Means of decorating speech, their use in modern advertising text.

Why do means of expression decorate the text?

Just as brushes and paints in the hands of an artist are tools for creating a painting, so means of expression are tools for creating bright, unique images in verbal paintings. Without them, the text becomes poor, boring, and monotonous.

Prose and poetry are designed to awaken the reader’s imagination and create three-dimensional, bright, vivid images. It is the means of expression that provide such an opportunity.

Types of artistic means of speech expression

The language possibilities are vast and varied. Beautiful expressive speech helps convey information, share impressions, convince the reader or listener, and recreate pictures of the past. Artistic means of expressiveness give speech, both oral and written, lightness, brightness, colorfulness, and emotionality.

The vocabulary fund of expressive means can be divided into the following groups:

• Phonetic (sound recording).
• Lexical (tropes).
• Syntactic (stylistic figures).

Sources of wealth of the Russian language

Among the many means of expressiveness, one can name the epiphora, which enriches the text with the meaning of identity. When repeating the same segment of speech, its lexical meaning comes first, which is enhanced by repetition. But at the same time, epiphora is not the most common figure in speech practice, since such repetitions can sometimes give the impression of some awkwardness, inappropriateness, and artificiality.

Epiphora is a stylistic device (figure) based on the symmetrical repetition of sounds, words, phrases at the end of a line in poetic speech or in a specific passage in prose. Its purpose is to make speech beautiful and more emotional. It is used more often with other means of artistic expression. The technique is more typical for poetry (almost all its genres).

As an example, we can cite the lines of S. Gorodetsky’s poem, where it is clear that epiphora is a very capacious technique:

Not air, but gold, Liquid gold, Spilled into the world. Shackled without a hammer - Liquid gold The world does not move.

A striking example of poetry, where epiphora, the definition of which is given just above, gives expressive coloring.

The Benefits of Using Expression

There are more than 200 thousand words in the Russian language, about 30 thousand words are most often used in speech.

The average person's vocabulary is on average 2000-2500 thousand words. The speech of an eloquent person always looks more convincing than the meager vocabulary of a tongue-tied person. Possessing eloquence, you can express your thoughts most accurately, coherently, smoothly, beautifully.

If there is no ability to choose the right words, clearly express one’s opinion, or argue figuratively, one gets the impression that the person is ignorant of the topic or may even be simply stupid.

The skill of coupling the carriages of eloquence into a harmonious train will be useful and will acquire undoubted value within the framework of political technologies. A political tribune capable of captivating ideas and directing the masses in the right direction is always a winner.

Sociability skills, developed by regular application and use of expressive means, will help in conducting delicate business negotiations, concluding contracts, and making presentations on services and goods in business. Speech filled with artistic images will undoubtedly teach you to conduct an implicit conversation, as if gradually, but in the language of benefits.

The mastery of public eloquence does not always bring happiness, but there is no happiness without the mastery of a living persuasive word.

In order not to turn into an outsider, while doing your life’s work, it is necessary to develop the ability to artistically use means of expression.

Inversion

This is a change from the traditional, direct word order. For example, in Russian the following sequence is perceived as direct order: first the subject, then the predicate. If the author's intention requires this, the writer or poet can swap them. Let's look at an excerpt from a poem by A. S. Pushkin:

The forest drops its crimson headdress, The frost silvers the withered field,

The day will pass, as if against its will,

And it will disappear beyond the edge of the surrounding mountains.

In this passage we observe inversion (first the predicate, then the subject) and syntactic parallelism in the first three lines.

Russian has a free word order; but this does not mean that any word order is direct.

Lexical means

This is a set of artistic words and expressions that give the author’s literary style or colloquial speech emotional expressiveness in a figurative sense.

Tropes are words and figures of speech used in an allegorical meaning. They are used by authors to enhance the image, to produce an effect on the reader or listener, transferring the attribute of one object to another.

Main types of trails:

Precious Facets

The Russian language, being the language of the Russian people, is like a natural diamond. Just as a precious stone sparkles with numerous facets, so the Russian language is beautiful in all its manifestations. It is reflected both in the field of literature and in the field of language, while emphasizing their significance and uniqueness.

And if you consider that the Russian language is a fusion of strict rules and the poetry of lively spoken language, then all that remains is to enjoy its richness and expressiveness. Like a diamond shining with every facet, the Russian language uses all the extraordinary tools that convey the beauty of our speech. Epiphora is one such element. Let's continue talking about her.

The Russian language, having numerous means of artistic expression, widely shows how epiphora is used in literature.

A special case of epiphora is familiar to anyone who has read a poem. This is an ordinary rhyme. For example, in I. Bunin’s poem “The Word” there is such a rhyme: “given - Letters”, “take care - speech”.

And in M. Tsvetaeva we find an example of a real epiphora:

The forest is not the same! The bush is not the same! Drozd is not the same!

A well-known example of epiphora in prose is Gogol’s “festoons”. The word is repeated in one sentence to enhance the effect of what was said seven times very close together, literally separated by a comma. If we consider that the sentence has only 16 words, then we can say that this example clearly demonstrates the technique of sound expressiveness.

I really loved epiphora S.A. Yesenin. Moreover, he could modify the vocabulary of the epiphora, proving the richness of the Russian language: “care lay low” in one line turns into “the pool has cleared up,” and both of these phrases accompany the words “hazy in the heart.” The same thing happens with another passage: “why I became known” - “that is why I became known” is complemented by the words “I am a charlatan.” As you can see, just a small change of words allows Yesenin to successfully use the epiphora technique.

Blok widely used epiphora. In one of his poems, the words “in a quiet house” are repeated as an epiphora.

Syntactic tricks

Connecting words into a coherent text is the basic principle of a syntactic technique. The author constructs sentences or linguistic structures in the work in a special way, thereby producing an emotional impact on the reader, using the method of organizing the statement.

Basic syntactic techniques:

Syntactic devices based on repetitions

Repetition is a common means of expression used in poetry. They help create rhymes and organize the sound organization of poems. Syntactic devices based on repetition are classified depending on the location of the repeated parts.

If the initial parts of sentences or poetic lines are repeated, the syntactic device is called anaphora:

Autumn comes , the birds fly away.

Autumn is coming , the fields are empty...

Epiphora is similar in principle to anaphora, however, the final parts of individual lines are repeated with this method of expressiveness:

The morning will come, the sun will rise, the birds will sing ,

The dawn will rise in the sky, and the birds will sing .

Common syntactic means of expressiveness are also lexical repetitions, which involve repeated use of words in order to focus on more important semantic aspects:

She has long been tired of his deceitful words, deceitful actions, deceitful views.

Table of means of expression

The Russian language is a cultural treasure, a priceless gift of inexhaustible wealth. Many means of expressiveness have become firmly established in everyday life and people use them unconsciously in everyday speech, but the palette of means is so diverse that it is possible and necessary to improve knowledge throughout one’s life.

To develop skills, it is necessary to perform regular various exercises and practical classes on the analysis of linguistic means of expression.

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Rhetorical questions and exclamations

The texts of some works use isolated questions that do not require responses. Such questions are called rhetorical. They do not imply answers and express the position of the author. Rhetorical questions are often used by writers to highlight the main issues of a work. Examples:

And is it really worth worrying about something that can’t be changed?

Why does everyone dream of the impossible, missing out on their quiet and moderate happiness?

When will people finally become kinder? When will they start treating others with understanding and respect?

Rhetorical exclamations also have an accentuating and emphasizing meaning. With the help of exclamatory sentences, the emotional and expressive side of the content of the text is expressed. For example:

How can you forget about honor and decency in the pursuit of material wealth!

How far greed and thirst for profit can lead a person!

Paths as a means of speech expression

Trope is a transfer of name, which consists in the fact that a word, phrase, sentence, traditionally naming one object (phenomenon, process, property), is used in a given speech situation to designate another object, related to the first one on some basis .

The main types of tropes: metaphor, metonymy, epithet, comparison, hyperbole, litotes, personification, periphrasis.
The metaphor is based on the transfer of a name from one object to another based on the similarity of these objects. The source of new metaphorical meaning is comparison. For example, the stars of the eyes lit up (eyes are compared to stars); The eyes of the night lit up (the stars are compared to eyes). Metaphors are formed by transferring the properties of animate objects to inanimate ones (water runs, a storm cries) and vice versa (windy weather and a windy person). Features of an object can be transformed into features of abstract concepts (superficial judgment, empty promises), etc. Metaphors must be original, unusual, and evoke emotional associations; in this case, they decorate the speech, for example: “All day long, silhouettes of crimson hearts are falling from the maple trees* (N. Zabolotsky). However, the abundance of metaphors in a speech distracts listeners from its content; the audience’s attention is concentrated on the form of presentation, and not on the content. In addition, metaphor is not used in business speech: laws, rules, circulars, etc. Metonymy , unlike metaphor, is based on the contiguity of objects or phenomena. At the same time, the concept of adjacent is understood not just as neighboring, but as closely related to each other. For example: “And in the door there are pea coats, overcoats, sheepskin coats” (V. Mayakovsky). In this example, people's social affiliation is indicated by the names of clothing typical of different social groups. An example of metonymy is the use of the words audience, class, school, apartment, house, factory to designate people: “The audience greeted the lecturer while standing.” Quite often, geographical names are used in metonymic meaning. For example, the names of capitals are used to mean “the government of the country”, “ruling circles”: “negotiations between Moscow and Washington”^ “Paris is worried”, “Warsaw has made a decision”, etc. Synecdoche is a type of metonymy in which the name of a part (detail) of an object is transferred to the entire object or, conversely, the name of the whole is transferred to its part. For example: “All the flags will come to visit us” (A.S. Pushkin). The word flags (part) here means “states” (the whole). Comparison is a figurative expression based on the comparison of two objects or states that have a common feature. For example: “Facts are the air of a scientist” (I.P. Pavlov). Facts (object) are compared with air (image) on the basis of “essential, necessary for existence.” Vivid, expressive comparisons give speech a special poetry. A completely different impression is produced by comparisons, which, as a result of their frequent use, have lost their imagery and turned into speech cliches: brave as a lion, cowardly as a hare, pass like a red thread, etc. Epithets are artistic definitions, for example: blind love, dense ignorance, chilling politeness . They allow you to more clearly characterize the properties, qualities of an object or phenomenon, and enrich the content of the statement. In scientific literature, three types of epithets are usually distinguished: general linguistic (constantly used in literary language, have stable connections with a specific word, have lost their imagery: biting frost, quiet evening, fast running); folk-poetic (used in oral folk art, the so-called constant epithets: red maiden, open field, wild little head); individually authorial (created by the authors, distinguished by originality, imagery, unexpectedness of the compared semantic plans: marmalade mood (A. Chekhov), blocky indifference (D. Pisarev), curious and thoughtful tenderness (N. Gumilyov). As with other means of verbal expressiveness, It is not recommended to overuse epithets, as this can lead to prettiness of speech to the detriment of its clarity and intelligibility. Hyperbole is a technique of expressive speech used by the speaker in order to create in listeners an exaggerated idea of ​​​​the subject of speech.
For example:

“They have strawberries the size of a fist,” “You’re always late,” “I’ve told you this a hundred times.”
Hyperbole is characteristic mainly of lively colloquial and artistic speech, as well as journalism. In colloquial speech, hyperboles are created by using ready-made means and models already available in the language, while the author of an artistic or journalistic work strives to create an individualized hyperbole. For example: “He snores like a tractor” (colloquially). “In a dream, the janitor became heavy, like a chest of drawers” ​​(I. Ilf, E. Petrov). Litota is a technique of expressiveness of speech, a deliberate understatement of the small size of the subject of speech: a little man the size of a fingernail, two inches from a pot, one second. Two steps from here. “Reverse hyperbole,” as litotes are also called, is actively used in colloquial speech, in fiction and journalistic literature. Personification is a stylistic device consisting in the fact that an inanimate object, an abstract concept, a living being not endowed with consciousness is ascribed properties, actions, and deeds inherent to a person:
“Some lightnings of fire, ignited in succession, ... Conduct a conversation among themselves” (Tyutchev) ; “The waltz calls to hope, it sounds... And it speaks loudly to the heart” (Polonsky).

Personifications are divided into generally recognized, “linguistic” ones: melancholy takes over, time flies, the clock runs, and creative, individual author’s ones: “The Nevka was swinging at the railing, Suddenly the drum began to speak” (Zabolotsky). Personifications are inherent primarily in folklore, fiction, and are used in journalism and in the language of the media. Periphrasis is a replacement for the usual one-word name of an object, phenomenon, person, etc. descriptive phrase, for example: the white-stone capital (Moscow), the king of beasts (lion), the singer of “birch calico” (Yesenin).

Periphrases usually contain an assessment of the denoted, for example: flowers of life (children), office rat (official). Some of the periphrases can become cliches: field workers, seafood. They have lost their imagery, and can hardly be considered as a means of verbal expressiveness.

Figures of speech

To enliven speech, give it emotionality, expressiveness, and imagery, stylistic syntax techniques, the so-called figures, are used.

Figures of speech are divided into three groups.

The first group includes figures in which the structure of a phrase is determined by the relationship between the meanings of words and concepts in it: antithesis, gradation.

The second unites syntactic figures that have the property of facilitating listening, understanding and memorizing speech: repetition, unity of command, parallelism, period.

The third group unites rhetorical forms that are used as techniques for dialogizing monologue speech and attract the listener’s attention: appeal, rhetorical question, question-and-answer move, etc. Antithesis is a technique based on the comparison of opposite phenomena and features. Aphoristic judgments, proverbs, and sayings are often given the form of antithesis: “Learning is light, but ignorance is darkness,” “There would be no happiness, but misfortune would help,” “As it comes around, so it will respond,” “The head is thick, but the head is empty.” " To compare two phenomena, antonyms can be used - words with opposite meanings: light - darkness, happiness - misfortune, come around - respond, thick - empty. Many lines from artistic and journalistic works are built on this principle. Antithesis is an effective means of expression in public speech; it gives strength and expressiveness to thoughts. Gradation is a figure of speech, the essence of which is the arrangement of several elements listed in speech (words, phrases, phrases) in increasing order of their meaning (“ascending gradation”) or in descending order of meaning (descending gradation”). By “increasing” and “decreasing” meanings we understand the degree of expressiveness (expressiveness), emotional strength, “tension” of an expression (word, phrase, phrase). For example; “I ask you, I really ask you, I beg you” (ascending gradation). “An animal, alien, unsightly world...” (descending gradation). Gradation, like antithesis, is often found in folklore, which indicates the universality of these rhetorical figures. They make speech easy to understand, expressive, and memorable. Gradation is actively used in modern oratory practice. Often, to strengthen the statement, give the speech dynamism, a certain rhythm, they resort to such a stylistic figure as repetition. There are many different forms of repetition.

Anaphora (translated from Greek as “uniform beginning”) is a technique in which several sentences begin with the same word or group of words.

For example : “These are the times! These are our morals!

Repetitive words include service units, for example, conjunctions and particles. So, the repetition of the interrogative particle is perhaps in a fragment of A.E.’s lecture. Fersman enhances the intonation color of speech and creates a special emotional mood:

“Doesn’t it (the artificial diamond) meet the specified qualities more than anything else?
Are not precious stones themselves emblems of firmness, constancy and eternity? Is there anything harder than diamond that can compare with the strength and indestructibility of this form of carbon? The figure of epiphora - repetition of the final elements of successive phrases, is less frequent and less noticeable in speech works. For example: “I would like to know why I am a titular councilor? Why titular adviser? Parallelism is the same syntactic structure of neighboring sentences, the arrangement of similar parts of the sentence in them, for example: “In what year - calculate, In what land - guess...” (Nekrasov). Parallelism is often used in the titles of books and articles, for example: “The Poetry of Grammar and the Grammar of Poetry” (Jacobson). Most often, parallelism occurs in periods. A period is a special rhythmic construction, the thought and intonation in which gradually increase, reach the peak, after which the theme receives its resolution, and, accordingly, the intonation tension decreases: “No matter how hard the people, who gathered several hundred thousand in one small place, tried to disfigure that land , on which they huddled, no matter how they stoned the ground so that nothing would grow on it, no matter how they cleared away all the growing grass, no matter how they smoked coal and oil, no matter how they trimmed the trees and drove out all the animals and birds - spring was spring and in the city” (L. Tolstoy). Rhetorical appeal is an emphasized appeal to someone or something, aimed at expressing the author’s attitude towards this or that object, to characterize it: “I love you, my damask dagger, Comrade bright and cold...” (M. Lermontov). In modern speech practice, rhetorical appeals are used much less frequently than before, when they formed a necessary element of public speech. A rhetorical question is an effective stylistic device that is actively used in modern public speech in order to activate the attention of listeners and dialogize monologue speech. A rhetorical question is a means of highlighting the semantic and emotional centers of speech. Its peculiarity lies in the fact that it does not require an answer, but serves to affirm or deny something. A rhetorical question enhances the impact of speech on listeners, awakens appropriate feelings in them, and carries a greater semantic and emotional load, for example: “Don’t I know him, this lie with which he is completely saturated?” (L. Tolstoy). A rhetorical question is always synonymous with a narrative sentence, for example: “Who would think that a prisoner would decide to escape during the day, in front of the entire prison?” (M. Gorky), i.e. “It wouldn’t occur to anyone...” The function of dialogizing monologue speech is performed not only by a rhetorical question. In the practice of oratory, such a technique as the question-and-answer move has been developed. It lies in the fact that the speaker, as if anticipating the objections of the listeners, guessing their possible questions, formulates such questions himself and answers them himself. The question-and-answer move turns monologue speech into dialogue, makes listeners interlocutors of the speaker, activates their attention, and is also used as an effective means in hidden polemics. If a speech presents a controversial issue that may raise doubts in the audience, then the speaker, anticipating this, resorts to a question-and-answer technique.