A synonym for a source of emotional and expressive speech. Lexical means of expression in lyrics. Stylistic functions of synonyms
Tasks: to get acquainted with the theoretical material on the topic "Synonyms", I study the works of linguists. Explore the pages of A.S. Pushkin "Eugene Onegin". Compile a dictionary of synonyms for foreign words using Pushkin's language. Observe the speech of classmates: the use of synonyms in everyday speech, in written work. Conduct a linguistic experiment with 10th grade students to use the words of the synonymous series of the verb "say".
The most used synonyms are “verbs of speaking” and phraseological units synonymous with them: to say, to speak, to express, to speak out, to rant, to mumble, to fence, to explain, to interpret, to weave, to philosophize, to pronounce, to orate, to swear, to bark, to grind nonsense, to scratch with the tongue, to scratch according to the written word, to catch the tongue. The most used synonyms are “verbs of speaking” and phraseological units synonymous with them: to say, to speak, to express, to speak out, to rant, to mumble, to fence, to explain, to interpret, to weave, to philosophize, to pronounce, to orate, to swear, to bark, to grind nonsense, to scratch with the tongue, to scratch according to the written word, to catch the tongue.
Syntactic synonyms are syntactic units (phrases, sentences) that have a different structure, but the same semantic content. Syntactic synonyms are syntactic units (phrases, sentences) that have a different structure, but the same semantic content.
Vale "To parse the epigraphs, Talk about Juvenal, Put Vale at the end of the letter." Be healthy, with radiant health. Far niente "Devoted to the leisure of the innocent, I wander over the desert lake, And Far niente is my law." Idleness, idleness, idleness, idleness. Dandy "Cut off in the latest fashion, Like a London Dandy dressed." Exquisitely dressed socialite; dandy, dandy Madame "The fate of Eugene kept: At first Madame followed him." mistress, governess, married woman
Monsieur Monsieur Sir, gentleman, respectable man. Tet - a - tet “The husband comes. He interrupts This unpleasant Tet -a -tet ”A private conversation, a date, a rendezvous, without witnesses. Idol mio "Il Idol mio and dropped either a shoe or a magazine into the fire." My idol, idol, fetish, hero, master of thoughts. E simper bane "Where did I sometimes meet such madrigals: E simper bane, gentlemen." excellent, excellent, excellent, superb
Entrychat "Onegin flew to the theatre, Where everyone, breathing freely, is ready to slam Entrychat." Jump, jump, jump. Sed alia tempora "Sed alia tempora! Prowess (like a dream of love, another prank) comes with living youth. But the times are different, different, different, the rest, not the same. Beef - steaks "Because Beef - steaks and Strasbourg pie could not always be." Fried piece of beef fillet, beef - steak. Benedetta "And before him the fireplace was blazing, And he purred: Benedetta..." Blessed, benevolent, merciful.
Anchorite - (French) hermit, hermit, avoiding society. Anchorite - (French) hermit, hermit, avoiding society. Bolivar is a hat. Bolivar is a hat. Boulevard - (French) a wide alley. Boulevard - (French) a wide alley. Ideal - (German) perfection, idol. Ideal - (German) perfection, idol. Coquette - (French) windy, playful, flirtatious. Coquette - (French) windy, playful, flirtatious. Kiss - kiss. Kiss - kiss. Mazurka - (French) ballroom dance. Mazurka - (French) ballroom dance. The oligarch is the master of capital, finance, money. The oligarch is the master of capital, finance, money. Pedant - (Italian) accurate, formalist, literalist. Pedant - (Italian) accurate, formalist, literalist. Parterre - lower places, underside. Parterre - lower places, underside.
Spleen - (English) spleen, boredom, melancholy, apathy, despondency, melancholy, depression. Spleen - (English) spleen, boredom, melancholy, apathy, despondency, melancholy, depression. Talon is a restaurant. Talon is a restaurant. Foreyton - (German) riding on a horse, rider, rider, equestrian. Foreyton - (German) riding on a horse, rider, rider, equestrian. Frant - (Polish) exquisitely dressed, sophisticatedly clothed, dandy, fashionista, forsun. Frant - (Polish) exquisitely dressed, sophisticatedly clothed, dandy, fashionista, forsun. Epigram - (French) a satirical poem that ridicules, mocks, mocks, makes fun of, mocks. Epigram - (French) a satirical poem that ridicules, mocks, mocks, makes fun of, mocks. Epigraph - (Bulg.) Quote, excerpt, extract. Epigraph - (Bulg.) Quote, excerpt, extract.
Tell yourself. I met a young writer. Do you want me to read you my new story? - he said. “Of course,” I said. - Do you like? he said when he finished reading. "I'll tell you the truth," I said. "Tell me," he said. - First of all, you have “I said” and “I said” on every line, I told him. “Now you can say “he said” and “I said,” he said. “Secondly, you have nothing to say,” I said. “I said everything I wanted to say,” he said. “It’s better not to say anything like that,” I said. - Well, what can I say about a person with such taste? - he said. “I said what I thought,” I said. “They told me the truth that you are a cretin,” he said. - Repeat what you said? - I said. “He said what he said,” he said. - Will you say another word? - I said. "I'll tell you more," he said. - Well, what can you say! - I said to myself, - it is useless to talk to him: he will still say that everything he said is indisputable. Now tell me yourself: didn't I tell him the truth?
Oct 05 2010
Vocabulary occupies a central place in the system of figurative language means. The word, as is known, is the basic unit of the language, the most noticeable element of its artistic means. And the expressiveness of speech is associated primarily with the word. Many words have the ability to be used in several meanings. This property is called ambiguity, or polysemy. Writers find in ambiguity a source of vivid emotionality, liveliness of speech.
The figurativeness of speech is created through the use of words in a figurative sense. Words and expressions used in a figurative sense and creating figurative representations of objects and phenomena are called tropes. The following tropes are distinguished: a metaphor is a word or expression used in a figurative sense based on similarity.
Another type of tropes is metonymy. This is a word used in a figurative sense based on contiguity.
The epithet is an artistic definition: When would you know how lonely, languidly sweet, insanely happy, I am drunk with grief in my soul ... (A. Fet)
Comparison is the comparison of two phenomena in order to determine one by means of the other.
Personification is the transfer of the properties of living beings to inanimate objects:
Homonyms should not be confused with ambiguity, that is, words that coincide in sound and spelling, but are completely different in meaning: the key is “spring” and the key is “master key”. Different types of homonyms (homophones, homographs, homophores) are also a source of expression
Homonymous rhymes are a bright means of sound play. I. Brodsky brilliantly owned it:
Flickered on the slope of the bank
Near bushes of brick.
Above the pink spire of the bank
The crow curled up, screaming.
(Hills, 1962)
The expressiveness of speech enhances the use of synonyms - words denoting the same concept, but differing in additional semantic shades or stylistic coloring. The beauty and expressiveness of a native speaker's speech can be judged by how he uses synonyms. Without mastering the synonymic richness of the native language, it is impossible to make your speech bright and expressive.
Antonyms occupy a special place in the system of expressive lexical means. Antonyms are different words related to the same part of speech, but having opposite meanings: friend - enemy, heavy - light, sad - fun, love - hate. Not all words have antonyms.
Antonyms are constantly used in antithesis - a stylistic device that consists in a sharp opposition of concepts, positions, states.
Lexical repetition has a powerful emotional impact on the reader, when a key concept in the text is highlighted by repeating a word. In poetic works, such types of lexical repetition as anaphora and epiphora are used as a means of expression. Anaphora is the repetition of individual words or turns at the beginning of the passages that make up the statement.
Epiphora is the repetition of words or phrases at the end of lines.
The words of the Russian language differ in the scope of distribution. Some are used freely, unlimitedly and form the basis of the Russian literary language. Such words are classified as common vocabulary. These are, for example, the names of phenomena, concepts of socio-political life (state, society, development, etc.); economic concepts (finance, credit, bank, etc.); phenomena of cultural life (theater, performance, actor, premiere, exhibition, etc.); household names (house, apartment, family, children, school, etc.).
The other part of the vocabulary is used to a limited extent. Here are the following groups.
Dialectisms are words whose distribution is limited to one or another territory. Russian writers and poets skillfully (and moderately) used dialect words as one of the means of expression.
The vocabulary of limited use also includes the so-called special vocabulary, that is, words used and understood mainly by representatives of a particular science or profession. First of all, terms belong to such vocabulary - words used for the logically accurate name of special concepts, establishing their distinctive features, for example, medical terms: scanning, shunting, inoperable; linguistic terms: polysemy, semantics, morpheme.
In addition to terms, professionalisms are distinguished in special vocabulary, i.e. words and expressions that are not strictly legalized, scientific definitions of certain professional concepts, but are widely used by specialists in a particular field.
The limitedly used vocabulary also includes words called jargon, which form the basis of a special social variety of speech - jargon. These words are used by people united by common interests, habits, occupations, social status, etc. In the language of fiction, elements of jargon are used to characterize certain characters.
The so-called slang, which is characterized by special artificiality, conventionality, and strict secrecy, is also referred to as a limited, little-used vocabulary.
Institute of Control Systems for Economics of International Law.
Control work on the discipline "Russian language and culture of speech."
Completed by a student
Popova Kristina Anatolievna
Group AUZ-10/1
Mytishchi, 2010
Option 4
1. Answer in writing the following questions:
a) What means of speech expressive?
Special artistic techniques, inventive and expressive means of language, traditionally called tropes and figures, as well as proverbs, sayings, phraseological expressions, winged words help the speaker to make his speech bright and expressive.
For example:
trails(Greek “turn”) are turns of speech in which a word or expression is used in a figurative sense in order to achieve greater speech expressiveness. The path is based on a comparison of two concepts that seem close to our consciousness in some respect. The most common types of trope are similes, epithets, metaphors, metonymy, hyperbole, allegories, personifications, paraphrases, synecdoches. They make the speaker's speech visible, tangible, concrete. And this helps to better perceive speech - our hearing is, as it were, visible.
Metaphor(Greek “transfer”) is a word or expression used in a figurative sense based on the similarity or contrast in some respect of two objects or phenomena. Metaphor is formed according to the principle of personification (water runs), reification (nerves of steel), distraction (field of activity), etc.
Metaphors should be original, unusual, evoke emotional associations, help present an event or phenomenon. Here, for example, what metaphors were used in a parting word to freshmen by the outstanding physiologist academician A.A. Ukhtomsky: “Every year, new waves of young people come from different parts to the university to replace their predecessors. What a powerful wind drives these waves here, we begin to understand, remembering the sorrows and hardships that we had to experience, breaking through barriers to these cherished walls. With the power of instinct, young people rush here. This instinct is the desire to know, to know more and more deeply.
The quality of oratory can reduce the monotony of metaphors, the use of template metaphors that have lost their expressiveness and emotionality, as well as an excessive abundance of metaphors.
Metonymy(Greek "renaming"), unlike metaphor, is based on contiguity. If in metaphor two identically named objects, phenomena should be somewhat similar to each other, then in metonymy two objects, phenomena that received the same name, should be adjacent. The word adjacent in this case should be understood as closely related to each other.
b) Give definitions to the concepts: “synonyms”, “antonyms”, “homonyms”, “paronyms”. Give examples.
Synonyms- These are words that are different in sound and spelling, but close or identical in meaning.
Synonyms
The stylistic function of synonyms is to be a means of the most accurate expression of thought. The use of synonyms makes it possible to avoid the monotony of speech, the repetition of the same words, makes our speech more accurate and expressive.
Antonyms- these are words with the opposite lexical meaning, used to contrast phenomena, to create a contrast.
The stylistic function of antonyms is to be a means of expressing antithesis, to enhance the emotionality of speech.
Antithesis(from the Greek antithesis - contradiction, opposition) - opposition. Proverbs, a paradox, an oxymoron are built on the antithesis.
Paradox- judgment, sharply contrary to common sense, but deep in meaning; can be a means of revealing, satirical depiction of reality, can put judgment on the brink of absurdity ("The worse, the better").
Oxymoron(from the Greek oxymoron - witty-silly) - a stylistic device for comparing contrasting, mutually exclusive concepts ("Living Corpse").
Homonyms(from Greek homos - the same and onima - name) - words that are the same in spelling or sound, but different in meaning, for example: “head”, “wing”, “bow”, “language”, “key”, etc. . The word "key" can mean: a key to a lock, a wrench, a spring (spring water).
Paronyms- (from Greek para - near, ohyma - name) cognates similar in sound but different in meaning selective - qualifying; building - building - building).
2. Find an error in the sentence, describe it. Correct the sentence.
Residents of the village expressed a number of wishes to improve their domestic needs.
3. Choose stylistic synonyms for the word Beautiful.
Fine, specious, splendid, splendid, splendid, eye-catching, prominent, picturesque, graceful, showy, picturesque, pretty, elegant, lovely, attractive, handsome, handsome, good, pretty.
4. Expand the brackets, insert the missing letters.
Treat in a sanatorium, semi-finals, remember forever, come after tomorrow, poste restante, meet no one, artificial object, leave on time, play for an hour, wander along the alley.
5. Arrange punctuation marks, formulate punctuation rules for definitions expressed by participial phrases:
The expanse of the plain poured into the sky hung with sharp clouds.
The song sounds proudly, for all those tortured by captivity.
The mind directed at one negation turns pale.
Lulled by sweet hopes, he slept soundly.
Snow-covered huts sparkled brightly in the sun.
Compositions 1
How do homogeneous verbs-predicates help to “revive” the depicted in the text?
Homogeneous members of a sentence are a common phenomenon in artistic style. They are used in it as a short and expressive device of speech. We will verify this by the example of homogeneous verbs - predicates that help to "revive" what is depicted in our text.
Firstly, we find a large number of homogeneous predicates in sentence 1: “Oleska ... fell out of the bus, kept her balance, straightened her coat, threw a glance and died ...” All these verb-predicates help us vividly imagine what happened in a crowded bus ...
Secondly, homogeneous predicates in the text colorfully convey the content of the events described. So in sentence 44, the author uses the injection of homogeneous verbs-predicates: “the heroine’s resentment disappeared, disappeared, seemed completely insignificant.”
Thus, characterizing the richness of thoughts and feelings, homogeneous verbs-predicates helped in this story to “revive” the depicted.
Composition 2.
Why are neologisms needed in the text?
Neologisms are words created to denote a new object, phenomenon. For example, astronaut, spaceport. Life dictates them to us, but there are neologisms created by the author of a literary work with a specific stylistic goal. For example: “overwind” (A. Blok), “hulk” (V. Mayakovsky). These neologisms often become a strong expressive means in artistic speech.
The second neologism created by A. Pristavkin is the word "human weapon". We have a vivid metaphor for hundreds of people who have pointed their guns "right to the heart of nature" (sentence 17).
Thus, I can conclude that writers, when creating new words, develop word-building thinking in the reader, which helps to penetrate into the inner form of the word.
Essay 3
Why is it appropriate to use introductory words in a reasoning text?
A. Kushner wrote:
“Me, like everyone else, not once, not twice
Saved the introductory words
And more often than others among them
The words "first", "second".
They started from afar
They gave a reason, slowly
Gather your thoughts while
I don't know where the soul was."
As the poet accurately expressed in verse the enormous role of introductory words used both in book and colloquial speech. What is the role of introductory words in the proposed reasoning text?
Firstly, in sentences 2 and 5 I met the introductory words “possibly” and “most likely”, denoting the degree of certainty, the possibility of an assumption.
Secondly, I find the words “firstly” and “secondly” in sentences 9 and 10, which have the meaning of the order of presentation and the connection of thought.
Thirdly, in sentence 15 I come across the expression “in one word”, indicating the reception and method of shaping thoughts.
Fourth, in sentence 16, the introductory word "in your opinion" indicates the source of the message.
Thus, in a reasoning text, introductory words help to more accurately understand what is written, to quickly understand what the author wanted to say.
Essay 4
THE ROLE OF PHRASEOLOGICAL UNITS IN A ARTISTIC TEXT
Phraseologisms are stable combinations of words used to name individual objects, features, actions. In fiction, they are widely used as visual means. What is the role of phraseological units in this text?
Firstly, I want to note that there are a lot of phraseological units in the passage from the story of K. Paustovsky. Two of them act as synonyms for ordinary words. So in sentence 7, the phraseological unit “cannot be seen” is equal to the expression “bright, remarkable”, and in sentence 12 “out of fashion” - “became unfashionable”. Agree that stable combinations clearly adorned the text!
Secondly, in sentence 15 I meet the phraseological unit “heart contracted”. It determines the state of mind of people who visit the Louvre.
Thirdly, the stable combination “the mountain fell off his shoulders” (sentence 31) also determines the moral state of the boy who has committed a generous deed. This phraseologism is also interesting in that we can at least guess the source of the appearance of this expression. In my opinion, he came into our speech from folklore: either from a fairy tale, or from an epic.
Thus, I can conclude that phraseological units in a literary text play a big role: they make it brighter, more emotional, more expressive.
(173 words)
Essay 5
The role of antonyms in a literary text.
Antonyms are words of the same part of speech that have the opposite meaning. The skillful use of antonyms gives artistic speech a special poignancy. What antonyms can I find in this text?
Firstly, in sentence 6 “The troops march day and night”, antonyms help the writer to show the completeness of the coverage of phenomena, the breadth of spatial and temporal boundaries.
Secondly, in sentence 16 I find antonyms that have gained a stable character, have become a phraseological unit: “neither back nor forward”.
Thus, we can conclude that the author turns to antonyms to achieve the emotionality of speech.
Essay 6
Why do writers use paraphrase in their works?
A paraphrase is a descriptive expression used instead of a particular word. It is distinguished by a bright emotionally expressive coloring. What paraphrases do I find in the proposed text?
Firstly, in an essay dedicated to Pushkin, I come across paraphrases that perform a semantic function in speech, helping the author, when talking about the poet, not to repeat himself. Here in sentence 13 S. Zalygin does not say “Pushkin”, but uses the paraphrase “the sun of Russian poetry”, and in sentence 16 he calls him “the great student of Zhukovsky”.
Secondly, in sentence 26 I find a paraphrase “... a sad time! Eyes charm! Here, this trope, replacing the word "autumn", figuratively characterizes this season.
Thus, writers use paraphrase to, in the words of M.V. Lomonosov, "... it is red to speak of any given matter ...".
Essay 7
Why do literary texts use synonyms?
Synonyms are words of the same part of speech, similar in meaning, but different in spelling, in addition, differing in shades of meaning or stylistic coloring. The children's writer Korney Chukovsky urged his fellow writers to make greater use of the synonymy of the Russian language. What are the synonyms in this text?
Firstly, for a more accurate expression of thought in sentence 3, the author uses synonyms: "The hero sat down on the wet sand, still wet from dew."
Secondly, in sentence 8 I find synonyms that are used to enhance the emotional coloring of the word: “Well, you said, well, blurted out!”
Thirdly, in sentence 20, in order to avoid unjustified repetition of the same word, A. Chirve uses synonyms: “After that, she became homesick, sat down on a bench and became sad”
Thus, I can conclude that synonyms make our speech vivid, emotional, help to express thoughts more accurately.
LIVING, EMOTIONAL, EXPRESSIVE SPEECH
You marvel at the treasures of our language: every sound is a gift; everything is grainy, large, like pearls themselves, and, really, there is another name for an even more precious thing itself.
N.V. Gogol
Learn to speak in your own words...
What is the secret of words that create an atmosphere of ease, affect the feelings of interlocutors, give special expressiveness to their speech? And, on the other hand, what words deprive speech of lively, emotional colors? To answer these questions, let's start with an example. Here is a parody of the “family conversation” of spouses tired of the daily bustle.
Husband. The intense rhythm of work at our enterprise obliges me to mobilize all my creative potential to fulfill the tasks set. I have been working with full dedication and at the present time I feel excessive fatigue, which forces me to shirk the duties assigned to me. So if I have a wife, I don't intend to wash the dishes.
Wife. And during the day I solved urgent economic problems: cleaning the living space, cooking and, most importantly, visiting trade enterprises in order to purchase the necessary goods. Visiting new commercial stores with no money to purchase goods had a negative effect on my mood ...
Is it possible to hear such a dialogue in real life? Of course not. This is not the way to speak, because the words and expressions often found in newspapers and business papers are not suitable for a conversation between a husband and wife. What words would fit in this case? - you ask. - Yes, the most simple, those that we always hear in a relaxed atmosphere. Remember the remark of one of the song characters Vl. Vysotsky?
- Here in a day you get so full of somersaults! Come home - here you sit ... This is a replica of a living person, he emotionally and expressively reacted to his wife's reproach.
The first condition for liveliness of speech is the use of words that are stylistically justified in a particular situation. On the podium, the speaker turns to journalistic, bookish vocabulary, and in a conversation with a friend, he prefers colloquial words.
The use of words with bright emotionally expressive coloring enlivens speech. Such words not only name concepts, but also reflect the attitude of the speaker towards them. For example, admiring the beauty of a white flower, you can call it snow-white, white, lilac. These adjectives are emotionally colored: the positive evaluation contained in them distinguishes them from a stylistically neutral word. white. The emotional coloring of the word can also express a negative assessment of the called concept. (blond they talk about an ugly person with blond hair, whose appearance is unpleasant to us). Therefore, emotional vocabulary is called evaluative.
As part of the emotional vocabulary, several varieties can be distinguished.
1. Words, as a rule, are unambiguous, with a bright evaluative meaning. These are mainly words-"characteristics" ( forerunner, pioneer, herald; slob, slacker, sycophant, slob etc.), as well as words containing an assessment of a fact, phenomenon, sign, action ( purpose, destiny, business, fraud, wondrous, miraculous, irresponsible, antediluvian, dare, inspire, defame, mischief).
2. Polysemantic words, usually neutral in the main meaning, but getting a bright emotional coloring when used metaphorically. So, about a person they say: hat, rag, mattress, oak, elephant, bear, snake, eagle, crow; verbs are used in a figurative sense sing, hiss, saw, gnaw, dig, yawn, blink and so on.
3. Words with subjective assessment suffixes that convey various shades of feeling: containing positive emotions - son, sun, granny, neatly, close, and negative - beards, kid, breech and so on.
The depiction of feelings in speech also requires special expressive colors. Expressiveness (from lat. expressio- expression) - means expressiveness, expressive - expressive. In this case, special stylistic shades are added to the nominative meaning of the word, enhancing its expressiveness. Yes, instead of the word good we use more expressive - wonderful, marvelous, marvelous, marvelous, splendid, marvelous; you can say I do not like, but sometimes we find even stronger words: I hate, despise, abhor. In such cases, the lexical meaning of the word is complicated by expression. Often one neutral word has several expressive synonyms that differ in the degree of expressive tension (compare: misfortune - grief - disaster - catastrophe; violent - unrestrained - indomitable - frantic - furious).
Vivid expression highlights the words solemn (herald, unforgettable, accomplishments), rhetorical ( companion, sacred, aspirations, proclaim), poetic (azure, silent, invisible, sing). A special expression distinguishes playful words (faithful, newly minted), ironic (deign, vaunted, don Juan), familiar (not bad, cute, to mumble, whisper). Expressive shades delimit disapproving words (pretentious, mannered, ambitious, pedant) dismissive (petty, to paint), contemptuous (sneak, tease) derogatory (skirt, squishy), vulgar (grabber, lucky), swear words (ham, fool). The expressive coloring of a word is superimposed on its emotional and evaluative meaning, and in some words expression prevails, in others - emotional coloring. This is not difficult to determine, trusting your linguistic instinct. If you are not sure about it, refer to any explanatory dictionary of the Russian language, there are always stylistic marks for such words.
Expressive vocabulary can be classified by highlighting: 1) words expressing a positive assessment of the called concepts, and, 2) words expressing their negative assessment. The first group will include words high, affectionate, partly playful; in the second - ironic, disapproving, abusive, etc. The emotionally expressive coloring of words is clearly manifested when comparing synonyms:
Stylistically High Low Neutral
face face muzzle
obstacle obstacle hindrance
cry weep roar
be afraid to be afraid to be afraid
drive out expel expose
The emotional and expressive coloring of the word is also affected by its meaning. We received a sharply negative assessment of, for example, words such as fascism, Stalinism, seksot, denunciation, mafia structure; positive coloring, distinguishes the words: progress, mercy, charity, peaceful conflict resolution and the like. Even different meanings of the same word can differ markedly in stylistic coloring: in one case, the use of the word can be solemn: Stop, prince. At last I hear the speech not of a boy, but of a husband(A. Pushkin), in another - the same word gets an ironic connotation: G, Polevoy proved that the venerable editor enjoys the fame of a learned man, so to speak, on my word of honor(A. Pushkin).
The development of emotional and expressive shades in the word is facilitated by its metaphorization. So, stylistically neutral words burn, fall, choke, glow, blue, fly, used in a figurative sense, get a vivid expression: to burn at work, to fall from fatigue, to suffocate in the conditions of bureaucratic arbitrariness, to glow with love, a blazing gaze, a blue dream, a flying gait, to fly towards you on the wings of love ... The context finally determines the expressive coloring of the word: neutral words in a certain context can be perceived as high, emotional, while high vocabulary acquires a mockingly ironic intonation. Sometimes even a swear word can sound affectionate ( scoundrel, scoundrel) and affectionate - contemptuously (clever).
We select words in speech, consciously or unconsciously obeying the conditions of communication and trying to influence the interlocutor, taking into account his social position, the nature of our relationship with him, the content of the conversation, etc. To a friend, for example, you can say: I'm tired like a dog, I'll stretch my legs if they don't give me a vacation). And to your boss at work, you explain the situation differently: I really need a rest, let me take a vacation. In a statement addressed to the director of the enterprise, your thought will receive the standard wording: Please grant me another vacation.
Other factors also influence the choice of words. If you want to make your listeners laugh or move, to arouse their sympathy or negative attitude towards the subject of speech, you will select words in different ways that create one or another expressive coloring of speech. In accordance with this, your speech will be playful, intimately affectionate or officially cold, ironic, but not neutral, in which language means are used that are devoid of any stylistic coloring. At the same time, the methods of selecting speech means cannot be universal, they reflect your tastes and assessments. For example, A. Akhmatova in The Tale of Pushkin, using expressive vocabulary, expresses her admiration for the poet and contempt for his environment:
My predecessor P.E. Shchegolev ends his work on the duel and death of Pushkin with a number of considerations why the high society, its representatives hated the poet and cast him out like a foreign body from their midst. Now is the time to turn this issue inside out and speak out loud not about what they did to him, but about what he did to them.
After this ocean of dirt, treason, lies, indifference of friends and simply stupidity of fliers and non-flyers, relatives of the Stroganovs, idiot cavalry guards (...) of the sanctimonious salons of Nesselrode, etc. The State Council, who did not hesitate to establish secret police supervision over the brilliant poet - after all this, how solemn and beautiful it is to see how this prim, heartless ("swine", as Alexander Sergeevich himself used to say) and, of course, illiterate Petersburg became a witness to that, having heard the fatal news, thousands of people rushed to the poet's house and forever, together with all of Russia, remained there.
<…>Two days later, his house became a shrine for his Motherland, and the world has never seen a more complete, more radiant victory.
The whole era (not without a scratch, of course) gradually began to be called Pushkin's. All the beauties, ladies-in-waiting, mistresses of salons, cavalry ladies, members of the royal court, ministers, chiefs and non-answers gradually began to be called Pushkin's contemporaries, and then simply died in card indexes and name indexes (with distorted dates of birth and death) of Pushkin's publications. He conquered both time and space.
They say: Pushkin's era, Pushkin's Petersburg. And this has nothing to do with literature, it's something completely different. In the palace halls, where they danced and gossiped about the poet, his portraits hang and his books are kept, and their poor shadows are banished from there forever. They say about their magnificent palaces and mansions: Pushkin came here, or: Pushkin never visited here. Everything else is of no interest to anyone. Sovereign Emperor Nikolai Pavlovich in white leggings flaunts very majestically on the wall of the Pushkin Museum; manuscripts, diaries and letters begin to be appreciated if the magic word "Pushkin" appears there:
And in this context, words that are usually neutral acquire an expressive coloring: vomit like a foreign body(about the poet) ocean(mud), Pushkin visited here; The names of objects and concepts hostile to the poet sound sharply negative: high society, the highest court, police supervision, illiterate Petersburg, mockingly-ironically - the characteristics of persons surrounded in secular society by a halo of greatness: poor shadows, the sovereign emperor flaunts very majestically, have rested(in file cabinets), etc.
The emotionality of speech is enhanced by a variety of stylistic devices used by the author of the quoted lines: the contrasted pronouns OH - THEY are graphically highlighted: the name of the poet is repeated many times, as well as the definition derived from him - Pushkin, long glades of homogeneous members give the speech an excited intonation; a short sentence, in sharp contrast to large enumeration syntactic constructions, becomes the expressive focus of the utterance: He conquered both time and space.
Sources of expressiveness, liveliness of speech are diverse. One and the same author in different texts can observe the use of different groups of expressive vocabulary, reflecting the author's assessment of what is being described. For example, if A. Akhmatova writes enthusiastically about Pushkin, referring mainly to high book vocabulary, then she speaks of Osip Mandelstam as a contemporary, choosing expressive definitions and even vivid colloquial words that give speech a warm, intimate intonation:
The other day, while rereading The Noise of Time, I made an unexpected discovery. In addition to everything lofty and primordial that its author did in poetry, he also managed to be the last writer of everyday life in St. Petersburg. For him, these half-forgotten and repeatedly slandered streets appear in all the freshness of the nineties - nine hundred years.
And in context, words like managed(not "could") slandered(and not the dispassionate “incorrectly described”), do not reduce the style, but create a special author's intonation.
On such examples of emotional speech, you can learn good style. And if you have a stylistic sense, if you are attentive to your speech, you will not use expressive words unnecessarily, but you will always find the right use for them. You will turn to them when it becomes necessary to express strong feelings - joy, delight, exultation or anger, despair, indignation ...
In certain cases, the combination in speech of stylistically heterogeneous, even contrasting in their emotionally expressive coloring, language means can be justified. A mixture of styles, as linguists say, usually creates a comic effect, which humorists and satirists know and appreciate. Therefore, it is no coincidence that in the works of Ilf and Petrov, in the stories of Zoshchenko, this technique is so often used - a combination of vocabulary of different styles.
What deprives our speech of liveliness? What makes her colorless, unemotional? First of all - the inability to find words that would accurately convey our feelings, words that would touch a nerve. This inability, or rather, helplessness in dealing with the richest resources of the native language, was formed in us, unfortunately, even at school, where they teach writing essays according to bad recipes, repeating memorized phrases, answering from a textbook ...
Take, for example, several "average" essays by recent schoolchildren who are taking an exam in Russian language and literature at a university. In almost every work you will find the same phrases: Radishchev had a negative attitude towards the tsarist autocracy; Griboedov had a negative attitude towards the Famus society; Chatsky had a negative attitude towards gallomania; The denunciation of serfdom is the main idea of Pushkin's poem "The Village"; These words[here the nobility is wild…] were a protest against Russian reality; Tatyana is my favorite literary character; Katerina is a ray of light in a dark realm etc. The use of the same words in describing the most diverse literary characters, the repetition of stamped expressions deprives speech of liveliness and often gives it a clerical coloration.
It would seem, where does clericalism come from in the speech of schoolchildren? And yet we constantly find them in writings: Pushkin gave a positive description of Tatyana; Onegin made an attempt to engage in socially useful work and so on.
The clerical coloring of speech is given primarily by verbal nouns, which in essays on any topic, as a rule, displace stylistically neutral verb forms: Manilov spends all his time building castles in the air; When the gendarme announces the arrival of a real auditor, all the officials are petrified. Even Pushkin's Tatyana is described by students in the same colorless language, "decorating" phrases with verbal nouns: Tatiana spent her time reading French novels; Tatyana was characterized by faith in the traditions of the common people of antiquity; Tatyana's explanation with Onegin takes place in the garden, Tatyana's conversation with the nanny takes place at night; To reveal the image of Tatyana, the episode of her conversation with the nanny is of great importance ... Can't you just write: To understand Tatyana, let's remember how she talks to the nanny.,
The language of any work can become expressive and emotional only on condition that the writer does not repeat memorized phrases, well-known book formulations, but tries to find his own words to express thoughts and feelings. The writing style will not be colorless if the author turns to emotional, expressive vocabulary, which will give liveliness to the language.
And our speech! Can it be called lively, emotional? Unfortunately, we often speak in boring, bookish language. Even in kindergarten you can hear from the teacher: Let's put on hats and outerwear! The walk will be in the green massif…
You ask why the names outerwear, hats, green array are not suitable in addressing kids, because these are literary words used in full accordance with their meaning? However, they are suitable for official speech. For example, on signs you can read: "Headwear", "Outerwear"; combination green array can be found in special literature intended for scientists. The use of these words in kindergarten causes a smile.
There are many such words in the Russian language that are not directly related to the official business style, but remain bookish and therefore inappropriate in a conversation with kids. The book coloring of this vocabulary is palpable when compared with the stylistically neutral one. Compare, for example, synonyms: inform - say, acquire - buy, eat - eat, neglected - abandoned, equivalent - the same, fail - break, deteriorate, green spaces - trees and bushes.
It’s bad if our dry, bureaucratic speech is also perceived by children. Calming down the mother, alarmed that the child came home alone from the garden, the son says:
Don't worry, I this issue has been fixed.
Looking at the pictures in the book, the boy explains:
This manager the whole country of Karabas, and this is his subordinates.
Seeing live chickens in the village for the first time, the girl exclaimed with delight:
See: natural chicken running!
Here are the results of our influence...
True, children usually feel the stylistic coloring of the word and do not use vocabulary that does not correspond to the style of speech (unless, of course, we teach them this).
A strict mother reprimands her son on the bus:
- You don't know how to behave in public transport.
A sensitive uncle, as K.I. Chukovsky, taking pity on the offended girl, affectionately leaned over to her and asked:
- What are you crying about?
Of course, one cannot put up with the fact that the bureaucratic, cloth language is crowding out the living word from our speech. It is no coincidence that the spread of “clerkship” (as Chukovsky once called it) worries writers and stylists.
Use expressive syntax!
The ability to find “your own”, expressive and emotional words alone will not make your speech alive if you do not own the secrets of expressive syntax. After all, one must be able to arrange words, build sentences from them that would allow using a variety of intonations, highlight some parts of the statement with exclamations, emphasize with logical stresses, and finally, skillfully place pauses ... In writing, punctuation marks are used for this, and in oral speech - emphatic intonation (from the Greek. emphasis- indication, expressiveness). However, both are determined by the syntactic features of the utterance. After all, syntax has enormous expressive possibilities. Let us touch on some of the techniques of "poetic syntax", as the emotional constructions of oratory and lyrical speech, which are distinguished by an excited intonation, are often called.
The tension and expressiveness of speech is enhanced by rhetorical figures. These are primarily rhetorical exclamations: Lush! It has no equal river in the world!(about the Dnieper) (N. Gogol); Troika! Three bird!(N. Gogol). Close to them are rhetorical questions, which are interrogative sentences that do not require an answer:
Where are you galloping, proud horse,
And where will you lower your hooves?
(A. Pushkin)
Rhetorical questions are posed not in order to get an answer to them, but to draw attention to a particular subject, phenomenon. Let us recall the chain of such questions in M. Lermontov's poem "The Death of a Poet":
Why did he enter this light, envious and stuffy
For a free heart and fiery passions?
Why did he give his hand to the insignificant slanderers,
Why did he believe the words and caresses false,
He, from a young age, comprehended people?
These lines also use another stylistic device - parallelism, that is, the same syntactic construction of adjacent sentences, which gives speech a special harmony. It is no coincidence that the repetition of the word For what at the beginning of each simple sentence in this construction: e d and n? the beginning (or anaphora) also emphasizes the orderliness of the construction of the statement. In parallel syntactic constructions, the ending (or epiphora) is also used - the repetition of the last words of the sentence, some of its parts: Dear friend, in this quiet house the fever beats me. Do not find me a place in a quiet house near a peaceful fire(A. Blok).
An ellipsis is known - an omission in a sentence of a word that is easily implied from the context: I'm for a candle - a candle in the foam. I'm for a book - that run ...(K. Chukovsky). The conscious omission of the predicate in such sentences creates a special dynamism of speech, so that the "restoration" of the omitted verbs would be unjustified (cf.: I took up the candle, the candle rushed into the stove).
A special figure in poetic syntax is omission, i.e., the conscious incompleteness of a sentence, reticence:
No, you don't know red childhood
Do not live calmly and honestly.
The lot is yours ... but why repeat
Something that even a child knows.
(N. Nekrasov)
The speaker, as it were, gives the listener the opportunity to think and continue the thought himself. The default opens up a wide scope for subtext: a different commentary can be assumed at the place of the pause.
In emphatic speech, techniques are used that violate the closedness of the sentence; speech becomes interrupted, incomplete:
No, I wanted... maybe you... I thought
It's time for the baron to die.
(A. Pushkin).
A construction shift occurs, that is, the end of the sentence is given in a different syntactic plan than the beginning:
And to me, Onegin, this splendor,
Hateful life tinsel,
My progress in a whirlwind of light
My fashion house and evenings.
What's in them? Now I'm happy to give
All this rags of masquerade
All this brilliance, and noise, and fumes
For a shelf of books, for a wild garden,
For our poor home
For those places where for the first time,
Onegin, I saw you
Yes, for a humble cemetery ...
(A. Pushkin)
Reading the highlighted lines, we notice that after the words fashion house and evenings could be a predicate ( bored, fed up etc.), but the sentence ends in a different way - with a rhetorical question. By the way, other syntactic features of excited speech are also interesting in this passage - a large number of homogeneous members, built according to the principle of gradation, so that each subsequent one enhances the strength and significance of the previous one. The appeal is repeated twice - Onegin. The use of appeals also enhances the emotionality of speech.
Let us name a number of stylistic means of expressive syntax. Inserted constructions are often used, which are passing remarks, clarifications, additional information to the statement. For example: Believe me (the conscience at that time is with us), marriage will be torment for us(A. Pushkin); And every evening at an appointed hour (or is it just a dream of me!) A girlish camp, seized by silks, moves in a foggy window(A. Blok).
When using homogeneous members of a sentence that occupy a worthy place in emotional speech, a polyunion is possible - a rhetorical figure consisting in the deliberate repetition of composing unions for the logical and intonation selection of the enumerated concepts: Oh! Summer red! I would love you if it were not for the heat, and dust, and mosquitoes, and flies ...(A. Pushkin). Against the background of this technique, non-union becomes expressive - a conscious refusal to combine the enumerated concepts with unions. For example:
There was typhus, and ice, and hunger, and blockade,
It's all over: cartridges, coal, bread,
The crazy city has turned into a crypt.
Where the cannonade resounded.
(G. Shengedi)
In such cases, after each comma, an expressive (often tragic) pause is felt, emphasizing the enumerated words.
A strong means of emotional speech is the period - a syntactic construction that is harmonic in form, characterized by a special rhythm and orderly arrangement of parts, as well as exceptional completeness and completeness of the content. Let us recall the lines from Onegin's monologue: Whenever I wanted to limit my life around the home; if a pleasant lot ordered me to be a father, a spouse, if I were captivated by the family picture even for a single moment, then, it would be true, besides you, one bride would not be looking for another. The period is divided into two parts: in the first, the intonation rises, in the second, it falls sharply. This creates intonational integrity and harmony of periodic speech. The period is built from proportional, syntactically identical elements (most often subordinate clauses).
The so-called connecting structures are widely used, reproducing oral speech in its living immediacy. Attachment is understood as the addition to the main statement of additional messages, explanations, clarifications that arise in the mind not simultaneously with the main idea, but only after it has been formed. For example: The question of the reorganization of production must be resolved, and quickly, Discipline must be the same - for bosses for subordinates, It will be interesting and even necessary for everyone to get acquainted with the project.
Particular expressiveness is inherent in the so-called parcellation, understood as the division of a sentence, in which the content of the statement is realized not in one, but in two or more intonational-semantic speech units, following one after another after a separating pause (after a dot, question mark or exclamation point). For example: They are different, our specialists. And by education. And by experience. And by nature, you need to look for sources of profit. Seek persistently, persistently, patiently.
One of the components involved in the expressive saturation of parceled constructions is a specific intonation, that is, such a rhythmic and melodic design of the utterance that contributes not only to the semantic, but also to the expressive actualization of individual components. In such a construction, a pause indicates a transition from a less significant part of the statement to a more significant one, while the most important component is highlighted not only positionally, but also intonation.
The rhythmic and melodic design of parceled constructions (pauses, logical stress) emphasizes the naturalness of the speech articulation of the text, creates dynamism of the narration, and increases its persuasiveness.
The so-called segmented constructions, or constructions with a double designation, are widely used in speeches, consisting of two parts: the first part (segment, that is, a segment), located at the beginning of a sentence or text and expressed, as a rule, by the nominative case of a noun or a phrase headed by this form, names a person or an object, which in the second part (in the following text) receives a second designation in the form of a pronoun. For example: A sense of time ... it makes it possible to determine what needs to be done now; Perestroika. What did she show? Initiative is what we often lack.
As the above examples show, a segment can form an independent sentence, it can be part of a subsequent sentence, but even in this case, the statement is divided into two parts, which are separated by a pause, which creates expressiveness in oral speech.
To show the expressiveness of the segmentation technique, let's conduct a small experiment by comparing three variants of the same sentence in terms of content: Who are dissidents?; Who are the dissidents?; Dissidents. Who are they?
It is easy to see that the last option is the most expressive: a statement divided into two parts, with a separating pause between them, is easier and more intelligibly perceived by these parts than as a whole.
The infinitive can also act as a segment, for example: To help everyone better determine their place, their role in the reorganization of production - this is what the author of the article calls for.
In addition to the function of logical-semantic underlining, segmented constructions perform the functions of creating expression. In this case, the peculiar intonational and rhythmic-melodic design of segmented structures is of great importance. An independent logical stress that occurs in a segment, performing its main - excretory - function, depending on the context and situation, acquires an emotional, psychological meaning.
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