Methods of literary expression. Fine and expressive means of artistic speech

Means of speech expression- this is one of the most important factors thanks to which the Russian language is famous for its richness and beauty, which has been sung more than once in the poems and immortal works of Russian literary classics. To this day, Russian is one of the most difficult languages ​​to learn. This is facilitated by the huge number of means of expression that are present in our language, making it rich and multifaceted. Today there is no clear classification of means of expression, but two conventional types can still be distinguished: stylistic figures and tropes.

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

Trails- these are figures of speech or words that are used by the author in an indirect, allegorical meaning. These means of artistic expression- an integral part of any work of art. The tropes include metaphors, hyperboles, litotes, synecdoche, metonymies, etc.

The most common means of expression.

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

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

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

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

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

   A figure of speech that contains the conjunctions “as if”, “as if”, “as”, “like” (The skin of her hands was rough, like the sole of a boot).

   - subordinate clause (Night fell on the city and in a matter of seconds everything became quiet, as if there was no such liveliness in the squares and streets just an hour ago).

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

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

• Allegory
• Anaphora
• Gradation
• Inversion
• Alliteration
• Assonance
• Lexical repetition
• Irony
• Metonymy
• Oxymoron
• Multi-Union
• Litotes
• Sarcasm
• Ellipsis
• Epiphora and others.

SUBJECT: Means of linguistic expression in the lyrics of poets of the Silver Age

Content

Introduction…………………………………………………………….. .4

Chapter I: General information about the means of artistic expression. Poetic movements of the Silver Age.

1.1. Means of artistic expression in poetry………….6

1.2. Poetic movements of the Silver Age……………………………...13

Chapter II: Metaphor and symbol in the poetics of Russian symbolists

2.1. Metaphors in poetic language……………………………………16

2.2. Metaphors in the lyrics of V. Bryusov…………………………………….21

2.3. Symbol in the poetry of A. Blok………………………………………………………28

Conclusion…………………………………………………………….36

List of references………………………………………………………37

Introduction

The phrase “Silver Age” is a stable historical and cultural metaphor that arose in the circles of Russian emigrant writers who considered themselves heirs of the richest culture at the turn of the 19th – 20th centuries. Having appeared by analogy with the concept of the “golden age”, which denoted the Pushkin period of Russian literature, the new historical and literary formula soon began to be used in relation to the entire artistic and spiritual heritage of Russian culture of the early twentieth century.

Relevance selected topic is confirmed because the interest in studying the poetry of the Silver Ageand to the means of creating expressiveness and imagery in poetic textssymbolists, acmeists, futurists never weakened.What is the secret of the impact of the work of the Silver Age poets on the reader, what is the role of the speech construction of works in this, what is the specificity of artistic speech in contrast to other types of speech, all these questions have long occupied the minds of linguists, writers, and critics.

Object research is the poetic texts of the Silver Age poets.

Subject research is the means of linguistic expressiveness in the works of A. Blok, V. Bryusov, N. Gumilyov

Purpose is to determine the function and characteristics of the means of linguistic expression in the process of forming imagery and expressiveness in the texts of poems by A. Blok, V. Bryusov, N. Gumilyov.

Tasks:

- consider a brief biographical path of the author;

- identify morphological techniques for creating expressiveness;

Consider the means of linguistic expression;

Determine the features of artistic style and their influence on the use of visual and expressive means

The theoretical and practical basis of the course work consists of articles, monographs, dissertations, various collections devoted to the problems of poetics, and fundamental works of linguists.

Research methods used in the work:

direct observation, descriptive, method of component analysis, direct components, contextual, comparative-descriptive.

Scientific noveltyis that in this study: a relatively complete list of features that distinguish the language of poetry (artistic speech) from practical language (non-fiction speech) is presented and systematized; the linguistic means of expression in the texts of poems by A. Blok, V. Bryusov and other poets of the Silver Age are characterized.

The practical significance of the study is that coursework materials can be used in lectures and practical classes on the modern Russian language in the study of sections “Lexicology”, “Analysis of literary text”, when reading special courses, in classes with in-depth study of literary criticism in gymnasiums and lyceums.

Structure and scope of course work.

The work consists of an introduction, two chapters, a conclusion, and a list of references (48 sources). The total volume was 39 pages.

Chapter I. General information about the means of artistic expression

1.1. Means of artistic expression in poetry.

In literature, language occupies a special position, since it is that building material, that matter perceived by hearing or sight, without which a work cannot be created. An artist of words - a poet, a writer - finds, in the words of L. Tolstoy, “the only necessary placement of the only necessary words” in order to correctly, accurately, figuratively express a thought, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author . The best in a work is achieved through the artistic means of language.[ 18, p. 311]

The means of artistic expression are varied and numerous.

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.

Metaphor(Greek “transfer”) is a word or expression used in a figurative meaning based on the similarity or contrast in any respect of two objects or phenomena: “...and the green of my eyes, and a gentle voice, and the gold of my hair” (M. Tsvetaeva) and a clear example:

Wind. I love him when he's angry

He will cover the rye field with flora

Or plows through the gentle summer

Wave on pink lakes

(I. Annensky)

Metonymy- this is the replacement of a word or concept with another word, one way or another involved in it, adjacent to it:

All the seas kissed our ships,

We honored all the shores with battles.

(N. Gumilyov)

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

And at the door -

pea coats,

overcoats,

sheepskin coats...

(V. Mayakovsky)

Replacing a number with a set:

Millions of you. We are darkness, and darkness, and darkness.

(A. Blok)

Hyperbola(Greek hyperbole - exaggeration) - a means of artistic representation based on excessive exaggeration. Can be idealizing and humiliating. 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:

At one hundred and forty suns the sunset glowed

(V. Mayakovsky)

Let it fill with years

life quota,

costs

only

remember this miracle

tears apart

mouth

yawn

wider than the Gulf of Mexico.

(V. Mayakovsky)

Litotes(Greek litotes - simplicity) - a trope opposite to hyperbole, a figurative expression, a turn of phrase that contains an artistic understatement of the size, strength, meaning 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 waist thinner than a bottleneck”:

Epithet(“attached”) is an artistic, poetic definition that emphasizes any property of an object or phenomenon that the author wants to draw attention to:

Sand. Smooth, flat, single color,

Verbless, pointless,

Sun-scorched sand

I was once in the depths of the sea,

And over him, arguing about strength,

Squall could fight with squall

(K. Balmont)

And we, poet, haven’t figured it out,

Didn't understand infantile sadness

In your seemingly forged poems.

(V. Bryusov)

Personifications - this is a special type of metaphor-allegory - transferring the features of a living being onto inanimate objects and phenomena:

Her nurse lay down next to her in the bedchamber - silence

(A. Blok)

Already to the black Night the pale Day gave up its torch and flew away. (I. Annensky)

Morning. The clouds are still crying, humming,

But the shadow lightens and reluctantly,

And banal behind the network of rain,

I tried to smile the day before.

(I. Annensky)

Symbol(translated from Greek - sign, identifying mark) - a word or object that conventionally denotes the essence of a phenomenon. The symbol acquires a key role in the poetry of the Symbolists and becomes one of the aesthetic dominants of their work:

In the morning fog with unsteady steps

I walked to mysterious and wonderful shores

(Vl. Soloviev)

I am your loving caress

I am illumined and dreaming.

But, believe me, I think it’s a fairy tale

An unprecedented sign of spring

(A. Blok)

Functions of artistic and expressive means (tropes):

Characteristics of an object or phenomenon;

Conveying an emotionally expressive assessment of what is being depicted.

Stylistic figures- a term of rhetoric and stylistics, denoting figures of speech that change the emotional coloring of a sentence. Figures of speech are often used in poetry.

These include: anaphora, antithesis, oxymoron, non-union, syntactic parallelism, epiphora, gradation, inversion, polyunion, rhetorical question.

Anaphora(Greek anaphora - carrying out) - repetition of the initial words, line, stanza or phrase.

When horses die, they breathe,

When the grasses die, they dry up,

When the suns die, they go out,

When people die, they sing songs

(V. Khlebnikov)

Antithesis(Greek antithesis - contradiction, opposition) - a sharply expressed opposition of concepts or phenomena:

Black evening.

White snow.

Wind, wind!

(A. Blok)

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)

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

(S. Yesenin)

Oxymoron(Greek oxymoron - witty-stupid) - a combination of contrasting words with opposite meanings:

Only the ominous darkness shone for us

(A. Akhmatova)

That sad joy

That I was still alive

(S. Yesenin)

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)

Parallelism(from the Greek parallelos - walking next to) - one of the types of repetition (syntactic, lexical, rhythmic); a compositional technique that emphasizes the connection between several elements of a work of art; analogy, bringing together phenomena by similarity:

Your mind is as deep as the sea.

Your spirit is as high as the mountains.

(V. Bryusov)

Gradation- this is a (gradual increase) sequence in the arrangement of something, sequential stages, steps in the transition from one to another:

All edges of feelings, all edges of truth are erased

In worlds, in years, in hours.

(A. Bely)

Chiasmus –(cross-shaped arrangement in the form of the letter “x”) - a stylistic figure consisting in the fact that in adjacent phrases or sentences built on syntactic parallelism, the second sentence is constructed in the reverse order of its members:

The forest is like a fairy-tale reed.

And the reed is like a forest - a baby.

Silence is like life, and life is like silence.

(I. Severyanin)

We can distinguish polyunion, rhetorical question, appeal, parcellation. These and other means of artistic expression are needed in poetry in order to make speech brighter, more colorful, and more emotional. As a result, this gives the text the author’s originality, which is conveyed by the most subtle nuances of thoughts or images.

1.2. Poetic movements of the Silver Age

Symbolism- the first and most significant of the modernist movements in Russia. Based on the time of formation and the characteristics of the ideological position in Russian symbolism, it is customary to distinguish two main stages. Poets who made their debut in the 1890s are called “senior symbolists” (V. Bryusov, K. Balmont, D. Merezhkovsky, Z. Gippius, F. Sologub, etc.). In the 1900s, new forces joined symbolism, significantly updating the appearance of the movement (A. Blok, A. Bely, Vyach. Ivanov, etc.). The accepted designation for the “second wave” of symbolism is “young symbolists.” The “older” and “younger” were separated not so much by age as by the difference in worldviews and the direction of creativity. The philosophy and aesthetics of symbolism developed under the influence of various teachings - from the views of the ancient philosopher Plato to the philosophical systems of V. Solovyov, F. Nietzsche, and A. Bergson, contemporary to symbolists.

Symbolism enriched Russian poetic culture with many discoveries. The symbolists gave the poetic word a previously unknown mobility and ambiguity, and taught Russian poetry to discover additional shades and facets of meaning in the word.

Acmeism(from Greek 12 Akme – the highest degree of something; blossoming; top) arose in the 1910s in the “circle of young people”, who were at first close to symbolism of poets. The impetus for their rapprochement was opposition to symbolic poetic practice, the desire to overcome the speculativeness and utopianism of symbolic theories. In October 1911, a new literary association was founded - the “Workshop of Poets”. From the wide range of participants in the “Workshop”, a narrower and more aesthetically united group stood out: N. Gumilyov, A. Akhmatova, S. Gorodetsky, O. Mandelstam, M. Zenkevich, V. Narbut.

The main significance in the poetry of Acmeism is the artistic exploration of the diverse and vibrant earthly world. The Acmeists valued such elements of form as stylistic balance, pictorial clarity of images, precisely measured composition, and precision of detail. Acmeists have developed subtle ways of conveying the inner world of the lyrical hero. Often the state of feelings was not revealed directly; it was conveyed by a psychologically significant gesture, movement, or listing of things.

Futurism(from Latin - future) arose almost simultaneously in Italy and Russia. For the first time, Russian futurism manifested itself publicly in 1910, when the first futurist collection “The Fishing Tank of Judges” was published (its authors were D. Burliuk, V. Khlebnikov, V. Kamensky). Together with V. Mayakovsky and A. Kruchenykh, these poets soon formed the most influential group in the new movement. Futurism claimed a universal mission: as an artistic program, a utopian dream of the birth of super-art capable of transforming the world was put forward. In formal and stylistic terms, the poetics of futurism developed and complicated the symbolic orientation toward the renewal of poetic language. Syntactic biases manifested themselves among the futurists in violation of the laws of lexical compatibility of words and refusal of punctuation marks. Futurism turned out to be creatively productive: it made us experience art as a problem.

Conclusions on Chapter I:

Means of artistic expression in the works of poets of the Silver Age are designed to make speech richer and brighter, and therefore to attract the attention of the reader or listener, arouse emotions in him, and make him think.

The Silver Age of Russian poetry lasted about twenty years, but during this period poetry gave the world new names, directions, and views.

Each direction brought its own views on the art of words. Their poetry may be incomprehensible, and therefore turns out to be even more attractive to the reader. Poets of the Silver Age often violated all existing rules, norms, laws, their most important law - their own poetic imagination.

Chapter II Metaphor and symbol in the poetics of Russian symbolists

2.1. Metaphor in poetic language

We call a metaphor a change in the meaning of a word based on similarity. Thus, stars are like pearls: “pearl stars”, or “pearls of stars”, or stars - “pearls of the sky” represent various examples of poetic metaphor. The sky resembles a dome or vaults - "vault of heaven", or "firmament", or "heavenly dome" are among the metaphorical expressions. Metaphors are often found in colloquial language: for example, “severe grief”, “bitter disappointment”, “vivid feeling”, “foot of the mountain”, “neck of a bottle”, etc. The meaning of words changes in language according to the categories of metaphor, metonymy, synecdoche, etc. In the process of naming, a new concept is denoted by an old word, but with a changed meaning; for example, “heavy” in general is a designation of weight, otherwise, however, in combination “heavy feeling.” Gradually, the new meaning of the word is separated from the original one and acquires an independent meaning (for example, “handle” is an insert, next to “handle” is a small hand); in the further process of the semantic life of the word, a new meaning can finally displace the old one (for example, “lingering” - with the original meaning “extended”, “sharp” from “cutting”; the so-called “catachresis” becomes possible, i.e. a contradiction between the original meaning of a word and its new use, indicating the oblivion of the original meaning (for example, “red ink”, “steam horse”). The process of forgetting the original meaning is natural in practical speech; here the task of linguistic creativity is to give a name to a new object using old word based on the similarity of certain features (“ink” = “black liquid”). In the future, the feature that served to change word usage may turn out to be practically insignificant (“ink” is a liquid of a known chemical composition, used for certain tasks) .

In the poet's language, metaphors come to life. This revitalization of the metaphorical meaning of the word is achieved by various techniques. Sometimes - with a somewhat unusual combination of metaphorical words, for example, instead of the prosaic “velvet voice” - in I. Annensky, “these sounds gone into velvet.” In other cases - a more or less consistent development of the metaphor; for example, instead of the prosaic “poisoned life”, “poisoned feeling” - in Baratynsky “we drink sweet poison in love” [8, 112]; instead of the usual “bitter words” - A. Blok has an unusual and consistent development of the same metaphor: “The honey of your words is bitter to me." Finally, the revival of a metaphor is often achieved by a new metaphorical formation (“neologism”), replacing a worn-out poetic image with another, similar in meaning, but expressed in different words. For example, instead of the usual “cold feeling”, “cold soul” - in A. Blok “snow blizzard in the heart”, “snow love”, etc. Instead of prosaic “sharp”, “harsh” (= “cutting”) words - in Balmont “I want dagger words” (cf. Shakespeare : "I will speak daggers" - "I will speak with daggers").

In realistic art, when the poet strives to bring his language closer to artistically stylized colloquial speech, any new and individual metaphor, not discolored in the process of development of prosaic language, would seem intrusive and immodest.

Against the background of the metaphorical style of the Symbolist poets, some of the newest poets are distinguished by such modesty and restraint in the use of metaphor. So, compare with Kuzmin:

I will console myself with pathetic joy,

Having bought the same hat as yours.

I’ll hang it on the hanger, sighing,

And I will remember you every time...

The artistic originality of Anna Akhmatova’s language is determined, first of all, by “overcoming” the metaphorical style of her predecessors, the classical simplicity and severity of word usage:

The last time we met was then

On the embankment, where we always met.

There was high water in the Neva

And they were afraid of floods in the city.

He talked about summer and how

That being a poet for a woman is absurd.

How I remember the tall royal house

And the Peter and Paul Fortress!..

In the poetics of Russian symbolists, associated with romanticism by deep internal kinship and direct historical continuity (Balmont, as a student of Fet; Blok, as a successor of Vl. Solovyov), the “metaphorical style” is one of the most significant features of romantic art. The attitude towards metaphor as a method of poetic knowledge of the world is especially clearly expressed by A. Blok in the lyrical drama “The Rose and the Cross”. The scene between the poet Gaetan, penetrating his prophetic spirit into the mysterious life of nature, and the simple knight Bertrand, not sophisticated in poetic experience, clearly shows us that the mystical truth that the romantic poet talks about, from the point of view of a style researcher, is a poetic metaphor . The knight sees the sea - waves, raging wind and splashes of foam, gray fog over the sea and the light of the rising sun - for the poet the fabulous world of the underwater city opens with its mysterious inhabitants, the treacherous fairy Morgana, the protector of believers, Saint Gwennole.

Ocean shore...

Gaetan: Now the underwater city is not far away.

Can you hear the bells ringing?

Bertrand: I hear

How the noisy sea sings.

G.: And you see,

Gwennole's gray robe rushes

Above the sea?

B.: I see like a gray fog

Diverges.

G: Now you see

How did the roses play on the waves?

B.: Yes. This sun rises behind the fog.

G.: No! Those are the scales of an evil siren!..

Morgana rushes through the waves... Look:

Gwennole raises the cross over her!

B.: The fog thickened again.

G.: Do you hear groans?

The treacherous siren sings...

Don't hesitate, friend! Through the fog - forward!

For a romantic poet, like Novalis, the poet’s perception is not an arbitrary fiction, but the revelation of a different, deepest reality. In response to the words of the doubting Bertrand: “You’re telling me fairy tales again,” Alexander Blok says through the lips of the poet Gaetan: “Can’t there be truth in a fairy tale?” These words of the poet contain a romantic justification for the “style of metaphor.”

The metaphorical animation of nature can be observed in many symbolist poets. The metaphor becomes reality when, in romantic lyrics, nature really comes to life and is filled with mysterious and fairy-tale creatures - mermaids, elves, mountain spirits, etc. We can consider romantic mythology as the result of the process of “realization of metaphor”: the metaphorical animation of nature always precedes romantic mythology, artistically justifies and prepares its appearance.

The preparation of a wonderful vision in the process of realizing the metaphor can be found in the famous description of the “Ukrainian night” by Gogol, where this process is not yet completed, the night visions are still hidden in the poet’s soul and have not received independent reality, as if they stopped at the border between metaphor and myth:

"The forests became motionless, inspired<...>and cast a huge shadow from themselves. These ponds are quiet and peaceful; the cold and darkness of their waters are gloomily enclosed in the dark green walls of the gardens. The virgin thickets of bird cherry trees timidly stretched out their roots into the spring cold and occasionally babble with their leaves, as if angry and indignant, when the beautiful anemone - the night wind, creeping up instantly, kisses them.<...>And above everything is breathing, everything is marvelous, everything is solemn. But the soul is both immense and wonderful, and crowds of silver visions harmoniously arise in its depths.”

And in K. Balmont’s poem “Fantasy” the metaphor became a myth, the process of realization was completed, the poet’s “visions” became a fact of objective reality:

Like living statues, in the sparkles of the moonlight,

The outlines of pines, spruces and birches tremble slightly;

The prophetic forest calmly sleeps, the bright shine of the moon accepts

And he listens to the murmur of the wind, all filled with secret dreams.

Hearing the quiet groan of a blizzard, pine trees whisper, spruce trees whisper,

It is pleasant for them to rest in a soft velvet bed,

Without remembering anything, without cursing anything,

Slender branches bend, listen to the sounds of midnight.

Someone's sighs, someone's singing, someone's mournful prayer,

Both melancholy and ecstasy - like a star sparkling,

It’s like light rain flowing, and the trees seem to be dreaming of something,

Something that no one will ever dream of.

These are the spirits of the night rushing, these are their eyes sparkling,

At the deep hour of midnight, spirits rush through the forest.

What is tormenting them? What's worrying?..

Wed. other examples from Balmont: “Ghosts” (“The Rustle of Leaves”), “The Forgotten Bell Tower”, etc.

Conclusion: many symbolist poets consciously focused on classical examples, but offered their own interpretation of the classical theme. This is evidenced by the literal repetition of the titles of many poems, for example:

“Dagger” by M. Lermontov and “Dagger” by V. Bryusov;

“Troika” by N. Nekrasov and “Troika” by A. Bely;

“Monument” by A. Pushkin, V. Bryusov, V. Khodasevich

2.2. Metaphors in the lyrics of V. Bryusov

At the first stage of the existence of symbolism, V. Bryusov was the main theoretician of the new movement and its recognized leader. Strength of character, the ability to subordinate life to set goals, the ability to do thorough daily work - these qualities were core in V. Bryusov’s personality. Bryusov’s aesthetic views definitely took shape already in the 90s. Their essence is an understanding of symbolism as a purely literary phenomenon, a position of complete autonomy of art, its independence from public life, religion, and morality. With aphoristic clarity, this attitude was expressed in the poetic line “Perhaps everything in life is just a means for brightly melodious poetry” [38, p. 225]

In Bryusov's lyrics, feelings towards natural phenomena are replaced by the use of other metaphors, more rare and exotic. And here we can talk about the metaphorical depiction of nature as a technique of romantic art, but not about its intimate lyrical animation. So in the description of the sunset (“Evening Songs”):

And leaving the black depths,

On an azure day from the darkness

A bright swarm of peacocks takes off,

Opening their hundred-colored tails.

And Night, a hunter with a faithful bow,

He puts an arrow on the string,

She soared with a drawn-out sound,

And the birds fall into the darkness.

The entire brood was struck down by arrows...

There is no trace of the motley flock...

Metaphors such as “peacocks of dawn,” for which there are no corresponding associations in ordinary linguistic metaphors, give the impression of a poetic figure, a fantastic transformation of the world. Similar in another description of the sunset (“On Saimaa”):

Yellow silk, yellow silk

According to blue satin

Invisible hands sew

Towards the golden horizon

A bright fiery shard

The sun sets in the hour of separation.

Festive purple fabric

Someone is cleaning up,

Spreading the scarlet,

And in the yellow-azure water

They rushed about and shone

Red fire birds... 14,378

In the cycles “Evening Songs” and “On Saimaa” (the collection “Wreath”) you can find a number of examples that fantastically transform pictures of nature using metaphorical style techniques. A separate analogy to these paintings is provided by some of Gogol’s fantastic landscapes (“Terrible Vengeance”). “It shines quietly all over the world: then the moon appeared from behind the mountain. As if with a Damascus road and white as snow, it covered the mountainous bank of the Dnieper with muslin<...>. Those forests that stand on the hills are not forests: they are hairs growing on the shaggy head of a forest grandfather. Under her the beard is washed in water, and under the beard and above the hair there is a high sky<...>, the wind rippled the water, and the whole Dnieper turned silver, like wolf fur in the middle of the night.”

In general, Bryusov is not a poet of nature. Among Russian symbolists, he is the founder of the “poetry of the modern city.” The urban poetry of the Symbolists is a particularly characteristic expression of the romantic aspirations of modern art. Everyday life appears before us here fantastically transformed, mysterious and ghostly; this impression is achieved through the metaphorical “defamiliarization” of its familiar, prosaic elements. The modern city, predominantly at night, with its electric lamps and rotating signs, with its light-filled restaurants, stone multi-storey buildings and tall factory chimneys, railway stations and ringing trams, becomes wonderful and mysterious for the poet, as already in the image of earlier romantics ( “Nevsky Prospekt” by Gogol, “The Double and “White Nights” by Dostoevsky, “The Man of the Crowd” by Edgar Poe, “At the Window” by Hoffmann, etc.) Let us recall, for contrast, the image of the modern city in Pushkin’s classical poetry: a simple and precise description, lovingly highlighting artistic and essential details, not alien to everyday life, real prosaic trifles:

The merchant gets up. The peddler is coming.

A cab driver is heading to the stock exchange.

The okhtenka is in a hurry with the jug.

The morning snow crunches under it... etc.

As much as metaphors are inappropriate and impossible in such a description, they play such a significant role in the romantic depiction of the fantastic and monstrous everyday life of the City. First of all, from modern poets - in the urban poetry of Emil Verhaeren ("Villes tentacularies" - "Cities with tentacles"), whose student and interpreter was V. Bryusov. Bryusov has numerous examples of such descriptions in the collections “To Rome and the World” and “Wreath”:

The moons are burning with electricity

On arched long stems;

The telegraph strings are ringing

In invisible and tender hands;

Circles of amber dials

Magically lit up over the crowd,

And thirsty sidewalk slabs

Cool peace touched...

Or more:

The posters are screaming, lushly colorful,

And the word signs moan,

And the store lights are sharp

They sting like cries of triumph.

And with the further implementation of the metaphor, directly introducing the miraculous into the objective world, after its appearance was prepared by a number of corresponding metaphors:

Burn with white lights

The cramped streets! Doors to hell

Sparkle with flames before us,

So that we don't wander around at random!

Like the faces of women in the blue light

Naked, deepened,

Raise your furious lashes

Above all, children of Satan!..

The transition from the usual romantic description of the city, its ghostly and fantastic existence, to a miraculous phenomenon from the world of another reality takes place in Bryusov’s urban poetry constantly and imperceptibly - apocalyptic visions of the “last days” haunt him precisely in this ghostly and monstrous everyday life of the “City”. Compare: "In the Days of Desolation", "The Last Day", "Glory to the Crowds", "Spirits of Fire", especially "The Horse of Bled":

The street was like a storm. The crowds passed by

It was as if they were being pursued by an inevitable Doom.

Omnibuses, cabs and cars raced,

The furious stream of people was inexhaustible.

The signs, spinning, sparkled with alternating eyes,

From the sky, from the terrible height of thirty floors;

They merged into a proud anthem with the roar of wheels and the gallop

Shouts from newsmen and the cracking of whips.

The merciless light poured from the chained moon.

Moons created by the lords of nature.

In this light, in this hum, the souls were young,

The souls of intoxicated, city-drunk creatures.

And suddenly - in this storm, in this hellish whisper,

In this delirium embodied in earthly forms,

An alien, dissonant stomp rushed in,

Drowning out the rumbles, chatter, and the rumble of carriages.

A fiery-faced horseman appeared from the turn,

The horse flew swiftly and became with fire in its eyes.

But there was a moment - trembling, there were looks - fear!

The horseman had a long scroll in his hands,

Fiery letters proclaimed the name: Death...

In bright stripes, like the yarn of lush threads,

High above the street the firmament suddenly flared up...

Among the visions inhabiting the ghostly and fantastic city, one should stop our attention before others - this is a fleeting meeting with an unfamiliar woman, a mysterious Stranger, in which the romantic poet sees his only beloved, a fairy-tale bride, a Beautiful Lady. (Cf. the development of this motif in Gogol’s Nevsky Prospekt and Dostoevsky’s White Nights.)

Oh, these meetings are fleeting

On the noisy streets of the capitals!

Oh, these unaccountable glances,

White eyelash conversation!..

The description of this meeting as mysterious and wonderful and the very transformation of the beautiful person she meets into the mysterious Stranger is accomplished with the help of metaphorical style techniques.

She passed and intoxicated

The languid smell of perfume

And with a quick glance she shaded

The possibility of impossible dreams.

Through the street's iron roar

And drunk from the blue fire,

I suddenly heard greedy laughter,

And the snakes entwined me.

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

And in the horror of the stubborn struggle,

Between oaths, prayers and threats,

I was entangled in black moisture

Her hair flowing.

A number of transformative metaphors surrounding the image of the beloved signify the entry into the world of another reality. The poem “In a Restaurant” is similar in structure: the poet recognizes his mysterious Friend in the unknown beauty. At the same time, the Stranger’s repeated metaphors are “the spirits are breathing”, “the silks are whispering anxiously” (cf. also “you are breathing black silks, the sable has opened”). The content of the poem, to which the poet attaches such significance (“I will never forget!..”) is precisely in this revelation of the image of his only beloved, in the scene of mystical confession:

You rushed with the movement of a frightened bird,

You passed like my dream, easy...

And the spirits sighed, the eyelashes fell asleep,

The silks whispered anxiously.

But from the depths of the mirrors you threw me glances,

And throwing it, she shouted: “Catch it!”

So, in modern life and in the depths of centuries, the poet loved to identify the lofty and beautiful and affirmed these properties as the stable foundations of human existence.

2.3. Symbol in the poetry of A. Blok

Symbolism as a poetic movement gets its name from a special type of metaphor. In prose speech, we often designate emotional experience with a metaphorical word that originally belongs to the outside world, for example. “cold house”, “dark thoughts”, “empty dreams”, etc. A symbol is a special case of metaphor - an object or action (i.e. usually a noun or verb) taken to denote a mental experience.

The folk song has its own traditional symbolism. Pearls represent grief (tears); picking a rose means kissing a girl, tasting her love.

Alexander Blok also uses traditional symbolism in the lyrical drama “Rose and Cross” (symbolism of the Rosicrucians; compare Goethe’s poem “The Sacraments”):

Oh, how far from you, Izora,

The one given by the fairy

That faded cross! -

Bloom, oh rose,

In the treasured garden...

Stay on guard, Bertrand!

Your rose will not fade...

But in this case we already have an example of an individual interpretation of a traditional symbol. The symbolism of Blok's drama cannot be revealed in precise terms; for example, rose = love, earthly happiness; cross = suffering, renunciation. Its content is much broader and more uncertain. It expresses the complex and individual experience of the mystic poet, which cannot be revealed in a logically precise formula and which is understandable only in its figurative expression, in this individual combination of images.

In Symbolist poetry, based on an individualistic approach to mystical experience, we usually encounter individual symbolism or traditional religious symbols in a new, individual interpretation. In this respect, the lyrics of the Russian Symbolists reveal a deep similarity with the poetic art of the German Romantics.

The poet of symbols par excellence in modern Russian poetry is Alexander Blok. His poetic speech is a language of habitual allegories, like a dictionary of conventional mysterious signs, which he uses with exceptional skill to express in poetic symbols mystical experiences that cannot be expressed in logically precise words of poetic language. Reading his works, we can compile for ourselves the following dictionary of metaphorical images: “night”, “darkness”, “fogs” (especially “blue fogs”), “twilight”, “haze”, “wind”, “blizzard”, “blizzard” ", "dawn", "dawn", "azure", "spring", "distant country", "distant shore" - finally, the usual metaphors of passion: "flame", "bonfire", "wine", "cup" etc. Such allegories convey the events of the poet’s mystical life; in particular, the early “Poems about a Beautiful Lady” form a subtle interweaving of translucent hints to a different, mysterious and inexpressible meaning:

We live in an old cell

At the water spill.

Here in the spring there is a lot of fun,

And the river sings.

And as a harbinger of fun,

On the day of spring storms

Cells will pour into our doors

Light azure.

And full of treasured trembling

Long awaited years

We'll rush off-road,

Into the unspeakable light.

However, in Blok’s later poems there is a mysterious double meaning, a mystical background that deepens every situation and gives it a different, endless perspective; and here the poet denotes, with the help of a metaphorical allegory, the contact of two worlds, the feeling of another reality entering this world. For example, verse. “The Commander’s Steps” begins with the usual images of fog outside the window, dead night, approaching dawn, the meaning of which is doubled between the material and allegorical, but can be interpreted in a realistic sense - to the place where the rooster crows “from a blessed, unfamiliar, distant land” does not foretell the appearance of a ghost. 21.8

Blok’s teacher in the field of poetic allegory is Vl. Solovyov, who was rightly called the first Russian symbolist. In Solovyov's poetry we find almost all of Blok's favorite symbols. So, spring: “The still invisible already sounds and blows, the coming spring is the breath of eternity”; azure: “Oh, how you have so much pure azure and black, black clouds.” Today my queen appeared before me all in azure" 73; dawn: "The dawn fought with the last stars" 74; roses: "Light from darkness. The faces of your roses could not rise above the mountain" 75; "the circle of the earth and the sky were breathing with roses" 76; fog; distant shore: "In the morning fog with unsteady steps I walked towards the mysterious and wonderful shores" 77; blizzards - sometimes snowy, sometimes sultry (cf. Blok has the usual combination “to burn out in the snows of oblivion” 78): “in the land of frosty blizzards, among the gray mists, you were born” 79 ; “Under the alien power of the sultry blizzard, having forgotten previous visions” 80 ; “The ice is melting, the heartfelt subsides blizzards" etc. However, in Solovyov the symbolic image usually appears in a fixed and undeveloped form, like a constant metaphorical cliche; in this respect, his symbols are often close in nature to the traditional religious symbolism of such poems as "The Song of the Ophites" and "U my queen has a high palace...", etc.

In Blok's youthful poetry, poetic symbols are also motionless and stereotyped; solving a metaphorical allegory in an abstract concept is not difficult:

Let the month shine - the night is dark.

May life bring happiness to people,

There is spring in my love soul

Will not replace stormy bad weather... 10.3

This is naive, abstractly logical symbolism of the type “The darker the night, the brighter the stars,” with a frank indication of the allegorical nature of word usage: “love is spring” - besides, it is “in my soul” (cf. what was said above regarding the description of the night in Gogol : "crowds of silver visions" arise "in the depths of the soul"). The same in another poem of the same years, especially close to Solovyov’s symbolism (“In the morning fog...”):

I was on my way to bliss. The path shone

Evening dew with red light,

And in my heart, freezing, I sang

If in his early Blok he proceeds from the symbolism of Vl. Solovyov, then at the peak of his creativity he gives us the same symbols in a new, individual use, no longer in the stereotyped and fixed form of image-concepts, but in movement and development, in a diverse combination with each other, bold and original deviations from the use of prose speech . A few examples will explain the laws of his art.

We say in colloquial language "cold feeling", "cold heart". “I defeated cold oblivion” (Balmont) is a common prosaic metaphor. Blok updates this metaphor, brings life back to it, or rather, he creates an original metaphorical neologism similar to the usual metaphor of the language “snow heart”, further developing this original symbol: “a heart covered in a snow blizzard”:

And there is no more enviable fate for me -

Burn out in the snows of oblivion,

And on the coastal snow field

To die under a ringing blizzard.10,224

The development of a metaphor leads to its realization. The poet no longer says that “a snow blizzard is in the heart” (cf. “and in the heart, fading, a distant voice sang the song of dawn”). The snow blizzard takes on a kind of independent life, becomes an objective reality, or at least a poetic reality. Born from the “heart” of the poet, it carries the poet himself. The poet dies “under a ringing blizzard”, “on a snowy field”.

The symbol of a “snow blizzard”, “blizzard” in itself is already of dual origin: it connects an updated metaphor like “cold heart”, “snow heart” with another metaphorical series - it “raised a whole storm”, in a “whirlwind of passion”, etc. P. - from where, as a metaphorical new formation, Blok’s expression about his love: “blizzard”, “blizzard”. Usually both rows are connected in a permanent "snow blizzard" symbol. Thus, in the poem “The Heart is Devoted to the Rioters”:

I forgot everyone I loved

I twisted my heart like a blizzard,

I threw my heart from the white mountains,

It lies at the bottom! 11, 251

The main metaphor “snow blizzard”, in turn, becomes the object of further metaphorization; eg: “snow blizzard” and then “snow canopy” - “curtain of silver”:

There is no escape from the blizzards

And it’s fun for me to die.

Led into an enchanted circle

She curtained her blizzards with silver... 11,250

This feature of the metaphorical style is brought into verse even more consistently. "Her songs", where the original symbol of the "snow blizzard" is overgrown with a number of new metaphors - "silver blizzard", "yarn" of white threads, a white "sleeve" with which the snow Maiden hugs the poet, and finally - "whirling blizzard", like " aerial carousel" (usually: dance, round dance):

With the sleeve of my bluebells

I'll strangle you.

The silver of my joys

I'll stun you.

On an aerial carousel

I'll spin it around.

Yarn of tangled tow

Shoes. 11,220

Thanks to the consistent development of metaphor, the whole poem becomes metaphorical in its theme. Moreover, even a whole cycle of poems is entitled “Snow Mask”, an entire book is entitled “Earth in the Snow”. The poet talks here about snow blizzards and blizzards, about snow love and the snow Maiden, which became a poetic reality in his work. He writes in the preface: “And now the Earth is covered in snow<...>. And the snows, darkening the radiance of the One Star, will subside. And the snow covering the ground - before spring. While the snow blinds the eyes and the cold has shackled the soul, blocking the paths, the lonely song of the peddler can be heard from afar: a triumphantly sad, inviting melody carried by the blizzard.”

We have a new complication of an already familiar symbol where the third metaphorical series is connected with the image of a “snow blizzard” - the image of a “troika” carrying away the poet or his happiness. We say in colloquial language: happiness has passed, flashed by, or life has rushed by. Blok renews the old metaphor, creating the image of a troika carrying away happiness:

Earthly happiness is late

On your crazy three!

If in this passage the source of the metaphorical allegory is exposed (“happiness... in the C grade... belated”), then in its further development the metaphor-symbol becomes the theme of the whole poem and acquires, to some extent, poetic reality:

I'm pinned to the bar counter.

I've been drunk for a long time. I don't care.

There's my happiness in the troika

Gone into the silver smoke.

Flies on a troika, sank

In the snow of time, in the distance of centuries...

And it just overwhelmed my soul

Silvery haze from under the horseshoes...

Throws sparks into the deep darkness,

Sparks all night, light all night...

The bell babbles under the arc

About the fact that happiness has passed...

And only the golden harness

Visible all night... Heard all night...

And you, soul... deaf soul...

Drunk drunk... drunk drunk... 11,168

The combination of the image of a troika, carrying away happiness, life and love, and the image of a snow blizzard, a blizzard, sweeping the heart, is given in the following poem. The troika no longer takes away happiness - it takes away the poet himself and his snowy friend. The symbol has reached its final realization:

Here she is. Overshadowed

All the smart ones, all the friends,

And my soul entered

Into her designated circle.

And under the sultry moan of snow

Your features have blossomed.

Only the troika rushes with a ringing sound

In snow-white oblivion.

You waved your bells

She took me to the fields...

You choke me with black silks,

The sable opened...

And about that free will

The wind cries along the river,

And they ring and go out in the field

Bells and lights?.. 11,254

We would say in prosaic speech: “she lit me up with her love, rushed away, carried me along with her.” But a metaphor-symbol has its own artistic laws when it consistently develops - from a simple allegory into a poetic theme. Therefore, it is not easy to answer, regarding such an extended metaphor, what the “troika” means in the above poems, and, even more so, what the “bells” and “golden stream” mean. Once it has appeared, the symbolic image develops according to its own internal laws, and the logical precision and immobility of an abstract concept can no longer follow this individual and dynamic development. But the symbolic meaning of this image certainly shines through its poetic reality. It is not for nothing that realist writers, for example, Gorodetsky, in their literary manifesto directed against symbolism and mysticism ("Apollo", 1913, No. 1), rebelling against symbolism as a poetic method, indignantly pointed to Blok and demanded from young poets a real troika, and not symbolic 91. At the same time, literary Old Believers, not accustomed to the language of allegories, the reading of which had become completely familiar and easy for us, often complained about the incomprehensibility of Blok’s poetry. We recall a letter to the editors of Birzhevye Vedomosti, sent relatively recently (in 1909), the author of which asked what the meaning of a poem by a young “decadent” was, distinguished by such incomprehensible words:

You are as bright as innocent snow.

You are as white as a distant temple.

I don't believe this night is long

And hopeless evenings...

However, this poem, in its still very primitive symbolism, approaches the old scheme of fixed metaphors, concepts like: “The darker the night, the brighter the stars.” Much more difficult for prosaic “understanding” is, of course, created by such unusual in colloquial speech and bold metaphorical new formations as the above verses: “I threw my heart from the white mountains, it lies at the bottom” and many others. etc.

Conclusion:

Alexander Blok lived a short life - only forty years, but his creative path reflected the most difficult years in the fate of his Motherland with truly extraordinary brightness, depth and sincerity. (“I wasn’t looking for a better life...” (42, p. 5) Blok’s lyrics are a unique phenomenon. With all the diversity of its problems and artistic solutions, with all the differences between the early poems and the subsequent ones, it appears as a single whole, as one unfolded in time the work as a reflection of the “path” traveled by the poet.

- the language of allegory in Blok’s poetry represents only an example of the consistent application of artistic trends equally inherent in the work of all symbolists.

Conclusions on Chapter II:

Analyzing the above, we can conclude that the lexical and syntactic means of expression in the poetry of V. Bryusov and A. Blok are very diverse. It is worth noting their active use by authors in their work. The use of metaphors and symbols allows symbolist poets to have an emotional, aesthetic impact on the reader, to describe the inner world of a person and the human condition. Complex, intricate words and expressions are the incorruptible style of silversmith poets. The originality, that is, the originality of the authors’ creativity makes the reader involuntarily re-read and once again plunge into the diverse, interesting, colorful world of their works.

Conclusion

In the lyrics of the Silver Age poets, we saw various modifications of the poetics of allegories. We said that the generic features of symbolism as a literary school are revealed in individual symbolist poets by individual characteristics that make up their unique identity. However, behind these individual possibilities, the generic features of romantic poetics emerge with complete originality, forming a harmonious and internally connected artistic system. We tried to approach this system in one of its most significant stylistic features. We defined the art of romanticism as the “poetics of metaphor” and in the new life consciousness of mystical poets we found the deepest sources of the metaphorical style.

Having carried out analysis and synthesismeans of linguistic expressiveness in the poetry of the Silver Age, it should be emphasized that the expressiveness of speech in creativity can be created both by linguistic units of lexical groups (expressive-colored vocabulary, everyday vocabulary, neologisms, etc.), if the author uses them skillfully and in a unique way, and figurative means of language (epithets, personifications, metaphors, etc.), syntactic figures (inversion, anaphora, appeals, etc.). It is worth noting that a special place in the lyrics of Bryusov and Blok is occupied by metaphors and symbols that reflect the emotions of the lyrical hero, helping to identify the main intention of the authors.

In their poems there is love, and a tender feeling for nature, expressed by precise comparisons, and a jubilant feeling of love for this beauty around, and sadness. It was in these feelings, actions, impulses that the poets of the Silver Age so subtly used syntactic and lexical means that fill their work and make it modern.

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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.

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

A gorilla came out to them,

The gorilla told them

The gorilla told them,

She sentenced.

(Korney Chukovsky)

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.

Example: “the glory of Herostratus”

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

Oh spring without end and without edge -

An endless and endless dream! (A. Blok)

ANAPHOR (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'!…

(N.A. 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)

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

...When suddenly he came out of the forest

The bear opened its mouth at them...

(A.N. Krylov)

UNION (asyndeton) - a sentence with the absence of unions 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.

HYPERBOLE (Greek hyperbole - exaggeration) is a type of trope based on exaggeration. By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules.

And prevented the cannonballs from flying

A mountain of bloody bodies.

(M.Yu. Lermontov)

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)

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) is 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.

He passes the doorman with an arrow

Flew up the marble steps

(A. Pushkin)

IRONY (Greek eironeia - pretense) - the 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)

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.”

Your Pomeranian is a lovely Pomeranian,

No more than a thimble!

(A.S. Griboedov)

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”...) .

Nineteenth century, iron,

Truly a cruel age!

By you into the darkness of the night, starless

Careless abandoned man!

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)

POLYCONJUNCTION (polysyndeton) - excessive repetition of conjunctions, creating additional intonation coloring.

And it’s boring and sad, and there’s no one to give a hand to...

(M.Yu. Lermontov)

IMAGE is 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.

(N.A. Nekrasov)

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

That sad joy that I was alive? (S. Yesenin)

PERSONIFICATION (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)

PARALLELISM (from the Greek parallelos - walking side by side) is an 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)

PARTELLATION is an expressive syntactic technique of intonational division of a sentence into independent segments, graphically highlighted as independent sentences.

“How courteous! Of good! Sweet! Simple!”

(Griboyedov)

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

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 characteristics, as a rule, the most characteristic ones, enhancing the figurativeness of speech.

"Sleep, my beautiful baby..."

(M.Yu. Lermontov)

RHETORICAL QUESTION (from the Greek rhetor - speaker) is one of the stylistic figures, such a structure of speech, mainly poetic, in which a statement is expressed in the form of a question. A rhetorical question does not presuppose an answer; it only enhances the emotionality of the statement and its expressiveness.

RHETORICAL EXCLAMATION (from the Greek rhetor - speaker) is one of the stylistic figures, a structure of speech in which this or that concept is affirmed in the form of an exclamation. A rhetorical exclamation sounds emotional, with poetic inspiration and elation.

Yes, to love as our blood loves

None of you have been in love for a long time!

RHETORICAL ADDRESS (from the Greek rhetor - speaker) is one of the stylistic figures. In form, being an appeal, a rhetorical appeal is conditional in nature. It imparts the necessary author’s intonation to poetic speech: solemnity, pathos, cordiality, irony, etc.

And you, arrogant descendants

The famous meanness of famous fathers.

(M. Lermontov)

RHYME (Greek “rhythmos” - harmony, proportionality) - a type of 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.

SARCASM (Greek sarkazo, lit. - tearing meat) - contemptuous, caustic ridicule; the highest degree of irony.

SYNECDOCHE (Greek synekdoche - correlation) is one of the tropes, a type of metonymy, consisting in transferring 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:

And there are pea coats at the door,

overcoats, sheepskin coats...

(V. Mayakovsky)

COMPARISON is a word or expression containing the likening of one object to another, one situation to another.

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)

SILENCE - unspokenness, reticence. A deliberate break in a statement that conveys the emotion of the speech and assumes that the reader will guess what was said.

I do not love, O Rus', your timid

Thousands of years of slave poverty.

But this cross, but this ladle is white...

Humble, dear features!

(I.A. Bunin)

ELLIPSIS (Greek elleipsis - loss, omission) is 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.

We sat down in ashes, cities in dust,

Swords include sickles and plows.

EPITHET (Greek epitheton - appendix) - a figurative definition that gives an additional artistic characteristic to someone or something,” a word that defines an object or phenomenon and emphasizes any of its properties, qualities or characteristics. A feature expressed by an epithet, as if attaches to the subject, enriching it semantically and emotionally.

But I love, golden spring,

Your continuous, wonderfully mixed noise;

You rejoice, without stopping for a moment,

Like a child without care and thoughts... (N. Nekrasov)

EPIPHOR (Greek epiphora - repetition) - a stylistic figure opposite to anaphora: repetition of the last words or phrases. Rhyme is a type of epiphora (repetition of the last sounds).

The guests came ashore

Tsar Saltan invites them to visit... (A.S. Pushkin)

hyperbole exaggeration character

Expressiveness of Russian speech. Means of expression.

Visual and expressive means of language

TRAILS -using the word figuratively. Lexical argument

List of tropes	Meaning of the term	Example
Allegory	Allegory. A trope consisting in an allegorical depiction of an abstract concept using a concrete, life-like image.	In fables and fairy tales, cunning is shown in the form of a fox, greed - in the form of a wolf.
Hyperbola	A means of artistic representation based on exaggeration	Huge eyes, like spotlights (V. Mayakovsky)
Grotesque	Extreme exaggeration, giving the image a fantastic character	The mayor with a stuffed head at Saltykov-Shchedrin.
Irony	Ridicule, which contains an assessment of what is being ridiculed. A sign of irony is a double meaning, where the truth is not what is directly expressed, but its opposite, implied.	Where are you getting your head from, smart one? (I. Krylov).
Litotes	A means of artistic representation based on understatement (as opposed to hyperbole)	The waist is no thicker than a bottle neck (N. Gogol).
Metaphor, extended metaphor	Hidden comparison. A type of trope in which individual words or expressions are brought together by the similarity of their meanings or by contrast. Sometimes the entire poem is an expanded poetic image	With a sheaf of your oat hair You belong to me forever. (S. Yesenin.)
Metonymy	A type of trope in which words are brought together by the contiguity of the concepts they denote. A phenomenon or object is depicted using other words or concepts. For example, the name of the profession is replaced by the name of the instrument of activity. There are many examples: transfer from a vessel to its contents, from a person to his clothes, from a locality to residents, from an organization to participants, from an author to works	When will the shore of hell take me forever, When will Pero, my joy, fall asleep forever... (A. Pushkin.) I ate on silver and gold. Well, eat another plate, son.
Personification	Such an image of inanimate objects in which they are endowed with the properties of living beings, the gift of speech, the ability to think and feel	What are you howling about, wind? night, Why are you complaining so madly? (F. Tyutchev.)
Periphrase (or paraphrase)	One of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its most characteristic features, enhancing the figurativeness of speech	King of beasts (instead of lion)
Synecdoche	A type of metonymy consisting in transferring the meaning of one object to another based on the quantitative relationship between them: part instead of the whole; whole in the meaning of part; singular in the meaning of general; replacing a number with a set; replacing a species concept with a generic concept	All flags will be visiting us. (A. Pushkin.); Swede, Russian stabs, chops, cuts. We all look at Nap oleons.
Epithet	Figurative definition; a word that defines an object and emphasizes its properties	The grove dissuaded golden with Birch's cheerful tongue.
Comparison	A technique based on comparing a phenomenon or concept with another phenomenon	The fragile ice lies on the chilly river like melting sugar. (N. Nekrasov.)

FIGURES OF SPEECH

A generalized name for stylistic devices in which a word, unlike tropes, does not necessarily have a figurative meaning. Grammatical argument.

Figure	Meaning of the term	Example
Anaphora (or unity)	Repetition of words or phrases at the beginning of sentences, poetic lines, stanzas.	I love you, Petra’s creation, I love your strict, slender appearance...
Antithesis	Stylistic device of contrast, opposition of phenomena and concepts. Often based on the use of antonyms	And the new so denies the old!.. It ages before our eyes! Already shorter than the skirt. It's already longer! The leaders are younger. It's already older! Kinder morals.
Gradation	(graduality) - a stylistic means that allows you to recreate events and actions, thoughts and feelings in the process, in development, in increasing or decreasing significance	I do not regret, do not call, do not cry, Everything will pass like smoke from white apple trees.
Inversion	Rearrangement; a stylistic figure consisting of a violation of the general grammatical sequence of speech	He passed the doorman like an arrow and flew up the marble steps.
Lexical repetition	Intentional repetition of the same word in the text	Forgive me, forgive me, forgive me! And I forgive you, and I forgive you. I don’t hold any grudges, I promise you that, But only you will forgive me too!
Pleonasm	Repetition of similar words and phrases, the intensification of which creates a particular stylistic effect.	My friend, my friend, I am very, very sick.
Oxymoron	A combination of words with opposite meanings that do not go together.	Dead souls, bitter joy, sweet sorrow, ringing silence.
Rhetorical question, exclamation, appeal	Techniques used to enhance the expressiveness of speech. A rhetorical question is asked not with the goal of getting an answer, but for the emotional impact on the reader. Exclamations and addresses enhance emotional perception	Where will you gallop, proud horse, and where will you land your hooves? (A. Pushkin.) What a summer! What a summer! Yes, this is just witchcraft. (F. Tyutchev.)
Syntactic parallelism	A technique consisting in similar construction of sentences, lines or stanzas.	I lookI look at the future with fear, I look at the past with longing...
Default	A figure that leaves the listener to guess and think about what will be discussed in a suddenly interrupted statement.	You'll be going home soon: Look... So what? my To tell the truth, no one is very concerned about fate.
Ellipsis	A figure of poetic syntax based on the omission of one of the members of a sentence, easily restored in meaning	We turned villages into ashes, cities into dust, and swords into sickles and plows. (V. Zhukovsky.)
Epiphora	A stylistic figure opposite to anaphora; repetition of a word or phrase at the end of poetic lines	Dear friend, and in this quiet At home. The fever hits me. I can't find a quiet place HomeNear the peaceful fire. (A. Blok.)

VISUAL POSSIBILITIES OF VOCABULARY

Lexical argument

Terms	Meaning	Examples
Antonyms, contextual antonyms	Words with opposite meanings. Contextual antonyms - it is in the context that they are opposite. Outside the context, this opposition is lost.	Wave and stone, poetry and prose, ice and fire... (A. Pushkin.)
Synonyms, contextual synonyms	Words that are close in meaning. Contextual synonyms - it is in the context that they are close. Without context, intimacy is lost.	To desire - to want, to have a desire, to strive, to dream, to crave, to hunger
Homonyms	Words that sound the same but have different meanings.	Knee - a joint connecting the thigh and lower leg; passage in birdsong
Homographs	Different words that match in spelling but not in pronunciation.	Castle (palace) – lock (on the door), Flour (torment) – flour (product)
Paronyms	Words that are similar in sound but different in meaning	Heroic - heroic, double - dual, effective - valid
Words in figurative meaning	In contrast to the direct meaning of the word, which is stylistically neutral and devoid of imagery, the figurative meaning is figurative and stylistically colored.	Sword of justice, sea of ​​light
Dialectisms	A word or phrase that exists in a certain area and is used in speech by the residents of this area	Draniki, shanezhki, beetroot
Jargonisms	Words and expressions that are outside the literary norm, belonging to some kind of jargon - a type of speech used by people united by common interests, habits, and activities.	Head - watermelon, globe, pan, basket, pumpkin...
Professionalisms	Words used by people of the same profession	Galley, boatswain, watercolor, easel
Terms	Words intended to denote special concepts of science, technology, and others.	Grammar, surgical, optics
Book vocabulary	Words that are characteristic of written speech and have a special stylistic connotation.	Immortality, incentive, prevail...
Prostorechnaya vocabulary	Words, colloquial use, characterized by some roughness, reduced character.	Blockhead, fidgety, wobble
Neologisms (new words)	New words emerging to represent new concepts that have just emerged. Individual author's neologisms also arise.	There will be a storm - we will argue And let's be brave with her.
Obsolete words (archaisms)	Words displaced from modern language others denoting the same concepts.	Fair - excellent, zealous - caring, stranger - foreigner
Borrowed	Words transferred from words in other languages.	Parliament, Senate, deputy, consensus
Phraseologisms	Stable combinations of words, constant in their meaning, composition and structure, reproduced in speech as entire lexical units.	To be disingenuous - to be a hypocrite, to beat the crap - to mess around, to hastily - quickly

EXPRESSIVE-EMOTIONAL VOCABULARY

Conversational.	Words that have a slightly reduced stylistic coloring compared to neutral vocabulary, are characteristic of spoken language, and are emotionally charged.	Dirty, loud, bearded
Emotionally charged words	Estimatedcharacter, having both positive and negative connotations.	Adorable, wonderful, disgusting, villain
	Words with suffixes of emotional evaluation.	Cute, little bunny, little brain, brainchild

PICTURE POSSIBILITIES OF MORPHOLOGY

Grammatical argument

1. Expressive usage case, gender, animation, etc.	Something air it is not enough for me, I drink the wind, I swallow the fog... (V. Vysotsky.) We are relaxing in Sochach. How many Plyushkins divorced!
2. Direct and figurative use of verb tense forms	I'm comingI went to school yesterday and I see announcement: “Quarantine.” Oh and was delighted I!
3. Expressive use of words from different parts of speech.	Happened to me most amazing story! I got unpleasant message. I was visiting at her place. The cup will not pass you by this.
4. Use of interjections and onomatopoeic words.	Here's closer! They gallop... and into the yard Evgeniy! "Oh!"- and lighter than the shadow Tatyana jump to the other entrance. (A. Pushkin.)

SOUND EXPRESSIVENESS

Means	Meaning of the term	Example
Alliteration	A technique for enhancing imagery by repeating consonant sounds	Hissingfoamy glasses and blue flames of punch...
Alternation	Alternation of sounds. Change of sounds that occupy the same place in a morpheme in different cases of its use.	Tangent - touch, shine - shine.
Assonance	A technique to enhance imagery by repeating vowel sounds	The thaw is boring to me: the stench, the dirt, in the spring I am sick. (A. Pushkin.)
Sound recording	A technique for enhancing the visual quality of a text by constructing phrases and lines in such a way that would correspond to the reproduced picture	For three days I could hear how on a boring, long road They tapped the joints: east, east, east... (P. Antokolsky reproduces the sound of carriage wheels.)
Onomatopoeia	Using the sounds of language to imitate the sounds of living and inanimate nature	When the mazurka thunder roared... (A. Pushkin.)

PICTURE POSSIBILITIES OF SYNTAX

Grammatical argument

1. Rows of homogeneous members of a sentence.	When empty And weak a person hears flattering feedback about his dubious merits, he revels in with your vanity, gets arrogant and completely loses your tiny ability to be critical of your own actions and to your person.(D. Pisarev.)
2. Sentences with introductory words, appeals, isolated members.	Probably,there, in their native places, just as in my childhood and youth, the ashes bloom in the swampy backwaters and the reeds rustle, who made me, with their rustling, their prophetic whispers, that poet, who I have become, who I was, who I will be when I die. (K. Balmont.)
3. Expressive use of sentences of various types (complex, complex, non-union, single-component, incomplete, etc.).	They speak Russian everywhere; this is the language of my father and my mother, this is the language of my nanny, my childhood, my first love, almost all moments of my life, which entered my past as an integral property, as the basis of my personality. (K. Balmont.)
4. Dialogic presentation.	- Well? Is it true that he is so good-looking? - Surprisingly good, handsome, one might say. Slender, tall, blush all over his cheek... - Right? And I thought his face was pale. What? What did he look like to you? Sad, thoughtful? - What do you? I've never seen such a mad person in my life. He decided to run with us into the burners. - Run into the burners with you! Impossible!(A. Pushkin.)
5. Parcellation - a stylistic technique of dividing a phrase into parts or even individual words in a work in order to give the speech intonation expression through its abrupt pronunciation. Parcel words are separated from each other by dots or exclamation marks, subject to other syntactic and grammatical rules.	Liberty and Fraternity. There will be no equality. Nobody. No one. Not equal. Never.(A. Volodin.) He saw me and froze. Numb. He fell silent.
6. Non-union or asyndeton - deliberate omission of conjunctions, which gives the text dynamism and swiftness.	Swede, Russian stabs, chops, cuts. People knew: somewhere, very far from them, there was a war going on. To be afraid of wolves, don’t go into the forest.
7. Polyconjunction or polysyndeton - repeating conjunctions serve to logically and intonationally emphasize the parts of the sentence connected by the conjunctions.	The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and glowed, and went somewhere into infinity. I will either burst into tears, or scream, or faint.

Tests.

1. Choose the correct answer:

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

a) metaphorb) hyperbole) metonymy

2.You'll freeze in the shine of moonlight,

You're moaning, doused with foam wounds.

(V. Mayakovsky)

a) alliterationb) assonancec) anaphora

3. I drag myself in the dust and soar in the skies;

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

a) oxymoronb) antonymc) antithesis

4. Let it fill up with years

life quota,

costs

only

remember this miracle

tears apart

mouth

yawn

wider than the Gulf of Mexico.

(V. Mayakovsky)

a) hyperbolab) litotav) personification

5. Choose the correct answer:

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

a) epithetb) similec) metaphor

6.And in autumn days The flame that flows from life and blood does not go out. (K. Batyushkov)

a) metaphorb) personificationc) hyperbole

7. Sometimes he falls in love passionately

In your elegant sadness.

(M. Yu. Lermontov)

a) antithesis) oxymoronc) epithet

8.The diamond is polished with a diamond,

The line is dictated by the line.

a) anaphora b) comparison c) parallelism

9. At the mere suggestion of such a case, you would have to tear out the hair from your head by the roots and let go streams... what am I saying! rivers, lakes, seas, oceans tears!

(F.M. Dostoevsky)

a) metonymy b) gradation c) allegory

10. Choose the correct answer:

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

a) metaphorb) metonymy c) personification

11. The quitter sits at the gate,

With my mouth wide open,

And no one will understand

Where is the gate and where is the mouth.

a) hyperbolab) litotav) comparison

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

a) epithetb) metaphorc) oxymoron

Option	Answer

As one of the art forms, literature has its own based on the capabilities of language and speech. They are generally referred to as “visual means in literature.” The task of these means is to extremely expressively describe the depicted reality and convey the meaning, artistic idea of ​​the work, as well as create a certain mood.

Paths and figures

Expressive and figurative means of language are various tropes and the word “trope” translated from Greek means “turnover”, that is, it is some kind of expression or word used in a figurative meaning. The author uses the trope for greater imagery. Epithets, metaphors, personification, hyperbole and other artistic devices are tropes. Figures of speech are figures of speech that enhance the emotional tone of a work. Antithesis, epiphora, inversion and many others are figurative means in literature, referred to under the general name of “figures of speech”. Now let's look at them in more detail.

Epithets

The most common literary device is the use of epithets, that is, figurative, often metaphorical, words that pictorially characterize the object being described. We will find epithets in folklore (“the feast is honorable,” “the treasury is countless in gold” in the epic “Sadko”) and in author’s works (“the cautious and dull” sound of a fallen fruit in Mandelstam’s poem). The more expressive the epithet, the more emotional and vivid the image created by the artist of words.

Metaphors

The term “metaphor” came to us from the Greek language, as does the designation of most tropes. It literally means "figurative meaning". If the author likens a drop of dew to a grain of diamond, and a crimson bunch of rowan to a fire, then we are talking about a metaphor.

Metonymy

A very interesting figurative means of language is metonymy. Translated from Greek - renaming. In this case, the name of one object is transferred to another, and a new image is born. The great dream come true of Peter the Great about all the flags that will “visit us” from Pushkin’s “Bronze Horseman” - this word “flags” replaces in this case the concepts of “country, state”. Metonymy is readily used in the media and in colloquial speech: “White House,” for example, is not a building, but its inhabitants. When we say “the teeth are gone,” we mean that the toothache has disappeared.

Synecdoche in translation is a ratio. This is also a transfer of meaning, but only on a quantitative basis: “the German moved to attack” (meaning German regiments), “no bird flies here, no beast comes here” (we are, of course, talking about many animals and birds).

Oxymoron

A figurative means of expression in literature is also an oxymoron. which may also turn out to be a stylistic error - a combination of incompatible things; in literal translation this Greek word sounds like “witty-stupid.” Examples of an oxymoron are the names of famous books “Hot Snow”, “Virgin Soil Upturned” or “The Living Corpse”.

Parallelism and parcellation

Parallelism (the deliberate use of similar syntactic structures in adjacent lines and sentences) and parcellation (dividing a phrase into separate words) are often used as an expressive technique. An example of the first can be found in the book of Solomon: “A time to mourn, and a time to dance.” Example of the second:

• “I'm going. And you go. You and I are on the same path.
  I will find. You won't find it. If you follow along."

Inversion

What other visual means can be found in artistic speech? Inversion. The term comes from a Latin word and translates as “rearrangement, reversal.” is the rearrangement of words or parts of a sentence from normal to reverse order. This is done so that the statement looks more significant, biting or colorful: “Our long-suffering people!”, “A crazy, stunned age.”

Hyperbola. Litotes. Irony

Expressive visual means in literature are also hyperbole, litotes, and irony. The first and second fall into the category of exaggeration-understatement. The description of the hero Mikula Selyaninovich, who with one hand “pulled” out of the ground a plow that all of Volga Svyatoslavovich’s “good squad” could not budge, can be called hyperbole. Litota, on the contrary, makes the image ridiculously small when a miniature dog is said to be “no bigger than a thimble.” Irony, which literally sounds like “pretense” in translation, is intended to call an object not what it seems. This is a subtle mockery in which the literal meaning is hidden under the opposite statement. For example, here is an ironic appeal to a tongue-tied person: “Why, Cicero, can’t put two words together?” The ironic meaning of the address lies in the fact that Cicero was a brilliant orator.

Personification and comparison

The picturesque paths are comparison and personification. These visual means in literature create a special poetics that appeals to the cultural erudition of the reader. Simile is the most frequently used technique, when a swirling whirlwind of snowflakes near a window pane is compared, for example, with a swarm of midges flying towards the light (B. Pasternak). Or, as in Joseph Brodsky, a hawk flies in the sky “like a square root.” When personified, inanimate objects acquire “living” properties through the will of the artist. This is the “breath of the pan”, from which “the skin becomes warm”, in Yevtushenko, or the small “maple tree” in Yesenin, which “sucks” the “green udder” of the adult tree near which it grew up. And let us remember the Pasternak blizzard, which “sculpts” “circles and arrows” on the window glass!

Pun. Gradation. Antithesis

Among the stylistic figures we can also mention pun, gradation, antithesis.

A pun, a term of French origin, involves a witty play on the different meanings of a word. For example, in the joke: “I pulled my bow and went to a masquerade dressed as Cipollino.”

Gradation is the arrangement of homogeneous members according to the strengthening or weakening of their emotional intensity: entered, saw, took possession.

Antithesis is a sharp, stunning opposition, like Pushkin’s in “Little Tragedies,” when he describes the table at which they recently feasted, and now there is a coffin on it. The device of antithesis enhances the dark metaphorical meaning of the story.

Here are the main visual means that the master uses to give his readers a spectacular, relief and colorful world of words.