In order to be a prominent figure, along with numerous business qualities, it is important to have correct speech, although this is sometimes not enough. Because, even being literate, not every person is given the ability to truly interest listeners, completely and completely capturing their attention. Rhetorical appeal- a peculiar game of intonations in the speech of speaking people, with the help of which the speech becomes interesting, but not everyone is naturally given such abilities. However, you can learn everything, the main thing is to know the basic techniques of mastering the technique of persuasive speaking, to be sure that everything will certainly work out as planned.
The stylistic figure most often found in monologues is called rhetorical. The basis of such an appeal is conditional, where the main role is played by intonation, and not the text itself. The purpose of such speech is the desire to formulate an attitude towards any object or person, to characterize it, and to essentially make the speech, with the help of peculiar turns, as expressive as possible. An emotional appeal does not imply a question and does not require an answer, but is an amplifier of expressiveness along with a rhetorical question and exclamation. Thanks to such turns of phrase, the phrase becomes eloquent, its connotation is emphasized, nevertheless, in in this case exclamatory or interrogative intonation is used, where essentially there is no need for such a technique. This convention is a distinctive feature of these speech patterns. It should be noted that a rhetorical appeal is intended to express precisely the attitude towards someone or something, and not a mention of the addressee himself, to whom the speech is addressed.
The theory and skill of influencing (harmonizing, expedient, effective) speech is the basis of modern rhetoric, with its general patterns of speech behavior, which operate in various fields of activity, communication situations and serve to make speech as effective as possible. The appeal to voters sounds more convincing and is determined in the process of transmitting the report from the speaker to the listeners, with minimal losses in all of the three existing types of information contained in the speech: emotional, evaluative, conceptual and logical. An expedient monologue corresponds to the speaker’s intention, his immediate goal. Inactive speech is capable of awakening feelings and minds, which first inclines people to listen, gets them interested, and only then forces them to accept the picture of the world proposed by the speaker. The main goal of harmonious speech is to unite participants in communication, resolve emerging contradictions, and ensure better mutual understanding between people.
“But Ukraine is impossible without Russia! Didn't Russian architects build in Kyiv? Is it really possible that St. Andrew’s Church, built by the son of the sculptor of Peter the Great Rastrelli V.V., brought up in Russian architectural traditions, is not one of the best architectural decorations of Kyiv? Don’t various Ukrainian cities, including primarily Kyiv, carry Russian traditions of urban planning? Ukrainian poetry is unthinkable without Lermontov, without Pushkin, without Nekrasov!” (According to D.S. Likhachev)
Rhetorical appeal in the form of a rhetorical exclamation or question (positive or negative), moreover, intonationally colored, is capable of completely capturing the attention of the audience. People love to listen to fresh, emotional speeches that carry constructive ideas, and the most important thing is that words do not diverge from deeds.
The meaning of RHETORICAL APPEAL in the Dictionary of Literary Terms
RHETORICAL APPEAL
- (from the Greek rhetor - speaker) - stylistic figure: an emphasized, but conditional appeal to someone (something). In form being an appeal, R. o. serves not so much to name the addressee of the speech, but to express the attitude towards a particular object or phenomenon: to give it an emotional assessment, to give the speech the intonation necessary for the author (solemnity, cordiality, irony, etc.).
Flowers, love, village, idleness,
Fields! I am devoted to you with my soul.
A.S. Pushkin
Dictionary of literary terms. 2012
See also interpretations, synonyms, meanings of the word and what RHETORICAL APPEAL is in the Russian language in dictionaries, encyclopedias and reference books:
- RHETORICAL APPEAL
A stylistic figure, consisting in the fact that the statement is addressed to an inanimate object, an abstract concept, an absent person, thereby enhancing the expressiveness of speech. Dreams... - APPEAL
SECURITIES - conclusion of civil transactions involving the transfer of ownership rights to securities... - APPEAL in the Dictionary of Economic Terms:
GOODS - turnover, exchange through purchase and sale, movement of goods from producers to consumers through the trading network. FROM. is the reproductive phase... - APPEAL in the Dictionary of Economic Terms:
FREE - see FREE… - APPEAL in the Dictionary of Economic Terms:
MONETARY - see MONEY CIRCULATION ... - APPEAL in the Dictionary of Economic Terms:
COLLECTION ON PROPERTY - in civil law - identification, arrest, sale of the debtor’s property for the purpose of transferring the proceeds from the sale... - APPEAL in the Dictionary of Economic Terms:
BILL - see BILL CIRCULATION ... - APPEAL in the Dictionary of Economic Terms:
BANKNOTE - see BANKNOTE CIRCULATION ... - APPEAL in the Brief Church Slavonic Dictionary:
- return from slavery to sin and restoration of communication with God through... - APPEAL in the Big Encyclopedic Dictionary:
in economics - a form of exchange of labor products, money and other property objects characteristic of commodity production through ... - APPEAL in the Encyclopedic Dictionary:
, -I, Wed. 1. see turn, -sya and turn. 2. Manifestation of attitude towards someone. in behavior, in actions. Affectionate o. ... - APPEAL
PHOTOGRAPHICAL TREATMENT, obtaining a positive image of the subject of photography (positive) on the same photo or film material (film, plate, paper) on which it was made... - APPEAL in the Big Russian Encyclopedic Dictionary:
TIME REVERSAL, the operation of replacing the sign of time in the equations of motion that describe the evolution of physics. systems. For all fundamental interactions of elementary particles (for ... - APPEAL in the Big Russian Encyclopedic Dictionary:
WAVEFRONT REVERSAL, the transformation of one wave into another with an identical distribution of amplitude and phase and with the opposite direction of propagation. At … - APPEAL in the Big Russian Encyclopedic Dictionary:
FORECLOSURE ON PROPERTY, one of the ways is to force it. execution court. decisions regarding property. responsibility. Carried out only on the basis of execution. Doc. ... - APPEAL in the Big Russian Encyclopedic Dictionary:
CIRCULATION (economics), a form of exchange of products of labor, money and other property objects characteristic of commodity production through ... - APPEAL in the Big Russian Encyclopedic Dictionary:
ADDRESS (linguistic), a word or combination of words used to name persons or objects to which speech is addressed. O. can be used... - APPEAL in the Big Russian Encyclopedic Dictionary:
APPEAL, acceptance of definition. (religious or philosophical-moralistic) doctrine and the norms arising from it... - APPEAL in the Complete Accented Paradigm according to Zaliznyak:
appeal, appeals, appeals, appeals, appeals, appeals, appeals, appeals, appeals, appeals, appeals, … - APPEAL in the Dictionary of epithets:
Showing an attitude towards someone; the nature of treatment with someone; manner of behavior in society. Unceremonious, important, polite, haberdashery (obsolete), gallant, rude, humane, ... - APPEAL in the Linguistic Encyclopedic Dictionary:
- a grammatically independent and intonationally isolated component of a sentence or a more complex syntactic whole, denoting a person or object to whom speech is addressed. ... - APPEAL in the Dictionary of Linguistic Terms:
A word or combination of words that names the person (less often the object) to whom the speech is addressed. Addresses are proper names of people, names of persons by degree... - APPEAL in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
-I'm with. 1) only units. Behavior, actions towards someone. or smth.; demeanor. Sophistication of treatment. Careless handling... - APPEAL in the Thesaurus of Russian Business Vocabulary:
1. Syn: appeal, appeal, statement, request, demand, application, request 2. Syn: metamorphosis (book) transformation, transformation, reincarnation 3. Syn: turnover 4. ... - APPEAL in the Russian Language Thesaurus:
1. Syn: appeal, appeal, statement, request, demand, application, request 2. Syn: metamorphosis (book) transformation, transformation, reincarnation 3. Syn: ... - APPEAL in Abramov's Dictionary of Synonyms:
cm. … - APPEAL in the Russian Synonyms dictionary:
addressing, appeal, apostrophe, spinning, appeal, rotation, excellency, application, statement, inversion, quartsex chord, quintsex chord, concentration, whirling, courtoisie, lymph circulation, slogan, manifesto, miss, missus, ... - APPEAL in the New Explanatory Dictionary of the Russian Language by Efremova:
1. Wed. 1) The process of action according to meaning. verb: to turn, to turn, to turn, to turn (1,2). 2) Status by value. verb: to turn, to turn... - APPEAL in Lopatin’s Dictionary of the Russian Language:
appeal... - APPEAL in the Complete Spelling Dictionary of the Russian Language:
appeal... - APPEAL in Ozhegov’s Dictionary of the Russian Language:
the process of exchange, circulation, participation in the use of O. goods. Entered about. new word. appeal is a manifestation of attitude towards someone or something in behavior, ... - APPEAL in the Modern Explanatory Dictionary, TSB:
in economics, a form of exchange of labor products, money and other property objects characteristic of commodity production through purchase and sale. - V … - APPEAL in Ushakov’s Explanatory Dictionary of the Russian Language:
appeals, cf. 1. units only Action according to verb. convert-convert (bookish). Conversion of the pagans. Converting to simple fractions. 2. only units. Action … - RHETORICAL EXCLAMATION
- (from the Greek rhetor - speaker) - stylistic figure: an exclamatory sentence that enhances the emotionality of the statement: “Troika! Bird-three!” (N.V. Gogol). R.v. ... - TERTULLIAN in the Newest Philosophical Dictionary:
(Tertullianus) Quintus Septimius Florence (c. 160 - after 220) - classic of Christian patristics. Born in Carthage into a pagan family (son... - POWER AND MEANING in the Dictionary of Postmodernism:
("Force et signification") is one of Derrida's early works, published in Writing and Difference (1967). I identified several important topics at once... - BLANCHOT in the Dictionary of Postmodernism:
(Blanchot) Maurice (b. 1907) - French philosopher, writer, literary critic. Main works: “The Space of Literature” (1955), “Lautréamont and the Garden” (1963), “Endless ... - DERRIDA in the Lexicon of non-classics, artistic and aesthetic culture of the 20th century, Bychkova:
(Derrida) Jacques (b. 1930) French philosopher and esthetician, one of the intellectual leaders of the 80-90s, whose poststructuralist (see: Poststructuralism) ideas ... - TULA THEOLOGICAL SEMINARY
Open Orthodox encyclopedia "TREE". Tula Theological Seminary, an educational institution that trains clergy of the Russian Orthodox Church. Address: Tula, ... - HILARIOUS OF PICTAVIA in the Orthodox Encyclopedia Tree:
Open Orthodox encyclopedia "TREE". Hilarius Pictaviensis (c. 315 - 367), Bishop of Poitiers. Memory January 13. Happened... - APOLOGY in the Orthodox Encyclopedia Tree:
Open Orthodox encyclopedia "TREE". Apologia (Greek apologia “defensive speech in court”), one of the classical genres of ancient and subsequent rhetoric, used ... - AVIT VIENNE in the Orthodox Encyclopedia Tree:
Open Orthodox encyclopedia "TREE". Avit of Vienne (Alcimus Ecdicius Avitus) (c. 460 - after 518), bishop, saint. One … - CAESAR in the Directory of Characters and Cult Objects of Greek Mythology:
Roman Emperor in 49-44. BC Founder Yuliev-Klavdiev. Genus. OK. 100 BC Died March 15, 44... - TIMOFEEV IVAN in the Brief Biographical Encyclopedia:
Timofeev (Ivan) - clerk, author of the "Vremennik" about the events of the Time of Troubles. For the first time we meet the name of Timofeev in 1598 among the signatures... - STYLISTIC FIGURES in the Dictionary of Literary Terms:
- (from Lat. figura - outline, appearance, image) - figures of speech that deviate from the usual flow of speech and are designed to have an emotional impact... - DMITRY DONSKOY in the Literary Encyclopedia:
1. hero of literary monuments of Ancient Rus'. D.D. is a real historical person (years of life: 1350-1389), son of Ivan Ivanovich the Red, grandson of Ivan Kalita, ... - A RHETORICAL QUESTION in the Literary Encyclopedia:
as well as rhetorical exclamation and rhetorical appeal - peculiar figures of speech that enhance its expressiveness - the so-called. figures (... - ORATOR'S SPEECH in the Literary Encyclopedia:
a type of public speech, functionally and structurally opposed to colloquial speech, private, “everyday” communication. As opposed to colloquial speech - the exchange of more or...
This is a very ancient rhetorical figure, known since the times of ancient rhetoric. In terms of lexical and grammatical expression, it does not differ from an ordinary question. The specificity of a rhetorical question is that it does not require an answer, unlike a regular one. For example: The Golden Renaissance depicted Madonnas to humanity. And who depicted our barefoot Madonnas with a hoe in their hands or a sickle on their shoulders and a child with a Persian that few knew of silk, but only of unequal rough fabric? And will those understand this who will no longer know the canvas and linen sadness of long ago? (M. Stelmakh) Soul of the fields, do you remember the stubble? This sadness, this rejection? (L. Kostenko).
A rhetorical question does not require an answer in two cases. The first is the most common, because the answer is already known to all listeners, you just need to update it for the listener to perceive. Another case: a rhetorical question is one to which no one knows the answer or does not exist at all, such as: Who is to blame? What to do? Where we are going? However, the author, without waiting for an answer, considers it necessary to pose a question in order to emphasize the unusualness of the situation, its tragedy or comedy, and to draw the attention of his interlocutors to it.
It should be noted that the figure of a rhetorical question is not as simple as it seems at first glance. Although everyone knows the answer, the author can ask provocative questions because he has a completely different answer to this question (everyone thinks so, but in reality everything is different). This creates a stylistic effect of false expectation. Therefore, E.V. Klyuev believes that a rhetorical question, like a rhetorical call and a rhetorical appeal, are figures based on the criterion of sincerity. For example: Oh dear, who’s going to mow you down? Your mowers have gone to war, and only from beyond the horizon the terrible mower of death makes itself known; In memory and sadness of the earth, or have you passed? Or have they passed? For now the rye is turning gray from sadness... (M. Stelmakh).
I peer into the autumn stubble -
Where are you running, dear?
And how do you get excited - from such muteness?
My soul is burned
And how are you still alive?
(L. Kostenko)
Rhetorical appeal
Rhetorical appeal is also a figure of ancient rhetoric, which reveals not only the appeal itself, but also the reaction, the speaker’s attitude to the situation of communication, the subject, the speaker’s ideas, etc., that is, this figure is also based on the “principle of sincerity.” It is in rhetorical appeals that the subject of appeal is, as a rule, not a specific person, but some things, ideas, concepts, global substances and the like.
Native land! My brain is brightening...
(V. Simonenko)
Probably, so namyatee my
................................................
My people, when will you be forgiven
death cry and heavy tears
shot, tortured, killed
in Solovki, Siberia, Magadan?
Good morning, my lonely soul!
(L. Kostenko)
Rhetorical Hail
A rhetorical cry is a figure that expresses admiration, which everyone should understand, join the speaker, and this figure also lives on the “principle of sincerity.” For example:
Oh, how much joy it is when you love the earth,
When you are looking for harmony in life!
(P. Tychina)
In the wormwood, gray wormwood! Who sowed you on our land? Or were you sown across the unplowed steppes by the ancient Scythians? .. Or maybe you were sown throughout our land in the ancient years of the Cossacks? ..
What amazing resilience, what vitality!
My husband, harness your horse!
It's not a horse, but a snake - stubble flashes.
(L. Kostenko)
However, in this rhetorical figure there may be a provocative element, when the speaker expresses, through an exclamation, passion for something, but does not share it himself, and may even be indignant.
Rhetorical comparison
Comparisons are figures in which the linguistic image of a person, object, phenomenon or action is conveyed through characteristic features that are organically inherent in other objects or persons: the girl is slender, like a poplar; cornflowers blue as the sky; It’s warm outside, like in summer; hands like white swans; The day turns blue like late cabbages (L. Kostenko).
The comparison is based on logical operations of identifying the essential features of the described object and searching for another object for which this feature is expressive, and then comparing it with it and describing this feature: The expiration of September is blue, like a thorn. October is blazing red, like a hawthorn (O. Gonchar). In comparison, there is a distinction between the subject of comparison (what is being compared), the object of comparison (what is being compared with) and the characteristic by which one object (subject) is compared with another (object). A sign can be determined by color, shape, size, smell, sensation, quality, property, and the like.
Comparisons can be logical or figurative. With logical comparisons, the degree of similarity or difference between objects of the same type is established, all properties, qualities, and characteristics of the objects being compared are taken into account, but one thing stands out: The competition was organized, as last year; Everything came together as well as it was made to order; Ivan’s eyebrows are wide, like his father’s. The boys, like adults, were intently digging a garden bed (Oral speaking.) / In Ukraine, I am an orphan, my dear, just like in a foreign land (T. Shevchenko).
Logical comparisons are used in scientific, formal business, and conversational styles. They add new information to a subject.
A figurative comparison differs from a logical one in that it drops one expressive feature, sometimes unexpected, and makes it the main one, ignoring all the others.
A comparison can have the following grammatical expression:
1. Comparative turnover (uncommon and common) with conjunctions like, as, as, as, as if, if, that, supposedly, as if, as if. For example: The girl was small in stature, but straight, like a string, flexible, like a poplar, beautiful, like a red viburnum, long-faced, like red-sided apples, her lips were full and red, like a viburnum (I. Nechuy-Levitsky) The white foam of the buckwheat stops me , fragrant, light, as if knocked down by the wings of bees (M. Kotsyubinsky) Clouds float in the sky like white peacocks (M. Rylsky) Autumn floats over the world like a jellyfish... (L. Kostenko).
2. Type of instrumental case. For example: And the heart chirps and cries like a nightingale; The blue sea moans and howls like a beast; I will bloom both as a flower and as a viburnum over them (T. Shevchenko); The day rolled down like a ripe apple for the red-sided ones... (M. Rylsky).
Comparative constructions with the instrumental case have ancient origins. In them they found an echo of the metamorphic beliefs of the proto-Ukrainians, that is, beliefs in the possibility of transformation (mothers into cuckoos, girls into lilies, poplars, mermaids, brothers and sisters into brothers-and-sisters flowers, Cossacks into poplars, men into ghouls , tears - into flowers, etc.). The language of Ukrainian folklore has developed its own poetic style, which reflected and consolidated these and similar associations. This is also syntactic parallelism of a comparative nature in folk songs like: The cuckoo flew and began to forge. Oh, it’s not a cuckoo, it’s my own mother. Such figurative associations are most fully expressed by constructions with the instrumental case, which can hardly be called purely comparative, because they still retain that animistic metamorphosis: the mother’s tears became the flowers of oregano (Ukrainian legend). Expressive are such constructions in the folk poetic style of T. Shevchenko: / surprisingly, in the field it became a poplar; And in the spring I [the girl] blossomed in the valley...; And swim out like a mermaid tomorrow night; His sweetheart will stand over him like a flower; Snuggle up with a dove; Fly away like a bird.
Metamorphic constructions gradually acquired the functions of figurative comparisons and became productive stylistics. In the works of T. Shevchenko, such constructions of a comparative nature are actualized: the heart chirps and cries like a nightingale; red viburnum appeared on the grave; [Yarema] flies like a blue-winged eagle; howl owl; the glory of the sun shone; the community began to hum; Catherine's illegitimate ones sat down like locusts. In comparisons like a viper hissed, the degree of fusion of the components (sem) of the subject and object of comparison is high. Therefore, such comparative constructions with the instrumental case were phraseologized: stand like a wall, look like a wolf [features] ...
Built on the principle of negation, comparisons help to highlight a certain attribute (this) in the subject through its relationship with the object. The technique of denial seems to destroy this close relationship and thereby sharpen the impression. The obligatory share in this comparative construction does not distinguish (on the basis of a common feature) the subject and the object and creates a resolution of the comparative situation, which is expressed simultaneously by a rhetorical figure - syntactic (stylistic) parallelism:
The little mermaid is NOT wandering.
This is how the girl walks...;
NOT dream grass on the grave
Thrives at night.
So the girl is engaged
Viburnum is being planted.
(T. Shevchenko)
In similar comparisons, often the subject means a being, and the object is taken from the natural world, or both the subject and the object are from nature. Comparisons can have several types of grammatical expression.
1. Subordinate clause: And the pale month at that time from the cloud looked like a boat in the blue sea, it flared up and then died down (T. Shevchenko); A river twisted through the valley, as if someone had thrown a new blue ribbon on the green grass (M. Kotsyubinsky) Lives passed like leaves with water (L. Kostenko).
2. Constructions with forms of degrees of comparison of adverbs and adjectives: better than...; higher than...; people wander blacker than the black earth (T. Shevchenko).
3. Descriptive comparisons like: A leaf like above the ground, the wind tears off a tree, who forgets his mother’s tongue, like an ungrateful son (V. Sosyura) Oh, you girl, a grain from a nut (I. Franko).
4. Sentence of a comparative structure, in which the object of comparison covers the entire predicative part: your blood is a precious ruby, your blood is the star of dawn (Lesya Ukrainka) I am the unquenchable Beautiful Fire, the Eternal Spirit (P. Tychyna).
5. Comparative and connecting constructions built on the principle of figurative analogy: Lukas. Oh tell me, give me advice on how to live without fate! Fate. Like a branch cut off, fate is lying around!
(Lesya Ukrainka) Like a cautious hunter, a long-term hunter, a gray-haired tracker leans his warm ear to hear the distant noise of the gentle earth, so you, poet, listen to the voices of human life, catch new rhythms and diverging, free waves, chaos of lines, Put the smoke of searching into the armor of thought (M. Rylsky).
Don't be angry with me, children!
I have become old, sad, angry.
I'm afraid of silent loneliness,
When there's nowhere to go
And no one to lean against...
Such a steppe is an autumn bird
Flapping a wounded wing
Following the joyful together,
What sails into the blue distance...
(M. Rylsky)
In Ukrainian folklore there are negative comparisons (Oh, this is not a star - my girl walked up to the water with new buckets) and vague comparisons (one that can neither be said in a fairy tale nor described with a pen; a girl cannot be painted or described).
Accumulation (from the Latin Akkumulatio-accumulation, collection) is a rhetorical macro-figure in which several actions and concepts accumulate with parallel pictures, additional descriptions, side remarks, and the result is a whole artistic canvas. Typically, this figure is used in epic discourses. For example: Daniel loved how, bending, striking the alarm, the fields fell to the very sky, and had joy when June laid gray hair on rye, and Zolotin on wheat; he loved it when he riveted his braids at the dawn of July, when August spent whole days quietly sowing grain and hope into the Rakhmanny soil, and September slowed down the half-asleep song of the bumblebee; he loved how the summer evenings sounded like domes, and the autumn evenings held stars in their tangled nests; he loved the smell of fresh bread and the golden design of sunflowers; trusting and vulnerable, he anxiously listened to someone’s life, and to the flow of water, murmuring and playing in the roots, and to the entire agricultural side, resting on the gray rye and kind, calm plowmen (M. Stelmakh).
Expletion (gr. Exriege-fill) is a rhetorical macro-figure of the accumulation of inserted and inserted words, phrases, clarifications, exceptions, as a result of which the main formulation is dissipated and the opinion is weakened. For example: of course, perhaps you will allow it, if you like, then after which our conversation could take place (instead of a short and specific statement: we need to talk).
Concatenation (lat. Concatenado - chain) is a rhetorical macro-figure of accumulation by stringing subordinate clauses on top of each other. As a result, the entire content of the text can be contained in one complex sentence with a consistent sequence. Such figures are used in epic texts to create the effect of complexity, a wide space of thought, or in games, wittily linking the entire text in one consecutive connecting word or some other.
For example: To the ear of corn, to the king of the ear of corn, Daniel had a constant trembling of his soul, he was looking forward to meeting him even then, / when he could only sense the green spring swaddling, admired / how the color and dew quietly sounded on his girlishly delicate eyelashes, rejoiced , / when he gained strength and bowed his head in quiet thoughtfulness (M. Stelmakh).
A rhetorical question – a figure representing an interrogative sentence with the meaning of an emotionally intensified affirmation or denial.
A rhetorical question does not require a quick answer “here and now”, but is most often asked with the aim of making the listener or reader think, calling him to co-thinking. A rhetorical question expresses various emotional shades: surprise, admiration, joy, indignation, anger, resentment, indignation, doubt, denial, censure, irony, etc.
“And it’s boring and sad, and there’s no one to give a hand to / In a moment of spiritual adversity... / Desire!..What benefit is it in vain to desire forever?... / And the years pass - all the best years!”(M. Yu. Lermontov);
Rhetorical appeal – a figure representing a conditional appeal to objects and phenomena, which is used to attract attention to the subject of speech of listeners and readers. Most often, rhetorical appeal is expressed by the nominative case of a noun or a part of speech that replaces it.
« My Rus'! My wife! To the point of pain
We have a long way to go!
Our path is an arrow of the Tatar ancient will
Pierced us through the chest"
(A. A. Blok).
One of the main functions rhetorical appeal - excretory: in most cases, a rhetorical appeal highlights a significant component of thought, concept, idea of a work. The role of rhetorical appeal is also significant in expressing the author’s emotions and feelings, his mood. Rhetorical appeals can create solemnity and pathosity of speech, express joy, regret and other shades of mood and emotional state.
Rhetorical exclamation- an emotionally charged sentence with exclamatory intonation.
Most often, rhetorical exclamations are found in artistic speech, journalism and oratorical prose. Basic goals use - displaying the excitement and other feelings of the character, the author’s attitude to the message:
It's a shame for the times in which such people live and act! » (F.N. Plevako. “The Case of the Luthorian Peasants”).
Question 33. Enumeration. Zeugma. Gradation. Definition of concepts. Stylistic functions.
Transfer - this is a syntactic equalization carried out with the help of homogeneous members of a sentence, the degree of uniformity of which depends on what parts of speech, word forms the homogeneous members are expressed, etc. The syntactic equality of the listed units contributes to their semantic equalization. Enumerations are undesirable in informative texts. They tire the recipient, who usually perceives only the beginning and end of the series. In literary texts, the impact depends on the length of the listed series, the meanings of its components and their syntactic function.
Semantic characteristics of enumeration
1. If the enumerated units are in synonymous relationships (linguistic or contextual synonyms) and are arranged in order of increasing or weakening of any attribute, the enumeration takes the form of gradation, for example, in Belinsky: ... here this thirst will flare up in you with a new, indomitable by force, here this image will appear to you again, and you will see his eyes fixed on you with longing and love, you will revel in his charming breath, you will shudder from the fiery touch of his hand. In ironic texts, such gradation can develop into hyperbole.
Often, gradation (and enumeration in general) is based on the principle of stringing together synonyms: ... his well-shaven cheeks always glowed with a blush of embarrassment, bashfulness, shyness and embarrassment (I. Ilf and E. Petrov), as well as lexical repetition with the expansion of the composition of syntactic units and deepening semantics:
An irritated soul and a sick chest
Tears and groans are understandable.
Sing about the willow, about the green willow,
About Desdemona's sister's willow tree.
2. Based on the enumeration, an imposition is also built - a connection of the obviously incompatible. The generality of the series thus acquires an imaginary character, since the members of the series, although they correlate with the same common main word, but this word in some meanings enters into a semantic relationship with one part of the series, and in others - with another, for example: he broke your head and ribs; Agafya Fedoseevna wore a cap on her head, three warts on her nose and a coffee bonnet with yellow flowers (Gogol). The overlap creates the conditions for puns.
Syntactic characteristics of enumeration
The connection between the listed units can be union, non-union and mixed, and the units themselves can be given in one flow or combined into two- and three-members with relations of both synonymy and antonymy.
1. If the entire series is connected by a non-union connection, we are dealing with a figure called asyndeton (non-union), which contributes to the semantic equalization of the enumerative series. For example: And in fact, aren’t all the charms, all the seductions of the fine arts concentrated in it [the theater] (Belinsky); And again there is darkness, cold, fatigue in the world... (Bunin).
2. If the members of a series are connected by repeated unions, we have a polysyndeton (multi-union), which autonomises each of the components of this series.
And now I'm dreaming
There is a white hospital under the apple trees,
And a white sheet under the throat,
And the white doctor looks at me
And the white sister stands at my feet
And he moves his wings.
(A. Tarkovsky)
All figures in this group are based on repetition and thereby contribute to the overall coherence of the text, its smoothness and rhythm. (Rosenthal D. E. Handbook of Literary Editing)
ZEUGMA - in a broad sense, ancient grammarians called such figures of speech when some word, often predicated, which must be repeated two or more times, is put once, and in other places it is only implied. As an example, they cited the following phrase: “I declare to the allies that they take up arms and that war should be waged” (implied - I declare). In a narrower sense, the term Z. meant the repetition of a word, for example. verb, posed once, in the future not in the same, but in a similar meaning - they indicated an example from one tragedy of Euripides (see): “It seemed to most of us that he was speaking correctly, and to hunt for sacrifice to the goddess” (of course not “ it seemed” and “we decided”). Z. was sometimes seen as a rhetorical figure, e.g. in the following phrase: “Bashfulness defeated passion, fear - insolence, prudence - madness” (approximately identical sections of speech are repeated, members constructed in parallel). The figure of syllepsis is close to Z. (Literary Encyclopedia)
GRADATION- the arrangement of a number of expressions relating to one subject, in a sequential order of increasing (see “Climax”) or decreasing (see “Anticlimax”) the semantic or emotional significance of the members of the series. For example, Block:
“But the fiery distances turn black -
Don’t leave, don’t get up and don’t breathe” (climax),
from Bely:
“All facets of feelings, all facets of truth have been erased:
In worlds, in years, in hours” (anti-climax).
G.'s impression is enhanced by a special rhythmic-syntactic structure, often by anaphora (see). So from Balmont:
“I love you with a capricious dream,
I love you with all the strength of my soul,
I love you with all my young blood,
I love you, I love you, hurry!”
Sometimes the middle terms of a phrase, by their logical meaning, do not form a strict progression, but thanks to the melody of the verse and its syntactic features, the impression of a phrase is obtained, which in this case is more obvious during recitation. Eg. from Tyutchev:
“...I love this, invisibly
There is a mysterious evil spilled throughout everything -
In flowers, in a source transparent as glass,
And in the rainbow rays, and in the very sky of Rome.”
And conversely, a semantic increase that is not supported rhythmically and syntactically does not provide a sufficient sense of G. For example. from Zhukovsky:
“Both summer and autumn were rainy,
Pastures and fields were drowned,
The grain in the fields did not ripen and disappeared,
There was a famine, the people were dying.”
G. can be the principle of composition of an entire poem; eg strophic G. with anaphora in Tyutchev’s poem: “The East turned white... The East turned red... The East flared up...” G. is the principle of plot composition, especially in folk tales, epics, etc. The most common is three-part G. (Literary Encyclopedia)
A rhetorical question is an effective stylistic device that is a means of highlighting the semantic and emotional centers of speech. Its peculiarity is that it does not require an answer, but serves to affirm or deny something. A rhetorical question enhances the impact on the reader, listener, awakens corresponding feelings, and carries a greater semantic and emotional load, for example: “Don’t I know him, this lie with which he is completely saturated?” (L. Tolstoy). A rhetorical question is always synonymous with a narrative sentence, for example: “Who would think that a prisoner would decide to escape during the day, in front of the entire prison?” (M. Gorky), i.e. “It wouldn’t occur to anyone...”; “Why should we creak our feathers in a boring way when our ideas, thoughts, images should thunder like the golden trumpet of a new world?” (A.N. Tolstoy); “Where, when, which great one chose the path to be more trodden and easier?” (V. Mayakovsky)
A rhetorical exclamation is an emotionally charged sentence in which emotions are necessarily expressed intonationally and a particular concept is affirmed in it. The rhetorical exclamation sounds with poetic inspiration and elation:
“Yes, to love as our blood loves
None of you have been in love for a long time!” (A. Blok);
“Here it is, stupid happiness
With white windows to the garden! (S. Yesenin);
"Fading Power!
Die like that!
Until the end of my sweetheart's lips
I would like to kiss..." (S. Yesenin)
Rhetorical appeal is an emphatic appeal to someone or something, aimed at expressing the author’s attitude towards a particular object, to give a characterization: “I love you, my damask dagger, a bright and cold comrade...” (M.Yu. Lermontov) This the stylistic figure embodies expression, increasing the tension of speech: “Oh, you, whose letters are many, many in my briefcase on the bank...” (N. Nekrasov) or “Flowers, love, village, idleness, field! I am devoted to you with my soul" (A.S. Pushkin)
The form of rhetorical appeal is conditional. It imparts the necessary author’s intonation to poetic speech: solemnity, pathos, cordiality, irony, etc.:
“The stars are clear, the stars are high!
What do you keep inside yourself, what do you hide?
Stars that conceal deep thoughts,
By what power do you captivate the soul? (S. Yesenin)
In some cases, the lengthy appeal of poetic speech becomes the content of a sentence:
"A soldier's son who grew up without a father
And he matured noticeably before his time,
You are the memory of a hero and father
Not separated from earthly joys...” (A. Tvardovsky)
In poetic speech, rhetorical appeals can be arranged in a homogeneous row: “Sing, people, cities and rivers, sing mountains, steppes and seas!” (A. Surkov); “Hear me, dear one, hear me beautiful one, my evening dawn, unquenchable love...” (M. Isakovsky); “Forgive me, peaceful valleys, and you, familiar mountain peaks, and you, familiar forests” (A.S. Pushkin);
“Oh, city! Oh, the wind! Oh, snow storms!
Oh, the abyss of azure torn to shreds!
I'm here! I'm innocent. I'm with you! I’m with you!..” (A. Blok)
I would like to note that the resources of expressive means in language are inexhaustible and the means of language, such as figures and tropes, that make our speech beautiful and expressive are unusually diverse. And knowing them is very useful because... the use of figures and tropes leaves an imprint of individuality on the author's style.
The successful use of tropes and figures raises the bar for the perception of the text, while the unsuccessful use of such techniques, on the contrary, lowers it. A text with an unsuccessful use of expressive techniques defines the writer as an unintelligent person, and this is the most severe by-product. It is interesting that when reading the works of young writers, who, as a rule, are stylistically imperfect, one can draw a conclusion about the level of the author’s mind: some, not realizing that they do not know how to use various techniques of expressiveness, nevertheless oversaturate the text with them, and it becomes difficult to read impossible; others, realizing that they cannot cope with the masterful use of tropes and figures, make the text neutral from this point of view, using the so-called “telegraphic style”. This is also not always appropriate, but it is perceived better than a heap of expressive techniques used ineptly. The neutral text, almost devoid of expressive techniques, looks meager, which is quite obvious, but at least it does not characterize the author as a fool. Only a true master can skillfully use tropes and figures in his creations, and brilliant authors can even be “recognized” by their individual writing style.
Expressive devices such as tropes and figures should surprise the reader. Effectiveness is achieved only in cases where the reader is shocked by what he read and impressed by the pictures and images of the work. The literary works of Russian poets and writers are rightfully famous for their genius, and in this an important role is played by the expressive means of the Russian language, which our Russian writers very skillfully use in their works.
