Manilov's work. Characteristics of Manilov in the poem “Dead Souls”: description of character and appearance

Personification is the endowment of inanimate objects with the signs and properties of a person [... Star speaks to star (L.); The earth sleeps in a blue radiance... (L.)]. Personification is one of the most common tropes. The tradition of its use goes back to oral folk poetry (Don’t make noise, mother, green oak tree, don’t bother me, good fellow, think about it...).

Personifications are used to describe natural phenomena, things surrounding a person that are endowed with the ability to feel, think, act

A special type of personification is personification (from Latin persona - face, facere - to do) - complete likening of an inanimate object to a person. In this case, objects are not endowed with private characteristics of a person (as in personification), but acquire a real human appearance:

Allegory

Allegory (Gr. allēgoria - allegory, from allos - other, agoreúo - I say) is the expression of abstract concepts in specific artistic images. For example, in fables and fairy tales, stupidity and stubbornness are embodied in the image of a Donkey, cowardice in the image of a Hare, and cunning in the image of a Fox. Allegorical expressions can receive an allegorical meaning: autumn has come can mean “old age has come.”

Individual author's allegories often take on the character of an expanded metaphor, receiving a special compositional solution. For example, A.S. Pushkin’s allegory underlies the figurative system of poems “Arion”, “Anchar”, “Prophet”, “Nightingale and Rose”; at M.Yu. Lermontov - poems “Dagger”, “Sail”, “Cliff”, etc.

Metonymy

Metonymy (from the gr. metonomadzo - to rename) is the transfer of a name from one object to another based on their contiguity. For example: Porcelain and bronze on the table (P

The metonymy of definitions is of interest. For example, in Pushkin the combination of over-starched impudence characterizes one of the secular guests. Of course, in terms of meaning, the definition overstarched can only be attributed to nouns that name some details of a fashionable dandy’s toilet, but in figurative speech such a transfer of the name is possible. IN fiction there are examples of such metonymy (Then a short old man with astonished glasses came. - Boone

Antonomasia

A special type of metonymy is antonomasia (gr. antonomasia - renaming) - a trope consisting of the use own name in the meaning of a common noun. Hercules is sometimes figuratively called strong man. The use of the words Don Quixote, Don Juan, Lovelace, etc., in a figurative sense, has become firmly established in the language.

The names of famous public and political figures, scientists, and writers also acquire common meaning [We all look to Napoleons... (P.)].

An inexhaustible source of antonomasia is ancient mythology and literature.

However, antonomasia, based on the rethinking of names, still retains its expressive power historical figures, writers and literary heroes. Publicists use this trope most often in headlines.

Synecdoche

A type of metonymy is synecdoche in the use of the name of a part instead of the whole, a particular instead of a general, and vice versa. (A yellow leaf flies inaudibly from the birch trees.) (Free thought and scientific audacity broke their wings about the ignorance and inertia of the political system

An epithet (from the gr. epitheton - application) is a figurative definition of an object or action (The moon makes its way through the wavy fogs, it pours a sad light onto the sad meadows. - P.).

There are exact red viburnums

(Golden autumn, tear-stained windows),

Epithets are most often colorful definitions expressed by adjectives

The creation of figurative epithets is usually associated with the use of words in a figurative meaning (cf.: lemon juice - lemon moonlight; a gray-haired old man - gray-haired fog; he lazily waved away mosquitoes - the river lazily rolls waves).

Epithets expressed in words that have figurative meanings are called metaphorical (A golden cloud spent the night on the chest of a giant cliff, in the morning it rushed off early, playing merrily across the azure ... - L.).

The epithet may be based on a metonymic transfer of the name; such epithets are called metonymic (... The white smell of daffodils, the happy, white spring smell... - L. T.). Metaphorical and metonymic epithets refer to tropes [cardboard love (G.); moth beauty, tearful morning (Ch.); blue mood (Cupr.); wet-lipped wind (Shol.); transparent silence (Paust.)].

Personification is one of the types of metaphor, but still it is an independent trope that should not be called a metaphor.

The progenitor of personification is animism. In ancient times, people endowed the surrounding objects and phenomena with human characteristics. For example, the earth was called mother, and rain was compared to tears. Over time, the desire to humanize disappeared inanimate objects, but in literature and in conversation we still encounter these figures of speech. This figurative device language is called personification.

PERSONIFICATION is a literary device in which inanimate objects are endowed with properties that are inherent in living beings. Sometimes this turn of phrase is called personification.

Personification is used by many prose writers and poets. For example, in Yesenin you can find the following lines: “Winter sings, echoes, the shaggy forest lulls.” It is clear that winter as a season cannot make sounds, and the forest makes noise only because of the wind.

Impersonation allows you to create bright image for the reader, to convey the mood of the hero, to emphasize some action.

This turn of phrase, in contrast to a more complex and refined metaphor more suitable for poetry, we use even in colloquial speech. The familiar phrases “the milk has run away” and “the heart is acting up” are also personifications. It makes our everyday speech more expressive. We are so accustomed to many personifications that they do not surprise us. For example, “it is raining” (although the rain clearly has no legs) or “the clouds are frowning” (it is clear that the clouds cannot experience any emotions).

In general, we can say that personification is a language trope in which the inanimate is endowed with the signs and qualities of the living. Personification is often confused with metaphor. But a metaphor is just that figurative meaning words, figurative comparison. For example, “And you laugh with a wondrous laugh, SNAKE IN A golden BOWL.” There is no animation of nature here. Therefore, it is not difficult to distinguish personification from metaphors.

Examples of avatars:

And woe, woe, woe!
And the bast of grief was girdled,
FEET ARE TURNED UP WITH WASTERS.
(Folk song)

THE gray-haired sorceress is coming,
Shaggy WAVES HIS SLEEVE;
And snow, and scum, and frost is FLOWING,
And turns water into ice.
From her cold BREATH
Nature's gaze is numb...
(G. Derzhavin)

After all, autumn is already in the yard
LOOKS through the spindle.
Winter follows her
WALKS IN A WARM FUR COAT,
The path is covered with snow,
It crunches under the sleigh...
(M. Koltsov)

Description of the flood in " Bronze Horseman» Pushkin:

“...The Neva all night/rushed towards the sea against the storm,/not being able to overcome their violent foolishness.../and it became impossible for it to argue.../The weather became even more ferocious,/the Neva swelled and roared.../and suddenly , like a frantic beast, / rushed towards the city... / Siege! Attack! evil waves/like thieves climb through the windows,” etc.

“The golden cloud spent the night...” (M. Lermontov)

"Through the azure twilight of the night
The snowy Alps LOOK
Their EYES are dead
SMASHED with icy horror"
(F. Tyutchev)
"The warm wind blows quietly,
The steppe BREATHES with fresh life"
(A. Fet)

"White birch
Below my window
COVERED IN SNOW,
Exactly silver.
On fluffy branches
Snow border
The brushes have blossomed
White fringe.
And the birch tree stands
In sleepy silence,
And the snowflakes are burning
In golden fire.
And the dawn is LAZY
WALKING AROUND
SPRAYS branches
New silver."
(S. Yesenin “Birch”):

Among the personifications of true poetry there are no simple, philistine, primitive personifications that we are accustomed to using in everyday life.

Each personification is an image. This is the meaning of using personification. The poet does not use it as a “thing in itself”; in his poetry, personification rises above the “worldly level” and moves to the level of imagery. With the help of personifications, Yesenin creates a special picture. Nature in the poem is alive - but not just alive, but endowed with character and emotions. Nature is the main character of his poem.

How sad look against this background the attempts of many poets to create a beautiful poem about nature, where “the wind blows”, “the moon shines”, “the stars shine”, etc. forever. All these personifications are hackneyed and worn out, they do not generate any imagery and, therefore, are boring. But this does not mean that they cannot be used. And the erased personification can be raised to the level of an image.

For example, in the poem “It’s Snowing” by Boris Pasternak:

It's snowing, it's snowing.
To the white stars in a snowstorm
Geranium flowers stretch
For the window frame.
It's snowing and everything is IN CONFUSION,
Everything starts to fly -
Black staircase steps,
Crossroads turn.
It's snowing, it's snowing,
It's like it's not flakes that are falling,
And in a patched coat
The firmament is falling to the ground.
As if looking like an eccentric,
From the top landing,
STEALING, PLAYING HIDE AND HIDE,
The sky is coming down from the attic.
Because life DOES NOT WAIT.
Before you look back, it’s Christmas time.
Only a short period,
Look, there's a new year there.
The snow is falling, thick and thick.
In step with him, with those FOOT,
At the same pace, WITH LAZINESS
Or at the same speed
MAYBE TIME PASSES?
Maybe year after year
Follow as the snow falls
Or like the words in a poem?
It's snowing, it's snowing,
It's snowing and everything is in turmoil:
White pedestrian
SURPRISED plants,
Crossroads turn."

Notice how many personifications there are here. “The sky is coming down from the attic,” steps and an intersection that take flight! The “surprised plants” alone are worth it! And the refrain (constant repetition) “it’s snowing” takes simple personification to the level of semantic repetition - and this is already a symbol. The personification “It’s snowing” is a symbol of the passing of time.

Therefore, in your poems, you should try to USE PERSONIFICATION NOT JUST BY ITSELF, BUT SO THAT IT PLAYS A CERTAIN ROLE.

Personifications are also used in artistic prose. For example, there is an excellent example of personification in Andrei Bitov’s novel “ Pushkin House" The prologue describes the wind circling over St. Petersburg, and the entire city is shown from the point of view of this wind. Wind - main character prologue. No less remarkable is the image of the title character of Nikolai Gogol’s story “The Nose”. The nose is not only personified and personified (that is, endowed with human personality traits), but also becomes a symbol of the duality of the main character.

A few more examples of personification in prose speech that come to mind:

The first rays of the morning sun STEALED across the meadow.
Snow BLACKED the ground like a mother's baby.
The moon WINKED through the heights of the clouds.
At exactly 6:30 am my alarm clock came alive.
The ocean DANCED in the moonlight.
I heard the island CALLING me.
Thunder grumbled like an old man.

There are enough examples. I'm sure you're ready for the next round of the "Trails" competition series.

Warmly, your Alcora

Reviews

Allah, these are the two points of the article:

1. "PERSONIFICATION is a literary device in which inanimate objects are endowed with properties that are inherent in living beings. Sometimes this turn of phrase is called personification."
2...In general, we can say that personification is a trope of language in which the inanimate is endowed with the signs and qualities of the living...-

Made me misunderstand the essence of personification. Here we are talking about endowing inanimate objects with the properties of living things, i.e. It turns out both animals and plants, and not just humans.
I think I'm not the only one. It is necessary to eliminate the duality of understanding.
With gratitude for the article, Vladimir.

In Part 2 of the article on Personifications, I already answered this question (I’ll quote myself):

“Can we consider “purrs” to be a personification? Or “wanders across the rooftops”? After all, we liken the darkness not to a person, but to an animal? Maybe it would be more correct to consider this general view- a metaphor? - I met different opinions about this question. Who is right? Don't know. I wouldn’t make a problem out of this - no matter what the trope is called, the main thing is to feel and use each of them adequately, to be able to use them to be accurate and convincing in conveying your thoughts and feelings.”

So, once again: Philologists have many (contradictory) opinions, I am not a philologist, I am a practitioner. If I participated in a competition, I would choose for the round those poems of mine that have TYPICAL personifications (or I would write new poems for the competition) and highlight the given paths - as tools for my victory in the competition. The same goes for judges - they need to first of all consider the work using the example of typical (not subject to doubt or discrepancy) given tropes, and everything else is an addition to the side dish.... This is an educational competition where you need to show both poetry and mastery of theory , and not just offer for a competition what the author has on his farm and what was once successful somewhere.

If we evaluate poetry at all, then it doesn’t matter what this trope is called, it is important that it works on the topic, creates an image that is understandable and accurate.

Since ancient times, people have endowed inanimate objects, phenomena and representatives of the animal world with human characteristics. The roots of such actions go back to the beliefs that existed at that time. For example, according to Old Slavonic traditions, trees, buildings, household items, weapons, etc. had a soul. Therefore, it was quite natural to address them as if they were alive, and the existence of similar phrases: mother earth, master Velikiy Novgorod, says the wolf in a human voice, etc. Such speech patterns have survived to this day. In addition, such techniques are constantly used in modern fiction and in everyday conversations.

This is personification. Currently, it can be attributed to a literary device that allows you to endow inanimate objects with the properties that are characteristic of living beings. The second name of the technique is personification (translated from Greek language literally means "to make a face"). Here are some examples of how different subjects and they “make a face” to phenomena: star speaks to star; somewhere an oriole is crying; Sun is up; stern slumbers northern city. With the help of personification, you can create a vivid image of the phenomenon being described, convey emotions and feelings, and focus attention on some action.

Many personifications have become so ingrained in our speech that we use them every day without realizing that we are “giving life” to an inanimate object. For example, the Heart sank to the heels. Of course, such an organ of the body as the heart cannot move, much less to another organ. Or Flowers rejoice sun rays– plants cannot experience the emotions inherent in humans.

Most personifications can be found in poems, fables and fairy tales, where different animals and plants are attributed human qualities: the pike spoke, gold fish she was saddened, the forest woke up, the frost-voivode patrolled his domain, the scarlet light of dawn was woven on the lake. Personification refers to one of the types of tropes, that is, special expressions used in literary creativity in order to enhance the expressiveness and imagery of the narrative.

The creative alliance of personification and metaphor

Linguists believe personification special kind metaphors. However, there are clear differences between them, which include the following points:

personification transfers the qualities of living things to inanimate objects, and metaphor is based on the similarity of some properties of two similar objects;
personification is unambiguous in its structure, it accurately describes a certain quality, while metaphor has a more complex and polysemantic structure, and therefore can be understood in different ways;
personification can be part of a metaphor.

In any text and speech, the presence of such a lexical device as personification will help create a memorable image and demonstrate to the reader or listener the entire rich palette of the Russian language.

Let's look for an example of personification in poetry. We read from Sergei Yesenin:

Small forest. The steppe and the distance.

Moonlight to all ends.

Suddenly they started crying again

Spill bells.

The bells did not ring, but began to sob, as women sob when they are in grief.

Personification helps a writer or poet create an artistic image, bright and unique, expands the possibilities of the word in conveying a picture of the world, sensations and feelings, in expressing one’s attitude towards what is depicted.

2.6 Hyperbole (trope)- a figurative expression consisting of exaggeration of the size, strength, beauty, meaning of what is being described: The sunset glowed with one hundred and forty suns (V. Mayakovsky). They can be individually authored and general language ( at the edge of the earth).

In linguistics in words "hyperbola" called excessive exaggeration of any qualities or properties, phenomena, processes in order to create a bright and impressive image, for example:

rivers of blood, you’re always late, mountains of corpses, haven’t seen each other for a hundred years, scare me to death, said a hundred times, a million apologies, a sea of ripened wheat, I’ve been waiting for an eternity, I’ve been standing all day, no matter how wet it is, my house is a thousand kilometers away, I’m always late.

Hyperbole is often found in oral folk art, for example, in epics: Ilya Muromets picks up “an iron shalyga that weighed exactly one hundred pounds”,

No matter where you wave, the street will fall,

And he’ll wave it back - the side streets...

In fiction, writers use hyperbole to enhance expressiveness, create a figurative characterization of the hero, and a vivid and individual idea of him. Using a hyperbole reveals author's attitude to the character, is created general impression from the statement.

2.7 Litotes (trope)- this is a figurative expression, turnover, stylistic figure, (trope) which contains an artistic understatement of the magnitude, strength of meaning of the depicted object or phenomenon. Litotes in this sense is the opposite of hyperbole, which is why it is also called inverse hyperbole. In litotes based on any common feature two dissimilar phenomena are compared, but this feature is presented in the phenomenon-means of comparison in a significantly to a lesser extent, rather than in the phenomenon-object of comparison. .

N.V. Gogol often turned to litotes. For example, in the story “Nevsky Prospekt”: “such a small mouth that it can’t miss more than two pieces”, “a waist no thicker than the neck of a bottle.”

Litotes are especially often used in poetry. Almost no poet has avoided this stylistic device. After all, litotes is a means of expression.

In poetry this stylistic figure appears as:

1. Denial of the opposite.

An example from a poem by Nikolai Zabolotsky goes like this:

"ABOUT, I'm not bad lived in this world!

2. As an understatement of the subject.

Nekrasovskaya litotes. Example:

“In big boots, in a short sheepskin coat,
In big mittens... and from the nail itself!»

"My Lizochek is so small,
So small
Which of the wings mosquitoes
I made two shirtfronts for myself."

2.8 Allegory (trope)– a conventional depiction of abstract ideas (concepts) through a specific artistic image or dialogue.

As a trope, allegory is used in fables, parables, and morality tales; V fine arts is expressed by certain attributes. Allegory arose on the basis of mythology, was reflected in folklore, and was developed in the fine arts. The main way of depicting allegory is the generalization of human concepts; ideas are revealed in the images and behavior of animals, plants, mythological and fairy tale characters, inanimate objects that take on figurative meaning

Example: allegory of “justice” - Themis (woman with scales).

2.9 Paraphrase (trope)– a descriptive expression used instead of a particular word, for example: King of beasts (lion), city on the Neva (St. Petersburg). General linguistic periphrases usually acquire a stable character. Many of them are constantly used in the language of newspapers: people in white coats (doctors). Stylistically, a distinction is made between figurative and non-figurative periphrases, cf.: The sun of Russian poetry and the author of “Eugene Onegin” (V.G. Belinsky).Euphemism – variety paraphrases. Euphemisms replace words whose use by the speaker or writer for some reason seems undesirable.

2.10 Irony (trope)- the use of a word in the opposite sense to the literal one: Where are you, smart one, wandering from, head? (I. Krylov). Clever mind - addressing a donkey. Irony is subtle mockery expressed in the form of praise or positive characteristics subject.

Classic of Russian literature N.V. Gogol in the poem "Dead Souls" with a completely serious look, he talks about the bribe-taking police chief:

The police chief was in some way a father and benefactor in the city. He was among the citizensjust like a relative in the family, and in the shops and in Gostiny Dvor visited howin your own pantry.

2.11 Antithesis (trope) – this is turnover poetic speech, in which, to enhance expressiveness, sharplydirectly opposite phenomena, concepts, thoughts are opposed:The rich and the poor, the wise and the foolish, the good and the evil sleep (A. Chekhov).

The lexical basis of antithesis is the presence of antonyms, which is clearly manifested in proverbs and sayings:

It's easy to make friends, hard to separate.

A smart person will teach you, a fool will get bored.

Learning is light and ignorance is darkness.

The rich feast on weekdays, but the poor grieve on holidays.

They came together: a wave and a stone,

Poetry and prose, ice and fire

Not so different from each other.

(A.S. Pushkin).

2.12 Oxymoron (trope) – stylistic figure or stylistic error - a combination of words with the opposite meaning, that is, a combination of the incongruous. An oxymoron is characterized by the deliberate use of contradiction to create a stylistic effect: living corpse, large little things.

2.13 Antonomasia - trope, expressed in the replacement of a name or name by an indication of some significant feature of an object or its relationship to something.

An example of a replacement for an essential feature of an item: “ great poet" instead of "Pushkin". An example of a replacement to indicate a relationship: “the author of War and Peace” instead of “Tolstoy”; "Son of Peleus" instead of "Achilles".

In addition, antonomasia is also called a replacement common noun proper (using a proper name as a common noun). Examples: “Aesculapius” instead of “doctor”. “We sang songs, ate dawns // and the meat of future times, and you - // with unnecessary cunning in your eyes // solid dark Semyonovs,” N. N. Aseev.

Antonymy in both cases is a special type of metonymy.

2.14 Gradation (art. figure) – arrangement of words in ascending or descending order of importance: I don’t regret, I don’t call, I don’t cry (S. Yesenin).

A striking example ascending gradation can be lines from a known "Tales of the Golden fish" A.S. Pushkin:

I don't want to be a black peasant girl

I want to be a pillar noblewoman;

I don't want to be a pillar noblewoman,

But I want to be a free queen;

I don't want to be a free queen,

But I want to be the mistress of the sea.

An increase in the expressiveness of the statement, increased expressiveness with the help of climax is observed in the lines of A.P. Chekhov:

The traveler jumps up to him and, raising his fists, is ready to tear him to pieces, destroy him, crush him.

2.15 Inversion (staff figure) – arrangement of words that violates the usual word order:

The lonely sail is white

In the blue sea fog (M. Lermontov).

“Everyone was ready to start a new battle tomorrow” (M. Lermontov)

“I am restoring Russia from dampness and sleepers” (M. Tsvetaeva)

“In the two years we’ve lived here, yesterday has turned into tomorrow.”

Inversion allows you to place emphasis on a specific word or phrase; arranges semantic loads in the sentence; in a poetic text, inversion sets the rhythm; in prose, using inversion, you can place logical stresses; inversion conveys the author’s attitude towards the characters and emotional condition author; inversion enlivens the text and makes it more readable and interesting. To fully understand what inversion is, you need to read more classic literature. In addition to inversion, in the texts of great writers one can find many other interesting stylistic devices, which make speech brighter and with which our Russian language is so rich.

2.16 Ellipsis (st. figure)- omission for stylistic purposes of any implied member of the sentence. Ellipsis gives speech a rapid, dynamic character: We are cities - to ashes, villages - to dust (V. Zhukovsky). It is used by authors to force readers to independently guess a deliberately omitted phrase or individual word.

“...Walk at the wedding, because it’s the last one!” In these lines belonging to Tvardovsky, the word “what” is missing. “Her life was longer than mine.” And here there is an omission minor member sentence, additional, which is expressed by a noun in the nominative case.

2.17 Parallelism (art. figure)– the same syntactic structure of neighboring sentences, the location of similar parts of the sentence in them.

Your mind is as deep as the sea.

Your spirit is as high as the mountains (V. Bryusov).

What is he looking for in a distant land? What did he throw in his native land? (M. Lermontov).

2.18 Anaphora(unity of command) ( Art. figure) – repetition of the same words or phrases at the beginning of sentences:

I'm standing at the high doors.

I am following your work (M. Svetlov).

2.19 Epiphora (art. figure) – repetition of individual words or phrases at the end of sentences: I would like to know why I am a titular councilor? Why titular adviser? (N. Gogol).

2.20 Asyndeton (non-union) (senior figure)– absence of alliances between homogeneous members or parts complex sentence: Swede, Russian - stabs, chops, cuts (A. Pushkin).

The booths and women flash past,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.

A. S. Pushkin

2.21 Polysyndeton (multi-union) (senior figure) – repetition of the same conjunction with homogeneous members or parts of a complex sentence: And it’s boring, and sad, and there’s no one to give a hand in a moment of spiritual adversity (M. Lermontov).

2.22 Rhetorical question (art. figure)– using the interrogative form to express thoughts more clearly. Sometimes they say that a question that does not require an answer can be considered rhetorical, that is, a statement formulated for poetics in the form of a question. In fact, the answer to the rhetorical question is so obvious that it can be read “between the letters” of the question: Do you love theater as much as I do? (V. Belinsky).“Oh Volga, my cradle, has anyone loved you like I do?” (Nekrasov)

“What Russian doesn’t like driving fast?” (Gogol)

2.23 Rhetorical exclamation(st. figure)- an emotionally charged sentence in which emotions are necessarily expressed intonationally and a particular concept is stated in it. The rhetorical exclamation sounds with poetic inspiration and elation:

“Yes, to love as our blood loves

None of you have been in love for a long time!” (A. Blok);

“Here it is, stupid happiness

With white windows to the garden! (S. Yesenin);

"Fading Power!

Die like that!

Until the end of my sweetheart's lips

I would like to kiss..." (S. Yesenin)

2.24 Rhetorical appeal (art. figure)- an emphasized appeal to someone or something, intended to express the author’s attitude towards a particular object, to give a characteristic: “I love you, my damask dagger, a bright and cold comrade...” (M.Yu. Lermontov) This stylistic figure contains expression, increasing the tension of speech: “Oh, you, whose letters are many, many in my briefcase on the bank...” (N. Nekrasov) or “Flowers, love, village, idleness, field! I am devoted to you with my soul" (A.S. Pushkin)

The form of a rhetorical appeal is conditional character. It imparts the necessary author’s intonation to poetic speech: solemnity, pathos, cordiality, irony, etc.:

“The stars are clear, the stars are high!

What do you keep inside yourself, what do you hide?

Stars that conceal deep thoughts,

By what power do you captivate the soul? (S. Yesenin)

2.25 Parcellation- a special division of an utterance in which incomplete sentences, following the main one: And all the Kuznetsky Most and the eternal French, Where fashion comes to us from, and authors, and muses: Destroyers of pockets and hearts! When will the creator deliver us from their hats! caps! and Shpilek! and pins!.. A.S. Griboedov. Woe from the mind.

3. Functions of tropes in the text

The most important role V artistic speech tropes play - words and expressions used not in a literal, but in a figurative meaning. Tropes create so-called allegorical imagery in a work, when an image arises from the rapprochement of one object or phenomenon with another.

This is the most general function of all tropes - to reflect in the structure of the image a person’s ability to think by analogy, to embody, in the words of the poet, “the bringing together of distant things,” thus emphasizing the unity and integrity of the world around us. At the same time, the artistic effect of the trope, as a rule, is stronger, the farther the phenomena being brought together are separated from each other: such, for example, is Tyutchev’s likening of lightning to “deaf-mute demons.” Using this trope as an example, one can trace another function of allegorical imagery: to reveal the essence of a particular phenomenon, usually hidden, the potential poetic meaning contained in it. So, in our example, Tyutchev, with the help of a rather complex and non-obvious trope, forces the reader to take a closer look at such an ordinary phenomenon as lightning, to see it from an unexpected side. For all its complexity, the trope is very accurate: indeed, it is natural to describe the reflections of lightning without thunder with the epithet “deaf and mute.”

The use of tropes in artistic speech creates new combinations of words with new meanings, enriches speech with new shades of meaning, imparts to the defined phenomenon the meaning, shade of meaning that the speaker needs, conveys his assessment of the phenomenon, that is, plays on the subjective component.
And aesthetic is a function of creativity in general, trope is the main way of creating artistic image, and the artist image is the main thing aesthetic category. tropes make natural language a poetic language, giving it the opportunity to perform its main function poetic language- aesthetic.

For literary analysis (as opposed to linguistic analysis), it is extremely important to distinguish between general linguistic tropes, that is, those that are included in the language system and are used by all its speakers, and authorial tropes, which are used once by a writer or poet in a given specific situation. Only the tropes of the second group are capable of creating poetic imagery, while the first group - general linguistic tropes - for obvious reasons should not be taken into account in the analysis. The fact is that common language tropes, due to frequent and widespread use, seem to be “erased”, lose their figurative expressiveness, are perceived as a cliche and, because of this, are functionally identical to vocabulary without any figurative meaning.

Conclusion

In conclusion of this work, I would like to note that the resources of expressive means in language are inexhaustible and the means of language, such as figures and tropes, that make our speech beautiful and expressive are unusually diverse. And knowing them is very useful, especially for writers and poets who live by creativity, because... the use of figures and tropes leaves an imprint of individuality on the author's style.

The successful use of tropes and figures raises the bar for the perception of the text, while the unsuccessful use of such techniques, on the contrary, lowers it. A text with an unsuccessful use of expressive techniques defines the writer as an unintelligent person, and this is the most severe by-product. It is interesting that when reading the works of young writers, who, as a rule, are stylistically imperfect, one can draw a conclusion about the level of the author’s intelligence: some - without realizing that they do not know how to use various techniques expressiveness, nevertheless oversaturate the text with them, and it becomes impossible to read it; others, realizing that they cannot cope with the masterful use of tropes and figures, make the text neutral from this point of view, using the so-called “telegraphic style”. This is also not always appropriate, but it is perceived better than a heap of expressive techniques used ineptly. The neutral text, almost devoid of expressive techniques, looks meager, which is quite obvious, but at least it does not characterize the author as a fool. Only a real master can skillfully use tropes and figures in his creations, and brilliant authors can even be “recognized” by their individual writing style.

Expressive devices such as tropes and figures should surprise the reader. Effectiveness is achieved only in cases where the reader is shocked by what he read and impressed by the pictures and images of the work. Literary works Russian poets and writers are rightfully famous for their genius and this is not last role play means of expression Russian language, which our Russian writers very skillfully use in their works.

Bibliography

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Introduction to literary criticism. - M.: Academy, 2010. - 720 p.

Krupchanov L. M. Theory of Literature. - M.: Nauka, 2012. - 360 p.

4. Meshcheryakov V.P., Kozlov A.S. and others. Introduction to literary criticism. Fundamentals of literary theory. - M.: Yurayt, 2012. - 432 p.

Mineralov I.Yu. Theory artistic literature. - M.: Vlados, 1999. - 360 p.

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Even in ancient times, people endowed surrounding objects and phenomena with human characteristics. For example, the earth was called mother, and rain was compared to tears. Over time, the desire to humanize inanimate objects has disappeared, but in literature and in conversation we still encounter these figures of speech. This figurative means of language is called personification. So what is personification?

Personification: Definition and Functions
Personification is a literary device in which inanimate objects are endowed with properties that are inherent in living beings. Sometimes this turn of phrase is called personification.

Personification is used by many prose writers and poets. For example, in Yesenin you can find the following lines: “Winter sings, calls, the shaggy forest lulls.” It is clear that winter as a season cannot make sounds, and the forest makes noise only because of the wind. Personification allows you to create a vivid image in the reader, convey the mood of the hero, and emphasize some action.

What personification is in literature is clear, but this turn of phrase is also used in colloquial speech. The familiar phrases “the milk has run away”, “the heart is acting up” are also personifications. Using this literary device in conversation makes speech figurative and interesting. However, we don’t even think about using this technique.

You can also give examples of what personification is. For example, we often say that it is raining (even though the rain clearly has no legs) or the clouds are frowning (it is clear that clouds cannot experience any emotions).

In general, we can say that personification is a literary turn, in other words, a language trope, in which the inanimate is endowed with the signs and qualities of the living. Personification is often confused with metaphor. It is worth understanding that a metaphor is just a figurative meaning of a word, a figurative comparison. For example – “golden autumn”. Therefore, it is very easy to distinguish personification from other literary expressions.

Examples of avatars:

And woe, woe, woe!
And grief was girded with a bast,
My legs are tangled with washcloths.

(Folk song)

Personification of winter:

The gray-haired sorceress is coming,
He waves his shaggy sleeve;
And snow, and scum, and frost is falling,
And turns water into ice.
From her cold breath
Nature's gaze is numb...

(Derzhavin)

After all, autumn is already in the yard
He looks through the spinning wheel.
Winter follows her
He walks in a warm fur coat,
The path is covered with snow,
It crunches under the sleigh...

(Koltsov)

Hyperbola:
Midnight whirlwind - the hero is flying!
Darkness from his brow, dust whistling from him!
Lightning from the eyes runs ahead,
Oak trees lie in a row behind.
He steps on the mountains - the mountains crack;
Lies on the waters - the abysses boil;
If it touches the hail, the hail falls,
He throws towers behind the cloud with his hand.

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Personification - examples from literature