The role of poetic means in artistic structure. Means of artistic expression
Make a plan for your essay and check whether it is written correctly? and are the punctuation marks correct? In Ivan Sergeevich Turgenev's story "Mumu", the janitor Gerasim is the most remarkable person among all the servants. this is a man
tall, powerfully built and deaf and dumb from birth. Any work can be done in his hands, because nature has endowed him with extraordinary strength. Lady Gerasima from the village to her city for service. bought him clothes
boots and identified him as a janitor. The janitor Gerasim performed his work diligently and carefully, he loved order in everything. For these qualities he was respected and feared. The lady favored Gerasim as a faithful and strong watchman. she
kept numerous servants. Of all the servants, the main character fell in love with the laundress Tatyana for her meek and timid disposition. Having met her, he rejoiced and tried to please her. Gerasim guarded and protected Tatyana from ridicule and
caustic words. By order of the lady, the shoemaker Kapiton was married to the washerwoman Tatyana. Of course, Gerasim didn’t like this; he was worried and sat in his closet for a long time. and then gave Tatyana a red paper handkerchief. And
When the shoemaker and the washerwoman were sent to the village, Gerasim went to see them off. This showed his meek and kind disposition. On the way back, Gerasim found a hungry and frozen puppy, which he took with him out of his kindness. He
looked after his pet like a mother cares for her child. Gerasim named the dog Mumu. he fell in love with her very much, and she was affectionate towards everyone, but she loved one janitor. of course, the lady did not even suspect the existence
Mu Mu. After one unpleasant incident, she ordered that the dog should no longer appear in the yard; the servant carried out her order and took it to the market. at the time when Gerasim did not find a dog in the closet and in the yard, he
very upset. then mumu returned to the janitor. Gerasim became careful, walked the dog only at night and tried in every possible way to hide it from human eyes. In the end, they finally found out about the dog. followed from the lady
order to kill the puppy. It was difficult for Gerasim to do this, but he decided. The next day the janitor went to the tavern, ate himself and fed the mumu. he decided to go to the river and drown the dog. Of course, Gerasim felt sorry for the mumu, but he couldn’t
disobey the lady's orders. After all this, the janitor Gerasim returned to his village and began to live as before. I like the janitor Gerasim because he is strong, courageous, diligent, hardworking. he any
strives to do the job well. Gerasim is kind, tries to protect those who are weaker than him. he loves animals and cares for them tenderly. It’s for these qualities that I like Gerasim from the story. With. Turgenev "mumu".
TRAILS AND STYLISTIC FIGURES.
TRAILS(Greek tropos - turn, turn of speech) - words or figures of speech in a figurative, allegorical meaning. Paths are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litotes, etc.
STYLISTIC FIGURES- figures of speech used to enhance the expressiveness of a statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.
HYPERBOLA (Greek hyperbole - exaggeration) - a type of trope 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 ancient epics among 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 other artistic means (metaphors, personification, comparisons, etc.). Opposite – litotes.
LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; a figurative expression, a turn of phrase that contains an artistic understatement of the size, strength, or significance of the depicted object or phenomenon. Litotes is found in folk tales: “a boy as big as a finger,” “a hut on chicken legs,” “a little man as big as a fingernail.”
The second name for litotes is meiosis. The opposite of litotes is hyperbola.
N. Gogol often turned to litotes:
“Such a small mouth that it can’t miss more than two pieces” N. Gogol
METAPHOR(Greek metaphora - transfer) - a trope, a hidden figurative comparison, the transfer of the properties of one object or phenomenon to another based on common characteristics (“work is in full swing”, “forest of hands”, “dark personality”, “heart of stone”...). In metaphor, as opposed to
comparisons, the words “as”, “as if”, “as if” are omitted, but are implied.
Nineteenth century, iron,
Truly a cruel age!
By you into the darkness of the night, starless
A careless abandoned man!
A. Blok
Metaphors are formed according to the principle of personification (“water runs”), reification (“nerves of steel”), abstraction (“field of activity”), etc. Various parts of speech can act as a metaphor: verb, noun, adjective. Metaphor gives speech exceptional expressiveness:
In every carnation there is fragrant lilac,
A bee crawls in singing...
You ascended under the blue vault
Above the wandering crowd of clouds...
A. Fet
The metaphor is an undifferentiated comparison, in which, however, both members are easily seen:
With a sheaf of your oat hair
You stuck with me forever...
The dog's eyes rolled
Golden stars in the snow...
S. Yesenin
In addition to verbal metaphor, metaphorical images or extended metaphors are widespread in artistic creativity:
Ah, the bush of my head has withered,
I was sucked into song captivity,
I am condemned to hard labor of feelings
Turning the millstone of poems.
S. Yesenin
Sometimes the entire work represents a broad, expanded metaphorical image.
METONYMY(Greek metonymia - renaming) - trope; replacing one word or expression with another based on similar meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "the forest is noisy" - meaning trees; etc.).
The theater is already full, the boxes are sparkling;
The stalls and the chairs, everything is boiling...
A.S. Pushkin
In metonymy, a phenomenon or object is denoted using other words and concepts. At the same time, the signs or connections that bring these phenomena together are preserved; Thus, when V. Mayakovsky speaks of a “steel orator dozing in a holster,” the reader easily recognizes in this image a 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 bountiful feast;
Everything fell with a noise before you;
Europe was dying; grave sleep
Hovered over her head...
A. Pushkin
When is the shore of hell
Will take me forever
When he falls asleep forever
Feather, my joy...
A. Pushkin
PERIPHRASE (Greek periphrasis - roundabout turn, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its signs, as a rule, the most characteristic ones, enhancing the figurativeness of speech. (“king of birds” instead of “eagle”, “king of beasts” - instead of “lion”)
PERSONALIZATION(prosopopoeia, personification) - a type of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays...).
My bells
Steppe flowers!
Why are you looking at me?
Dark blue?
And what are you calling about?
On a merry day in May,
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 based on the quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche:
1) A part of a phenomenon is called in the sense of the whole:
And at the door -
pea coats,
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, there you are! Fight with a helmet?
Well, aren't they a vile bunch!
3) The singular number in the meaning of 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. We are darkness, and darkness, and darkness.
A. Blok
5) Replacing the generic concept with a specific one:
We beat ourselves with pennies. Very good!
V. Mayakovsky
6) Replacing the 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 as he cut”...). The storm covers the sky with darkness,
Whirling snow whirlwinds;
The way the beast will howl,
Then 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 melancholy and painful feeling that corresponds to Gregory’s state. There is a transfer of one of the meanings of the concept - “scorched steppe” to another - the internal state of the 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,
Disturbing only the silver feather grass,
The flying aquilon wanders
And he freely drives dust in front of him;
And where all around, no matter how vigilantly you look,
Meets the gaze of two or three birch trees,
Which are under the bluish haze
They turn black in the empty distance in the evening.
So life is boring when there is no struggle,
Penetrating into the past, discerning
There are few things we can do in it, in the prime of life
She will not amuse the soul.
I need to act, I do every day
I would like to make him immortal, like a shadow
Great hero, and understand
I can't, what does it mean to rest.
M. Lermontov
Here, with the help of the detailed S. Lermontov conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by conjunctions “as”, “as if”, “as if”, “exactly”, etc. Non-union comparisons are also possible:
“Do I have fine curls - combed flax” N. Nekrasov. Here the conjunction is omitted. But sometimes it is not intended:
“The execution in the morning, the usual feast for the people” A. Pushkin.
Some forms of comparison are constructed descriptively and therefore are not connected by conjunctions:
And she appears
At the door or at the window
The early star is brighter,
Morning roses are fresh.
A. Pushkin
She's cute - I'll say between us -
Storm of the court knights,
And maybe with the southern stars
Compare, especially in poetry,
Her Circassian eyes.
A. Pushkin
A special type of comparison is the so-called negative:
The red sun does not shine in the sky,
The blue clouds do not admire him:
Then at mealtimes 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 both a method of comparison and a method of transferring meanings.
A special case is represented by the instrumental case forms used in comparison:
It's time, beauty, wake up!
Open your closed eyes,
Towards northern Aurora
Be the star of the north.
A. Pushkin
I don't soar - I sit like an eagle.
A. Pushkin
Often there are comparisons in the form of the accusative case with the preposition “under”:
“Sergei Platonovich... sat with Atepin in the dining room, covered with expensive oak 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,
Moroz - commander of the patrol
Walks around his possessions.
ON THE. Nekrasov
ALLEGORY(Greek allegoria - allegory) - a specific 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 should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images go back to Greek and Roman mythology. Thus, the image of a blindfolded woman 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 metaphor, in allegory the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).
GROTESQUE (French grotesque - whimsical, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.
Enraged, I rush into the meeting like an avalanche,
Spewing wild curses on the way.
And I see: half the people are sitting.
Oh devilishness! Where is the other half?
V. Mayakovsky
IRONY (Greek eironeia - pretense) - expression of ridicule or deceit through allegory. A word or statement acquires a meaning in the context of speech that is opposite to the literal meaning or denies it, casting doubt on it.
Servant of powerful masters,
With what noble courage
Thunder with your free speech
All those who have their mouths covered.
F.I. Tyutchev
SARCASM (Greek sarkazo, lit. - tearing meat) - contemptuous, caustic ridicule; the highest degree of irony.
ASSONANCE (French assonance - consonance or response) - repetition of homogeneous vowel sounds in a line, stanza or phrase.
Oh spring without end and without edge -
An endless and endless dream!
A. Blok
ALLITERATION (SOUNDS)(Latin ad - to, with and littera - letter) - repetition of homogeneous consonants, giving the verse a special intonational expressiveness.
Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
A storm is coming. It hits the shore
A black boat alien to enchantment...
K. Balmont
ALLUSION (from Latin allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work (“the glory of Herostratus”).
ANAPHORA(Greek anaphora - carrying out) - repetition of the initial words, line, stanza or phrase.
You're miserable too
You are also abundant
You're downtrodden
You are omnipotent
Mother Rus'!…
ON THE. Nekrasov
ANTITHESIS (Greek antithesis - contradiction, opposition) - a sharply expressed opposition of concepts or phenomena.
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blushing like poppies,
I am like death, skinny and pale.
A.S. Pushkin
You're miserable too
You are also abundant
You are mighty
You are also powerless...
N. Nekrasov
So few roads have been traveled, so many mistakes have been made...
S. Yesenin.
Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the entire work is built on the principle of antithesis
APOCOPE(Greek apokope - cutting off) - artificially shortening a word without losing its meaning.
...When suddenly he came out of the forest
The bear opened its mouth at them...
A.N. Krylov
Barking, laughing, singing, whistling and clapping,
Human rumor and horse top!
A.S. Pushkin
ASYNDETON (asyndeton) - a sentence with the absence of conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.
Night, street, lantern, pharmacy,
Pointless and dim light.
Live for at least another quarter of a century -
Everything will be like this. There is no outcome.
A. Blok
MULTI-UNION(polysyndeton) - excessive repetition of conjunctions, creating additional intonation coloring. The opposite figure isnon-union
Slowing down speech with forced pauses, polyunion emphasizes individual words and enhances its expressiveness:
And the waves crowd and rush back,
And they come again and hit the shore...
M. Lermontov
And it’s boring and sad, and there’s no one to give a hand to...
M.Yu. Lermontov
GRADATION- from lat. gradatio - gradualism) is a stylistic figure in which definitions are grouped in a certain order - increasing or decreasing 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(Latin inversio - rearrangement) - a stylistic figure consisting of a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of a phrase gives it a unique expressive tone.
Legends of deep antiquity
A.S. Pushkin
He passes the doorman with an arrow
Flew up the marble steps
A. Pushkin
OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting words with opposite meanings (living corpse, giant dwarf, heat of cold numbers).
PARALLELISM(from the Greek parallelos - walking next to) - identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.
The waves splash in the blue sea.
The stars shine in the blue sky.
A. S. Pushkin
Your mind is as deep as the sea.
Your spirit is as high as the mountains.
V. Bryusov
Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and literary works close to them in their artistic features (“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 nature in content, for example, in the poem by M. Yu. Lermontov “Heavenly clouds are eternal wanderers.”
Parallelism can be either verbal or figurative, or rhythmic or compositional.
PARCELLATION- an expressive syntactic technique of intonation division of a sentence into independent segments, graphically highlighted as independent sentences. (“And again. Gulliver. Standing. Slouching.” P. G. Antokolsky. “How courteous! Kind! Sweet! Simple!” Griboedov. “Mitrofanov grinned, stirred the coffee. He narrowed his eyes.”
N. Ilyina. “He soon quarreled with the girl. And that’s why.” G. Uspensky.)
TRANSFER (French enjambement - stepping over) - a discrepancy between the syntactic division of speech and the division into poetry. When transferring, the syntactic pause inside a verse or hemistich is stronger than at the end.
Peter comes out. His eyes
They shine. His face is terrible.
The movements are fast. He is beautiful,
He's like God's thunderstorm.
A. S. Pushkin
RHYME(Greek “rhythmos” - harmony, proportionality) - a variety epiphora ; the consonance of the ends of poetic lines, creating a feeling of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.
ELLIPSIS (Greek elleipsis - deletion, omission) - a figure of poetic syntax based on the omission of one of the members of a sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech and conveys a tense change of action. Ellipsis is one of the types of default. In artistic speech, it conveys the speaker’s excitement or the tension of the action:
We sat down in ashes, cities in dust,
Swords include sickles and plows.
AESOP'S LANGUAGE
(Aesopian language) - (on behalf of the ancient Greek fabulist Aesop, a slave who lived in the 6th century BC) - a type of allegory: the language of hints, omissions, used primarily in satirical works (fables, satires, epigrams, feuilletons, etc.). etc.) and allows you to veil, disguise the true essence of a statement in cases where it cannot be expressed directly (for example, for censorship reasons). The term was introduced into literary use by M.E. Saltykov-Shchedrin, calling E. I. a special (“rabya”) manner of allegorical presentation, which writers had to resort to in order to deceive the tsarist censorship (see censorship). In the works of M.E. Saltykov-Shchedrin, for example, a spy, an informer is called a “heart expert”, “collector of statistics”; slaps - "applause". N.G. Chernyshevsky in the novel "What to do?" calls the narrow-minded man in the street, alien to public interests, a “discerning reader.” Possibilities E. I. M. Zoshchenko, M. Bulgakov, V. Vysotsky and others widely used it as a satirical allegory; in foreign literature - J. Swift, A. France and others.
Dictionary of literary terms. 2012
See also interpretations, synonyms, meanings of the word and what is AESOPIC LANGUAGE in Russian in dictionaries, encyclopedias and reference books:
- AESOP'S LANGUAGE
(named after the fabulist Aesop) secret writing in literature, an allegory that deliberately disguises the thought (idea) of the author. Resorts to a system of “deceptive means”: traditional allegorical... - AESOP'S LANGUAGE in the Great Soviet Encyclopedia, TSB:
language (named after the ancient Greek fabulist Aesop), a special type of secret writing, censored allegory, which was used in fiction, criticism and journalism, ... - AESOP'S LANGUAGE
(named after the fabulist Aesop), secret writing in literature, a veiled statement that deliberately masks the thought (idea) of the author (often from censorship). Resorts to the system... - AESOP'S LANGUAGE
[named after the ancient Greek fabulist Aesop] allegorical language, what you need to be able to read “between the lines”, a disguised way of expressing your... - AESOP'S LANGUAGE in the Phraseology Handbook:
allegorical language, full of omissions, hints, allegories. The expression comes from the name of the legendary Greek fabulist Aesop. Aesop was a slave; because... - AESOP'S LANGUAGE
(named after the ancient Greek fabulist Aesop) - a special style of presentation designed to disguise for censorship the direct, immediate expression of ideas that contradict official policy, ... - AESOP'S LANGUAGE in the New Dictionary of Foreign Words:
Aesopian language (named after the ancient Greek fabulist Aesop (aisopos), 6th century BC translation of thoughts through hints, omissions and ... - AESOP'S LANGUAGE in the Modern Explanatory Dictionary, TSB:
(named after the fabulist Aesop), secret writing in literature, an allegory that deliberately disguises the thought (idea) of the author. Resorts to a system of “deceptive means”: traditional... - AESOP'S LANGUAGE in the Large Modern Explanatory Dictionary of the Russian Language:
m. Secret writing in literature, an allegory that deliberately masks the thought, the idea of the author (named after the fabulist Aesop) ... - LANGUAGE in Wiki Quotebook:
Data: 2008-10-12 Time: 10:20:50 * Language is also of great importance because with its help we can hide our... - LANGUAGE in the Dictionary of Thieves' Slang:
- investigator, operative... - LANGUAGE in Miller's Dream Book, dream book and interpretation of dreams:
If in a dream you see your own tongue, it means that soon your friends will turn away from you. If in a dream you see... - LANGUAGE in the Newest Philosophical Dictionary:
a complex developing semiotic system, which is a specific and universal means of objectifying the content of both individual consciousness and cultural tradition, providing the opportunity... - LANGUAGE in the Dictionary of Postmodernism:
- a complex developing semiotic system, which is a specific and universal means of objectifying the content of both individual consciousness and cultural tradition, providing... - LANGUAGE
OFFICIAL - see OFFICIAL LANGUAGE... - LANGUAGE in the Dictionary of Economic Terms:
STATE - see STATE LANGUAGE... - LANGUAGE in the Encyclopedia Biology:
, an organ in the oral cavity of vertebrates that performs the functions of transportation and taste analysis of food. The structure of the tongue reflects the specific nutrition of animals. U... - LANGUAGE in the Brief Church Slavonic Dictionary:
, pagans 1) people, tribe; 2) language, ... - LANGUAGE in the Bible Encyclopedia of Nikephoros:
like speech or adverb. “The whole earth had one language and one dialect,” says the writer of everyday life (Gen. 11:1-9). A legend about one... - LANGUAGE in the Lexicon of Sex:
multifunctional organ located in the oral cavity; pronounced erogenous zone of both sexes. With the help of Ya, orogenital contacts of various kinds are carried out... - LANGUAGE in Medical terms:
(lingua, pna, bna, jna) a muscular organ covered with a mucous membrane located in the oral cavity; participates in chewing, articulation, contains taste buds; ... - LANGUAGE in the Big Encyclopedic Dictionary:
..1) natural language, the most important means of human communication. Language is inextricably linked with thinking; is a social means of storing and transmitting information, one... - LANGUAGE in the Modern Encyclopedic Dictionary:
- LANGUAGE
1) natural language, the most important means of human communication. Language is inextricably linked with thinking; it is a social means of storing and transmitting information, one... - ESOPOV in the Encyclopedic Dictionary:
Aesopian language - . [named after the ancient Greek fabulist Aesop]. allegorical language, what you need to be able to read “between the lines”, disguised... - ESOPOV in the Encyclopedic Dictionary:
a, oh, AESOP'S, aya, oe Aesopian (Aesopian) language is speech replete with allegories, omissions to hide the direct meaning; how the technique is used... - LANGUAGE in the Encyclopedic Dictionary:
2, -a, pl. -i, -ov, m. 1. Historically developed system of sound, vocabulary and grammatical means, objectifying the work of thinking and being ... - LANGUAGE
MACHINE LANGUAGE, see Machine language... - LANGUAGE
LANGUAGE, natural language, the most important means of human communication. Self is inextricably linked with thinking; is a social means of storing and transmitting information, one... - LANGUAGE in the Big Russian Encyclopedic Dictionary:
TONGUE (anat.), in terrestrial vertebrates and humans, a muscular outgrowth (in fish, a fold of the mucous membrane) at the bottom of the oral cavity. Participates in … - ESOPOV in the Big Russian Encyclopedic Dictionary:
AESOP'S LANGUAGE (named after the fabulist Aesop), secret writing in literature, an allegory that deliberately disguises the thought (idea) of the author. Resorts to a system of “fraudulent... - LANGUAGE
languages"to, languages", languages", language"in, language", language"m, languages", language"in, language"m, languages"mi, language", ... - LANGUAGE in the Complete Accented Paradigm according to Zaliznyak:
languages" to, languages", languages", language" in, language", languages"m, languages"to, languages", language"m, languages"mi, language", ... - LANGUAGE in the Linguistic Encyclopedic Dictionary:
- the main object of study of linguistics. By Ya, first of all, we mean natural. human self (in opposition to artificial languages and ... - LANGUAGE in the Dictionary of Linguistic Terms:
1) A system of phonetic, lexical and grammatical means, which is a tool for expressing thoughts, feelings, expressions of will and serves as the most important means of communication between people. Being... - LANGUAGE in the Popular Explanatory Encyclopedic Dictionary of the Russian Language.
- LANGUAGE
"My Enemy" in... - LANGUAGE in the Dictionary for solving and composing scanwords:
Weapon … - LANGUAGE in Abramov's Dictionary of Synonyms:
dialect, dialect, dialect; syllable, style; people. See people || the talk of the town See spy || master the tongue, restrain the tongue, ... - ESOPOV in the New Explanatory Dictionary of the Russian Language by Efremova:
adj. Same as:... - ESOPOV in Lopatin’s Dictionary of the Russian Language:
Ez'opov, -a, -o (Ez'opov's b'asni); but: ez'opov... - ESOPOV in the Complete Spelling Dictionary of the Russian Language:
Aesopov, -a, -o (Aesop's Fables); but: Aesopian... - ESOPOV in the Spelling Dictionary:
ez'opov, -a, -o (ez'opov's b'asni); but: ez'opov...
We have repeatedly heard the expression “Aesopian language.” What does this term mean and where does it come from? It is not known for certain whether such a person lived, or whether this is a collective image. There are many legends about him, and in the Middle Ages his biography was compiled. According to legend, he was born in the 6th century BC. e. in and was a slave of Croesus, however, his resourceful mind, ingenuity and cunning helped him gain freedom and glorified him for many generations.
Naturally, it was the founding father of this technique who first used Aesopian language. Examples of this are given to us by a legend that says that Croesus, having drunk too much, began to claim that he could drink the sea, and made a bet, putting his entire kingdom at stake. The next morning, having sobered up, the king turned to his slave for help and promised to grant him freedom if he helped him out. The wise slave advised him to say: “I promised to drink only the sea, without the rivers and streams that flow into it. Block them and I will fulfill my promise." And since no one could fulfill this condition, Croesus won the bet.
As a slave and then a freedman, the sage wrote fables in which he ridiculed the stupidity, greed, lies and other vices of the people he knew - mainly his former master and his slave-owning friends. But since he was a forced man, he clothed his narrative in allegories, periphrases, resorted to allegories, and depicted his heroes under the names of animals - fox, wolf, crow, etc. This is Aesopian language. The characters in the funny stories were easily recognizable, but the “prototypes” could do nothing but rage silently. In the end, ill-wishers planted a vessel stolen from the temple on Aesop, and the priests of Delphi accused him of theft and sacrilege. The sage was given the choice to declare himself a slave - in this case, his master only had to pay a fine. But Aesop chose to remain free and accept execution. According to legend, he was thrown from a cliff at Delphi.
Thus, thanks to his ironic but allegorical style, Aesop became the founder of such a fable. In subsequent eras of dictatorships and infringement of freedom of expression, the fable genre enjoyed great popularity, and its creator remained a real hero in the memory of generations. We can say that the Aesopian language has long outlived its creator. Thus, there is an antique bowl with a drawing of a hunchback (according to legend, Aesop had an ugly appearance and was a hunchback) and a fox, which tells something - art historians believe that the founder of the fable is depicted on the bowl. Historians claim that in the sculpture row of the “Seven Sages” in Athens there once stood a statue of Aesop by the chisel of Lysippos. At the same time, a collection of the writer’s fables appeared, compiled by an anonymous person.
The Aesopian language was extremely popular: the famous “Tale of the Fox” is composed in just such an allegorical style, and in the images of the fox, wolf, rooster, donkey and other animals the entire ruling elite and clergy of the Roman Church are ridiculed. This manner of speaking vaguely, but aptly and caustically, was used by La Fontaine, Saltykov-Shchedrin, the famous composer of fables Krylov, and the Ukrainian fabulist Glibov. Aesop's parables were translated into many languages, they were composed in rhyme. Many of us probably know the fable about the raven and the fox, the fox and the grapes from school - the plots of these short moralizing stories were invented by an ancient sage.
It cannot be said that the Aesopian language, the meaning of which during regimes where censorship ruled the roost, is irrelevant today. The allegorical style, which does not directly name the target of satire, seems to be addressed in its “letter” to a harsh censor, and in its “spirit” - to the reader. Since the latter lives in realities that are subject to veiled criticism, he easily recognizes it. And even more than that: a quirky manner of ridicule, full of secret hints that require guessing, hidden symbols and images, is much more interesting to readers than a direct and undisguised accusation of the authorities of any offenses, so even those writers and journalists who have nothing to do with it resort to elements of Aesopian language afraid. We see its use in journalism, journalism, and pamphlets on current political and social topics.
Report 7th grade.
A literary image can only exist in a verbal shell. Everything that a poet needs to express: feelings, experiences, emotions, thoughts - is expressed through the verbal fabric of a lyrical work, through the word. Consequently, the word, language is the “primary element” of literature, therefore, when analyzing a lyrical work, much attention is paid to the verbal structure.
The most important role in poetic speech is played by tropes: words and expressions used not in a literal, but in a figurative meaning. Tropes create allegorical imagery in a lyrical work, when the image appears from the convergence of the properties of one object or phenomenon with another. The general role of all artistic and expressive means is to reflect in the structure of the image a person’s ability to think by analogy and identify the essence of a certain phenomenon. When analyzing, it is necessary to highlight the author’s tropes, that is, those that are used once by the poet in a particular case. It is the author's tropes that create poetic imagery.
When analyzing a poem, it is important not only to indicate this or that artistic and expressive means, but to determine the function of a given trope, explain for what purpose, why the poet uses this particular type of trope; assess how allegorical imagery is characteristic of a particular artistic text or poet, how important it is in the overall imagery system, in the formation of an artistic style.
There are a large number of varieties of tropes: the author needs all of them to express his own ideas in poetic speech. Lyrical speech is characterized by increased expressiveness of individual words and speech structures. In lyric poetry, compared to epic and drama, there is a greater share of artistic and expressive means.
Let us give a typical example of the use of artistic and expressive means. In the poem by A.A. Akhmatova “After all, somewhere there is a simple life and light...” (1915), her beloved city of Petersburg is recognized through the description:
But we won’t exchange the lush Granite city of glory and misfortune for anything,
Wide rivers of shining ice, Sunless, gloomy gardens And the voice of the Muse, barely audible.
This paraphrase not only allows the poetess to characterize her hometown, but also to express her ambivalent attitude towards the city of “glory and misfortune.” We see that any object (city, natural phenomenon, thing, famous person) can be described using its characteristics.
Basic artistic and expressive means:
An epithet is a figurative definition that gives an additional artistic characteristic of an object or phenomenon in the form of comparison.
Below us, with a cast-iron roar, instantaneous bridges rattle.
A constant epithet is one of the tropes of folk poetry: a definition word that is consistently combined with one or another defined word and denotes some characteristic, always present generic feature in an object.
From beyond the mountains, from overseas, Yes, the rock dove flies. Oh, yes, a dove flew into the village, Yes, into the village, into the village, Yes, he began to ask about the people, Oh, the people, his family: Gentlemen, brothers, guys! Have you seen the doves?
(Russian folk song)
A simple comparison is a simple type of trope, which is a direct comparison of one object or phenomenon with another on some basis.
The road is like a snake's tail, full of people, moving...
(A.S. Pushkin)
Metaphor is a type of trope, the transfer of the name of one object to another based on their similarity.
A golden cloud spent the night on the chest of a giant rock; In the morning she rushed off early, playing merrily across the azure...
(M.Yu. Lermontov)
Personification is a special type of metaphor, transferring the image of human traits onto inanimate objects or phenomena.
Farewell, love letter, farewell!..
(A.S. Pushkin)
Hyperbole is a type of trope based on exaggerating the properties of an object or phenomenon in order to enhance the expressiveness and imagery of artistic speech.
And half-asleep shooters are too lazy to toss and turn on the dial, And the day lasts longer than a century And the embrace does not end.
(B.L. Pasternak)
Litotes is a figurative expression that contains an artistic understatement of the properties of an object in order to enhance the emotional impact.
Only in the world is there something shady
Dormant maple tent.
Periphrasis is a type of trope, replacing the name of an object or phenomenon with a description of its characteristics.
And after him, like the noise of a storm, Another genius rushed away from us, Another ruler of our thoughts. He disappeared, mourned by freedom, leaving his crown to the world. Make noise, get excited by bad weather: He was, O sea, your singer.
(A.S. Pushkin)
Functions of artistic and expressive means (tropes):
Characteristics of an object or phenomenon;
Conveying an emotionally expressive assessment of what is being depicted.
Questions about the report:
1) For what purpose do poets use tropes when creating poems?
2) What artistic and expressive means do you know?
3) What is an epithet? How does a regular epithet differ from a permanent epithet?
4) How does a hyperbole differ from a litote?
As you know, the word is the basic unit of any language, as well as the most important component of its artistic means. The correct use of vocabulary largely determines the expressiveness of speech.
In context, a word is a special world, a mirror of the author’s perception and attitude to reality. It has its own metaphorical precision, its own special truths, called artistic revelations; the functions of vocabulary depend on the context.
Individual perception of the world around us is reflected in such a text with the help of metaphorical statements. After all, art is, first of all, the self-expression of an individual. The literary fabric is woven from metaphors that create an exciting and emotionally affecting image of a particular work of art. Additional meanings appear in words, a special stylistic coloring, creating a unique world that we discover for ourselves while reading the text.
Not only in literary, but also in oral, we use, without thinking, various techniques of artistic expression to give it emotionality, persuasiveness, and imagery. Let's figure out what artistic techniques there are in the Russian language.
The use of metaphors especially contributes to the creation of expressiveness, so let's start with them.
Metaphor
It is impossible to imagine artistic techniques in literature without mentioning the most important of them - the way of creating a linguistic picture of the world based on meanings already existing in the language itself.
The types of metaphors can be distinguished as follows:
- Fossilized, worn out, dry or historical (bow of a boat, eye of a needle).
- Phraseologisms are stable figurative combinations of words that are emotional, metaphorical, reproducible in the memory of many native speakers, expressive (death grip, vicious circle, etc.).
- Single metaphor (eg homeless heart).
- Unfolded (heart - “porcelain bell in yellow China” - Nikolay Gumilyov).
- Traditionally poetic (morning of life, fire of love).
- Individually-authored (sidewalk hump).
In addition, a metaphor can simultaneously be an allegory, personification, hyperbole, periphrasis, meiosis, litotes and other tropes.
The word “metaphor” itself means “transfer” in translation from Greek. In this case, we are dealing with the transfer of a name from one item to another. For it to become possible, they must certainly have some similarity, they must be adjacent in some way. A metaphor is a word or expression used in a figurative meaning due to the similarity of two phenomena or objects in some way.
As a result of this transfer, an image is created. Therefore, metaphor is one of the most striking means of expressiveness of artistic, poetic speech. However, the absence of this trope does not mean the lack of expressiveness of the work.
A metaphor can be either simple or extensive. In the twentieth century, the use of expanded ones in poetry is revived, and the nature of simple ones changes significantly.
Metonymy
Metonymy is a type of metaphor. Translated from Greek, this word means “renaming,” that is, it is the transfer of the name of one object to another. Metonymy is the replacement of a certain word with another based on the existing contiguity of two concepts, objects, etc. This is the imposition of a figurative word on the direct meaning. For example: “I ate two plates.” Mixing of meanings and their transfer are possible because objects are adjacent, and the contiguity can be in time, space, etc.
Synecdoche
Synecdoche is a type of metonymy. Translated from Greek, this word means “correlation.” This transfer of meaning occurs when the smaller is called instead of the larger, or vice versa; instead of a part - a whole, and vice versa. For example: “According to Moscow reports.”
Epithet
It is impossible to imagine the artistic techniques in literature, the list of which we are now compiling, without an epithet. This is a figure, trope, figurative definition, phrase or word denoting a person, phenomenon, object or action with a subjective
Translated from Greek, this term means “attached, application,” that is, in our case, one word is attached to some other.
The epithet differs from a simple definition in its artistic expressiveness.
Constant epithets are used in folklore as a means of typification, and also as one of the most important means of artistic expression. In the strict sense of the term, only those whose function is words in a figurative meaning, in contrast to the so-called exact epithets, which are expressed in words in a literal meaning (red berries, beautiful flowers), belong to tropes. Figurative ones are created when words are used in a figurative meaning. Such epithets are usually called metaphorical. Metonymic transfer of name may also underlie this trope.
An oxymoron is a type of epithet, the so-called contrasting epithets, forming combinations with defined nouns of words that are opposite in meaning (hateful love, joyful sadness).
Comparison
Simile is a trope in which one object is characterized through comparison with another. That is, this is a comparison of different objects by similarity, which can be both obvious and unexpected, distant. It is usually expressed using certain words: “exactly”, “as if”, “similar”, “as if”. Comparisons can also take the form of the instrumental case.
Personification
When describing artistic techniques in literature, it is necessary to mention personification. This is a type of metaphor that represents the assignment of properties of living beings to objects of inanimate nature. It is often created by referring to such natural phenomena as conscious living beings. Personification is also the transference of human properties to animals.
Hyperbole and litotes
Let us note such techniques of artistic expression in literature as hyperbole and litotes.
Hyperbole (translated as “exaggeration”) is one of the expressive means of speech, which is a figure with the meaning of exaggerating what is being discussed.
Litota (translated as “simplicity”) is the opposite of hyperbole - an excessive understatement of what is being discussed (a boy the size of a finger, a man the size of a fingernail).
Sarcasm, irony and humor
We continue to describe artistic techniques in literature. Our list will be complemented by sarcasm, irony and humor.
- Sarcasm means "tearing meat" in Greek. This is evil irony, caustic mockery, caustic remark. When using sarcasm, a comic effect is created, but at the same time there is a clear ideological and emotional assessment.
- Irony in translation means “pretense”, “mockery”. It occurs when one thing is said in words, but something completely different, the opposite, is meant.
- Humor is one of the lexical means of expressiveness, translated meaning “mood”, “disposition”. Sometimes entire works can be written in a comic, allegorical vein, in which one can sense a mocking, good-natured attitude towards something. For example, the story “Chameleon” by A.P. Chekhov, as well as many fables by I.A. Krylov.
The types of artistic techniques in literature do not end there. We present to your attention the following.
Grotesque
The most important artistic techniques in literature include the grotesque. The word "grotesque" means "intricate", "bizarre". This artistic technique represents a violation of the proportions of phenomena, objects, events depicted in the work. It is widely used in the works of, for example, M. E. Saltykov-Shchedrin (“The Golovlevs,” “The History of a City,” fairy tales). This is an artistic technique based on exaggeration. However, its degree is much greater than that of a hyperbole.
Sarcasm, irony, humor and grotesque are popular artistic techniques in literature. Examples of the first three are the stories of A.P. Chekhov and N.N. Gogol. The work of J. Swift is grotesque (for example, Gulliver's Travels).
What artistic technique does the author (Saltykov-Shchedrin) use to create the image of Judas in the novel “Lord Golovlevs”? Of course it's grotesque. Irony and sarcasm are present in the poems of V. Mayakovsky. The works of Zoshchenko, Shukshin, and Kozma Prutkov are filled with humor. These artistic techniques in literature, examples of which we have just given, as you can see, are very often used by Russian writers.
Pun
A pun is a figure of speech that represents an involuntary or deliberate ambiguity that arises when used in the context of two or more meanings of a word or when their sound is similar. Its varieties are paronomasia, false etymologization, zeugma and concretization.
In puns, the play on words is based on homonymy and polysemy. Anecdotes arise from them. These artistic techniques in literature can be found in the works of V. Mayakovsky, Omar Khayyam, Kozma Prutkov, A.P. Chekhov.
Figure of speech - what is it?
The word “figure” itself is translated from Latin as “appearance, outline, image.” This word has many meanings. What does this term mean in relation to artistic speech? Syntactic means of expression related to figures: questions, appeals.
What is a "trope"?
“What is the name of an artistic technique that uses a word in a figurative sense?” - you ask. The term “trope” combines various techniques: epithet, metaphor, metonymy, comparison, synecdoche, litotes, hyperbole, personification and others. Translated, the word "trope" means "turnover". Literary speech differs from ordinary speech in that it uses special turns of phrase that embellish the speech and make it more expressive. Different styles use different means of expression. The most important thing in the concept of “expressiveness” for artistic speech is the ability of a text or a work of art to have an aesthetic, emotional impact on the reader, to create poetic pictures and vivid images.
We all live in a world of sounds. Some of them evoke positive emotions in us, others, on the contrary, excite, alarm, cause anxiety, calm or induce sleep. Different sounds evoke different images. Using their combination, you can emotionally influence a person. Reading works of literature and Russian folk art, we perceive their sound especially keenly.
Basic techniques for creating sound expressiveness
- Alliteration is the repetition of similar or identical consonants.
- Assonance is the deliberate harmonious repetition of vowels.
Alliteration and assonance are often used simultaneously in works. These techniques are aimed at evoking various associations in the reader.
Technique of sound recording in fiction
Sound painting is an artistic technique that is the use of certain sounds in a specific order to create a certain image, that is, a selection of words that imitate the sounds of the real world. This technique in fiction is used both in poetry and prose.
Types of sound recording:
- Assonance means “consonance” in French. Assonance is the repetition of the same or similar vowel sounds in a text to create a specific sound image. It promotes the expressiveness of speech, it is used by poets in the rhythm and rhyme of poems.
- Alliteration - from This technique is the repetition of consonants in a literary text to create some sound image, in order to make poetic speech more expressive.
- Onomatopoeia is the transmission of auditory impressions in special words reminiscent of the sounds of phenomena in the surrounding world.
These artistic techniques in poetry are very common; without them, poetic speech would not be so melodic.
Expressive means of vocabulary and phraseology
In vocabulary and phraseology, the main means of expressiveness are trails(in translation from Greek - turn, image).
The main types of tropes include: epithet, comparison, metaphor, personification, metonymy, synecdoche, periphrasis, hyperbole, litotes, irony, sarcasm.
Epithet- a figurative definition that marks an essential feature for a given context in the depicted phenomenon. An epithet differs from a simple definition in its artistic expressiveness and imagery. Epithets include all colorful definitions, which are most often expressed by adjectives.
Epithets are divided into general language (coffin silence), individually-authored (dumb peace (I.A. Bunin), touching charm (S.A. Yesenin)) and folk-poetic(permanent) ( red Sun, Kind Well done) .
The role of epithets in the text
Epithets are aimed at enhancing the expressiveness of the images of depicted objects, at highlighting their most significant features. They convey the author’s attitude towards the depicted, express the author’s assessment and perception of the phenomenon, create a mood, and characterize the lyrical hero. (“...Dead words smell bad” (N.S. Gumilyov); “...foggy and quiet azure over the sadly orphaned earth” (F.I. Tyutchev))
Comparison- this is a visual technique based on the comparison of one phenomenon or concept with another.
Ways to express comparison:
Instrumental case form of nouns:
Migratory Nightingale
Youth flew by... (A.V. Koltsov)
Comparative form of an adjective or adverb:
These eyes greener sea and cypress trees darker. (A. Akhmatova)
Comparative turnover with unions as if, as if, as if and etc.:
Like a predatory beast to the humble abode
The winner breaks in with bayonets... (M.Yu. Lermontov)
With words similar, similar:
On the eyes of a cautious cat
Similar your eyes (A. Akhmatova)
Using comparative clauses:
Golden leaves swirled
In the pinkish water of the pond,
Like a light flock of butterflies
Flies breathlessly towards a star. (S. Yesenin)
The role of comparisons in the text.
Comparisons are used in the text in order to enhance its imagery and imagery, create more vivid, expressive images and highlighting, emphasizing any significant features of the depicted objects or phenomena, as well as for the purpose of expressing the author’s assessments and emotions.
Metaphor is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena on some basis.
A 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 and etc.
The role of metaphors in the text
Metaphor is one of the most striking and powerful means of creating expressiveness and imagery in a text.
Through the metaphorical meaning of words and phrases, the author of the text not only enhances the visibility and clarity of what is depicted, but also conveys the uniqueness and individuality of objects or phenomena. Metaphors serve as an important means of expressing the author's assessments and emotions.
Personification is a type of metaphor based on the transfer of the characteristics of a living being to natural phenomena, objects and concepts.
The wind sleeps and everything goes numb
Just to fall asleep;
The clear air itself becomes timid
To die in the cold. (A.A. Fet)
The role of personifications in the text
Personifications serve to create bright, expressive and imaginative pictures of something; they enliven nature and enhance conveyed thoughts and feelings.
Metonymy- this is the transfer of a name from one object to another based on their contiguity. Adjacency can be a manifestation of connection:
I three plates ate (I.A. Krylov)
Scolded Homer, Theocritus,
But read Adam Smith(A.S. Pushkin)
Between action and instrument of action:
Their villages and fields for a violent raid
He doomed swords and fires(A.S. Pushkin)
Between an object and the material from which the object is made:
…not on silver, but on gold ate (A.S. Griboyedov)
Between a place and the people in that place:
The city was noisy, the flags were crackling... (Y.K. Olesha)
The role of metonymy in the text
The use of metonymy makes it possible to make a thought more vivid, concise, expressive, and gives the depicted object-like clarity.
Synecdoche is a type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them.
Most often, transfer occurs:
From less to more:
To him and bird doesn't fly
AND tiger not coming... (A.S. Pushkin)
From part to whole:
Beard Why are you still silent?
The role of synecdoche in the text
Synecdoche enhances the expressiveness and expression of speech.
Periphrase, or paraphrase– (in translation from Greek – a descriptive expression) is a phrase that is used instead of any word or phrase.
Petersburg – Peter's creation, city of Petrov(A.S. Pushkin)
The role of paraphrases in the text
Paraphrases allow you to:
Highlight and emphasize the most significant features of what is being depicted;
Avoid unjustified tautology;
Paraphrases (especially expanded ones) allow you to give the text a solemn, sublime, pathetic sound:
O sovereign city,
Stronghold of the northern seas,
Orthodox crown of the Fatherland,
The magnificent dwelling of kings,
Petra is a great creation!(P. Ershov)
Hyperbola- (translated from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any attribute of an object, phenomenon, action:
A rare bird will fly to the middle of the Dnieper (N.V. Gogol)
Litotes- (translated from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any attribute of an object, phenomenon, action:
What tiny cows!
There's less than a pinhead right. (I.A. Krylov)
The role of hyperbole and litotes in the text The use of hyperbole and litotes allows the authors of texts to sharply enhance the expressiveness of what is depicted, to give thoughts an unusual form and a bright emotional coloring, evaluativeness, and emotional persuasiveness. Biographies, stories, facts, photographs Friedrich Schiller short biography
1. The originality of the “Words...” genre.
2. Features of the composition.
3. Language features of the work.
Is it not appropriate for us, brothers, to begin with the old words of the military tales about Igor’s campaign, Igor Svyatoslavich? This song should begin according to the stories of our time, and not according to Boyanov’s custom.
“The Tale of Igor’s Campaign” Literary scholars have long recognized the undoubted artistic value of this work of ancient Russian literature - “The Tale of Igor’s Campaign.” Most researchers of this literary monument agree that the “Word...” was created in the 12th century, that is, shortly after the events discussed in it. The work tells about a real historical event - the unsuccessful campaign of Prince Igor of Novgorod-Seversky against the steppe Polovtsians, which ended in the complete defeat of the princely squad and the capture of Igor himself. Mentions of this campaign were also found in a number of other written sources. As for the “Word...”, researchers primarily consider it as a work of art, and not as historical evidence.
What are the features of this work? Even with a superficial acquaintance with the text of the work, it is easy to notice its emotional richness, which, as a rule, the dry lines of annals and chronicles lack. The author praises the valor of the princes, laments the deaths of the soldiers, points out the reasons for the defeats that the Russians suffered from the Polovtsians... Such an active author’s position, atypical for a simple statement of facts, which chronicles are, is quite natural for an artistic literary work.
Speaking about the emotional mood of “The Lay...”, it is necessary to say about the genre of this work, an indication of which is already contained in its very title. “The Word...” is also an appeal to the princes with a call for unification, that is, speech, narration and song. Researchers believe that its genre is best defined as a heroic poem. Indeed, this work possesses the main features that characterize a heroic poem. The “Word...” tells about events, the consequences of which were significant for the whole country, and also praises military valor.
So, one of the means of artistic expression of “The Word...” is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved thanks to compositional features. What is the composition of the monument to Ancient Rus'? In the storyline of this work, one can notice three main parts: this is the actual story about Igor’s campaign, the ominous dream of the Kyiv prince Svyatoslav and the “golden word” addressed to the princes; Yaroslavna's cry and Igor's escape from Polovtsian captivity. In addition, “The Word...” consists of thematically integral picture-songs, which often end with phrases that play the role of a chorus: “seeking honor for yourself, and glory for the prince,” “O Russian land! You’re already over the hill!”, “for the Russian land, for the wounds of Igor, dear Svyatoslavich.”
Nature paintings play a major role in enhancing the artistic expressiveness of “The Word...”. Nature in the work is by no means a passive background of historical events; She acts as a living being, endowed with reason and feelings. A solar eclipse before a hike portends trouble:
“The sun blocked his path with darkness, the night awakened the birds with the groans of menacing animals, an animal whistle rose, Div perked up, called out on the top of a tree, commanding him to listen to a foreign land: the Volga, and Pomorie, and Posulia, and Surozh, and Korsun, and you, Tmutorokan idol.” .
The image of the sun, the shadow of which covered Igor’s entire army, is very symbolic. In literary works, princes and rulers were sometimes compared to the sun (remember the epics about Ilya Muromets, where the Kyiv prince Vladimir is called the Red Sun). And in the “Word...” itself, Igor and his princely relatives are compared to four suns. But not light, but darkness falls on the warriors. The shadow, the darkness that enveloped Igor’s squad is a harbinger of imminent death.
Igor's reckless determination, which is not stopped by an omen, makes him similar to the mythical heroes-demigods, fearlessly ready to meet their fate. The prince’s desire for glory, his reluctance to turn back, fascinates with its epic scope, probably also because we know that this campaign is already doomed: “Brothers and squad! It is better to be killed than to be captured; So, brothers, let’s sit on our greyhound horses and look at the blue Don.” It should be noted that in this case, the author of “The Lay...”, wanting to enhance the artistic expressiveness of the work, even “moved” the eclipse several days earlier. It is known from the chronicles that it happened when the Russians had already reached the borders of the Polovtsian steppe and turning back was tantamount to a shameful flight.
Before the decisive battle with the Polovtsians, “the earth is humming, the rivers are flowing muddily, the dust is covering the fields,” that is, nature itself seems to be resisting what is about to happen. At the same time, you should pay attention: the earth, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know there will be something to profit from: “Igor is leading an army to the Don. Birds are already awaiting his death in the oak groves, wolves are calling thunderstorms by yarugs, eagles are calling animals on bones with the squeal, foxes are charging at scarlet shields.” When Igor’s army fell in battle, “the grass withered with pity, and the tree bowed to the ground with sadness.” The Donets River appears as a living being in “The Lay...”. She speaks to the prince and helps him during his flight.
Speaking about the means of artistic expression in “The Lay of Igor’s Campaign,” of course, one cannot remain silent about the linguistic features of this work. To attract the attention of his audience and create the appropriate mood, the author used questions to which he himself answers (exclamations emphasizing the emotional tone of the narrative, appeals to the heroes of the work): “What is making noise, what is ringing at this hour early before the dawn?”, “Oh Russian land! You’re already over the hill!”, “And Igor’s brave regiment cannot be resurrected!”, “Yar-Tur Vsevolod! You stand in front of everyone, showering the warriors with arrows, rattling their helmets with damask swords.”
The author of “The Lay...” widely uses epithets characteristic of oral folk poetry: “greyhound horse”, “gray eagle”, “open field”. In addition, metaphorical epithets are also common: “iron shelves”, “golden word”.
In the “Word...” we also find the personification of abstract concepts. For example, the author depicts Resentment as a maiden with swan wings. And what does this phrase mean: “... Karna screamed, and Zhlya rushed across the Russian land, sowing grief to people from a fiery horn”? Who are they, Karna and Zhlya? It turns out that Karna is derived from the Slavic word “kariti” - to mourn the dead, and “Zhlya” - from “to regret”.
In “The Word...” we also encounter symbolic paintings. For example, the battle is described sometimes as a sowing, sometimes as a threshing, sometimes as a wedding feast. The skill of the legendary storyteller Boyan is compared with falconry, and the clash between the Polovtsians and the Russians is described as an attempt by “black clouds” to cover the “four suns.” The author also uses symbolic symbols traditional for folk poetry: he calls the Russian princes falcons, the raven is a symbol of the Polovtsian, and the yearning Yaroslavna is compared to the cuckoo.
The high poetic merits of this work inspired talented people to create new works of art. The plot of “The Lay...” formed the basis of A. P. Borodin’s opera “Prince Igor,” and the artist V. M. Vasnetsov created a number of paintings based on “The Tale of Igor’s Campaign.”
