Figures of speech: definitions and examples. Lexical and syntactic means of imagery (expressiveness)

Syntactic figures are a way of combining words into integral units.

With the help of syntactic structures, a special semantic sound of the text is achieved: the order of words in a sentence (inversion technique).

Under the breath of bad weather,

The waters became swollen and darkened.

And they were covered with lead -

And through their harsh gloss

The wind is cloudy and purple.

Shines with a rainbow ray,

Showers golden sparks,

Sows roses of fire...

(F. Tyutchev)

Forming a sentence with a special intonation - exclamation and question marks:

When the obscurity disappears.

My painful soul?

When will I see the permit?

Am I entangled in nets?

(E. Baratynsky)

Everything is a thought and a thought!

Poor artist!

Oh, her priest!

There is no oblivion for you...

(E. Baratynsky)

Using a semantic dash:

Without you, I want to tell you a lot,

In front of you, I want to listen to you...

(M. Yu. Lermontov)

Punctuation marks in the text are a kind of “score” of a literary word. It is these syntactic figures that help us, readers, understand the author’s attitude towards what is depicted and feel the pathos. Thus, it is unacceptable to perceive Pushkin’s “I erected a monument to myself...” as a text conveying solemnity and majesty; this poem should not be read as an ode, since the author did not focus on the pathos of style, did not formalize the poem exclamation marks and rhetorical questions, this is a philosophical reflection on life and creativity, this is an expression of one’s poetic purpose. The same mistake is often found on posters dedicated to Moscow anniversaries.

Quoting Pushkin as the most authoritative poet who wrote about Moscow, the ancient capital, the authors of the posters “edit” the poet: “Moscow! There is so much in this sound! But in the seventh chapter of “Eugene Onegin” it is different: “Moscow... How much has merged in this sound for the Russian heart!” Pushkin places the main emotional emphasis on national nature capital as the patriarchal center of Russian life.

Intonation and graphic alignment of the text. Italics. I. Myatlev in the poem “ Agriculture" uses italics to present a French replica in a poetic text in Russian letters. This parody technique allows the author to express social conflict, disunity noble class and peasants:

The paunchy headman arrives.

And twenty men.

Se son, same croix, le paisan

De Madame Burdyukov.

(I. Myatlev)

In prose texts, italics are used by word artists to emphasize some remark or phrase that is important in different semantic contexts (irony, delight, illustration of “someone else’s word,” etc.).

In the novel by I. A. Goncharov “ An ordinary story“We encounter italics as a device in different functional meanings: “However, he avoided not only his uncle, but also the crowd, as he said. He either worshiped his deity, or sat at home, in his office, alone, reveling in bliss, analyzing it, breaking it down into infinitesimal atoms. He called it creating a special world... but he rarely and reluctantly went to work, calling it a bitter necessity, a necessary evil or sad prose...” The italics in this case are a parody of the romantic ideals and worldview of Alexander Aduev.

At the beginning of the novel, I. A. Goncharov uses italics in order to correlate the image of an ardent romantic with Pushkin’s heroes, thereby enabling the reader to compare plot situations and determine his attitude towards Alexander Aduev: “He stood for an hour in front of the Bronze Horseman, but not with with a bitter reproach in the soul, like poor Eugene, but with an enthusiastic thought.” It should be noted that Goncharov does not italicize the actual quote from “ Bronze Horseman""with a bitter reproach in my soul," since the main emphasis is on the plot situation, and not on the relationship of "poor Eugene" with the "lord of fate."

The ellipsis, or default technique, expresses the moment of greatest tension:

as the saying goes,

to another world...

Emptiness...

crashing into the stars...

(V. Mayakovsky)

Introduction to literary criticism (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin, etc.) / Ed. L.M. Krupchanov. - M, 2005

Target:provide information about lexical and syntactic means of imagery in the Russian language.

The “Dictionary of Russian Synonyms” gives the following synonyms for the noun imagery- artistry, convexity, liveliness, metaphoricality, colorfulness, eloquence, relief, allegory, picturesqueness, picturesqueness, expression, figurativeness, figurativeness, richness, expressiveness, expressiveness, brightness, wingedness, colorfulness (http://enc-dic.com/synonym /Obraznost-173623.html). This indicates that the definition of this quality of speech is ambiguous.

Imagery is a complex and multi-valued category of stylistics, which has different interpretations due to different understandings of the concept and term. image. “It must be borne in mind that the very term “image” has many very different meanings, especially when accompanied by such epithets as "poetic", "artistic", "creative", or used in such expressions as "thinking in images". Everywhere in such cases, the term “image” receives a difficult to formulate mass of semantic shades and becomes differently semantically loaded” (Losev A.F., 1994, p. 175).

The matter is complicated by the fact that, as D.B. notes. Olkhovikov, “the derivative word-term “imagery” is in difficult relationships synonymy with a number of semantic-stylistic categories that are close in meaning: “expressiveness”, “expressiveness”, “metaphorical” (in the broad sense of the word), in the works of some authors - “symbolic” and “poetic” (for example, in A.A. Potebni)" (Olkhovikov D.B., 2000, p. 341).

Usually isolated tropical imagery based on the use of words and expressions in figurative meaning(from the term trails) And non-tropical. Non-tropical imagery of speech (a statement, part of a text or a text as a whole) is understood as its compliance with the author’s aesthetic task. From this point of view, “in the structure of a literary work, acute expressive-figurative functions may even fall to the share of semantically neutral, completely ugly pronominal words” (Vinogradov V.V., 1963, p. 125). Thus, "imagery artistic speech does not come down to the use of figurative means of the language itself, “figurative meanings” of words, their expressive-stylistic significance, etc. (Shmelev D.N., 1964, p. 105).

Tools for creating tropical imagery- trails:

Paths (Greek tropoi) is a term of ancient stylistics denoting the artistic understanding and ordering of semantic changes in a word, various shifts in its semantic structure (Literary Encyclopedia).

Trails (based on materials from the Bolshoi encyclopedic dictionary) (from Greek. tropos“turn, turn of speech”) in stylistics and poetics are words and phrases used not in the usual, but figurative sense; "in a narrower sense - various ways word transformations, with the help of which mainly in artistic, oratorical and journalistic speech(but also in everyday life and science, in advertising, etc.) achieve the aesthetic effect of expressiveness. The latter is determined by the general aesthetic factors of figurative motivation (cf. Artistic image) and functional-stylistic justification (cf. Style) individual elements in the structure of the whole work, the meaning and depth of the image.

IN different eras, in different genres and even in separate parts In the text, the artist’s attitude towards T. is different. The abundance or absence of T. in a certain text does not in itself indicate artistry. But, characterizing the linguistic form of expression, T. are always connected with the content, form and embody it.

Together with the so-called figures (cf. stylistic figures), themes became the object of study in ancient and medieval poetics and rhetoric (see Aristotle, Quintilian, J. C. Scaliger, G. Hirobosk). According to this tradition, T. are considered as a kind of figures of “reinterpretation” among the usual figures of “adding” (repetition and its types), “decreasing” (Ellipse) and “rearrangement” (Inversion).

T. is distinguished by its two-dimensionality of meaning, the presence of both a direct, literal meaning and a figurative, allegorical one. But it was not possible to clearly distinguish T. from figures, since “incrementations of meaning” are also inherent in intonation-syntactic variations of verbal concatenations, that is, figures. General concepts such T. as Metaphor, Metonymy, Personification, Symbol, and more specific - Synecdoche, Catachresis, Paronomasia, etc., not only generalized the experience of outstanding masters of words, but also characterized historical development national language."

Words are built on the relationship between direct and figurative meanings three types of tropes: similarity ratio ( metaphor), in contrast ( oxymoron), by contiguity ( metonymy). Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litotes, epithet, etc. “In sophisticated scholastic descriptions, T. and figures make up a nomenclature of 200 or more units.” Many of these terms are also used by modern philology (http://enc-dic.com/enc_sovet/Trop-90466.html).

Types of tropes described by theorists of antiquity, the Renaissance and the Enlightenment (review given mainly from: http://enc-dic.com/enc_lit/Trop-4599.html):

1. Epithet (Greek epitheton, Latin apositum) is a defining word, mainly when it adds new qualities to the meaning of the word being defined (epitheton ornans - decorating epithet). Wed. in Pushkin: “ruddy dawn”; Special attention theorists pay attention to an epithet with a figurative meaning (cf. Pushkin: “my harsh days”) and an epithet with the opposite meaning - the so-called. oxymoron (cf. Nekrasov: “poor luxury”).

2. Comparison (Latin comparatio) - revealing the meaning of a word by comparing it with another for some reason common feature(tertium comparationis). Wed. from Pushkin: “ faster than a bird youth." Discovering the meaning of a word by determining its logical content is called interpretation and refers to figures.

3. Periphrase (Greek periphrasis, Latin circumlocutio) - “a method of presentation that describes a simple subject through complex phrases.” Wed. Pushkin has a parodic periphrase: “The young pet of Thalia and Melpomene, generously gifted by Apollo” (vm. young talented actress). One type of paraphrase is euphemism - replacement with a descriptive phrase of a word considered obscene for some reason. Wed. from Gogol: “get by with the help of a scarf.”

Unlike the T. listed here, which are built on the enrichment of the unchanged basic meaning of the word, the following T. are built on shifts in the basic meaning of the word.

4. Metaphor (Latin translatio) - “the use of a word in a figurative meaning.” The classic example given by Cicero is “the murmur of the sea.” The confluence of many metaphors forms allegory And riddle .

5. Synecdoche (Latin intellectio) - “the case when a whole thing is recognized by a small part or when a part is recognized by the whole.” The classic example given by Quintilian is “stern” instead of “ship”.

6. Metonymy (Latin denominatio) - “replacement of one name for an object with another, borrowed from related and related objects.” Wed. from Lomonosov: “read Virgil.”

7. Antonomasia (Latin pronominatio) - replacement own name another, “as if a nickname borrowed from outside.” The classic example given by Quintilian is “destroyer of Carthage” instead of “Scipio”.

8. Metalepsis (Latin transumptio) - “a replacement that represents, as it were, a transition from one trope to another.” Wed. from Lomonosov - “ten harvests have passed...: here, after the harvest, of course, it’s summer, after the summer, a whole year.”

These are T., built on the use of words in a figurative meaning; theorists also note the possibility of simultaneous use of a word in a figurative and literal sense (figure synoikiosis ) and the possibility of a combination of contradictory metaphors (T. catachresis - Latin abusio).

Finally, a series of words are identified in which not the main meaning of the word changes, but one or another shade of this meaning. These are:

9. Hyperbola - exaggeration brought to the point of “impossibility”, artistic exaggeration. Wed. from Lomonosov: “running, faster than wind and lightning,” in colloquial speech: so hungry that I'll eat a whole bull!.

10. Litotes (litotes ) - artistic understatement: give me a penny for milk!

11. Irony - expression in words of a meaning opposite to their meaning. Wed. Lomonosov’s characterization of Catiline by Cicero: “Yes! He is a timid and meek man...”

Means of creating non-tropical imagery- syntactic (rhetorical) figures, i.e. unusual constructions of syntactic units. These are figures of speech, stylistic devices that enhance the expressiveness of speech.

Dictionary of synonyms V.N. Trushina gives a list of 36 syntactic figures: amplification, anacoluth, anaphora (This was on Victory Day, May 9. /It was in a sunny city, in a park, where lush greenery, bright flowers and cheerful children - everything speaks of spring and life. /It was where above mass grave the eternal flame (gas) burns for the fallen. + epiphora, joint, mirror, ring - repetitions according to their location in adjacent sentences; sound : assonance And alliteration, morphemic, morphological, lexical, syntactic, semantic - by type of repeating unit ), annomination, anticlimax, antithesis, apocope, attraction, non-union, hyperbole, gradation(ascending And descending) , discrimination, inversion, climax, correction, litotes, polycase, polyunion(...I’ll pee with my stomach, and nostrils, and legs, and heels, / I’ll give two-kopeck thoughts a crazy scope. (Sasha Cherny)) , parallelism, paronomasia, parcellation(She really is different from most modern actresses, good or bad. Playing by your own first priority system. Crying real tears, not glycerin ones. Bleeding out non-cranberry juice. Without imitating anyone. Without imitating anything(Today's newspaper, August 16, 1997)) , pleonasm, polyptoton, retardation, rhetorical figure, rhetorical question(Who didn't curse stationmasters Who hasn't argued with them? Who, in a moment of anger, did not demand the fatal book from them? ...Who does not consider them monsters human race, equal... to the Murom robbers? (A.S. Pushkin)) , rhetorical exclamation, rhetorical appeal(Brothers and sisters!- in Stalin's speech in the first days of the war ), simploca, solecism, tautology, exact repetition, default, ellipsis, emphase, epiphora. Many scientists also add techniques such as anadiplosis (And so it happened - I stumbled and got stuck... got stuck and blushed; blushed And lost; got lost And looked up; looked up And circled them; circled them and - measured...(F. Dostoevsky)), nominative topics ( Moscow! On the maps of the world there is no such word for us, filled with such content (L. Leonov) ), nominative chain(Night, street, lantern, pharmacy, meaningless and dim light. (A. Blok)) , infinitive chain (Fight and search, find and don’t give up!), parentesa (A personality is valuable primarily not for its peculiarity, originality (although it is, of course, impossible without this!), but by the richness of content and spiritual height, which have universal human significance(V. Kozhinov)), rhetorical (anti)correction and others.
Please note: some phenomena (comparison, hyperbole, etc.) are referred to by different scientists as means of different imagery: tropical and non-tropical.

There are different phrasal components, which are called figures of speech. These are usually phrases or sentences.

They are expressive syntactic constructions that convey the expression of the text.

If a trope is a word with a figurative meaning (it is related to vocabulary), then a figure is a part of a sentence that plays a certain function in it (syntax comes into its own here).

Let's consider examples various figures of speech.

Periphrase– replacing a word or phrase with a descriptive expression or phrase.

Greetings, desert corner,

Haven of tranquility, works and inspiration.

A.S. Pushkin

The daylight has gone out;

The evening fog fell on the blue sea.

Make noise, make noise, obedient sail,

Worry beneath me, sullen ocean.

A.S. Pushkin

Inversion– a stylistically significant change in the usual word order.

Where people's eyes break short,

the head of the hungry hordes,

in the crown of thorns revolutions

The sixteenth year is coming.

V. Mayakovsky

Anaphora- unity of command, repetition of words or phrases at the beginning of a sentence, poetic lines or stanzas.

I love you, Petra's creation,

I love your strict, slender appearance...

A.S. Pushkin

Epiphora- repetition of a word or phrase at the end of a poetic line.

Steppes and roads

The score is not over;

Stones and rapids

Account not found.

E. Bagritsky

Antithesis– contrast, opposition of phenomena and concepts.

I am a king - I am a slave, I am a worm - I am a god!

G.R. Derzhavin

When in a circle killer worries

Everything disgusts us - and life is like a pile of stones,

Lying on us - suddenly God knows from where

It will bring joy to our souls,

The past will envelop and embrace us

And the terrible load will be lifted in a minute.

F. Tyutchev

Gradation– arrangement of words and expressions in ascending or descending order of importance.

I do not regret, do not call, do not cry …

S. Yesenin

The earth is warmed by the breath of spring.
More not the beginning spring, and harbinger ,
and even more not a harbinger – hint,
What will happen,
what's nearby
that the deadline is not far off.

V. Tushnova

An oxymoron is a combination of words with opposite meanings for the purpose of an unusual, impressive expression of a new concept.

But their beauty is ugly

I soon comprehended the mystery,

And I'm bored with their incoherent

And a deafening tongue.

M. Lermontov

Toy sad joy that I was alive.

S. Yesenin

A rhetorical question– a figure of speech in interrogative form that does not require an answer.

What are you howling about, night wind?

Why are you complaining so madly?..

Either dully plaintive or noisy?

F. Tyutchev

Familiar clouds! How do you live?

Who are you going to threaten now?

M. Svetlov

Rhetorical appeal- an emphatic appeal to something inanimate or to someone unfamiliar.

Hello tribe

Young, unfamiliar! Not me

I will see your mighty late age,

When you outgrow my friends...

A.S. Pushkin

Flowers, love, village, idleness,

Fields! I am devoted to you with my soul.

I'm always happy to notice the difference

Between Onegin and me...

A.S. Pushkin

Rhetorical exclamation– expressing a statement in exclamatory form.

What a summer! What a summer!

Yes, it's just witchcraft.

F. Tyutchev

Default- a figure that gives the listener or reader the opportunity to guess and reflect on what could be discussed in a suddenly interrupted utterance.

Every house is foreign to me, every temple is empty to me,

And everything is the same, and everything is one,

But if there is a bush along the way

Rises, especially - rowan...

M. Tsvetaeva

Parallelism– similar construction of adjacent phrases, lines or stanzas.

I look at the future with fear,

I look at the past with longing .

M. Lermontov.

I came to you with greetings,
Tell me what Sun is up…
Tell me what the forest woke up...
Tell me what with the same passion...
Tell me what from everywhere
I feel joyful...

Ellipsis- omission of a word that can be easily recovered from the context.

The beast needs a den

The way for the wanderer...

M. Tsvetaeva

The rich man fell in love with the poor woman, man - girl

A scientist fell in love with a stupid woman,

I fell in love with ruddy - pale,

I fell in love with the good - the bad...

M. Tsvetaeva

Parcellation- deliberate division of a phrase in order to enhance expressiveness and expressiveness.

All sorts of poems for the sake of the last line.

Which comes first.

M. Tsvetaeva

"I? To you? Did you give me your phone number? What nonsense! - Nikitin said without understanding.

Antithesis(see trails) is syntactic figure, if parts of a sentence are opposed, rather than individual words (antonyms) (No Parisian clothes - a harsh sweater and a long gray skirt tied with a wide belt(about M. Tsvetaeva)).

Anaphora– repetition of identical words or consonances at the beginning of a poetic line or prose phrase, for example: I look for the future with fear, // I look for the past with longing(M. Yu. Lermontov).

Asyndeton- intentional omission of coordinating conjunctions to give the phrase more dynamics. For example: Booths, women, Boys, shops, lanterns, Palaces, gardens, monasteries, Bukharians, sleighs, vegetable gardens, Merchants, shacks, men, Boulevards, towers, Cossacks, Pharmacies flash past; fashion stores, balconies, lions on the gates...(A.S. Pushkin).

Introductory words and phrases- a word, combination of words or sentences not related to other words; can express the writer’s feelings (joy, regret, surprise, etc.) in connection with the message: fortunately, joyfully, unfortunately, horror and etc.; also express the speaker’s assessment of the degree of reality of what is being communicated (confidence, assumption, possibility, uncertainty, etc.): of course, undoubtedly, it seems, it goes without saying, certainly, it would seem and etc.; indicate the connection of thoughts, the sequence of presentation and the source of what is being communicated: therefore, in particular, for example, in addition, therefore, firstly and etc.; in my opinion..., in my opinion..., they say, I remember, they say and etc.; represent an appeal to the interlocutor or reader in order to attract his attention to what is being communicated, to instill a certain attitude towards the facts presented: see, understand, imagine, please, suppose, suppose and etc.; show the degree of normality of what is being said (it happens, it happens, as usual etc.), express the expressiveness of the statement (in fairness, in conscience, it’s funny to say etc.) For example: “Watch your comrades during a debate, discussion, polemic - you will, of course, be convinced that they behave differently”(L. Pavlova).

Question and answer move (hypophora)- this is a segment of monologue speech that combines a rhetorical question (or a series of questions) and an answer to them; question of thought. The question-and-answer move consists of the speaker, as if anticipating the listeners’ objections, guessing them possible questions, he formulates such questions himself and answers them himself. This technique involves the recipient in the dialogue and makes him a participant in the search for truth. How is it used? effective remedy in hidden controversy. Example: Tens of thousands of soldiers disappeared without a trace, not a shred of flesh remained from them, they were truly missing. It is impossible to bury them! And what? Not to consider a single war in history over? Isn’t it easier to assume: you didn’t understand what Suvorov said!

Gradation- turnover poetic speech consisting of a deliberate grouping homogeneous members sentences in a sequential order of increasing or decreasing semantic or emotional significance; a means that allows you to recreate events and actions, thoughts and feelings in the process, in development (from small to large - direct gradation - or from large to small - reverse gradation.), to convey the growing intensity of feelings, experiences. For example: “Oh, wow, what a shame!.. It’s impossible to describe: velvet! silver! fire!"(N.V. Gogol); I called you, but you didn’t look back, I shed tears, but you didn’t condescend(A. Blok). Gradation can become a compositional technique for constructing the entire text (for example, in the fairy tales “Terem-Teremok”, “Kolobok”, “About the Grandfather and the Turnip”).

Inversion- violation of the sequence of speech, the generally accepted order of words, rearrangement of parts of the phrase; gives the phrase a new expressive shade, a special solemnity to the sound and meaning of the sentence: A sick spirit is healed by chants(E. Baratynsky).

Multi-Union- deliberate repetition of identical conjunctions. For example: And the heart beats in ecstasy, And for him, Divinity and inspiration have risen again, And life, and tears, and love(A.S. Pushkin).

Parallelism- comparison of natural phenomena and human life. For example: “The graves are overgrown with grass; the pain is overgrown with long ago”(M. Sholokhov).

Parcellation- stylistic device of use incomplete sentences(sentences in which one or more members are missing The forest bird has already flown away. The swamp moved behind her.); breaking a whole sentence into separate parts (Maybe our hero became a millionaire. Or an artist. Or just a cheerful beggar) enhances their semantic weight and gives speech a special emotionality.

Subtext- unspoken directly in the text, but as if arising from individual remarks, comments, details, etc., the author’s attitude to the material being presented. In a scientific style or in business papers, subtext would be a flaw that interferes with the perception of the objective content of the text, but in a work of art or journalism it is an integral part.

A rhetorical question- a question addressed to the reader that does not require an answer; used to attract and enhance reader attention; enhances the emotionality of the statement. They perform the same role appeals, exclamations. For example: “Why don’t people fly? I say, why don’t people fly like birds?”(A. N. Ostrovsky “Thunderstorm”); “What lofty prose this is! And they will quote it so many times!”(I. Andronikov). Rhetorical appeal differs from ordinary address in that it names the inanimate object being addressed: Greetings, desert corner,… (A.S. Pushkin).

Syntactic constructions of conversational style - designs used primarily in colloquial speech, which is characterized by the use of simple and incomplete sentences. The structures of colloquial speech are compressed, succinct, and laconic. Violation of style attracts the reader's attention. Short, abrupt sentences and the omission of individual words add dynamism, ease, and looseness to speech, creating the effect of “impromptu”, unpreparedness, and a feeling of direct communication and dialogue. The use of interrogative sentences characteristic of oral speech, enlivens, facilitates the reader’s perception of the material, and serves to polemically sharpen the proposed problems. For example: “Corporationization is the transfer of the workshop into the ownership of the team. Reaction? No! The workshop was essentially owned by the workers anyway. Another option. Privatization in one hand. The main question is which ones? To shadow structures or to one of the employees?”

Syntactic parallelism- homogeneous syntactic construction of sentences. For example: "Your mind is deep, that the sea// Your spirit is high, that the mountains."IN blue sky the stars are shining, the waves are splashing in the blue sea, a cloud is moving across the sky, a barrel is floating on the sea" ( A.S. Pushkin); The diamond is polished by the diamond, // The line is dictated by the line(S. Podelkov).

Default- a figure of speech in which the statement is deliberately not completed so that the reader himself can fill in the missing words, and can also be a means of expressing a special emotional state. An ellipsis is often a sign of silence. For example: Now he will get to you... Oh, if only it weren’t for these relatives!..

Ellipse- a speech construction in which a word or several words are missing, easily restored either by context or according to specific situation, or due to the communicative experience of the speakers. Helps enhance the emotional richness of the statement, giving it laconicism. For example: “It’s true, a peasant [walks], two women [follow] him...”(A.S. Pushkin).

Epiphora- stylistic figure of repetition; repetition at the end of a segment of speech of the same word (lexical epiphora), word form (grammatical epiphora) or synonymous word (semantic epiphora) Example: “Scallops, all scallops: a cape made of scallops, scallops on the sleeves, epaulettes made of scallops, scallops below, scallops everywhere.”(N.V. Gogol).

1.3 MORPHEMICS. WORD FORMATION (task B1 of the Unified State Exam test)

Morphemics- a branch of linguistics in which the system of morphemes of a language and the morphemic structure of words and their forms are studied. Morpheme- This minimal significant part of a word (root, prefix, suffix, ending).

Word formation- a section of linguistics in which the formal semantic derivative of words in a language, means and methods of word formation are studied.

Fine and expressive means of language allow not only to convey information, but also to clearly and convincingly convey thoughts. Lexical means expressiveness makes the Russian language emotional and colorful. Expressive stylistic means are used when an emotional impact on listeners or readers is necessary. It is impossible to make a presentation of yourself, a product, or a company without using special language tools.

The word is the basis visual expressiveness speech. Many words are often used not only in their direct lexical meaning. The characteristics of animals are transferred to the description of a person’s appearance or behavior - clumsy like a bear, cowardly like a hare. Polysemy (polysemy) is the use of a word in different meanings.

Homonyms are a group of words in the Russian language that have the same sound, but at the same time carry different semantic loads and serve to create sound game.

Types of homonyms:

• homographs - words are written the same way, change their meaning depending on the emphasis placed (lock - lock);
• Homophones - words differ in one or more letters when written, but are perceived equally by ear (fruit - raft);
• Homoforms are words that sound the same, but at the same time refer to different parts speeches (I'm flying on an airplane - I'm curing a runny nose).

Puns are used to give speech a humorous, satirical meaning; they convey sarcasm well. They are based on the sound similarity of words or their polysemy.

Synonyms - describe the same concept from different sides, have different meanings and stylistic coloring. Without synonyms it is impossible to construct a bright and figurative phrase; speech will be oversaturated with tautology.

Types of synonyms:

• complete - identical in meaning, used in the same situations;
• semantic (meaningful) - designed to give color to words (conversation);
• stylistic - have the same meaning, but at the same time relate to different styles of speech (finger);
• semantic-stylistic – have different shade meanings relate to different styles of speech (do - bungle);
• contextual (author's) - used in the context used for a more colorful and multifaceted description of a person or event.

Antonyms are words that have opposite lexical meanings and refer to the same part of speech. Allows you to create bright and expressive phrases.

Tropes are words in Russian that are used in a figurative sense. They give speech and works imagery, expressiveness, are designed to convey emotions, and vividly recreate the picture.

Defining Tropes

Metaphor is a hidden comparison, the use of nouns and verbs in a figurative meaning. There is always no subject of comparison, but there is something with which it is compared. There are short and extended metaphors. Metaphor is aimed at external comparison of objects or phenomena.

Metonymy is a hidden comparison of objects based on internal similarity. This distinguishes this trope from a metaphor.

Syntactic means of expression

Stylistic (rhetorical) - figures of speech are designed to enhance the expressiveness of speech and works of art.

Types of stylistic figures

Tropes, figures of speech, stylistic means of expression, and phraseological statements make speech convincing and vivid. Such revolutions are indispensable in public speaking, election campaigns, rallies, presentations. IN scientific publications and in official business speech, such means are inappropriate - accuracy and persuasiveness in these cases are more important than emotions.