Phonetic devices allow the poet not only to convey the noise of nature or the sounds surrounding a person; they are an ornamental way of expressing the beautiful or the ugly.

Alliteration– repetition of consonant sounds.

The roses bloom more fragrant there,

More densely leafed forest...

(N. Nekrasov)

Assonances- repetition of vowel sounds.

In the desert, stunted and stingy,

On the ground, hot in the heat,

Anchar, like a formidable sentry,

Standing - alone in the whole universe.

(A. Pushkin)

Onomatopoeia

Winged with gold writing of the thinnest veins,

The grasshopper packed the Coastal belly with a lot of herbs and faiths.

• - Kick, kick, kick! - Zinziver rattled.
• (V. Khlebnikov)

Anagram(from the Greek ανα - re and γραμμα - letter) - such a redistribution of letters and syllables in words, as a result of which other words are formed.

Coca Cola. Bells.

It's not easy.

(A. Voznesensky)

This anagram is formed on the principle of redistribution of syllables. However, there is no letter match in one of the four syllables.

iron horses...

(V. Mayakovsky)

Here the anagrams “faces y”, “through” are formed by rearranging syllables, and the anagram “years” by redistributing letters.

Nobody asked

so that there is victory

written for the homeland.

To the armless stub of a bloody dinner

the hell is she?!

(V. Mayakovsky)

IN in this example The anagram “to hell with it” is formed by simple division of syllables.

Anagram like poetic device sharply emphasizes the image and attracts attention.

Quite often it is used as a means of rhyme formation.

The month smiles and is wrapped up like

like a line in the sky

from Averchenko...

(V. Mayakovsky)

You puppies! Follow me!

It will suit you

look, don't talk,

Otherwise I’ll beat you up.

(A. Pushkin)

In these examples, the homophone rhymes are anagrams.

Trails

Paths (from the Greek τροποσ - turnover) are a group of poetic devices formed on the principle of transferring the meanings of words with partial or complete replacement of the concepts and phenomena they denote.

The possibility of such replacement or transfer of word meanings is ensured by their inherent polysemy. This polysemy is the result of a long development of the vocabulary of the language and, as it were, recreates the history of the use of words over decades and centuries. In this case, the vocabulary of the language acts as the memory of the people.

In some words, their original meaning is captured more or less clearly. Thus, we can relatively easily determine that the word “city” in its early meaning is a fenced area or a place inside a fence. The word “village” goes back to the concepts “wooden”, “made of wood”. In other words, it is more difficult to find their original meaning. Thus, constantly using the word “thank you,” we no longer perceive its original meaning – “God save.”

Many words take on different meanings without changing either in style or pronunciation. Thus, the word “philistine”, which currently characterizes (like the word “philistine”) a person with a limited world of narrow personal interests, in the past was used in the meaning of “resident”: “rural inhabitant”, “urban inhabitant”.

But a word not only changes meaning throughout its history, it can change meaning at any given moment due to its use.

Phenomena and objects of reality are characterized by their inherent features. We call the meanings of words expressing these traits main or primary. In the combination “fire burns,” the word “burns” is used in its basic meaning—there is no trope here. Very often, however, a word denoting one concept appears in combination with a word denoting another concept. This meaning of the word is called secondary or portable.

In this case, we will already be dealing with a trope: for example, the combination “fire runs” is a trope formed by transferring the attribute “runs,” which is basic for characterizing the phenomena of the animal world and figurative (associative)

to characterize fire. The same is true in the phrase “fire flows,” where the main sign of water is transferred but the association to fire.

When transferring meanings between words and the concepts and phenomena they denote, a new connection arises.

This new connection and is perceived as a special poetic device - a trope.

Thanks to the new (associative) connection, the phenomena of reality appear in the tropes with their unusual, unexpected sides and give speech special expressiveness.

As you can see, a trope based on the polysemy of a word is difficult to explain based on the characteristics of any individual word: the phenomenon of “tropism” arises only in a phrase, in a speech structure. Thus, the word “runs” (or “flows”) in itself is not a trope: it becomes one of its elements only in combination with the word "fire".

Trope is a very common means of creating poetic image, used in both classical and modern literature. The creator of many bright tropes was A.S. Pushkin.

How fun it is to put sharp iron on your feet,

Slide along the mirror of standing, flat rivers.

(A. Pushkin)

Here Pushkin, with the help of secondary signs, describes “skates” (“shod with sharp iron feet”) and “ice” (“mirror of standing, flat rivers”). Thanks to the trails, Pushkin was able to depict a very lively and vibrant picture of winter - ice skating.

In the Russian language, with the inexhaustible wealth of its vocabulary, the huge variety of meanings and shades of meaning of words, the possibilities for using tropes are essentially limitless.

Each artist creates and uses tropes in accordance with his own intention. Moreover, we can talk about individual use tropes, oh system of tropes in creativity individual writers. The degree of saturation of a work with tropes in itself is not an indicator of its artistry. Paths interact with other figurative language means and along with them they represent component poetic language. Therefore, in each specific case it is necessary to determine the measure, nature and functions of tropes.

Paths are formed using significant parts of speech: verbs (“sea laughed"), adjectives ("lonely accordion"), nouns ("jet fire"), adverb ("Cold the steel of the blade flashed").

Within the framework of the method of their formation, fundamentally common to all tropes, by transfer meanings, their individual varieties are possible.

In some tropes, when transferring meaning, both phenomena or concepts are grammatically formalized. That's how it is comparison.“Like a mother over her son’s grave, a sandpiper moans over the dull plain” (N. Nekrasov. “Sasha”).

The cry of the sandpiper here is replaced by the crying of the mother. But at the same time, both terms of comparison are preserved. In comparison, it’s as if he’s fixed himself process transferring values.

Words (and the concepts they express) also retain their independent meaning in a single-term comparison: “The dawn shines as a young bride” (A. Pushkin).

In metonymy, synecdoche, and metaphor, we have the result, the result of the transfer of meaning. These paths are not only one-dimensional, they are to some extent unambiguous.

By autocratic hand

Om boldly spread enlightenment.

(A. Pushkin)

“To sow enlightenment” is a new meaning formed as a result of the merger of two meanings: the main one (“enlightenment”) and figurative (“to sow”).

As you can see, these paths differ from the comparison in their greater unity of meaning; in metaphor and metonymy, from the two initial ones, a third, new meaning essentially arises.

Metaphor(from Greek metaphora- transfer) is a type of trope in which individual words or expressions are brought together by the similarity of their meanings or by contrast.

Metaphors are formed according to the principle of personification (“water runs"), reifications(" steel nerves"), distractions ("field activities"), etc. Various parts of speech can act as a metaphor: verb, noun, adjective.

Metaphor gives speech exceptional expressiveness:

In every carnation of fragrant lilac,

A bee crawls in singing...

You ascended under the blue vault

Above the wandering crowd of clouds...

Here the metaphors are “lilac carnations”, “singing, creeps in...”, “a wandering crowd of clouds”.

The metaphor is an undifferentiated comparison, in which, however, both members are easily seen:

With a sheaf of your oat hair

You stuck with me forever...

The dog's eyes rolled

Golden stars in the snow...

(S. Yesenin)

Here the hair is compared to a sheaf of oats, the eyes to stars. In metaphor, as a rule, it is not captured real connection concepts:

In the blue stream of my destiny

Cold scale foam beats,

And puts the seal of silent captivity

A new fold in the wrinkled lip.

(S. Yesenin)

The blind search in vain for where the road is,

Trusting feelings to blind guides...

In the metaphors “foam of scum in the stream of fate” and “blind guides of feelings”, fate is compared with the stream and feelings with guides, i.e. concepts that do not touch any of their sides in reality.

In addition to metaphor words, widespread V artistic creativity have metaphorical images, or extended metaphors. This is the above metaphor “foam of scale in the stream of fate”, with the help of which a detailed artistic image is created.

Ah, the bush of my head has withered,

I was sucked into song captivity.

I am condemned to hard labor of feelings

Turning the millstone of poems.

(S. Yesenin)

I will cut through this childhood sadness later

An inspired word with a ringing sword...

With the help of a number of metaphors (“captivity suffered,” “hard labor of feelings,” “millstone of poems”) Yesenin recreates the image of the poet and the specifics of his work. An expanded metaphor from A. Fet’s poem gives an idea of ​​the word as the poet’s poetic weapon.

Sometimes the entire work represents a broad, expanded metaphorical image. This is A. Pushkin’s poem “The Cart of Life”:

Although the burden is heavy at times,

the cart is light on the move;

The dashing coachman, gray time,

Lucky, he won't get off the irradiation board.

In the morning we get into the cart;

We're happy to break our heads

And, despising laziness and bliss,

We shout: let's go!..

But at noon there is no such courage;

Shocked us; we are more scared

And slopes and ravines;

We shout: take it easy, fools!

The cart is still rolling;

In the evening we got used to it

And dozing we go until the night,

And time drives horses.

Here Pushkin reproduces in metaphorical form the phases of human life.

Very often poetic definitions, which in this case are called metaphorical epithets.

In the above metaphor “a wandering crowd of clouds” from A. Fet’s poem, the epithet “wandering” has a metaphorical connotation; in A. Pushkin’s expression “gray time” the definition “gray-haired” is a metaphorical epithet.

There's no point in getting excited

Blood in tired veins?

You failed to love

I am unable to forget.

A. Fet defines the word “veins” here with the metaphorical epithet “tired”.

Metonymy(from Greek metonymia renaming) is a type of trope in which words are brought together by the similarity of what they denote more or less real concepts or connections. In metonymy, a phenomenon or object is denoted using other words and concepts. At the same time, the signs or connections that bring these phenomena together are preserved; Thus, when V. Mayakovsky speaks of a “steel orator dozing in a holster,” the reader easily recognizes in this image a metonymic image of a revolver. This is the difference between metonymy and metaphor.

The idea of ​​a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of the image, giving it freshness and unusualness:

You led swords to a bountiful feast;

Everything fell with a noise before you:

Europe was dying - a grave sleep

He hovered over her head.

(A. Pushkin)

Here “swords” are warriors, “feast” is battle, “sleep” is death. These metonymic images recreate a special poetic world associated with the appearance of the legendary commander.

Sometimes the concept denoted by metonymy is not perceived with sufficient certainty:

But silent, magnificently pure,

Young mistress of the garden:

Only a song needs beauty,

Beauty doesn't even need songs.

Realizing that by “the young mistress of the garden” one can mean more than one beautiful plant, Fet calls his poem “Rose” and thereby reveals the meaning of metonymy.

The most common metonymy is in which the name of the profession is replaced by the name of the instrument of activity:

When is the shore of hell

Will take me forever

When Pero, my joy, falls asleep forever...

(A. Pushkin)

Here the metonymy is “the pen falls asleep.”

Complex concepts are revealed by metonymies that replace mythological images; in some cases, such metonymies can have a double meaning:

Our great-grandfather, seduced

The wife and the serpent,

Ate the forbidden fruit

And rightly driven away...

(F. Tyutchev)

Here the metonymy “forbidden fruit” is used not only in specific meaning apple, it is also the biblical designation for original sin.

Comparison- a type of trope in which one phenomenon or concept is clarified by comparing it with another phenomenon. The comparison can be made to primary species trope, since when meaning is transferred from one phenomenon to another, these phenomena themselves do not form a new concept, but are preserved as independent. “Like a steppe scorched by fires, Gregory’s life became black” (M. A. Sholokhov). Here's the state inner emptiness Grigory Melekhov is emphasized by comparing him with the steppe, devoid of vegetation, scorched by fire. At the same time, the idea of ​​the blackness and gloom of the steppe evokes in the reader that melancholy and painful feeling that corresponded to Gregory’s state. There is a transfer of one of the meanings of the concept “scorched steppe” to another – internal state character.

Using comparison, the artist creates an image of great emotional expressiveness and strength.

Sometimes, in order to compare some phenomena or concepts, the artist resorts to to deployed comparisons:

The view of the steppe is sad, where there are no obstacles,

Disturbing only the silver feather grass,

The flying aquilon wanders

And he freely drives dust in front of him;

And where all around, no matter how vigilantly you look,

Meets the gaze of two or three birch trees,

Which are under the bluish haze

They turn black in the empty distance in the evening.

So life is boring when there is no struggle,

Penetrating into the past, discerning

There are few things we can do in it, in the prime of life

She will not amuse the soul.

I need to act, I do every day

I would like to make him immortal, like a shadow

Great hero, and understand

I can't, what does it mean to rest.

Here, with the help of a detailed comparison, Lermontov conveys a whole range of lyrical experiences and reflections.

Comparisons are usually connected by conjunctions “as”, “as if”, “as if”, “exactly”, etc. Non-union comparisons are also possible: “My fellow, I have curls like combed flax” (N. Nekrasov. “The Gardener”). Here the conjunction is omitted. But sometimes it is not expected: “In the morning there is an execution, the usual feast for the people” (A. Pushkin. “Andrei Chenier”).

Some forms of comparison are constructed descriptively and therefore are not connected by conjunctions:

And she appeared

At the door or at the window

The early star is brighter,

Morning roses are fresh.

(A. Pushkin)

She's cute - I'll say between us -

Storm of the court knights,

And maybe with the southern stars

Compare, especially in poetry,

Her Circassian eyes.

(A. Pushkin)

A special type of comparison is the so-called negative comparison:

The red sun is shining in the sky,

The blue clouds admire him:

Then he sits at a meal wearing a golden crown,

The formidable Tsar Ivan Vasilyevich is sitting.

(M. Lermontov)

In that parallel image two phenomena, the form of negation is both a method of comparison and a method of transferring meanings.

A special case is represented by the instrumental case forms used in comparisons:

It's time, beauty, wake up:

Open your closed eyes,

Towards northern Aurora

Be the star of the north!

(A. Pushkin)

I don't soar - I sit like an eagle.

(A. Pushkin)

Quite often found in fiction comparisons in the form accusative case with the pretext “under”: “Sergei Platonovich... was sitting with Atepin in the dining room, covered with expensive oak wallpaper...” (M. A. Sholokhov).

In all the above examples, comparisons bring together concepts that are not really related to each other and completely replace each other. This metaphorical comparisons. But in some comparisons, concepts that are actually related to each other come closer. In this case, only individual features of the phenomenon with which something is compared can be expressed:

My grandfather did not sell pancakes,

I didn’t wax the king’s boots,

I didn’t sing with the court sextons,

I didn’t jump into princes from crests...

The people with whom A.S. Pushkin’s ancestors are compared are not indicated here, but from individual strokes contemporaries could guess who the poet had in mind.

I didn’t walk with a flail in the dense forest,

I didn’t lie in a ditch on an impenetrable night, -

I lost my life for a beautiful girl,

For a beautiful maiden, for a noble daughter.

(N. Nekrasov)

The first two lines are negative comparison, in which one of the compared phenomena is not expressed directly: “did not lie with a flail” (like a robber). "Blade" and "impenetrable night" are signs that in negative form are transferred to the gardener.

Like a prisoner glorified by Byron,

He sighed, leaving the darkness of the prison...

(A. Pushkin)

Here A. S. Pushkin compares himself with the hero of Byron's poem Bolivar, whose name, however, is not mentioned by the poet. Such comparisons can be called metonymic.

In turn, both metaphor and metonymy contain a hidden comparison. Unlike metaphors and metonymies, comparison does not convey result, And you process transferring value.

Epithet(from Greek επιτηετον - application) - a word that defines an object or phenomenon and emphasizes any of its properties, qualities or characteristics.

Human tears, oh human tears,

Sometimes you pour early and late...

The unknown ones flow, the invisible ones flow,

Inexhaustible, innumerable...

(F. Tyutchev)

Here the epithet “human” defines the subject (“tears”), and the other epithets (“unknown”, “invisible”, “inexhaustible”, “innumerable”) emphasize its various aspects.

At the same time, the sign expressed by the epithet seems to be attached to the object, enriching it semantically and emotionally. This property of the epithet is used when creating an artistic image:

I don’t like golden spring,

Your continuous, wonderfully mixed noise;

You rejoice without stopping for a moment.

Like a child, without care or thoughts...

(N. Nekrasov)

The properties of an epithet appear in a word only when it is combined with another word denoting an object or phenomenon. Thus, in the above example, the words “golden” and “wonderfully mixed” acquire the properties of an epithet in combination with the words “spring” and “noise”.

Epithets are possible that not only define an object or emphasize some of its aspects, but also transfer it to it from another object or phenomenon (not directly expressed) new, additional quality:

And we, poet, haven’t figured it out,

Didn't understand infantile sadness

In your seemingly forged poems.

(V. Bryusov)

The epithet “forged” transfers one of the signs of metal to the verse. Such epithets are called metaphorical. As you can see, the epithet emphasizes in an object not only those inherent in it, but also possible, conceivable, transferred features and characteristics.

This not only gives grounds to classify the epithet as a group tropes, but also allows you to use it as a means of expressing the author’s thoughts and moods:

Son of the revolution, you are with a terrible mother

He bravely entered the battle - and was exhausted in the struggle...

(F. Tyutchev)

Conservative tendencies in the author’s worldview are manifested here in the epithet “terrible,” which defines the revolution.

Various (meaningful) parts of speech can be used as epithets. Noun.

Mother Nature! I'm coming to you again

With my everlasting desire...

(II. Nekrasov)

Adjective, gerund and even verb:

Under blue skies

Magnificent carpets,

Glistening in the sun, the snow lies;

The transparent forest alone turns black,

And the spruce turns green through the frost,

And the river glitters under the ice.

(A. Pushkin)

Here the epithets are not only “blue”, “magnificent”, “transparent”, but also the words “brilliant”, “turns black”, “turns green”, “glitters”.

A special group of epithets includes permanent epithets that are used only in combination with one specific word: “living” or “dead water”, “good fellow”, “greyhound horse”, etc. Constant epithets are characteristic of works of oral folk art. Common attempts to distinguish between the definition “logical” or “necessary” and the epithet as a “figurative definition” are unproductive, since in a stylistic context any definition can have an expressive meaning. In the expression “the great, mighty, truthful and free Russian language” (I. S. Turgenev), the word “Russian” can also be considered as logical definition, and as an epithet, since it completes the intonation build-up and therefore receives a special stylistic meaning.

Personification – special kind metaphors, transferring human traits onto inanimate objects and phenomena. Animalistics – animal world, endowed with the properties of the human world. In N.V. Gogol's story "Notes of a Madman" the dogs correspond. In fairy tales, objects speak.

Periphrase(periphrasis) (from Greek ηεριιηρσισα, from περί - around, near and phranzo– I say) – kind of a trail, verbal expression With figurative meaning, in which the name of a person, animal, object or phenomenon is replaced by an indication of its most important, character traits or signs. So, instead of the word “lion” the combination “king of beasts” is used. From A.S. Pushkin: “The mighty darling of victories” - Napoleon; “Singer of Gyaur and Juan” - Byron; “The arrogant sultan of the chicken coop” is a rooster.

The Russian language is famous throughout the world for its beauty and richness. He earned fame thanks to a huge number means of expression included in the active stock.

In this article we will answer the question: “What is sound recording?” This artistic technique is often found in the poetic works of Russian authors.

Sound recording is a phonetic speech device that gives the work a special artistic expressiveness. It is based on the repetition of various phonetic combinations. This is a technique for enhancing the visual properties of the text. It helps to make the text more expressive and create auditory images. For example, it can convey the sound of rain, the clatter of hooves, or the sound of thunder.

Alliteration and consonance

Alliteration is a technique of speech expressiveness that is based on the repetition of consonant sounds. We encounter it in both Russian and foreign poetry. The successful use of alliteration shows how strongly the author has a developed sense of artistic tact.

In order to successfully use this technique, you must have a sense of proportion. You need to feel exactly how many repeating sounds can be included without overloading the text.

Alliteration is used by poets to create certain associations. For example, repeating the sound “r” can convey the sound of a motor, and “gr” can convey the sound of thunder.

In Russian, alliteration exists hand in hand with consonance (the repetition of a consonant that ends a word).

Sound writing: examples of alliteration

Many Russian poets are famous for their ability to successfully use the technique of alliteration. The most famous of them: A. S. Pushkin, N. A. Nekrasov, G. R. Derzhavin, V. V. Mayakovsky, F. I. Tyutchev.

Let's look at a few examples from their works to understand what sound writing looks like in the verses of talented and recognized poets:

1. “In an hour from here, your flabby fat will flow out into a clean alley,” a line from V. V. Mayakovsky’s poem “Nate.” We see the repetition of the sounds “ch”, “s”.
2. IN " Bronze Horseman"A. S. Pushkin, we also come across an expressive and successful example of the repeated use of a dull sound: “The hissing of foamy glasses and punch, a blue flame.” The author uses a phonetic repetition of “sh”, which conjures up the image of sizzling champagne.
3. The work of G. R. Derzhavin “Waterfall” presents us with a repetition of the sounds “gr”, which reproduce the sound of thunder: “The echo rumbles through the mountains, like thunder thundering over thunder.”

Assonance

Assonance is the repetition of an stressed vowel, or a combination of them, within one verse or phrase. This technique is used to make the work easier to understand by ear. And its sound is more melodic.

Assonance is much less common than alliteration. It is not so easy to notice in the text, but if you are careful, it is possible.

Sometimes authors use repetition of specific vowel sounds to create a certain mood. Or to show how one emotional mood replaces another.

Assonance has been used by poets for centuries. For example, it is found in the French heroic epic and ancient folk songs.

Examples of assonance

Like alliteration, assonance is found in the works of many Russian poets. For this reason, their poems are distinguished by their special euphony and expressiveness. Let's look at examples of what sound writing looks like in literature:

1. In A. Blok’s poem “Factory” there is a repetition of the stressed vowel “o”: “Thoughtful bolts creak, people approach the gate.”
2. IN romantic poem A. S. Pushkin can find a detailed example of the use of assonance: “His young daughter went for a walk in a deserted field.” The stressed sound “o” is repeated in each independent part of speech.
3. Work by B. L. Pasternak “ Winter night” also shows a successful example of the use of assonance: “It’s chalk, it’s chalk all over the earth to all its limits.” The repetition of the stressed sound “e” is clearly visible in each independent word, because of this technique the line seems more melodious.

Dissonance and lipogram

Dissonance and lipogram are sound writing techniques that are rarely found in modern Russian literature.

A lipogram is an artistic technique, the essence of which is that the poet deliberately avoids using any sound. During the golden age of literature, the use of this device was considered an indicator of the poet's high level of skill.

Among Russian writers, the most famous adherent of the lipogram is G. R. Derzhavin. Let's consider sound writing, examples of the use of which can be found in his poem “Freedom”:

Warm autumn breath,

Anointing the oaks,

Quiet whispering of sheets,

The verse consists of four stanzas of six lines each. In none of them will you find a word containing the letter “r”.

The technique is found in the works of experimental poets silver age. For example, V.V. Mayakovsky, I. Severyanin.

Let's consider an example from the poem by V.V. Mayakovsky “To the workers of Kursk who mined the first ore...”.

We walked through the fire,

through cannon muzzles.

Instead of mountains of delight -

woe is down.

Anaphora and epiphora

Sound recording in literature includes many techniques. They can be both generally accepted and proprietary. Let's look at a few more techniques.

Sound anaphora and epiphora are the repetition of one sound or consonances at the beginning or end of a word, respectively. The technique is widely used in poetic works.

Let's get acquainted with examples found in famous Russian poets:

1. In K. Balmont’s poem you can find an epiphora: “They made noise, sparkled, and attracted to the distance, and drove away sorrows, and sang in the distance.” At the end of each verb we see a combination of “li” sounds, which gives the lines a special melody and melodiousness.
2. An example of anaphora using the repetition of two sounds “d” and “m” is found in M. Tsvetaeva’s work “To You - in a Hundred Years”: “Friend! Don't look for me! Another fashion! Even the old people don’t remember me.” The repetition of phonetic combinations in this case helps the author to highlight the most significant words for him.

Pun rhymes

The means of speech expression have glorified the Russian language. Sound recording is one of the techniques that make our literature unusually melodious and expressive.

Pun rhymes - artistic medium, which is based on a play on words and sound similarities. The poet rhymes lines due to the polysemy of words or homonymy.

This technique is often used to achieve comedy. Found in the works of V.V. Mayakovsky, A.S. Pushkin, Emil Krotky, D. Minaev. Let's look at a few examples:

1. In V.V. Mayakovsky’s “Ditties” you can easily find a punning rhyme:

There's no feather in the sky in October -

snow is falling from the sky.

Somehow our Denikin is flushed,

he became crooked.

2. A not entirely humorous use of punning rhyme can be seen in an ironic creation famous poetess M. Tsvetaeva “Flour and Flour”:

Will everything be crushed? Will it be flour?

No, better with flour!

Bottom line

From this article you learned what sound writing is. We examined its most common techniques and examples of its use in Russian poetry, and were convinced that extraordinary beauty and expressiveness is given to poetic works by the masterful use of verbal means of expression.

Now you can easily determine what sound technique the poet used and appreciate his talent.

Verbal and artistic works are addressed to the auditory imagination of readers. “All poetry, at its very origin, is created for perception by the ear,” noted Schelling. Artistically significant (especially in poetic speech) is the phonetic side of works, on which at the beginning of our century German “auditory philology” was focused, and after it - representatives of the Russian formal school.

Sound artistic speech is interpreted differently by scientists. In some cases it is stated that they themselves speech sounds(phonemes) are carriers of a certain emotional meaning (for example, L. Sabaneev believed that “A” is a joyful and open sound, and “U” expresses anxiety and horror, etc.). In other cases, on the contrary, it is said that the sounds of speech themselves are emotionally and semantically neutral, and the artistic and semantic effect is created by combining this sound composition with the subject-logical meaning of the utterance. B.L. Pasternak argued: “The music of words is not an acoustic phenomenon at all and does not consist in the euphony of vowels and consonants, taken separately, but in the relationship between the meaning of speech and its sound.”

The origins of this view of the phonetics of artistic speech lie in the philosophy of language developed by religious thinkers of the early 20th century: the name-slavists, as well as S.N. Bulgakov, who argued that “without a sound body there is no word” and that the secret of speech lies in the “fusion” of the meaning of words with their form. The connection between sound and meaning (name and object) in a literary word, denoted by the terms onomatopoeia and sound meaning, was examined in detail by V.V. Veidle. The scientist argued that sound meaning is born from organic compound the sounds of words with intonation, rhythm, as well as the direct meaning of the statement - its “banal meaning.

I'll only tell you about two techniques for now. sound recording in literature – alliteration and assonance. Although they often say that these techniques are needed only in poetry, I cannot agree with this. Any literary text - poetic or prosaic - makes sense only when it captures the reader's attention. And for this there are certain “buttons” that you can press if you know how to do it. Sound design and intonation, as well as the internal rhythm of a phrase, exist precisely for this purpose. If you know the effect of word combinations on the subconscious, you can create hypnotic texts. Which, when interspersed into the main text of the work, give the effect of in-depth attention.
Assonance- repetition of vowel sounds in a statement.
There I will think about it,// evil fate my, // my evil gloomy fate (Heine) (U, Yu)
Alliteration– repetition of consonant sounds or even blocks.
Something is screaming in despair, // something black - everything is on the eve of // the endless, the beginningless (H)
All this can be quite useful in prose, when describing nature, for example.
Influence different sounds language - different. Very often these techniques are used in hypnosis and neuro-linguistic programming. And for synesthetes, each sound has its own color, which also creates additional colors in the writer’s palette. For example, for me the sound “Ch” is black. And in some incomprehensible way, I see the passage given in the second example in a dark blue color scheme. But the first passage seems to me not just green, it everything goes waves from light green to dark. Well, this is my own perception.

Longfellow's poem "The Song of Hiawatha" provides an example of onomatopoeia. natural phenomena among the Ojibway Indians: “Minnie-wawa!” - the pines sang, “Medway-oshka!” - the waves sang." Every language has such onomatopoeia. We do not need to invent any words to convey sound, but only use linguistic capabilities to convey this or that phenomenon without losing the main meaning of the text.

The use of various techniques for strengthening sound expressiveness of poems.

Sound recording (instrumentation) - a technique of enhancing the visual quality of a text by repeating stressed and unstressed syllables, vowels and consonants. The most common form of sound writing is poetic repetitions, which form a special structure of the text. This gives the text a kind of symmetry.

Sound recording is created using a variety of techniques:

1. Alliteration-repetition of consonants.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

The storm is near, it's hitting the shore

Alien to the charms of the black shuttle...

Alien to the pure charms of happiness,

The boat of languor, the boat of anxiety

Abandoned the shore, fights the storm,

The palace is looking for bright dreams...

(K. Balmont)

V.V. Mayakovsky in the article “How to make poetry?” wrote about alliteration:

Alliteration must be dosed with extreme caution and, if possible, repetitions that do not stick out. An example of clear alliteration in my Yesenin verse is the line: “Where is it, the ringing of bronze or the edge of granite... I resort to alliteration for framing, for even greater emphasis on a word that is important to me

Onomatopoeia is considered one type of alliteration.

Above, German engines roar:

We are the Fuhrer's submissive slaves,

We turn cities into coffins,

We are death... You will no longer be there soon.

(“Pulkovo Meridian” V. Inber)

The repetition of the sound “er” creates the illusion of the sound of a German plane engine, the terrible sound of bombing.

2. Assonance- repetition of vowels. Sometimes assonance is an imprecise rhyme in which the vowels coincide, but the consonants do not coincide (enormous - I’ll come to my senses; thirst - sorry). Assonance enhances the expressiveness of speech.

Our ears are on top of our heads,

A little morning the guns lit up

And the forests have blue tops -

The French are right there.

I jammed the charge into the gun tightly

And I thought: I’ll treat my friend!..

(“Borodino”, M. Lermontov)

Repeated repetition of the sound “u” helped the poet convey the echo early morning; the roar echoing across the field before the battle.

Here is how Alexander Pushkin uses the same “u” sound:

Do I wander along the noisy streets,

I enter a crowded temple,

Am I sitting among crazy youths,

I indulge in my dreams.

(A. Pushkin)

The assonance of the sound "u" is used to depict the roar of a city street.

And here is an example of the use of assonance by K. Balmont.

I am the free wind, I blow forever,
I wave the waves, I caress the willows,
In the branches I sigh, sighing, I grow dumb,
I cherish the grass, I cherish the fields
(K. Balmont)


Repetition of vowels “o” and “e”

3. Pun rhymes- rhymes based on wordplay and sound similarity. They are often used for comic effect. Pun rhymes use ambiguous words, as well as homonyms - when only sound identity is established between words, and there are no semantic associations.

You puppies! Follow me!

It will suit you

Look, don't talk,

Otherwise I’ll beat you up.

(A.S. Pushkin)

He was careless for twenty years,

Without giving birth to a single line.

(D. D. Minaev)

4. Anaphora- a stylistic device that consists of repeating similar sounds, words, syntactic or rhythmic structures at the beginning of adjacent verses or stanzas.

Sound anaphora is a feature of alliterative verse, which must have an equal number of logically strong stressed words in certain places, but it is sometimes found in metrical verses built on the basis of meter.

Bridges demolished by thunderstorms,

A coffin from a washed-out cemetery.

(A. Pushkin)

Lexical anaphora, repetition of the same words:

Wait for me and I will come back.

Just wait a lot

Wait when they make you sad

Yellow rains,

Wait for the snow to blow

Wait for it to be hot

Wait when others are not waiting,

Forgetting yesterday.

Wait when from distant places

No letters will arrive

Wait until you get bored

To everyone who is waiting together.

(K. Simonov)

Syntactic anaphora, (anaphoric parallelism) repetition of syntactic constructions:

I'm standing at the high doors

I'm watching your work.

(M. Svetlov)

Strophic anaphora, repetition of words or syntactic structures in adjacent stanzas: in following example The anaphoric word, although highlighted in a separate typographical line, forms the beginning of an iambic verse, which ends with the following line:

Earth!..
From snow moisture

She's still fresh.
She wanders by herself
And breathes like deja.

Earth!..
She's running, running

5. Epiphora- a stylistic device that consists of repeating similar sounds, words, syntactic or rhythmic structures at the end of adjacent verses or stanzas.

They made noise and sparkled

and were drawn to the distance,

and drove away sorrows,

and sang in the distance...

(K. Balmont)

6. Onomatopoeia- words that imitate eigenvalue. Such words are the words “Snore”, “Crunch”, and derivative words “snore”, “crunch”, etc.

And the crunch of sand and the snoring of a horse

Puddles drunk by frost

crunchy and fragile like crystal

(I. Severyanin)

There are many other sound writing techniques: dissonance, joint, ring, etc. But the six mentioned above are the most popular and are more often used by Russian poets.

Expressive means (figures of speech)

They do not create images, but increase the expressiveness of speech and enhance its emotionality with the help of special syntactic structures. (Inversion, rhetorical question, parallel constructions, etc.)

Expressive means (syntagmatic) are based on the linear arrangement of parts and their effect depends precisely on the arrangement.

The division into expressive means of language and stylistic devices is widespread.

Stylistic devices - intentional and conscious strengthening of any typical structural and/or semantic feature linguistic unit(neutral or expressive), which has achieved generalization and typification and thus become a generative model.

The term “device” is used conditionally, meaning the typicality of a particular poetic turn, and not its purposefulness.

Phonetic means of expression and stylistic devices

Phonetic stylistic means are divided into executive And copyright. Performing called phonetic means, allowing for variation, keeping in mind that when recoding a work from written form orally possible, in within known limits, some differences in the interpretation of its sound, which, naturally, changes the semantic interpretation.

those. there are changes in pitch, duration of pronunciation, volume, acceleration and deceleration, in general the pace of speech, breaks in pronunciation, pauses, placement of more or less strong semantic and emphatic stresses.

Copyright FS. Here the phonemic composition of the text, its instrumentation and poetic meter depend entirely on the author. Author's phonetic means, which increase the expressiveness of speech and its emotional and aesthetic impact, are associated with the sound matter of speech through the choice of words and their arrangement and repetitions.

Instrumentation - selection of words that have such sound form, which may correspond to the strengthening of the expressive content of a given segment of speech.

Forms of instrumentation:

1. Euphony - euphony, beauty of sound, selection of sounds that are most appropriate emotional mood segment of speech. Sound corresponds to content. For example, predominance of long vowels and diphthongs , , sonants/labiolabials, nasals create the impression of smoothness and softness.

1. Onomatopoeia (onomatopoeia – onemete’pie) – the sound of the language repeats the extra-linguistic sound, i.e. This is onomatopoeia. Sound painting – the text is given connotation and expressiveness.

“hiss”, “powwow”, “murmur”, “bump”, “grumble”, “sizzle”, “ding-dong”, “buzz”, “bang”, “cuckoo”, “tintinnabulation”, “mew”, “ping-pong”, “roar” – they are a means of nomination.

1. Alliteration – repetition of identical consonants at the beginning or middle of words included in a given segment of speech. The technique dates back to ancient Germanic poetry. At the level of alliteration, there are many phraseological units, sayings and stable phrases:

Tit for tat; betwixt and between; neck or nothing; blind as a bat; to rob Peter to pay Paul. Bush:

“The world will know our courage, our constancy, and our compassion” - the sound “K” shows the firmness of the position.

A. is used in the titles of works of art: “Sense and Sensibility”, “Pride and Prejudice” (Jane Austin), “The School for Scandal” (Sheridan), “A Book of Phase and Fable” (Brewer).

Alliteration in the original and in translation: silken sad uncertain rustling of each purple curtain

(E.A.Poe) “And the silken, sad, unexpected rustle of every lilac curtain”

Thanks to A., a musical and melodic effect, expressiveness, and the effect of musical accompaniment are created. “Deep into the darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortals ever dared to dream before.”(E.A.Poe)

1. Phonosemantic theory - the sound of speech is associated with specific content. (basic Voronin Stanislav Vasil.): [l] – smooth, gentle, soft, [i] – joyful, [d] – gloomy, [m] – gives a soporific effect:

“How sweet it were...

To lend our hearts and spirits wholly

To the music of mild-minded melancholy;

To muse and blood and live again in memory.”

(Tennyson-"The Lotus Eaters")

The furrow followed free. (S.T. Coleridge)

The Italian trio tut-tuted their tongues at me.(T.Capote)

1. Assonance – vocal alliteration. A type of sound repetition formed by repeating the same or similar vowel sounds, most often percussive. the result is an intonation of insistent repetition.

Nor soul helps flesh now // more than flesh helps soul (R.Browning)

Dreadful young creatures – squealing and squawking (D.Carter)

1. Rhyme- repetition of more or less similar combinations of sounds connecting the endings of two or more lines or symmetrically located parts of poetic lines.

The position of rhyme in verse and stanza is subject to one pattern or another. Rhymes are distinguished by vertical placement adjacent(aa, bb), cross(ab, ab) and encircling(ab, bа). Based on syllabic volume, rhymes are divided into men's(emphasis on last syllable), women's(stress on penultimate syllable) and dactylic(accent on the third syllable from the end). For English verse, thanks to the reduction of endings and the monosyllables prevailing in the original words, masculine rhymes are characteristic.

The sameness of positions can be different: according to the similarity of position in a verse, end rhymes, internal rhymes, initial rhymes (a rare type) and rhyming acromonograms are distinguished.

Internal rhymes break up the length of a line and create a contradiction between how it is written and how it sounds.

• Oh! a private buffoon is a light-hearted loon

• If you listen to popular rumour;

• From the morning to the night, he's so joyous and bright,

• And he bubbles with wit and good humour!

• (W.S. Gilbert. The Yeoman of the Guard)

• Initial, or head, Sometimes called rhymes that connect the end of one line with the beginning of the next. Another, more special name for them is rhyming acromonogram. Acromonogram there is a lexical-compositional device *-syllabic, lexical or rhyme repetition at the junction of lines. Lexical

acromonogram is also called pick-up, anadiplosis And joint, but in these cases the repetition is important, not its location at the junction of the lines.

1. Rhythm- any uniform alternation, for example, acceleration and deceleration, stressed and unstressed syllables, repetition of images, thoughts.

• in poetry, rhythm is inseparable from metric, that is, diversity poetic sizes, based on stress.

The rhythm of prose is based on:

 Repetition of images, themes and other elements of the text  On parallel structures

 On the use of sentences with homogeneous members On a specific arrangement of definitions

Rhythm and metrical means often have an expressive rather than a pictorial function. The branch of poetics dealing with rhythmic structure literary works and its effectiveness in conveying thoughts and emotions is called prosody.

Graphic means of expression. Features of the font, graphon: capitalization,

hyphenation, brackets, italics, doubling. Emphatic punctuation (exclamation and question marks, emotional pauses, lack of punctuation)

Let's consider such a means of expressiveness as fonts and identify their main characteristics.

Let's consider the requirements for them and recommendations for their use.

S.I. Galkin gives the following definition of a font - it is a graphic form of letters and signs of any alphabet (Cyrillic, Latin, etc.). V.V. Tulupov writes that a font is a set of lowercase and uppercase letters (letters), numbers, punctuation marks, special characters, symbols necessary to reproduce any alphabet; regardless of the technique of its execution, it represents an ordered graphic form a certain writing system.

The font has the following characteristics:

1. Dimensional characteristics:

1. Point size is the distance from the highest point of the tallest letter to the lowest point of the longest descender.

newspaper design means of expression

1. Leading is the space between the bottom and top lines of the font of adjacent lines.

1. Characteristics of the style: slant, density, saturation.

1. Characteristics of the drawing: the presence or absence of serifs, the ratio of main and connecting strokes.

for example English gonna instead of going to. The primary function of graphons is characterological: with their help, characters are distinguished in speech phonetic features, which characterize him as a representative of a certain social environment, dialect or reflect its individual characteristics. Secondary function graphons is determined by the ideological and aesthetic positions of the author and the entire content of the work.

• In the history of Russian linguistics, three main directions have emerged in assessing the role and principles of Russian punctuation: logical, syntactic and intonational. The theorist of the logical or semantic direction, F. I. Buslaev, formulated the purpose of punctuation as follows: “Since through language one person conveys his thoughts and feelings to another, then punctuation marks have a dual purpose:

1. promote clarity in the presentation of thoughts by separating one sentence from another or one part of it from another, and

2. express the feelings of the speaker’s face and his attitude towards the listener.”