Style fiction

Art style- functional style of speech, which is used in fiction. In this style, it affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, the possibilities of different styles, is characterized by figurativeness, emotionality of speech.

In a work of art, the word not only carries certain information, but also serves to aesthetically influence the reader with the help of artistic images. The brighter and more truthful the image, the stronger it affects the reader.

In their works, writers use, when necessary, not only words and forms literary language, but also obsolete dialect and vernacular words.

The means of artistic expression are varied and numerous. These are tropes: comparisons, personifications, allegory, metaphor, metonymy, synecdoche, etc. And stylistic figures: epithet, hyperbole, litote, anaphora, epiphora, gradation, parallelism, rhetorical question, default, etc.

Fiction is characterized by a concrete-figurative representation of life, in contrast to the abstract, objective, logical-conceptual reflection of reality in scientific speech. A work of art is characterized by perception through the senses and the re-creation of reality, the author seeks to convey, first of all, his personal experience, their understanding or comprehension of this or that phenomenon. But in a literary text we see not only the world of the writer, but also the writer in this world: his preferences, condemnations, admiration, rejection, and the like. This is associated with emotionality and expressiveness, metaphorical, meaningful diversity of the artistic style of speech.

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. The words that form the basis of this style primarily include figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of uses. Highly specialized words are used to a small extent, only to create artistic authenticity in describing certain aspects of life.

In the artistic style of speech, the speech polysemy of the word is widely used, which reveals in it additional meanings and semantic shades, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness of the language, to create his own unique language and style, to a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also various figurative means from colloquial speech and vernacular.

The emotionality and expressiveness of the image comes to the fore in the artistic text. Many words that in scientific speech act as well-defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech they carry concrete-sensual representations. Thus, the styles functionally complement each other. For example, the adjective lead in scientific speech realizes its direct meaning(lead ore, lead bullet), and in fiction it forms an expressive metaphor ( lead clouds, lead nots, lead waves). Therefore, in artistic speech important role play phrases that create a kind of figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, i.e. changing the usual word order in a sentence in order to enhance the semantic significance of a word, or to give the entire phrase a special stylistic coloring. An example of inversion is the well-known line from A. Akhmatova's poem "Everything I see is hilly Pavlovsk ..." Variants of the author's word order are diverse, subject to a common plan. But all these deviations in the text serve the law of artistic necessity.

6. Aristotle on six qualities of "good speech"

The term "rhetoric" (Greek Retorike), "oratory" (Latin orator, orare - to speak), "vitia" (obsolete, Old Slavonic), "eloquence" (Russian) are synonymous.

Rhetoric - a special science of the laws of "invention, arrangement and expression of thoughts in speech." Its modern interpretation is the theory of persuasive communication.

Aristotle defined rhetoric as the ability to find possible beliefs for each this subject, as the art of persuasion, which uses the possible and probable in cases where real certainty is insufficient. The point of rhetoric is not to convince, but in every this case find ways to convince.

Oratory is understood as high degree skill public speaking, quality characteristic public speaking, skillful use of the word.

Eloquence in the dictionary of the living Great Russian language V. Dahl is defined as eloquence, science and the ability to speak and write beautifully, convincingly and captivatingly.

Corax, who in the fifth century BC. opened a school of eloquence in Syrocusa and wrote the first textbook of rhetoric, defined eloquence as follows: eloquence is the servant of persuasion. Comparing the above concepts “rhetoric”, “oratory”, “eloquence”, we find that they are united by the idea of ​​persuasion.

Aesthetics and self-expression of the speaker in oratory, the ability and ability to speak fascinatingly inherent in eloquence, as well as the scientific laws of rhetoric, they all serve one purpose - to convince. And these three concepts of “rhetoric”, “oratory” and “eloquence” differ in different accents that emphasize their content.

Oratory emphasizes aesthetics, self-expression of the author, eloquence emphasizes the ability and ability to speak in a fascinating way, and rhetoric emphasizes the scientific nature of principles and laws.

Rhetoric as a science and academic discipline have existed for thousands of years. At different times, different content was invested in it. It was considered both as a special genre of literature, and as a mastery of any kind of speech (oral and written), and as a science and art of oral speech.

Rhetoric, as the art of speaking well, needed an aesthetic assimilation of the world, an idea of ​​the elegant and the clumsy, the beautiful and the ugly, the beautiful and the ugly. The origins of rhetoric were an actor, a dancer, a singer who delighted and convinced people with their art.

At the same time, rhetoric was based on rational knowledge, on the difference between the real and the unreal, the real from the imaginary, the true from the false. A logician, a philosopher, a scientist participated in the creation of rhetoric. In the very formation of rhetoric, there was also a third principle; it united both types of knowledge: aesthetic and scientific. Ethics was such a beginning.

So the rhetoric was triune. It was the art of persuading with the word, the science of the art of persuading with the word, and the process of persuasion based on moral principles.

Even in antiquity, two main trends developed in rhetoric. The first, coming from Aristotle, linked rhetoric with logic and suggested that good speech be persuasive, effective speech. At the same time, efficiency also came down to persuasiveness, the ability of speech to win recognition (consent, sympathy, sympathy) of listeners, to make them act in a certain way. Aristotle defined rhetoric as "the ability to find possible ways beliefs about any given subject.

The second direction also arose in Dr. Greece. Among its founders are m Socrates and other rhetors. Its representatives were inclined to consider richly decorated, magnificent speech, built according to aesthetic canons, to be good. Persuasiveness continued to matter, but was not the only and not the main criterion for evaluating speech. Therefore, the direction in rhetoric, originating from Aristotle, can be called "logical", and from Socrates - literary.

The doctrine of the culture of speech originated in Ancient Greece within the framework of rhetoric as a doctrine of the merits and demerits of speech. In rhetorical treatises, prescriptions were given for what speech should be and what should be avoided in it. These papers provided guidance on how to correctness, purity, clarity, accuracy, consistency and expressiveness of speech, as well as advice on how to achieve this. In addition, even Aristotle urged not to forget about the addressee of the speech: "Speech consists of three elements: the speaker himself, the subject he speaks about, and the person to whom he refers and which is, in fact, the ultimate goal of everything." Thus, Aristotle and other rhetoricians drew the attention of readers to the fact that rhetorical heights, the art of speech can be achieved only on the basis of mastering the basics of speech skill.

The artistic style of speech as a functional style is used in fiction, which performs a figurative-cognitive and ideological-aesthetic function. To understand the features artistic way knowledge of reality, thinking, which determines the specifics of artistic speech, it must be compared with the scientific method of cognition, which determines character traits scientific speech.

Fiction, like other types of art, is characterized by a concrete-figurative representation of life, in contrast to the abstract, logical-conceptual, objective reflection of reality in scientific speech. A work of art is characterized by perception through feelings and the re-creation of reality, the author seeks, first of all, to convey his personal experience, his understanding and understanding of a particular phenomenon.

For the artistic style of speech, attention to the particular and the accidental is typical, followed by the typical and the general. Remember the well-known Dead Souls» N.V. Gogol, where each of the shown landowners personifies certain specific human qualities, expresses a certain type, and all together they were a “face” modern author Russia.

The world of fiction is a “recreated” world, the depicted reality is, to a certain extent, the author’s fiction, which means that the subjective moment plays the main role in the artistic style of speech. The whole surrounding reality is presented through the vision of the author. But in a literary text, we see not only the world of the writer, but also the writer in this world: his preferences, condemnation, admiration, rejection, etc. This is connected with emotionality and expressiveness, metaphorical, meaningful versatility of the artistic style of speech. Let's analyze a short excerpt from the story of L. N. Tolstoy "Foreigner without food":

“Lera went to the exhibition only for the sake of her student, out of a sense of duty. Alina Kruger. Personal exhibition. Life is like loss. Free admission". A bearded man with a lady wandered in the empty hall. He looked at some of the work through a hole in his fist, he felt like a professional. Lera also looked through her fist, but did not notice the difference: the same naked men on chicken legs, and in the background the pagodas were on fire. The booklet about Alina said: "The artist projects a parable world onto the space of the infinite." I wonder where and how they teach to write art history texts? They are probably born with it. When visiting, Lera loved to leaf through art albums and, after looking at a reproduction, read what a specialist wrote about it. You see: the boy covered the insect with a net, on the sides the angels are blowing pioneer horns, in the sky there is a plane with the signs of the Zodiac on board. You read: “The artist views the canvas as a cult of the moment, where the stubbornness of details interacts with an attempt to comprehend everyday life.” You think: the author of the text rarely happens in the air, keeps on coffee and cigarettes, intimate life is complicated by something.

Before us is not an objective representation of the exhibition, but subjective description the heroine of the story, behind which the author is clearly visible. The story is built on the combination of three artistic plans. The first plan is what Lera sees in the paintings, the second is an art history text that interprets the content of the paintings. These plans are stylistically expressed in different ways, bookishness and abstruseness of descriptions are deliberately emphasized. And the third plan is the author's irony, which manifests itself through the display of the discrepancy between the content of the paintings and the verbal expression of this content, in the assessment of the bearded man, the author of the book text, the ability to write such art history texts.

As a means of communication, artistic speech has its own language - a system of figurative forms, expressed by linguistic and extralinguistic means. Artistic speech, along with non-artistic speech, make up two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. Here is the beginning of V. Larin's novel "Neuron Shock":

“Marat's father, Stepan Porfirievich Fateev, an orphan from infancy, was from the Astrakhan bandit family. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Michelson plant in Moscow, machine-gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and goodness.

In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of enormous changes associated with the 1917 revolution. The first sentence gives knowledge social environment, material conditions, human relations in the childhood years of the life of the father of the hero of the novel and his own roots. The simple, rude people who surrounded the boy (the bindyuzhnik is the vernacular name of the port loader), hard work, which he saw from childhood, the restlessness of orphanhood - that's what stands behind this proposal. And the next sentence includes privacy into the cycle of history. Metaphorical phrases the revolutionary whirlwind blew ..., dragged ..., threw ... they liken human life to a grain of sand that cannot withstand historical cataclysms, and at the same time convey the element of the general movement of those “who were nobody”. Such figurativeness, such a layer of in-depth information is impossible in a scientific or official business text.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. Among the words that form the basis and create the imagery of this style, first of all, are the figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of uses. Highly specialized words are used to a small extent, only to create artistic authenticity in describing certain aspects of life. For example, L.N. Tolstoy in "War and Peace" used special military vocabulary when describing battle scenes; we will find a significant number of words from the hunting lexicon in I.S. Turgenev, in the stories of M.M. Prishvin, V.A. Astafiev, and in The Queen of Spades by A.S. Pushkin has many words from the lexicon of the card game, etc. In the artistic style of speech, the verbal ambiguity of the word is very widely used, which opens up additional meanings and semantic shades in it, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness of the language, to create his own unique language and style, to a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular. Let us give an example of the use of such a technique by B. Okudzhava in Shipov's Adventures:

“In Evdokimov’s tavern, they were already about to turn off the lamps when the scandal began. The scandal started like this. At first, everything in the hall looked fine, and even the tavern clerk, Potap, told the owner that, they say, now God has mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzzing, like a swarm of bees.

- Fathers of the world, - the owner was lazily amazed, - here, Potapka, your evil eye, damn it! Well, you should have croaked, damn it!

The emotionality and expressiveness of the image come to the fore in the artistic text. Many words that in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech as socially generalized concepts, in artistic speech carry specific sensory representations. Thus, the styles functionally complement each other. For example, the adjective lead in scientific speech realizes its direct meaning ( lead ore, lead bullet), and artistic forms an expressive metaphor ( lead clouds, lead night, lead waves). Therefore, in artistic speech, phrases play an important role, which create a certain figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, i.e. a change in the usual word order in a sentence in order to enhance the semantic significance of a word or to give the whole phrase a special stylistic coloring. An example of inversion is the well-known line from A. Akhmatova's poem "Everything I see is Pavlovsk is hilly ...". Variants of the author's word order are diverse, subject to the general plan.

Syntactic structure artistic speech reflects the flow of figurative and emotional author's impressions, so here you can find the whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. So, L. Petrushevskaya, to show disorder, "troubles" family life the heroine of the story "Poetry in Life", includes several simple and complex sentences:

“In Mila’s story, everything went on increasing, Mila’s husband in a new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either there or here - Mila’s husband became himself and Iago and Othello and with mockingly, from around the corner watched how men of his type pester Mila on the street, builders, prospectors, poets, who do not know how heavy this burden is, how unbearable life is if you fight alone, because beauty is not a helper in life, so roughly one could translate those obscene, desperate monologues that the former agronomist, and now a researcher, Mila's husband, shouted both on the night streets, and in his apartment, and drunk, so that Mila was hiding somewhere with her young daughter, found shelter, and the unfortunate husband beat the furniture and threw iron pans.

This proposal is perceived as an endless complaint of an uncountable number of unfortunate women, as a continuation of the theme of the sad female fate.

In artistic speech, deviations from structural norms are also possible due to artistic actualization, i.e. the author highlighting some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. Especially often this technique is used to create a comic effect or a bright, expressive artistic image. Consider an example from the work of B. Okudzhava "The Adventures of Shipov":

“Ay, dear,” Shipov shook his head, “why is that so? No need. I can see right through you, mon cher... Hey, Potapka, why did you forget a man on the street? Lead here, wake up. And what, mister student, how does this tavern seem to you? It's dirty indeed. Do you think I like him?... I've been to real restaurants, sir, I know... Pure Empire... But you can't talk to people there, but here I can find out something.

The speech of the protagonist characterizes him very clearly: not very educated, but ambitious, wanting to give the impression of a gentleman, master, Shipov uses elementary French words(mon cher) along with colloquial wake up, hello, here, which do not correspond not only to the literary, but also to the colloquial form. But all these deviations in the text serve the law of artistic necessity.

Introduction

1. Literary and artistic style

2. Figurativeness as a unit of figurativeness and expressiveness

3. Vocabulary with objective meaning as the basis of figurativeness

Conclusion

Literature

Introduction

Depending on the scope of the language, the content of the utterance, the situation and the goals of communication, several functional and stylistic varieties, or styles, are distinguished. certain system selection and organization of linguistic means in them.

Functional style is a historically developed and socially conscious variety of the literary language (its subsystem), functioning in a certain area. human activity and communication, created by the peculiarities of the use of language means in this area and their specific organization.

The classification of styles is based on extralinguistic factors: the scope of the language, the topics determined by it and the goals of communication. The areas of application of the language are correlated with the types of human activities corresponding to the forms public consciousness(science, law, politics, art). Traditional and social significant areas activities are considered: scientific, business (administrative-legal), socio-political, artistic. Accordingly, they stand out and styles official speech(book): scientific, official business, journalistic, literary and artistic (artistic). They are opposed to the style of informal speech - colloquial and everyday.

The literary and artistic style of speech stands apart in this classification, since the question of the legality of its allocation into a separate functional style has not yet been resolved, since it has rather blurred boundaries and can use the language means of all other styles. The specificity of this style is also the presence in it of various figurative and expressive means for conveying special property- imagery.

1. Literary and artistic style

As we noted above, the question of the language of fiction and its place in the system functional styles solved ambiguously: some researchers (V.V. Vinogradov, R.A. Budagov, A.I. Efimov, M.N. Kozhina, A.N. Vasilyeva, B.N. Golovin) include a special artistic style in the system of functional styles , others (L.Yu. Maksimov, K.A. Panfilov, M.M. Shansky, D.N. Shmelev, V.D. Bondaletov) believe that there are no grounds for this. The following are given as arguments against singling out the style of fiction: 1) the language of fiction is not included in the concept of literary language; 2) it is multi-styled, not closed, does not have specific signs that would be inherent in the language of fiction as a whole; 3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.

It seems to us that the opinion of M.N. Kozhina that “bringing artistic speech beyond the limits of functional styles impoverishes our understanding of the functions of the language. If we deduce artistic speech from among the functional styles, but consider that the literary language exists in a variety of functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of the language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and because of this, neither the literary language ceases to be such when it enters a work of art, nor the language of fiction ceases to be a manifestation of the literary language.

The main goal of the literary and artistic style is the development of the world according to the laws of beauty, the satisfaction of the aesthetic needs of both the author of a work of art and the reader, the aesthetic impact on the reader with the help of artistic images.

Used in literary works different kinds and genres: stories, novellas, novels, poems, poems, tragedies, comedies, etc.

The language of fiction, despite the stylistic heterogeneity, despite the fact that the author's individuality is clearly manifested in it, still differs in a number of ways. specific features, allowing to distinguish artistic speech from any other style.

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphor, figurativeness of language units of almost all levels, the use of synonyms of all types, ambiguity, different stylistic layers of vocabulary. In the artistic style (compared to other functional styles) there are laws of perception of the word. Word meaning in more determined by the target setting of the author, genre and compositional features of that work of art, of which this word is an element: firstly, it is in the context of a given literary work can acquire artistic ambiguity that is not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is evaluated by us as beautiful or ugly, sublime or base, tragic or comic:

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of the image and the impact through it on the addressee. Writers in their works proceed primarily from the fact that they correctly convey the thought, feeling, truthfully reveal the spiritual world of the hero, realistically recreate the language and image. Not only the normative facts of the language, but also deviations from general literary norms are subject to the author's intention, the desire for artistic truth.

The breadth of coverage of the means of the national language by artistic speech is so great that it allows us to assert the idea of ​​a fundamental potential inclusion in the style of fiction of all existing linguistic means (albeit, connected in a certain way).

These facts indicate that the style of fiction has a number of features that allow it to take its own special place in the system of functional styles of the Russian language.

2. Figurativeness as a unit of figurativeness and expressiveness

Figurativeness and expressiveness are integral properties of the artistic and literary style, therefore, from this we can conclude that figurativeness is a necessary element of this style. However, this concept is still much broader, most often in linguistic science the question of imagery of a word as a unit of language and speech, or, in other words, lexical imagery, is considered.

In this regard, figurativeness is considered as one of the connotative characteristics of a word, as the ability of a word to contain and reproduce in speech communication a concrete-sensory appearance (image) of an object, fixed in the minds of native speakers, a kind of visual or auditory representation.

In the work of N.A. Lukyanova "On semantics and types of expressive lexical items» contained whole line judgments about lexical imagery, fully shared by us. Here are some of them (in our formulation):

1. Imagery is a semantic component that actualizes sensory associations (representations) associated with a certain word, and through it with specific subject, the phenomenon called by the given word.

2. Imagery can be motivated and unmotivated.

3. The linguistic (semantic) basis of motivated figurative expressive words is:

a) figurative associations that arise when comparing two ideas about real objects, phenomena - metaphorical figurativeness (boil - "to be in a state of strong indignation, anger"; dry - "to worry a lot, take care of someone, something");

b) sound associations - (burn, grunt);

c) imagery internal form as a result of word-formation motivation (play, star, shrink).

4. The linguistic basis of unmotivated figurativeness is created due to a number of factors: obscuration of the inner form of the word, individual figurative representations, etc.

Thus, we can say that figurativeness is one of the most important structural and semantic properties of a word, which affects its semantics, valence, emotional and expressive status. The processes of formation of verbal imagery are most directly and organically associated with the processes of metaphorization, that is, they serve as figurative and expressive means.

Figurativeness is "figurativeness and expressiveness", that is, functions language unit in speech with the peculiarities of its structural organization and a certain environment, which reflects exactly the plan of expression.

The category of figurativeness, being a mandatory structural characteristic of each language unit, covers all levels of reflection of the surrounding world. It is precisely because of this constant ability to potentially generate figurative dominants that it became possible to talk about such qualities of speech as figurativeness and expressiveness.

They, in turn, are characterized precisely by the ability to create (or actualize linguistic figurative dominants) sensory images, their special representation and saturation with associations in the mind. The true function of figurativeness is revealed only when referring to a real objective action - speech. Consequently, the reason for such qualities of speech as figurativeness and expressiveness lies in the language system and can be found at any of its levels, and this reason is figurativeness - a special inseparable structural characteristic of a language unit, while already the objectivity of the reflection of the representation and the activity of its construction can be studied only at the level of the functional implementation of the language unit. In particular, it can be vocabulary with a subject-specific meaning, as the main means of representation.

Artistic style is a special style of speech that has received wide use both in world fiction in general and in copywriting in particular. It is characterized by high emotionality, direct speech, richness of colors, epithets and metaphors, and is also designed to influence the reader's imagination and acts as a trigger for his fantasy. So, today we are in detail and visually examples consider artistic style of texts and its application in copywriting.

Art style features

As mentioned above, the art style is most often used in fiction: novels, short stories, short stories, short stories and others. literary genres. This style does not have value judgments, dryness and formality, which are also characteristic of styles. Instead, for him, the characters are narrative and the transfer of the smallest details in order to form in the reader's imagination a filigree form of the transmitted thought.

In the context of copywriting, the art style has found a new incarnation in hypnotic texts, to which an entire section "" is devoted to this blog. It is the elements of artistic style that allow texts to influence limbic system the reader's brain and launch the mechanisms necessary for the author, thanks to which a very curious effect is sometimes achieved. For example, the reader cannot tear himself away from the novel, or he develops sexual attraction, as well as other reactions, which we will talk about in subsequent articles.

Art style elements

In any literary text there are elements that are characteristic of the style of its presentation. For the artistic style are most characteristic:

• Detailing
• The transfer of feelings and emotions of the author
• epithets
• Metaphors
• Comparisons
• Allegory
• Using elements of other styles
• Inversion

Let's consider all these elements in more detail and with examples.

1. Detailing in a literary text

The first thing that can be distinguished in all literary texts is the presence of details, and, moreover, to almost everything.

Art style example #1

The lieutenant walked along the yellow building sand, heated by the scorching afternoon sun. He was wet from the tips of his fingers to the tips of his hair, his whole body was covered with scratches from sharp barbed wire and aching with maddening pain, but he was alive and headed for the command headquarters, which was visible on the horizon about five hundred meters away.

2. Transfer of feelings and emotions of the author

Art style example #2

Varenka, such a sweet, good-natured and sympathetic girl, whose eyes always shone with kindness and warmth, with a calm look of a real demon, walked to the Ugly Harry bar with a Thompson machine gun at the ready, ready to roll these vile, dirty, smelly and slippery types who dared stare at her charms and drool lustfully.

3. Epithets

Epithets are most characteristic of literary texts, since they are responsible for the richness of the vocabulary. Epithets can be expressed by a noun, adjective, adverb or verb and are most often bundles of words, one or more of which complement another.

Examples of epithets

Example of artistic style No. 3 (with epithets)

Yasha was just a small dirty trick, which, nevertheless, had a very great potential. Even in his pink childhood, he masterfully stole apples from Aunt Nyura, and not even twenty years had passed, when he switched to banks in twenty-three countries of the world with the same dashing fuse, and managed to peel them so skillfully that neither the police nor Interpol couldn't catch him red-handed.

4. Metaphors

Metaphors are words or expressions in figurative meaning. Found widespread among the classics of Russian fiction.

Art Style Example #4 (Metaphors)

5. Comparisons

Artistic style would not be itself if there were no comparisons in it. This is one of those elements that bring a special flavor to the texts and form associative links in the reader's imagination.

Comparison examples

6. Allegory

An allegory is a representation of something abstract with the help of a concrete image. It is used in many styles, but for artistic it is especially characteristic.

7. Using elements of other styles

Most often, this aspect is manifested in direct speech, when the author conveys the words of a particular character. In such cases, depending on the type, the character can use any of the styles of speech, but the most popular in this case is colloquial.

Art style example #5

The monk drew his staff and stood in the way of the intruder:

Why did you come to our monastery? - he asked.
- What do you care, get out of the way! the stranger snapped.
“Uuuu…” the monk pointedly drawled. Looks like you weren't taught manners. Okay, I'm in the mood today, I'll teach you some lessons.
- You got me, monk, angard! hissed the uninvited guest.
“My blood is starting to play!” the churchman groaned with delight. “Please try not to disappoint me.

With these words, both of them jumped out of their seats and grappled in a merciless fight.

8. Inversion

Inversion is the use reverse order words to enhance certain fragments and give the words a special stylistic coloring.

Inversion examples

findings

In the artistic style of texts, both all of the listed elements, and only some of them, can occur. Each performs a specific function, but all serve the same purpose: to saturate the text and fill it with colors in order to maximally involve the reader in the transmitted atmosphere.

Masters artistic genre, whose masterpieces people read without stopping, use a number of hypnotic techniques, which will be disclosed in more detail in subsequent articles. or email the newsletter below, follow the blog on twitter and you won't miss them for anything.

In general, to the main language features artistic style of speech include the following:

1. Heterogeneity of the lexical composition: combination book vocabulary with colloquial, vernacular, dialect, etc.

Let's turn to examples.

“The feather grass has matured. The steppe was clad in swaying silver for many versts. The wind resiliently accepted it, flowing, roughened, bumped, drove the gray-opal waves either to the south or to the west. Where a flowing air stream ran, the feather grass inclined prayerfully, and a blackening path lay for a long time on its gray ridge.

“Different herbs have blossomed. On the crests of the nikla is a joyless, burnt-out wormwood. The nights faded quickly. At night, in the charred-black sky, innumerable stars shone; month - the Cossack sun, darkening with a damaged sidewall, shone sparingly, white; the spacious Milky Way intertwined with other stellar paths. The tart air was thick, the wind was dry and wormwood; the earth, saturated with the same bitterness of the all-powerful wormwood, yearned for coolness.

(M. A. Sholokhov)

2. The use of all layers of Russian vocabulary in order to implement the aesthetic function.

“Daria hesitated for a moment and refused:

No, no, I'm alone. There I am alone.

Where "there" - she did not even know close, and, going out of the gate, went to the Angara.

(V. Rasputin)

3. The activity of polysemantic words of all stylistic varieties of speech.

“The river boils all in a lace of white foam.

On the velvet of the meadows poppies are reddening.

Frost was born at dawn.

(M. Prishvin).

4. Combinatorial increments of meaning.

Words in an artistic context receive a new semantic and emotional content, which embodies the figurative thought of the author.

“I dreamed of catching the departing shadows,

The fading shadows of the fading day.

I went up the tower. And the steps trembled.

And the steps under my foot trembled.

(K. Balmont)

5. Greater preference for the use of specific vocabulary and less - abstract.

“Sergey pushed the heavy door. Under his foot, the porch step barely audible sobbed. Two more steps and he is already in the garden.

“The cool evening air was filled with the intoxicating aroma of flowering acacia. Somewhere in the branches, a nightingale chimed and subtly trilled.

(M. A. Sholokhov)

6. A minimum of generic concepts.

“Another essential piece of advice for a prose writer. More specificity. The imagery is the more expressive, the more precisely, more specifically the object is named.

“You have: “Horses chew grain. Peasants prepare “morning food”, “birds rustled”… In the artist’s poetic prose, which requires visible clarity, there should be no generic concepts, if this is not dictated by the very semantic task of the content… Oats are better than grain. Rooks are more appropriate than birds."

(Konstantin Fedin)

7. The widespread use of folk poetic words, emotional and expressive vocabulary, synonyms, antonyms.

“The dogrose, probably, has still made its way along the trunk to the young aspen since spring, and now, when the time has come for the aspen to celebrate its name day, it all flared up with red fragrant wild roses.”

(M. Prishvin).

“New time” was located in Ertelev Lane. I said "fit". This is not the right word. reigned, ruled."

(G. Ivanov)

8. Verbal speech.

The writer calls each movement (physical and / or mental) and change of state in stages. Forcing verbs activates reader tension.

“Grigory went down to the Don, carefully climbed over the fence of the Astakhov base, went to the shuttered window. He heard only frequent heartbeats... He tapped softly on the frame's binding... Aksinya went silently to the window and peered. He saw how she pressed her hands to her chest and heard her indistinct moan escape her lips. Grigory motioned for her to open the window and took off his rifle. Aksinya opened the doors. He stood on the mound, Aksinya's bare hands grabbed his neck. They trembled and beat on his shoulders so, these native hands, that their trembling was transmitted to Grigory.

(M.A. Sholokhov "Quiet Flows the Don")

The dominants of the artistic style are the imagery and aesthetic significance of each of its elements (down to sounds). Hence the desire for freshness of the image, unhackneyed expressions, a large number of tropes, special artistic (corresponding to reality) accuracy, the use of special expressive means of speech characteristic only for this style - rhythm, rhyme, even in prose a special harmonic organization of speech.

The artistic style of speech is distinguished by figurativeness, the wide use of figurative and expressive means of the language. In addition to its typical linguistic means, it uses the means of all other styles, especially colloquial. In the language of fiction, vernacular and dialectisms, words of a high, poetic style, jargon, rude words, professionally business turns of speech, journalism can be used. Means in the artistic style of speech are subject to its main function - aesthetic.

As I. S. Alekseeva notes, “if colloquial style speech performs primarily the function of communication, (communicative), scientific and official-business function of the message (informative), then the artistic style of speech is intended to create artistic, poetic images, emotionally aesthetic impact. All language tools included in artwork, change their primary function, obey the tasks of a given artistic style.

In literature, language occupies a special position, since it is that building material, that matter perceived by ear or sight, without which a work cannot be created.

The artist of the word - the poet, the writer - finds, in the words of L. Tolstoy, "the only necessary placement is the only the right words", in order to correctly, accurately, figuratively express an idea, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author.

All this is available only to the language of fiction, so it has always been considered the pinnacle of the literary language. The best in language, its strongest possibilities and the rarest beauty - in works of fiction, and all this is achieved. artistic means language. The means of artistic expression are varied and numerous. First of all, these are trails.

Tropes - a turn of speech in which a word or expression is used in a figurative sense in order to achieve greater artistic expressiveness. The path is based on a comparison of two concepts that seem to our consciousness to be close in some way.

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

2). Comparison (Latin comparatio) - revealing the meaning of a word by comparing it with another according to some common ground(tertium comparisonis). Wed Pushkin: "Youth is faster than a bird." The disclosure of the meaning of a word by determining its logical content is called interpretation and refers to figures.

3). Periphrase (Greek periphrasis, Latin circumlocutio) is a method of presentation that describes a simple subject through complex revolutions. Wed Pushkin has a parodic paraphrase: "The young pet of Thalia and Melpomene, generously endowed by Apollo." One of the types of paraphrase is euphemism - a replacement by a descriptive turn of a word, for some reason recognized as obscene. Wed in Gogol: "get by with a handkerchief."

In contrast to the paths listed here, which are built on the enrichment of the unmodified main meaning of the word, the following paths are built on shifts in the main meaning of the word.

4). Metaphor (Latin translatio) - the use of a word in a figurative sense. Classic example, cited by Cicero - "murmur of the sea." The confluence of many metaphors forms an allegory and a riddle.

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

6). Metonymy (Latin denominatio) is the replacement of one name of an object by another, borrowed from related and close objects. Wed Lomonosov: "read Virgil".

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

eight). Metalepsis (Latin transumptio) - a replacement representing, as it were, a transition from one path to another. Wed in Lomonosov - "ten harvests have passed ...: here, through the harvest, of course, summer, after summer - a whole year."

Such are the paths built on the use of the word in a figurative sense; theorists also note the possibility of the simultaneous use of a word in a figurative and literally, the possibility of confluence of contradictory metaphors. Finally, a number of tropes stand out in which it is not the basic meaning of the word that changes, but one or another shade of this meaning. These are:

nine). Hyperbole is an exaggeration brought to the point of "impossibility". Wed Lomonosov: "running, speedy wind and lightning."

ten). Litotes is an understatement expressing through negative turnover the content of a positive turnover (“a lot” in the meaning of “a lot”).

eleven). Irony is the expression in words of the meaning opposite to their meaning. Wed Lomonosov's characterization of Catiline by Cicero: “Yes! He is a fearful and meek person ... ".

To expressive means language also includes stylistic figures of speech or simply figures of speech: anaphora, antithesis, unionlessness, gradation, inversion, polyunion, parallelism, rhetorical question, rhetorical appeal, default, ellipsis, epiphora. The means of artistic expression also include rhythm (poetry and prose), rhyme, and intonation.