Comparison- a figure of speech in which one object or phenomenon is likened to another according to some common feature for them. The purpose of comparison is to reveal in the object of comparison new properties that are important for the subject of the statement.

In comparison, the following are distinguished: the compared object (object of comparison), the object with which the comparison takes place (means of comparison), and their common feature (base of comparison, comparative sign, lat. tertium comparationis). One of the distinguishing features of the comparison is the mention of both compared objects, while the common feature is not always mentioned.

Comparison must be distinguished from metaphor.

Comparisons are characteristic of folklore.

Comparison types:

comparisons in the form of a comparative turnover formed with the help of unions as if, as if, as if “exactly”: “ The man is stupid as a pig, but cunning as hell

unionless comparisons - in the form of a sentence with a compound nominal predicate: "My house is my fortress"

comparisons, formed with a noun in the instrumental case : "he walks like a gogol"

negating comparisons : "Trying is not torture"

comparisons in the form of a question

24. Theme, idea, problems of a literary and artistic work.

SUBJECT - this is a vital phenomenon that has become the subject of artistic consideration in the work.

The range of such life phenomena is THEME literary work. All phenomena of the world and human life constitute the sphere of interests of the artist: love, friendship, hatred, betrayal, beauty, ugliness, justice, lawlessness, home, family, happiness, deprivation, despair, loneliness, struggle with the world and oneself, solitude, talent and mediocrity, joys of life, money, social relations, death and birth, secrets and mysteries of the world, etc. etc. - these are the words that call life phenomena that become themes in art.

The task of the artist is to creatively study the life phenomenon from the sides that are interesting to the author, that is, to artistically reveal the topic. Naturally, this can be done only by posing a question (or several questions) to the phenomenon under consideration. This very question, which the artist asks, using the figurative means available to him, is problem literary work.

PROBLEM is a question that does not have a unique solution or involves a set of equivalent solutions. The problem differs from the problem in the ambiguity of possible solutions. The collection of such questions is called PROBLEMS.

IDEA(Greek Idea, concept, representation) - in literature: the main idea of ​​a work of art, the method proposed by the author for solving the problems posed by him. The totality of ideas, the system of author's thoughts about the world and man, embodied in artistic images is called IDEA CONTENT artistic work.

25. Evolution and interaction of genres.

Genre[French - genre, Latin - genus, German - Gattung] - one of the most important concepts of literary criticism, denoting a cast species. A type of poetic structure expressing one or another side of social psychoideology at a certain stage of its historical development and embracing a more or less significant number of literary works. For Zh., therefore, three structural features are obligatory: the organic nature of all components of Zh., which form a poetic unity, the existence of this unity in certain

Comparison is a figurative expression built on a comparison of two objects, concepts or states that have a common feature, due to which the artistic significance of the first object is enhanced.

The purpose of literary comparison is to reveal the image as fully as possible through common features. In comparison, both compared objects are always mentioned, although the common feature itself may be omitted.

Sometimes one comparison is enough to give a capacious, clear description of a character or phenomenon.

Thin as a Dutch herring, mother entered the office to a fat and round, like a beetle, father and coughed. (Chekhov. Dad)

Like a hawk floating in the sky, having made many circles with strong wings, suddenly stops flattened in one place and shoots from there with an arrow at a male quail screaming near the road itself, so Taras's son, Ostap, suddenly flew into a cornet and immediately threw a rope around his neck. (Gogol. Taras Bulba)

Comparison serves to create visual images, is a tool for verbal painting - the eyes of Katyusha Maslova in Tolstoy's Resurrection, "black as wet currants", or Princess Marya from War and Peace, "large, deep and radiant (as if rays of warm light occasionally came out of them in sheaves).

TYPES OF LITERARY COMPARISONS

The simplest form of comparison is usually expressed using auxiliary words:

HOW - stood up like a pillar
EXACTLY - he flew past, like a bullet
AS if - as if a tornado escaped from under the wheels
AS LIKE - you, like a commander, report
LIKE - black lightning similar
LIKE - he was like a wounded soldier
AS IF - as if burned him ...
LIKE - you look like a teddy bear

The snow-covered hill is like a huge cake, generously sprinkled with powdered sugar.

NEGATIVE - one object is opposed to another - "An attempt is not torture", "hunger is not an aunt."
Negative comparisons are often used in folk expressions:
“It’s not the wind that bends the branch, It’s not the oak forest that makes noise.”

GENTIVE comparisons can be made with a noun in the genitive case.
"Older sister"
"Be back before March"
"Be better than others"
"He looked at me through the eyes of a saint."
"Harun ran faster than a doe"
This type is primarily used to visually convey, describe, characterize the appearance, internal property and state, behavior, etc. person.
In inanimate genitive comparisons, established language constructions are most often encountered.

Now compare the nuances of the expressions: "I ran with the speed of the wind" and "I ran with the same speed as the wind."

Comparisons ACTIVE are formed using a noun in the instrumental case.
“Dust is a pillar”, “Smoke is a rocker”.

Comparison can be created with the ADVERB OF ACTION - "Screamed like an animal".

There are NON-UNIONAL comparisons formed by means of a compound nominal predicate.
“So thin is my summer robe - Wings of a cicada!”

There is a so-called UNDEFINED comparison, which expresses the superlative state:

"And when the moon shines at night, When it shines - the devil knows how?"

Sometimes the very action of an object or phenomenon is omitted, and only comparison is used in the expression - you should guess about the action itself.
“The rain seemed to go berserk: it whipped everyone in a row with a silver whip, foamed puddles, choked with a strong wind”

DETAILED COMPARISONS
In this case, the author draws the reader's attention to several signs.
It (Pushkin's verse) is gentle, sweet, soft, like the roar of a wave, viscous and thick, like tar, bright, like lightning, transparent and pure, like a crystal, fragrant and fragrant, like spring, strong and powerful, like a blow of a sword in the hands hero. (V. Belinsky)

WRONG COMPARISONS

Once, a long time ago—and those were blessed times—all comparisons were fresh.
When the camel was first called the ship of the desert, it was very poetic.
However, everything deteriorates over time - including comparisons.
Then we are talking about hackneyed comparisons - that is, bored, vulgarized by frequent use, worn out, hackneyed.
A joyless life is necessarily a long dark tunnel.
Blue eyes - certainly, like cornflowers or like azure sky.
Blonde means hair is like gold.
Etc.

When hair is compared to snow on the basis of whiteness, the figurativeness of speech weakens, because the basis for such a comparison is too well known. (c) A.I. Efimov.

The most significant sign of artistic comparison is the element of surprise, novelty, ingenuity.

O.Henry. The leader of the Redskins.
There is one small town there, flat as a pancake, and, of course, it is called Peaks. The most harmless and contented redneck lives in it, which is fit only to dance around the May pole.<…>
The son was a boy of about ten, with prominent freckles all over his face and hair about the color of the cover of the magazine you usually buy at a kiosk on your way to the train.<…>
This boy fought like a medium-weight brown bear, but in the end we stuffed him into the bottom of the chaise and drove off.<…>
"He's fine now," Bill says, rolling up his pants to see the abrasions on his shins. - We play Indians. The circus, compared to us, is just views of Palestine in a magic lantern.<…>
At dawn, I was awakened by Bill's terrible screeching. Not screams, or screams, or howls, or roars, as one would expect from the vocal cords of a man - no, downright obscene, terrifying, humiliating squealing, which women squeal when they see a ghost or a caterpillar. It is terrible to hear a fat, strong man of desperate courage squeal incessantly in a cave at the dawn of the morning.<…>
I dodged and heard a dull heavy thud and something like a horse's sigh when the saddle is removed from it. A black stone the size of an egg hit Bill on the head just behind his left ear. He immediately went limp and fell headlong into the fire, right on a pot of boiling water for washing dishes.<…>
As soon as the boy discovered that we were going to leave him at home, he raised a howl like a ship's siren and clung to Bill's leg like a leech. His father tore him off his leg like a sticky plaster.<…>

Artistic comparison does not have to be strictly logical; a wide variety of objects and phenomena can serve as a material for it. The main thing is what new quality will arise, what image will be born.

... The sandy path from the foliage is patterned - Like spider paws, like jaguar fur. (Severyanin. Kenzeli)

Both similarity and contrast are equally important and valuable as a source of new meanings and feelings.

Thus,
Comparison usually serves to explain another by means of one fact. An abstract thought becomes understandable if something tangible, visible, obvious is involved for comparison. (c)E. Etkind.

The Russian language is rich and diverse, with the help of it we ask questions, share impressions, information, convey emotions, talk about what we remember.

Our language allows us to draw, show and create verbal pictures. Literary speech is like painting (Fig. 1).

Rice. 1. Painting

In verse and prose, bright, picturesque speech that stimulates the imagination, in such a speech figurative language is used.

Figurative means of language- these are ways and techniques of recreating reality, making it possible to make speech vivid and figurative.

Sergei Yesenin has the following lines (Fig. 2).

Rice. 2. Text of the poem

Epithets make it possible to look at the autumn nature. By means of juxtaposition, the author gives the reader the opportunity to see how the leaves fall, as if flock of butterflies(Fig. 3).

Rice. 3. Mapping

as if is an indication of the comparison (Fig. 4). Such a comparison is called comparison.

Rice. 4. Mapping

Comparison - this is a comparison of the depicted object or phenomenon with another object according to a common feature for them. For comparison you need:

• To find something in common between the two phenomena;
• Special word with collation meaning - as if, exactly, as, as if, as if

Consider the line of a poem by Sergei Yesenin (Fig. 5).

Rice. 5. A line of a poem

First, the reader is presented with a fire, and then a mountain ash. This is due to equalization, identification by the author of two phenomena. It is based on the similarity of rowan clusters with a fiery red fire. But the words as if, as if, exactly are not used because the author does not compare rowan with a fire, but calls it a fire, this metaphor.

Metaphor - transferring the properties of one object or phenomenon to another according to the principle of their similarity.

Metaphor, like comparison, is based on similarity, but difference from comparison in that it happens without the use of special words (as if, as if).

When studying the world, one can see something in common between phenomena, and this is reflected in the language. The visual means of language are based on the similarity of objects and phenomena. Thanks to comparison and metaphor, speech becomes brighter, more expressive, you can see the verbal pictures that poets and writers create.

Sometimes the comparison is created without a special word, in a different way. For example, as in the lines of S. Yesenin's poem "The fields are compressed, the groves are bare ..." (Fig. 6):

Rice. 6. Lines from S. Yesenin's poem "The fields are compressed, the groves are bare ..."

Month compared to colt that is growing before our eyes. But there are no words indicating a comparison; a creative comparison is used (Fig. 7). Word colt stands in the Instrumental case.

Rice. 7. Using the Instrumental for Comparison

Consider the lines of S. Yesenin's poem "The golden grove dissuaded ..." (Fig. 8).

Rice. 8. "The golden grove dissuaded ..."

In addition to metaphor (Fig. 9), personification is used, for example, in the phrase dissuaded the grove(Fig. 10).

Rice. 9. Metaphor in a poem

Rice. 10. Personification in a poem

Personification is a kind of metaphor, when an inanimate object is described as living. This is one of the most ancient speech techniques, because our ancestors animated the inanimate in myths, fairy tales and folk poetry.

Exercise

Find comparisons and metaphors in Sergei Yesenin's poem "Birch" (Fig. 11).

Rice. 11. The poem "Birch"

Answer

Snow compared with silver because it looks like him. Used word exactly(Fig. 12).

Rice. 13. Creative comparison

The metaphor is used in the phrase snowflakes are burning(Fig. 14).

Rice. 15. Personification

1. Russian language. 4th grade. Tutorial in 2 parts. Klimanova L.F., Babushkina T.V. M.: Education, 2014.
2. Russian language. 4th grade. Part 1. Kanakina V.P., Goretsky V.G. M.: Education, 2013.
3. Russian language. 4th grade. Tutorial in 2 parts. Buneev R.N., Buneeva E.V. 5th ed., revised. M., 2013.
4. Russian language. 4th grade. Tutorial in 2 parts. Ramzaeva T.G. M., 2013.
5. Russian language. 4th grade. Tutorial in 2 parts. Zelenina L.M., Khokhlova T.E. M., 2013.

1. Internet portal "Festival of Pedagogical Ideas "Open Lesson"" ()
2. Internet portal "literatura5.narod.ru" ()

Homework

1. What are the visual aids used for?
2. What is needed for comparison?
3. How is comparison different from metaphor?

Comparison is a trope in which the text contains the basis of the comparison and the image of the comparison, sometimes a sign can be indicated. So, in the example “God's name is like a big bird” (O.E. Mandelstam), God's name (the basis of the comparison) is compared with a bird (the image of the comparison). The sign by which the comparison is made is wingedness.

Literary critics distinguish several varieties.

Comparison types

1. Comparison expressed using comparative unions as, as if, as if, exactly, like and others.

For example, B.L. Pasternak uses the following comparison: "The kiss was like summer."

2. Comparison expressed with the help of adjectives in a comparative degree. In such turns you can add the words seems to look like other.

For example: "Girl's faces are brighter than roses" (A.S. Pushkin).

3. Comparison for which is used. For example: “The frost is tearing up a wounded beast” (N.N. Aseev).

4. Comparison expressed by the accusative without. For example: "The living room was decorated with expensive, red gold wallpaper."

5. Comparison expressed by a descriptive non-union turnover. For example: “Nightmares of the night are so far away that a dusty predator in the sun is a naughty one and nothing more” (I.F. Annensky).

6. There are also negative comparisons. For example: “The red sun does not shine in the sky, the blue clouds do not admire it: then at the meal he sits in a golden crown, the formidable Tsar Ivan Vasilyevich sits” (M.Yu. Lermontov).

Dyakova K.V.,
student of the 4th year of the Institute of Philology of the TSU. G.R. Derzhavin.

Medieval comparison in the system of sound images of E.I. Zamyatin
(Based on the book by D.S. Likhachev “The Poetics of Old Russian Literature”)

The contribution of D. S. Likhachev to the development of literary criticism is largely determined by the fact that he approached the annals not only as a historian, but also as a literary critic proper. He studied the growth and change of the very methods of chronicle writing, their conditionality due to the uniqueness of the Russian historical process. This manifested a deep interest in the problem of the artistic mastery of ancient Russian literature, characteristic of all Likhachev's work, and he considers the style of literature as a manifestation of the artistic consciousness of the nation.

A generalization of D. S. Likhachev’s observations on the artistic specifics of ancient Russian literature was his article “On the Study of the Artistic Methods of Russian Literature in the 11th-17th Centuries.” (1964), and, of course, the book "Poetics of Old Russian Literature" (1967), awarded the State Prize of the USSR (1969). The monograph by D. S. Likhachev is distinguished by the breadth of the range of phenomena under consideration and the harmony of the composition, which makes it possible to connect, it would seem, the most distant phenomena of artistic life - from the peculiarities of stylistic symmetry in the monuments of translated literature of Kievan Rus to the problems of the poetics of time in the works of Goncharov or Dostoevsky. This complex composition of the book is due to the concept of the unity of Russian literature constantly developed by D. S. Likhachev; the principle of analysis of the phenomena of poetics in their development determines the construction of all sections of the monograph. Therefore, an attempt to analyze the modern artistic trope from the standpoint of the Russian medieval poetic system is quite reasonable and easily fits into the context of Likhachev's entire scientific work.

Developing the poetics of ancient Russian literature, D.S. Likhachev refers to comparison as one of the literary means, especially significant for the Old Russian text. In the section "From the Author", which precedes the study, Likhachev defines the central task of the book: "to deepen information about the variability of literary phenomena." It denotes a kind of research path: “in this book, the main attention is paid to those aspects of Russian literature that distinguish it from the new one. Differences make it possible to reveal the individuality of ancient literature. Turning to the system of ancient Russian comparisons described by Likhachev in his monograph, and “passing” through this system the literary text of the writer of the “modern” time (XX century), we can draw conclusions about the individuality of his author’s writing and, at the same time, about the strength of continuity, indicated in these texts, about the artist's attraction to the roots of Russian culture.

Consideration of E.I. Zamyatin through the prism of ancient Russian literature, and in our case, the analysis of the typical features of comparisons (Russian medieval and modern literature) used to build sound images in a work, becomes possible, first of all, thanks to the writer’s repeated appeal to the stylistic manner works of ancient Russian literature (“On the Holy Sin of Zenitsa the Virgin” (1916), “On How the Monk Erasmus Was Healed” (1920)); secondly, due to the peculiarities of the character, or rather the “inner essence” (Likhachev’s term) of the old Russian comparison and the way of sounding based on comparison.

In the modern "Literary Encyclopedia of Terms and Concepts" comparison is defined as "a type of path based on the likening of correlated phenomena." Such is the nature of comparisons in a generalized form, and this is indisputable. However, there is a centuries-old barrier between the ancient Russian comparison and the comparison of the "new" time, which allows us to speak about different types of comparison developed by that time and the historical situation when these paths functioned. Likhachev emphasizes that "comparisons in ancient Russian literature differ sharply in their character and inner essence from comparisons in modern literature."

It is important that the scientist does not try to create a clear, complete system of differences, but gives a number of remarks that characterize the Old Russian comparison precisely from the point of view of its individuality and originality.

Let's try to define clear boundaries between ancient Russian and modern types of comparisons, thus summing up Likhachev's research. The fundamental difference, according to the scientist, lies in the multidirectional orientation of comparisons of ancient Russian and modern ones. Thus, the comparison in the literature of modern times is maximally visualized, aimed at conveying visual similarities between objects, entities. It is thanks to this feature that the “joy of recognition” and the joy of direct visibility “that arise during reading become possible. This is the so-called impressionistic type of comparison, which is characteristic of the "new" literature. Old Russian comparison concerns mainly "the inner essence of the compared objects". Likhachev explains: “It seems strange to us to compare the Mother of God with a “delighted chamber.” The strangeness of this comparison is not only that the Mother of God is compared with an architectural structure - a stone house, but also in the very epithet of this "chamber" - "rejoiced." This epithet clearly shows that the writer perceives the "chamber" not in a material sense, but as a pure symbol. The writer does not seek to concretely imagine the objects of comparison. He compares "essences" and therefore considers it possible to give a "spiritual" epithet to a material object, and vice versa.

Thus, the existence of two different types of comparison is due, first of all, to the antithesis appearance - visual similarity based on momentary sensations or the play of the author's fantasy - essence - the main feature that characterizes a certain inner essence of the compared.

With regard to Zamyatin's prose, two central questions arise: 1) does the writer use comparisons built according to medieval models with formal observance of literary etiquette in works stylized as an Old Russian text? 2) can formally modern comparison, i.e. which is stylistically neutral at the present time, be based on the principles that served as the basis for Russian medieval comparison, namely, on the commonality of being, despite the destruction of external similarity?

We also recall that the material of our study is not any artistic image, but the image of sound. The sound image (sound image) in the article is understood as artistic images that capture the sound manifestations of human and natural existence, which are organic elements of a single artistic whole.

The question arises: what is considered a comparison of the modern type, and what is a comparison of the Old Russian type in relation to the image of sound? In its own way, the modern, impressionistic type of comparison in this case will correspond to such a sound image, where the sound is both the object of comparison and (subject) of comparison. Comparison of the new time, as a rule, consists of two elements, conditionally located in the same plane - they are essentially equivalent to each other. So, the image is likened to the image - the object is described through the object. According to the same scheme and as a sound image based on a comparison of the modern type, we will consider a sound image based on the “sound-sound” model. For clarity, let's give a few examples from Zamyatin's works: “The whooping girl called wildly, and her mouth was closed and it was as if someone's inhuman voice was calling under the arches” (“Surveyor”); “an old English clock in a tavern - they beat slowly, in a bass voice - exactly the Kostroma cathedral bell” (“Unlucky”); “... she howled not with her own, a woman’s, but with an animal voice” (“Womb”). Let's comment on the last example. It is a classic negative comparison. At the heart of the image is a common essence - the voice. Therefore, the writer does not even repeat twice - “voice”, but only changes epithets. The sound is recreated in the reader's imagination through another sound - this corresponds to a modern, somewhat simplified type of comparison.

Another example: “It was quiet, only somewhere far away, like sentries, roosters called to each other in the dark” (“Scourge of God”) - roosters are compared with sentries again by the nature of the sound they make. “Roll call” is the single essence that holds the image together. “Scream in the same voice as then the shoemaker about the Last Judgment” (“Flood”); “The water rustled all around like thousands of arshins of silk” (“Yola”); “Someone sang, slowly, hoarsely, howled like a dog at the dreary silver of the moon” (“Alatyr”) - all these are sound images-comparisons built according to a single principle, they are based on the general “sound-sound” model. Therefore, we refer them to the modern type of comparison, based on the direct similarity between objects or phenomena of the same kind.

The specificity of the sound image, its difference from any other artistic image, lies in its initially intangible essence. Before us is not an object, not a character, but a sound that the writer often recreates precisely through comparison with another object or concept. The realism of the image depends here on the accuracy of the image found for comparison. So, if in medieval comparison the object of comparison is most often a symbol that destroys visual similarity, as in the above example with “the Mother of God - a delighted chamber”, then in the sound image the object of comparison is often a symbol precisely because of the specifics of the material itself.

Let us turn to a specific example: “Andrey Ivanovich trembled with a thin, very sharp trembling and heard it like a string, somewhere at the very end of the keyboard to the right, everything rang and rang ...” (“In the middle of nowhere”). Trembling as a physical property of the human body in general, as you know, is not a sound and is not accompanied by sound. However, being "explained" by the described sound - "string, ... at the very end of the keyboard to the right", which is of secondary importance in relation to the trembling itself, brought precisely as an "auxiliary element" to explain the sound of the trembling - the trembling acquires the status of a sound image. The elements of this comparison are, therefore, absolutely different from each other: trembling is, in this case, a certain state, the ringing of a string is a sound. However, the author places them, as it were, on the same plane, finds something in common, crossing the “generic” boundaries. This common thing is the same “inner essence” that Likhachev spoke of in relation to comparison in ancient Russian literature. There is a destruction of the conditional external similarity, characteristic of the medieval type of comparison, in order to reveal the similarity of the internal, “spiritual” meaning.

It is worth noting that the "sounding tremor" is not a random, single image in Zamyatin's prose, but a recurring one. In another, much later written work - the novel "We" (1921), the following words are heard: "... listened to music: my barely audible trembling." Trembling as a sound becomes a symbolic, to a certain extent symbolic image in the writer's work.

Let us give another example of an image based on a comparison: "... almost not bent - like a wooden ruler - the voice of Yu" ("We"). Here the situation is in many respects the opposite: already the sound itself is “explained” by means of comparison with the object - the voice and the wooden ruler at a certain threshold of meaning are equated to each other. Just as the ancient Russian writer gives the image of the chamber the epithet “rejoiced”, Zamyatin is not afraid to define the initially non-material “instance” - the voice with the help of a physical property inherent in an exclusively material object - “not bent”, thereby ignoring and destroying any visual similarity.

The following use of the comparison is noteworthy: “In silence - a distinct buzzing of wheels, like the noise of inflamed blood” (“We”). On the one hand, the “sound-sound” model is on the face: buzzing is compared with noise. On the other hand, the "noise of inflamed blood", of course, is not a sound in the literal sense. It is rather a feeling caused by a certain psychological or physical condition. The “distinct hum of wheels” in silence in a certain situation is associated with the hero, causes the very sensation that he describes as “the noise of inflamed blood”. Consequently, this comparison is not self-evident; the unity of the inner essence again becomes the basis for it, which is characteristic of the Old Russian type of comparison.

Finding comparisons in modern literature, which are based on the principle that is decisive for Old Russian comparison, we are by no means trying to prove that the modern comparisons given are some kind of tracing paper from Old Russian comparisons, but we only state the fact that this principle, conditionally called the principle of inner essence and opposed to the principle of visual similarity, is not obsolete, but only in slightly different variations is perceived by the literature of modern times, revised by it and preserved.

Let us now turn to Zamyatin's work, which is directly stylistically oriented to ancient Russian church legends. This, for example, is the story “On how the monk Erasmus was healed” (1920) from the “Miracles” cycle. Due to the general stylization of the work under the Old Russian source, it is most logical to look for sound images based on a comparison of the medieval type, just here. Let us give a number of examples of sound images-comparisons that can be found in the story: “all night long, light, as if from tickling, laughter and a certain creaking were heard, and terrible, like black tar, dew dripped down”; “Blessed Pamva ... stopped in amazement, hearing heavy sighs and groans outside the window, as if of a huge beast”; “he heard a light, as if from a bursting vessel, ringing”; “Laughter was heard at the height of the roofs, as if from tickling and creaking and whispering.” All these sound images are created according to the same model: one sound is “explained” through another, connecting with the help of the union “as if”. Despite the stylistic predestination, there are no comparisons corresponding to the Old Russian type. In any of the above examples, only the outer shell is preserved from the Old Russian comparison: inversion turns, stringing of homogeneous members with a connecting connection between each other, stylistically marked words ... like this: “the young monk had a voice of purity, like a mountain cry ringing from the heights.” However, there is also no comparison based on the unity of the inner essence.

The only comparison in the work that looks like a truly ancient Russian, both formally and meaningfully, is found in the following sound image: "her voice pierced the heart of Erasmus, like a kind of sweet sword." By such a comparison, the author seeks to reveal, as it were, the “internal qualities” of the voice. The epithet "sweet", used in this case in a figurative sense, and attached to a material object, emphasizes that for the writer the sword is only a symbol. Likhachev in his monograph “The Poetics of Old Russian Literature” writes about this: “In this kind of permutation of the epithet from one object of comparison to another, the specific meaning of words is destroyed, the figurative meaning comes to the fore.”

Zamyatin creates sound images in his works with the help of comparisons of different types, both modern, impressionistic, and Russian medieval. Moreover, the principle of the internal essence of the compared objects, which is decisive for the Old Russian comparison, is often used by the writer in formally modern comparisons that are not stylistically marked. In works stylistically oriented towards the Old Russian text, on the contrary, sound images-comparisons predominate, corresponding to Old Russian samples only in their external form, but by no means in their internal saturation.

Thus, the features of ancient Russian comparisons listed by Likhachev, in contrast to modern comparisons, often characterize the comparisons used by Zamyatin to create an image of sound, which gives reason to think about the deep, fundamental, sometimes, maybe even unconscious, but nevertheless strong connection of the prose of the writer of the "new" time with the traditions of Ancient Russia.

Literature
1. Zamyatin E.I. Sobr. cit.: in 5 volumes - M., 2004.
2. Zamyatin E.I. Selected works / foreword. V.B. Shklovsky, introductory article. V.A. Keldysh. - M., 1989.
3. Zamyatin E.I. Selected works. - M., 1990.
4. Likhachev D.S. Poetics of ancient Russian literature. - L., 1971.
5. Literary encyclopedia of terms and concepts / ed. A.N. Nikolyukin. - M, 2003.

Materials of the regional conference of young researchers "Lessons of Dmitry Sergeevich Likhachev". Tambov, November 28, 2006