Ege means of artistic expression. Means of expressive language. Preparation for the exam

The expressiveness of Russian speech. means of expression.

Figurative and expressive means of language

TRAILS -use of the word in a figurative sense. Lexical argument

List of trails	Term meaning	Example
Allegory	Allegory. Trope, which consists in the allegorical depiction of an abstract concept with the help of a concrete, life image.	In fables and fairy tales, cunning is shown in the form of a fox, greed - a wolf.
Hyperbola	Artistic medium based on exaggeration	The eyes are huge, like searchlights (V. Mayakovsky)
Grotesque	Extreme exaggeration, giving the image a fantastic character	Mayor with a stuffed head at Saltykov-Shchedrin.
Irony	Ridicule, which contains an assessment of what is ridiculed. A sign of irony is a double meaning, where the true will not be directly stated, but the opposite, implied.	Where, smart, are you delirious head? (I. Krylov).
Litotes	Artistic medium based on understatement (as opposed to hyperbole)	The waist is no thicker than the neck of a bottle (N. Gogol).
Metaphor, extended metaphor	Hidden comparison. A type of trope in which individual words or expressions come together in terms of the similarity of their meanings or in contrast. Sometimes the whole poem is an extended poetic image.	With a sheaf of your oatmeal hair You touched me forever. (S. Yesenin.)
Metonymy	A type of path in which words come together according to the contiguity of the concepts they denote. A phenomenon or object is depicted using other words or concepts. For example, the name of the profession is replaced by the name of the instrument of activity. There are many examples: the transfer from a vessel to the contents, from a person to his clothes, from locality to residents, from organization to participants, from author to works	When the shore of hell Will take me forever, When the Feather will fall asleep forever, my joy ... (A. Pushkin.) On silver, on gold ate. Well, eat another plate, son.
personification	Such an image of inanimate objects, in which they are endowed with the properties of living beings with the gift of speech, the ability to think and feel	What are you howling about, wind night, What are you complaining about so much? (F. Tyutchev.)
Paraphrase (or paraphrase)	One of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its features, the most characteristic, enhancing the figurativeness of speech	King of beasts (instead of lion)
Synecdoche	A type of metonymy, consisting in transferring the meaning of one object to another on the basis of a quantitative relationship between them: a part instead of a whole; the whole in the meaning of the part; singular in the meaning of the general; replacing a number with a set; replacement of a specific concept by a generic one	All flags will visit us. (A. Pushkin.); Swede, Russian stabs, cuts, cuts. We all look to Nap oleones.
Epithet	figurative definition; a word that defines an object and emphasizes its properties	dissuaded by the grove golden birch cheerful language.
Comparison	A technique based on comparing a phenomenon or concept with another phenomenon	The ice is not strong on the icy river, as if it lies like melting sugar. (N. Nekrasov.)

FIGURES OF SPEECH

A generalized name for stylistic devices in which the word, unlike tropes, does not necessarily appear in a figurative sense. grammatical argument.

Figure	Term meaning	Example
Anaphora (or monogamy)	The repetition of words or phrases at the beginning of sentences, poetic lines, stanzas.	I love you, Peter's creation, I love your strict, slender appearance ...
Antithesis	Stylistic device of contrast, opposition of phenomena and concepts. Often based on the use of antonyms	And the new denies the old so much!.. It grows old before our eyes! Already shorter skirts. It's already longer! Leaders are younger. It's already older! Better manners.
gradation	(graduality) - a stylistic means that allows you to recreate events and actions, thoughts and feelings in the process, in development, in increasing or decreasing significance	I do not regret, do not call, do not cry, Everything will pass like smoke from white apple trees.
Inversion	permutation; stylistic figure, consisting in violation of the general grammatical sequence of speech	He shot past the doorman like an arrow up the marble steps.
Lexical repetition	Intentional repetition of the same word in the text	I'm sorry, I'm sorry, I'm sorry! And I forgive you, and I forgive you. I do not hold evil, I promise you, But only you, too, forgive me!
Pleonasm	The repetition of similar words and turns, the injection of which creates one or another stylistic effect.	My friend, my friend, I am very, very sick.
Oxymoron	A combination of opposite words that don't go together.	Dead souls, bitter joy, sweet sorrow, ringing silence.
Rhetorical question, exclamation, appeal	Techniques used to enhance the expressiveness of speech. A rhetorical question is asked not with the aim of getting an answer to it, but for an emotional impact on the reader. Exclamations and appeals enhance emotional perception	Where are you galloping, proud horse, And where will you lower your hooves? (A. Pushkin.) What a summer! What a summer! Yes, it's just witchcraft. (F. Tyutchev.)
Syntax parallelism	Reception, which consists in a similar construction of sentences, lines or stanzas.	I lookI look at the future with fear, I look at the past with longing...
Default	A figure that allows the listener to guess and think for himself what will be discussed in a suddenly interrupted statement.	You'll go home soon: Look... Well, what? my fate, To tell the truth, very Nobody is concerned.
Ellipsis	A figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning	We villages - in ashes, hailstones - in dust, In swords - sickles and plows. (V. Zhukovsky.)
Epiphora	A stylistic figure opposite to anaphora; repetition at the end of lines of poetry of a word or phrase	Dear friend, and in this quiet Home. The fever hits me. Can't find me a quiet place HouseNear a peaceful fire. (A. Blok.)

DESIGN POSSIBILITIES OF VOCABULARY

Lexical argument

Terms	Meaning	Examples
Antonyms, contextual antonyms	Words that are opposite in meaning. Contextual antonyms - it is in the context that they are opposites. Outside the context, this opposition is lost.	Wave and stone, poetry and prose, ice and fire... (A. Pushkin.)
Synonyms contextual synonyms	Words that are close in meaning. Contextual synonyms - it is in the context that they are close. Out of context, intimacy is lost.	To desire - to want, to have a hunt, to strive, to dream, to crave, to hunger
Homonyms	Words that sound the same but have different meanings.	Knee - a joint connecting the thigh and lower leg; passage in birdsong
homographs	Different words that match in spelling but not in pronunciation.	Castle (palace) - lock (on the door), Flour (torment) - flour (product)
Paronyms	Words that are similar in sound but different in meaning	Heroic - heroic, double - dual, effective - real
Words in a figurative sense	In contrast to the direct meaning of the word, stylistically neutral, devoid of figurativeness, figurative - figurative, stylistically colored.	Sword of justice, sea of ​​light
Dialectisms	A word or phrase that exists in a certain area and is used in speech by the inhabitants of this area	Draniki, shanezhki, beetroots
jargon	Words and expressions outside literary norm belonging to some jargon - a type of speech used by people united by a common interest, habits, activities.	Head - watermelon, globe, saucepan, basket, pumpkin...
Profession-isms	Words used by people of the same profession	Caboose, boatswain, watercolor, easel
Terms	Words intended to denote special concepts of science, technology, and others.	Grammar, surgical, optics
Book vocabulary	Words specific to writing and having a special stylistic coloring.	Immortality, incentive, prevail...
colloquial vocabulary	Words, colloquial use, characterized by some roughness, reduced character.	Doodle, flirtatious, wobble
Neologisms (new words)	New words emerging to denote new concepts that have just emerged. There are also individual author's neologisms.	There will be a storm - we'll bet And let's have fun with her.
Obsolete words (archaisms)	Words ousted from the modern language others denoting the same concepts.	Fair - excellent, diligent - caring, foreigner - foreigner
Borrowed	Words transferred from words in other languages.	Parliament, Senate, MP, consensus
Phraseologisms	Stable combinations of words, constant in their meaning, composition and structure, reproduced in speech as whole lexical units.	To prevaricate - to be hypocritical, to beat baklu-shi - to mess around, in a hurry - quickly

EXPRESSIVE-EMOTIONAL VOCABULARY

Conversational.	Words that have a slightly reduced stylistic coloring compared to neutral vocabulary, which are characteristic of the spoken language, are emotionally colored.	Dirty, screamer, bearded man
Emotionally colored words	Estimatedcharacter, both positive and negative.	Adorable, wonderful, disgusting, villain
	Words with suffixes of emotional evaluation.	Cute little hare, little mind, brainchild

ARTISTIC POSSIBILITIES OF MORPHOLOGY

grammatical argument

1. Expressive usage case, gender, animation, etc.	Something air it is not enough for me, I drink the wind, I swallow the fog... (V. Vysotsky.) We rest in Sochah. How many Plushkins divorced!
2. Direct and figurative use of tense forms of the verb	I'm comingi went to school yesterday see announcement: "Quarantine". Oh and rejoiced I!
3. Expressive use of words of different parts of speech.	happened to me most amazing story! I got unpleasant message. I was visiting at her. The cup will not pass you by this.
4. Use of interjections, onomatopoeic words.	Here is closer! They jump ... and into the yard Yevgeny! "Oh!"- and lighter shade Tatiana jump into other canopies. (A. Pushkin.)

AUDIO EXPRESSION

Means	Term meaning	Example
Alliteration	Reception of figurative amplification by repetition of consonant sounds	hissfoamy glasses And punch flame blue ..
Alternation	Sound alternation. The change of sounds occupying the same place in a morpheme in different cases of its use.	Tangent - touch, shine - flash.
Assonance	Reception of figurative amplification by repetition of vowel sounds	The thaw is boring to me: the stench, the dirt, in the spring I am sick. (A. Pushkin.)
sound recording	The technique of enhancing the figurativeness of the text by constructing phrases, lines in such a way that would correspond to the reproduced picture	For three days it was heard how on the road a boring, long The joints were tapping: to the east, east, east ... (P. Antokolsky reproduces the sound of carriage wheels.)
Onomatopoeia	Imitation with the help of the sounds of the language of the sounds of living and inanimate nature	When the mazurka thundered... (A. Pushkin.)

ARTISTIC SYNTAX CAPABILITIES

grammatical argument

1. Rows homogeneous members offers.	When empty And weak a person hears a flattering review about his dubious merits, he revels with your vanity, arrogant and quite loses his tiny ability to be critical of his deeds and to your person.(D. Pisarev.)
2. Offers with introductory words, appeals, separate members.	Probably,there, in native places just like in my childhood and youth, kupava blooms in the marsh backwaters and the reeds rustle, who made me with their rustle, with their prophetic whispers, that poet, who I have become, who I was, who I will be when I die. (K. Balmont.)
3. Expressive use of sentences of various types (complex, compound, unionless, one-part, incomplete, etc.).	They speak Russian everywhere; it is the language of my father and my mother, it is the language of my babysitter, my childhood, my first love, almost every moment of my life, which entered my past as an integral property, as the basis of my personality. (K. Balmont.)
4. Dialogical presentation.	- Well? Is it true that he is so handsome? - Surprisingly good, handsome, one might say. Slender, tall, blush all over the cheek ... - Right? And I thought he had a pale face. What? What did he look like to you? Sad, thoughtful? - What do you? Yes, I have never seen such a mad one. He took it into his head to run into the burners with us. - Run into the burners with you! Impossible!(A. Pushkin.)
5. Parceling - a stylistic device for dividing a phrase into parts or even separate words in order to give speech intonational expression by means of its jerky pronunciation. Parceled words are separated from each other by dots or exclamation marks, while observing the remaining syntactic and grammatical rules.	Freedom and brotherhood. There will be no equality. Nobody. Nobody. Not equal. Never.(A. Volodin.) He saw me and frozen. Numb. Stopped talking.
6. Non-union or asyndeton - the intentional omission of unions, which gives the text dynamism, swiftness.	Swede, Russian stabs, cuts, cuts. People knew that somewhere, very far from them, there was a war going on. To be afraid of wolves - do not go into the forest.
7. Polyunion or polysyndeton - repeating unions serve to logically and intonationally emphasize the members of the sentence connected by the unions.	The ocean was moving before my eyes, and it swayed, and thundered, and sparkled, and faded, and shone, and went somewhere to infinity. I will either sob, or scream, or faint.

Tests.

1. Choose the correct answer:

1) On that white April night Petersburg I saw Blok for the last time... (E. Zamyatin).

a) metaphorab) hyperbolav) metonymy

2.Then you get cold in the shine of moonlight,

You moan, doused with foam wounds.

(V. Mayakovsky)

a) alliteration b) assonance c) anaphora

3. I drag myself in the dust - and I soar in the sky;

Alien to everyone in the world - and the world is ready to embrace. (F. Petrarch).

a) oxymoron b) antonym c) antithesis

4. Let it fill with years

life quota,

costs

only

remember this wonder

tears apart

mouth

yawn

wider than the Gulf of Mexico.

(V. Mayakovsky)

a) hyperbolab) litotave) personification

5. Choose the correct answer:

1) It was drizzling with beady rain, so airy that it seemed that it did not reach the ground and haze of water dust floated in the air. (V. Pasternak).

a) epithet b) comparison c) metaphor

6.And in autumn days the flame flowing with life in the blood is not extinguished. (K. Batyushkov)

a) metaphorab) personification) hyperbole

7. Sometimes he falls passionately in love

In my elegant sadness.

(M. Yu. Lermontov)

a) antithesab) oxymoron c) epithet

8. Diamond is polished with a diamond,

The string is dictated by the string.

a) anaphora b) comparison c) parallelism

9. On one assumption of such a case, you would have to pull out the hair from your head and emit streams... what am I saying! rivers, lakes, seas, oceans tears!

(F.M. Dostoevsky)

a) metonymy b) gradation c) allegory

10. Choose the correct answer:

1) Black tailcoats rushed apart and in heaps here and there. (N. Gogol)

a) metaphorab) metonymy c) personification

11. The idler sits at the gate,

mouth wide open,

And no one will understand

Where is the gate, and where is the mouth.

a) hyperbolab) litotave) comparison

12. C impudent modesty looks into the eyes. (A. Blok).

a) epithetb) metaphorav) oxymoron

Option	Answer

Means of speech expressiveness- this is one of critical factors, thanks to which the Russian language is famous for its wealth and beauty, which has been sung more than once in poetry and the immortal works of Russian classic writers. To this day, Russian is one of the most difficult languages ​​to learn. This is facilitated by a huge number of expressive means that are present in our language, making it rich and multifaceted. To date, there is no clear classification of means of expression, but still two conditional types can be distinguished: stylistic figures and tropes.

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

trails- these are speech turns or words that are used by the author in an indirect, allegorical sense. These facilities artistic expressiveness is an integral part of any artwork. Tropes include metaphors, hyperbolas, litotes, synecdoches, metonymies, etc.

The most common means of expression.

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

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

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

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

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

   A speech turnover in which there are unions “as if”, “as if”, “like”, “like” (The skin of her hands was rough, like the sole of a boot).

   - subordinate clause (Night fell on the city and in a matter of seconds everything was quiet, as if there was not that liveliness in the squares and streets just an hour ago).

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

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

• Allegory
• Anaphora
• gradation
• Inversion
• Alliteration
• Assonance
• Lexical repetition
• Irony
• Metonymy
• Oxymoron
• polyunion
• Litotes
• Sarcasm
• Ellipsis
• Epiphora etc.

Means of speech expressiveness- these are speech turns, the main function of which is to give the language beauty and expressiveness, versatility and emotionality.
Phonetic (sound), lexical (associated with the word), syntactic (associated with the phrase and sentence) means are distinguished.
Phonetic means of expression
1. Alliteration- repetition in the text of consonant or identical consonant sounds.
For example: G O R od g R abil, g R fuck, g R abastal.
2. Assonance- repetition of vowels. For example:
M e lo, m e lo to sun e th e mle
Sun e limits.
St e cha gore e la on the table e,
St e cha burned ... (B. Pasternak)

3. Onomatopoeia- Reproduction of natural sound, imitation of sound. For example:
How do they wear drops of news about the ride,
And all through the night everyone clatters and rides,
Knocking a horseshoe on one nail
Here, then there, then in that entrance, then in this one.

Lexical means of expression (tropes)
1. Epithet- A figurative definition characterizing a property, quality, concept, phenomenon
For example: golden grove, cheerful wind
2. Comparison- Comparison of two objects, concepts or states that have a common feature.
For example: And the birches stand like big candles.
3. Metaphor- figurative meaning of the word based on similarity.
For example: The chintz of the sky is blue.
4. Personification- the transfer of human properties to inanimate objects.
For example: Sleeping bird cherry in a white cape.
5. Metonymy- replacement of one word by another based on the adjacency of two concepts.
For example: I ate three bowls.
6. Synecdoche- replacement plural the only one, the use of the whole instead of the part (and vice versa).
For example: Swede, Russian stabs, cuts, cuts...

7. Allegory- allegory; image specific concept in artistic images (in fairy tales, fables, proverbs, epics).
For example: Fox- an allegory of cunning, hare- cowardice
8. Hyperbole- exaggeration.
For example: I haven't seen you in two hundred years.
9. Litota- an understatement.
For example: Wait 5 seconds.
10. Paraphrase- paraphrase, a descriptive phrase containing an assessment.
For example: King of beasts (lion).
11. Pun- a play on words, a humorous use of polysemy of words or homonymy.
For example:
Sitting in a taxi, DAKSA asked:
"What is the TAX for the fare?"
And the driver: "Money from TAX
We don't take it at all. That's SO-S!"
12. Oxymoron- a combination of opposite words.
For example: ringing silence, hot snow
13. Phraseologisms - stable combinations words.
For example: bury talent in the ground.
14. Irony- subtle mockery, use in a sense opposite to the direct one.
For example: Have you been singing? This is the case: so come on, dance.
Syntactic means of expression (stylistic figures)
1. Inversion- violation of the direct word order
For example: We have been waiting for you for a long time.
2. Ellipsis- omission of any member of the sentence, more often the predicate.
For example: We sat down - in ashes, hailstones - in dust, In swords - sickles and plows.
3. Default- interrupted statement, giving the opportunity to speculate, reflect.
For example: I suffered... I wanted an answer... I didn't wait... I left...
4. Interrogative sentence - syntactic organization of speech, which creates a manner of conversation.
For example: How to earn a million?
5. Rhetorical question- a question that contains a statement.
For example: Who can't catch up with him?

6. Rhetorical appeal- highlighting important semantic positions.
For example: O Sea! How I missed you!
7. Syntactic parallelism- similar parallel building phrases, lines.
For example: To be able to ask for forgiveness is a sign of strength. To be able to forgive is an indicator of nobility.
8. Gradation- the location of synonyms according to the degree of increase or weakening of the sign.
For example: Silence covered, leaned, engulfed.
9. Antithesis- stylistic figure of contrast, comparison, opposition of opposite concepts.
For example: Long hair, short mind.
10. Anaphora- unanimity.
For example:
take care each other,
Kindness warm.
Take care of each other,
Let's not offend.

11. Epiphora- repetition of final words.
For example:
The forest is not the same!
The bush is not the same!
Thrush is not the same!

12. Parceling- division of the proposal into parts.
For example: A man has gone. In a leather jacket. Filthy. Smiled.

PREPARING FOR EXAMS

Cexpressive means

Determine the means of expression in prose and poetic texts.

Exercise 1

1. The young maiden will change more than once

Dreams are light dreams;

So tree your sheets

Changes every spring. (A. Pushkin)

2. Chalk, snow all over the earth

To all limits ... (B. Pasternak)

3. Again causticity. Pitiful, powerless. (Yu. Trifonov)

4. Leave your land deaf and sinful,

Leave Russia forever. (A. Akhmatova)

5. Spring and pernicious spirit. (A. Blok)

a) Oxymoron; b) hyperbole; c) parcellation; d) comparison; e) anaphora

Task 2

1. And our northern summer,

southern winters cartoon,

Flickers and no ... (A. Pushkin)

2. It's already evening ... The edges of the clouds have faded,

The last ray of dawn on the towers is dying. (V. Zhukovsky)

3. Time flies sometimes like a bird, sometimes it crawls like a worm. (I.Turgenev)

4. - Hey, beard! And how to get from here to Plyushkin, so as not to pass by the master's house? .. (N. Gogol)

5. Your mighty verse will not die,

Memorably alive

intoxicating, ebullient,

And militantly flying,

And wildly daring. (N. Yazykov)

a) antithesis; b) personification; c) epithet; d) synecdoche; e) paraphrase.

Task 3

1. Not on silver - on gold I ate. (A.Griboedov)

2. Below a thin blade of grass, you need to bow your head. (N. Nekrasov)

3. And the impossible is possible, the long road is easy. (A. Blok)

4. There was something imperceptibly oriental in his face, but from the gray-haired denseness shone, burned, shone huge blue eyes. (V. Soloukhin)

5. Oh Rus', a quiet corner,

I love you, and I believe in you. (S. Yesenin)

a) Gradation; b) litote; c) metonymy; d) oxymoron; e) paraphrase.

Task 4

1. Dawn with dewy coolness

Knocks down the apples of the dawn. (S. Yesenin)

2. He was buried in globe,

And he was just a soldier. (S.Orlov)

3. In the hut, singing, the maiden

Spins, and, winter friend of nights,

A torch crackles in front of her. (A. Pushkin)

4. Need me at once

South and north

East and West

Forest and steppe;

Seas and stone mountains,

And the free reach of flat rivers. (A. Tvardovsky)

5. And only a golden harness

Visible all night... Heard all night. (A. Blok)

a) antithesis; b) parcellation; c) synecdoche; d) metaphor; e) paraphrase.

Task 5

1. Live, keeping the fun of grief,

Remembering the joy of past springs. (V. Bryusov)

2. I will not break, I will not falter, I will not get tired,

I won't forgive an ounce of my enemies. (O. Bergholz)

3. The kettle gets angry and mumbles on the fire. (K. Paustovsky)

4. Did you sing all the time? - This business!

So go dance. (I. Krylov)

5. And no one has seen such a feast since the beginning of the world. (A. Pushkin)

a) Personification; b) oxymoron; c) irony; d) gradation; e) hyperbole.

Task 6

1. On the trout river, in the northern province,

Do not shoot ducks in a boat on a blue-gray evening. (I. Severyanin)

2. Anchar, like a formidable sentry,

It stands alone in the entire universe. (A. Pushkin)

3. And the sun is basking on the ice floe. (B.Pasternak)

4. No wonder the whole of Russia remembers

About the day of Borodin. (M. Lermontov)

5. And wax with tears from a night light

Drip on the dress. (B.Pasternak)

a) Hyperbole; b) epithet; c) metaphor; d) oxymoron; e) metonymy.

Task 7

1. I got engaged to silence,

Always singing in silence. (K.Balmont)

2. So irreparably quiet around him,

You can hear the grass growing. (A. Akhmatova)

3. I read Apuleius willingly, but I did not read Cicero. (A. Pushkin)

4. The song is dashing crying and laughing. (S. Yesenin)

5. And the eyes are blue, bottomless

Blooming on the far shore. (A. Blok)

a) Hyperbole; b) antithesis; c) metaphor; d) metonymy; e) oxymoron.

Task 8

1. I go out alone on the road. (M. Lermontov)

2. And you will fall like this,

How a withered leaf falls from the trees!

And you will die like this

How your last slave will die. (G.Derzhavin)

3. Perhaps it will not sink in Lethe

A stanza composed by me. (A. Pushkin)

4. I saw how she mows:

What a wave - then a mop is ready! (N. Nekrasov)

5. Primarily everything else is love,

In the song of youth, the first word is love,

Oh, unfortunate ignorant in the world of love,

Know that the basis of our whole life is love! (O. Khayyam)

a) Comparison; b) inversion; c) epiphora; d) hyperbole; e) periphrase.

Task 9

1. Like the nights of Ukraine

In the glow of unsunsetting stars,

Filled with secrets

The words of her fragrant lips. (M. Lermontov)

2. In a dark grove in a clearing

The bell is crying with laughter. (S. Yesenin)

3. Eh, cloth, government

military overcoat,

By the fire in the forest burned,

Excellent overcoat.

famous, broken

In battle with enemy fire

Yes, sewn with your own hand,

Who cares! (A. Tvardovsky)

4. Red brush

The rowan lit up.

Leaves were falling.

I was born. (M. Tsvetaeva)

5. You are poor

You are abundant

You are powerful

You are powerless... (N. Nekrasov)

a) Metaphor; b) antithesis; c) comparison; d) oxymoron; e) an epithet.

Task 10

1. The sounds of the cello twisted, intertwined, grew and filled the frozen hall. (V. Garshin)

2. Where the table was food, there is a coffin. (G.Derzhavin)

3. And the country of birch chintz

Not tempted to wander around barefoot. (S. Yesenin)

4. In everything I want to reach

To the very essence.

At work, in search of a way,

In heartbreak. (B.Pasternak)

5. Planted trees in the garden.

Quiet, quiet, to encourage them,

Whispering autumn rain. (Base)

a) Antithesis; b) gradation; c) personification; d) paraphrase; e) parcellation.

Task 11

1. Wind, wind!

A man does not stand on his feet

Wind, wind

In all God's world. (A. Blok)

So that he is silent

I sang my glory. (K.Balmont)

3. War - there is no tougher word.

War - there is no sadder word.

War - there is no holier word. (A. Tvardovsky)

4. The theater is already full; lodges shine;

Parterre and chairs, everything is in full swing. (A. Pushkin)

5. Light of the moon, mysterious and long,

Willows are crying, poplars are whispering. (S. Yesenin)

a) Metonymy; b) personification; c) oxymoron; d) parallelism, anaphora, epiphora; e) hyperbole.

Task 12

1. A crowd followed him

These nestlings of Petrov's nest...

His comrades, sons:

And noble Sheremetiev,

And Bruce, and Bour, and Repnin,

And, happiness minion rootless,

Semi-ruler. (A. Pushkin)

2. From hateful love,

Of crimes, frenzy -

Righteous Rus' will arise. (M. Voloshin)

3. Well, eat another plate, my dear. (I. Krylov)

4. The river will be covered with ice,

Doors will creak at night

There will be deep dirt in the yard. (N.Rubtsov)

5. I'm sad... because you're having fun. (M. Lermontov)

a) Metonymy; b) antithesis; c) oxymoron; d) paraphrase; e) anaphora.

Task 13

1. You, brother, are a battalion.

Regiment. Division. Do you want -

Front. Russia!.. (A. Tvardovsky)

2. In a hundred and forty suns, the sunset was blazing. (V. Mayakovsky)

3. Gvozdin, excellent host,

Owner of poor men. (A. Pushkin)

4. Dog eyes rolled

Golden stars in the snow. (S. Yesenin)

5. I wish you to avoid all kinds of troubles, sorrows and misfortunes. (A.Chekhov)

a) Hyperbole; b) metaphor; c) inversion; d) gradation; e) irony.

Task 14

1. I don't need someone else's sun,

Foreign land is not needed. (M.Isakovsky)

2. The old man from the frost brings into the house

A handful of chilled firewood. (D. Samoilov)

3. Night spreads a shadow and the wet shore judges,

The night pulls its golden seine into the distance. (I. Bunin)

4. Were going to work at night. read

Reports, references, deeds.

The verdicts were hastily signed.

They yawned. They drank wine. (M. Voloshin)

5. The earth smoked like a cabbage soup pot. (B.Pasternak)

a) Parcellation; b) metaphor; c) comparison; d) lexical repetition; e) epithet.

Task 15

1. Then everything smells of night violet:

Summer and faces. Thoughts. Every case

Who in the past can be saved. (B.Pasternak)

The heart sees the most invisible connection.

The ear drinks - the most unheard of rumor. (M. Tsvetaeva)

3. But the steppe sings. (I. Bunin)

4. Only ominous darkness shone for us. (A. Akhmatova)

5. The day was hot, stuffy, like the air over a red-hot stove. (A. Green)

a) Metonymy; b) oxymoron; c) comparison; d) parallelism; e) parcellation.

Task 16

1. The girl sang in the church choir

About all those who are tired in a foreign land,

About all the ships that have gone to sea,

About all those who have forgotten their joy. (A. Blok)

2. White locust and lilac smell so strong that it seems: the air and the trees themselves freeze from their smell. (A.Chekhov)

3. So much thought, so little done. (V. Bryusov)

4. Let the thunders shake the sky,

Villains oppress the weak,

Fools praise their reason!

My friend! It's not our fault. (N. Karamzin)

5. Whisper, timid breathing,

trill nightingale,

Silver and flutter

Sleepy stream.

Night light, night shadows

Shadows without end

A series of magical changes

Sweet face. (A. Fet)

a) Gradation; b) non-union; c) hyperbole; d) antithesis; e) anaphora.

Task 17

1. You know all the vagabonds, the poor and the sick,

You know all the helpless with sorrow,

If I call you, you will hear moans,

And I will be silent - and you know the language of the dumb. (O. Khayyam)

2. He is human! They are dominated by the moment

He is a slave of rumors, doubts and passions;

Forgive him the wrong persecution:

He took Paris, he founded the Lyceum. (A. Pushkin)

3. Golden heart of Russia

Beats rhythmically in my chest. (N. Gumilev)

4. O bard of love, distant nightingale. (V. Bryusov)

5. All life, unnecessarily obsolete.

Tortured, humiliated, burned. (A. Blok)

a) Paraphrase; b) metaphor; c) metonymy; d) gradation; e) epiphora.

Task 18

1. Night flowers sleep all day,

But only the sun will set behind the grove,

Leaves are quietly opening

And I hear the heart bloom. (A. Fet)

2. About valor, about exploits, about glory

I forgot on the woeful ground. (A. Blok)

3. Whisper, rustle or rustle -

Tenderness, like the songs of Saadi. (S. Yesenin)

4. And they immediately make it clear that they are the authorities. They are what they are. True steel. (Yu. Trifonov)

5. Chairs pushed back rattle;

The crowd pours into the living room;

So bees from a tasty hive

A noisy swarm flies to the field. (A. Pushkin)

a) Gradation; b) sound writing; c) comparison; d) metaphor; e) parcellation.

Task 19

1. They dragged - then a brick, then a log,

That's a lumberjack. And they hid. (A. Blok)

2. Snow, like porous honey,

He lay down under a straight palisade. (S. Yesenin)

3. The doors suddenly clattered,

like a hotel

does not hit the tooth on the tooth. (V. Mayakovsky)

4. The lights are trembling on the chandeliers ...

It's good to read a book at home!

Under Grieg, Schumann, Cui

I learned the fate of Tom. (M. Tsvetaeva)

a) Comparison; b) parcellation; c) oxymoron; d) sound writing; e) metonymy.

Task 20

1. Black velvet bumblebee, golden mantle. (I. Bunin)

2. On the street, five steps away,

Stands, ashamed, winter at the entrance

And does not dare to enter. (B.Pasternak)

3. We are from William Shakespeare

Two verses. (M. Tsvetaeva)

4. I will forget the year, day, number.

I'll lock myself up with a sheet of paper. (V. Mayakovsky)

5. He did not come, our curly singer,

With fire in his eyes, with a sweet-voiced guitar. (A. Pushkin)

a) Metonymy; b) epithet; c) gradation; d) metaphor; e) paraphrase.

Task 21

1. Your Pomeranian, lovely Pomeranian, no more than a thimble. (A.Griboedov)

2. The earth sleeps in the radiance of blue. (M. Lermontov)

3. And a hand is involuntarily baptized on the lime of the bell towers. (S. Yesenin)

4. I lull my heart with delights. (V. Bryusov)

5. Meanwhile, as rural cyclopes

Before the slow fire

Russians are treated with a hammer

The product is light in Europe. (A. Pushkin)

a) Personification; b) metonymy; c) litote; d) paraphrase; e) metaphor.

Task 22

1. Faded like a torch, wondrous genius,

Withered solemn wreath. (M. Lermontov)

2. And the slave blessed fate. (A. Pushkin)

3. A gloomy organ grinder will come,

Cry in the yard...

About that free share

That I'm not destined. (A. Blok)

4. The candle burned on the table,

The candle was burning. (B.Pasternak)

5. Accept him, call, ask, say that he is at home. (A.Griboedov)

a) Lexical repetition; b) paraphrase; c) gradation; d) synecdoche; e) parcellation.

Task 23

1. The youngest son was the size of a finger -

How to take you down

Sleep my quiet, sleep my boy

I am a bad mother. (A. Akhmatova)

2. I don't think, I don't complain, I don't argue.

Not sleeping.

I'm not torn to the sun, nor to the moon, nor to the sea,

Not to the ship. (M. Tsvetaeva)

3. There is such a moon in the sky,

Like a tree cut down at the root:

White fresh cut. (Basho)

4. I was sitting at the window in a crowded room.

Somewhere they sang bows about love. (A. Blok)

5. Unspeakable sadness

She opened two huge eyes. (O. Mandelstam)

a) Litota; b) metaphor; c) gradation; d) comparison; e) metonymy.

Task 24

1. One-story houses,

Where are the single-minded generals

They while away their tired age,

Reading Niva and Dumas. (O. Mandelstam)

2. More recently swallow free

You made your morning flight

And now you will become a hungry beggar,

Don't knock on someone else's gate. (A. Akhmatova)

3. And travel to him,

Like everything in the world, tired,

He returned and got

Like Chatsky, from the ship to the ball. (A. Pushkin)

4. The river spread out. Flowing, sad lazily

And washes the shore.

Over the meager clay of the yellow cliff

Haystacks are sad in the steppe. (A. Blok)

5. Lighter than a breath of spring

Touch

Thin fingers. (M. Kuzmin)

a) Antithesis; b) hyperbole; c) personification; d) metonymy; c) comparison.

Task 25

1. Frosty white palms

On the glass they bloom silently. (V.Khodasevich)

2. And how could I forgive her

The delight of your praise in love?

Look, she's happy to be sad

So beautifully nude. (A. Akhmatova)

3. Severe Dante did not despise the sonnet;

In it, the heat of Petrarch's love poured out;

The creator of Macbeth loved his game;

Camões clothed his mournful thought with them. (A. Pushkin)

4. It was by the sea, where openwork foam,

Where the city crew is rare...

The queen played in the tower of Chopin's castle,

And, listening to Chopin, fell in love with her page. (I. Severyanin)

5. And what about a long torment,

Like ashes, did she manage to save?

Pain, the evil pain of bitterness,

Pain without joy and without tears! (F. Tyutchev)

a) Metonymy; b) paraphrase; c) oxymoron; d) lexical repetition; e) metaphor.

Task 26

1. Most wore mustaches, mustaches and even mustaches. (A. Kuprin)

2. Let the ocean sleep on sand and gravel.

It is terrible to hear this booming howl in the darkness. (R. Burns)

3. How beautiful are your miracles,

Wizard of love, spring! (M. Kuzmin)

4. I came to this world to see the Sun

And blue vision.

I came to this world to see the sun

And the heights of the mountains. (K.Balmont)

5. Isakiy turns white in the frosty fog.

On a block of snow-covered Peter rises. (V. Bryusov)

a) Paraphrase; b) personification; c) gradation; d) anaphora, parallelism; e) metonymy.

Task 27

1. Yesterday I looked into my eyes,

And now - everything is squinting to the side!

Yesterday I sat before the birds, -

All larks today are crows! (M. Tsvetaeva)

2. Midnight sometimes in the swamp wilderness

Slightly audible, noiselessly rustling reeds. (K.Balmont)

3. Sick, tired ice,

Sick and melting snow. (D. Merezhkovsky)

4. He settled in that peace,

Where is the village old-timer

For forty years I quarreled with the housekeeper,

He looked out the window and crushed flies. (A. Pushkin)

5. My love, as wide as the sea,

The shores cannot contain the life. (A. Tolstoy)

a) Hyperbole; b) periphrase; c) antithesis; d) epithets; e) sound writing.

Task 28

1. A friend of an idle thought, my inkwell;

I adorned my monotonous century with you. (A. Pushkin)

2. They fly, written hastily,

Hot with bitterness and bliss.

Crucified between love and love

My moment, my hour, my day, my year, my age. (M. Tsvetaeva)

3. After all, all of Moscow knows us. God knows what they will say, Moscow is such a gossip. (A. Kuprin)

4. Here you will meet a wonderful mustache, no pen, no brush can be depicted. (N.Gogol)

5. Gold leaf burn

Christmas trees in the woods. (O. Mandelstam)

a) Metonymy; b) comparison; c) gradation; d) paraphrase; e) hyperbole.

ANSWERS TO THE TEST

Task 1: 1 - d, 2 - b, 3 - c, 4 - e, 5 - a.
Task 2: 1 - e, 2 - b, 3 - a, 4 - d, 5 - c.
Task 3: 1 - c, 2 - b, 3 - d, 4 - a, 5 - e.
Task 4: 1 - d, 2 - c, 3 - e, 4 - a, 5 - b.
Task 5: 1 - b, 2 - d, 3 - a, 4 - c, 5 - e.
Task 6: 1 - b, 2 - a, 3 - d, 4 - e, 5 - c.
Task 7: 1 - e, 2 - a, 3 - d, 4 - b, 5 - c.
Task 8: 1 - b, 2 - a, 3 - e, 4 - d, 5 - c.
Task 9: 1 - c, 2 - d, 3 - e, 4 - a, 5 - b.
Task 10: 1 - b, 2 - a, 3 - d, 4 - e, 5 - c.
Task 11: 1 - e, 2 - c, 3 - d, 4 - a, 5 - b.
Task 12: 1 - d, 2 - c, 3 - a, 4 - e, 5 - b.
Task 13: 1 - d, 2 - a, 3 - e, 4 - b, 5 - c.
Task 14: 1 - d, 2 - e, 3 - b, 4 - a, 5 - c.
Task 15: 1 - e, 2 - d, 3 - a, 4 - b, 5 - c.
Task 16: 1 - e, 2 - c, 3 - d, 4 - a, 5 - b.
Task 17: 1 - e, 2 - c, 3 - b, 4 - a, 5 - d.
Task 18: 1 - d, 2 - a, 3 - b, 4 - e, 5 - c.
Task 19: 1 - b, 2 - a, 3 - d, 4 - e, 5 - c.
Task 20: 1 - b, 2 - d, 3 - a, 4 - c, 5 - e.
Task 21: 1 - c, 2 - a, 3 - b, 4 - e, 5 - d.
Task 22: 1 - b, 2 - d, 3 - e, 4 - a, 5 - c.
Task 23: 1 - a, 2 - c, 3 - d, 4 - e, 5 - b.
Task 24: 1 - d, 2 - a, 3 - e, 4 - c, 5 - b.
Task 25: 1 - e, 2 - c, 3 - b, 4 - a, 5 - d.
Task 26: 1 - c, 2 - b, 3 - a, 4 - d, 5 - e.
Task 27: 1 - c, 2 - e, 3 - d, 4 - b, 5 - a.
Task 28: 1 - d, 2 - c, 3 - a, 4 - e, 5 - b.
Task 29: 1 - c, 2 - b, 3 - a, 4 - e, 5 - d.
Task 30: 1 - c, 2 - b, 3 - e, 4 - d, 5 - a.

Read a fragment of a review based on the text that you analyzed in tasks 20–23.

This snippet discusses language features text. Some terms used in the review are missing. Fill in the gaps (A, B, C, D) with the numbers corresponding to the numbers of the terms from the list. Write in the table under each letter the corresponding number.

Write down the sequence of numbers without spaces, commas and other additional characters.

“Telling the reader the story of the holiday organized by Mitrich, N.D. Teleshov generously uses the most diverse means of artistic expression. At the lexical level, it is worth noting the active use of (A)_____ (“theirs” in sentence 17, “fit” in sentence 36, “Mitrich”), as well as such a trope as (B)_____ (in sentence 2). Among other means of expressiveness, one can single out such a device as (C) _____ (for example, in sentences 15-16, 57-58), and such a syntactic means as (D) _____ (in sentences 3, 68, 69).

List of terms

1) synonyms

2) comparison

3) metonymy

5) colloquial vocabulary

6) rows of homogeneous members

7) rhetorical exclamations

8) anaphora

9) rhetorical appeals

A	B	IN	G

(1) It was Christmas Eve...

(2) The caretaker of the resettlement barracks, a retired soldier, with a beard as gray as mouse hair, named Semyon Dmitrievich, or simply Mitrich, went up to his wife and said cheerfully:

- (3) Well, woman, what a thing I thought up! (4) I say, the holiday is coming ... (5) And for everyone it is a holiday, everyone rejoices in it ... (6) Everyone has their own: who has a new thing for the holiday, who will have feasts ... (7) Your room, for example, will be clean, I also have my own pleasure: I will buy sausages for myself! ..

- (8) So what? the old woman said indifferently.

- (9) And then, - Mitrich sighed again, - that everyone will have a holiday as a holiday, but, I say, it turns out for the kids, and there is no real holiday ... (10) I look at them - and my heart bleeds : oh, I think it’s wrong! .. (11) It’s known, orphans ... (12) Neither mother, nor father, nor relatives ... (13) It’s awkward! .. (14) So I thought of this: it’s necessary Amuse the kids! .. (15) I saw a lot of people ... and ours, and I saw everyone ... (16) I saw how they like to amuse children for the holiday. (17) They will bring a Christmas tree, remove it with candles and gifts, and their children just even jump for joy!

(19) Mitrich winked merrily, smacked his lips and went out into the yard.

(20) Around the yard, here and there, wooden houses were scattered, covered with snow, clogged with boards. (21) From early spring to late autumn, settlers passed through the city. (22) There were so many of them, and they were so poor that good people they built these houses for them, which were guarded by Mitrich. (23) By the fall, the houses were vacated, and by winter there was no one left except Mitrich and Agrafena, and even a few children, no one knows whose. (24) For these children, the parents either died or went to no one knows where. (25) Mitrich had eight such children this winter. (26) He settled them all together in one house, where he was going to arrange a holiday today.

(27) First of all, Mitrich went to the church warden to beg for stubs of church candles to decorate the Christmas tree. (28) Then he went to the resettlement official. (29) But the official was busy; without seeing Mitrich, he ordered me to say "thank you" to him and sent a fifty kopeck piece.

(30) Returning home, Mitrich did not say a word to his wife, but only laughed silently and, looking at the coin, figured out when and how to arrange everything.

(31) “Eight children,” Mitrich reasoned, bending his clumsy fingers on his hands, “so eight candies ...”

(32) ... It was a clear frosty afternoon. (33) With an ax in his belt, in a sheepskin coat and a hat, Mitrich returned from the forest, dragging a Christmas tree on his shoulder. (34) He had fun, although he was tired. (35) In the morning he went to the city to buy sweets for the children, and sausages for himself and his wife, to which he was a passionate hunter, but he rarely bought it and ate only on holidays.

(36) Mitrich brought a Christmas tree, sharpened the end with an ax; then he adjusted it to stand, and when everything was ready, dragged it to the children in the barracks.

(37) When the tree warmed up, the room smelled of freshness and resin. (38) Children's faces, sad and thoughtful, suddenly cheered up ... (39) No one yet understood what the old man was doing, but everyone already foresaw pleasure, and Mitrich looked cheerfully at the eyes fixed on him from all sides.

(40) When the candles and sweets were already on the Christmas tree, Mitrich thought: the decoration was poor. (41) No matter how fond he was of his idea, however, he could not hang anything on the Christmas tree, except for eight sweets.

(42) Suddenly such an idea came to him that he even stopped. (43) Although he was very fond of sausage and valued every piece, but the desire to treat to fame overpowered all his considerations:

- (44) I will cut off a circle for everyone and hang it on a thread. (45) And slices of bread, and also on the Christmas tree.

(46) As soon as it got dark, the Christmas tree was lit. (47) It smelled of melted wax, resin and greens. (48) Always gloomy and thoughtful, the children screamed with joy, looking at the lights. (49) Their eyes brightened, their faces blushed. (50) Laughter, cries and talk revived for the first time this gloomy room, where from year to year only complaints and tears were heard. (51) Even Agrafena clasped her hands in surprise, and Mitrich, rejoicing from the bottom of her heart, clapped her hands. (52) Admiring the Christmas tree, the children having fun, he smiled. (53) And then he commanded:

- (54) The audience! (55)Come! (56) Taking a piece of bread and sausage from the Christmas tree, Mitrich dressed all the children, then took Agrafene for himself.

- (57) Look, the orphans are chewing! (58) Look, they're chewing! (59) Look! (60) Rejoice! he shouted. (61) And after that, Mitrich took the harmonica and, forgetting his old age, started dancing with the children. (62) The children jumped, squealed merrily and whirled, and Mitrich did not lag behind them. (63) His soul was filled with such joy that he did not remember if such a holiday had ever happened in his life.

- (64) The audience! he exclaimed at last. - (65) Candles burn out. (66) Take your own candy, and it's time to sleep!

(67) The children screamed with joy and rushed to the Christmas tree, and Mitrich, touched almost to tears, whispered to Agrafena:

- (68) Good! .. (69) You can directly say: right! ..

(according to N.D. Teleshov*)

*Nikolai Dmitrievich Teleshov (1867–1957)- Russian Soviet writer, poet, organizer of the well-known circle of Moscow writers "Wednesday" (1899-1916). The story "Yolka Mitrich" (1897) is included in the cycle "Settlers", dedicated to a large migration beyond the Urals, to Siberia, where the peasants were given allotments of land.

Explanation (see also Rule below).

“Telling the reader the story of the holiday organized by Mitrich, N.D. Teleshov generously uses the most diverse means of artistic expression. At the lexical level, it is worth noting the active use (A) colloquial vocabulary(“theirs” in sentence 17, “fit” in sentence 36, “Mitrich”), as well as such a path as (B) comparison(in sentence 2). Among other means of expressiveness, one can single out such a technique as (B) anaphora(for example, in sentences 15-16, 57-58), and such a syntactic device as (D) rhetorical exclamations(in sentences 3, 68, 69)".

List of terms

2) comparison B (with sulfur, like mouse fur, beard)

5) colloquial vocabulary A

7) rhetorical exclamations G ( exactly exclamations: Good! Right!)

8) anaphora B ((15)Vidal I have a lot of people ... both ours, and I have seen everyone ... (16) Vidal how they love to amuse children for the holiday .. The same construction of the beginning of the sentence)

Write down the numbers in response, arranging them in the order corresponding to the letters:

A	B	IN	G
5	2	8	7

Answer: 5287

Answer: 5287

Rule: Language means of expression. Task 26

ANALYSIS OF THE MEANS OF EXPRESSION.

The purpose of the task is to determine the means of expression used in the review by establishing a correspondence between the gaps indicated by the letters in the text of the review and the numbers with definitions. You need to write down matches only in the order in which the letters go in the text. If you do not know what is hidden under a particular letter, you must put "0" in place of this number. For the task you can get from 1 to 4 points.

When completing task 26, you should remember that you fill in the gaps in the review, i.e. restore the text, and with it semantic and grammatical connection. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates that agree with omissions, etc. It will facilitate the task and the division of the list of terms into two groups: the first includes terms based on the meaning of the word, the second - the structure of the sentence. You can carry out this division, knowing that all means are divided into TWO large groups: the first includes lexical (non-special means) and tropes; into the second figure of speech (some of them are called syntactic).

26.1 A TROPWORD OR EXPRESSION USED IN A PORTABLE MEANING TO CREATE AN ARTISTIC IMAGE AND ACHIEVE GREATER EXPRESSION. Tropes include such techniques as epithet, comparison, personification, metaphor, metonymy, sometimes they include hyperbole and litotes.

Note: In the task, as a rule, it is indicated that these are TRAILS.

In the review, examples of tropes are indicated in brackets, as a phrase.

1.Epithet(in translation from Greek - application, addition) - this is a figurative definition that marks a feature that is essential for a given context in the depicted phenomenon. From a simple definition, the epithet differs in artistic expressiveness and figurativeness. The epithet is based on a hidden comparison.

Epithets include all the "colorful" definitions that are most often expressed adjectives:

sad orphan land(F.I. Tyutchev), gray fog, lemon light, silent peace(I. A. Bunin).

Epithets can also be expressed:

-nouns, acting as applications or predicates, giving a figurative description of the subject: sorceress-winter; mother - cheese earth; The poet is a lyre, and not only the nurse of his soul(M. Gorky);

-adverbs acting as circumstances: In the north stands wild alone...(M. Yu. Lermontov); The leaves were tense elongated in the wind (K. G. Paustovsky);

-gerunds: the waves are rushing thundering and sparkling;

-pronouns expressing superlatives of one or another state of the human soul:

After all, there were fighting fights, Yes, they say, more which! (M. Yu. Lermontov);

-participles and participle turnovers : Nightingale vocabulary rumbling announce the forest limits (B. L. Pasternak); I also admit the appearance of ... scribblers who cannot prove where they spent the night yesterday, and who have no other words in the language, except for words, not remembering kinship(M. E. Saltykov-Shchedrin).

2. Comparison- This is a visual technique based on the comparison of one phenomenon or concept with another. Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, signs, actions).

Villages are burning, they have no protection.

The sons of the fatherland are defeated by the enemy,

And the glow like an eternal meteor,

Playing in the clouds, frightens the eye. (M. Yu. Lermontov)

Comparisons are expressed in various ways:

The form of the instrumental case of nouns:

Nightingale stray youth flew by,

wave in bad weather Joy subsided (A. V. Koltsov)

Comparative form of an adjective or adverb: These eyes greener sea ​​and our cypresses darker(A. Akhmatova);

Comparative turnovers with unions like, as if, as if, as if, etc .:

Like a predatory animal, to a humble abode

The winner breaks in with bayonets ... (M. Yu. Lermontov);

Using the words similar, similar, this is:

Into the eyes of a cautious cat

Similar your eyes (A. Akhmatova);

With the help of comparative clauses:

Golden foliage swirled

In the pinkish water of the pond

Just like a light flock of butterflies

With fading flies to a star. (S. A. Yesenin)

3.Metaphor(in translation from Greek - transfer) is a word or expression that is used in a figurative sense based on the similarity of two objects or phenomena on some basis. In contrast to comparison, in which both what is being compared and what is being compared is given, the metaphor contains only the second, which creates compactness and figurativeness of the use of the word. The metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief, a pearl of poetry, a spark of love and etc.

All metaphors are divided into two groups:

1) general language("erased"): golden hands, a storm in a teacup, mountains to move, strings of the soul, love has faded;

2) artistic(individual-author's, poetic):

And the stars fade diamond thrill

IN painless cold dawn (M. Voloshin);

Empty skies transparent glass (A. Akhmatova);

AND eyes blue, bottomless

Blooming on the far shore. (A. A. Blok)

Metaphor happens not only single: it can develop in the text, forming whole chains of figurative expressions, in many cases - covering, as if permeating the entire text. This extended, complex metaphor, an integral artistic image.

4. Personification- this is a kind of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts. Most often, personifications are used to describe nature:

Rolling through sleepy valleys, Sleepy mists lay down And only the horse's clatter, Sounding, is lost in the distance. The autumn day went out, turning pale, Rolling up fragrant leaves, Taste a dreamless dream Half-withered flowers. (M. Yu. Lermontov)

5. Metonymy(in translation from Greek - renaming) is the transfer of a name from one object to another based on their adjacency. Adjacency can be a manifestation of a connection:

Between action and tool of action: Their villages and fields for a violent raid He doomed swords and fires(A. S. Pushkin);

Between the object and the material from which the object is made: ... not that on silver, - on gold ate(A. S. Griboyedov);

Between a place and the people in that place: The city was noisy, flags crackled, wet roses fell from the bowls of flower girls ... (Yu. K. Olesha)

6. Synecdoche(in translation from Greek - correlation) is kind of metonymy, based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them. Most often, the transfer occurs:

From less to more: Even a bird does not fly to him, And a tiger does not go ... (A. S. Pushkin);

Part to whole: Beard, why are you still silent?(A.P. Chekhov)

7. Paraphrase, or paraphrase(in translation from Greek - a descriptive expression), is a turnover that is used instead of a word or phrase. For example, Petersburg in verse

A. S. Pushkin - "Peter's creation", "Beauty and wonder of midnight countries", "city of Petrov"; A. A. Blok in the verses of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.

8. Hyperbole(in translation from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any sign of an object, phenomenon, action: A rare bird will fly to the middle of the Dnieper(N. V. Gogol)

And at that very moment couriers, couriers, couriers... you can imagine thirty five thousands one couriers! (N.V. Gogol).

9. Litota(translated from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any sign of an object, phenomenon, action: What tiny cows! There is, right, less than a pinhead.(I. A. Krylov)

And marching importantly, in orderly calmness, The horse is led by the bridle by a peasant In large boots, in a sheepskin coat, In large mittens ... and himself with a fingernail!(N.A. Nekrasov)

10. Irony(in translation from Greek - pretense) is the use of a word or statement in a sense opposite to the direct one. Irony is a type of allegory in which mockery is hidden behind an outwardly positive assessment: Where, smart, are you wandering, head?(I. A. Krylov)

26.2 "Non-special" lexical figurative and expressive means of the language

Note: The tasks sometimes indicate that this is a lexical means. Usually in the review of task 24, an example of a lexical means is given in brackets, either in one word or in a phrase in which one of the words is in italics. Please note: these funds are most often needed find in task 22!

11. Synonyms, i.e. words of the same part of speech, different in sound, but the same or similar in lexical meaning and differing from each other or shades of meaning, or stylistic coloring (brave - brave, run - rush, eyes(neutral) - eyes(poet.)), have great expressive power.

Synonyms can be contextual.

12. Antonyms, i.e. words of the same part of speech, opposite in meaning ( truth - lies, good - evil, disgusting - wonderful), also have great expressive possibilities.

Antonyms can be contextual, that is, they become antonyms only in a given context.

Lies happen good or evil,

Compassionate or merciless,

Lies happen cunning and clumsy

Cautious and reckless

Captivating and joyless.

13. Phraseologisms as a means of linguistic expression

Phraseological units (phraseological expressions, idioms), i.e. word combinations and sentences reproduced in finished form, in which the integral meaning dominates the meanings of their constituent components and is not a simple sum of such meanings ( get into trouble, be in seventh heaven, a bone of contention) have great expressive potential. The expressiveness of phraseological units is determined by:

1) their vivid imagery, including mythological ( the cat cried like a squirrel in a wheel, Ariadne's thread, the sword of Damocles, Achilles' heel);

2) the relevance of many of them: a) to the category of high ( the voice of one crying in the wilderness, sink into oblivion) or reduced (colloquial, colloquial: like a fish in water, neither sleep nor spirit, lead by the nose, lather your neck, hang your ears); b) to the category language tools with positive emotional and expressive coloring ( store as the apple of an eye - torzh.) or with a negative emotionally expressive coloring (without the king in the head is disapproved, the small fry is neglected, the price is worthless - contempt.).

14. Stylistically colored vocabulary

To enhance expressiveness in the text, all categories of stylistically colored vocabulary can be used:

1) emotionally expressive (evaluative) vocabulary, including:

a) words with a positive emotional and expressive assessment: solemn, sublime (including Old Church Slavonics): inspiration, coming, fatherland, aspirations, secret, unshakable; sublimely poetic: serene, radiant, spell, azure; approving: noble, outstanding, amazing, courageous; affectionate: sun, darling, daughter

b) words with a negative emotional-expressive assessment: disapproving: conjecture, bicker, nonsense; disparaging: upstart, delinquent; contemptuous: dunce, cramming, scribbling; swear words/

2) functionally-stylistically colored vocabulary, including:

a) book: scientific (terms: alliteration, cosine, interference); official business: the undersigned, report; journalistic: report, interview; artistic and poetic: azure, eyes, cheeks

b) colloquial (everyday-household): dad, boy, braggart, healthy

15. Vocabulary of limited use

To enhance expressiveness in the text, all categories of vocabulary of limited use can also be used, including:

Dialect vocabulary (words that are used by the inhabitants of any locality: kochet - rooster, veksha - squirrel);

Colloquial vocabulary (words with a pronounced reduced stylistic coloring: familiar, rude, dismissive, abusive, located on the border or outside the literary norm: goofball, bastard, slap, talker);

Professional vocabulary (words that are used in professional speech and are not included in the system of the general literary language: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of teachers);

Slang vocabulary (words characteristic of jargons - youth: party, bells and whistles, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, perfume; jargon of criminals: dude, raspberry);

Vocabulary is outdated (historicisms are words that have fallen out of use due to the disappearance of the objects or phenomena they designate: boyar, oprichnina, horse; archaisms are obsolete words that name objects and concepts for which new names have appeared in the language: brow - forehead, sail - sail); - new vocabulary (neologisms - words that have recently entered the language and have not yet lost their novelty: blog, slogan, teenager).

26.3 FIGURES (RHETORICAL FIGURES, STYLISTIC FIGURES, FIGURES OF SPEECH) ARE STYLISTIC TECHNIQUES based on special combinations of words that are beyond the scope of normal practical use, and aimed at enhancing the expressiveness and descriptiveness of the text. The main figures of speech include: rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron. Unlike lexical means, this is the level of a sentence or several sentences.

Note: In the tasks there is no clear definition format that indicates these means: they are called both syntactic means, and a technique, and simply a means of expression, and a figure. In task 24, the figure of speech is indicated by the number of the sentence given in brackets.

16. Rhetorical question is a figure in which a statement is contained in the form of a question. A rhetorical question does not require an answer, it is used to enhance the emotionality, expressiveness of speech, to draw the reader's attention to a particular phenomenon:

Why did he give his hand to insignificant slanderers, Why did he believe false words and caresses, He, with young years comprehending people?.. (M. Yu. Lermontov);

17. Rhetorical exclamation- this is a figure in which an assertion is contained in the form of an exclamation. Rhetorical exclamations strengthen the expression of certain feelings in the message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:

That was in the morning of our years - Oh happiness! oh tears! O forest! oh life! Oh the light of the sun! O fresh spirit of birch. (A. K. Tolstoy);

Alas! a proud country bowed before the power of a stranger. (M. Yu. Lermontov)

18. Rhetorical appeal- This is a stylistic figure, consisting in an underlined appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state:

My friends! Our union is wonderful. He, like a soul, is unstoppable and eternal (A. S. Pushkin);

Oh deep night! Oh cold autumn! Silent! (K. D. Balmont)

19. Repeat (positional-lexical repetition, lexical repetition)- this is a stylistic figure consisting in the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to draw special attention to them.

The types of repetition are anaphora, epiphora and catch-up.

Anaphora(in translation from Greek - ascent, rise), or monotony, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:

lazily hazy noon breathes,

lazily the river is rolling.

And in the fiery and pure firmament

The clouds are lazily melting (F. I. Tyutchev);

Epiphora(in translation from Greek - addition, final sentence of the period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:

Although man is not eternal,

That which is eternal, humanely.

What is a day or a century

Before what is infinite?

Although man is not eternal,

That which is eternal, humanely(A. A. Fet);

They got a loaf of light bread - joy!

Today the film is good in the club - joy!

Paustovsky's two-volume book Shop brought- joy!(A. I. Solzhenitsyn)

pickup- this is a repetition of any segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:

he fell down on the cold snow

On the cold snow, like a pine,

Like a pine in a damp forest (M. Yu. Lermontov);

20. Parallelism (syntactic parallelism)(in translation from Greek - walking side by side) - an identical or similar construction of adjacent parts of the text: adjacent sentences, lines of poetry, stanzas, which, when correlated, create a single image:

I look to the future with fear

I look at the past with longing... (M. Yu. Lermontov);

I was your ringing string

I was your blooming spring

But you didn't want flowers

And you didn't hear the words? (K. D. Balmont)

Often using antithesis: What is he looking for in a distant country? What did he throw in his native land?(M. Lermontov); Not the country - for business, but business - for the country (from the newspaper).

21. Inversion(translated from Greek - permutation, reversal) is a change in the usual word order in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), to give the phrase a special stylistic coloring: solemn, high-sounding, or, conversely, colloquial, somewhat reduced characteristics. The following combinations are considered inverted in Russian:

The agreed definition is after the word being defined: I am sitting behind bars in damp dungeon(M. Yu. Lermontov); But there was no swell on this sea; stuffy air did not flow: it was brewing great thunderstorm(I. S. Turgenev);

Additions and circumstances expressed by nouns are in front of the word, which includes: Hours of monotonous fight(monotonous strike of the clock);

22. Parceling(in translation from French - particle) - a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonation-semantic units - phrases. At the place of division of the sentence, a period, exclamation and question marks, ellipsis can be used. In the morning, bright as a splint. Terrible. Long. Ratny. The infantry regiment was destroyed. Our. In an unequal battle(R. Rozhdestvensky); Why is nobody outraged? Education and healthcare! The most important spheres of society's life! Not mentioned in this document at all(From newspapers); It is necessary that the state remember the main thing: its citizens are not individuals. And people. (From newspapers)

23. Non-union and multi-union- syntactic figures based on intentional omission, or, conversely, conscious repetition of unions. In the first case, when unions are omitted, speech becomes compressed, compact, dynamic. The depicted actions and events here quickly, instantly unfold, replace each other:

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle.

The thunder of cannons, the clatter, the neighing, the groan,

And death and hell on all sides. (A.S. Pushkin)

When polyunion speech, on the contrary, slows down, pauses and a repeated union highlight words, expressively emphasizing their semantic significance:

But And grandson, And great-grandson, And great-great-grandson

They grow in me while I myself grow ... (P.G. Antokolsky)

24.Period- a long, polynomial sentence or a very common simple sentence, which is distinguished by completeness, unity of the theme and intonation splitting into two parts. In the first part, the syntactic repetition of the same type of subordinate clauses (or members of the sentence) goes with an increasing increase in intonation, then there is a separating significant pause, and in the second part, where the conclusion is given, the tone of the voice noticeably decreases. This intonation design forms a kind of circle:

Whenever I wanted to limit my life to a domestic circle, / When a pleasant lot ordered me to be a father, a spouse, / If I were captivated by a family picture for at least a single moment, then, it would be true, except for you, one bride would not look for another. (A.S. Pushkin)

25. Antithesis, or opposition(in translation from Greek - opposition) - this is a turn in which opposite concepts, positions, images are sharply opposed. To create an antithesis, antonyms are usually used - general language and contextual:

You are rich, I am very poor, You are a prose writer, I am a poet.(A. S. Pushkin);

Yesterday I looked into your eyes

And now - everything is squinting to the side,

Yesterday, before the birds sat,

All larks today are crows!

I'm stupid and you're smart

Alive and I'm dumbfounded.

O cry of women of all times:

"My dear, what have I done to you?" (M. I. Tsvetaeva)

26. Gradation(translated from Latin - a gradual increase, strengthening) - a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in order of strengthening (increasing) or weakening (decreasing) of a sign. Increasing gradation usually used to enhance the imagery, emotional expressiveness and influencing power of the text:

I called you, but you did not look back, I shed tears, but you did not descend(A. A. Blok);

Glowing, burning, shining huge blue eyes. (V. A. Soloukhin)

Descending gradation is used less often and usually serves to enhance the semantic content of the text and create imagery:

He brought the tar of death

Yes, a branch with withered leaves. (A. S. Pushkin)

27. Oxymoron(in translation from Greek - witty-stupid) - this is a stylistic figure in which usually incompatible concepts are combined, as a rule, contradictory to each other ( bitter joy, ringing silence and so on.); at the same time, a new meaning is obtained, and speech acquires special expressiveness: From that hour began for Ilya sweet torment, lightly scorching the soul (I. S. Shmelev);

Eat melancholy cheerful in the scares of dawn (S. A. Yesenin);

But their ugly beauty I soon comprehended the mystery. (M. Yu. Lermontov)

28. Allegory- allegory, the transfer of an abstract concept through a specific image: Must defeat foxes and wolves(cunning, malice, greed).

29.Default- a deliberate break in the statement, conveying the excitement of the speech and suggesting that the reader will guess what was not said: But I wanted ... Perhaps you ...

In addition to the above syntactic means Expressiveness in tests also includes the following:

-exclamatory sentences;

- dialogue, hidden dialogue;

-question-answer form of presentation a form of presentation in which questions and answers to questions alternate;

-rows of homogeneous members;

-citation;

-introductory words and constructions

-Incomplete sentences- sentences in which a member is missing, which is necessary for the completeness of the structure and meaning. Missing members of the sentence can be restored and context.

Including ellipsis, that is, skipping the predicate.

These concepts are discussed in school course syntax. That is probably why these means of expression are most often called syntactic in reviews.