Antithesis is a means of expression that is often used in the Russian language and in Russian literature because of its powerful expressive possibilities. So, the antithesis of definition is such a technique in artistic language when one phenomenon is opposed to another. Those who want to read about the antithesis of Wikipedia will certainly find various examples from poems there.

I would like to define the concept of “antithesis”, meaning. It is of great importance in the language, because it is such a technique that allows compare two opposites, for example, "black" and "white", "good" and "evil". The concept of this technique is defined as a means of expressiveness, which allows you to very vividly describe any object or phenomenon in poetry.

What is antithesis in literature

Antithesis is such an artistic depiction means of expression, which allows you to compare one item with another based on opposition. Usually, as an artistic medium, it is very popular with many modern writers and poets. But in the classics you can find great amount examples. As part of the antithesis can be opposed in meaning or in their properties:

• Two characters. This most often happens in cases where a positive character is opposed to a negative one;
• Two phenomena or objects;
• Different qualities of the same object (viewing the object from several aspects);
• The qualities of one object are opposed to the qualities of another object.

Lexical meaning of trope

The technique is very popular in literature, because it allows you to most clearly express the essence of a particular subject with the help of opposition. Usually, such oppositions always look lively and figuratively, so poetry and prose that use the antithesis are quite interesting to read. She happens to be one of the most popular and well-known means of artistic expression of a literary text, whether it be poetry or prose.

The technique was actively used by the classics of Russian literature, and modern poets and prose writers are no less actively using it. Most often, the antithesis underlies opposition of two heroes of a work of art when a positive character is opposed to a negative one. At the same time, their qualities are deliberately demonstrated in an exaggerated, sometimes grotesque form.

Skillful use of this artistic technique allows you to create a living, figurative description characters, objects or phenomena found in a particular work of art (novel, story, short story, poem or fairy tale). It is often used in folklore works(fairy tales, epics, songs and other genres of oral folk art). At runtime literary analysis text, it is necessary to pay attention to the presence or absence of this technique in the work.

Where can I find examples of antithesis

Antithesis-examples from the literature can be found almost everywhere, in the most different genres fiction ranging from folk art (fairy tales, epics, tales, legends and other oral folklore) and ending with the works of contemporary poets and writers of the twenty-first century. In connection with its peculiarities of artistic expressiveness, the technique is most often found in the following genres of fiction:

• Poems;
• Stories:
• Fairy tales and legends (folk and author's);
• Novels and stories. In which there are long descriptions of objects, phenomena or characters.

Antithesis as an artistic technique

As a means of artistic expression, it is built on the opposition of one phenomenon to another. The writer, who uses the antithesis in his work, chooses the most characteristic features of two characters (objects, phenomena) and tries to fully reveal them by opposing each other. The word itself, translated from ancient Greek, also means nothing more than “opposition”.

Active and appropriate use makes the literary text more expressive, lively, interesting, helps to most fully reveal the characters of the characters, the essence of specific phenomena or objects. This is the reason for the popularity of the antithesis in the Russian language and in Russian literature. However, in others European languages this means of artistic imagery is also used very actively, especially in classical literature.

In order to find examples of antithesis during the analysis of a literary text, one must first of all examine those fragments of the text where two characters (phenomena, objects) are not considered in isolation, but are opposed to each other from different points of view. And then it will be quite easy to find a reception. Sometimes the whole meaning of the work is built on this artistic device. It should also be borne in mind that the antithesis can be explicit, but it may also be hidden, veiled.

Finding a hidden antithesis in an artistic literary text is quite simple if you read and analyze the text thoughtfully, carefully. In order to teach how to correctly use the technique in your own literary text, you need to familiarize yourself with the most vivid examples from Russian classical literature. However, it is not recommended to abuse it so that it does not lose its expressiveness.

Antithesis is one of the main means of artistic expression, widely used in the Russian language and in Russian literature. Reception can be easily found in many works of Russian classics. actively use it and contemporary writers. The antithesis is well-deservedly popular because it helps to most clearly express the essence of individual heroes, objects or phenomena by opposing one hero (object, phenomenon) to another. Russian literature without this artistic device is almost unthinkable.

ARTISTIC TALENT human ability, manifested in artistic creativity, the socially determined unique unity of the emotional and intellectual characteristics of the artist, artistic talent differs from genius (see Artistic genius), which opens up new directions in art. Artistic talent determines the nature and possibilities of creativity, the type of art (or several types of art) chosen by the artist, the range of interests and aspects of the artist's relationship to reality. At the same time, the artistic talent of an artist is inconceivable without an individual method and style as stable principles for the artistic embodiment of an idea and design. The individuality of the artist is manifested not only in the work itself, but also exists as a prerequisite for the creation of this work. The artistic talent of an artist can be realized in specific socio-economic and political conditions. Separate eras in the history of human society create the most favorable conditions for the deployment and implementation of artistic talent (classical antiquity, the Renaissance, the Muslim Renaissance in the East).

Recognition of the decisive importance of socio-economic and political conditions, as well as the spiritual atmosphere in the realization of artistic talent does not at all mean their absolutization. The artist is not only a product of an era, but also its creator. An essential property of consciousness is not only the reflection, but also the transformation of reality. For the realization of artistic talent, the subjective moments of ability to work, the artist's ability to mobilize all his emotional, intellectual and strong-willed forces are of great importance.

PLOT(fr. sujet subject) way artistic comprehension, organization of events (i.e., the artistic transformation of the plot). The specificity of a particular plot is clearly manifested not only when compared with the real life story that served as its basis, but also when comparing descriptions human life in documentaries and fiction, memoirs and novels. The distinction between the event basis and its artistic reproduction goes back to Aristotle, but the conceptual distinction of terms was made only in the 20th century. In Russia, the word "plot" has long been synonymous with the word "theme" (in the theory of painting and sculpture, even now it is often used in this sense).

In relation to literature at the end of the last century, it began to mean a system of events, or, according to the definition of A. N. Veselovsky, the sum of motives (that is, what is usually called a plot in another terminological tradition). Scholars of the Russian "formal school" proposed to consider the plot as processing, giving form to the primary material - the plot (or, as was formulated in the later works of V. B. Shklovsky, the plot is a way of artistic comprehension of reality).

The most common way of transforming the plot is the destruction of the inviolability of the time series, the rearrangement of events, the parallel development of the action. A more complex technique is the use of non-linear relationships between episodes. This is a "rhyme", an associative roll call of situations, characters, sequences of episodes. The text can be based on a collision of different points of view, a comparison of mutually exclusive options for the development of the narrative (the novel by A. Murdoch "The Black Prince", the film by A. Kayat "Married Life", etc.). The central theme can develop simultaneously in several planes (social, family, religious, artistic) in the visual, color, and sound ranges.

Some researchers believe that the motivations, the system of internal connections of the work, the ways of narration do not belong to the area of ​​the plot, but to the composition in the strict sense of the word. The plot is considered as a chain of depicted movements, gestures of spiritual impulses, spoken or “thinkable” words. In unity with the plot, he draws up the relationships and contradictions of the characters between themselves and the circumstances, that is, the conflict of the work. In modernist art there is a tendency towards plotlessness (abstractionism in painting, plotless ballet, atonal music, etc.).

The plot has importance in literature and art. The system of plot connections reveals conflicts, the nature of the action, in which the great problems of the era are reflected.

METHODS OF AESTHETIC ANALYSIS (from the Greek methodos - the path of research, theory, teaching) - concretization of the basic principles of materialistic dialectics in relation to the study of the nature of artistic creativity, aesthetic and artistic culture, various forms of aesthetic exploration of reality.

The leading principle in the analysis of various spheres of aesthetic assimilation of reality is the principle of historicism, most fully developed in the field of the study of arts. It involves both the study of art in connection with its conditionality by reality itself, the comparison of artistic phenomena with non-artistic ones, the identification of social characteristics that determine the development of art, and the disclosure of system-structural formations within art itself, with respect to the independent logic of artistic creativity.

Along with the philosophical and aesthetic methodology, which has a certain categorical apparatus, modern aesthetics also uses a variety of methods, analytical approaches of private sciences, which are of auxiliary importance mainly in the study of formalized levels of artistic creativity. Appeal to private methods and tools of private sciences (semiotics, structural and functional analysis, sociological, psychological, informational approaches, mathematical modeling, etc.) corresponds to the nature of modern scientific knowledge, but these methods are not identical to the scientific methodology of the study of art, they are not “an analogue of the subject” (F. Engels) and cannot claim the role of a philosophical and aesthetic method that is adequate to the nature of the aesthetic exploration of reality.

CONCEPT ART one of the types of artistic avant-garde of the 70s. It is associated with the third stage in the development of avant-garde so-called. neo-avant-garde.

Supporters concept art they deny the need to create artistic images (for example, in painting they should be replaced by inscriptions of an indefinite content), and they see the functions of art in activating the process of purely intellectual co-creation with the help of operating with concepts.

The products of conceptual art are conceived as absolutely devoid of pictoriality; they do not reproduce c.-l. properties of real objects, being the results of mental interpretation. For the philosophical justification of conceptual art, an eclectic mixture of ideas borrowed from the philosophy of Kant, Wittgenstein, the sociology of knowledge, etc. is used. As a phenomenon of a crisis socio-cultural situation, the new trend is associated with petty-bourgeois anarchism and individualism in the sphere of the spiritual life of society.

CONSTRUCTIVISM (from lat. constructio - construction, construction) - a formalist trend in Soviet art of the 20s, which put forward a program for the restructuring of the entire artistic culture of society and art, focusing not on imagery, but on the functional, constructive expediency of forms.

Constructivism became widespread in Soviet architecture of the 1920s and 1930s, as well as in other forms of art (cinema, theater, literature). Almost simultaneously with Soviet constructivism, the constructivist movement called. neoplasticism arose in Holland, similar trends took place in the German Bauhaus. For many artists, constructivism was only a stage in their work.

Constructivism is characterized by the absolutization of the role of science and the aestheticization of technology, the belief that science and technology are the only means of solving social and cultural problems.

The constructivist concept has gone through a number of stages in its development. What the constructivists had in common was: the understanding of a work of art as a real construction created by the artist; the struggle for new forms of artistic work and the desire to master the aesthetic possibilities of construction. At the final stage of its existence, constructivism entered a period of canonization of its formal aesthetic methods. As a result, the aesthetic possibilities of technical structures, the discovery of which was the undoubted merit of the "pioneers of design", were absolutized. Constructivists did not take into account the fact that the dependence of form on construction is mediated by a combination of cultural and historical facts. As a result, their program “The Public Usefulness of Art” became a program for its destruction, the reduction of an aesthetic object to a material and physical basis, to pure form-creation. The cognitive, ideological and aesthetic side of art, its national specificity and imagery as a whole disappeared, which led to non-objectivity in art.

At the same time, attempts to identify the laws that govern the form of the material, the analysis of its combinatorial features (V. Tatlin, K. Malevich) contributed to the development of new approaches to the material and technological side of creativity.

COMPOSITION(lat. compositio arrangement, composition, addition) - a way of constructing a work of art, the principle of connection of the same type and heterogeneous components and parts, consistent with each other and with the whole. The composition is conditioned by the methods of formation and the peculiarities of perception inherent in a certain type and genre of art, the laws of constructing an artistic model (see) in canonized types of culture (for example, folklore, ancient Egyptian art, Eastern, Western European Middle Ages, etc.), as well as the individual originality of the artist, the unique content of a work of art in non-canonized types of culture (European art of New and Contemporary times, baroque, romanticism, realism, etc.).

The composition of the work finds its embodiment and it is determined by the artistic development of the theme, the moral and aesthetic assessment of the author. According to S. Eisenstein, it is the naked nerve of the author's intention, thinking and ideology. Indirectly (in music) or more directly (in fine arts) the composition correlates with the laws of the life process, with the objective and spiritual world reflected in a work of art. It carries out the transition artistic content and its internal relations into the relation of the form, and the orderliness of the form - into the orderliness of the content. To distinguish between the laws of construction of these areas of art, two terms are sometimes used: architectonics (the relationship of content components) and composition (principles of form construction). There is another type of differentiation: general form the structure and interconnection of large parts of a work are called architectonics (for example, stanza in poetic text), and the interconnection of more fractional components - compositions (for example, the arrangement of poetic lines and the speech material itself). It should be taken into account that in the theory of architecture and organization of the objective environment, another pair of related concepts is used: construction (the unity of the material components of the form, achieved by identifying their functions) and composition (artistic completion and emphasis on constructive and functional aspirations, taking into account the peculiarities of visual perception and artistic expressiveness, decorativeness and integrity of the form).

The concept of composition should be distinguished from the one that became widespread in the 60s and 70s. the concept of the structure of a work of art, as a stable, repetitive principle, a compositional norm of a certain type, kind, genre, style and direction in art. Unlike structure, composition is a unity, fusion and struggle of normative-typological and individually unique tendencies in the construction of a work of art. The degree of normativity and individual originality, the uniqueness of the composition is different in different types of art (cf. European classicism and "uninhibited" romanticism), in various genres of the same type of art (compositional normativity in tragedy is more pronounced than in drama, and in a sonnet immeasurably higher than in a lyrical message). Compositional means in certain types and genres of art are specific, but at the same time, their mutual influence is undoubted: the theater has mastered the pyramidal and diagonal composition of the plastic arts, and plot-thematic painting has mastered the stage construction of the stage. Different kinds art, directly and indirectly, consciously and unconsciously, absorbed the compositional principles musical constructions(For example, sonata form) and plastic relations (see ).

In the art of the XX century. there is a complication compositional constructions due to the increased inclusion of associative links, memories, dreams, through temporary changes and spatial shifts. The composition also becomes more complex in the process of convergence of traditional and "technical" arts. The extreme forms of modernism absolutize this trend and give it an irrational-absurd meaning (“new novel”, theaters of the absurd, surrealism, etc.).

In general, composition in art expresses an artistic idea and organizes aesthetic perception in such a way that it moves from one component of the work to another, from part to whole.

INTUITION artistic (from Latin intuitio - contemplation) - the most important element of creative thinking, affecting such aspects of artistic

activity and artistic consciousness as creativity, perception, truth. In the very general view When intuition is recognized as equally important in both art and science, this is nothing more than a special perception of the truth, which dispenses with reliance on rational forms of knowledge associated with one or another type of logical proof.

The most important artistic intuition in creativity. This is especially evident at the initial stage. creative process, in so-called. "problem situation". The fact that the result of creativity must be original forces the creative person to early stage creativity to seek a solution that has not been encountered before. It involves a radical revision of established concepts, thought patterns, ideas about man, space and time. Intuitive knowledge, like knowledge of the new, usually exists in the form of an unexpected guess, a symbolic scheme, in which the contours of the future work are only guessed. However, according to many artists, this kind of insight is the basis of the entire creative process.

aesthetic and especially artistic perception also include elements of artistic intuition. Not only the creation of an artistic image by the creator of art, but also the perception of artistic imagery by the reader, viewer, listener is associated with a certain mood for perception. artistic value which is hidden from superficial observation. Artistic intuition thus becomes a means by which the perceiver penetrates the realm of artistic significance. In addition, artistic intuition provides an act of co-creation of a perceiving work of art and its creator.

Until now, much in the operation of the intuitive mechanism seems to be mysterious and causes great difficulties in its study. Sometimes, on this basis, artistic intuition is attributed to the field of mysticism and identified with one of the forms of irrationalism in aesthetics. However, the experience of many brilliant artists testifies to the fact that thanks to artistic intuition, it is possible to create works that deeply and truthfully reflect reality. If the artist does not deviate from the principles of realism in his work, then the artistic intuition, which he actively uses, can be considered as a special effective means of cognition that does not contradict the criteria of truth and objectivity.

INTRIGUE(from Latin intricare - to confuse) - an artistic technique used to build a plot and plot in various genres of fiction, cinema, theatrical art (tangled and unexpected turns of action, interweaving and clash of interests of the depicted characters). The idea of ​​the importance of introducing intrigue into the deployment of the action depicted in a dramatic work was first expressed by Aristotle: “The most important thing that a tragedy captivates the soul is the essence of a part of the plot - ups and downs and recognition.

The intrigue gives the unfolding action a tense and exciting character. With its help, the transfer of complex and conflicting (see) relations between people in their private and social life. The technique of intrigue is usually widely used in the works of the adventure genre. However, this is used by classical writers in other genres as well, which is clear from creative heritage great realist writers - Pushkin, Lermontov, Dostoevsky, L. Tolstoy and others. Often intrigue is just a means of external entertainment. This is characteristic of bourgeois, purely commercial art, designed for the bad philistine taste. The opposite tendency of bourgeois art is the desire for plotlessness, when intrigue disappears as an artistic device.

ANTITHESIS(Greek antithesis - opposition) - a stylistic figure of contrast, a way of organizing both artistic and non-artistic artistic speech, which is based on the use of words with the opposite meaning (antonyms).
Antithesis as a figure of opposition in the system of rhetorical figures has been known since antiquity. So, for Aristotle, the antithesis is a certain "way of presenting" thoughts, a means of creating a special - "opposite" - period.

In artistic speech, the antithesis has special properties: it becomes an element of the artistic system, serves as a means of creating an artistic image. Therefore, the antithesis is called the opposite of not only words, but also images of a work of art.

As a figure of opposition, antithesis can be expressed both by absolute and contextual antonyms.

And the bright house is anxious
I was alone with the darkness
The impossible was possible
But what was possible was a dream.
(A. Blok)

ALLEGORY(Greek allegoria - allegory) is one of the allegorical artistic devices, the meaning of which lies in the fact that an abstract thought or a phenomenon of reality appears in a work of art in the form of a specific image.

By nature, allegory is two-part.

On the one hand, it is a concept or phenomenon (cunning, wisdom, good, nature, summer, etc.), on the other - specific subject, a picture of life illustrating abstract thought making it visual. However, in itself, this picture of life plays only an auxiliary role - it illustrates, decorates the idea, and therefore is devoid of "any definite individuality" (Hegel), as a result of which the idea can be expressed by a number of "picture illustrations" (A. F. Losev).

However, the connection between the two plans of the allegory is not arbitrary, it is based on the fact that the common exists, manifests itself only in a specific single object, the properties, the functions of which serve as means of creating an allegory. One can cite as an example the allegory "Fertility" by V. Mukhina or the "Dove" by Picasso - an allegory of the world.

Sometimes an idea exists not only as an allegorical plane of allegory, but is expressed directly (for example, in the form of a fable "morality"). In this form, allegory is especially characteristic of works of art that pursue moral and didactic goals.

TRACKS AND STYLISTIC FIGURES.

TRAILS(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.

STYLISTIC FIGURES- figures of speech used to enhance the expressiveness (expressiveness) of the statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek hyperbole - exaggeration) - a kind of trail based on exaggeration ("rivers of blood", "sea of ​​laughter"). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole is already found in the ancient epic in different peoples, in particular in Russian epics.
In the Russian litera, N.V. Gogol, Saltykov-Shchedrin, and especially

V. Mayakovsky ("I", "Napoleon", "150,000,000"). In poetic speech, hyperbole is often intertwinedwith others artistic means(metaphors, personifications, comparisons, etc.). The opposite - litotes.

LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. The litote is in folk tales: "boy with a finger", "hut on chicken legs", "man with a marigold".
The second name for litotes is meiosis. The opposite of litote hyperbola.

N. Gogol often addressed the litote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol

METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another on the basis of common features(“work is in full swing”, “forest of hands”, “ bad character"," stone heart "...). In metaphor, unlike

comparisons, the words "as", "as if", "as if" are omitted, but implied.

Nineteenth century, iron,

Truly a cruel age!

You in the darkness of the night, starless

Careless abandoned man!

A. Blok

Metaphors are formed according to the principle of personification ("water runs"), reification (" nerves of steel"), distractions ("field of activity"), etc. Various parts of speech can act as a metaphor: a verb, a noun, an adjective. A metaphor gives speech exceptional expressiveness:

In every carnation fragrant lilac,
Singing, a bee crawls in ...
You ascended under the blue vault
Above the wandering crowd of clouds...

A. Fet

The metaphor is an undivided comparison, in which, however, both members are easily seen:

With a sheaf of their oatmeal hair
You touched me forever...
The eyes of a dog rolled
Golden stars in the snow...

S. Yesenin

In addition to verbal metaphor, metaphorical images or extended metaphors are widely used in art:

Ah, my bush withered my head,
Sucked me song captivity
I am condemned to hard labor of feelings
Turn the millstones of poems.

S. Yesenin

Sometimes the entire work is a broad, detailed metaphorical image.

METONYMY(Greek metonymia - renaming) - tropes; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest noise" - trees are meant; etc.).

The theater is already full, the boxes are shining;

Parterre and chairs, everything is in full swing ...

A.S. Pushkin

In metonymy, a phenomenon or object is denoted with the help of other words and concepts. At the same time, signs or connections that bring these phenomena together remain; Thus, when V. Mayakovsky speaks of "a steel speaker dozing in a holster," the reader easily guesses in this image the metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of ​​a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:

You led swords to a plentiful feast;

Everything fell with a noise before you;
Europe perished; grave dream
Worn over her head...

A. Pushkin

When is the shore of hell
Forever will take me
When forever fall asleep
Feather, my consolation...

A. Pushkin

PERIPHRASE (Greek periphrasis - roundabout, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its features, as a rule, the most characteristic, enhancing the figurativeness of speech. ("king of birds" instead of "eagle", "king of beasts" - instead of "lion")

PERSONALIZATION(prosopopoeia, personification) - a kind of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).

my bells,

Steppe flowers!

What are you looking at me

Dark blue?

And what are you talking about

On a happy May day,

Among the uncut grass

Shaking your head?

A.K. Tolstoy

SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one object to another on the basis of a quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche are:
1) Part of the phenomenon is called in the sense of the whole:

And at the door
jackets,
overcoats,
sheepskin coats...

V. Mayakovsky

2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:

Oh, how are you! Fight with a helmet?
Well, isn't it a vile parod!

3) Singular in the meaning of the general and even universal:

There a man groans from slavery and chains...

M. Lermontov

And the proud grandson of the Slavs, and the Finn ...

A. Pushkin

4) Replacing a number with a set:

Millions of you. Us - darkness, and darkness, and darkness.

A. Blok

5) Replacing a generic concept with a specific one:

We beat a penny. Very good!

V. Mayakovsky

6) Replacing a specific concept with a generic one:

"Well, sit down, luminary!"

V. Mayakovsky

COMPARISON - a word or expression containing the likening of one object to another, one situation to another. (“Strong as a lion”, “said how he cut off” ...). A storm covers the sky with mist,

Whirlwinds of snow twisting;

The way the beast she howls

He will cry like a child...

A.S. Pushkin

"Like a steppe scorched by fires, Gregory's life became black" (M. Sholokhov). The idea of ​​the blackness and gloom of the steppe evokes in the reader that dreary and painful feeling that corresponds to the state of Gregory. There is a transfer of one of the meanings of the concept - "scorched steppe" to another - internal state character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:

The view of the steppe is sad, where there are no obstacles,
Exciting only a silver feather grass,
Wandering flying aquilon
And before him freely drives the dust;
And where around, no matter how vigilantly you look,
Meets the gaze of two or three birches,
Which under the bluish haze
Blacken in the evening in the empty distance.
So life is boring when there is no struggle,
Penetrating into the past, distinguish
There are few things we can do in it, in the color of years
She will not cheer the soul.
I need to act, I do every day
I would like to make immortal like a shadow
Great hero, and understand
I can't what it means to rest.

M. Lermontov

Here, with the help of expanded S. Lermontov, he conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by unions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"Do I have curls - combed linen" N. Nekrasov. Here the union is omitted. But sometimes it's not meant to be:
"Tomorrow is the execution, the usual feast for the people" A. Pushkin.
Some forms of comparison are built descriptively and therefore are not connected by conjunctions:

And she is
At the door or at the window
The early star is brighter,
Fresh morning roses.

A. Pushkin

She is sweet - I will say between us -
Storm of the court knights,
And you can with southern stars
Compare, especially in verse,
Her Circassian eyes.

A. Pushkin

A special type of comparison is the so-called negative:

The red sun does not shine in the sky,
Blue clouds do not admire them:
Then at the meal he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.

M. Lermontov

In this parallel depiction of two phenomena, the form of negation is at the same time a way of comparing and a way of transferring meanings.
A special case is the forms of the instrumental case used in comparison:

It's time, beauty, wake up!
Open your closed eyes,
Towards North Aurora
Be the star of the north.

A. Pushkin

I do not soar - I sit like an eagle.

A. Pushkin

Often there are comparisons in the accusative case with the preposition "under":
"Sergey Platonovich ... sat with Atepin in the dining room, pasted over with expensive, oak-like wallpaper ..."

M. Sholokhov.

IMAGE -a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Frost - warlord patrol

Bypasses his possessions.

ON THE. Nekrasov

ALLEGORY(Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images is to be found in cultural traditions tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images date back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes.

Unlike a metaphor, in an allegory, a figurative meaning is expressed by a phrase, a whole thought, or even small work(fable, parable).

GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Enraged at the meeting, I burst into an avalanche,

Spouting wild curses dear.

And I see: half of the people are sitting.

O devilry! Where is the other half?

V. Mayakovsky

IRONY (Greek eironeia - pretense) - an expression of mockery or slyness through allegory. A word or statement acquires in the context of speech a meaning that is opposite to the literal meaning or denies it, calling it into question.

Servant of powerful masters,

With what noble courage

Thunder with speech you are free

All those who had their mouths shut.

F.I. Tyutchev

SARCASM (Greek sarkazo, lit. - tear meat) - contemptuous, caustic mockery; highest degree irony.

ASSONANCE (French assonance - consonance or respond) - repetition in a line, stanza or phrase of homogeneous vowel sounds.

Oh spring without end and without edge -

Endless and endless dream!

A. Blok

ALLITERATION (SOUND)(lat. ad - to, with and littera - letter) - the repetition of homogeneous consonants, giving the verse a special intonational expressiveness.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

Storm is near. Beats on the shore

A black boat alien to charms ...

K. Balmont

ALLUSION (from lat. allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, a literary work ("the glory of Herostratus").

ANAPHORA(Greek anaphora - pronouncement) - repetition initial words, lines, stanzas or phrases.

You are poor

You are abundant

You are beaten

You are almighty

Mother Rus'!…

ON THE. Nekrasov

ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blush, like a poppy color,

I am like death, and thin and pale.

A.S. Pushkin

You are poor
You are abundant
You are powerful
You are powerless...

N. Nekrasov

So few roads traveled, so many mistakes made...

S. Yesenin.

Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the whole work is built on the principle of antithesis

APOCOPE(Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.

... Suddenly, out of the forest

The bear opened its mouth on them ...

A.N. Krylov

Lay, laugh, sing, whistle and clap,

People's talk and horse top!

A.S. Pushkin

ASYNDETON (asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.

Night, street, lamp, pharmacy,

A meaningless and dim light.

Live at least a quarter of a century -

Everything will be like this. There is no exit.

A. Blok

POLYUNION(polysyndeton) - excessive repetition of unions, creating additional intonational coloring. The opposite figureunionlessness.

Slowing down speech with forced pauses, polyunion emphasizes individual words, enhances its expressiveness:

And the waves are crowding, and rushing back,
And they come again, and hit the shore ...

M. Lermontov

And boring and sad, and there is no one to give a hand to ...

M.Yu. Lermontov

GRADATION- from lat. gradatio - gradualness) - a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. Gradation enhances the emotional sound of the verse:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.

S. Yesenin

INVERSION(lat. inversio - rearrangement) - a stylistic figure, consisting in a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.

Traditions of antiquity deep

A.S. Pushkin

Doorman past he's an arrow

Flew up the marble steps

A. Pushkin

OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting, opposite in meaning words (a living corpse, a giant dwarf, the heat of cold numbers).

PARALLELISM(from the Greek. parallelos - walking side by side) - an identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.

Waves crash in the blue sea.

The stars are shining in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is as high as mountains.

V. Bryusov

Parallelism is especially typical for works of oral folk art (epics, songs, ditties, proverbs) and close to them in their artistic features. literary works(“The Song about the Merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Rus'” by N. A. Nekrasov, “Vasily Terkin” by A. T, Tvardovsky).

Parallelism can have a broader thematic character in content, for example, in the poem by M. Yu. Lermontov "The clouds of heaven are eternal wanderers."

Parallelism can be both verbal and figurative, as well as rhythmic, compositional.

PARCELLATION- an expressive syntactic technique of intonational division of a sentence into independent segments, graphically identified as independent sentences. ("And again. Gulliver. Standing. Stooping" P. G. Antokolsky. "How courteous! Good! Mila! Simple!" Griboedov. "Mitrofanov grinned, stirred the coffee. Squinted."

N. Ilyina. “He had a fight with a girl. And that's why." G. Uspensky.)

TRANSFER (French enjambement - stepping over) - a mismatch between the syntactic articulation of speech and articulation into verses. When transferring, the syntactic pause within a verse or half-line is stronger than at its end.

Peter comes out. His eyes

Shine. His face is terrible.

The movements are fast. He is beautiful,

He's all like God's thunderstorm.

A. S. Pushkin

RHYME(Greek "rhythmos" - harmony, proportionality) - variety epiphora ; the consonance of the ends of poetic lines, creating a sense of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.

ELLIPSIS (Greek elleipsis - loss, omission) - a figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech, a tense change of action is transmitted. Ellipsis is one of the default types. In artistic speech, it conveys the excitation of the speaker or the intensity of the action:

We sat down - in ashes, cities - in dust,
In swords - sickles and plows.

TROPE

Trope is a word or expression used figuratively to create artistic image and achieve greater expressiveness. Pathways include techniques such as epithet, comparison, personification, metaphor, metonymy, sometimes referred to as hyperbolas and litotes. No work of art is complete without tropes. The artistic word is polysemantic; the writer creates images, playing with the meanings and combinations of words, using the environment of the word in the text and its sound - all this is artistic possibilities word, which is the only tool of the writer or poet.
Note! When creating a trail, the word is always used in a figurative sense.

Consider different types trails:

EPITHET(Greek Epitheton, attached) - this is one of the tropes, which is an artistic, figurative definition. An epithet can be:
adjectives: gentle face (S. Yesenin); these poor villages, this meager nature ... (F. Tyutchev); transparent maiden (A. Blok);
participles: edge abandoned(S. Yesenin); frantic dragon (A. Blok); takeoff radiant(M. Tsvetaeva);
nouns, sometimes together with their surrounding context: Here he is, leader without squad(M. Tsvetaeva); My youth! My dove is swarthy!(M. Tsvetaeva).

Each epithet reflects the uniqueness of the author's perception of the world, therefore it necessarily expresses some kind of assessment and has a subjective meaning: a wooden shelf is not an epithet, so there is no artistic definition, wooden face - an epithet expressing the impression of the interlocutor speaking about the facial expression, that is, creating an image.
There are stable (permanent) folklore epithets: remote burly kind Well done, It's clear the sun, as well as tautological, that is, epithets-repetitions that have the same root with the word being defined: Oh you, grief is bitter, boredom is boring, mortal! (A. Blok).

In a work of art An epithet can perform various functions:

• characterize the subject: shining eyes, eyes diamonds;
• create atmosphere, mood: gloomy morning;
• convey the attitude of the author (narrator, lyrical hero) to the subject being characterized: "Where will our prankster"(A. Pushkin);
• combine all previous functions in equal proportions (in most cases, the use of the epithet).

Note! All color terms V artistic text are epithets.

COMPARISON- this is an artistic technique (tropes), in which an image is created by comparing one object with another. Comparison differs from other artistic comparisons, for example, similes, in that it always has a strict formal feature: a comparative construction or a turnover with comparative conjunctions. as, as if, as if, exactly, as if and the like. Type expressions he looked like... cannot be considered a comparison as a trope.

Comparison examples:

Comparison also plays certain roles in the text: sometimes authors use the so-called extended comparison, revealing various signs phenomena or conveying their attitude to several phenomena. Often the work is entirely based on comparison, as, for example, V. Bryusov's poem "Sonnet to Form":

PERSONALIZATION- artistic technique (tropes), in which inanimate object, a phenomenon or concept is given human properties (do not confuse, it is human!). Personification can be used narrowly, in one line, in a small fragment, but it can be a technique on which the whole work is built (“You are my abandoned land” by S. Yesenin, “Mom and the evening killed by the Germans”, “Violin and a little nervously” by V. Mayakovsky, etc.). Personification is considered one of the types of metaphor (see below).

Impersonation task- correlate the depicted object with a person, make it closer to the reader, figuratively comprehend the inner essence of the object, hidden from everyday life. Personification is one of the oldest figurative means of art.

HYPERBOLA(Greek Hyperbole, exaggeration) is a technique in which an image is created through artistic exaggeration. Hyperbole is not always included in the set of tropes, but by the nature of the use of the word in a figurative sense to create an image, hyperbole is very close to tropes. A technique opposite to hyperbole in content is LITOTES(Greek Litotes, simplicity) is an artistic understatement.

Hyperbole allows the author to show the reader in an exaggerated form the most characteristic features of the depicted object. Often, hyperbole and litotes are used by the author in an ironic vein, revealing not just characteristic, but negative, from the author's point of view, sides of the subject.

METAPHOR(Greek Metaphora, transfer) - a type of so-called complex trope, speech turnover, in which the properties of one phenomenon (object, concept) are transferred to another. Metaphor contains a hidden comparison, a figurative likening of phenomena using the figurative meaning of words, what the object is compared with is only implied by the author. No wonder Aristotle said that "to compose good metaphors means to notice similarities."

Metaphor examples:

METONYMY(Greek Metonomadzo, rename) - type of trail: a figurative designation of an object according to one of its signs.

Examples of metonymy:

When studying the topic "Means of artistic expression" and completing tasks, pay special attention to the definitions of the above concepts. You must not only understand their meaning, but also know the terminology by heart. This will protect you from practical mistakes: knowing for sure that the comparison technique has strict formal features (see theory on topic 1), you will not confuse this technique with a number of other artistic techniques that are also based on a comparison of several objects, but are not a comparison.

Please note that you must start your answer either with the suggested words (by rewriting them), or with your own version of the beginning of the full answer. This applies to all such assignments.

Recommended literature:

• Literary criticism: Reference materials. - M., 1988.
• Polyakov M. Rhetoric and Literature. Theoretical aspects. - In the book: Questions of Poetics and Artistic Semantics. - M.: Sov. writer, 1978.
• Dictionary of literary terms. - M., 1974.

Everyone is well aware that art is the self-expression of an individual, and literature, therefore, is the self-expression of the writer's personality. "Baggage" writing person comprises vocabulary, speech techniques skills to use these techniques. The richer the artist's palette, the more opportunities he has when creating a canvas. The same with the writer: the more expressive his speech, the brighter images The deeper and more interesting the statements, the stronger the emotional impact on the reader will be able to have his works.

Among the means of speech expressiveness, often called "artistic techniques" (or otherwise figures, tropes) in literary creativity In the first place in terms of frequency of use is a metaphor.

Metaphor is used when we use a word or expression in a figurative sense. This transfer is carried out by the similarity of individual features of a phenomenon or object. Most often, it is a metaphor that creates an artistic image.

There are quite a few varieties of metaphor, among them:

metonymy - a trope that mixes meanings by contiguity, sometimes involving the imposition of one meaning on another

(examples: "Let's take another plate!"; "Van Gogh hangs on the third floor");

(examples: “nice guy”; “pathetic little man”, “bitter bread”);

comparison - a figure of speech that characterizes an object by comparing one with another

(examples: “like the flesh of a child is fresh, like the call of a flute is tender”);

personification - "revival" of objects or phenomena of inanimate nature

(examples: “ominous haze”; “autumn cried”; “blizzard howled”);

hyperbole and litote - a figure in the meaning of exaggeration or understatement of the described subject

(examples: “he always argues”; “a sea of ​​\u200b\u200btears”; “there was no poppy dew in his mouth”);

sarcasm - an evil, caustic mockery, sometimes outright verbal mockery (for example, in rap battles that have become widespread recently);

irony - a mocking statement when the speaker means something completely different (for example, the works of I. Ilf and E. Petrov);

humor - a trope that expresses a cheerful and most often good-natured mood (for example, the fables of I.A. Krylov are written in this vein);

grotesque - a figure of speech that deliberately violates the proportions and true sizes of objects and phenomena (often used in fairy tales, another example is Gulliver's Travels by J. Swift, the work of N.V. Gogol);

pun - deliberate ambiguity, a play on words based on their ambiguity

(examples can be found in anecdotes, as well as in the work of V. Mayakovsky, O. Khayyam, K. Prutkov and others);

oxymoron - a combination in one expression of incongruous, two contradictory concepts

(examples: "terribly beautiful", "original copy", "flock of comrades").

However, verbal expression is not limited to stylistic figures. In particular, we can also mention sound writing, which is an artistic technique that implies a certain order of construction of sounds, syllables, words to create some kind of image or mood, imitation of the sounds of the real world. The reader will often meet sound writing in poetic works, but this technique is also found in prose.

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