MODERN POETIC TECHNIQUES
ALLUSION

Allusion - artistic technique of quotation, using a reference to a well-known fact or person, a proverb, a saying, a quotation from a well-known work, the use of a popular expression in a poem.

Examples of allusion:

So will lie on the sleepers in Karenin style

Kyiv is like a Requiem for our separations.

(Irina Ivanchenko)

And lightning will come,

Like music, without words.

Like an impressionist

Into the grass, where you and breakfast are.

(Natalia Belchenko)

The last example of allusion plays on the title of the painting “Lunch on the Grass” by the French impressionist artist Claude Monet.

As you can see, quotation often occurs in the form of comparison, although this is not necessary: well-known images and parts of proverbs can naturally intersperse in the text, thus referring to their source and causing stable associations. Very often they are used as a joke:

What a quixote

did we forget there?

(Marina Matveeva)

The name used in this allusion is literary hero Cervantes Don Quixote, which in in this case, softening the abusive expression “what the hell” (or “go crazy”), gives the whole sentence an ironic connotation.

The artistic device of allusion is in very wide use among all modern “living classics”, since the original masters of words have always loved to conduct a dialogue with other poets - predecessors and contemporaries. Allusion is an artistic technique that is also popular among the intellectual reader, since it involves his memory and sense of linguistic harmony - in fact, the “center of aesthetic pleasure.”

However, all good things should be in moderation. An excessive abundance of allusions in a poem leads to a darkening of the meaning, distracts from the stated theme and actually turns the work into a collection beautiful phrases, a trinket devoid of original interesting thoughts. In such poems, allusion under the guise of demonstrating the author's erudition is intended to hide the fact that he has absolutely nothing to say.

APPLICATION

Application - citation technique, artistic technique inclusion in the text of a poem of a direct quotation or a quotation in a slightly modified form. The line with a direct quotation is not put in quotation marks, but is organically included in the text of the poem, often serving as a supporting line from which some conclusions about the stated thought follow, and often not supporting, but on the contrary, refuting the quote. In such cases, direct quotation must use a truly well-known work of a famous classic or a saying. Otherwise, if the quotation is direct and belongs to a not very well-known author, it must first be placed as an epigraph before the poem, always indicating who it belongs to.

Application examples:

An example of an application as a direct quotation technique. Based on a stanza in a poem by Evgeny Pugachev

And lost at the bottom

Love's last coin...

Of course, with Her there is no need for light,

But is there still light in me? –

Tatyana Gordienko places a line from there as an epigraph above her eight-line line:

But is there still light in me...

E. Pugachev

and ends his poem with a direct quotation, refuting the idea embedded in it:

"But is there still light in me..."

Or maybe there is no need for light?

The last coin shines!

At least at the very bottom.

An example of an application as a modified citation technique:

Put a leash on my mouth,

you will pull the Word by the melodious tongue.

(Irina Ivanchenko)

This applique plays on the saying “You can’t put a scarf on someone else’s mouth.”

In the application by Natalia Belchenko “ In a china shop eternal meaning elephant" the comparison proverb “like a bull in a china shop” is played on, and in Yuri Kaplan’s appliqué “ Later Danube delta sleeves" - the expression "carelessly."

Application by Irina Ivanchenko “Stop, strange driver, / my wandering around the countries, / mine walking in the dark"is based on the playful use of the titles of the works - "Walking across Three Seas" by Afanasy Nikitin and "Walking Through Torment" by Alexei Tolstoy.

Usually, the quotation included in the appliqué actually has no direct relation to the subject discussed in the poem, and is included deliberately - as a joke. Therefore, it should not be confused with contamination (see below). The artistic technique of appliqué is very popular among well-read readers, as it engages their sense of subtle irony, imagination, and creative thinking.

In many ways, it was precisely because of the artistic technique of applique - as a parody of the previous style of traditional poetry - in the 60s and 70s of the twentieth century. new directions grew - neomodernism, underground and conceptualism.

It is appropriate to recall here such a type of poetic error as phraseological confusion, when the beginning of one phraseological unit is unintentionally, out of ignorance, connected with the ending of another. This causes a completely unintended and undesirable humorous effect in a pathetic or emotional work.

Application of the artistic technique of appliqué testifies to a developed sense of language, since it requires the author to be able to play with the expression used, its sound, literal and figurative meanings.

CONTAMINATION

Contamination as an artistic technique of quotation- inclusion famous expression into the text of the poem not in the form of a quotation, but as an organically appropriate detail in this case.

Examples of contamination.

Mysterious digital codes

I want to put it in an iron verse...

(Natalia Belchenko)

This example of contamination goes back to Lermontov: “And boldly throw an iron verse into their eyes, / Doused with bitterness and anger.”

Not because it is necessary

But because next to him is another.

(L. Nekrasovskaya)

Compare this example of contamination with Innokenty Annensky: “Not because it makes it light, / But because there is no need for light with it.”

Get some ink and cry still...

It’s already March and there’s still no peace!

Compare this example of contamination and its literary source - B. Pasternak: “February. Get some ink and cry!..”

Is it memento mori?! What is it, uncle, memento,

when there are five sixes in your hand, and Vaska is in!

(Stanislav Minakov)

– example of contamination in the description card game.

Contamination as a word creation and graphic device- combining several words into one.

My year! My tree! (S. Kirsanov) Significant whistling (Stanislav Minakov) - i.e. “whistle God knows what.”

What are you whispering, what are you whispering,

Branch-good-branch-evil?

Will I perish? barking,

Without crossing the Sabbath?

Particularly interesting here are the last two examples of contamination, which are graphic techniques, i.e. techniques that promote artistic expression thanks to the deliberate change in the accepted spelling of words and the distortion of their standard form. The “Whisper” contamination is based on the intersection of two “sh” and the cutting off of the matching sound: whisper shush sh then you. Such a connection is a method using continuous writing to convey an indistinct muttering, a whisper in which individual words are difficult to distinguish, one can hear one dull shu-shu-shu. The verb “zavo-zalaya” is a playful author’s neologism. It is formed by writing together (but with a hyphen) two different verbs, cutting off the ending of the first of them. An unexpected and very funny effect.

REMINISCENCE

Reminiscence (lat. reminiscentia, memory) is a citation technique, an artistic device in which the author reproduces rhythmic-syntactic structures from someone else’s poem.

Example of reminiscence

And we ourselves are still in good health,

And our children go to school in the morning

Along Kirov Street, Voykov Street,

Along Via Sacco-Vanceti.

(Konstantin Simonov)

Using a stanza from the classic of Soviet literature Konstantin Simonov, but describing the junction of the era of stagnation with the period of perestroika, when “new thinking” was introduced with difficulty, Yuri Kaplan writes:

After all, we ourselves are still in frail health,

And our children still go to school

Along Zhdanov and Voroshilov streets

And even on Brezhnev Square.

INTERTEXT

Intertext is an artistic technique in postmodernism, which consists in the implicit, hidden conscious construction by the author of his entire work on other people’s quotes or images of painting, music, cinema, theater and on reminiscences of other people’s texts that require solving. In this case, the quote ceases to play a role additional information, references to something, and, recalling the original meaning, serves to express a different meaning in a new context, sets dialogism, polyphony and makes the text open for multidimensional reader reading and understanding.

Osip Mandelstam wrote: “A quotation is not an extract. The quotation is a cicada - it is incessant." Anna Akhmatova expressed herself this way about the essence of twentieth-century poetry: “But perhaps poetry itself is One magnificent quote.” However, it is precisely the artistic technique of “intertext” that tends to suffer from the multidimensionality of supposedly embedded meanings and the deliberate demonstration of the author’s erudition in the real absence of any global, original differences between the author’s thoughts and the thoughts present in the quotation. Thus, this artistic technique may completely lose its meaning, since it ceases to be a technique and turns into its imitation. What is destructive for a poem that is overly replete with allusions creates fertile ground for intertexts flourishing in postmodernism, which no longer fulfill the role of dialogue and polyphony, because dialogue cannot be based on one-dimensional replicas laid down in one mental plane, only confirming what was known and before that. Thus, the declared “polyphony” gradually slides into literary cacophony.

An example of intertext in postmodernism

Ismar killed Hippomedon, Leades killed Eteocles...

note: different, not that, because: Polyneices and Eteocles

(Oedipal vision) in the morning they are fortunately dead, shining with the stones of their wrists,

This is the news about the onset of the last winter

in the groves of rare olives outside the black color, where it seems.

Forget. White stones or teeth in a dream, or lilies

tart falls in the ice of pebbles through the hair of displacement.

But Amphidiac kills Parthenopeus. However,

according to sources smoldering on both rivers from the archive,

It was not he who killed Partenopeus, but a certain Periclymenes, the son of Poseidon.

Oh, just the names!.. that also needs to be taken into account

in the light of future events rolling like millstones across the plain.

Hollow Troy with a parched Helen inside. Troy, where

Elena child-and-soldier-and-peas - who built your walls

to the children's city of sore throat? Sisters in white coats

under which there is nothing like the heart of ashmavedha,

bright mercury at the barrier of dreams known to everyone.

Meanwhile, Melanippus - Tydia is wounded in the stomach.

(Arkady Dragomoshchenko. Excerpt from “Theban” Flashback”)

There is no need to quote the entire text, since even this passage shows what awaits the reader ahead.

Thus, when using artistic methods of quotation, it is necessary to observe the measure so that the “pendulum effect” does not result, as with the direction of “poetry for poetry”, when at first it was absolutized and brought to a complete separation from life, from reality, and in later historical periods – precisely because of this – they were completely eliminated from the “ship of modernity”.

Poetic devices are an important part of a beautiful, rich poem. Poetic techniques significantly help to make the poem interesting and varied. It is very useful to know what poetic techniques the author uses.

Poetic devices

Epithet

An epithet in poetry is usually used to emphasize one of the properties of the described object, process or action.

The term is of Greek origin and literally means “applied.” At its core, an epithet is a definition of an object, action, process, event, etc., expressed in artistic form. Grammatically, an epithet is most often an adjective, but other parts of speech, such as numerals, nouns, and even verbs, can also be used as an adjective. Depending on their location, epithets are divided into prepositional, postpositional and dislocational.

Comparisons

Comparison is one of the expressive techniques, when used, certain properties that are most characteristic of an object or process are revealed through similar qualities of another object or process.

Trails

Literally, the word “trope” means “turnover” translated from Greek language. However, the translation, although it reflects the essence of this term, cannot reveal its meaning even approximately. A trope is an expression or word used by the author in a figurative, allegorical sense. Thanks to the use of tropes, the author gives the described object or process a vivid characteristic that evokes certain associations in the reader and, as a result, a more acute emotional reaction.

Tropes are usually divided into several types depending on the specific semantic connotation on which the word or expression was used in a figurative sense: metaphor, allegory, personification, metonymy, synecdoche, hyperbole, irony.

Metaphor

Metaphor - means of expression, one of the most common tropes, when, based on the similarity of one or another characteristic of two different objects, a property inherent in one object is assigned to another. Most often, when using metaphor, authors use words to highlight one or another property of an inanimate object. direct meaning which serves to describe the features of animate objects, and vice versa, revealing the properties of an animate object, they use words whose use is typical for describing inanimate objects.

Personification

Personification is an expressive technique in which the author consistently transfers several signs of animate objects onto an inanimate object. These signs are selected according to the same principle as when using metaphor. Ultimately, the reader has a special perception of the described object, in which the inanimate object has the image of a certain living being or is endowed with qualities inherent in living beings.

Metonymy

When using metonymy, the author replaces one concept with another based on the similarity between them. Close in meaning in this case are cause and effect, material and a thing made from it, action and tool. Often the name of its author or the owner's name for ownership is used to identify a work.

Synecdoche

A type of trope, the use of which is associated with changes in quantitative relationships between objects or objects. Yes, it is often used plural instead of the only thing or vice versa, a part instead of the whole. In addition, when using synecdoche, the genus can be designated by the name of the species. This expressive means is less common in poetry than, for example, metaphor.

Antonomasia

Antonomasia is an expressive means in which the author uses a proper name instead of a common noun, for example, based on the presence of a particularly strong character trait in the character cited.

Irony

Irony is a powerful means of expression that has a hint of mockery, sometimes slight mockery. When using irony, the author uses words with opposite meanings so that the reader himself guesses about the true properties of the described object, object or action.

Gain or Gradation

When using this expressive means, the author places theses, arguments, thoughts, etc. as their importance or persuasiveness increases. Such a consistent presentation makes it possible to greatly increase the significance of the thought expressed by the poet.

Contrast or antithesis

Contrast is an expressive means that makes it possible to make a particularly strong impression on the reader, to convey to him the strong excitement of the author due to the rapid change of concepts of opposite meaning used in the text of the poem. Also, opposing emotions, feelings and experiences of the author or his hero can be used as an object of opposition.

Default

By default, the author intentionally or involuntarily omits some concepts, and sometimes entire phrases and sentences. In this case, the presentation of thoughts in the text turns out to be somewhat confusing and less consistent, which only emphasizes the special emotionality of the text.

Exclamation

An exclamation can appear anywhere in a work of poetry, but, as a rule, authors use it to intonationally highlight particularly emotional moments in the verse. At the same time, the author focuses the reader’s attention on the moment that particularly excited him, telling him his experiences and feelings.

Inversion

To give the tongue literary work are used more expressively special means poetic syntax, called figures of poetic speech. In addition to repetition, anaphora, epiphora, antithesis, rhetorical question and rhetorical appeal, inversion (Latin inversio - rearrangement) is quite common in prose and especially in versification.

The use of this stylistic device is based on the unusual order of words in a sentence, which gives the phrase a more expressive connotation. The traditional construction of a sentence requires the following sequence: subject, predicate and attribute standing before the designated word: “The wind drives gray clouds.” However this order The use of words is characteristic, to a greater extent, of prose texts, and in poetic works there is often a need for intonational emphasis on a word.

Classic examples of inversion can be found in Lermontov’s poetry: “A lonely sail turns white / In the fog of the blue sea...”. Another great Russian poet, Pushkin, considered inversion one of the main figures of poetic speech, and often the poet used not only contact, but also remote inversion, when, when rearranging words, other words are wedged between them: “The old man obedient to Perun alone...”.

Inversion in poetic texts performs an accent or semantic function, a rhythm-forming function for building poetic text, as well as the function of creating a verbal-figurative picture. In prose works, inversion serves to place logical stresses, to express the author’s attitude towards the characters and to convey their emotional state.

Alliteration

Alliteration refers to a special literary device consisting of the repetition of one or a number of sounds. Wherein great importance has a high frequency of these sounds in a relatively small speech area. For example, “Where the grove neighs the guns neigh.” However, if entire words or word forms are repeated, as a rule, there is no question of alliteration. Alliteration is characterized by irregular repetition of sounds, and this is precisely the main feature of this literary device. Usually the technique of alliteration is used in poetry, but in some cases alliteration can also be found in prose. So, for example, V. Nabokov very often uses the technique of alliteration in his works.

The main functions of the literary device of alliteration include onomatopoeia and the subordination of the semantics of words to associations that evoke sounds in humans.

Assonance

Assonance is understood as a special literary device consisting in the repetition of vowel sounds in a particular statement. This is the main difference between assonance and alliteration, where consonant sounds are repeated. There are two slightly different uses of assonance. Firstly, assonance is used as an original tool that gives an artistic text, especially poetic text, a special flavor.

For example,
“Our ears are on top of our heads,
A little morning the guns lit up
And the forests are blue tops -
The French are right there." (M.Yu. Lermontov)

Secondly, assonance is quite widely used to create imprecise rhyme. For example, “hammer city”, “incomparable princess”.

In the Middle Ages, assonance was one of the most commonly used methods of rhyming poetry. However, both in modern poetry and in the poetry of the past century one can quite easily find many examples of the use of the literary device of assonance. One of the textbook examples of the use of both rhyme and assonance in one quatrain is an excerpt from the poetic work of V. Mayakovsky:

“I won’t turn into Tolstoy, but into the fat one -
I eat, I write, I’m a fool from the heat.
Who hasn't philosophized over the sea?
Water."

Anaphora

Anaphora is traditionally understood as a literary device such as unity of command. In this case, most often we are talking about repetition at the beginning of a sentence, line or paragraph of words and phrases. For example, “The winds did not blow in vain, the storm did not come in vain.” In addition, with the help of anaphora one can express the identity of certain objects or the presence of certain objects and different or identical properties. For example, “I’m going to the hotel, I hear a conversation there.” Thus, we see that anaphora in the Russian language is one of the main literary devices that serve to connect the text. Distinguish the following types anaphors: sound anaphora, morphemic anaphora, lexical anaphora, syntactic anaphora, strophic anaphora, rhyme anaphora and strophico-syntactic anaphora. Quite often, anaphora, as a literary device, forms a symbiosis with such a literary device as gradation, that is, increasing the emotional character of words in the text.

For example, “Cattle die, a friend dies, a man himself dies.”

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10th grade

Goal: To promote the formation of a creative personality capable of seeing, feeling and creating beauty, masterfully mastering the poetic word; a personality who retains the ability to be surprised by a bright, talented word.

Analyze a finished sample text: understand and reveal the topic, determine the main idea, features of form and content.
To develop the ability to analyze linguistic phenomena, assisting young poets in mastering professional skills by involving masters of artistic expression in cooperation.
Develop oral and written speech students.
Foster a culture of communication in a joint creative work, developing communication skills.
Instill a love for poetry and for the native land .

Epigraph for the lesson:

What a glorious road -
The path of creativity, the blessed path!
E.V. Tatarintseva

Writing is God's gift, God's spark. And its ignition in the human heart is perceived as a miracle of revelation.

What kind of mission is it to be a poet? This is how Ninel Aleksandrovna Mordovina (Astrakhan poetess, 1928 - 2001) answered this question: “To shine while burning is a rare readiness.” And she added: “Thank you for the grace, poet.” In the classes of the creative association “Young Linguist” we get acquainted with the works of masters of artistic expression, study means of expression and poetic techniques, meet with Astrakhan writers and poets, try to create ourselves... The process of CO - creativity inspires. During such meetings, images, thoughts, words are born in us:

Inspiration is like a revelation of the soul.
Inspiration is the highest ray of illumination.
Inspiration is like thoughts floating.
Inspiration is different worlds unity...

Serova Ksenia

Night city

Behind the noisy scattering of piers
The city sleeps, a frosty dream,
The threads of the channels are quietly slumbering,
Someone's heart beats in unison.

The midnight trams don't rumble,
The lights in the windows went out almost everywhere,
Our city is good not only in May,
Every day he is good, every hour.

Astrakhan

My city, kind and sunny,
Called Russian Venice,
Until the starry mysterious midnight
Your lights glow tenderly.

Gray hair suits you so well
White stone Kremlin,
Here is the Russian spirit of depth
Absorbed by the steppe soil.

The moray will tousle his hair,
Will drive the river waves,
The willows will whisper in a low voice -
Everything is filled with the joy of life.

Sitaliev Mirkhat

I flip through the pages slowly
Books that captivate the heart.
Here is Cleopatra's chariot
Flashed gold for a moment.

Flight of invisible fantasy
Once again I carried my thoughts along.
And we have been walking towards the truth for so long,
And the path to it is still so far away.

Marakhtanov Alexander

Cat

Cat with dirty paws
She walked along the path home.
She was in no hurry:
It was her day off.

The sun was shining outside,
And a warm breeze swirled.
And where did she wander?
Nobody could guess.

And something else seemed strange,
What surprised everyone around
After all, cats are so clean!
(It matters to them, my friend).

And nothing bothered this one,
And she walked without hesitation,
That everyone gave way
The kids laughed at her.

And there were disputes for a long time.
And the wind was spinning wildly.
Cat with dirty paws
Walked along the path home...

Teacher: We begin each of our lessons with warm-up exercises that develop creative imagination. So today I invite you to find commonality between words denoting abstract concepts (life, fate, family, love, happiness, soul, friendship, hope, time, earth) and the names of specific objects (table, anthill, river, tree, flower , statue, cat, sand, woman, computer). Guests, join us in our warm-up...

Student answers:

“Friendship and a flower: similar in that friendship can bloom like a flower and fade just as well.”
“Friendship and table: they can be strong. Several people can sit at one table, and friendship can unite several people.”
“Table and love: they can be strong and clean”
“The soul and the statue: the soul is the image of a person, and the statue too: both are easy to break”
“Cat and hope: both soothing”
“Life and the river: life, like a river, flows sometimes violently, sometimes quietly. There are ebbs and flows in it. Sometimes there are craters, waves roll in, and floods occur. It’s easier to swim with the current than against the current.”

Teacher: For an inexperienced reader, almost every poem is fraught with many mysteries, so it may turn out to be incomprehensible, and therefore uninteresting. But if you treat the poem reverently and soulfully, if you know the artistic means of expression and try to find them in the work, then these riddles will turn into sparkling poetic facets. “Metaphor is the motor of form!” exclaimed the poet Andrei Voznesensky. So what is a metaphor?

Student: Metaphor - from Greek. “transfer” is an artistic means of expression, which is based on the transfer of properties from one object to another, resulting in the creation of a bright, imaginative picture. A word used in a metaphorical sense acquires extreme expressiveness, imagery, clarity, and emotionality. Therefore, metaphor is widely used in works of fiction, especially in poetry.

Teacher: Guys, your homework was to find beautiful, vivid examples metaphors in poems of Astrakhan poets...

Student answers:

Space is filled with the pupils of stars... (Sergey Motygin)

My soul is in the color of the wings... (Zhanna Migunova)

Forgiveness was considered an empty relic,
Putting an end to the soul and body crosses... (Andrey Belyanin)

April - an inveterate torturer
He's dissecting our brains! (Olga Markova)

The Astrakhan sun is merciless:
The rabid gaze is blinding.
Heat - Queen of Shamakhan -
She pitched a tent in the steppe. (Galina Podolskaya)

Assumption Cathedral powerful chest
In the dawn fog he sighs a little.
And they look at the paintings of the windows, crossing themselves,
Slavic tenderness, Tatar passion. (Irina Serotyuk)

But there, below, shining blue,
The Volga opened up in manes of reeds... (Ninel Mordovina)

When I'm at odds with life
And all the words are set on edge,
I break the ringing pipe,
So that she doesn’t remember the old things... (Ninel Mordovina)

The dream exploded!
Colored shards
The silence was torn to pieces. (Ninel Mordovina)

Teacher: If a metaphor shows the power of the poet’s imagination, the richness of his associative series, the luxury of his images, then the epithet reveals the depth of his thought, the inquisitiveness of his nature, the intensity of his gaze. “A good epithet is a passport to identity. This is the highest level of skill,” said the poet Lev Ozerov. So what is an epithet?

Student: Epithet - from Greek “application” - a figurative characteristic of a person, phenomenon or object through the expressiveness of a metaphorical adjective.

Teacher: The only possible, irreplaceable, accurate epithet is the artist’s victory! An epithet is his power over an object and phenomenon. An epithet is an arrow to the essence! Among poets it is customary to say: “Tell me what your epithet is, and I will tell you who you are.” Your homework was also to find examples of unusual, amazing epithets in the poetic works of our fellow countrymen...

Student answers:

You are beautiful, wormwood,
All in the sunset fire.
Why did you dream about me
Only epic melancholy? (author – Klavdiya Kholodova)

Multilingual, dense with passions:
North - restrained,
Asia - burning... (Irina Serotyuk)

I don't dare express it in poetry
Drops of intoxicating dew! (Pavel Morozov)

And lies down on the ground, sinless,
Like a year not yet born. (Galina Podolskaya)

Stubborn and awkward
Spring screamed in my face... (Dina Nemirovskaya)

The city, matte from the heat,
With the tops of the domes...
What will I cover you with?
From nobles and fools? (Olga Markova)

The whole world is green-blue-red
Swims and soars in them,
Oh, the narrow tail of beautiful dragonflies,
Oh, emerald! Oh, malachite! (Olga Markova)

And to the star’s trusting gaze... (Sergei Motygin)

Teacher: The deepest understanding of Astrakhan; love of life; to the Volga expanses; to the people living here; to beauty; to human kindness; to Russia we find in the work of Nineli Aleksandrovna Mordovina (the song “In a triune image” sounds to the verses of N.A. Mordovina, performed by the actress of the Astrakhan Drama Theater Alexandra Kostina). The floor is given to student N.A. Mordovina, Astrakhan poetess Eleonora Vladimirovna Tatarintseva...

Teacher: Today we will learn about another poetic device, completely new to us - ANZHANBEMAN. It was masterfully used by F.I. Tyutchev, M.I. Tsvetaeva and some other poets. So, what is enjanbeman? Anzhanbeman (French enjambement, from enjamber - “to step over”) –a syntactic means of expressiveness, which is based on the transfer from line to line of a single sentence when it does not fit into a poetic line or stanza and occupies part of the next one. F. I. Tyutchev, “Fountain”:

Rising like a ray to the sky, He
Touched cherished heights.
M. Tsvetaeva, “Over the Raven Cliff”:
Above the black cliff –
White zari sleeve.
Leg - already skidding
Running - with difficulties dug in
into the ground laughing that first
Got up , in the dawn crown -
Max, I was - so true
Wait on your porch!

ON THE. Mordovina was very fond of the work of M.I. Tsvetaeva and also used enjanbemane as an artistic medium in her works. Let's try to find them in the proposed poems:

...August is generous like a king: starfalls
Gives everything so that people are happy,
Make a wish successfully.
Both joy and success will come true!
The main thing: believe adamantly
August, star and sky -
Everything is possible, life is generous in full,
And adversity is not her fault...

On the rolls

...The Volga rolled across the steppe.
Ra-ka-ti-la! -
No end no edge
With the eye You don’t measure water.
And such beauty like this
Latitude And will-
Like nowhere else!

The mice are scurrying around rustling,
In the leaves autumn garden,
It's warming quietly soul,
As if lamp in the morning...

Tachycardia

Don't indulge Pride: don't feed Evil -
The heart grows with resentment and suffocates.
Charred, they die souls
There where unbelief rose into love.

By the blade

... Do not overcome doubt and timidity
Ways, where is the guide one-

Consciousness.

Consciousness of the only one possibilities
Don't give above us dominate-
Violence.
And break out of deception and severity
country, What called
Russia.
By the blade?!
Well we'll walk along the edge
Although unbearable burning
Winds counter,
And everyday life knits your legs
With his illnesses...
But this is temporary
And Russia is eternal!

Today we once again repeated artistic means of expressiveness (such as metaphor and epithet), saw them in the works of our fellow countrymen poets, got acquainted with a new stylistic device - enjanbeman and discovered that N.A. masterfully used it in her work. Mordovina. Let's listen to the poem performed by Nineli Alexandrovna herself (there is a recording of the poetess's live voice with video slides).

(E.V. Tatarintseva addresses the young poets with parting words, talks about the N.A. Mordovina Prize, and demonstrates collections of young poets of the Astrakhan region).

Poetic devices are so important in poetry that it is simply impossible to overestimate their importance. They can only be compared with the arsenal of a poet, the use of which will make speech soft, lyrical, lively and melodic. Thanks to them, the work becomes bright, emotional, and expressive. The reader can more sensitively and fully experience the atmosphere created by the author.

The characters in the works come to life and become more expressive. Russian speech is very rich in poetic devices, of which there are more than two dozen, among them:

Allusion.
Antonomasia.
Assonance.
Aphorism.
Exclamation.
Hyperbola.
Inversion.
Irony.
Pun.
Contamination.
Metaphor.
Metonymy.
Address (apostrophe).
Streamlined expressions.
Personification.
Parallel structures.
Repetition.
Opposition (antithesis).
Sarcasm.
Synecdoche.
Comparison.
Paths.
Default.
Gains (gradation).
Figures.
Epithet.

However, not all of them are widespread in poetry. We will look at frequently encountered poetic devices in poems.

Poetic devices with examples

Epithet translated from Greek means “attached”; an epithet is an expressive definition of a certain object (action, event, process), which serves to emphasize, highlight any property characteristic of this object.

An epithet is a figurative, metaphorical definition, not to be confused with simple definition of a subject, for example, “loud voice” is just a definition, “bright voice” is an epithet, “cold hands” is just a definition, and “golden hands” is an epithet.

Examples of epithets can also be the following series of phrases: ruddy dawn, singing fire, angelic light, wonderful evening, lead cloud, piercing gaze, scratching whisper.

As a rule, adjectives (affectionate waves) serve as epithets; you can rarely find a numeral (first friend), an adverb (to love passionately), and verbs (the desire to forget), as well as nouns (the noise of fun).

A comparison is a poetic device with the help of which the most characteristic properties of the described object are reflected in similar properties of a completely different object. Moreover, the properties of the object being compared are usually more familiar and close to the reader than the object indicated by the author. Thus, to inanimate objects they bring an analogy to animate, spiritual or abstract - material. Examples of comparisons could be: “eyes are like the sky, blue,” “leaves are yellow, like gold.”

A metaphor is an expression based on the use of words in a figurative meaning. That is, a property characteristic of one object is assigned to another on the basis of some similarity. As a rule, to describe an inanimate object, the definition of animate is used and vice versa. For example, “diamond eye”, “icy heart”, “nerves of steel”, “the honey of your words is bitter to me”, “ red brush the mountain ash has lit up”, “it’s pouring like a bucket”, “deadly boredom”.

Personification also refers to poetic devices, which means transference to inanimate objects properties of the animate. Or attributing human feelings, emotions, actions to an object that it does not possess. With the help of personification, the reader perceives the picture created in front of him dynamically and vividly. For example, “there is a thunderstorm”, “the sky is crying”, “streams are running”, “the sun is smiling”, “frost is drawing patterns on the window”, “the leaves are whispering”.

Hyperbole, translated from the Greek “hyperbole”, means excess, exaggeration. Poets often use this technique of poetic speech for obvious, undeniable, conspicuous exaggeration for greater expressiveness of their thoughts. For example, “I will repeat for the hundredth time,” “we have enough food for years.” The opposite of hyperbole is litotes - a deliberate understatement of the properties of an object: “a boy the size of a finger,” “a little man the size of a fingernail.”

As you have already seen, poetic techniques are very diverse and numerous, and for any poet this, in turn, is a wide scope for creativity, creating their own works, enriching them with beautiful literary language.

Literary and poetic devices

Allegory

Allegory is the expression of abstract concepts through concrete artistic images.

Examples of allegory:

The stupid and stubborn are often called the Donkey, the coward - the Hare, the cunning - the Fox.

Alliteration (sound writing)

Alliteration (sound writing) is the repetition of identical or homogeneous consonants in a verse, giving it a special sound expressiveness (in versification). In this case, the high frequency of these sounds in a relatively small speech area is of great importance.

However, if entire words or word forms are repeated, as a rule, we are not talking about alliteration. Alliteration is characterized by irregular repetition of sounds, and this is precisely the main feature of this literary device.

Alliteration differs from rhyme primarily in that the repeating sounds are not concentrated at the beginning and end of the line, but are absolutely derivative, albeit with high frequency. The second difference is the fact that, as a rule, consonant sounds are alliterated. The main functions of the literary device of alliteration include onomatopoeia and the subordination of the semantics of words to associations that evoke sounds in humans.

Examples of alliteration:

"Where the grove neighs, guns neigh."

"About a hundred years
grow
we don't need old age.
Year to year
grow
our vigor.
Praise,
hammer and verse,
land of youth."

(V.V. Mayakovsky)

Repeating words, phrases, or combinations of sounds at the beginning of a sentence, line, or paragraph.

For example:

“The winds did not blow in vain,

It wasn’t in vain that the storm came.”

(S. Yesenin).

The black-eyed girl

Black-maned horse!

(M. Lermontov)

Quite often, anaphora, as a literary device, forms a symbiosis with such a literary device as gradation, that is, increasing the emotional character of words in the text.

For example:

“Cattle die, a friend dies, a man himself dies.”

Antithesis (opposition)

Antithesis (or opposition) is a comparison of words or phrases that are sharply different or opposite in meaning.

Antithesis makes it possible to make a particularly strong impression on the reader, to convey to him the strong excitement of the author due to the rapid change of concepts of opposite meanings used in the text of the poem. Also, opposing emotions, feelings and experiences of the author or his hero can be used as an object of opposition.

Examples of antithesis:

I swear by the first day of creation, I swear by its last day (M. Lermontov).

He who was nothing will become everything.

Antonomasia

Antonomasia is an expressive means, when used, the author uses a proper name instead of a common noun to figuratively reveal the character of the character.

Examples of antonomasia:

He is Othello (instead of "He is very jealous")

A stingy person is often called Plyushkin, an empty dreamer - Manilov, a man with excessive ambitions - Napoleon, etc.

Apostrophe, address

Assonance

Assonance is a special literary device that consists of repeating vowel sounds in a particular statement. This is the main difference between assonance and alliteration, where consonant sounds are repeated. There are two slightly different uses of assonance.

1) Assonance is used as an original tool that gives an artistic text, especially poetic text, a special flavor. For example:

Our ears are on top of our heads,
A little morning the guns lit up
And the forests are blue tops -
The French are right there.

(M.Yu. Lermontov)

2) Assonance is widely used to create imprecise rhyme. For example, “hammer city”, “incomparable princess”.

One of the textbook examples of the use of both rhyme and assonance in one quatrain is an excerpt from the poetic work of V. Mayakovsky:

I won’t turn into Tolstoy, but into a fat man -
I eat, I write, I’m a fool from the heat.
Who hasn't philosophized over the sea?
Water.

Exclamation

Hyperbola

Hyperbole is a figurative expression containing an exorbitant exaggeration of the size, strength, or significance of an object or phenomenon.

Example of a hyperbole:

Some houses are as long as the stars, others as long as the moon; baobabs to the skies (Mayakovsky).

Inversion

From lat. inversio - permutation.

Changing the traditional order of words in a sentence to give the phrase a more expressive shade, intonation highlighting of a word.

Inversion examples:

The lonely sail is white
In the blue sea fog... (M.Yu. Lermontov)

The traditional order requires a different structure: A lonely sail is white in the blue fog of the sea. But this will no longer be Lermontov or his great creation.

Another great Russian poet, Pushkin, considered inversion one of the main figures of poetic speech, and often the poet used not only contact, but also remote inversion, when, when rearranging words, other words are wedged between them: “The old man obedient to Perun alone...”.

Inversion in poetic texts performs an accent or semantic function, a rhythm-forming function for building a poetic text, as well as the function of creating a verbal-figurative picture. In prose works, inversion serves to place logical stresses, to express the author’s attitude towards the characters and to convey their emotional state.

Pun

A play on words. A witty expression, a joke based on the use of words that sound similar but have different meanings or different meanings one word.

Examples of puns in literature:

In a year, for three clicks on your forehead,
Give me some boiled spelt.
(A.S. Pushkin)

And the verse that served me before,
A broken string, a verse.
(D.D. Minaev)

Spring will drive anyone crazy. The ice – and it started to move.
(E. Meek)

The opposite of hyperbole, a figurative expression containing an exorbitant understatement of the size, strength, or significance of any object or phenomenon.

Example of litotes:

The horse is led by the bridle by a man in big boots, in a short sheepskin coat, in big mittens... and he himself is as tall as a fingernail! (Nekrasov)

Metaphor

Metaphor is the use of words and expressions in a figurative sense based on some kind of analogy, similarity, comparison. Metaphor is based on similarity or resemblance.

Transferring the properties of one object or phenomenon to another based on their similarity.

Examples of metaphors:

A sea of problems.

The eyes are burning.

Desire is boiling.

The afternoon was blazing.

Metonymy

Examples of metonymy:

All flags will be visiting us.

(here flags replace countries).

I ate three plates.

(here the plate replaces the food).

Address, apostrophe

Oxymoron

A deliberate combination of contradictory concepts.

Look, she has fun being sad

So elegantly naked

(A. Akhmatova)

Personification

Personification is the transference of human feelings, thoughts and speech to inanimate objects and phenomena, as well as to animals.

These signs are selected according to the same principle as when using metaphor. Ultimately, the reader has a special perception of the described object, in which the inanimate object has the image of a certain living being or is endowed with qualities inherent in living beings.

Impersonation examples:

What, a dense forest,

Got thoughtful
Dark sadness
Foggy?

(A.V. Koltsov)

Be careful of the wind
Came out of the gate

Knocked on the window
Ran across the roof...

(M.V.Isakovsky)

Parcellation

Parcellation is a syntactic technique in which a sentence is intonationally divided into independent segments and highlighted in writing as independent sentences.

Parcelation example:

“He went too. To the store. Buy cigarettes” (Shukshin).

Periphrase

A paraphrase is an expression that conveys the meaning of another expression or word in a descriptive form.

Examples of paraphrase:

King of beasts (instead of lion)
Mother of Russian rivers (instead of Volga)

Pleonasm

Verbosity, the use of logically unnecessary words.

Examples of pleonasm in everyday life:

In the month of May (suffice it to say: in May).

Local aborigine (suffice it to say: aborigine).

White albino (suffice it to say: albino).

I was there personally (suffice it to say: I was there).

In literature, pleonasm is often used as a stylistic device, a means of expression.

For example:

Sadness and melancholy.

Sea ocean.

Psychologism

An in-depth depiction of the hero’s mental and emotional experiences.

A repeated verse or group of verses at the end of a song verse. When a refrain extends to an entire stanza, it is usually called a chorus.

A rhetorical question

A sentence in the form of a question to which no answer is expected.

Or is it new for us to argue with Europe?

Or is the Russian unaccustomed to victories?

(A.S. Pushkin)

Rhetorical appeal

An appeal addressed to an abstract concept, an inanimate object, an absent person. A way to enhance the expressiveness of speech, to express an attitude towards a particular person or object.

Rus! where are you going?

(N.V. Gogol)

Comparisons

Comparison is one of the expressive techniques, when used, certain properties that are most characteristic of an object or process are revealed through similar qualities of another object or process. In this case, such an analogy is drawn so that the object whose properties are used in comparison is better known than the object described by the author. Also, inanimate objects, as a rule, are compared with animate ones, and the abstract or spiritual with the material.

Comparison example:

Then my life sang - howled -

It hummed like an autumn surf -

And she cried to herself.

(M. Tsvetaeva)

A symbol is an object or word that conventionally expresses the essence of a phenomenon.

The symbol contains a figurative meaning, and in this way it is close to a metaphor. However, this closeness is relative. The symbol contains a certain secret, a hint that allows one to only guess what is meant, what the poet wanted to say. The interpretation of a symbol is possible not so much by reason as by intuition and feeling. The images created by symbolist writers have their own characteristics; they have a two-dimensional structure. In the foreground there is a certain phenomenon and real details, in the second (hidden) plane there is the inner world of the lyrical hero, his visions, memories, pictures born of his imagination.

Examples of symbols:

Dawn, morning - symbols of youth, the beginning of life;

Night is a symbol of death, the end of life;

Snow is a symbol of cold, cold feeling, alienation.

Synecdoche

Replacing the name of an object or phenomenon with the name of a part of this object or phenomenon. In short, replacing the name of a whole with the name of a part of that whole.

Examples of synecdoche:

Native hearth (instead of “home”).

A sail floats (instead of “a sailboat floats”).

“...and it was heard until dawn,
how the Frenchman rejoiced..." (Lermontov)

(here “French” instead of “French soldiers”).

Tautology

Repetition in other words of what has already been said, which means it does not contain new information.

Examples:

Car tires are tires for a car.

We have united as one.

A trope is an expression or word used by the author in a figurative, allegorical sense. Thanks to the use of tropes, the author gives the described object or process a vivid characteristic that evokes certain associations in the reader and, as a result, a more acute emotional reaction.

Types of trails:

Metaphor, allegory, personification, metonymy, synecdoche, hyperbole, irony.

Default

Silence is a stylistic device in which the expression of a thought remains unfinished, is limited to a hint, and the speech that has begun is interrupted in anticipation of the reader’s guess; the speaker seems to announce that he will not talk about things that do not require detailed or additional explanation. Often the stylistic effect of silence is that unexpectedly interrupted speech is complemented by an expressive gesture.

Default examples:

This fable could be explained more -

Yes, so as not to irritate the geese...

Gain (gradation)

Gradation (or amplification) is a series of homogeneous words or expressions (images, comparisons, metaphors, etc.) that consistently intensify, increase or, conversely, reduce the semantic or emotional significance of the conveyed feelings, expressed thoughts or described events.

Example of ascending gradation:

I do not regret, do not call, do not cry…

(S. Yesenin)

In sweetly misty care

It will not take an hour, not a day, not a year.

(E. Baratynsky)

Example of descending gradation:

He promises him half the world, and France only for himself.

Euphemism

A neutral word or expression that is used in conversation to replace other expressions that are considered indecent or inappropriate in a given case.

Examples:

I'm going to powder my nose (instead of going to the toilet).

He was asked to leave the restaurant (instead, He was kicked out).

A figurative definition of an object, action, process, event. An epithet is a comparison. Grammatically, an epithet is most often an adjective. However, other parts of speech can also be used, for example, numerals, nouns or verbs.

Examples of epithets:

Velvet skin, crystal ringing.

Repeating the same word at the end of adjacent segments of speech. The opposite of anaphora, in which words are repeated at the beginning of a sentence, line, or paragraph.

“Scallops, all scallops: a cape made of scallops, scallops on the sleeves, epaulettes made of scallops...” (N.V. Gogol).