Syntactic means of the language table. Syntactic Techniques of Rhythmization in Old Russian Works (on the example of "Daniel the Prisoner's Prayer" and "The Tale of Woe-Misfortune")

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 varied. 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 denial), 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, as well as in 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,

Bringing important information to the forefront is a common feature of newspaper reports. To do this, news texts use various syntactic structures that are rarely found in everyday practice, for example, the so-called inverted sentences. Instead of the line-by-line grammatical sentence "According to reliable sources, Libya was attacked by the US air force" is given: "Libya was attacked by the military

by the US Air Force, reliable sources said"

With the help of grammatical analysis of the use of language in press texts, one can understand the general direction of the messages of a particular journalist and the entire newspaper. The syntax of the sentence reflects the distribution of the semantic roles of the participants in the event: either by word order, or by different functional correlation of elements (subject, object), or the use of active or passive forms. In the headline "Police Kills Demonstrator", the word "police" is in the first place - the place of the subject of the subject, which indicates its active role. In the passive construction “Demonstrator killed by the police”, the first place in the place of the acting subject is “demonstrator”. This indicates that the "police" has a smaller role to play here. Finally, the headline "Demonstrator Killed" obscures the role of the "police" altogether. At the same time, the title becomes syntactically ambiguous: it can also be understood as a description of an event in which the demonstrator was the killer - this or that one (after all, when quickly viewing the text, the habitual perception of the subject in the first place as an active subject can play a role, i.e. .perceive as "The demonstrator killed"), or generally associate the demonstrators with the murder. An analysis of the syntax of newspaper reports showed that this is precisely the point: journalists try to use such "lowering" syntactic structures and turns to obscure the negative role of the ruling elite.

In the same way, the direction of television news can be expressed by certain video frames filmed with sympathy either for the police or for their "opponents", that is, for demonstrators, strikers. In research by the University of Glasgow Media Research Group, scholars' attention has been drawn to the hidden, implied direction of messages and to evaluations of the use of words such as "strike" or "riot". In particular, a serious analysis of the very phenomenon of "demonstration" and the various uses of words denoting participants in demonstrations is presented.

News texts do not consist of isolated sentences, therefore, after mastering the technique of permuting words in sentences to manipulate the perception of texts, the study of sentence sequence structures was undertaken.

It turned out that the order of the sentences affects the overall understanding of the text. So, if in a sequence of sentences they want to focus on the actions of the participants in the demonstration, then, accordingly, the word demonstrators "is placed in the first place, the place of the subject. This may be followed by a passive sentence such as "They were beaten by the police" rather than the sentence "The police beat them." Thus, the biased point of view of the journalist is manifested "in a complex" in the use of certain sentence structures and in the order of these sentences.

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 a 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.

To enhance the figurative and expressive function of speech, special syntactic constructions are used - the so-called stylistic (or rhetorical) figures.
A stylistic figure is a figure of speech, a syntactic construction used to enhance the expressiveness of an utterance (anaphora, antithesis, inversion, epiphora, ellipsis, rhetorical question, etc.).

4. Ellipsis - a stylistic figure, consisting in the omission of any implied member of the sentence	We villages - into ashes, hailstones - into dust, into swords - sickles and plows. (V. Zhukovsky)
5. Parceling - dividing the sentence into separate segments (words)	And again Gulliver. Costs. slouching. (P. Antokolsky)
6. Gradation - a stylistic figure consisting in such an arrangement of words in which each subsequent one contains an increasing (less often - decreasing) meaning	Arriving home, Laevsky and Alexandra Fyodorovna went into their dark, stuffy, boring rooms. (A. Chekhov) I won’t break, I won’t flinch, I won’t get tired, I won’t forgive my enemies a grain. (O. Bergholz)
7. Inversion - the arrangement of the members of the sentence in a special order (violating the so-called direct order) in order to enhance the expressiveness of speech	With horror I thought what all this would lead to! And with despair I recognized his power over my soul. (A. Pushkin)
8. Silence - a turn of speech, consisting in the fact that the author deliberately does not fully express the thought, leaving the reader / listener to guess what was not said	No, I wanted ... perhaps you ... I thought it was time for the master to die. (A. Pushkin)
9. Rhetorical appeal - a stylistic figure consisting in an underlined appeal to someone or something	Flowers, love, village, idleness, field! I am devoted to you in soul. (A. Pushkin)

10. Rhetorical question - a stylistic figure, consisting in the fact that the question is posed not with the aim of getting an answer to it, but with the aim of drawing the attention of the reader / listener to a particular phenomenon	Do you know Ukrainian night? (N. Gogol) Or we argue with Europe new? Has the Russian lost the habit of victories? (A. Pushkin)
11. Polyunion - the intentional use of repeating unions in order to enhance the expressiveness of speech	Thin rain sown on the forests, and on the fields, and on the wide Dnieper. (N. Gogol)
12. Unionlessness - a stylistic figure, consisting in the intentional omission of connecting unions in order to give dynamism, expressiveness to the described	Swede, Russian - stabs, cuts, cuts, Drum beat, clicks, rattle, The thunder of cannons, the clatter, the neighing, the groan. (A. Pushkin)

№ 256*.
In these examples, determine the syntactic means of expressiveness of speech.
1) Do I wander along the noisy streets, / Do I enter a crowded temple, / Do I sit among the foolish youths, / I indulge in my dreams. (A. Pushkin) 2) Dear friend, and in this quiet house // Fever beats me. // I can't find a place in a quiet house // Near a peaceful fire! (A. Blok) 3) But you pass - and you don’t look, you meet - and you don’t recognize. (A. Blok) 4) You are in the cabins! You are in the pantries! (V. Mayakovsky) 5) Flerov - he can do everything. And Uncle Grisha Dunaev. And the doctor too. (M. Gorky) 6) I came, I saw, I conquered. (Julius Caesar) 7) The month came out on a dark night, looking lonely from a black cloud at deserted fields, at distant villages, at nearby villages. (B. Neverov) 8) But listen: if I owe you. I own a dagger, I was born near the Caucasus. (A. Pushkin) 9) Hush, speakers! Your word, Comrade Mauser! (V. Mayakovsky) 10) Who is not affected by novelty? (A. Chekhov) 11) The ocean walked before my eyes, and swayed, and
thundered, and sparkled, and faded, and shone, and went somewhere to infinity. (V. Korolenko) 12) Booths, women, boys, shops, lanterns, palaces, gardens, monasteries flash by. (A. Pushkin)
Final work No. 8

1. 1. This offer is a period:

a) Then they went into the wilderness, where not a soul was met, where only the clicking of dragonflies rang in the thickets of mimosas and seemed to be between the wild rocks of animals of unknown grins. (N. Gumilyov) b) If it’s true that you exist, my God, my God, if the stars are woven by you, if this pain, multiplied daily, is sent down by you, Lord, torture, put on the chain of judges, wait for my visit. (V. Mayakovsky) c) Having piled up his creations like blocks of giant structures, he brought in an eagle's nest and showed all the secrets of the earth; giant, whose spirit is a floating picture, you are ours through the fact that here we are all yours. (K. Balmont)

1. Place punctuation marks in direct speech and determine which example each scheme corresponds to.

1) "P", - a, a: "P" - a. 2) A: "P"; a: "P!" 3) A: "P!" - a: "P!" a) The owner, raising a full glass, was important and motionless. I drink to the land of our native glades, in which we all lie, and a friend, looking into my face and remembering God knows what, exclaimed And I for her songs in which we all live ! (A. Akhmatova) b) The Phantom of Happiness, the White Bride I thought, trembling and embarrassed, but she said No from her place and looked quietly and in love. (N. Gumilyov) c) If the holy army shouts Throw you Russia, live in paradise! I will say No need for paradise, give me my homeland! (S. Yesenin)

1. Replace direct speech with indirect speech.

You said: “What poverty! If only the soul were strong, if only the thirst for happiness would have the will to live preserved. (F. Sologub)

1. Replace indirect speech with direct speech.

Yurat once sent out all the servants to inform all the famous goddesses that she asked them to come to the feast and advise them to commit a significant deed - about one great lie. (K. Balmont)

1. Correct the punctuation error made in the design of direct speech.

"Sons, get up. Saddle your horses!" - knocks, shouts the old gray-haired man. - "Let's go, but what, father, is the matter with you?" - “The son is the eldest, middle, help; the youngest son, dear, help: the enemies have stolen their daughters. - “Enemies kidnapped the sisters? Hurry after them. Oh shame! - "Sons, let's fly! We'll catch up with the enemies! Let us bury shame in the blood of our enemies!” (K. Balmont)

1. Imagine the text in the form of a dialogue - you will get a poem by N. Gumilyov "Dream (morning chatter)" (quotes and dashes are not intentionally put):

You are so beautiful today, what did you see in your dream? Shore, willows in the moonlight. What else? One does not come to the night slope without loving. Desdemona and himself. You look so timidly: Who was there behind a bunch of willows? There was Othello, he is handsome. Was he worthy of you two? Was he like moonlight? Yes, he is a warrior and a poet. Of what kind of undiscovered beauty did he sing today? About the desert and the dream. And you listened in love, tender sadness not melting? Desdemona, but not me.
II. Work with text.
Write an essay based on the read text according to a given compositional scheme (problem, comment, author's position, reasoned opinion on the relevance of the problem and agreement / disagreement with the position of the author).
to this department. I climbed not by three or four paved steps, but by hundreds and even thousands of them - unyielding, steep, frozen, from darkness and cold, where I was destined to survive, and others - maybe with a great gift, stronger than me - died. Of these, only a few I myself met in the Gulag Archipelago. Those who have sunk into that abyss already with a literary name are at least known, but how many are unrecognized, never publicly named! And almost no one managed to return. A whole national literature remained there, buried not only without a coffin, but even without underwear, naked, with a tag on its toe.
And for me today, accompanied by the shadows of the fallen and with bowed head, passing myself forward to this place of others worthy of earlier, I today - how to guess and express what they wanted to say?

In tedious camp crossings, in a column of prisoners, in the haze of evening frosts with translucent chains of lanterns - more than once came up in our throats that we would like to shout out to the whole world, if the world could hear one of us. Then it seemed very clear: what our lucky messenger would say - and how immediately the world would respond responsibly.
And astonishingly for us, “the whole world” turned out to be completely different from what we expected, as we hoped: living “in the wrong direction”, going “in the wrong direction”, exclaiming to the swampy swamp: “What a charming lawn!” - on concrete neck blocks: “What a sophisticated necklace!” - and where some indestructible tears roll, there others dance to a careless musical.
How did it happen? Why did this abyss widen? Were we insensitive? Is the world insensitive? Or is it - from the difference of languages? Why is it that people are not able to hear each other's speech? Words resonate and flow like water - no taste, no color, no smell. Without a trace.
As I understood this, the composition, meaning and tone of my possible speech changed and changed over the years. My speech today.
(From the Nobel lecture of the Nobel Prize winner A. I. Solzhenitsyn)

For modern oratorical speech, a combination of logical-analytical and emotional-figurative language means is characteristic. The practice of the best speakers shows that a dry business speech, reduced to the transfer of "bare" information in a modern, well-informed audience, as a rule, remains unattended, and often causes boredom and even irritation.

No matter how interesting the topic is, the attention of the audience dulls over time. It must be supported by the following oratory techniques:

Question-answer reception. The speaker raises questions and answers them himself, raises possible doubts and objections, clarifies them and comes to certain conclusions.

The transition from a monologue to a dialogue (controversy) allows you to involve individual participants in the discussion process, thereby activating their interest.

Reception of creation of a problem situation. Listeners are offered a situation that raises the question: "Why?", which stimulates their cognitive activity.

The reception of novelty of information, hypotheses makes the audience assume, reflect.

Reliance on personal experience, opinions that are always interesting to listeners.

Showing the practical significance of information.

Using humor allows you to quickly win over an audience.

A short digression from the topic gives the listeners the opportunity to "rest".

Slowing down with a simultaneous decrease in the strength of the voice can draw attention to the responsible places of the speech (the "quiet voice" technique).

Reception of gradation - an increase in the semantic and emotional significance of the word. Gradation allows you to strengthen, give them emotional expressiveness to a phrase, a formulated thought.

The technique of inversion is a speech turnover, which, as it were, deploys the usual, generally accepted train of thought and expressions to the diametrically opposite one.

Acceptance of an appeal to one's own thoughts.

Among the techniques of oratory, which significantly increase its effectiveness and persuasiveness, lexical techniques should be highlighted. In almost all guides to oratory, among lexical devices, it is recommended to use the so-called paths.

Tropes are speech turns and individual words used in a figurative sense, which allow you to achieve the necessary emotional expressiveness and imagery. Tropes include comparisons, metaphors, epithets, hyperbole, etc.

Comparison is one of the most frequently used techniques, which has great persuasive power, stimulates associative and figurative thinking in the audience, and thus allows the speaker to achieve the desired effect.

Metaphor is the transfer of the name of one object to another, it is the verbal convergence of 2 phenomena by similarity or contrast. For example: "The locomotive of history cannot be stopped..."

An epithet is a figurative definition of an object, a phenomenon that reveals its essence. For example: "A student is not a vessel to be filled with knowledge, but a torch to be lit!.."

Allegory - allegorically depicts something. For example: “Once a passer-by asked the builder: “What are you doing?” He thought and answered: “Don’t you see? I drive stones." The second builder answered the same question: "I earn money!"

Hyperbole is a kind of trope, consisting in a deliberate exaggeration of the properties, qualities of objects and phenomena. For example: "A rare bird will fly to the middle of the Dnieper."

An effective means of contact are special words and expressions that provide feedback. These are personal pronouns of the 1st and 2nd person (I, you, we, we are with you), verbs in the 1st and 2nd person (let's try to understand, make a reservation, note, please, mark for yourself, think, specify, etc.), appeals (dear colleagues, my dears), rhetorical questions (you want to hear my opinion, don't you?). The specificity of oral speech is manifested in the construction of phrases and whole sentences. It is believed that in public speaking, preference should be given to shorter sentences, they are better perceived by ear and remembered. In addition, a short sentence allows for a more variant approach to changing intonation.