Syntactic artistic means examples. Poetic syntax (syntactic devices or figures of poetic speech)

SYNTAXIC TECHNIQUES OF RHYTHMIZATION IN OLD RUSSIAN WORKS (ON THE EXAMPLE OF "DANIEL THE SHUTTER'S PRAYER" AND "THE TALE OF SORRY-MISTRUCTION")

Kalinin Konstantin Andreevich

4th year student, Department of Russian Language and Literature, NISPTR, Russian Federation, Naberezhnye Chelny

Glukhova Olga Petrovna

scientific supervisor, Ph.D. philologist. Sciences, Associate Professor, NISPTR, Russian Federation, Naberezhnye Chelny

This work is devoted to the study of the texts of Old Russian works from the point of view of their rhythmic organization.

As is known, the sense of rhythm was not alien to the ancestors of Russian people in ancient times. One can recall at least Russian epics, historical and everyday songs, fairy tales, proverbs and sayings, etc. Some of these works were sung or sung in a singsong voice. This required a special rhythmic organization of the literary text.

A significant part of the literature of Ancient Russia was also rhythmic. Many researchers of ancient Russian literature noted this property of it. This is especially evident in the works of solemn and instructive eloquence, in the monuments, which are characterized by great emotionality, lyricism, in hagiographic works. Also, the phenomenon of rhythmization is clearly manifested in such ancient Russian works that arose at the junction of the book element and folklore.

The purpose of this work is to analyze and describe the main syntactic methods of rhythmization in Old Russian texts.

The choice of works for analysis is also not accidental. The first work that we chose for analysis, "The Prayer of Daniel the Sharpener", refers to the end of the 12th or the beginning of the 13th century, to the period when book literature came into contact with folklore and new genres began to form at the junction of ancient Russian literature and folklore. Another work, The Tale of Woe-Misfortune, was written in the second half of the 17th century. This is also a literary work created in the traditional style of oral folk poetry. Thus, both works are good material for studying rhythmization techniques.

The methodological basis of our study was the work of D.S. Likhachev, V.V. Vinogradova, V.M. Zhirmunsky, V.V. Kolesova, V.V. Ivanova and others. The material for the study was the tests of ancient Russian works: "The Prayer of Daniel the Sharpener" and "The Tale of Woe-Misfortune."

The novelty of the study lies in the fact that this topic has not been sufficiently studied in the syntactic aspect. V.M. Zhirmunsky wrote about it this way: “The problem of the rhythm of prose still remains unresolved, although Russian theorists of verse have repeatedly raised it.” His words, in our opinion, are still relevant today.

The concept of "rhythm" is important for many areas of human knowledge: physics, logic, music, architecture, painting, literature. A special place for the study of rhythm is given in the theory of versification. To create a rhythmically organized poetic work, a special construction of lexical and syntactic material is necessary. As Russian Grammar notes, “word order in poetic speech is more variable and free compared to prose speech. The same provision, with some degree of caution, can also be attributed to rhythmic prose.

The phenomenon of rhythm also occupies a special place in the study of prose works. The presence of rhythm in some prose works is an obvious phenomenon, noticed by many researchers.

Rhythmic prose in the broadest sense of the word is phonetically organized prose with a perceptible pattern of alternation of certain sound elements (long and short, stressed and unstressed syllables, etc.). It is an integral element of a part of literary texts, it can play a genre, style or semantic function. It can be created by writers consciously or intuitively.

The specially organized rhythm of prose, as V. Zhirmunsky notes, should not be confused with the "natural rhythm" that occurs in speech quite randomly and chaotically. Rhythmic prose, on the other hand, is organized specifically for a special impact on the listener or reader.

This feature of prose is of interest to literary critics and linguists. In Russian literature, the most significant, from the point of view of the rhythmic organization of the text, are the works of I.S. Turgenev, N.V. Gogol, M.V. Lomonosov, N.M. Karamzin, A.S. Pushkin, N.S. Leskova, I.A. Bunina and others.

In Russian science, various theories of rhythm formation were developed by the outstanding poet-theorist A. Bely (“hundred-point” theory), scientists A.M. Peshkovsky (settlement of the number of measures in phonetic sentences), B.V. Tomashevsky (equalizing by the number of syntagmas in prose passages), etc.

V.M. Zhirmunsky, denying the principles of these theories as rhythm-forming, in his article "On Rhythmic Prose" offers his theory of the organization of rhythmic text, based on the artistic ordering of syntactic groups, on the element of repetition and syntactic parallelism. He notes that the rhythmic organization in poetic speech is based not only on the alternation of feet, but also includes the semantic side of the work, syntactic articulation within the framework of a verse, period, stanza, lexical and syntactic parallelism, alliteration, assonance, all kinds of repetitions, internal rhyme and etc. We believe that this approach to the study of this problem is the most successful, since it most fully reflects the principles of organizing a rhythmic prose text. This is also confirmed by our study.

Researchers of Old Russian literature have repeatedly noted the presence of the phenomenon of rhythmization in some works of Old Russian literature. In his article "The principle of rhythmic organization in the works of solemn eloquence of the older period" L.I. Sazonova notes that ancient Russian prose “perhaps is much more rhythmic than modern as a whole. The rhythmic sound of some monuments of ancient Russian literature, and especially such outstanding ones as "The Tale of Igor's Campaign", "The Tale of Law and Grace" by Hilarion, "The Prayer of Daniil the Zatochnik", is aesthetically conscious and undoubted.

Poems, in the truest sense of the word, began to appear only in the 17th century. However, the sense of rhythm was not at all alien to ancient Russian authors. The need for verse was satisfied by folklore (Russian fairy tale verse, paradise verse) and church song art (hymnography, penitential verses).

Rhythmic prose in ancient Russian literature reaches its apogee in the style of "weaving words", which arose under the influence of the "second South Slavic influence". As the researchers note, the rhythmization of such works is achieved with the help of repetitions and syntactic parallelism.

To analyze the methods of rhythmization in Old Russian texts, we chose two works: "The Prayer of Daniel the Sharpener" and "The Tale of Woe-Misfortune". For convenience, we will accept conditional abbreviations: MDZ and PGZ, respectively.

One of the most important methods for creating rhythm in a text is syntactic parallelism (Greek parallelos - walking beside) is a construction in which several adjacent sentences built with the same syntactic structure are arranged in the same sequence: " chirs and stockings - all taken off, // shirt and trousers - all shriveled"(PGZ). Syntactic parallelism divides a large syntactic construction into several smaller ones that are parallel to each other. Thus, there is a sense of rhythm: " Let us sound the trumpet, brethren, like a golden-forged trumpet, into the understanding of our mind and begin to beat the silver hargans as a message of wisdom, and we will strike the tambourines of our mind, singing in divinely inspired flutes ..."(MDZ). Here, the beginning of each passage begins with a plural future tense verb with words dependent on it, and there is also a repeating conjunction with it. If you look closely at this passage, you will notice that the passages are built according to similar constructions, both semantically and grammatically.

Syntactic parallelism can be combined with repetition: " from the beginning of the human age. // And at the beginning of the perishable age"(PGZ). Prepositional case form of a noun Start manages R.p. the words century, with which the adjective in R.p.

Syntactic parallelism can be combined with inversion: " Poverty tamed my eloquent tongue, / sadness dried up my face and white body» (PGZ): the predicate in this example precedes the subject.

In ancient Russian monuments, there are a huge number of examples of syntactic parallelism, which give the text rhythm: “ Their own bores are bright, the same speeches are honest"(MDZ); " Do not look at my outer, but look at my inner"(MDZ); " I will not drain the sea by half, nor exhaust your house with our possessions"(MDZ); " The fellow made fifty rubles, // he got himself fifty friends"(PGZ); " an angelic name on itself, but a prodigal disposition, hierarchical names on itself, but obscene by custom"(MDZ), etc.

Thus, on the example of two Old Russian texts, we saw the important organizing role of syntactic parallelism in Old Russian texts.

Repetitions also play a huge role in creating rhythm in the Old Russian text.

In the passage " Woe is not a chase for the naked, // yes, no one is attached to the naked, // but to the naked, barefoot to make noise robbery» (PGZ) rhythmization is achieved in parallel with grammatical rhyme by repeating prepositional-case constructions of the word naked: for the naked(T.p.), to the naked(D.p.), naked(D.p.).

The whole phrase can be repeated with a change in one element: “ To be you, grass, cut,// lie to you, grass, cut"(PGZ). This gives the text rhythm and integrity.

A phrase that creates an epiphora can be repeated, with the inclusion of another word in it: “ It is better for us to eat like this, end our belly, than, having perceived the image of an angel, lie to God. Lie bo, speech, peace, and not to God: God cannot lie, nor play on high"(MDZ). This passage combines anaphora with grammatical rhyme ( lie - play).

In addition to words, phrases, whole expressions can be repeated in a slightly modified form: relied // on his brother named' and after seven lines “He hoped for the brother named"(PGZ). This technique creates a rhythmic completeness of a fragment of the Old Russian text.

Repetition can exist not only within a small passage, but the entire work. So in the "Prayer of Daniel the Sharpener" twenty-one times at the beginning of large syntactic constructions consisting of one or more sentences, the phrase " Princes, sir!". This is a vivid example of the author's consistent use of anaphora throughout the entire work.

The repetition of prepositions can also organize the text rhythmically: He went, a good fellow jumped // along the steep, along the red along the bank, // along the yellow sand"(PGZ); " and I will go with you arm in arm under the right"(PGZ), etc. This technique is very common in folk speech.

One of the varieties of repetition is anadiplosis - a kind of repetition, which is a junction (pickup) or repetition of the last word (group of words) of a verse at the beginning of the following: Is my child well in other ports? - // but in other ports there is no price!"(PGZ).

Anaphora and epiphora, which are widely represented in the works we study, are a special kind of repetition.

The use of anaphora creates rhythm in ancient Russian texts: “ Rise, my glory, rise, psalter and harp"(MDZ). In the excerpt" bowed to the Unclean Mountain - // bowed to the Mountain of the damp earth”(PGZ) anaphora creates lexical redundancy, but it is not unjustified verbosity here, but creates a rhythmization of this passage.

Anaphora in the Old Russian text can be combined with another anaphora, together they create a special rhythm of the passage based on parallelism: “ A rich husband is known everywhere and in a foreign city; but the wretched man walks unseen in his own city. A rich husband will speak - they will be silent and his word will be lifted up to the clouds; and the wretched husband will speak, then everyone will exclaim at him"(MDZ).

If syntactic constructions of the same type are repeated (at the beginning of separate parts of the utterance), then a syntactic anaphora appears: “ Don't go, child to feasts and brothers, // don't sit down you are in a bigger place, / / do not drink, child, two spells for one! // More, baby don't go to the eyes of the will, // don't be fooled child, on good red wives ...(PGZ)

Syntactic parallelism can be combined with epiphora: " put them in great misfortune, // allowed great sorrows on them"(PGZ).

Along with the syntactic anaphora, there is also a syntactic epiphora. In the example, at the end of parallel syntactic constructions, a noun is repeated, formed with the suffix ost, standing in the form R.p. and acting in the sentence as a definition with a possessive singular pronoun in the form R.p .: “ Turn the cloud of your mercy to the land of my evilness"(MDZ).

Syntactic parallelism can be combined with both anaphora and epiphora at the same time: “ We'd better to see your foot in the lynette in your house, rather than in black sapoz in the nobleman's yard; we'd better in deryuze serve you, rather than in scarlet in the boyars' yard "(MDZ). This technique of using anaphora and epiphora at the same time is called simplock.

Thus, various repetitions play a huge role in the creation of rhythmic prose in Old Russian texts.

Along with other methods of organizing rhythmic speech, rhyme is of no small importance: it divides the text into certain syntactic constructions and creates the effect of text integrity.

Parallel (grammatical) rhyme is formed by using the words of one part of speech in the same grammatical form: “ from sleep, the young man wakes up, // at that time, the young man looks around"(PGZ). Lexical repetition is also used here, which enhances the rhythm of the passage.

It is necessary to be very careful when determining the grammatical rhyme in the Old Russian text. One of the important conditions for creating a rhyme is the single place of stress in rhyming words. Difficulties may arise in identifying rhymes in Old Russian texts, since it is not always clear where the stress fell in certain words. The development of historical accentology is being carried out, for example, by V.V. Kolesov, but she meets many difficulties and contradictions on her way. One of the main problems is that we cannot hear the sound of the Old Russian text. Thus, it is necessary to be very careful and attentive to the Old Russian texts, in particular, in identifying rhymes.

One can cite a huge number of uses of grammatical rhyme in Old Russian tests: “ but he doesn’t drink, he doesn’t eat, not a teshitza - // and there’s nothing to boast about at the feast"(PGZ); " I am poor in combat, but rich in mind"(MDZ); " and from there, choosing the sweetness of words and copulating wisdom, like sea water in fur"(MDZ); " and I, Woe, passed from them, // but the Unfortunate ones remained in the grave. // Still blazed, I, Woe, attached to others"(PGZ); " genus and tribe will report, // all friends away unlock"(PGZ); " It would be better for me to work with iron than to be with an evil wife"(MDZ), etc.

To enhance expressiveness and create rhyme, words that are very close to each other can rhyme in the text: get rich stva and worse stva do not let me, Lord; having enriched, I will perceive proudly st and buoy st "(MDZ). In this example, words of the same part of speech are rhymed, formed in the same way and standing in the same grammatical form: in the first case, nouns singularia tantum in the form of R.p., formed using the suffix estv (stv) with the meaning of an abstract feature; in the second - nouns singularia tantum in the form of V.p., formed with the help of the suffix is ​​(awn) with the meaning of an abstract feature or state.

Rhyme can be organized not only at the end of parallel syntactic constructions, but also within them. Thus, an internal grammatical rhyme appears: in the passage " Many are friends with me, stretch ayushche own hands in salto, enjoy ayushche your larynx with bee talent ...» (MDZ) syntactic anaphora creates an internal dactylic grammatical rhyme. A similar scheme is used in the passage " oars yasya sweet drink, cloud asya into the beauty of your garments"(MDZ).

The history of Russian rhyme, as you can see, went from parallel (grammatical) to the emergence of non-grammatical. They began to rhyme not the same grammatical forms of the word, but consonant phonetic combinations. Several such examples can be found in the texts we are studying. In the passages “ Like a pavoloka, dotted with many sholkas"(MDZ); " and his father and mother loved him, // they taught him to teach, to punish, // to instruct him in good deeds"(PGZ); " although you will go into the blue sea as a fish, // and I will go with you arm in arm under my right” (PGZ) the effect of rhythmization is achieved by repeating the same sound combinations at the end of small segments, but not by repeating words of the same grammatical form. And we can talk about the presence of individual cases of the use of rich, non-grammatical rhyme in Old Russian texts.

Thus, rhyme is one of the important rhythm-forming devices in Old Russian texts.

In this work, we analyzed the texts of Old Russian literature from the point of view of their rhythmic organization. Texts of this type are created both in the Old Russian period and in modern Russian literature. After analyzing "The Prayer of Daniil the Sharpener" and "The Tale of Woe-Misfortune", we have identified the main syntactic methods of rhythmization in them.

First, syntactic parallelism plays an important role in the design of rhythmic prose. Secondly, various repetitions (lexical, anaphora, epiphora, simplex) play an important role in the organization of rhythmic prose. And, finally, rhyme creates the effect of the rhythm of the text, it organizes it into a single whole. Initially, in ancient Russian texts there was a parallel (grammatical) rhyme, the appearance of which is also associated with the technique of syntactic parallelism.

All these syntactic devices, combined with each other, organize the Old Russian text into rhythmic prose.

Bibliography:

1. Vinogradov V.V. Selected works. On the language of artistic prose / V.V. Vinogradov. M.: Nauka, 1980. - 360 p.
2. Zhirmunsky V.M. Theory of verse / V.M. Zhirmunsky. L.: Soviet writer, 1975. - 664 p.
3. Kuskov V.V. History of Old Russian Literature: textbook for universities / V.V. Kuskov. M.: Higher school, 1982. - 296 p.
4. Prokofiev N.I. Ancient Russian literature. Reader / N.I. Prokofiev. M.: Enlightenment, 1980. - 399 p.
5. Russian grammar. Volume 2. Syntax. M.: Nauka, 1982. - 709 p.
6. Sazonova L.I. The principle of rhythmic organization in the works of solemn eloquence of the older period (Hilarion's Sermon on Law and Grace, Domentian's Praise to St. Simeon and St. Savva) by L.I. Sazonova // TODRL. L .: Nauka, - 1974. - T. 28. - S. 30-46.

Syntactic artistic means

Poetic Syntax- a combination of words in a sentence, a syntactic way of forming artistic speech. It is designed to convey the author's intonation, the artist's strengthening of certain feelings and thoughts.

Rhetorical question- this is a poetic turn in which the emotional significance of the statement is emphasized by an interrogative form, although this question does not require an answer.

Rhetorical exclamation- designed to enhance a certain mood.

Rhetorical address- not designed for direct response. Inversion is a violation of the usual, natural for a given language, word order.

Syntax parallelism- identical or similar construction of adjacent fragments of a literary text.

Antithesis is the method of opposition. It is actively used in verbal art. Ellipsis - omission of words, the meaning of which is easily restored from the context. Amplification - a technique for stylistic amplification of any emotional manifestation, a technique for "piling up" feelings: a) non-union - a technique for skipping unions between members of a sentence or sentences. b) multi-union - a technique opposite to non-union. The repetition of one union is used, with the help of which the parts of the sentence are connected. c) pleonasm - a technique of verbosity, which creates the impression of an excessive accumulation of one sign. d) gradation - a method of gradually increasing meaning.

Parceling is a method of strengthening the author's accent: dividing a statement that is single in meaning into several independent, isolated sentences.

Anakoluf - a technique for violating the syntactic norm. Serves to create the speech of characters in order to convey excitement or satirical portrayal of them as illiterate people.

Word art often uses repetition. It happens: simple, anaphora (repetition of a word at the beginning of a phrase or verse), epiphora (repetition of a word at the end of a verse or phrase), anadiplosis (repetition of one or more words at the end of the previous verse and at the beginning of the next), prosapodosis (repetition of a word at the beginning and end of the line), refrain (a verse repeated after each stanza or a certain combination of them).

Poetic phonetics- sound organization of artistic speech. Sound coherence is manifested primarily in the combination of certain sounds. In verbal art, assonance techniques are widely used - the repetition of vowel sounds and alliteration - the repetition of consonant sounds. With the help of sound consistency, poets and writers enhance the pathos - the "tonality" of the artistic content of the work. The area includes phonics paronymy, or paronomasia - a play on words that are similar in sound. Artists make extensive use of onomatopoeia. Thus, poetic phonetics plays a certain role in the organization of the artistic whole. The positions of phonics in poetry are especially significant.

Poetic Syntax- a combination of words in a sentence, a syntactic way of forming artistic speech. It is designed to convey the author's intonation, the artist's strengthening of certain feelings and thoughts.

Rhetorical question- this is a poetic turn in which the emotional significance of the statement is emphasized by an interrogative form, although this question does not require an answer.

Rhetorical exclamation- designed to enhance a certain mood.

Rhetorical address- not designed for direct response. Inversion- violation of the usual, natural for a given language, word order.

Syntax parallelism- identical or similar construction of adjacent fragments of a literary text.

Antithesis- reception of opposition. It is actively used in verbal art. Ellipsis- omission of words, the meaning of which is easily restored from the context. Amplification- the technique of stylistic amplification of any emotional manifestation, the technique of "piling up" feelings: a) non-union - the technique of skipping unions between members of a sentence or sentences. b) multi-union - a technique opposite to non-union. The repetition of one union is used, with the help of which the parts of the sentence are connected. c) pleonasm - a method of verbosity, which creates the impression of an excessive accumulation of one sign. d) gradation - a method of gradually increasing meaning.

Anacoluthon- reception of a violation of the syntactic norm. Serves to create the speech of characters in order to convey excitement or satirical portrayal of them as illiterate people.

Often used in art repeat. It happens: simple, anaphora (repetition of a word at the beginning of a phrase or verse), epiphora (repetition of a word at the end of a verse or phrase), anadiplosis (repetition of one or more words at the end of the previous verse and at the beginning of the next), prosapodosis (repetition of a word at the beginning and end of the line), refrain (a verse repeated after each stanza or a certain combination of them).

Poetic phonetics- sound organization of artistic speech. Sound coherence is manifested primarily in the combination of certain sounds. In verbal art, techniques are widely used assonance- repetition of vowel sounds alliteration- repetition of consonants. With the help of sound consistency, poets and writers enhance the pathos - the "tonality" of the artistic content of the work. belongs to the field of phonics. paronymy, or paronomasia- a play on words that sound similar. Artists make extensive use of onomatopoeia. Thus, poetic phonetics plays a certain role in the organization of the artistic whole. The positions of phonics in poetry are especially significant.

30. The concept of "poetic line". Strophic. Solid forms of strophics. Rhyme.

A feature of the genus-genre form of the lyrics is yavl. Verse- a certain way organized sound series, poetic line. This is a unit of division of artistic speech in lyrical works, as well as in works written in poetic form.

Stanza is a group of verses united by a formal feature, and this feature is repeated. The main types of stanzas: European poetry includes an even number of lines - distich, quatrain, octave, odic stanza. Tercet is a stanza consisting of 3 lines. This stanza is included in the sonnet.

solid poetic form possesses the sonnet genre (14 lines). The sonnet consists of 2 quatrains (with two rhymes) and 2 terzets (with two or three rhymes). Historically, 2 types were formed - Italian and French, which differ in rhymes. Although there are quite a few variants of the sonnet: English (4 + 4 + 4 + 2), tailed - with additional terts, headless - devoid of the first quatrain, sonnet with a coda - an additional line, overturned - first terts, then quatrains. The pinnacle of skill is the wreath of sonnets - a cycle of 14 sonnets in which the last verse of each previous poem is repeated as the first verse of the next.

Rhyme is the sound consistency of the end of verses. The classification of rhyme in the syllabic-tonic system of versification is based on the principle of the stressed syllable in the last group of syllables. Rhymes are:

masculine - the stress falls on the last syllable.

feminine - to the previous syllable.

dactylic - on the third syllable from the end of the verse.

hyperdactylic - on the fourth syllable from the end of the verse.

They also distinguish between exact rhymes (coincidence of all sounds - from the last stressed vowel to the end of the verse) and inaccurate (differ in mismatch of vowels).

Rich rhymes are rhymes with the same base vowels and consonants. These are rhymes with a homogeneous grammatical row. Homonymous rhymes are considered rich when, with the same sound and the same (close) spelling, the meaning of the words is different. Tautological rhymes arise when one word or its variant is repeated. Compound rhymes - suggest the phonetic coincidence of one word and another word as part of the first. There are substituted rhymes, approximate, truncated.

There are several types of rhyme:

1.adjacent (aavv)

2.cross (awaw)

3. ring (abba)

There are also mixed rhymes. Since the Middle Ages, a verse has been known that does not have a meter and rhyme - free verse. In Russian culture, this is more often a kind of free white verse - an unrhymed accent verse. It is obvious that free verse is close to a poem in prose. Blank verse is a phenomenon of new European culture; rhymed verse in syllabic and syllabic-tonic versification.

Question Help please! Write syntactic techniques for creating lyrical intonation!! give 10 points!!! given by the author hopeless the best answer is Syntactic style
Syntactic means of expressive speech
The syntactic means of creating expression are diverse. These include stylistic figures, which are strong means of emphatic intonation:
Emphasis is an emotional, excited construction of oratory and lyrical speech. Various techniques that create emphatic intonation, which are predominantly characteristic of poetry and are rarely found in prose, are designed not for visual, but for auditory perception of the text, which makes it possible to assess the rise and fall of the voice, the pace of speech, pauses, that is, all the shades of the sounding phrase. Punctuation marks can only conditionally convey these features of expressive syntax.
Poetic syntax is distinguished by rhetorical exclamations, which contain a special expression, increasing the intensity of speech. Rhetorical exclamations are often combined with rhetorical questions: “Troika! Three bird! Who invented you? . Rhetorical exclamations are often accompanied by hyperbolization: “Magnificent! It has no equal river in the world! "(N.V. Gogol about the Dnieper).
The rhetorical question is one of the most common stylistic figures, characterized by remarkable brightness and a variety of emotional and expressive shades. Rhetorical questions contain an emphatic affirmation (or negation), framed as a question that does not require an answer: “Didn’t you first so viciously persecute his free, bold gift?” . A rhetorical question is not posed to induce the listener to tell something unknown to the speaker. The function of a rhetorical question is to attract attention, enhance the impression, increase the emotional tone, create elation. The answer is already suggested in it, and the rhetorical question only involves the reader in reasoning or experiencing, making him more active, supposedly forcing him to draw a conclusion.
Coinciding in external grammatical design with ordinary interrogative sentences, rhetorical questions are distinguished by a bright exclamatory intonation, expressing amazement, extreme tension of feelings. It is no coincidence that authors sometimes put an exclamation point or two signs at the end of rhetorical questions - a question mark and an exclamation point.
The rhetorical question, unlike many stylistic figures, is used not only in poetic and oratorical speech, but also in colloquial and journalistic texts, in artistic and scientific prose.
A more rigorous, book coloring characterizes parallelism - the same syntactic construction of adjacent sentences or segments of speech:
"The stars are shining in the blue sky,

Phonetic tricks

Phonetic techniques - the use of sounds to create a certain acoustic effect and add expressiveness to the statement.

Alliteration- repetition of a consonant sound at the beginning of subsequent words or at the beginning of stressed syllables. Alliteration is often used to convey an emotional state, an attitude to an object. Many proverbs and sayings (“Meli, Emelya, your week”) and tongue twisters (“Buy a pile of peaks”) are built on alliteration. And also alliteration is widely used in titles and headings.

Assonance- repetition of vowels, often used in monosyllabic words. ("Across the blue sky // A roar of thunder passed.")

Onomatopoeia- a word that is an onomatopoeia that arose on the basis of phonetic assimilation to non-speech sound complexes. Most often, onomatopoeic vocabulary is directly related to creatures or objects - sources of sound: for example, verbs such as "croak", "meow", "crow", "rumble" and nouns derived from them. Onomatopoeic vocabulary differs in different languages.

Rhyme- consonance at the end of two or more words. Unlike alliteration and assonance (which can occur anywhere in the text), rhyme is defined positionally (at the end of the verse). There are two kinds of rhyme: male - stress on the last syllable - (rAZ - kvAS - bass) and female - stress on the penultimate syllable - (PLANS - Wounds).

Lexical stylistic devices

Lexical stylistic devices - words and expressions used in a figurative sense, when the sign of one object is transferred to another, in order to achieve artistic expressiveness in speech; At the heart of any lexical device is a comparison of objects and phenomena.

Metaphor- a technique based on the interaction of logical and contextual meanings, comparison by "similarity". Metaphors are lexical and individual; simple and common.

Metonymy- a phrase in which one word is replaced by another, denoting an object that is in one or another (spatial, temporal, etc.) connection with the object, which is indicated by the replaced word. The substitute word is used in a figurative sense. Metonymy is based on the replacement of the word “by adjacency” (a part instead of a whole or vice versa, a cause instead of a result or vice versa, a representative instead of a class or vice versa, a container instead of content or vice versa, etc.).

Irony- a technique in which the true meaning is hidden or contradicts the explicit meaning; the use of words in a negative sense, directly opposite to the literal ("Well, you are a brave man", "Smart-smart" - the negative subtext of a positive statement).

Antonomasia- a technique expressed in replacing the name or name with an indication of some essential feature of the object or its relationship to something (the name of a person instead of his achievements, the name of a place instead of an event, the name of an object instead of the name of the inventor, etc.).

Epithet- a word or a whole expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation. It is expressed mainly by an adjective, but also by an adverb (“to love passionately”), a noun (“fun noise”), a numeral (“first friend”), a verb (“desire to forget”).

Oxymoron- a combination of words with the opposite meaning (combination of incongruous).

Comparison- a technique in which there is an assimilation of one object or phenomenon to another according to some common feature for them.

paraphrase- a technique that descriptively expresses one concept with the help of several, an indirect reference to an object by not naming, but describing (the night luminary is the moon). In paraphrases, the names of objects and people are replaced by indications of their attributes ( who writes these lines instead of I). There are logical paraphrases ( Author of "Dead Souls") and figurative paraphrases ( the sun of Russian poetry).

Euphemism- a word or descriptive expression that is neutral in meaning and emotional “load”, usually used in texts and public statements to replace other words and expressions that are considered indecent or inappropriate ( in an interesting position instead of pregnant, bathroom instead of toilet etc.).

Hyperbola- a technique of explicit and deliberate exaggeration, in order to enhance expressiveness and emphasize the thought said ( I've said it a thousand times" or "we have enough food for six months).

Litotes- turnover, which contains an artistic understatement of the magnitude, strength of the meaning of the depicted object or phenomenon. ( a horse the size of a cat, a man's life is an instant).

allusion- a technique containing an explicit indication or a clear hint of some literary, historical, mythological or political fact, fixed in textual culture or in colloquial speech.

Syntactic stylistic devices

Syntactic techniques are techniques based on the order of words in a sentence, the sequence of sentences in a text.

Inversion- violation of the usual order of words in a sentence. In analytic languages ​​(English) with strictly fixed word order, inversion is relatively uncommon; in inflectional (Russian) with a fairly free word order - very significantly.

Isolation- the allocation of a secondary member of the sentence and words dependent on it to give it independent communicative significance and syntactic independence.

Ellipsis- deliberate omission of words in a sentence without distorting its meaning or to enhance the effect.

Default- an intentional break in the utterance, conveying the excitement of speech. Widely used in the manipulation of consciousness, but carried out covertly.

Injection- intentionally delay the end of the sentence; non-essential information is introduced first, and only important facts are introduced at the end. Separation of predicate and subject.

Rhetorical question- a question, the answer to which is not required or expected due to its extreme obviousness; in fact, it is a statement expressed in an interrogative form. It is used to enhance the expressiveness of a phrase. A characteristic feature is convention, that is, the use of the grammatical form and intonation of the question in cases that, in essence, do not require it.

Repeat- a technique used to enhance the meaning of certain words, to draw the special attention of the reader.

Chiasmus- cruciform change in the sequence of elements in two parallel rows of words ( Know how to love art in yourself, not yourself in art).

Antithesis- a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning.

gradation- the arrangement of parts of the statement relating to one subject, so that each subsequent part is richer, more expressive or impressive than the previous one.

Asyndeton- construction of speech, in which conjunctions connecting words are omitted. Gives the statement swiftness, dynamism, helps to convey a quick change of pictures, impressions, actions.

polyunion- an intentional increase in the number of unions in a sentence, usually to connect homogeneous members. Polyunion emphasizes the role of each word, creating a unity of enumeration and enhancing the expressiveness of speech.

Accumulation - a combination of sentences that are grammatically and semantically independent.

Improper direct speech- part of direct speech, not distinguished either punctuation or syntactically.

Conclusions to Chapter 1

This paper discusses the features of the speech of the characters in a dramatic work. The language of dramatic works has its own peculiarities. First of all, it should be noted that the language used in the speech of the characters plays a huge role, sometimes even more than some of their actions. All existing styles can be used in songs. Most contemporary plays may be based on parody or irony. There are other stylistic devices that can be divided into five groups: phonetic, graphic, lexical, phraseological, syntactic. The main functions of introducing stylistic devices into the text are the expressive function and the characterological function, sometimes indicating social and gender factors. Language means convey the emotions of the characters, their assessment of reality; describe their social status and position in society; and also give the gender characteristics of the characters (the speech of men is more restrained and harsh, the speech of women is more emotional).