Syntactic means of creating speech expressiveness. Syntactic figurative means of the Russian language. Homogeneous members of the sentence

Fine and expressive means of language allow not only to convey information, but also to clearly and convincingly convey thoughts. Lexical means of expression make the Russian language emotional and colorful. Expressive stylistic means are used when an emotional impact on listeners or readers is necessary. It is impossible to make a presentation of yourself, a product, or a company without using special language tools.

The word is the basis of visual expressiveness of speech. Many words are often used not only in their direct lexical meaning. The characteristics of animals are transferred to the description of a person’s appearance or behavior - clumsy like a bear, cowardly like a hare. Polysemy (polysemy) is the use of a word in different meanings.

Homonyms are a group of words in the Russian language that have the same sound, but at the same time carry different semantic loads, and serve to create a sound game in speech.

Types of homonyms:

• homographs - words are written the same way, change their meaning depending on the emphasis placed (lock - lock);
• Homophones - words differ in one or more letters when written, but are perceived equally by ear (fruit - raft);
• Homoforms are words that sound the same, but at the same time refer to different parts of speech (I’m flying on an airplane - I’m treating a runny nose).

Puns are used to give speech a humorous, satirical meaning; they convey sarcasm well. They are based on the sound similarity of words or their polysemy.

Synonyms - describe the same concept from different sides, have different semantic load and stylistic coloring. Without synonyms it is impossible to construct a bright and figurative phrase; speech will be oversaturated with tautology.

Types of synonyms:

• complete - identical in meaning, used in the same situations;
• semantic (meaningful) - designed to give color to words (conversation);
• stylistic - have the same meaning, but at the same time relate to different styles of speech (finger);
• semantic-stylistic - have a different connotation of meaning, relate to different styles of speech (make - bungle);
• contextual (author's) - used in the context used for a more colorful and multifaceted description of a person or event.

Antonyms are words that have opposite lexical meanings and refer to the same part of speech. Allows you to create bright and expressive phrases.

Tropes are words in Russian that are used in a figurative sense. They give speech and works imagery, expressiveness, are designed to convey emotions, and vividly recreate the picture.

Defining Tropes

	Definition
Allegory	Allegorical words and expressions that convey the essence and main features of a particular image. Often used in fables.
Hyperbola	Artistic exaggeration. Allows you to vividly describe properties, events, signs.
Grotesque	The technique is used to satirically describe the vices of society.
Irony	Tropes that are designed to hide the true meaning of an expression through slight ridicule.
Litotes	The opposite of hyperbole is that the properties and qualities of an object are deliberately understated.
Personification	A technique in which inanimate objects are attributed the qualities of living beings.
Oxymoron	Connection of incompatible concepts in one sentence (dead souls).
Periphrase	Description of the item. A person, an event without an exact name.
Synecdoche	Description of the whole through the part. The image of a person is recreated by describing clothes and appearance.
Comparison	The difference from metaphor is that there is both what is being compared and what is being compared with. In comparison there are often conjunctions - as if.
Epithet	The most common figurative definition. Adjectives are not always used for epithets.

Metaphor is a hidden comparison, the use of nouns and verbs in a figurative meaning. There is always no subject of comparison, but there is something with which it is compared. There are short and extended metaphors. Metaphor is aimed at external comparison of objects or phenomena.

Metonymy is a hidden comparison of objects based on internal similarity. This distinguishes this trope from a metaphor.

Syntactic means of expression

Stylistic (rhetorical) - figures of speech are designed to enhance the expressiveness of speech and artistic works.

Types of stylistic figures

Name of syntactic structure	Description
Anaphora	Using the same syntactic constructions at the beginning of adjacent sentences. Allows you to logically highlight a part of the text or a sentence.
Epiphora	Using the same words and expressions at the end of adjacent sentences. Such figures of speech add emotionality to the text and allow you to clearly convey intonation.
Parallelism	Constructing adjacent sentences in the same form. Often used to enhance a rhetorical exclamation or question.
Ellipsis	Deliberate exclusion of an implied member of a sentence. Makes speech more lively.
Gradation	Each subsequent word in a sentence reinforces the meaning of the previous one.
Inversion	The arrangement of words in a sentence is not in direct order. This technique allows you to enhance the expressiveness of speech. Give the phrase a new meaning.
Default	Deliberate understatement in the text. Designed to awaken deep feelings and thoughts in the reader.
Rhetorical appeal	An emphatic reference to a person or inanimate objects.
A rhetorical question	A question that does not imply an answer, its task is to attract the attention of the reader or listener.
Rhetorical exclamation	Special figures of speech to convey expression and tension of speech. They make the text emotional. Attract the attention of the reader or listener.
Multi-Union	Repeated repetition of the same conjunctions to enhance the expressiveness of speech.
Asyndeton	Intentional omission of conjunctions. This technique gives the speech dynamism.
Antithesis	A sharp contrast of images and concepts. The technique is used to create contrast; it expresses the author’s attitude towards the event being described.

Tropes, figures of speech, stylistic means of expression, and phraseological statements make speech convincing and vivid. Such phrases are indispensable in public speeches, election campaigns, rallies, and presentations. In scientific publications and official business speech, such means are inappropriate - accuracy and persuasiveness in these cases are more important than emotions.

Paths,

Lexical means

Syntactic means.

Let us consider which specific language means are included in each group. Don’t be intimidated by the volume of theoretical material; I’m sure you are familiar with these concepts. It is only necessary to systematize knowledge on this topic.

TRAILS:

TROPES is a generalized name for stylistic devices that consist of using a word in a figurative meaning.

METAPHOR - a type of allegory, transfer of meaning from one word to another based on similarity of characteristics, a hidden comparison in which there is no comparative phrase. For example: The bird cherry tree is pouring snow. (snow is like blooming bird cherry brushes). The red sun rolled down like a wheel behind the blue mountains (the sun is like a wheel).

Meaning: increases the accuracy of poetic speech and its emotional expressiveness.

METONYMY - replacement of one word or concept with another that has a causal or other connection with the first. For example: Here on new waves All flags will visit us. (the metonymy "all flags" replaces the verbose expression "ships of all countries flying different flags")

Meaning: technique of short expressive speech, saving lexical means.

IRONY (pretense) - the use of a word or expression in the opposite sense to the literal one, for the purpose of ridicule. For example: Ay, Moska, I know she is strong, That she barks at an elephant.

Meaning: creating a comic effect.

HYPERBOLE (exaggeration) - a figurative expression consisting of exaggeration of size, strength, beauty, etc. For example: ... the rocks trembled from their blows, the sky trembled from the menacing song.

Meaning: the imagery of satirical works is built on hyperboles. Hyperbolization is a source of humor, a means of ridicule.

PERSONIFICATION is a type of metaphor, the transfer of human properties to inanimate objects and abstract concepts. For example: Evening illuminated a star with a blue candle Above my road.

Meaning: increases the emotional expressiveness of the text.

SYNECDOCHE (generalization) is a special case of metonymy, the designation of a whole through its part. For example: Swede, Russian stabs, chops, cuts.

Meaning: gives speech brevity and expressiveness, enhances the expression of speech and gives it a deep generalizing meaning.

LITOTA (simplicity) is a figurative expression that downplays the size, strength, or significance of the described object or phenomenon. For example: Your Pomeranian, a lovely Pomeranian, is no bigger than a thimble.

Meaning: the simultaneous use of litotes and hyperbole sharply and strongly emphasizes the created image. Stylistic device of double negative. Serves as a means to create a satirical and humorous effect.

EPITHET - a figurative definition of an object or action. For example: On the shore of desert waves He stood full of great thoughts.

Meaning: Creates a visible image of an object, phenomenon, forms an emotional impression, conveys a psychological atmosphere, mood. Characterizes, explains some property, quality of a concept, object or phenomenon; the writer's worldview is embodied. An epithet in the description of nature as a means of expressing feelings, mood. An expression of a person's inner state.

ANTONOMASY (renaming) is a trope consisting in the use of a proper name in the meaning of a common noun, a type of metonymy. For example: in the Russian language, the use of the words Donquixote, Don Juan, Lovelace, etc. in a figurative sense has been established.

Meaning: This trope is often used in journalism. It is based on a rethinking of the names of historical figures, writers, and literary heroes. In fiction it is used as a means of figurative speech.

ALLEGORY - an allegorical image of an object or phenomenon with the aim of most clearly showing its essential features (in fables, riddles). The expression of an abstract concept or idea in a specific artistic image. For example: in fables and fairy tales, stupidity, stubbornness are embodied in the image of a Donkey, cowardice - a Hare, cunning - a Fox. The allegorical meaning can receive an allegorical expression: “autumn has come” can mean “old age has come.”

Meaning: widely used in Aesopian language - a manner that reveals resourcefulness in the invention of reservations, omissions and other deceptive means. Used to bypass censorship. With the help of allegory, ideas of deep philosophical content are expressed figuratively.

PERIPHRASE or PERIPHRASE (descriptive expression) is a stylistic device consisting of replacing the usual one-word name of an object or phenomenon with a descriptive expression. For example: Leo is the king of beasts. A sad time, the charm of the eyes (instead of “autumn”).

Meaning: essential aspects, characteristic features of an object or phenomenon are emphasized.

ARTISTIC SYMBOL - figurative words that replace the name of a life phenomenon, the concept of an object with its conventional designation, reminiscent of this phenomenon and giving it a new, deeper meaning. For example: Rain is a symbol of sadness and tears. The cuckoo is a symbol of a lonely, yearning woman. Birch is a symbol of Russia.

Meaning: gives the word a new, deeper meaning.

LEXICAL MEANS:

1. HOMONYMS are words that have different meanings, but are identical in pronunciation and spelling. For example, the water supply system systematically fails, and the repairmen do not have any system to work with.

Meaning: add liveliness and expressiveness to the language. They can give a comic coloring, ambiguity, and the nature of a pun. For example: A person with good command of the language is required to apply stamps.

2. SYNONYMS are words of the same part of speech that are close to each other in meaning. Synonyms form a synonymous series, for example, to feel fear, to be afraid, to be apprehensive, to be frightened, to be afraid, to be horrified, to be cowardly.

Meaning: indicate the richness of the language, serve to more accurately express thoughts and feelings.

3. ANTONYMS are words of the same part of speech that are opposite in meaning. For example, early - late, fall asleep - wake up, white - black.

Meaning: make speech bright, emotional. Serve to create contrast.

4. PARONYMS - words with the same root, similar in sound, but not the same in meaning. For example: imprints and typos (have different prefixes), unresponsive and irresponsible (have different suffixes).

5. COMMON VOCABULARY - words known to all speakers of Russian, used in all styles of speech, stylistically neutral. For example, spring, water, earth, night.

Meaning: denotes vital objects, actions, signs, phenomena.

5. DIALECTISM - these are words belonging to a specific dialect. Dialects are Russian folk dialects that contain a significant number of original words known only in a certain area. For example: kochet - rooster, gutarit - talk, beam - ravine.

Meaning: they evoke in the reader more vivid ideas about the place where the described events develop for the purpose of the character’s speech characteristics.

6. PROFESSIONALISM - these are words that are used in various fields of production, technology, etc. and which have not become generally used; terms - words that name special concepts of any sphere of production or science; professionalisms and terms are used by people of the same profession, in the same field of science. For example, abscissa (mathematics), affricates (linguistics); window - free time between lessons in the teacher's speech.

Meaning: used in fiction and journalism as an expressive means to describe a situation, create a production landscape, or verbally characterize a certain sphere of human activity.

7. JARGONISM - words limited in their use to a certain social or age environment. For example, they distinguish between youth (ancestors - parents), professional (nadomae - undershooting the landing sign), and camp jargon.

Meaning: jargon is used in works of fiction for the purpose of verbal characterization of characters and creating the desired flavor.

8. ARGO - a dialect of a certain social group of people (originally a thieves' language - "Fenya"), created for the purpose of linguistic isolation (Argonisms are used as a symbol, like an encrypted code, so that people who do not belong to this group cannot understand the meaning of these words). For example: ballerina - master key; kipish - disorder, shu; nix - danger; raspberry - stash.

Meaning: used in works of fiction for the purpose of verbal characterization of a character or creating a special flavor.

9. EMOTIONALLY COLORED WORDS - words expressing attitudes towards objects, signs, actions, etc. For example: a nag (not just a horse, but a bad horse), to lie (not just to tell a lie, but to tell it brazenly), to crave (not just to desire, but to desire passionately).

Meaning: serve to express the speaker’s attitude to what he is talking about, as well as to characterize the speaker.

10. ARCHAISMS - obsolete words that have modern synonyms that have replaced them in the language. For example: young - young, gold - gold; eye - eye, mouth - lips, behold - see.

Meaning: used to create the flavor of antiquity when depicting antiquity. They perform a vivid stylistic role, acting as a means of creating civil-patriotic pathos of speech. They are the source of the sublime sound of speech.

11. HISTORISM - words that served as the name of disappeared objects. concepts, phenomena. For example: tivun - an official in ancient Rus', hryvnia - the monetary unit of Kievan Rus, footman - a person who served in rich houses.

Meaning: they serve to create the flavor of antiquity, a bygone era, and give the description of past times historical authenticity.

12.NEOLOGISM - new words that appear in the language. For example: video phone, airbus, Internet.

Meaning: serve to denote those new concepts. which appeared in connection with the development of social relations, science, culture, and technology. They are a kind of technique for enhancing expressiveness.

13. BORROWED WORDS - words that came into the Russian language from other languages. For example: charter, sail, cedar (from Greek); sandwich, sprats, landscape (from German); veil, coat, taxi (from French); tenor, opera, flute (from Italian); sailor, cabin, boat (from Dutch); basketball, coach, comfort (from English).

Meaning: source of dictionary replenishment.

14. OLD SLAVANisms - borrowings from a closely related language associated with the baptism of Rus' and the development of spiritual culture.

Peculiarities:

a) combinations RA, LA, LE, corresponding to the Russian ORO, OLO, ERE. For example: temper - temper, gate - gate, gold - gold, shore - shore, captivity - full.

b) a combination of ZhD, corresponding to the Russian Zh. For example: leader, clothes, need.

d) suffixes STVIE, CHY, YNYA, TVA, USH, YUSCH, ASH, YASCH. For example: action, helmsman, pride, battle, burning, carrying.

e) prefixes IZ, IS, NIZ. For example: go away, overthrow. Meaning: they recreate the flavor of the era, giving an ironic touch.

15. TRADITIONAL POETIC WORDS - a group of words that was formed at the turn of the 18th-19th centuries and was used mainly in poetry. The main source is Slavicisms. For example: breg, voice, right hand, forehead, cheeks, fire, bush, lily, roses, myrtle, hand, golden, mellifluous, tree, spring, star.

Meaning: in the past, highly expressive vocabulary, without which not a single poetic work could do. In modern language, ironic use, stylization.

16. FOLK POETIC WORDS - words characteristic of oral folk poetry. For example: baby, share, little road, azure, sad, mediocre, ant, dumushka.

Meaning: create an emotional impression, serve as a means of expressing the national Russian character.

17. CONVERSATIONAL VOCABULARY - these are words. which are used in everyday speech, have a casual character and therefore are not always appropriate in written and book speech. For example: soda (sparkling water), blond (blonde, person with very blond hair), bubblegum (chewing gum).

Meaning: in book speech, this context is given a colloquial tone. Used in works of fiction for the purpose of speech characterization of characters.

18. COLLAR WORDS - words. expressions characterized by simplicity, a touch of rudeness and usually serving to express harsh assessments. Colloquial words stand on the border of literary language and are often undesirable even in ordinary conversation. For example: bashka (head), dreary (unpleasant), get confused (strengthen your consciousness).

Meaning: a means of speech characterization of heroes.

19. BOOK VOCABULARY - words that are used primarily in written speech, used in scientific works, official and business documents, and journalism. For example: hypothesis (scientific assumption), genesis (origin), addressee (person to whom the letter is sent).

Meaning: a means of speech characterization of heroes and phenomena.

20. TERMS - words or combinations of words denoting special concepts used in science, technology, and art. For example: leg, hypotenuse, morphology, conjugation, verb.

Meaning: serve for an accurate, strictly scientific definition of scientific and special concepts. Used to characterize the depicted environment and language.

21. PHRASEOLOGISTS - stable combinations of words that usually have a holistic meaning. For example: work with your sleeves rolled up, take care of it like the apple of your eye, put a spoke in your wheel.

Meaning: add brightness and expressiveness to speech.

22. WINGED WORDS - bright and apt expressions of writers, scientists, public figures, as well as folk proverbs and sayings. For example: Not for horse feed. How little has been lived, how much has been experienced.

Meaning: as a figurative means of revealing the inner appearance of a character, characteristics of his speech manner.

23. EMOTIONAL-EXPRESSIVE VOCABULARY - words that are evaluative in nature (as opposed to neutral vocabulary). For example: words with a positive connotation - valiant, radiant; words with a negative connotation - upstart, nonsense.

Meaning: the use of emotionally expressive vocabulary is associated with a specific task, a certain stylistic orientation of the text.

SYNTACTIC MEANS

Rhetorical appeal- a conditional address to someone within the framework of a monologue. This request does not open a dialogue and does not require a response. In reality, this is a statement in the form of an address. So, instead of saying, “My city is mutilated,” a writer might say, “My city! How they mutilated you!”

This makes the statement more emotional and personal.

Syntactic means can be divided into 2 groups:

1. related to repetitions

multi-union,

asyndeton,

syntactic parallelism,

gradation

2. not related to repetitions

a rhetorical question,

rhetorical exclamation

rhetorical appeal

parcellation,

inversion,

paraphrase,

LEXICAL-SYNTACTIC MEANS

1. Oxymoron is a technique when one concept is defined through its impossibility. As a result, both concepts partially lose their meaning, and a new meaning is formed. The peculiarity of an oxymoron is that it always provokes the generation of meaning: the reader, faced with a blatantly impossible phrase, will begin to “complete” meanings. Writers and poets often use this technique to say something briefly and succinctly. In some cases, the oxymoron is striking (“Living Corpse” by L.N. Tolstoy, “Hot Snow” by Yu. Bondarev), in others it may be less noticeable, revealing itself upon a more thoughtful reading (“Dead Souls” by N.V. Gogol - after all, the soul has no death, the “dead green branches” of Pushkin’s anchar - after all, the green foliage of a tree is a sign of life, not death).

2. Catachresis is a deliberately illogical statement that has an expressive meaning. “Yes, she’s a fish! And her hands are kind of white, like fish.” It is clear that a fish cannot have arms; the metaphor is based on catachresis.

3. Antithesis - a sharp opposition of something, emphasized syntactically. A classic example of antithesis is Pushkin’s characterization of the relationship between Lensky and Onegin:

They got along. Wave and stone

Poetry and prose, ice and fire

Not so different from each other.

Let us note that in Pushkin the emphasized antithesis is partially removed by the next line, which makes the situation ambiguous.

Secondly, analyze the list of terms listed in the task. Group them:

Mark the trails with the letter "T"

lexical means - "L",

syntactic means - "C".

Here's what we came up with (list of terms from the 2013 demo project):

1. anaphora - C

2. metaphor - T

3. hyperbole - T

4. professional vocabulary - L

5. parcellation - C

6. lexical repetition - C

7. opposition - C

8. epithets - T

9. contextual synonyms - L

Thus, the search area for the specified language tool has narrowed noticeably.

The assignment says that the first 3 means are paths.

There are 3 of them in the list: metaphor, hyperbole, epithets.

All we have to do is arrange them in the right order.

We recall the definitions of these linguistic means and re-read the examples indicated in brackets.

We compare definitions with examples.

We arrange the numbers in the correct order: 2,8,3.

It remains to determine the last linguistic means. It is not specified which group it belongs to. Therefore, we exclude only trails from the list, because... There should be no repetition of numbers.

We have 6 concepts left. Let's re-read the examples again. The situation becomes clearer when we turn to these proposals. We are talking about linguistic means number 6.

Mission accomplished!

2. Find the words in the text of the review: tropes, lexical means, syntactic means.

4. Group concepts.

5. Remember the definitions of these concepts and compare them with examples.

6. Arrange the numbers in the correct order.

Author's punctuation – This is a placement of punctuation marks not provided for by punctuation rules. Author's signs convey the additional meaning invested in them by the author. Most often, a dash is used as copyright symbols, which emphasizes or contrasts: Born to crawl, cannot fly, or emphasizes the second part after the sign: Love is the most important thing. The author's exclamation marks serve as a means of expressing a joyful or sad feeling or mood.

Anaphora, or unity of command -(Greek anaphora - bringing up). A stylistic figure consisting in the repetition of the same elements at the beginning of each parallel series (verse, stanza, prose passage).

Sound anaphora. Repetition of the same combinations of sounds.

Bridges demolished by a thunderstorm, Coffins from a washed-out cemetery.(Pushkin)

Anaphora is morphemic. Repeating the same morphemes or parts of complex words. ...The black-eyed maiden, the black-maned horse!(Lermontov)

Lexical anaphora. Repeating the same words It was not in vain that the winds blew, It was not in vain that the storm came.(Yesenin)

Anaphora is syntactic. Repetition of the same syntactic structures. Do I wander along noisy streets, Do I enter a crowded temple, Do I sit among crazy youths, Do I indulge in my dreams.(Pushkin)

Anaphora strophic(repetition of the same elements at the beginning of stanzas). See the poem by M. Yu. Lermontov “When the yellowing field is agitated...”.

Antithesis – a stylistic device that consists of a sharp contrast of concepts, characters, images, creating the effect of sharp contrast. It helps to better convey, depict contradictions, and contrast phenomena. Serves as a way to express the author’s view of the described phenomena, images, etc.

Exclamation particles - a way of expressing the author’s emotional mood, a technique for creating the emotional pathos of the text: ABOUT, how beautiful you are, my land! How good are your fields?!

Exclamatory sentences express the author’s emotional attitude to what is being described (anger, irony, regret, joy, admiration): Ugly attitude! How can you preserve happiness! Exclamatory sentences also express a call to action: Let's preserve our soul as a shrine!

Gradation – a stylistic figure, which implies the subsequent intensification or, conversely, weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech: For the sake of your child, for the sake of your family, for the sake of the people, for the sake of humanity - take care of the world! The gradation can be ascending (strengthening the characteristic) and descending (weakening the characteristic).

Inversion -(from Latin inversio – rearrangement) – changing the order of words in a sentence to achieve a certain artistic goal, for example, to enhance emotional perception. A swift stream runs down the mountain (Tyutchev). This reverse word order in a sentence. In direct order, the subject precedes the predicate, the agreed definition comes before the word being defined, the inconsistent definition comes after it, the object comes after the control word, the adverbial manner of action comes before the verb: Modern youth quickly realized the falsity of this truth. And with inversion, words are arranged in a different order than established by grammatical rules. This is a strong expressive means used in emotional, excited speech: My beloved homeland, my dear land, should we take care of you!

Compositional joint – This is the repetition at the beginning of a new sentence of a word or words from a previous sentence, usually ending it: She did everything for meHomeland. Motherland taught me, raised me, gave me a start inlife. Life, which I'm proud of.

Multi-union – a rhetorical figure consisting of the deliberate repetition of coordinating conjunctions for the logical and emotional highlighting of the listed concepts: AND there was no thunderAnd the sky didn't fall to the ground,And the rivers did not overflow from such grief!

Parcellation – the technique of dividing a phrase into parts or even into individual words. Its goal is to give speech intonation expression by abruptly pronouncing it: The poet suddenly stood up. He turned pale.

Repeat – conscious use of the same word or combination of words in order to strengthen the meaning of this image, concept, etc.: Pushkin wassufferer, sufferer in the full sense of the word.

Connecting structures – construction of a text in which each subsequent part, continuing the first, main part, is separated from it by a long pause, which is indicated by a dot, sometimes an ellipsis or a dash. This is a means of creating the emotional pathos of the text: Belorussky railway station on Victory Day. And a crowd of greeters. And tears. And the bitterness of loss.

Rhetorical questions and rhetorical exclamations - a special means of creating emotionality in speech and expressing the author’s position.

Who hasn’t cursed the stationmasters, who hasn’t sworn at them? Who, in a moment of anger, did not demand from them a fatal book in order to write into it his useless complaint about oppression, rudeness and malfunction? Who does not consider them monsters of the human race, equal to the late clerks or, at least, the Murom robbers?

What summer, what summer? Yes, this is just witchcraft!

Syntactic parallelism – identical construction of several adjacent sentences. With its help, the author strives to highlight and emphasize the expressed idea: Mother is an earthly miracle. Mother is a sacred word.

A combination of short simple and long complex or complicated sentences with various turns of phrase helps convey the pathos of the article and the emotional mood of the author.

“Binoculars. Binoculars. people want to be closer to Gioconda. Examine the pores of her skin, eyelashes. The glare of the pupils. They seem to feel the breath of Mona Lisa. They, like Vasari, feel that “Gioconda’s eyes have that sparkle and that moisture that is usually visible in a living person... and in the deepening of the neck, with a careful look, you can see the beating of the pulse... And they see and hear it. And this is not a miracle. Such is Leonardo's skill."

"1855. The zenith of Delacroix's fame. Paris. Palace of Fine Arts... in the central hall of the exhibition there are thirty-five paintings by the great romantic."

One-part, incomplete sentences make the author’s speech more expressive, emotional, enhance the emotional pathos of the text: Gioconda. Human babble. Whisper. The rustle of dresses. Quiet steps... Not a single stroke, I hear the words. - No brush strokes. Like alive.

Epiphora – the same ending of several sentences, reinforcing the meaning of this image, concept, etc.: I've been walking all my lifeto you. All my life I believedinto you. I've loved all my lifeyou.

Table 3. Identification of figurative and expressive means (example)

“Everything is mine,” said the gold; “Everything is mine,” said the damask steel; “I’ll buy everything,” said the gold; “I’ll take everything,” said the damask steel.	A nafora, epiphora	To strengthen the previous word
You are both poor, you are also abundant, you are also powerful, you are also powerless, Mother Rus'	antithesis, rhetorical exclamation, rhetorical appeal	to create contrast
Yes, it was bad weather! What a thunderstorm there! A whirlwind, a hurricane, a cyclone, a tornado, a typhoon hit us	gradation	gives the impression of increasing or decreasing
The forest drops its crimson attire, The frost silvers the withered field	inversion	arrangement of words in a special order to enhance expressiveness
Young old age. Not everyone has such happiness!	oxymoron	adds originality
Singing about Russia means striving to go to church. Singing about Russia - what to celebrate spring	syntactic parallelism	identical sentence construction
A den for the beast, a road for the wanderer	ellipsis	gives life to speech
No, I wanted: maybe you...	default	deliberate understatement so that the reader completes the picture
This summer I saw the sea. First time.	parcellation	part of the sentence is separated from the main one to focus attention
Swede, Russian stabs, chops, cuts	asyndeton	shows dynamics
And the sling, and the arrow, and the crafty dagger spare the victor for years	multi-union	emphasizes uniformity, gives expressiveness

Literary analysis of lyricalworks

As an example of literary analysis, let us turn to the poem by M.Yu. Lermontov "Farewell, unwashed Russia...":

Goodbye, unwashed Russia,

Country of slaves, country of masters.

And you, blue uniforms,

And you, their devoted people.

Perhaps behind the wall of the Caucasus

I'll hide from your pashas,

From their all-seeing eye,

From their all-hearing ears.

1. The poem “Farewell, unwashed Russia...” was written in 1841 before the poet’s second exile to the Caucasus. Published only in 1887. 40s of the 19th century. characterized as a time of social passivity of society, which replaced the national upsurge of the people in the Patriotic War of 1812 and the Decembrist uprising of 1825.

2. The work belongs to the mature stage in the work of M.Yu. Lermontov, the heyday of his poetic talent. In the 40s, such masterpieces of the poet’s civil lyrics were written as “January 1st”, “Both boring and sad...”, “Motherland”, “Clouds”, etc. The poem “Farewell, unwashed Russia... "reflects the traditions of Decembrist poetry with its high civic pathos and call for social protest. For this stage in the work of M.Yu. Lermontov was characterized by a sharply critical perception of reality, bitterness and a motive of loneliness, a feeling of deep discrepancy between dreams and real life. All these features are reflected in the poem under consideration.

3. The work refers to the lyrics and is characterized by a pronounced subjective attitude to the described reality. This is a lyrical monologue by the author, which contains a challenge to autocratic Russia. The work is distinguished by limited descriptiveness, rhetoric, and convention (cf., for example, a hint of total surveillance, eavesdropping, suppression of freedom, dissent - thanks to hyperbolization and the ability to turn a detail into a symbol: from their all-seeing eyes, from their all-hearing ears).

4. The work belongs to the genre lyric poem - this is an appeal to “the country of slaves, the country of masters.” The accusatory pathos of the work, its angry intonation and clear rhythm are formed not only thanks to the special vocabulary and syntax, but also to the poetic meter chosen by the author - iambic tetrameter. N.S. Gumilev said about this size: “Each meter has its own soul, its own characteristics and tasks. Iambic, as if descending in steps, ... is free, clear, firm and perfectly conveys human speech, the intensity of human will.” The latter is especially noticeable in the analyzed poem.

The factors of “unity of the verse series” and “its tightness”, noted by Yu.N. Tynyanov in poetry are fully characteristic of the work under consideration, which is distinguished by the harmonious correspondence of form and content, the accuracy of poetic word usage and the aesthetic motivation of syntactic constructions. Semantic richness, laconicism, lack of verbosity, and rhetoric constitute important features of the poem.

The theme of the poem can be described as civil, anti-serfdom. This is a work about the homeland, full of pain and bitterness for the people who are passive and oppressed by the autocracy. The poem is characterized by monologism, a tendency towards expressiveness and open evaluation.

6. The main theme of the work is the homeland and the fate of the Russian people. This is a cross-cutting theme in Lermontov’s poetry (cf. poems: “Russian Song”, “Autumn”, “Will”, “The Last Son of Liberty”, “You are beautiful, the fields of your native land ...”, “I look at the future with fear”, "Motherland", "Duma"). Unlike other works by Lermontov, where there is a contrast between the heroic past of Russia and the gloomy reality, the poem in question presents the poet’s contemporary Russia with its despotic orders worthy of denunciation.

7. The composition of a small poem, consisting of two stanzas, is simple. The key statement - a maxim that reflects the theme and idea of ​​the work, opens the work, built in the form of an excited monologue-reflection of the lyrical hero. The following presentation reveals and complements the meaning of the key statement. Thus, the general logical scheme of a poetic text includes a thesis and arguments (Scheme 6).

8. As for pathos of the analyzed poem, then it can be defined as a combination of tragic and satirical with elements of irony.

The pathos of the work is associated with the poet’s characteristic state of “transition” from romanticism to realism, their peculiar combination. The text reveals the author's reflection, his self-absorption, tragic discord with the surrounding reality, longing for the lofty, perfect, characteristic for the romantic. At the same time, the poem embodies specific historical details of a certain stage in the development of society, expressed in artistic form; the author openly criticizes the existing order of things in the spirit realism. The poetic work under consideration presents conventional forms characteristic of a satirical image: periphrase blue uniforms(about the royal gendarmes - guardians of the autocratic order, who wore blue uniforms); pasha(their ironic designation after the name of Turkish military dignitaries); all-seeing eye, all-hearing ears - symbols representing the brutal order in the country, based on denunciations and surveillance. Rhetoric, distinguishing the poem is expressed by the excited appeal “Farewell, unwashed Russia...”, the use of bright epithets, synecdoche and periphrasis (blue uniforms), metaphors (unwashed Russia, wall of the Caucasus), hyperbole (From their all-seeing eyes, / From their all-hearing ears).

9. General emotional tone works - angry, indignant, painted with pain and bitterness for the desecrated people. The key images in the work are the images of Russia, the people and the tsarist gendarmes. If in the poem “Motherland” the poet admitted: “I love the Fatherland, but with a strange love...”, then the analyzed text reveals this “strangeness” and a special attitude towards Russia, reflecting a complex range of feelings: hatred and love, pain and bitterness. The evaluative epithet “unwashed”, i.e. dirty,- in the context of the poem it has the actual meaning of “trans. immoral, immoral." The following presentation reveals the essence of this through the use of contrast: country of slaves, country of masters. In shaping the image of a people silently remaining in slavery, an important role belongs to the epithet “devoted” (And you, their devoted people). Devotee - i.e. “full of love and fidelity”, humble. It is this circumstance that deeply outrages the lyrical hero, filling his heart with pain.

The images of the royal gendarmes are very expressive, formed on the basis of the associative-semantic connection of lexical means: blue uniforms, pashas, ​​all-seeing eyes, all-hearing ears. The image of the lyrical hero in this work is colored tragically. This is a brave, proud person, deeply suffering for his homeland, denying the obedience and humility of the people and the royal order. Regarding the chronotope, it is interesting to note that the poem presents images of the present time (“here” and “now”) - Goodbye, unwashed Russia... and the future: - Perhaps behind the wall of the Caucasus I will hide from your pashas... The image of space as visible and imaginary, large-scale and distant (Caucasus wall) is actualized in the reflections of the lyrical hero. In general, the figurative structure of the poem is aimed at expressing its idea.

I. idea works can be defined as active rejection and condemnation of autocracy and social passivity of the people. High civic pathos distinguishes this poem, which was perceived as a challenge to feudal Russia.

1. Artistic Features poems are determined by its ideological and thematic originality and high civic pathos. They have already been discussed in part in connection with the characteristics rhetoric poetic text. All visual and expressive means are aimed at creating an accusatory tone, being focused on key images. Techniques of rhetorical appeal and contrast at the beginning of a poem (Farewell, unwashed Russia, Land of slaves, / Land of masters) determine the subsequent artistic development of the text. The contrast is enhanced by the juxtaposition of images people and royal gendarmes due to synecdoche, periphrasis and expressive epithet:

And you, the blue uniforms, And you, the people devoted to them.

Using metaphors (wall of the Caucasus, unwashed Russia), hyperbole in the formation of a generalized image of autocratic despotism, total surveillance and eavesdropping (From their all-seeing eyes, / From their all-hearing ears) is very expressive and pragmatically effective.

Thus, a system of bright artistic means and techniques forms the figurative structure of the work, expressing its ideological content.

The poem is typical of the late poetry of M.Yu. Lermontov and reflects his individual stylistic features: romantic pathos combined with historically specific realistic authenticity in the description of social realities of the 40s of the 19th century, open social protest and rejection of the autocratic system; increased expression and variety of visual and expressive means.

Let's summarize:

Literary analysis constitutes the third stage of philological analysis of a literary text.

The object of literary analysis is mainly content work of art,

Immanent analysis of a literary work must be supplemented projection, taking into account the cultural and historical context of the era. Literary analysis includes the study of the time and circumstances of the writing of a work; its place in the writer’s work; determination of the literary type of a work and genre; main issues; Topics; compositions; the pathos of the work and emotional tonality; figurative structure; ideas and artistic features.

Literary analysis complements and deepens the understanding of the content of a literary text and the creative personality of the author, obtained on the basis of linguistic and stylistic analysis of the text.

Speech. Analysis of means of expression.

It is necessary to distinguish between tropes (visual and expressive means of literature) based on the figurative meaning of words and figures of speech based on the syntactic structure of the sentence.

Lexical means.

Typically, in a review of assignment B8, an example of a lexical device is given in parentheses, either as one word or as a phrase in which one of the words is in italics.

synonyms(contextual, linguistic) – words close in meaning	soon - soon - one of these days - not today or tomorrow, in the near future
antonyms(contextual, linguistic) – words with opposite meanings	they never said you to each other, but always you.
phraseological units– stable combinations of words that are close in lexical meaning to one word	at the end of the world (= “far”), tooth does not touch tooth (= “frozen”)
archaisms- outdated words	squad, province, eyes
dialectism– vocabulary common in a certain territory	smoke, chatter
bookstore, colloquial vocabulary	daring, companion; corrosion, management; waste money, outback

Paths.

In the review, examples of tropes are indicated in parentheses, like a phrase.

Types of tropes and examples for them are in the table:

metaphor– transferring the meaning of a word by similarity	dead silence
personification- likening any object or phenomenon to a living being	dissuadedgolden grove
comparison– comparison of one object or phenomenon with another (expressed through conjunctions as if, as if, comparative degree of adjective)	bright as the sun
metonymy– replacing a direct name with another by contiguity (i.e. based on real connections)	The hiss of foamy glasses (instead of: foaming wine in glasses)
synecdoche– using the name of a part instead of the whole and vice versa	a lonely sail turns white (instead of: boat, ship)
paraphrase– replacing a word or group of words to avoid repetition	author of “Woe from Wit” (instead of A.S. Griboyedov)
epithet– the use of definitions that give the expression figurativeness and emotionality	Where are you going, proud horse?
allegory– expression of abstract concepts in specific artistic images	scales – justice, cross – faith, heart – love
hyperbola- exaggeration of the size, strength, beauty of the described	at one hundred and forty suns the sunset glowed
litotes- understatement of the size, strength, beauty of the described	your spitz, lovely spitz, no more than a thimble
irony- the use of a word or expression in a sense contrary to its literal meaning, for the purpose of ridicule	Where are you, smart one, wandering from, head?

Figures of speech, sentence structure.

In task B8, the figure of speech is indicated by the number of the sentence given in brackets.

epiphora– repetition of words at the end of sentences or lines following each other	I'd like to know. Why do I titular councilor? Why exactly titular councilor?
gradation– construction of homogeneous members of a sentence with increasing meaning or vice versa	I came, I saw, I conquered
anaphora– repetition of words at the beginning of sentences or lines following each other	Irontruth - alive to envy, Ironpestle, and iron ovary.
pun– pun	It was raining and there were two students.
rhetorical exclamation (question, appeal) – exclamatory, interrogative sentences or sentences with appeals that do not require a response from the addressee	Why are you standing there, swaying, thin rowan tree? Long live the sun, may the darkness disappear!
syntactic parallelism– identical construction of sentences	young people are welcome everywhere, We honor old people everywhere
multi-union– repetition of redundant conjunction	And the sling and the arrow and the crafty dagger The years are kind to the winner...
asyndeton– construction of complex sentences or a series of homogeneous members without conjunctions	The booths and women flash past, Boys, benches, lanterns...
ellipsis- omission of an implied word	I'm getting a candle - a candle in the stove
inversion– indirect word order	Our people are amazing.
antithesis– opposition (often expressed through conjunctions A, BUT, HOWEVER or antonyms	Where there was a table of food, there is a coffin
oxymoron– a combination of two contradictory concepts	living corpse, ice fire
citation– transmission in the text of other people’s thoughts and statements indicating the author of these words.	As it is said in the poem by N. Nekrasov: “You have to bow your head below a thin epic…”
questionably-response form presentation– the text is presented in the form of rhetorical questions and answers to them	And again a metaphor: “Live under minute houses...”. What does this mean? Nothing lasts forever, everything is subject to decay and destruction
ranks homogeneous members of the sentence– listing homogeneous concepts	A long, serious illness and retirement from sports awaited him.
parcellation- a sentence that is divided into intonational and semantic speech units.	I saw the sun. Over your head.

Remember!

When completing task B8, you should remember that you are filling in the gaps in the review, i.e. you restore the text, and with it both semantic and grammatical connections. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates consistent with the omissions, etc.

It will make it easier to complete the task and divide the list of terms into two groups: the first includes terms based on changes in the meaning of the word, the second - the structure of the sentence.

Analysis of the task.

(1) The Earth is a cosmic body, and we are astronauts making a very long flight around the Sun, together with the Sun across the infinite Universe. (2) The life support system on our beautiful ship is so ingeniously designed that it is constantly self-renewing and thus allows billions of passengers to travel for millions of years.

(3) It is difficult to imagine astronauts flying on a ship through outer space, deliberately destroying a complex and delicate life support system designed for a long flight. (4) But gradually, consistently, with amazing irresponsibility, we are putting this life support system out of action, poisoning rivers, destroying forests, and spoiling the World Ocean. (5) If on a small spaceship the astronauts begin to fussily cut wires, unscrew screws, and drill holes in the casing, then this will have to be classified as suicide. (6) But there is no fundamental difference between a small ship and a large one. (7) The only question is size and time.

(8) Humanity, in my opinion, is a kind of disease of the planet. (9) They started, multiplied, and swarmed with microscopic creatures on a planetary, and even more so on a universal scale. (10) They accumulate in one place, and immediately deep ulcers and various growths appear on the body of the earth. (11) One has only to introduce a drop of a harmful (from the point of view of the earth and nature) culture into the green coat of the Forest (a team of lumberjacks, one barracks, two tractors) - and now a characteristic, symptomatic painful spot spreads from this place. (12) They scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste.

(13) Unfortunately, such concepts as silence, the possibility of solitude and intimate communication between man and nature, with the beauty of our land, are just as vulnerable as the biosphere, just as defenseless against the pressure of so-called technological progress. (14) On the one hand, a person, delayed by the inhuman rhythm of modern life, overcrowding, a huge flow of artificial information, is weaned from spiritual communication with the outside world, on the other hand, this external world itself has been brought into such a state that sometimes it no longer invites a person to spiritual communication with him.

(15) It is unknown how this original disease called humanity will end for the planet. (16) Will the Earth have time to develop some kind of antidote?

(According to V. Soloukhin)

“The first two sentences use the trope of ________. This image of the “cosmic body” and “astronauts” is key to understanding the author’s position. Reasoning about how humanity behaves in relation to its home, V. Soloukhin comes to the conclusion that “humanity is a disease of the planet.” ______ (“scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste”) convey the negative actions of man. The use of _________ in the text (sentences 8, 13, 14) emphasizes that everything said to the author is far from indifferent. Used in the 15th sentence, ________ “original” gives the argument a sad ending that ends with a question.”

List of terms:

1. epithet
2. litotes
3. introductory words and plug-in constructions
4. irony
5. extended metaphor
6. parcellation
7. question-and-answer form of presentation
8. dialectism
9. homogeneous members of the sentence

We divide the list of terms into two groups: the first – epithet, litotes, irony, extended metaphor, dialectism; the second – introductory words and inserted constructions, parcellation, question-answer form of presentation, homogeneous members of the sentence.

It is better to start completing the task with gaps that do not cause difficulties. For example, omission No. 2. Since a whole sentence is presented as an example, some kind of syntactic device is most likely implied. In a sentence “they scurry about, multiply, do their job, eating away the subsoil, depleting the fertility of the soil, poisoning the rivers and oceans, the very atmosphere of the Earth with their poisonous waste” series of homogeneous sentence members are used : Verbs scurrying around, multiplying, doing business, participles eating away, exhausting, poisoning and nouns rivers, oceans, atmosphere. At the same time, the verb “transfer” in the review indicates that a plural word should take the place of the omission. In the list in the plural there are introductory words and inserted constructions and homogeneous clauses. A careful reading of the sentence shows that the introductory words, i.e. Those constructions that are not thematically related to the text and can be removed from the text without loss of meaning are absent. Thus, in place of gap No. 2, it is necessary to insert option 9) homogeneous members of the sentence.

Blank No. 3 shows sentence numbers, which means the term again refers to the structure of sentences. Parcellation can be immediately “discarded”, since authors must indicate two or three consecutive sentences. The question-answer form is also an incorrect option, since sentences 8, 13, 14 do not contain a question. What remains are introductory words and plug-in constructions. We find them in the sentences: In my opinion, unfortunately, on the one hand, on the other hand.

In place of the last gap, it is necessary to substitute a masculine term, since the adjective “used” must be consistent with it in the review, and it must be from the first group, since only one word is given as an example “ original". Masculine terms – epithet and dialectism. The latter is clearly not suitable, since this word is quite understandable. Turning to the text, we find what the word is combined with: "original disease". Here the adjective is clearly used in a figurative sense, so we have an epithet.

All that remains is to fill in the first gap, which is the most difficult. The review says that this is a trope, and it is used in two sentences where the image of the earth and us, people, is reinterpreted as the image of a cosmic body and astronauts. This is clearly not irony, since there is not a drop of mockery in the text, and not litotes, but rather, on the contrary, the author deliberately exaggerates the scale of the disaster. Thus, the only possible option remains - metaphor, the transfer of properties from one object or phenomenon to another based on our associations. Expanded - because it is impossible to isolate a separate phrase from the text.

Answer: 5, 9, 3, 1.

Practice.

(1) As a child, I hated matinees because my father came to our kindergarten. (2) He sat on a chair near the Christmas tree, played his button accordion for a long time, trying to find the right melody, and our teacher sternly told him: “Valery Petrovich, move up!” (3) All the guys looked at my father and choked with laughter. (4) He was small, plump, began to go bald early, and although he never drank, for some reason his nose was always beet red, like a clown’s. (5) Children, when they wanted to say about someone that he was funny and ugly, said this: “He looks like Ksyushka’s dad!”

(6) And I, first in kindergarten and then at school, bore the heavy cross of my father’s absurdity. (7) Everything would be fine (you never know what kind of fathers anyone has!), but I didn’t understand why he, an ordinary mechanic, came to our matinees with his stupid accordion. (8) I would play at home and not disgrace either myself or my daughter! (9) Often getting confused, he groaned thinly, like a woman, and a guilty smile appeared on his round face. (10) I was ready to fall through the ground from shame and behaved emphatically coldly, showing with my appearance that this ridiculous man with a red nose had nothing to do with me.

(11) I was in third grade when I caught a bad cold. (12) I started getting otitis media. (13) I screamed in pain and hit my head with my palms. (14) Mom called an ambulance, and at night we went to the district hospital. (15) On the way, we got into a terrible snowstorm, the car got stuck, and the driver, shrilly, like a woman, began to shout that now we would all freeze. (16) He screamed piercingly, almost cried, and I thought that his ears also hurt. (17) Father asked how long was left to the regional center. (18) But the driver, covering his face with his hands, kept repeating: “What a fool I am!” (19) Father thought and quietly said to mother: “We will need all the courage!” (20) I remembered these words for the rest of my life, although wild pain swirled around me like a snowflake in a snowstorm. (21) He opened the car door and went out into the roaring night. (22) The door slammed behind him, and it seemed to me as if a huge monster, clanging its jaws, swallowed my father. (23) The car was rocked by gusts of wind, and snow rustled down on the frost-covered windows. (24) I cried, my mother kissed me with cold lips, the young nurse looked doomedly into the impenetrable darkness, and the driver shook his head in exhaustion.

(25) I don’t know how much time passed, but suddenly the night was illuminated by bright headlights, and the long shadow of some giant fell on my face. (26) I closed my eyes and saw my father through my eyelashes. (27) He took me in his arms and pressed me to him. (28) In a whisper, he told his mother that he had reached the regional center, raised everyone to their feet and returned with an all-terrain vehicle.

(29) I dozed in his arms and through my sleep I heard him coughing. (30) Then no one attached any importance to this. (31) And for a long time afterwards he suffered from double pneumonia.

(32)…My children are perplexed why, when decorating the Christmas tree, I always cry. (33) From the darkness of the past, my father comes to me, he sits under the tree and puts his head on the button accordion, as if he secretly wants to see his daughter among the dressed-up crowd of children and smile cheerfully at her. (34) I look at his face shining with happiness and also want to smile at him, but instead I start crying.

(According to N. Aksenova)

Read a fragment of a review compiled on the basis of the text that you analyzed while completing tasks A29 - A31, B1 - B7.

This fragment examines the linguistic features of the text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list. If you do not know which number from the list should appear in the blank space, write the number 0.

Write down the sequence of numbers in the order in which you wrote them down in the text of the review where there are gaps in answer form No. 1 to the right of task number B8, starting from the first cell.

“The narrator’s use of such a lexical means of expression as _____ to describe the blizzard (“terrible blizzard", "impenetrable darkness"), gives the depicted picture expressive power, and such tropes as _____ (“pain circled me” in sentence 20) and _____ (“the driver began to scream shrilly, like a woman” in sentence 15), convey the drama of the situation described in the text . A device such as ____ (in sentence 34) enhances the emotional impact on the reader.”

Sentences in Russian are constructed using syntactic means: word forms, function words, word order, intonation. Word forms are the main means: they connect the members of a sentence, express the relationships between them, and can also directly convey grammatical meanings. For example: Redela shadow Vostok alel (P.) conjugated verb forms, with the help of number and gender endings, agree with the subject, and through the suffix -l- they express the meanings of real modality (indicative mood) and past tense.

Function words are an auxiliary tool. Some of them (prepositions, conjunctions) participate in the grammatical connection of word forms: From being unaccustomed to crying and tears, his own eyes itched (Ch.); others express shades of the grammatical meaning of word forms, members of a sentence (particles) or general grammatical meanings of a sentence (connectives): The world was still not signed (A.T.).

Word order also helps formulate a grammatical connection or express the meaning of a member of a sentence; for example, in the sentences My brother is a teacher and Teacher is my brother, the subject and predicate are distinguished using word order: the subject is placed before the predicate.

Intonation shapes the sentence as a whole, expresses its completeness, and conveys emotional overtones. Thanks to changes in pitch, voice strength, tempo, and pauses, intonation helps to convey the grammatical and semantic division of a sentence, to highlight and emphasize individual parts. With the help of intonation, such general meanings of a sentence as narrative, question, motivation are conveyed; Wed: Morning. - Morning? (question); Silence. - Silence! (order).

Intonation is a universal grammatical, semantic, emotional and stylistic means of the Russian language, characteristic only of a sentence.

Modern Russian literary language / Ed. P. A. Lekanta - M., 2009