites the grammatical classes of words (parts of speech), the grammatical (morphological) categories and forms of words belonging to these classes. Thus, at the center of morphology is the word with its grammatical changes and its grammatical characteristics. Morphological means provide functional colors associated with the tradition of using certain forms in oral, conversational or business style. Morphological means are used in all styles, genres and forms of speech. Nouns: can have a functional stylistic connotation in the official form: laboratory assistant Ivanova, in conversation - laboratory assistant Ivanova. The usage of nouns of one or another kind in different functional styles is not the same. Scientific speech is abstract entities of a kind. The stylistic possibilities of the GENDER category (husband, female, wed) are presented in a variety of ways in artistic literature. The NUMBER category also has certain stylistic possibilities: multiplying the number of abstract terms - functional coloring of scientific and professional speech (costs, minimums) colloquiality (colds, frosts, times) expression (deaths) PAGE glass of tea, glass of tea. Adjective: complete and brief, degree of comparison. Full and short are added when they act as a predicate: The person is cheerful. Short form of stylistic coloring in scientific speech: Gas is light, proteins are complex. Short forms, compared to full ones, are perceived as more bookish. Degrees of comparison of adjectives. The simple one is more neutral, while the complex one is bookish: colder - colder. The prefix in colloquial speech is stronger, more impressive. The complex form of the superlative degree is more common, neutral: the deepest, and the simple form is bookish: the deepest. Expression - prefix formations - kindest. Hyperbolic - clearer than clear - conversational. Journalistic and scientific speech with the adverb most - most responsible. Pronouns: Expressive-stylistic functions of personal pronouns (our, we) - conveying unity with the speaker, contrasting we-you. The use of the verb “I” with a predicate verb leads to emphasizing the personality of the speaker, and in order to avoid immodesty, “I” is omitted. “I” gives the statement a categorical character. Different pronouns are used differently in different speech varieties. In colloquial and literary speech, personal pronouns are highly frequent, but in scientific speech you and you are almost never used. I is replaced by the author's We. In the official business style, I, We, You, You are completely absent. The verb is one of the main means of expressing dynamics. The imperative mood is almost unknown in scientific and official business speech, but is widely used in colloquial, artistic and journalistic speech. Personal forms of verbs. 2nd person, You - enter, 3rd person - They tell you. Cases of using facial shapes are not only semantic, but also expressive - with emotional shades. Time: present tense - conversation. The past is fiction. Mood: indicative, imperative. Type: perfect, imperfect. Participles and gerunds: a shade of bookishness. Passive (carrying), active (tanned).

Two-time world champion in beach soccer Andrei Bukhlitsky is recovering from a serious injury. Now the athlete is waiting for the final third operation. The future plans of one of the most recognizable and charismatic Russian beach soccer players are to continue performing at a professional level, and then fully concentrate on coaching (in the new season, Andrei Bukhlitsky became the goalkeeper coach of the Russian beach soccer team).

In an interview with Izvestia, the titled goalkeeper named the best goalkeepers of the 2018 World Cup, and also spoke about his health problems and income in beach soccer

- Have you watched the World Cup matches? Which of them were you able to visit?

I watched almost all the games, but couldn’t get to the stadium because I was busy with my health. Almost all this time I was in Singapore.

- What are your impressions of the game of our team and the organization of the championship?

I can say that the task of holding the tournament was completed 100%. All the reviews say exactly this. But the most important thing is that the national mission of uniting the country around the national team has been accomplished. The team did this not with words, but with results.

- Question “by specialty”. Which goalkeeper has inspired you the most?

I’ll single out three: Frenchman Hugo Lloris, Belgian Thibaut Courtois and Igor Akinfeev. Goalkeepers must be characterized by stability, so they must be determined precisely by this criterion.

- Is there anything in goalkeeping now that could be called revolutionary?

In fact, there is nothing even close to that. This is due to the historical framework - we must wait for the moment when a person like Lev Yashin appears. He was the first to leave the gate and serve as the last defender. So far there are no such serious innovations from goalkeepers in big football. I don’t think it’s surprising that goalkeepers started playing more with their feet.

- Is what Bayern goalkeeper Manuel Neuer is doing PR or an attempt to help the team?

No, this is the state of the goalkeeper's soul. And the fact that he succeeds only proves Neuer’s supreme skill. These are by no means “cheap show-offs”. A person must do what he knows how to do.

Andrey Lunev played the last two matches for the Russian national team. Can he painlessly replace Igor Akinfeev?

I will say this: it can and should. Now there are many young and talented goalkeepers in the country who need match practice. He has a certain priority in this regard: Andrey is the main goalkeeper of Zenit.

- What talents are you talking about?

For example, about Spartak goalkeeper Alexander Selikhov. If, after an injury, Sasha can regain his place in the starting lineup and play a series of good matches, he is quite capable of fighting for the place of the main goalkeeper of the national team.

The acting president of the Russian Football Union (RFU), Alexander Alaev, comes from beach soccer. Did you meet him on the field?

We played together for the Strogino team, and we also played with him in mini-football at a fairly high level.

- How do you evaluate his performance in this responsible position?

I think we hit the mark with his appointment. Alexander Alexandrovich knows what he says, what he does, and not in theory, but from his rich experience. For him, there are no trifles in his work, which distinguishes a good leader from a nominal one.

In August you said that you were close to ending your career due to the fault of doctors. Without going into details, what happened?

To put it very briefly, an infection was introduced during the operation. We all make mistakes, but the point is how we correct these mistakes. In my case, I was left to my own devices. I would have forgiven all those responsible, but I did not receive any help from them. There is a feeling of injustice. Moreover, I know that such a situation is far from isolated. When my problem was revealed, people who found themselves in a similar situation began writing to me. It turns out that this is not the first time this has happened.

- What are your further plans for restoration?

I have already undergone two operations. The biggest achievement is that we defeated the infection. Now I am awaiting my third operation to repair the cruciate ligament.

- How do you assess the likelihood of returning to the professional level?

I always set myself the highest goals and went towards the most unattainable goals. Therefore, I will definitely say: I will try very hard to return.

- A very delicate question. Who helped you with operations that are probably not cheap?

Relatives and friends from big football, guys from business. Until I finish treatment, I will not name names. But after this I will definitely list everyone and thank everyone sincerely. It turns out that I didn’t play football in vain. People helped me a lot and did it sincerely.

- Are we looking forward to seeing you in the ranks soon?

I really hope so, but now the problem is in the operation. We found a good place, but, unfortunately, with all the other expenses at the moment, I don’t have enough money for the third operation. Well, the goalkeeper is the team’s last hope, so I don’t lose hope that good people will help me.

- In this regard, the question is: what is the average salary of a top-level beach football player?

Incomparable to big football. The average salary is 80–100 thousand rubles per month.

- What additional sources of income can a two-time world champion have?

Conducting master classes in the regions for individual groups. Although this is the case when they pay for it. Sometimes it happens that we do it all for free. I don’t see any other source of income except winning world championships.

You recently came from Irkutsk, where you took part in a charity match and conducted a number of master classes. Was it for money or free of charge?

As I said in the pre-match press conference, it is every player's responsibility to take part in charity. Let me note that this was the first time I had such a format. More than 30 children representing the RFSO Lokomotiv - the organization with which my best years are associated - and the local sports school, charged me with positivity for a long time.

Yes, it is true. But it was clear from the children’s eyes that they knew who Bukhlitsky was. A fan is our most important asset. Probably, with hindsight, we can say that I am a bit of a media personality.

- What causes your addiction to pu-erh, which is always in your thermos?

Tea and the tea ceremony are designed to unite people. Good people come together precisely on the basis of this tool. To me, tea is like a football team, which is a separate organism. This organism itself “spits out” unnecessary elements and lives an active and honest life.

- Where does Andrei Bukhlitsky see himself in 10 years?

Firstly, Andrei Bukhlitsky sees himself as a good person. Well, I would like to be a three-time and five-time world champion, but already on the coaching bridge.

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EXPRESSIVE MEANS OF MORPHOLOGY

All the described means of expression have features of linguistic expression. They can be characterized from the point of view of the morphological affiliation of the linguistic units participating in its formation. For a complete presentation of both lexical and syntactic means of speech expressiveness, their morphological characteristics will be useful, which will be based on the ability of individual parts of speech to participate in the creation of an artistic image.

NOUN

The term (name) “noun” is related to the word “essence” (“existing”), which is a participle of the verb “to be”, therefore, a noun is something that exists. Remember what a noun means and answer the question: why is a noun one of the most numerous parts of speech?
The richness of a noun is manifested not only quantitatively, but also qualitatively. Among the nouns we will find words belonging to a variety of groups and categories: words new and outdated, professional and dialectal, native Russian and borrowed, bookish, colloquial, official, colloquial, high, etc. Using these words in a work of art, the author can create the general tone of the text, special expressiveness, emotionality and imagery of speech, can express his attitude towards events and characters, and create speech characteristics of the characters.
The word is qualitatively transformed in a literary text, which is manifested in the development of the meaning of the word. There are no random words or syntactic constructions in a literary text. The unity of form and content finds full expression in the artistic image. A miracle occurs in an artistic text: the words seem to outgrow themselves, rush into the “realm of universal animation and spirituality... “Fine literature” appears, artistic creativity in its broad sense” (V.A. Markov). The target functions of words change: these functions are determined by the context.
Tasks:
1. Read the text by K.D. Ushinsky expressively.

We call our country Fatherland because our fathers and grandfathers lived in it. We call it our homeland because we were born in it, they speak our native language in it, and everything in it is native. We call her mother because she fed us with her bread, gave us drink with her waters, and taught us her language. Like a mother, she protects us from enemies. There are many in the world, besides our country, all sorts of states and lands, but a person has one natural mother, and he has one Motherland.

Determine the topic and main idea of ​​the text. Give it a title. Think about what helped you correctly identify the topic and accurately title the text?
Find keywords in the text. What part of speech are they? What role do they play in the text?

What do the words “Motherland”, “born”, “native” have in common? Continue this series.
Find examples of artistic tropes in the text. What words are used figuratively?
Read the text aloud, correctly highlighting pauses and logical stresses intonationally.
Find the tone and pace of reading that suits you best.

2. Read the text by B.L. expressively. Pasternak. How did you feel when you finished reading this passage? What expressive means of speech contribute to creating the image of the Motherland in this passage?

It's a spring evening outside. The air is all marked with sounds. The voices of children playing are scattered in places of different distances. And this distance is Russia, his incomparable, sensational beyond the seas, famous parent, martyr, stubborn, extravagant, naughty, idolized, with eternally majestic and disastrous antics that can never be foreseen!
Oh, how sweet it is to exist! How sweet it is to live in the world and love life!

Compare two texts: Ushinsky and Pasternak. What do these texts have in common and what are the differences? In which of the texts does the personal motive sound stronger?
By what means of expression does Pasternak expand the image of Russia?
Find keywords in the text. What part of speech are they?
Is there any peculiarity in the use of nouns in this text?
Choose a synonym for the words “crazy”, “naughty”.
What words give the passage a conversational, confidential character?
Find the contrast in the text. Why is antithesis appropriate here?
For what purpose does the author use lexical repetition in the last sentences?
Explain punctuation marks. Determine whether the pauses match the punctuation marks. What role do exclamatory sentences play in the text? What mood of the author do they convey?

Saturating the text with nouns can become a means of linguistic figurativeness. Whisper, timid breathing,
The trill of a nightingale,
Silver and sway
Sleepy stream,

Night light, night shadows,
Endless shadows
A series of magical changes
Sweet face

There are purple roses in the smoky clouds,
The reflection of amber
And kisses and tears,
And dawn, dawn!

The text does not contain a single verb. But this does not prevent the poet from conveying the dynamics, the movement of life, its rhythm. Dynamism and movement are conveyed by verbal nouns by stringing together homogeneous members of a sentence in the structure of one sentence. Nouns appear as expressive means of speech in A. Blok’s poem.

Night, street, lantern, pharmacy,
Pointless and dim light.
Live for at least another quarter of a century -
Everything will be like this. There is no outcome.

If you die, you'll start over again,
And everything will repeat itself as before:
Night, icy ripples of the channel,
Pharmacy, street, lamp.

In this poem, the metaphorical use of nouns evokes a feeling of hopelessness in the cycle of life.

The nouns give another emotional coloring, a sensually tender one, to another poem by A. Blok.

Me and the world - snow, streams,
The sun, songs, stars, birds -
All are subject to control, all are Yours!

At M.Yu. Lermontov’s poem “Leaf” uses masculine and feminine nouns as the source of expression. Oak leaf – young plane tree. Behind these images are complex human relationships between the masculine and feminine principles in life. The poem takes on an allegorical, symbolic sound. Oak leaf and young plane tree become key words in the text.

An oak leaf tore off from a branch
And he rolled off into the steppe, driven by a cruel storm;
He withered and withered from the cold, heat and grief
And finally I reached the Black Sea.

A young plane tree stands by the Black Sea;
The wind whispers with her, caressing the green branches;
Birds of paradise swing on green branches,
They sing songs about the glory of the Tsar-Maiden of the Sea...

Nouns concretize our speech and eliminate verbosity: someone who is devoted to his people, homeland is called a patriot.
Exercise
Express the definitions below in one word that exactly corresponds to the given concept.

1. An active member of a group or society.
2. One who denies the existence of God.
3. A person starting some important business.
4. The one who carries the banner.
5. A person who fights for something.
6. Someone who talks with someone.
7. Someone who works with someone.
8. A person walking along the same path with someone.
9. The person managing the orchestra or choir.
10. A follower of any views.
11. A person who has the same way of thinking as someone.
12. A person who avoids communication with other people.
13. Someone who prefers to spend his free time at home.
14. Participant in the uprising.
15. A writer who creates works for the theater.
16. One who is designated for election, appointment or admission somewhere.
17. A person capable of all sorts of dishonest acts, fraud.
18. A person who spreads false accusations and rumors that disgrace others.
19. He who flatters pleases those from whom he hopes to receive personal benefit.
20. An employee who performs his duties formally, not for the benefit of the business.
21. One who cares only about his own well-being, about his personal benefits.
22. A person who lives off the labor of others, at someone else’s expense.

ADJECTIVE
The term “adjective” appeared in ancient Russian grammars only at the beginning of the 17th century. Before this, the adjective name was called "prepositional". The imposition is related to the Greek word “epithet” - a letter application, that is, something that is “attached” to a noun.
Among the adjectives, as well as among the nouns, there are words of very different stylistic, expressive, emotional coloring; words that differ in the scope of use, etc. The synonymy of adjectives is very rich, with the help of which you can convey the most subtle shades of meaning, stylistic and emotional coloring.
Tasks:
1. What shades of meaning differ in the definitions in the following phrases: a) bear’s den, b) bear’s paw, c) bear’s fur coat, d) bear’s walk, e) disservice? What adjectives are used figuratively and have an expressive connotation?
2. Imagery of speech is achieved by using adjectives in a figurative meaning. They are called epithets - expressive means of speech, paths from the Greek “tropos” - “image, turn, turnover”. Neutral-colored adjectives can also be expressive means of speech with a certain syntactic construction of sentences, with a certain speech organization of the text.
Find the epithets in the following sentences.
1) Bloodless faces, faded eyes, tired voices - the dull indifference of a cold autumn evening... (M.G.) 2) ... on each face he read only a dull expression of ordinary, vulgar boredom and contentment. Stupid eyes, stupid smiles, sharp, stupid voices, arrogant movements - and nothing more... And his attention stopped on one pale, slightly sleepy, tired face... If that guilty woman who poisoned herself was called fallen, then for everyone these, who were now dancing to the sound confusion and speaking long and disgusting phrases, it was difficult to find a suitable name. (A.Ch.).
Which adjectives (epithets as expressive means of speech) are used in a figurative meaning, emotionally charged, and which of them are neutral, commonly used?
3. Write out adjectives - epithets separately from the poem, and simple definitions separately.
And there, when the evening dawn
Dresses with a pale blush
Mountain tops - desert snake
It crawls out from under the stones, frolicking;
It has pockmarked scales that glisten
With a silver tint, how it shines
Broken sword left behind by a fighter
In the thick grass on the fatal field.
(M.Yu. Lermontov)

In artistic speech, adjectives most often act as epithets with a figurative meaning, as colorful definitions; figurative, colorful adjectives, in contrast to neutral and constant ones, vividly and clearly depict objects and actions and give us the opportunity to see them as -how the writer saw them when creating the work. V. Mayakovsky often used neologism adjectives in his work: “chilled sidewalk”, “fired sand”, “Russia, take off with an inflated fleet”.

4. In S. Yesenin’s poem, categorize adjectives (qualitative and relative) and epithets (expressively colored, metaphorical and neutral, commonly used). What role do adjectives play in literary text?
Find metaphors in the text.

Swans and don't look for a trace.

You belong to me forever.

With scarlet berry juice on the skin,
Tender, beautiful, was
You look like a pink sunset
And, like snow, radiant and light.

The grains of your eyes have fallen off and withered,
The subtle name melted like a sound,
But remained in the folds of a crumpled shawl
The smell of honey from innocent hands.

In a quiet hour, when the dawn is on the roof,
Like a kitten, it washes its mouth with its paw,
I hear gentle talk about you
Water honeycombs singing with the wind.

Let the blue evening sometimes whisper to me,
What were you, a song and a dream,
Well, whoever invented your flexible waist and shoulders -
He put his lips to the bright secret.

Do not wander, do not crush in the crimson bushes
Swans and don't look for a trace,
With a sheaf of your oat hair
You belong to me forever.

Learn the poem by heart. Prepare for expressive reading.

PRONOUN

Stylistically, most pronouns are neutral words. Only some have a colloquial or bookish stylistic connotation (every, this or this, that, some).
Pronouns are substitute words that, like “spare players” or “understudies,” come on stage when it is necessary to replace the “main players.” And yet, individual pronouns can add additional expressiveness to a literary text. For example, the pronouns “you” and “you” have an artistic function, defining proximity or a barrier between interlocutors. A narrow-minded, humiliated character in any work, instead of the singular pronoun “he”, “she”, can use the pronoun “they”.
Exercise
Expressively read the poem by M.Yu. Lermontov "Death of the Poet". Find pronouns, determine their meaning, stylistic coloring. What artistic function do pronouns perform in each specific case?

And you, arrogant descendants
The famous meanness of the illustrious fathers,
The fifth slave trampled the wreckage
The game of happiness of offended births!
You, a greedy crowd standing at the throne,
Executioners of Freedom, Genius and Glory!
You are hiding under the shadow of the law,
Judgment and truth are before you - everyone be silent!..
But there is also God’s judgment, the confidants of depravity!
There is a formidable judge: he is waiting;
It is not accessible to the ringing of gold,
He knows both thoughts and deeds in advance.
Then in vain you will resort to slander:
It won't help you again
And you won't wash away with all your black blood
Poet's righteous blood!
(M.Yu. Lermontov)

Homework:
Learn by heart S. Yesenin’s poem “To Kachalov’s Dog.”
Read expressively. Determine the stylistic function of pronouns in this poem.

The term “verb” means “speech”, “word”, originated in the Old Church Slavonic language as a translation from Greek. The verb is one of the richest and most significant parts of speech. Many linguists and writers have written about the expressive capabilities of the verb. For example, A.N. Tolstoy: “Movement and its expression – the verb – are the basis of language; finding the right verb for a phrase means giving movement to the phrase.” A. Yusov considered the verb “the most fiery and lively part of speech.” In his opinion, “the scarlet, freshest, arterial blood of the tongue flows in the verb.” Yu. Bondarev noted its “effective character” in the verb. The verb in all the richness of its semantics, with its inherent meanings of grammatical forms and the possibilities of syntactic connections, with a variety of stylistic devices of figurative use, is an inexhaustible source of expression,” writes I.B. Blue “The main advantage of the verb,” according to the domestic linguist A.M. Peshkovsky, - the ability to manage; to build around oneself a long line of diverse and consistently dependent words and sentences.” Wonderful material about the verb as an expressive device was collected by E.V. Lyubicheva and N.G. Olkhovik in the book “Through the Word I Create the World.”
Verbal synonymy is rich. Many synonymous verbs differ in stylistic characteristics. Verbs with prefixes ending in -з, -с are Old Slavonic in origin, have a bookish character, and have a connotation of solemnity and elation of style. A special role in a work of art can be played by the synonymy of verb forms: types, tenses, moods, personal forms, etc. For example, single-action and multiple-action verbs have a colloquial connotation. Additional expression is introduced by the use of forms of one person of the verb in the meaning of another. The use of the second person instead of the first gives the statement a generalizing meaning. There are numerous cases of using forms of one tense instead of another in artistic speech.
Verbs, like many other significant parts of speech, are used to construct many stylistic figures and tropes. The most frequently used verbs are as part of metaphors, personifications, oppositions, gradations, oxymorons, etc. Allegorical phrases (the moon has risen; the snow is lying; spring has come; the wind is howling) have become so firmly entrenched in our language that their metaphorical allegory has already not felt. The infinitive also has rich metaphorical possibilities. Its expression is due to the fact that, giving minimal grammatical information, it expresses the lexical meaning with the greatest completeness and names the action as an abstract concept. Gives the statement a shade of generalization and “all-encompassing” in time. For example:
If you love, so without reason,
If you threaten, it’s not a joke,
If you scold, so rashly,
If you chop, it’s too bad!
If you argue, it’s too bold,
If you punish, that's the point,
If you forgive, then with all your heart,
If there is a feast, then there is a feast.
(D.N. Tolstoy)
The abundance of verbs and verbal forms (participles, gerunds) usually distinguishes a narrative from a description, in which the main expressive means of speech are nouns and adjectives.
Exercise
Compare two texts, descriptive and narrative.
1. We were traveling on our own boat; ahead of us, like a network in the sky, were catkins, flowers of bare trees: alder catkins, yellow chicks of an early willow and various other buds and large, half-opened bird cherry buds. How graceful and how bashful these branches of undressed trees seem to be better than shy girls!
In the bare forest in the late spring, everything was visible through and through: the nests of various birds, the singing birds themselves were visible, nightingales with gurgling throats, finches, song thrushes, wood pigeons. And the cuckoo crowed in plain sight, and the black grouse walked, chattering, along the branch, muttering.
In some places the hops completely entwined the alder and bird cherry, and one green branch, emerging from under the old hops from last year, looked like Laocoon entwined with snakes (M. Prishv.). (Laocoon is a Trojan priest who was strangled by snakes for trying to save Troy.)
2. Autumn, autumn - the wind whistles from the sea and furiously drives foamy waves ashore - black ribbons of algae flash like snakes in the white manes, and the air is filled with damp, salty dust.
The coastal stones hum angrily; the dry rustling of the trees is alarming, they shake their tops, bend, as if they want to tear the roots out of the ground and run to the mountains, dressed in a heavy coat of dark clouds.
Above the sea, the clouds are torn to shreds and rush to the ground, revealing bottomless blue abysses where the autumn sun burns restlessly. Shadows slide across the rutted sea; on the ground, the wind presses the clouds to the sides of the mountains, the clouds wearily crawl up and down, huddle in the gorges and smoke there smoky.
Everything around is frowning, arguing with each other, angrily darkening and shining coldly, blinding the eyes; along a narrow road, covered from the sea by a ridge of stones caressed by the waves, leaves of plane trees, black maple, oak, and cherry plum run, chasing each other. Splashing, rustling, whistling - everything boiled into one continuous sound, you listen to it like a song, the uniform blows of the waves on the stones sound like rhymes. (M. Gorky)
Let's look for key words in the texts and make sure that in the first, descriptive option, adjectives as common or metaphorical signs of objects act as tropes as expressive means of speech. In the personification of nature, adjectives are involved in the first text, and verbs in the second. In the first text there is the calm static nature of nature in anticipation of change, in the second there is the dynamics of action, nature is shown in rapid movement. Verbs and verbal forms are the expressive means of speech, the personification of nature. (In M. Gorky’s story we see how phonetics is involved in the depiction of nature. The abundance of hissing and whistling sounds allows the reader to hear the excitement of nature.)
Tasks:
1. An expressive means of speech can be verbal play with personal and impersonal verbs. Find personal and impersonal verbs in the following sentences.
1) It is not good to let your comrades down. 2) Such an attitude towards comrades is not suitable. 3) This thing is inexpensive. 4) This item is worth buying. 5) The horse is carrying a cart of firewood. 6) He is lucky in exams. 7) You should prepare for the hike in advance. 8) The plane follows the route Moscow - Vladivostok. 9) The cookies failed this time. 10) We didn’t manage to meet again. 11) There was something to think about. 12) We had such a decision. 13) The highway was completely deserted. 14) The highway was completely deserted. 15) They were sad, but never bored. 16) He was torn out of the seat and thrown into the air, and then nauseated...and vomited. 17) Buckwheat honey was drawn from the fields, and I was drawn to the fields.
2. Expressively read A. Blok’s poem “I turned everything into a joke at first.” What feelings does the poem evoke? What expressive means of speech are used to achieve this? Highlight your keywords. What part of speech are they? What artistic effect is achieved by using a large number of verbs? What verb indicates that the lyrical hero has no return to the past? Are the verb forms used in a literal or figurative meaning?
Name the combinations of sounds that are persistently repeated in this poem. For what purpose does the poet use them? Why does he use the device of incompleteness, an open syntactic structure? Read the last sentence. What is special about his intonation? Explain the punctuation in this sentence. Determine the artistic function of the question. For what purpose does the author use lexical repetition in this sentence? Find paths in the text. Determine their meaning. Read the poem expressively.

Turned it all into a joke at first
I understood - I began to reproach,
She shook her beautiful head,
She began to wipe away her tears with a handkerchief.
And, teasing with her teeth, she laughed,
Suddenly forgetting everything.
Suddenly I remembered everything - I started sobbing,
Dropping ten hairpins on the table.
She turned ugly, walked away, turned around,
She turned back and waited for something,
She cursed, turned her back,
And she must be gone forever...
Well, it's time to get down to business
For my old business -
Has life really stopped making noise?
Made as much noise as your dress.

It is very important to have a culture of speech in everyday communication. There are verbs, the use of which in speech requires certain knowledge. There are so-called insufficient verbs that do not have separate personal forms. These include verbs that denote actions that cannot be attributed to the speaker. Try to pronounce in the first person the verbs to spike, to bud, to bitter, to rust, to take away, to conclude. Or, for example, use verbs in the first person that do not have the first person form for phonetic reasons: darken, feel, find yourself, blow, nonsense, convince, wonder, win.
Humorists use the first person forms of such verbs in their texts. There are numerous verbs that have two personal forms. Homophones with words that sound the same but have different lexical meanings are used as an expressive means of speech. Compare verb pairs: rinse - rinse; sways and sways; clucks - clucks; waves - waves; splashes - splashes; prowls and prowls. In each pair, the book form comes first, and the colloquial form comes second. (A gray-haired sorceress walks, waving her shaggy sleeve (G.R. Derzhavin). The horse wags its tail (M.E. Saltykov-Shchedrin).

Tasks:
1. Choose the correct use of the verb in literary speech.
Waving - waving, waving; to kill - I will kill, I will kill; to murmur - I murmur, I murmur; honor - honor, honor; get well - get well, get well; splash - splash, splash; rinse - rinses, rinses; disgusted - disgusted, disgusted; become disgusted - become disgusted, disgusted; pour - pours, pours; pinch - pinches, pinches.

2. Form the past tense form from these verbs. Choose the correct option. Using reference books, find out which of these forms are used in book speech.
Get wet (with emphasis on the second syllable) - wet, wet; get wet (with emphasis on the last syllable) - wet, wet; freeze - frozen, frozen; fall silent - fell silent, fell silent; go out - went out, went out; dry up - dried up, dried up; languish - languish, languish; hang - hang, hang.

3. Choose the correct use of the verb in the given text.
Stumps in a neglected forest (decayed, decayed). In the south, the rivers are in drought (dehydrated, dehydrated). In battles, the enemy (has become weak, weakened). A wounded soldier (bleds, bleeds). The garden this summer (barren, barren). Peasants-nina (landless, landless). A pond near a construction site (deprived of fish, deprived of fish). The apple day by day (wormed, wormed). Executioner of a criminal (beheaded, beheaded). The young man is out of fear (mad, maddened).

PARTICIPLE
The term “communion” is of Old Slavonic origin. The word entered the Old Church Slavonic language through Latin as a literal translation - “participating”. The meaning is due to the fact that the participle, in its properties, “participates” in both the name and the verb.
Participles have a connotation of bookishness and are used, as a rule, in written speech. Many of the sacraments have a stylistic connotation of solemnity. The participle can be used as an expressive means of speech.
Tasks:
1. Expressively read the text from Leo Tolstoy’s novel “War and Peace,” which describes an oak tree. How did you feel when you read the passage? What picture is drawn in your imagination? Find keywords in this passage. How do you understand the phrase “contemptuous freak”? What did the writer want to emphasize with this? Find participles in the text. Which of them are used figuratively? What artistic effect is achieved by repeating the participle “broken”? Determine its lexical meaning. Read the text expressively, maintaining correct intonation.
There was an oak tree on the edge of the road. Probably ten times older than the birches that made up the forest, it was ten times thicker and twice as tall as each birch. It was a huge oak tree, twice the girth, with branches that had apparently been broken off long ago and with broken bark overgrown with old sores. With his huge, clumsily, asymmetrically splayed, gnarled hands and fingers, he stood like an old, angry and contemptuous freak between the smiling birch trees. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun.

2. Determine the expressive role of participles in A. Blok’s poem.
What other verbal forms are used in the text of the poem? Literally or figuratively?
Singing dream, blooming color,
Vanishing day, fading light.

Opening the window, I saw lilacs.
It was in the spring - on a flying day.

Flowers began to breathe - and onto the dark cornice
The shadows of jubilant robes moved.

The melancholy was suffocating, the soul was busy,
I opened the window, trembling and trembling.

And I don’t remember where the breath came from in my face,
Singing, burning, she went up onto the porch.

3. The following text paints a picture of the storm, the power of the ship, and the courage and bravery of the captain that amazes the author. Why does the author of the story A.S. Green write about the fury of the storm not with adjectives, but with participles? How is expressiveness of speech and imagery achieved?
... Gray saw a huge picture above the door, its content immediately filling the stuffy numbness of the library. The painting depicted a ship rising onto the crest of a sea wall. The crest of the shaft, spread out by the ship's keel, resembled the wings of a giant bird. Foam rushed through the air. The sails, foggyly visible from behind the backboard, full of the frantic force of the storm, fell in their entirety backwards, so that, having crossed the shaft, straightened out, and then, bending over the abyss, rushed the ship towards new avalanches. Torn clouds fluttered low over the ocean. The dim light fought desperately against the approaching darkness of the night. But the most remarkable thing in this picture was the figure of a man standing on the forecastle with his back to the viewer. The richness of his suit showed him to be a captain...
Read the text expressively with the correct intonation. Explain punctuation marks.

4. In the poem by K.D. Balmont's "Cry to the Wind" participles and adjectives with the artistic device of parallelism provide structural coherence of the text, depict the fantastic omnipresence of the element of wind and express the consonance of the spiritual mood of the lyrical hero of this element.

The harsh wind of my native country,
The humming wind among the pines rings loudly,
The singing wind between bottomless abysses,
The flying wind of the vastness of the steppe.
Guardian of the willows in the flute spring,
Inducer of dreams in the anguish of sleepless nights,
The narrator of thoughts and funeral songs,
Rusting wind, hear me, I am yours...

Read the text expressively. Explain punctuation marks. Find expressive means of speech and determine their artistic function.

IN AND. Dahl, the author of the famous dictionary, gave the following description of participles: “The part of speech involved in the verb, in the form of an adjective.” Participles contain signs of both verbs and adjectives. Combining features of different parts of speech in one word makes these words more meaningful and economical. M.V. Lomonosov drew attention to the fact that “These verbal names serve to shorten the human word, containing the power of the name and verb.” Pictures of nature, portrait characteristics, and the inner experiences of characters in literary works are often conveyed by writers using participles. Where pathos, exposure, and solemnity are needed, we will always find the sacraments. In the poem “Vasily Terkin” A. Tvardovsky uses participles as nouns and creates an active heroic image of the Russian people.

Let us remember those who retreated with us,
Those who fought for a year or an hour,
Fallen, missing,
Who have we met at least once?
Those who saw off, who met again,
Those who gave us water to drink,
Those who prayed for us.

But in ordinary colloquial speech, participles are rare. We replace them with subordinate clauses. The formation of participles is difficult. It depends on the grammatical indicators of the verb. In a short excerpt from the work of V. Belov, we can find all four forms of participles: “The bitter, comforting smoke from the fires here and there melted in the clear, imperceptible air... A flock of starlings that had flown in from the forest and were preparing to set off descended into the field... The White Bell Tower The ruined church stood out clearly against the calm, meek autumn sky.”
But if in the indefinite form of the verb the stress falls on -ать (-ят) and when forming the participle it does not move to another syllable, then passive past participles cannot be formed from such verbs. The verbs decide, throw, receive, determine, compose, explain, apply, etc. do not form such participles. And prefixed verbs with the suffix -iva, (-ыва) do not form passive past participles.
Intransitive verbs do not have passive participles, and perfective verbs, naturally, cannot have present participles. So, the number of participles depends on whether the verb is transitive or intransitive, perfective or imperfect, as well as on the stressed or unstressed vowel of the stem of the indefinite form.
Tasks:
1. Analyze the sentences. Correct any existing errors in the use of participles in speech.

1) The guys who became friends over the summer did not want to part. 2) Children are running around playing in the yard. 3) From the window I see a birch tree with falling leaves. 4) People who love music will never stop loving it. 5) The name of our company was created from these combining letters. 6) We are not afraid of difficulties encountered along the way. 7) My most difficult child is the role of Daria. (From the speech of the actress). 8) Stools made by carpenters were brought to the workshop. 9) We met a lot of people while walking in the park. 10) From this book we learned about the horrors experienced by our people in the war. 11) He did a lot for his people, giving his life to serving him.
2. Answer the questions:
1) When the use of participial phrases mixes up active and passive participles. 2) When is a participial phrase used incorrectly instead of a subordinate attributive clause? 3) Find a sentence in which the participial phrase is in the wrong position in relation to the word being defined.

Participles

The term “gerund participle” was coined by the author of the first Russian grammar, Meletiy Smotritsky. The word is formed by merging the particle “dee” (from the verb “de-yat” - “to do”) and the noun “participle”. Participles remain predominantly bookish words and are used mainly in written speech. Some gerunds are colloquial in nature, for example, the gerund with the suffix - lice (“When they take off their heads, they don’t cry.”) Similar gerunds are often found in Russian folk art. In fiction they are used to convey the flavor of folk speech (looking, driving, walking). The most typical forms of gerunds are metaphor, antithesis, gradation, and oxymoron. The frequency of gerunds in book speech is determined by the specificity of their forms, which make it possible to designate not the main, but a secondary action, to show the sequence of several actions, to simultaneously convey the meaning of both the action and the circumstances, to designate an action without indicating a specific time and face. Such qualities of gerunds contribute to the activation of this form in scientific, official business and artistic speech. The undoubted advantage of participles is brevity and conciseness.
Variant forms of gerunds are associated with the use of modern and obsolete forms. An adverbial phrase can appear at the beginning, in the middle or at the end of a sentence. In a sentence it is a separate circumstance. Definite participles and participial phrases are highly expressive and are widely used in the language of fiction.
There are two categories of errors in the use of gerunds:
1. Constructing an adverbial phrase in an impersonal sentence is not always possible. If they try to do this, an error occurs, for example: He (Pechorin) has no friends, because, seeing the shortcomings of people, he becomes uninterested in communicating with them.
In this case, the participial phrase must be replaced by a subordinate clause with the meaning of time.
2. It is unacceptable to construct a participial phrase if the actions called a gerund and a predicate verb are performed by different persons or objects, for example: Having left the circus, the money in their hands turned into candy wrappers. (This refers to Woland’s black magic session from M. Bulgakov’s novel “The Master and Margarita”)

Tasks:
1. Indicate errors in the formation of gerunds and their use in speech; edit and write down the sentences.
1) In the chess championship competition, Spassky, meeting with grandmaster Taimanov, won a brilliant victory. 2) The use of these expressions and phrases can be shown with illustrative examples, taking examples of fiction as illustrations. 3) All presentation in the book is made extremely briefly, taking into account the student’s time budget. 4) Science requires such advice that, if applied, would be useful in practical work. 5) Having read the work a second time, I think that the main ideas are expressed correctly in it. 6) Approaching the river, we stopped the horses, quickly jumped to the ground and, hastily undressed, rushed into the water. 7) Using a slide rule, the calculation is quick and easy. 8) Having received a serious wound, the soldier was saved by his comrades. 9) He left after completing his homework and when he finished his personal affairs. 10) Having quickly dressed and washed, the boy ran to school, but, having caught on something and tripped, he fell.

2. Replace subordinate clauses with participial phrases and vice versa; if this cannot be done, indicate the reason for the impossibility of replacement.
1) Since Gorky knew the life and everyday life of tramps well, he could vividly depict them in his works. 2) When we returned home, it was already dark. 3) Evgeny Onegin made a strong impression on Tatiana, as he stood out sharply among the surrounding landowners. 4) After the students finished checking the dictation, the teacher took their notebooks. 5) When Plyushkin untied all sorts of ties, he treated the guest to such dust that he sneezed. 6) The old carrier was dozing, leaning over the oars. 7) Kashtanka, unable to stand the music, moved restlessly in her chair and howled. 8) Customers walked past Kashtanka, pushing her with their feet, non-stop back and forth. 9) Without restoring his health, he will not be able to study seriously. 10) Having released the generals, Kutuzov sat for a long time, leaning on the table.

Conclusions:
1) The participial phrase cannot be used if the action expressed by the predicate and the action expressed by the participle refer to different persons. For example: Returning home, I was caught in the rain.
2) The participial phrase cannot be used in an impersonal sentence that has a logical subject, for example: Approaching the forest, I felt cold.
3) The participial phrase cannot be used if the sentence is expressed by a passive construction, because the producer of the action expressed by the predicate and the producer of the action expressed by the gerund do not coincide, for example: Having risen up the Volga, the barge will be unloaded at berths of other cities.
4) The accumulation of participles creates a cacophony.

Indicate in which of the sentences replacement is impossible, because the main sentence is impersonal.
In which sentence is substitution impossible, since the main and subordinate clauses have different subjects?
In which sentence is substitution impossible because the gerund indicates a manner of action?

In the term “gerund participle” we are familiar with the second part of this word. And now we know what the first part of the word means. Turning to the dictionary, we will also see that the term participle arose in the 17th century and consists of two parts (Gerive + participle) and is explained as involvement in an action. We are convinced that this form of the verb denotes the additional action of the verb in a sentence, and in terms of grammatical features this form is similar to adverbs, since it does not change. In some grammars, the gerund is called a verbal adverb. For example, in E. Asadov’s poem “Forest” there is the following quatrain:

Shivering from the fresh breeze,
A little blue, the tough ones are oily,
Holding hands like guys
They stomp around the stump, warming themselves!

Here, one verb is given four gerunds, which create a picturesque picture of the “actions” of the butter in addition to the main action expressed by the verb. Consequently, gerunds, like adverbs, decorate the verb and complement it with other actions. Are the participles the same? L. Kozyr has a quatrain:
The hills grow and melt at dusk
And some thought hides in its folds,
They are silent about the fact that it is not at all easy,
My planet is very difficult.

In this poem, gerunds and adjectives create a figure - paronomasia - as an expressive means of speech. Homophones become an expressive means of speech, which are formed from different gerunds, consonant, but formed from different verbs: melt, melt, grow.

Exercise
Find the gerunds in the following passages from the poems, determine their meaning and artistic role.
You are a great swell, you are a sea swell,
Whose holiday are you celebrating like this?
The waves rush, thundering and sparkling,
Sensitive stars look from above.
(F.I. Tyutchev)

Calling to the green meadow, listening,
I walk through rustling leaves.
And the cold month stands without burning,
A green sickle in the blue.
(A.A.Blok)

Sad and crying and laughing,
The streams of my poems ring
At your feet
And every verse
Runs, weaves a living thread,
Not knowing our own shores.
(A.A.Blok)

ADVERB

The word “adverb” was already in the Old Russian language. Its meaning as a part of speech was reflected in the dictionary of I.I. Sreznevsky. From an etymological point of view, the root speech is interesting. The word “speech” in the Old Russian language had different meanings, one of the meanings being the name of the part of speech “verb”. This meaning is preserved in the root speech-, which is part of the word “adverb”. And the connection between the verb and the adverb is very direct. Ancient scientists saw the main content of an adverb in the fact that it should be with the verb or “superimposed” on the verb. Linguist A.M. Peshkovsky writes: “If we think about the words well, beautifully, cleanly, skillfully, deftly, quickly, etc., then first of all we will notice that in them, as in the verb and adjective, It is not objects that are depicted, but signs. The signs are the same as in the adjectives good, beautiful, clean, skillful, etc. However, in adverbs they are not presented to us quite the same way as in adjectives. In adjectives they belong to objects, but in adverbs they belong to something that is said about the object. Good - this does not mean that someone is good, but that someone did something well... If we hear exclamations of approval or disapproval, good! clever! brilliantly! talented! stupid! low! etc., then we immediately understand that this refers to someone’s behavior, to some actions of people, and not to the people themselves. This means that here we mentally attribute the adverb to the verb, although we do not yet know the verb itself.” The main feature of an adverb is a sign of action, just as the main feature of adjectives is to indicate a sign of an object.
Exercise
Find key words in E. Kuklina’s poem. What feature of these words is emphasized in the poem? How are these adverbs formed? From what adjectives are these adverbs formed? To what category do they belong?

Our language is both modest and rich.
Every word contains a wonderful treasure.
Say the word “high” -
And you can immediately imagine the blue sky.
You say: “All around is white and white” -
And you will see a winter village,
White snow hangs from white roofs,
No rivers can be seen under the white snow.
Let me remember the adverb “light” -
And you will see: the sun has risen.
If you say the word "dark"
The evening will immediately look out the window.
If you say "fragrant", you
You will immediately remember lily of the valley flowers.
Well, if you say “beautiful”,
All of Russia is in front of you at once!

Among the adverbs there are words of various stylistic and expressive colors. Many adverbs are formed from significant words. At the same time, they, as a rule, retain the stylistic and expressive characteristics of the producing word.
Adverbs can belong to the bookish style of speech, vernacular, neutral vocabulary, etc. Adverbs formed from adjectives with diminutive suffixes also retain this connotation and colloquial stylistic coloring. The superlative forms of adverbs in –eyshe (-ayshe) are bookish and solemn in nature. Adverbs can be used as expressive means of speech, create figures and paths. The most typical means of expression for an adverb are metaphor, epithet, antithesis, gradation, oxymoron, pun, etc.

Tasks:
1. Read the sentences expressively. Name the adverbs, write them down with the words they refer to. Select adverbs that perform an expressive function.

1) The boy sniffed in embarrassment and disbelief, but, realizing that there was nothing terrible, and everything, on the contrary, was turning out terribly cheerfully, he wrinkled his face so that his nose turned up, and also, in a very childish way, he began to burst out mischievously and subtly. (A. Fadeev). 2) And I would order another cook to hang it on the wall: so as not to waste speeches there in vain, where power needs to be used. (Krylov) 3) Living with wolves means howling like a wolf. (Proverb). 4) He’s kind of awkward: everything about him is topsy-turvy. (Bianki) 5) While we were consulting whether we should get away from the cloud as quickly as possible to the city, it was already too late to leave. (V. Inb.) 6) Here is the song thrush - he sings so well, but he sings alone. (Prishvin)7) And so they met one on one. (S.Sh.) 8) How to split them when in Spain they work hand in hand? (Erenb.) 9. The whole day he gave no rest to the old grandmother, who hated tobacco smoke to death. (Shol.) 10) I’m going to a landowner who hired me in person. 11) A tall blond man in a shabby frock coat came in with a cool magazine under his arm. 12) The enemy was completely defeated. 13) It’s nice to infuriate a mistaken enemy with a daring epigram; It’s nice to see how he, stubbornly bowing his eager horns, involuntarily looks in the mirror and is ashamed to recognize himself; It’s more pleasant if he, friends, foolishly howls: it’s me! It is even more pleasant for him to prepare an honest coffin in silence and quietly aim at the pale forehead at a noble distance; but it will hardly be pleasant for you to send him to his fathers. (A.S. Pushkin) 14) The joyful people of the boys cut the ice sonorously with their skates; a heavy goose on red paws, having decided to swim along the bosom of the waters, steps carefully onto the ice, slides and falls. (A. Pushkin)15) The blizzard howled harshly and threw snow at the window, the sun rose sadly; That morning it witnessed a sad picture. (N. Nekrasov) 16) ...How cheerfully and sadly our tender sky turns blue in the empty forest between the black branches, between the golden leaves of the birches. (I. Bunin) 17) The best moments of life are the hearts of hot dreams, fatal impressions of evil, goodness and beauty; everything that is close, everything that is far, everything that is sad and funny, everything that sleeps deeply in the soul is illuminated at this moment.

2. Read M.E.’s fairy tale at home. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals.” Find in the text all the expressive means of speech known to you. Write out expressively colored adverbs from the text. Explain what role they play in a literary text.

3. Compose and write down sentences with adverbs, phraseological units, which include words - synonyms and words - antonyms: at random; completely; out of the frying pan into the fire; from a sore head to a healthy one; back and forth; not for life, but for death; Sooner or later; black and white; along and across; at any moment; occasionally; from dawn to dawn; Tet-a-tet; forever and ever.

4. Explain why the gerunds are not isolated in the following sentences.
1) Then the strange man slowly walked around the lower decks. (V. Cat.)
2) The doorman decided to walk slowly. (K. Paust.)
3) They sat down on a bench and sat in silence for a long time.
4) The fox hovered around the chicken coop and left, slurping unsalted.
5) Mother stood up and slowly walked out.
6) He ran headlong.
7) He worked carelessly.

Number forms of a noun as a means of creating expressiveness. Adjectives as a means of creating expressiveness in poetic texts. Pronoun as a means of creating expressiveness. The verb and its special forms as a means of creating expressiveness.

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INTRODUCTION ………………………………………………………………… SECTION 1. GENERAL CHARACTERISTICS OF EXPRESSIVE VOCABULARY ……………........…………………………………………………… The problem of expressiveness in modern linguistics…………… The use of expressive vocabulary in the language of fiction ………………………………………………………………………… SECTION 2. MORPHOLOGICALTOOLS FOR CREATING LANGUAGE EXPRESSION IN POETIC TEXTS……. …………………………………………………………………… 2.1. …...……………………………………………………………… 2.2. Adjectives …………………...………………………………………… 2.3. Pronoun as a means of creating expressiveness……………... 2.4. The verb and its special forms as a means of creating expressiveness.…...……………………………………………………………… CONCLUSIONS …………………………………………………………………… ……………………

INTRODUCTION

The problem of expressiveness as a way of imparting special expressiveness to language and speech is one of the main problems of modern linguistics. Expressiveness is inherent in certain units at different levels of language.

With the help of expressive means, the author can more fully and accurately express his attitude to what is depicted, put forward the main idea of ​​the work into a clear field of vision, focus on the most important, from his point of view, moments and thereby through a whole series of works show his worldview in general . In addition, it is with the help of expressive means that the “speaker” can influence the “listener”, control his perception and understanding of the text.

Relevance This topic is due to the fact that the functioning of expressive vocabulary in various texts is complex and multifaceted. Despite the large number of works studying expressive vocabulary, the means of creating expression have not been sufficiently considered.

Goal of the work give a systematic description of the expressive means of language and speech that function in Russian poetic texts.

Achieving this goal involves solving the following tasks:

summarize and use the experience of describing expressive means of previous studies related to the problem of expressiveness;

identify the functions of expressive vocabulary in a work of art;

identify in each group of means the main methods, techniques, aspects that are associated with the creation and enhancement of expressiveness.

Object of this study isthe language of a work of art, the verbal fabric of a poetic text.

Subject of researchare linguistic means of creating expressiveness.

Research methods:

one of the leading methods in the work is the method of component analysis, which we used to determine the semantic structure of a word.

– the method of structural-semantic analysis of linguistic units was used in the study of the texts of poems;

the descriptive method is used to describe the general functional and semantic features of expressive vocabulary.

contextual analysis is used to consider expressive vocabulary in the context of poetic speech.

Material The research was based on poetic texts of Russian authors: I. Annensky, N. Aseev, B. Akhmadullina, A. Akhmatova, K. Balmont, I. Bakhterev, A. Blok, I. Brodsky, S. Yesenin, V. Zhukovsky, T. Kibirov , V. Mayakovsky, O. Mandelstam, V. Nabokov, V. Polozkova, B. Pasternak, N. Rubtsov, A. Tvardovsky, F. Tyutchev, M. Tsvetaeva.

Practical significance - The research is that its results can be used in the practice of teaching the Russian language at school with the aim of deeper mastering the vocabulary of the language and getting acquainted with the best examples of Russian poetry, mastering the art of the Word.

SECTION 1. GENERAL CHARACTERISTICS OF EXPRESSIVE VOCABULARY

Expressive function one of the functions of a linguistic sign, which consists in the ability to express the emotional state of the speaker, his subjective attitude towards the designated objects and phenomena of reality. Language expresses not only thoughts, but also human emotions. The expressive function presupposes the emotional brightness of speech within the framework of socially accepted etiquette. It is rated by many linguists as the most important and significant. The Russian literary language, and especially the language of fiction, is endowed with rich expressive resources.

1.1. The problem of the concept of “expressiveness” in modern linguistics

Currently, close attention is paid to the study of the problem of expressiveness in both Ukrainian and foreign linguistics. However, despite the voluminous theoretical material, many aspects of the problem being studied have not received sufficient coverage. In particular, there are no clear concepts and terms to describe expressive vocabulary.

In modern linguistics, there are mainly two approaches to the study of expressiveness: functional-stylistic (or speech science) and lexical-semantic. More relevant is the lexical-semantic aspect, where expressiveness is described in terms of component analysis, which involves consideration of connotative meanings.

Expressive vocabulary is a component of connotation. The connotative component is part of the systemic lexical meaning of a word, supplementing its main conceptual content with meanings that reflect socio-psychological assessments and associations of relevant phenomena. The structure of the connotative component is very complex, which explains the fact that it still does not have an unambiguous definition in the science of language.

In theoretical studies since antiquity, the concept of “expression” has appeared, which means “expression” in translation from Latin (expressio). The concept of “expressiveness” is defined as a particularly highlighted, emphasized way of expressing thoughts and feelings and is often identified with the concept of “expressiveness,” especially if the latter is associated with special emphasis, “promotion” of some meaning conveyed by linguistic means. Promotion is understood as the presence in the text of any formal features that focus the reader’s attention on certain features of the text and establish semantic connections between elements of different levels or distant elements of the same level. Promotion holds the reader's attention on certain sections of the text and thereby helps to assess their relative importance, the hierarchy of images, ideas, feelings and thus conveys the speaker's attitude to the subject of speech and creates expressiveness of the elements. Promotion forms an aesthetic context and performs a number of semantic functions, one of which is increasing expressiveness.

In the Dictionary of the Russian Language S.I. Ozhegova understands expression as “the expression of feelings, experiences; expressiveness."

Expression is the most important stylistic category. In style, it occupies a central position. Expression is understood as the expressive and figurative qualities of speech, which distinguish it from ordinary, stylistically neutral speech, and make speech means figurative, bright, and emotionally charged.

Usually the concept of expression is associated with diverse and very subtle evaluative and characteristic shades that accompany and complicate speech and make it expressive. Expression includes peculiar shades of meaning that are added to the basic meanings of words and expressions, thus allowing the author to express his attitude towards what is being described, giving it an appropriate assessment.

Expressiveness is, first of all, a semantic category, because the appearance of expression in a word is invariably accompanied by an expansion and complication of the scope of its semantics, the appearance of additional secondary semantic shades in the semantic structure of the word. These elements of evaluative-characteristic properties are an important sign of expression.

Expressiveness is also an emotional-evaluative category. Consequently, the task of studying speech expression includes a complex range of issues related to the analysis of means and techniques for expressing emotions. But there is a clear boundary between expressive and emotional.

For the first time, elements of the theory of expressiveness appeared in linguistics at the end of the 19th century. Particular interest in expressiveness arose in the mid-twentieth century. During this period, a monograph by S. Bally appeared, articles by E.M. Galkina-Fedoruk, L.M. Vasiliev and many other researchers, where the theoretical understanding of the category of expressiveness was continued.

A review of linguistic literature that studies expressiveness as a linguistic phenomenon makes it possible to identify three main directions in the approach to identifying the means that create an expressive effect.

The first direction is common in stylistic works. The semantic dominant that creates an expressive effect is the characteristic of the conditions of communication, which is expressed in various kinds of stylistic registers, in functional-stylistic tonality, etc. Since the significance of emotive-evaluative signals is obvious, representatives of this tendency classify them as “additional” semantic information, correlated with the properties of the designated reality, and not with the social-speech and normative parameters of communication (Bragina A.A., Vvedenskaya L.A., Vinokur T.G., Dibrova E.I., Novikov L.A., etc.).

The second direction is associated with the desire to bring an emotional dominant to all vocabulary, which to some extent is not neutral and, thus, is of interest for stylistics. In this direction, researchers strive, first of all, to identify various types of emotive meanings, ranging from interjections and affects to what is commonly called expressively colored vocabulary; the mechanisms for creating emotiveness and stylistic coloring are not so important for them. The stylistic effect is considered by them either as an inherent component of emotiveness, that isinternal component, independent of external factors,or as adherent, arising in the text (Arutyunova N.D., Kozhevnikova N.A., Moskvin V.P., Nekrasova E.A., Raevskaya O.V., Sandakova M.V., Telia V.N. and etc.).

The third direction is characterized by an integrated approach to the problem of expressiveness. In this direction, there is a desire to identify types of semantic information that create expressiveness-imagery, emotional and expressive coloring of meanings, as well as their stylistic significance, which are interpreted as a special expressive layer in the meaning of words, complementing the denotative meaning (Arnold I.V., Blinova O. I., Vasiliev L.M., Lukyanova N.A., etc.).

Denotation object of linguistic designation, a real object or class of objects as a typical representation of an object of reality. Denotation is a fact of individual perception of reality, but at the same time it has a general, objectified, “collectivized” character, which is due to the fact that denotation reflects a sensually perceived objective reality, the same for all people.

The concept of expression, according to G.N. Akimova, has different interpretations in linguistic literature both in relation to language in general and to its various levels. The exact translation of the word expression “expression” evokes the idea of ​​the expressiveness of linguistic means as their expressive capabilities, i.e. special stylistic device. This is opposed by another point of view, which is based on a mixture of expressive and emotive (affective) in language. Thus, in the works of Sh. Bally and V.V. Vinogradov reveals a tendency towards convergence of the concepts of expressiveness and emotionality. It is also reflected in the works of other authors, in particular, in the theory of translation.

We think the most accurate definition is that of E. M. Galkina-Fedoruk: “Expressiveness is a set of semantic-stylistic features of a unit of language and speech, a whole text or its fragment, which ensures their ability to act in a communicative act as a means of subjective expression of the speaker’s attitude to the content or addressee of the speech."

The question that is repeatedly raised in the literature about the relationship between expressiveness and emotionality deserves special attention. Dibrova E.I., Kasatkin L.L., Shcheboleva I.I. believe that emotional assessment is associated with the expression of feelings, volitional impulses, sensory or intellectual comparisons, and attitude to reality:little house, nag, dude, pretty.Evaluativeness, which represents the correlation of a word with an evaluation, and emotionality, associated with emotions, do not constitute separate components in the meaning of the word.

A. Lukyanova believes: “Evaluativeness, presented as the correlation of a word with an evaluation, and emotionality associated with emotions, feelings, do not constitute two different components of meaning, they are one.” V.I. Shakhovsky also shares the same opinion. Wolf, on the contrary, separates the components “emotionality” and “evaluation”, considering them as a part and a whole.

Both are an expression of a subjective, emotional attitude, but expressiveness implies an impact on the addressee, and emotionality is not necessary. Consequently, emotionality is a category of a more general nature (and this is understandable, since it is related to both the mental life of a person and to language), and expressiveness (as a property of linguistic units) can be called a vector, directed category, which necessarily requires a point of application of emotions .

Emotional elements in language serve to express a person's feelings. Many means of language are used exclusively for this purpose. Expressive means in language serve to enhance expressiveness and figurativeness both when expressing emotions, expressing will, and when expressing thoughts. Thus, it is advisable to consider the terms “expressiveness” and “emotionality” to be intersecting. In some cases, they come together, even to the point of overlapping each other, and in some cases they are used separately from each other.

Thus, the expressive unit consists of three main components:

1. The emotional assessment of connotation reflects the fact of the subject’s emotional experience of a certain phenomenon of reality, expresses an approving or disapproving assessment of the subject of speech.

2. The intensity of connotation reflects the degree of manifestation of an action or attribute.

3. Adjacent to connotation is a figurative component as a generalized, sensory-visual image of an object.

1.2. The use of emotionally expressive vocabulary in the language of fiction

Currently, linguists and literary scholars pay great attention to the role of expressive vocabulary in the structure of a work of art. Literary text is multifunctional in nature. In it, the aesthetic function is layered on a number of others - communicative, expressive, pragmatic, emotive, but does not replace them, but, on the contrary, strengthens them. The language of a literary text lives according to its own laws, different from the life of natural language.

In a poetic work, expressive means play a special role. Here there are much fewer restrictions for them: the beauty of the syllable allows them to express their attitude to the subject of speech more pathetically, sometimes even more exaltedly, in contrast to prose, where this or that use and combination of words would look deliberate, insincere. Therefore, deviation from the norms of language, their “loosening” is more pronounced in nature, making it possible to create images that have much more significant expressive potential, for example:

Can anything compare in my poems?

WITH to the most tender mother with tears?

V. Zhukovsky “To Doctor Fore”, 1798

In this example, the author breaks the direct word order by using inversion. Direct word order would be: „With the tears of a tender mother" Thus, Zhukovsky logically identifies the most significant, in his opinion, part of the sentence, placing it before the starting point of the statement.

I will have dark lips when I am weak,

Kiss you lightly on the horizontal forehead
Between skin and hair.
V. Polozkova, “Each Other’s Estates...”, 1990

In this example, a word form is used, formed according to the model of diminutive words, using the suffix-ik - . The lexeme expanded the meaning of “small horizontal line”.

Artistic speech is characterized by a focus on the reader, and when influencing him, the expressiveness of the statement is, of course, essential. The creator of literary works of art, having a heightened sensitivity to linguistic form, conveys fragments of conversational situations in a literary text, using the most typical features of live colloquial speech in order to create expressiveness. As is known, expression is formed in the process of generating a text. To convey their ideas, authors, among a variety of linguistic forms and techniques, use stylistically marked and stylistically unmarked means, which play an important role in creating the expressiveness of the speech of literary characters.

The expressive coloring of words in poetic works differs from the expression of the same words in neutral speech. In a poetic context, vocabulary receives additional semantic shades that enrich its expressive coloring. Modern science attaches great importance to expanding the semantic scope of words in artistic speech, linking with this the appearance of new expressive colors in words.

A word in a literary text, due to special operating conditions, is semantically transformed and includes additional meaning. The play of direct and figurative meaning gives rise to both aesthetic and expressive effects of a literary text, making this text figurative and expressive, for example:

In a formidable landscape on an empty stomach

you threw your friends under the stacks

the next morning with smoke on your shoulders

in stacks heroes fell in a row.

I. Bakhterev, “Spectacles of War”, 1947

In the first case the word stacks used in its literal meaning, and in the next line as a metaphor. In the second case stack s, which should denote life (as an expression of the concept “bread”), which is emphasized by the action of love, turn into death, and the transition of two opposite concepts “life” and “death” into each other shows fear, horror and the meaninglessness of everything depicted more clearly "spectacles of war."

Every word, every means of speech in fiction is used to best express poetic thought, to create images that would influence the feelings and intellect of readers.

The implementation of the expressive plan of a poetic text is to give the reader an emotional charge and thereby awaken his thoughts, force him to look at the familiar in a new way, and activate his creative attitude to reality.

Many scientists (N.A. Lukyanova, V.A. Maslova, V.N. Telia, V.I. Shakhovsky, etc.) admit that non-expressive texts do not exist in literature. Any text has the potential to have a certain impact on the consciousness and behavior of the reader, since it is expressiveness that contributes to the purpose of the speech message.

However, it must be borne in mind that the main difficulty that researchers of expressiveness face is that it has a linguistic nature, because it acts through the mechanisms of language, but its effect manifests itself only in speech, going beyond words and phrases into the text. It is obvious that poetic language clearly demonstrates the expressive potential of language due to the fact that various extra-grammatical facts and relations of the common language, everything that in the common language seems random and private, in the poetic language passes into the area of ​​actual semantic oppositions.

The expressive effect of perceiving a poetic text is not determined by the number of expressive linguistic means in it, but only increases the likelihood of this effect occurring. Moreover, in addition to special linguistic means, namely emotive, figurative, stylistically marked, any neutral unit of language can be expressive, depending on the author’s goals.

The sources of generating emotiveness in a text are varied and not understood by all researchers in the same way. On the one hand, the main source of emotiveness of a text is the actual emotive language means. The ways of manifesting emotive situations in a literary text are varied: “from collapsed (seminal concretizer, word) and minimally expanded (phrase, sentence) to maximally expanded (text fragment, text).”

Based on the communicative approach, V.A. Maslova believes that the most important source of emotiveness of a text is its content. According to the researcher, “the content of the text is potentially emotional, because there will always be a recipient for whom it will be personally significant. The emotiogenicity of the content of the text is, ultimately, the emotiogenicity of the fragments of the world reflected in the text.”

Emotivity is a linguistic category that is actualized through literary words in any segment of the text. The emotive space of the text, according to L.G. Babenko, is represented by two levels the level of the character and the level of his creator the author: “holistic emotive content presupposes a mandatory interpretation of the world of human emotions (character level) and an assessment of this world from the position of the author in order to influence this world, transform it.”

“The set of emotions in the text (in the image of a character) is a kind of dynamic set, changing as the plot develops, reflecting the character’s inner world in various circumstances, in relationships with other characters.” At the same time, in the emotional sphere of each character, an “emotional dominant” is distinguished, in other words, the predominance of some emotional state, property, direction over the others. The author of a literary work selects vocabulary in such a way that it tells the reader in what emotional way he should perceive the hero. Depending on the author’s intention, in different literary texts it is possible that one or another emotional property of the character may predominate.

For example, in the lyrics of F.Tyutchev, to express a depressed state of mind, verbs such asgrieve, grieve, lament, grieve, be sad. For example, in the poem “Enveloped in a prophetic drowsiness...”:

He will not say forever with prayer and tears,

No matter how he grieves in front of a closed door:

"Let me in! I believe, my God!

Come to the aid of my unbelief!..”

Verb to mourn here the dominant theme is “to be very sad”, “to experience sorrow”, that is, it acquires great negative emotionality. In the same poem in the word yearn The seme of dissatisfaction of any desire dominates:

It is not the flesh, but the spirit that is corrupted in our days,

And the man is desperate yearns...

“Enveloped in a thing of drowsiness...”, 1850

In general, expressive vocabulary in a literary text performs several functions, the main of which are the creation of emotive content and the emotive tone of the text.

Private text functions of expressive vocabulary include:

- creating a psychological portrait of the characters;

- emotional interpretation of the world depicted in the text and its assessment;

- detection of the inner emotional world of the image;

- impact on the reader.

A literary text as a complexly organized system includes functional lexical-semantic segments semantic fields, microfields that formally and semantically organize the text. The field of a literary text is synthetic in nature and integrates a complex of multi-level fields that differ in the nature of their affiliation, concentrated around generalized meanings.

The semantic field of a literary text is a special category, the main component of which is the author’s intention. The semantic field of a literary text is a complex, hierarchically organized system of semantic microfields that form a single semantic field of the text. The unification of the semantic field in the structure of a literary text is determined by the communicative attitudes of the author.

The functional-semantic field of emotivity in a literary text is understood as the unity of semantic and functional characteristics of a structured inter-part set of lexical units of a language, identified on the basis of a common semantic feature - emotiveness.

The functional-semantic field of emotiveness includes:

- lexical and phraseological units denoting emotional states, experiences of the subject (the heart was on fire, burning with curiosity);

- names of emotions such as curiosity, surprise, etc., which can be considered intellectual.

Outside of it are lexical units with the meaning of quality (shy, kindand so on.); a person with emotional quality (spiteful, sneak, darlingetc.) or causative of emotion (offender, rude, brawlerand so on.); such complex emotions as hope, a sense of humor, a sense of beauty, etc.; means of designating the volitional sphere of a person (control yourselfand so on.); lexical units likecry, laughetc., which require a specifier in the context to convey a more accurate emotional state.

Thus, the significance of evaluative lexemes implemented in a work in the organization of a literary text is determined by the totality of the designated functions. Their consistent identification will allow us to determine the role of evaluative vocabulary in the writer’s idiostyle as a whole.

SECTION 2. MORPHOLOGICAL MEANS OF CREATING LANGUAGE EXPRESSION IN POETIC TEXTS

Many issues related to expressiveness are still controversial, but there is no doubt that it can play a huge role in poetic texts. It can be argued that the realization of the expressive potential of a word can be carried out in two ways: both through the development of the capabilities of the system, and through its disruption. If the first path involves the implementation of customary meanings, systemic and grammatical connections of means at various levels, then the second path is associated with the emergence of rare words and occasional compatibility between words. The second section examines the expressive capabilities of morphological means of nouns, adjectives, pronouns, verbs and their special forms.

2.1. Number forms of a noun as a means of creating expressiveness

Of course, the scope of the study does not allow us to consider all linguistic phenomena in the field of grammar that are promising in terms of expressiveness. Thus, from all the categories and forms of the noun, only number forms were selected for analysis. The choice of this particular category is due to a number of factors. For the category of case, according to researchers, expressiveness is not characteristic. The problem of the expressive capabilities of the category of gender of nouns has been studied very actively in recent years (I. A. Ionova, Ya. I. Gin, L. V. Zubova). As for the category of number, researchers believe that it is not the most, but one of the most active in aesthetic terms, and in terms of frequency, variety of methods of use and functions in a literary text, it is in first place. At the same time, it should be noted that although there are a number of works on the category of number, they are devoted mainly to stylistically marked plural forms of the nouns Singularia tantum or other aspects, but the expressive capabilities of this category have not been sufficiently studied.

The grammatical forms of number of a noun, which are a reflection of the mental category of quantity, represent a complex dialectical interaction of identity and difference, part and whole. Obviously, it is precisely because of this that they can so easily replace each other: the nouns Singularia tantum in poetic speech acquire the ability to be used in the plural, and the nouns Pluralia tantum in the singular form. At the same time, the grammatically expressed opposition of singular and plural forms performs the function of stylistic differentiation:

Horrible if offended. Jealous.

Born in Moscow. Origins of blood birth

from alien hells , where the Nile boils.

The pulse is frantic. Where are the Nile waters?

B. Akhmadulina, “Excerpt from a small poem about Pushkin”, 1973

In this example, the abstract noun inferno in a poetic context it took on a plural form, being at the same time a noun of the Singularia tantum group. The expression of an unusual grammatical form is enhanced by the attribute adjective alien in plural form.

The emergence of the plural form of a noun darkness in one of A. Akhmatova’s poems, the alternation of the countable and uncountable within the context of the stanza is promoted:

How I love the gentle slope of winter,
Her lights, and darkness , and languor,
Dry snow round hills
And the feeling that you will never be home.

A. Akhmatova, “Russian Trianon”, 1941

The space of darkness, in this case, is interrupted, dissected by a countable word lights, which explains the appearance of the noun darkness , group Singularia tantum, plural.

The realization of the expressive potential of the category of number is, first of all, associated with the ability to vary: flexibility and the absence of strict norms allow the formation of new forms without gross violation of language norms. In addition, such forms have the richest potential for the formation of figurative metaphorical and metonymic meanings:

These are the ashes of treasures:

Loss, grievances.

These are the ashes before which

To dust - granite.

M. Tsvetaeva, “Grey hair”, 1922

Abstract noun ash in a poetic context it took on a plural form, being at the same time a noun of the Singularia tantum group. In the Dictionary of the Russian Language S.I. Ozhegov fixed the following meaning of the noun ash : "1. A light, volatile, dust-like gray or black mass remaining from something burned.” In the context of the poem, not the direct, but the tropical, figurative meaning of the noun is realized ash , in which the plural form is possible ashes

The minimum context in which the meaning of a given word is expressed is the context of the entire poem. A direct nomination is given in the title of the poem “Grey Hair”, that is ashes figurative name for gray hair. Ash as a substance is a product of destruction, destruction, death of something. Early gray hair is evidence and a consequence of shocks and trials a person has endured. In the poem “Gray Hair” there is authorial metonymy, that is, the use of the name of one object instead of another according to occasionally established contiguity, and both of these objects (in the broad sense of the word) are products of accomplished destruction, shock.

Thus, the number forms of a noun exhibit high semantic and stylistic activity in certain speech situations, making poetic speech more expressive.

2.2. Adjectives as a means of creating expressiveness in poetic texts

The creation of expressiveness on the basis of adjectives is determined by the close interaction of morphological and semantic processes in the formation of these forms. Adjectives, first of all, are adapted to express new information about the subject of speech. It is this novelty, brightness, and unusualness of the images created that have enormous expressive potential. The ability of adjectives to show the speaker’s attitude to the subject of speech and thereby give it a special emotionality determines their ability to influence the stylistic properties of the context as a whole.

The predisposition of the semantics of qualitative adjectives to express figurative meanings determines their significant expressive charge. However, in our opinion, the expressive capabilities of relative and possessive adjectives when transforming into qualitative ones are much richer due to the fact that in such cases they express semantics that are unusual for them, and expressiveness is, first of all, associated precisely with the novelty and unexpectedness of images:

Faces become stony ,
A shiver runs through the candles,
Streams of lit flame
He compresses his lips like a heart.

B. Pasternak, “Winter Holidays”, 1956

In the context of B. Pasternak’s poem, the figurative meaning of the adjective is realized stone indifferent, lifeless, cruel. In this lexical-semantic version, this adjective functions as a qualitative adjective, being relative in nature. If we focus on the figurative meaning, then the qualitative-relative adjective stone is perceived as a characteristic of the lyrical hero himself. Comparison with a stone emphasizes its negative qualities: cruelty, steadfastness, rudeness.

The degree of expressiveness during the transition of relative and possessive adjectives into qualitative ones can vary and intensify depending on the depth of semantic changes occurring in their semantic structure. Accordingly, the more the adjective differs from its original semantics, the more expressive the image becomes. This is greatly facilitated by the violation of compatibility that always occurs in such cases:

In the room, the wooden wind mows down the furniture.

It’s hard for a mirror to hold the table, the oranges on the tray.

And my face is emerald.

V. Nabokov, “Cubes”, 1924

In this example, the expressiveness of the relative adjective wood , which has turned into a qualitative one, is enhanced by the unusual semantic valency of the word wind . Wind, by definition, cannot be made of wood. In the Dictionary of the Russian Language S.I. Ozhegov recorded the following values: “1. Made from wood. 2. transfer . Devoid of natural mobility, inexpressive, insensitive.” If we focus on the figurative meaning, then the qualitative-relative adjective wood combined with a noun wind is perceived as a characteristic of the state of the lyrical hero himself, emphasizing his lethargy and inactivity, as well as the frozen state of the environment.

Of course, the expressive charge of relative and possessive adjectives used in short form or in degrees of comparison is significant in connection with the violation of the norm and the resulting effect of novelty and surprise:

If the nights are prison and deaf
If dreams cobwebby and thin
So you know that the old women are already close,
From near Revel the Estonians are close.

I. Annesensky, “Old Estonians”, 1906

Short form of prison characterized by obvious increments of meaning, the acquisition in the context of I. Annensky of qualitative themes of gloom and hopelessness. It can be assumed that the short form of the adjective prison meaningfully motivated directly by a noun jail in its second lexical-semantic version: “2. A place where it’s hard to live, where they live in oppression.” Also in short form cobwebby , in addition to the contextually duplicated semantic feature thin , the semes of confusion and viscosity present in the noun are updated web in its third meaning: “3. That which entangles completely subjugates.” Thus, one can observe that the entire poem is permeated with motifs of gloom and depression of the lyrical hero.”

The expediency in some cases of using short adjectives in an unusual, new form is demonstrated by the analysis of the short form of the adjective father and sighted in a poem by M. Tsvetaeva:

What should I, a blind man and a stepson, do?
In a world where everyone and father and sighted ,
Where on anathemas, as on embankments, -
Passion! where is the runny nose
Named - crying!

M. Tsvetaeva, „ What should I, a blind man and a stepson, do... ”, 1923

Sighted a rarely used but well-known short form of the adjective sighted . But the meaning of the adjective sighted in the creative context of the poet not just having vision, but having adapted to life in this world, accepting the laws of this world, fitting into it. Therefore, we have the right to believe that the adjective sighted, in this usage, is semantic occasionalism. Regarding the form otch, then V. Dahl fixes this form: “father's property (property that belongs to or belonged to the father); The Father’s hand, punishing, blesses (the hand of the father, the teacher).” In the twentieth century, the short form of the possessive adjective report perceived as archaic. M. Tsvetaeva, using a form that was once in the language, does not erase its former meaning, but develops it. Tsvetaeva interprets the word otch how not alone, warmed by the understanding of relatives (whether by blood or spirit), understood and accepted.

A rich and flexible system of adjectives creates versatile figurative and expressive possibilities that are realized by the aesthetic function of this part of speech. At the same time, the informative function of adjectives used to narrow the scope of the concept expressed by nouns is no less important. This makes the adjective indispensable in all styles.

2.3. Pronoun as a means of creating expressiveness

Until quite recently, pronouns were viewed as “thoroughly grammatical, purely relational words, devoid of actual lexical, material meaning” and, accordingly, unpromising in terms of expressiveness. The modern vision of the role of pronouns in a poetic text as a means of creating expression is completely different: like any other part of speech, they have their own capabilities in relation to creating expressiveness.

Expressive halos around pronouns arise when the author moves from indefinite to personal pronouns, which reflects the process of recognition:

I was shaking like I was in a fever

Thrown into the cold, then into the heat,

And in this damned fit

I lay there for four days.

My miller is crazy, you know, crazy.

Let's go

He brought someone...

I only saw a white dress

Yes, someone's upturned nose...

...........................

Hello my dear!

I haven't seen you for a long time.

Now from my childhood years

I have become an important lady

And you - famous poet..."

The choice of pronouns in this passage reflects the transition from the unknown, uncertain to the known, real: outsider ( somebody ) takes on familiar features. Reproducing the process of recognition is very important for an artist who seeks to reflect events through the perception of his hero.

Another stylistic device for expressively playing with pronouns is to use them without specifying words, which allows the reader to guess how to interpret the pronoun, for example:

Well, let's sit down. Has your fever gone?

What are you not like now? ..

I even sighed furtively,
Touching you with his hand.

S. Yesenina, “Anna Snegina”, 1925

The highlighted pronoun can be replaced with various definitions:not the same; not the way I would like, not the way I imagined youetc. Thus, Yesenin gives the reader the opportunity to decide for himself what the heroine meant when talking about the hero not like that.

Indefinite pronouns, used in context as symbols of concepts devoid of real value and meaning nothing to the speaker, receive a special expressive load:

I drank tea without waking up,

and went somewhere, was there and there,

met with this and that,

talked about this and that,

someone visited and visited

entered, sat, said hello, said goodbye,

Yu. Levitansky, “Hourglass”, 1984

Here pronouns and the concepts hidden behind them seem to fill the void; what happens in the life of the lyrical hero is of no value to him.

The various semantic and expressive shades that appear in pronouns in context open up unlimited possibilities for their use by writers. Given this potential of pronouns, writers skillfully use them to convey subtle observations about the psychology and relationships of their characters.

2.4. The verb and its special forms as a means of creating expressiveness

The verb in all the richness of its semantics, with its inherent meanings of grammatical forms and the possibilities of syntactic connections, with a variety of stylistic devices of figurative use, is an inexhaustible source of expression.

The expressiveness of verbs, participles and gerunds is associated with the ability of these forms to express predicative semantics, as well as with the peculiarities of their location in the text. The following is common to the use of the expressive capabilities of the verb, participle and gerund. Firstly, for their expressive use in a poetic text, what is more significant is not the temporary opposition, as in prose, but the collateral one.Grammatical category of voiceis a verbal category that expresses the relationship of an action to the subject (producer of the action) and the object of the action (the object on which the action is performed). This is undoubtedly due to the fact that subject-object relations are always at the center of a poetic work. Secondly, the fact that, in comparison with other parts of speech, they demonstrate to the greatest extent the close connection between different linguistic levels - lexical, morphological and syntactic. At the same time, the strengthening or loss of morphological features is very actively influenced by their syntactic connections and the creation of a single syntagma. In turn, the purpose of its creation is imagery, which, as research shows, contributes to the extinction of verbal features in participles and gerunds. In poetry, the characteristic features of these verb forms come to the fore, creating imagery and expressiveness. A figurative participle, in comparison with a non-figurative one, is closer to an adjective, a gerund to an adverb.

The most productive ways to use these forms in a poetic text to create expressiveness include the following:

1. Personal verb forms.

2. Expressive possibilities of participles.

3. Expressive possibilities of gerunds.

General and specific features of the semantics of the verb form: its ability to express multifaceted content, including subtextual content, to act as a supporting, keyword allow the verb to be the basis of both linguistic and speech expressiveness of the text.

Verbal metaphors have rich expressive capabilities. The use of verbal metaphors in pairs or chains can significantly enhance the expressiveness of the text, for example:

The stove was heating up. The fire trembled in the darkness.

The charcoals sparkled slightly.

But thoughts about winter, about all winter

In some strange way swarmed.

I. Brodsky “The stove was burning. The fire trembled in the darkness...", 1962

Direct meaning of the verb swarm this is “to form a swarm, fly in a swarm.” However, this verb also has a figurative meaning: “3. Appear in multitudes, in an unbroken string.” Thoughts in your head, memories, and so on can swarm. In the poet's mind they become like a swarm of bees.

It should be noted that the figurative meaning of the verb swarm Brodsky did not invent it. This meaning is already enshrined in dictionaries. This means that it is not individually authored, but linguistic.

However, if you look more closely, it is clear that the poet did not just use the general linguistic meaning of the word in the poem. The author “spent” two whole lines saying: “Thoughts swarmed. Thoughts were about winter” (in prose this would look banal).

But thoughts about winter, about all winter

In some strange way swarmed.

It is important that the subject comes first: thoughts , and we wait for the predicate for it for a very long time - two whole lines. Instead of swarmed the poet could put any verb if the content required it: arose, originated, matured, swept through. Between the subject and the predicate there are four minor members of the sentence: addition, clarification, definition, circumstance of the manner of action. While the reader understands these “circumstances,” the text slows down, and thoughts also begin to seem sluggish. They say about such people that they swarmed. But the poet chooses a more energetic verb, and this becomes a small, but still a surprise for the reader.

The use of colloquial and vernacular verbs has a significant power of influence, which is one of the manifestations of the general tendency of poetic language towards reduction, the everydayization of the image, for example, in N. Aseev: Spring fell at my feet; the sun was wandering around idle all day; from A. Tvardovsky:Losing shelter in the dust b, Plod while you walk; from N. Rubtsov: Blazing and fluttering at the end of a deserted street; from T. Kibirov: they are expelled fear and courage over my little soul and etc.

Occasionalisms have rich possibilities in the field of creating expressiveness among verb forms. Such metaphorical new formations significantly expand the range of ways to express the same meaning, for example:

With plump fingers in red hair
Sun caressed you by the importunity of a gadfly
in your souls slave kissed
V. Mayakovsky, “Prologue”, 1913.

Here, in two adjacent lines, we see two verbal occasionalisms that are most typical of Mayakovsky’s style. Console from- , attached to a verb caress , introduces into its meaning a shade of enhanced manifestation of action, bringing it to the extreme limit. The second neologism is constructed similarly kiss. If we compare it, on the one hand, with the more common form heal , and on the other hand, with a group of verbs formed by the prefix You- (pronounce, throw out, write out, etc.), then we will see that the prefix You- introduces into the meaning of the stem the same signs of movement from the inside out or the exhaustion of the process as the prefix from- .

The participle combines the characteristics of a verb and an adjective. With the help of these forms, the author can provide completely new information about the subject, that is, express what the text is being written for.

In terms of creating expressiveness, the technique of grading the use of similar participial forms is very effective. In this case, the possibilities of both juxtaposed and contrastingly located forms are used:

Singing dream, blooming color,

Vanishing day, fading light.

Opening the window, I saw lilacs.

It was in the spring of flying day

A. Blok, “Singing dream, blooming color...”, 1902

In this context, which is extremely rich in participle forms, there is a juxtaposition of these forms, and at the same time contrast. The symmetry is manifested in their uniformity (imperfect form of the active voice of the present tense), while the opposition is made up of methods of verbal action. Some of the verb forms (singing, blooming, studying, singing)have the meaning of the beginning of the action, others ( vanishing, fading, flying away) in literal and figurative meanings convey the semantics of its gradual approach to the end. The symmetry and repetition of participial forms here creates “increased musicality of the verse.” At the same time, it serves to express a polysemantic, uncertain meaning. This meaning consists of two components: the beginning and the end.

In poetic speech, the source of expressiveness can be the paradigmatic correlation of grammatical forms (with a different set of grammatical categories). At the same time, the selection and arrangement of various participial forms helps to convey subtle semantic, emotional and stylistic shades:

The place is empty. The evening goes on

by your absence we languish.

Appointed to your mouth

The drink on the table is smoking.

So with bewitching steps

The desert woman is not suitable;

And you can't fool it on glass

Pattern of sleeping lips;

O. Mandelstam, „The place is empty. The evening continues...”, 1909

In this context, passive and active participles are markers of the world of the lyrical hero and, accordingly, the world of the lyrical heroine. The feelings of the hero languishing in vain in anticipation reflect passive constructions in which his emotions are attributed to the world around him. His dependence, subordination is expressed using passive participles. The primacy lies with the heroine, she is the mistress of the situation, and this is expressed by the forms of real participles. The shape is very significant herebewitching (steps).Moreover, the actualization of these meanings is achieved not only by the active voice of participles, but also by time. The present continuous tense of the imperfect form of the participle creates the illusion of the presence of the heroine: although she is not there, the power of her charm and charm continues to actively influence the lyrical hero even in her absence.

The means of creating expression are combinations of the possibilities of an adjective and a participle of the same root, which allows in one context to combine attribute semantics of a different nature, contributing to the completeness and multidimensionality of the image:

Oh this one is slow breathing space! ¶

I'm completely fed up with it.

And caught my breath open up your horizons

A blindfold on both eyes!

O. Mandelstam, „Oh, this slow, breathless space...”, 1937

In this context the adjective short of breath , expressing the meaning of the attribute, generates visual associations with an overweight, slow person who does not have enough air, thereby activating the corresponding sensory sensations and the negative emotions they cause. Communion caught his breath enriches the image with the meaning of process, making it dynamic. The contrast of formal expression with different parts of speech is enhanced by the contrast of content.

The technique of contrasting use of gerunds has a significant expressive charge when the text contains verb forms of the same root: the personal form of the verb and the gerund, the gerund and the participle:

Bright waves float

The waves are calling for happiness

Light water will flash,

Flaring up , goes out forever

K. Balmont, “Enchantment of the month”, 1898

In this example, the personal form of the verb will flare up contrasted with the gerund form flaring up . Their opposition is emphasized by their close location (in adjacent rows), as well as the same position in the line. The verb here expresses a figurative meaning: the form of the future tense is used in the meaning of the present, constant, repeating. The perfect form of the gerund, on the contrary, indicates the completion of the action, transferring it into the captivity of the past tense. Consequently, the poet expressed in two forms the meaning of all three times in which human life takes place. The designation of too small a gap between permanent and completed action, in fact, is the main content of this philosophical poem, in which the poet reflects on life, its fleetingness and the inevitability of death.

Pairs and chains of gerunds also contribute to the realization of the expressive potential of these forms:

I can't live without tears
to see you, spring .
Here I am standing in the meadow,
Yes, and I’m crying bitterly.
And you're walking around
turning green, rustling ...
Oh, where is she from?
this burning sadness!

V. Nabokov, “I can’t live without tears...”, 1920

In this poem, there is a contrast between the lyrical hero and the surrounding world, which is realized simultaneously through the lexical meanings of verb forms and due to their grammatical design. In this case, adverbial forms play a significant role: they focus the reader’s attention on the contrast with the personal forms of the verb. Semantics of words I stand and cry , as well as the imperfect form of these verbs, indicating the absence of a limit to action, creates the appearance of a frozen state of the lyrical hero. At the same time, the image created with the help of gerunds conveys dynamics and movement. It syncretically combines visual (green), auditory (rustling) and tactile (movement) sensations. It is this semantics of the diversity of life forms, as well as the imperfect form of gerunds, indicating an action in its course and development, that are intended to reflect the process of the revival of life. Thus, the numbness of the lyrical hero sharply contrasts with the general revival characteristic of this time of year - spring.

So, the lexical ambiguity of the verb and the variety of its grammatical forms predetermine its significant expressive potential, which is associated with the semantic and syntactic features of this part of speech. The grammatical feature of the statement, precisely due to the verb forms, receives the necessary versatility and at the same time accuracy and flexibility in the expression of thoughts.

From all of the above, we can conclude that the realization of the expressive potential of a word can be carried out in two ways: both through the development of the capabilities of the system, and through its disruption.Deviations from literary and linguistic norms can be fully justified in poetic texts, therefore the expressive capabilities of various parts of speech are of reasonable interest to writers and stylists.

CONCLUSIONS

The language of fiction is unusually rich and varied. Any word, every means of speech is used for the best expression of poetic thought, to create images that would influence the feelings and intellect of readers. Means of expressiveness in a poetic text is a complex and multifaceted phenomenon associated, first of all, with the expressiveness of speech.

This study examines two main approaches to understanding expressiveness: functional-stylistic and lexical-semantic. However, the lexical-semantic approach is more productive, where expressiveness is described in terms of component analysis, which involves consideration of connotative meanings.

In this work we analyze lexemes whose expressive potential is created by morphological means in poetic texts. To create an expressive effect using nouns, the category of number is most often used, for example: come from alien hells ... (B. Akhmadulina), Its lights, and darkness, and languor... (A. Akhmatova).

Considering the means of creating expressiveness based on adjectives, we analyze the transition of relative and possessive adjectives into qualitative ones. In this case, the direct meaning of the words is weakened and the figurative, metaphorical meaning is strengthened: the wooden wind mows down the furniture... (V. Nabokov), Faces become stony... (B. Pasternak).

Relative and possessive adjectives, used in short form or in degrees of comparison, also have significant expressiveness, which is not normally characteristic of their grammatical nature: If dreams are cobwebby and subtle... (I. Annesensky).

A less commonly used means of creating expressiveness is the class of pronouns, the semantics of which acquires an expressive effect in the context of the poem: met with this and that. .. (Yu. Levitansky), You are not like that now! .. (S. Yesenin).

Also, the lexico-grammatical class we are considering, which creates an expressive effect, is the verb and its special forms - participle and gerund. Poets often use the word-forming capabilities of verbal vocabulary, creating occasional formations in various contexts: the sun caressed, the slave was kissed (V. Mayakovsky). The author’s use of contrasting use of gerunds and cognate verb forms has a significant expressive effect: Light water will flare up, Flare up , goes out forever(K. Balmont)

During the study, we came to the conclusion that creating expressiveness is possible in two ways:

based on the capabilities of the grammatical system and their expansion, which fits into grammatical norms;

due to a violation or shift of the grammatical system, which serves to create a vivid expressive effect.

Analysis of morphological means of creating expression indicates the diversity of their use by different authors and the wide possibilities for demonstrating the author's individuality and increasing expressiveness in poetic texts. Their consistent identification will allow us to determine the role of evaluative vocabulary in the writer’s idiostyle as a whole.

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