The main communicative feature is figurativeness (expressiveness, expressiveness). Language means of expression

15.1. Write an essay-reasoning, revealing the meaning of the statement of the Russian linguist Lyudmila Alekseevna Vvedenskaya: "Expressiveness can be created by means of the language of all its levels."

The language consists of different levels, which are closely interconnected with each other and together create one large coherent system. In Russian, the following levels are distinguished - phonetic, which consists of speech sounds; morpheme level, it consists of morphemes; the lexical level, which consists of words and phraseological units, and the syntactic level, which consists of phrases and sentences.

Each of these levels are involved in making language and speech richer and more expressive. The Russian linguist Lyudmila Alekseevna Vvedenskaya has a saying: “Expressiveness can be created by means of the language of all its levels.”

Let's take for example the sentence “Running through the garden in the morning, Zosya affably threw me on the go: “Good day!” - and I embarrassedly muttered after her: "Good day ..." Zosia's phrase shows the reader that she is a girl of a different nationality, the spelling and sound of this phrase makes it clear that she is Polish; the narrator answers her in his native Russian.

Phraseologisms are an indispensable means of creating expressiveness, they can give color to a speech: “Having stopped in mid-sentence, I blushed and, immediately remembering the abrasions, hastily turned away, but I clearly heard how she quietly said behind me: “More!”

15.2. Explain how you understand the meaning of the phrase from the read text: “I don’t know what she could feel without understanding the language, but her face was concentrated, excited, as if she was going through something, and her wide-open eyes looked at me intensely.”

At the end of the passage there is a sentence: “I don’t know what she could feel without understanding the language, but her face was concentrated, agitated, as if she was experiencing something, and her wide-open eyes looked at me intensely.” The narrator recited lines from a poem by Sergei Yesenin, standing, as he thought, alone in an apple orchard. He was spiritualized, nothing in this world was significant for him at that time these lines: “I read with expression and love, enjoying every line and rejoicing in my soul that there was no sentry yet and no one was bothering me.”

Zosia was fascinated by the wonderful reading of poetry, although she did not understand their meaning. But her heart could well be touched by the melody, sonority and power of these lines. The girl was extremely surprised that a man who had recently worked gloomily and seriously at the table suddenly reincarnated as a poet, seized by something elusively beautiful: “Perhaps she was captured by the penetrating melody, the beautiful, music-like sound of Yesenin’s poems, or she tried to guess what they said, I don't know."

15.3. How do you understand the meaning of the phrase REAL ART?

Real art is something with which a person can feel himself as one with nature, with the world. Art, as it were, tears us away from reality, which is often gloomy, and exalts us higher, to the eternal. The sound of music or reading the poetry of Russian classics can inspire and make us better and purer. Delightful paintings delight the eye, and ancient sculptures make you feel all the greatness of man.

The protagonist of the text selflessly declares Yesenin's poems, he forgot about the whole world and people, at that time there was only him and these unearthly lines. This is an art that touched not only the storyteller, but also Zosya. She, too, was seized by these magic: “I don’t know what she could feel without understanding the language, but her face was concentrated, excited, as if she was going through something, and her wide-open eyes looked at me intensely.”

Real art is able to unite people who understand all its depth and beauty.

My father is an artist. Really talented, he works on paintings for the soul, for comfort. This is not a way for him to earn money, but an opportunity to be involved in the beautiful and give it to others. Someone splashes out their impulses through music, someone through singing, and so on. Dad paints, and it seems that the brush is an extension of his hand. I am happy that at least a fraction of his talent went to me, and I dream of working tirelessly on myself in order to create masterpieces in the same way and give joy to others.

The expressiveness of speech enhances the effectiveness of the speech: a vivid speech arouses interest among listeners, maintains attention to the subject of conversation, and has an impact not only on the mind, but also on the feelings and imagination of the listeners. It should be noted that in science there is no single definition of the concept of "expressiveness of speech". Scientists believe that expressiveness can be created by means of the language of all its levels.

Therefore, in the literature, expressiveness is distinguished pronunciation, accentological, lexical, derivational, morphological, syntactic, intonational, stylistic.

A number of researchers emphasize that the expressiveness of oral speech largely depends on the situation of communication. B.N. Golovin names a number of conditions on which the expressiveness of the speech of an individual depends. He refers to them: independence of thinking, activity of the consciousness of the author of the speech; indifference, the author's interest in what he speaks or writes about, and in those for whom he speaks or writes; good knowledge of the language, its expressive possibilities; good knowledge of the properties and features of language styles; systematic and conscious training of speech skills; the ability to control one's speech, to notice what is expressive in it, and what is stereotyped and gray; the conscious intention of the author of the speech to speak and write expressively, the psychological target setting for expressiveness.

The means of figurativeness and expressiveness of the language should also include comparison - a figurative expression built on a comparison of two objects or states that have a common feature, epithets - artistic definitions, inversion - a change in the usual word order in a sentence with a semantic and stylistic purpose.

Increases the expressiveness of speech such a stylistic figure as repetitions, the use of question-answer techniques, the use of direct and indirect speech, rhetorical questions, phraseological turns, as well as proverbs and sayings.

All of the listed paths, figures, and techniques far from exhaust the whole variety of expressive means of Russian speech, but resorting to them, one should not forget that all these “highlights of the language” are good only when they seem unexpected to the listener, they come to the place and In time. It makes no sense to memorize them, but it is necessary to absorb them into oneself, developing and improving speech culture, taste and flair.

We must appreciate all the diversity of language. The correctness of our speech, the accuracy of the language, the clarity of the wording, the skillful use of terms, foreign words, the successful use of visual and expressive means of the language, proverbs and sayings, catchwords, phraseological expressions, the richness of the individual dictionary is the key to effective communication, which determines the demand for a person in society , its competitiveness, prospects and opportunities.

Questions for self-control

1. What are the main communicative qualities of good speech?

2. How should one understand the accuracy of speech?

3. How should the richness of speech be understood?

4. How should purity of speech be understood?

5. How can you work on the expressiveness of speech?

The expressiveness of speech enhances the effectiveness of the speech: a vivid speech arouses interest among listeners, maintains attention to the subject of conversation, and has an impact not only on the mind, but also on the feelings and imagination of the listeners. It should be noted that in science there is no single definite concept of "expressiveness of speech". Scientists believe that expressiveness can be created by means of the language of all its levels. Therefore, in the literature, pronunciation, accentological, lexical, word-formation, morphological, syntactic, intonation and stylistic expressiveness are distinguished.

independence of thinking, activity of creating the author of speech;

good knowledge of the language, its expressive possibilities;

good knowledge of the properties and features of language styles;

systematic and conscious training of speech skills;

the ability to control one's speech, to notice what is expressive in it, and what is stereotyped and gray;

Before talking about the visual means of language, which helps to make speech figurative, emotional, it is necessary to clarify what properties the word has, what possibilities it contains. Words serve as the names of objects, phenomena, actions, etc. However, the word also has an aesthetic function, it is able not only to name an object, the action of a quality, but also to create a figurative representation of them. The word makes it possible to use it in its direct meaning, directly connecting with certain objects, the names of which it is. And in a figurative sense, denoting the facts of reality not directly, but through relation to the corresponding direct concepts. The concept of figurative use of a word is associated with such artistic means of expressiveness of speech as metaphor, metonymy, synecdoche, which are widely used in oratory and oral communication. The metaphor is based on the transfer of names by similarity. Metaphor is formed according to the principle of personification, reification, abstraction, etc. Different parts of speech can act as metaphors: verb, noun, adjective. To give expressiveness to speech, metaphors must be original, unusual, and evoke emotional associations. Metonymy, unlike metaphor, is based on contiguity. If, in a metaphor, two identically named objects or phenomena should be somewhat similar to each other, then when using metonymy, words that have received the same name should be understood not just as neighboring, but somewhat broader - closely related to each other. An example of metonymy is the use of the words audience, class, plant, collective farm to refer to people. Synecdoche is a trope, the essence of which is that the part is called instead of the whole, the singular is used instead of the plural, or, conversely, the whole is instead of the part, the plural is instead of the singular.

The means of figurativeness and expressiveness of the language should also include comparison - a figurative expression built on a comparison of two objects or states that has a common feature, epithets - artistic definitions, inversion - a change in the usual word order in a sentence with a semantic and stylistic purpose.

The expressiveness of speech is increased by such a stylistic figure as repetitions, the use of question-answer techniques, the use of direct and indirect speech, rhetorical questions, phraseological turns, as well as proverbs and sayings.

All of the listed paths, figures, techniques are far from exhausting the whole variety of expressive means of Russian speech, but resorting to them, one should not forget that all these “highlights of the language” are good only when they seem unexpected to the listener, they come at the right time and place. . It makes no sense to memorize them, but it is necessary to absorb them into oneself, developing and improving speech culture, taste and flair.

Expressive possibilities of grammar.

Expressiveness and its basic conditions

The expressiveness of speech is understood as such features of its structure that make it possible to enhance the impression of what is said (written), to arouse and maintain the attention and interest of the addressee, to influence not only his mind, but also feelings, imagination. In other words, the expressiveness of speech is such a communicative quality that reflects the intentional strengthening by the speaker (writer) of the impression of what was said (written).
One of the main conditions of expressiveness is the independence of thinking of the author of the speech, which implies a deep and comprehensive knowledge and understanding of the subject of the message. Knowledge extracted from any sources must be mastered, processed, deeply comprehended. This gives the speaker (writer) confidence, makes his speech convincing, effective. If the author does not properly think over the content of his statement, does not comprehend the issues that he will present, his thinking cannot be independent, and his speech cannot be expressive.
The expressiveness of speech also depends on the attitude of the author to the content of the statement. The speaker's inner conviction of the significance of the statement, interest, indifference to its content gives the speech a special emotional coloring.
In direct communication, the relationship between the speaker and the listener is also essential, the psychological contact between them, which arises primarily on the basis of joint mental activity: the sender and addressee must solve the same problems, discuss the same questions: the first - setting out the topic of his message, the second - following behind the development of his thought. In establishing psychological contact, it is important to relate to the subject of speech of both the speaker and the listener, their interest, indifference to the content of the statement.
In addition to a deep knowledge of the subject of the message, the expressiveness of speech also implies the ability to convey knowledge to the addressee, to arouse his interest and attention. This is achieved by careful and skillful selection of language means, taking into account the conditions and tasks of communication, which in turn requires a good knowledge of the language, its expressive capabilities and features of functional styles.
The means of training speech skills is attentive reading of exemplary texts (fiction, journalistic, scientific), close interest in their language and style, attentive attitude to the speech of people who can speak expressively, as well as self-control (the ability to control and analyze one’s speech from the point of view of its expressiveness). ).
The expressive means of language usually include tropes and stylistic figures. However, the expressive possibilities of the language are not limited to this; in speech, any unit of the language of all its levels (even a single sound), as well as non-verbal means (gestures, facial expressions, pantomime) can become a means of expressiveness.

Phonetic means of expression. euphony of speech

As you know, sounding speech is the main form of the existence of a language. The sound organization of speech, the aesthetic role of sounds is dealt with by a special section of stylistics - phonics. Phonics assesses the peculiarities of the sound structure of the language, determines the conditions of euphony characteristic of each national language, explores various methods of enhancing the phonetic expressiveness of speech, teaches the most perfect, artistically justified and stylistically appropriate sound expression of thought.
The sound expressiveness of speech lies in its euphony, harmony, in the use of rhythm, rhyme, alliteration (repetition of the same or similar consonant sounds), assonance (repetition of vowel sounds) and other means.
First of all, phonics is interested in the sound organization of poetic speech, in which the significance of phonetic means is especially great.
In non-artistic speech, phonics solves the problem of the most appropriate sound organization of linguistic material, which contributes to the accurate expression of thought, since the correct use of phonetic means of the language ensures quick (and without interference) perception of information, eliminates discrepancies, and eliminates unwanted associations that interfere with the understanding of statements.
For fluency of understanding, the euphony of speech is of great importance, i.e. a combination of sounds that is convenient for pronunciation (articulation) and pleasing to the ear (musicality). One of the ways to achieve sound harmony is considered to be a certain alternation of vowels and consonants. At the same time, most consonant combinations contain sounds [m], [n], [p], [l], which have a high sonority.
However, the euphony of speech can often be disturbed. There are several reasons for this:
accumulation of consonants: a sheet of a defective book: [stbr]; competition of adult builders: [rsvzr], [khstr]. Usually, with the confluence of consonants in oral speech, in such cases, an additional "syllabicity" develops, a syllabic vowel appears: [rubl '], [m "etr], etc.
accumulation of vowels. Vowels give rise to euphony only in combination with consonants. The confluence of several vowels in linguistics is called gaping; it distorts the sound structure of Russian speech and makes it difficult to articulate: Tanya and Olya .. [iiuo].
repetition of the same combinations of sounds or the same words: ... They produce the collapse of relationships (N. Voronov); Indication is the registration of some information; The inspection carried out by the commission caused great problems.
random rhyme in prose speech: In connection with the elimination of the measurement of the gap in the fourth section in a row, it was withdrawn; When they began to think about what to do to eliminate dampness in the pigsty, they suddenly remembered the forgotten steamer.
The aesthetic perception of texts is violated when real participles of the present and past tenses are used in speech, such as dragging, dragging, grimacing, grimacing, gritting, as they seem dissonant.

Vocabulary and phraseology as the main source of expressive speech

The expressive possibilities of a word are associated primarily with its semantics, with its use in a figurative sense. Their common name for all varieties of figurative use of words is paths (Greek tropos - turn; turnover, image).
The most common types of tropes are metaphor, personification, epithet, allegory, metonymy, synecdoche, hyperbole, litote, paraphrase. The typical function of the tropes is decorative, or pictorial, in other words, the main purpose of the tropes is associated with the creation of images.
The ability of a word to have not one, but several meanings of a usual nature, as well as the possibility of updating its semantics, its unusual, unexpected rethinking, is the basis of lexical figurative means. The novelty and freshness of the associative connections underlying metaphorical transfers are characterized, first of all, by poetic speech: Life is sniffed maliciously with the musical nostril of a mustang (A. Voznesensky); The calving sky is licked by a red heifer (S. Yesenin). Tropeization is largely characteristic of journalistic speech.
Vocabulary with emotionally expressive coloring is especially expressive. It affects our feelings, evokes emotions: This time, darling Lapidus decided to give a reception in honor of the Moscow silver youth, whose extravagance he was so imbued with on Albo-fashion (from the newspapers).
The expressiveness of speech is achieved through a motivated, purposeful clash of words of different functional-style and emotional-expressive coloring: “Secondly, the president signed a package of decrees on the “real transition of the country to a market economy”. And thus he drove an aspen stake into the state planning system ”(from the newspapers).
Polysemantics, homonyms, synonyms, antonyms, paronyms, restricted vocabulary, archaisms, neologisms, etc. are used as expressive means: Mouths and lips are not the same thing. And the eyes are not peepers at all! For some, depth is available, for others ... - deep plates (A. Markov).
Synonyms can perform the function of comparison and opposition of the concepts they denote. At the same time, attention is often drawn not to what is common, which is characteristic of close objects or phenomena, but to the differences between them: Nikitin wanted ... not just to think, but to reflect (Yu. Bondarev).
As an expressive means of creating contrast, sharp opposition, antonyms are used in speech. They underlie the creation of antithesis (Greek antithesis - opposition) - a stylistic figure built on a sharp opposition of words with the opposite meaning: Without tasting bitter, you will not recognize sweet (proverb). Gold pays for meanness. For courage - only lead (B. Mozolevsky).
Words-paronyms have considerable expressive possibilities. The deliberate “clash” of paronyms in one context (paronomasia) serves as a means of creating humor, irony, satire: There was a cult of personality, and now there is a cult of cash (from newspapers).
A vivid means of expressiveness in artistic and journalistic speech are individual author's neologisms (occasionalisms), which attract the attention of the reader (or listener) with their unexpectedness, unusualness. For example: Tankophobia disappeared. Our soldiers hit the "tigers" with direct fire (I. Ehrenburg).
Lexical repetitions (gemination, diaphora, dyad, chiasm) enhance the expressiveness of speech. They help to highlight an important concept in the text, to delve deeper into the content of the statement, give the speech an emotionally expressive coloring: Here the train passes the dump trucks, here the dump trucks pass the train ... Gardens, gardens, gardens, gardens, gardens ... Fields, fields, fields, fields, fields ... (B. Rakhmanin).
A living and inexhaustible source of expressiveness of speech are phraseological combinations characterized by figurativeness, expressiveness and emotionality, which allows not only to name an object or phenomenon, but also to express a certain attitude towards it: "Achilles' heel of our economy", journalistic articles).
Phrasemes are often used in a transformed form or in an unusual lexical environment, which allows increasing their expressive possibilities. The methods of using and creative processing of phraseological phrases for each artist of the word are individual and quite diverse: replacing one of the components, expanding or reducing the composition, contamination of two phraseological units, using it in its literal sense, etc.: “Chicken blindness”, “Two sides of the plate”, “The promised Vrubel has been waiting for three years”, “Long box” (titles of journalistic articles).
Increases the expressive possibilities of phraseological units, their ability to enter into synonymous relations with each other. The reduction of phrasemes into a synonymic series or the simultaneous use of lexical and phraseological synonyms significantly enhances the expressive coloring of speech: We are not a couple ... A goose is not a friend to a pig, a drunk sober is not related (A. Chekhov); They scratch their tongues all day, wash the bones of their neighbors (from colloquial speech).

The expressive power of grammar

Grammatical means of expressiveness are less significant and less noticeable in comparison with lexico-phraseological ones.
Grammatical forms, phrases and sentences correlate with words and to some extent depend on them. For this reason, the expressiveness of vocabulary and phraseology comes to the fore, while the expressive possibilities of grammar are relegated to the background.
The main sources of speech expressiveness in the field of morphology are forms of a certain stylistic coloring, synonymy and cases of figurative use of grammatical forms.
A variety of expressive shades can be conveyed, for example, by using one form of the number of nouns instead of another. Thus, the forms of the singular number of nouns in the collective meaning vividly convey the generalized plurality. Such use of singular forms is accompanied by the appearance of additional shades, most often negative ones: Moscow, burnt by fire, is given to the Frenchman (M. Lermontov).
Expressiveness is characteristic of the plural forms of collective names used metaphorically to refer not to a specific person, but to a typified phenomenon:
We all look at the Napoleons (A. Pushkin)
The Molchalins are blissful in the world (A. Griboedov)
The usual or occasional use of the plural of nouns singularia tantum can serve as a means of expressing disdain: I decided to run courses, study electricity, all sorts of oxygen! (V. Veresaev).
Pronouns are characterized by richness and variety of emotional and expressive shades. For example, the pronouns some, some, some, used when naming a person, introduce a tinge of disdain into speech (some doctor, some poet, some Ivanov).
The ambiguity of the meaning of pronouns serves as a means of creating a joke, a comic: When his wife was an Astrakhan herring. I think - why would a lady with our smelly herring drag around Europe? He cut her belly (not a lady, of course, but a herring), so from there, dear mother, diamond after diamond fell like cockroaches (V. Pikul “I have the honor”).
Special expressive shades are created by contrasting the pronouns we - you, our - yours, while emphasizing two camps, two opinions, views, etc.:
Millions of you. We are darkness, and darkness, and darkness. Try it, fight with us! (A. Blok);
Verbal categories and forms with their rich synonymy, expression and emotionality, and the ability to use figuratively have great expressive possibilities.
The possibility of using one verb form instead of another makes it possible to widely use in speech synonymous replacements of some forms of tense, aspect, mood or personal forms of the verb with others.
The additional semantic shades that appear in this case increase the expression of the expression. So, to indicate the action of the interlocutor, forms of the 3rd person singular can be used, which gives the statement a disparaging connotation: He is still arguing!; 1st person plural Well, how are we resting? - in the meaning of ‘resting, resting’ with a hint of sympathy or special interest; an infinitive with a particle would have a touch of desirability: You should rest a little; You should visit him. The past perfect tense when used in the meaning of the future expresses a special categorical judgment or the need to convince the interlocutor of the inevitability of action: - Listen, let me go! Drop off somewhere! I disappeared completely (M. Gorky).
Many expressive forms of inclinations: May there always be sunshine!; Long live world peace! Additional semantic and emotionally expressive shades appear when some mood forms are used in the meaning of others. For example, the subjunctive mood in the meaning of the imperative has a shade of a courteous, cautious wish: You would go to your brother; the indicative mood in the meaning of the imperative expresses an order that does not allow objections, refusals: You will call tomorrow!; the infinitive in the meaning of the imperative mood expresses categoricalness: Stop the arms race!; Prohibit testing of atomic weapons!.
The particles yes, let, well, well, -ka, etc. contribute to the strengthening of the expression of the verb in the imperative mood: Well, is it sweet, my friend. // Judge in simplicity (A. Tvardovsky).
The expressive possibilities of syntax are associated primarily with the use of stylistic figures (in the most general definition of a figure - transformations of syntactic structures): antithesis, gradation, inversion, parallelism, ellipsis, default, polysyndeton, asyndeton, parcellation, segmentation, anaphora, epiphora, etc.
The expressive possibilities of “manipulations” with syntactic constructions, as a rule, are closely connected with the words that fill them, with their semantics and stylistic coloring. So, the stylistic figure of the antithesis, as noted above, is often created by using antonyms, that is, the lexical basis of the antithesis is antonymy, and the syntactic basis is the parallelism of the construction: Stronger is the one who loves less, Who loves more, that is weaker ... Who loves more, the richer, who loves less, the poorer (V. Soloukhin); An easy task is hard to write and speak, but it is easy to write and speak is a hard task (V. Klyuchevsky)
The stringing of synonymous words can lead to gradation, when each subsequent synonym strengthens (or weakens) the meaning of the previous one: She [German] was there, in a hostile world that he did not recognize, despised, hated (Yu. Bondarev); But the vast majority of the screen characters of Leonid Nevedomsky personify decency, nobility, chivalry (from the newspapers).
Anaphora and epiphora are based on lexical repetitions: The trumpeter plays a hymn, the trumpeter sweats in the scale, the trumpeter wheezes his own and coughs, wheezing (B. Okudzhava); Once upon a time there was one jug, He wanted to reach the heights, But he could not reach the heights, Because he is a jug (N. Glazkov).
The repetition of functional words represents the figure of polysyndeton, the intentional omission of unions - the figure of asyndeton: Oh, red summer! I would love you, If it were not for the zanoy, but mosquitoes, and flies (A Pushkin); ... that's really on the Tverskaya Vozok rushes through the potholes. Booths, women, Boys, shops, lanterns, Palaces, gardens, monasteries, Bukhara, sleighs, vegetable gardens, Merchants, shacks, peasants, Boulevards, towers, Cossacks, Pharmacies, shops, fashion (A. Pushkin) flash past.
Since the time of Ancient Greece, a special semantic type of phrases has been known - an oxymoron, some researchers consider it a trope, others consider it a stylistic figure, consisting in combining two concepts that contradict each other, logically excluding one another: hot snow, ugly beauty, truth of lies, ringing silence ). Oxymoron allows you to reveal the essence of objects or phenomena, emphasize their complexity and inconsistency. For example:
Covered
Sweet despair
The pain of delight
By your eyes
Wide open
Like a goodbye
I saw myself
Young.
(V. Fedorov)
According to the apt definition of A. S. Pushkin, “language is inexhaustible in the combination of words”, therefore, its expressive possibilities are also inexhaustible. Updating links between words leads to updating verbal meanings. In some cases, this manifests itself in the creation of new, unexpected metaphors, in others, in an almost imperceptible shift in verbal meanings.
Such a shift can be created not by close, but by distant connections of words, separate parts of the text, or the entire text as a whole. This is how, for example, a poem by A.S. Pushkin “I loved you”, which is an example of expressiveness of speech, although it mainly uses words that do not have a bright expressive coloring and semantic connotations, and only one paraphrase: Love, perhaps, // In my soul has not completely died out.
The syntax of the Russian language, in addition, has a lot of emotionally and expressively colored constructions. So, infinitive sentences with a colloquial coloration are characterized by various modal-expressive meanings: You will not see such battles (M. Lermontov)
An emotional and evaluative attitude to the content of the statement can be expressed with the help of exclamatory sentences: How beautiful life seems to me when I meet restless, caring, enthusiastic, searching, generous-hearted people in it! (V. Chivilikhin); sentences with inversion: Fate's sentence has come true! (M. Lermontov), segmented and packaged structures: Winter is so long, so endless; Where we will live, the forest is real, not like our grove ... With mushrooms, with berries (V. Panova), etc.
It enlivens the narrative, allows you to convey the emotional and expressive features of the author's speech, more clearly show his inner state, attitude to the subject of the message, direct and improperly direct speech. It is more emotional, expressive and convincing than indirect. For example, let's compare an excerpt from the story of A.P. Chekhov "Dear Lessons" in the first and second editions:
(I) Voronov ordered to ask, and less than a minute later, a young, very decently and elegantly dressed young lady entered the office.
(II) - Ask, - said Voronov. And a young, in the latest fashion, elegantly dressed young lady entered the office.
The expressive possibilities of syntactic (as well as other) means of the language are updated due to various stylistic methods of using them in speech. Interrogative sentences, for example, are a means of expression if they not only contain an incentive to receive information, but also express a variety of emotionally expressive shades: Is it morning?; So you won't come?; Again this nasty rain?; arouse the addressee's interest in the message, make them think about the question posed, emphasize its significance: How far will you sail on the wave of the crisis?
Rhetorical questions that are widely used in public speaking contribute to attracting the attention of the addressee and strengthening the impact of speech on his feelings. In fact, a rhetorical question is the use of an interrogative grammatical construction in a secondary function - the function of a message: a rhetorical question contains a negative or affirmative answer: Don't we have overflowing creativity? Don't we have a smart, rich, flexible, luxurious language, richer and more flexible than any of the European languages?
In the practice of oratory, a special technique for using interrogative sentences has been developed - a question-answer move (the speaker puts questions and answers them himself): How did these ordinary girls become extraordinary soldiers? They were ready for a feat, but they were not ready for the army. And the army, in turn, was not ready for them, because most of the girls went voluntarily (S. Aleksievich). The question-answer move dialogizes monologue speech, makes the addressee the interlocutor of the speaker, activates his attention. Dialogization enlivens the narrative, gives it expressiveness.
As a means of speech expressiveness in a certain situation, deviations from the norms of the literary language are deliberately used: the use of units of different stylistic coloring in one context, the collision of semantically incompatible units, non-normative formations of grammatical forms, non-normative construction of sentences, etc. This use is based on a conscious choice of language means based on a deep knowledge of the language.
It is possible to achieve speech expressiveness only with the correct correlation of the main aspects of speech - logical, psychological (emotional) and linguistic, which is determined by the content of the statement and the author's goal setting.

Expressiveness of speech- this is a quality that can maintain the attention and interest of the listener or reader, influence not only the mind, but also feelings, imagination. Expressive speech enhances the effectiveness of the impact of the speech on the addressee.

There are different approaches to describing this quality. Scientists believe that expressiveness can be created by means of the language of all its levels. First of all, the phonetic side of speech contributes to the creation of expressiveness: diction (clear pronunciation of sounds), voice (strength, tempo, timbre), intonation (pitch, pauses).

The traditional linguistic basis of expressiveness is the presence in the language of figurative and expressive means of the lexical level (tropes) and the syntactic level (stylistic figures).

trails- these are words and turns of speech used in a figurative sense, naming one object (phenomenon, process, property) to designate another.

The main types of trails: epithet, comparison, metaphor, metonymy, synecdoche, hyperbola, litotes, personification, allegory, paraphrase.

Epithet(from Greek epitheton - application). Artistic, figurative definition, type of trail. Cheerful wind, dead silence, gray-haired antiquity, black melancholy. With a broad interpretation, an epithet is called not only an adjective that defines a noun, but also a noun-application, as well as an adverb that metaphorically defines a verb. Frost-voivode, tramp-wind, old man-ocean; proudly flies Petrel(Bitter); Petrograd lived in these January nights tensely, agitatedly, viciously, furiously.(A.N. Tolstoy). Permanent epithet. An epithet often found in folk poetry, passing from one work to another. The sea is blue, the field is clear, the sun is red, the clouds are black, a good fellow, the grass is green, the girl is red.

Comparison. Trope, consisting in the likening of one object to another on the basis of a common feature they have. Comparison is expressed: a) instrumental case. Snow dust is in the air(Gorbatov);

b) the form of the comparative degree of an adjective or adverb. You are sweeter than everyone, dearer than everyone, Russian, loamy, hard earth(Surkov); c) turns with comparative unions. Below, like a steel mirror, lakes of jets turn blue(Tyutchev). Whiter, there are snowy mountains, clouds go to the west(Lermontov). The moon rose very crimson and gloomy, as if sick(Chekhov); d) lexically (using words similar, similar etc.). Her love for her son was like madness(Bitter). Pyramidal poplars look like mourning cypresses(Serafimovich).

Metaphor(gr. metaphor - transfer). The use of a word in a figurative sense based on the similarity in some respect of two objects or phenomena. "Noble Nest"(direct meaning of the word nest- “bird dwelling”, figuratively - “human community”), aircraft wing(cf.: bird wing), golden autumn(cf.: gold chain). Unlike a two-term comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second, which creates compactness and figurativeness of the use of words. Metaphor is one of the most common tropes, since the similarity between objects or phenomena can be based on a variety of features. The prow of a ship, the leg of a table, the dawn of life, the flow of speech, a steel pen, a clock hand, a doorknob, a piece of paper.

Metonymy(gr. metonymia - renaming). The use of the name of one object instead of the name of another object on the basis of an external or internal connection between them; kind of trail. The connection can be: a) between the object and the material from which the object is made. Not on silver- ate on gold(Griboyedov); b) between content and containing. Well, eat another plate, my dear(Krylov); c) between the action and the instrument of this action. The pen of his revenge breathes(A.K. Tolstoy); d) between the author and his work. I read Apuleius willingly, but I did not read Cicero(Pushkin); e) between a place and people in that place. But our open bivouac was quiet(Lermontov).