Expand the role of poetic means in the artistic structure of the word. The role of poetic means in the artistic structure. Means of artistic expression in "The Tale of Igor's Campaign. Report questions. What is "trope"

1. The originality of the genre "Words ...".
2. Features of the composition.
3. Linguistic features of the work.

Is it not fitting for us, brothers, to begin with the old words of military stories about the campaign of Igor, Igor Svyatoslavich? To begin this song according to the true stories of our time, and not according to the custom of Boyanov.

"The Tale of Igor's Campaign" Literary critics have long recognized the undoubted artistic value of this work of ancient Russian literature - "The Tale of Igor's Campaign". Most researchers of this literary monument agree that the "Word ..." was created in the 12th century, that is, shortly after the events it is about. The work tells about a real historical event - the unsuccessful campaign of Prince Igor Novgorod-Seversky against the Polovtsian steppes, which ended in the complete defeat of the prince's squad and the capture of Igor himself. References to this campaign were also found in a number of other written sources. As for the "Word...", the researchers primarily consider it as a work of art, and not as historical evidence.

What are the features of this work? Even with a superficial acquaintance with the text of the work, it is easy to notice its emotional richness, which, as a rule, the dry lines of annals and chronicles are deprived of. The author praises the valor of the princes, laments about the dead soldiers, points out the reasons for the defeats that the Russians suffered from the Polovtsy... Such an active author's position, atypical for a simple statement of facts, which is what chronicles are, is quite natural for a literary work of art.

Speaking about the emotional mood of "Words ...", it is necessary to say about the genre of this work, an indication of which is already contained in its very title. "The Word..." is also an appeal to the princes with a call for unity, that is, speech, narration and song. Researchers believe that its genre is best defined as a heroic poem. Indeed, this work has the main features that characterize the heroic poem. The “Lay…” tells about the events, the consequences of which turned out to be significant for the whole country, and also praises military prowess.

So, one of the means of artistic expression of the "Word ..." is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved due to compositional features. What is the composition of the monument of Ancient Russia? IN storyline this work can be seen in three main parts: this is actually the story of Igor's campaign, the sinister dream of the Kiev prince Svyatoslav and the "golden word" addressed to the princes; lamentation of Yaroslavna and Igor's escape from the Polovtsian captivity. In addition, "The Word ..." consists of thematically integral pictures-songs, which often end with phrases that play the role of a chorus: "seeking honor for oneself, and glory for the prince", "O Russian land! You are already behind the hill! ”,“ For the Russian land, for the wounds of Igor, the buoy of Svyatoslavich.

An important role in enhancing the artistic expressiveness of the "Words ..." is played by pictures of nature. Nature in the work is by no means a passive background historical events;. She acts as a living being, endowed with reason and feelings. A solar eclipse before a hike portends trouble:

“The sun blocked his path with darkness, the night awakened with the wailing of formidable birds, the whistle of the beast rose, Div started up, calls on the top of the tree, orders to listen to a foreign land: the Volga, and Pomorie, and Posulia, and Surozh, and Korsun, and you, the Tmutorokan idol” .

The image of the sun is very symbolic, the shadow of which covered the entire army of Igor. In the literary works of princes, rulers were sometimes compared with the sun (recall the epics about Ilya Muromets, where the Kiev prince Vladimir is called the Red Sun). Yes, and in the "Word ..." Igor and his relatives-princes are compared with four suns. But not light, but darkness falls on the warriors. The shadow, the darkness that enveloped Igor's squad is a harbinger of imminent death.

The reckless determination of Igor, who is not stopped by an omen, makes him related to the mythical demigod heroes, intrepidly ready to meet their fate. The prince's desire for glory, his unwillingness to turn back, fascinates with its epic scope, probably also because we know that this campaign is already doomed: “Brothers and squad! It is better to be killed than to be captured; So let's sit down, brothers, on our greyhound horses and look at the blue Don. It should be noted that in this case the author of The Word..., wishing to enhance the artistic expressiveness of the work, even "postponed" the eclipse a few days earlier. It is known from the annals that it happened when the Russians had already reached the borders of the Polovtsian steppe and turning back was tantamount to a shameful flight.

Before the decisive battle with the Polovtsy, “the earth is buzzing, the rivers flow muddy, the field is covered with dust”, that is, nature itself seems to oppose what should happen. At the same time, attention should be paid: the land, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know that there will be something to profit from: “Igor leads the army to the Don. Birds in the oak forests are already waiting for his death, wolves call a thunderstorm by yarugas, eagles call animals on the bones with a scream, foxes rattle on scarlet shields. When Igor's army fell in battle, "the grass droops from pity, and the tree bends to the ground from sadness." As a living being, the Donets River appears in the "Word ...". She speaks to the prince and helps him during his flight.

Speaking about the means of artistic expression in The Tale of Igor's Campaign, of course, one cannot remain silent about the linguistic features of this work. In order to attract the attention of his audience, to create an appropriate mood, the author used questions that he himself answers (exclamations emphasizing the emotional tone of the narration, appeals to the heroes of the work): “What is making noise, what is ringing at this hour early before dawn?”, “Oh Russian land! You are already over the hill!”, “But Igor’s brave regiment cannot be resurrected!”, “Yar-Tur Vsevolod! You stand in front of everyone, showering the soldiers with arrows, rattling on the helmets with damask swords.

The author of "The Lay..." makes extensive use of the epithets characteristic of oral folk poetry: "greyhound horse", "gray eagle", "clear field". In addition, metaphorical epithets are not uncommon: “iron shelves”, “golden word”.

In the "Word..." we also find the personification of abstract concepts. For example, the author depicts Resentment as a maiden with swan wings. And what does this phrase mean: “... Karna screamed, and Zhlya rushed across the Russian land, sowing grief to people from a fiery horn”? Who are they, Karna and Zhlya? It turns out that Karna is formed from the Slavic word "kariti" - to mourn the dead, and "Zhlya" - from "to regret."

In the "Word ..." we also meet symbolic pictures. For example, the battle is described either as sowing, or as threshing, or as a wedding feast. The skill of the legendary storyteller Boyan is compared with falconry, and the clash of the Polovtsy with the Russians is described as an attempt by "black clouds" to cover the "four suns". The author also uses symbolic designations traditional for folk poetry: he calls the Russian princes falcons, the raven is a symbol of the Polovtsy, and the yearning Yaroslavna is compared with the cuckoo.

The high poetic merits of this work inspired talented people to create new works of art. The plot of The Words... formed the basis of A. P. Borodin's opera Prince Igor, and the artist V. M. Vasnetsov created a number of paintings based on The Tale of Igor's Campaign.

The language of fiction, in other words, poetic language, is the form in which the type of art of the word, verbal art, is materialized, objectified, in contrast to other types of art, such as music or painting, where sound, paint, color serve as means of materialization.

Each people has its own language, which is the most important feature of the national specificity of the people. Possessing its vocabulary and grammatical norms, the national language performs mainly a communicative function, serves as a means of communication. The Russian national language in its modern form basically completed its formation during the time of A. S. Pushkin and in his work. On the basis of the national language, a literary language is formed - the language of the educated part of the nation.

The language of fiction is the national language processed by masters artistic word, subject to the same grammatical norms as the national language. The specificity of poetic language is only its function: it expresses the content of fiction, verbal art. Poetic language performs this special function of its own at the level of living language usage, at the level of speech, which in turn forms the artistic style.

Of course, the speech forms of the national language presuppose their own specifics: dialogical, monologue, skaz features of written and oral speech. However, in fiction, these means should be considered in the general structure of the ideological-thematic, genre-compositional and linguistic originality of the work.

An important role in the implementation of these functions is played by the visual and expressive means of the language. The role of these means is that they give speech a special flavor.

Flowers nod to me, tilting their heads,

And beckons the bush with a fragrant branch;

Why are you the only one following me

With your silk net?

(A. Fet. “A moth to a boy”)

In addition to the fact that this line is from a poem with its rhythm, its size, rhyme, a certain syntactic organization, it contains a number of additional pictorial and expressive means. Firstly, this is the speech of a moth addressed to a boy, a meek plea for the preservation of life. In addition to the image of a moth, created by means of personification, flowers are personified here, which “nod” their heads to a moth, a bush that “beckons” with its branches. Here we find a metonymically depicted image of a net (“silk net”), an epithet (“a fragrant branch”), etc. On the whole, the stanza recreates a picture of nature, images of a moth and a boy in certain respects.

By means of language, the typification and individualization of the characters' characters, the peculiar application, the use of speech forms are carried out, which, outside this use, may not be special means. So, the word "brother", characteristic of Davydov ("Virgin Soil Upturned" by M. Sholokhov), includes him among the people who served in the navy. And the words “fact”, “actual” that he constantly uses distinguish him from everyone around him and are a means of individualization.

There are no areas in the language where the possibility of the artist's activity, the possibility of creating poetic pictorial and expressive means would be excluded. In this sense, one can conditionally speak of "poetic syntax", "poetic morphology", "poetic phonetics". We are talking here not about the special laws of the language, but, according to the correct remark of Professor G. Vinokur, about "a special tradition of linguistic use" (G. O. Vinokur. Selected works on the Russian language. 1959.).

Thus, expressiveness in itself, special figurative and expressive means are not a monopoly of the language of fiction and do not serve as the only formative material of verbal artwork. In the vast majority of cases, the words used in a work of art are taken from the general arsenal of the national language.

“He dealt with peasants and courtyards strictly and capriciously,” says A. S. Pushkin about Troekurov (“Dubrovsky”).

There is no expression, no special expressive means. Nevertheless, this phrase is a phenomenon of art, since it serves as one of the means of depicting the character of the landowner Troekurov.

The possibility of creating an artistic image by means of language is based on the general laws inherent in the language. The fact is that the word carries not just elements of a sign, a symbol of a phenomenon, but is its image. When we say “table” or “house,” we imagine the phenomena denoted by these words. However, this image does not yet have elements of artistry. One can speak about the artistic function of a word only when, in the system of other methods of representation, it serves as a means of creating an artistic image. This, in fact, is the special function of poetic language and its sections: “poetic phonetics”, “poetic syntax”, etc. This is not a language with special grammatical principles, but a special function, a special use of forms of the national language. Even the so-called words-images receive an aesthetic load only in a certain structure. So, in the well-known line from M. Gorky: “The wind gathers clouds over the gray plain of the sea” - the word “gray-haired” in itself does not have an aesthetic function. It acquires it only in combination with the words "plain of the sea." "The gray plain of the sea" is a complex verbal image, in the system of which the word "gray" begins to have an aesthetic function of the path. But this trope itself becomes aesthetically significant in the integral structure of the work. So, the main thing that characterizes the poetic LANGUAGE is not saturation with special means, but an aesthetic function. Unlike any other use of them in a work of art, all linguistic means are, so to speak, aesthetically charged. “Any linguistic phenomenon, under special functional and creative conditions, can become poetic”, - Acad. V. Vinogradov.

But the internal process of "poeticization" of language, however, is portrayed by scientists in different ways.

Some scholars believe that the core of the image is a representation, a picture fixed in the forms of language, while other researchers, developing the position on the linguistic core of the image, consider the process of “poeticization of speech as an act of increment” to the word of additional quality or meaning. In accordance with this point of view, the word becomes a phenomenon of art (figurative) not because it expresses an image, but because, due to its inherent immanent properties, it changes quality.

In one case, the primacy of the image is affirmed, in the other, the primacy and primacy of the word.

There is no doubt, however, that the artistic image in its verbal expression is an integral unity.

And if there is no doubt that the language of a work of art should be studied, like any phenomenon, on the basis of mastering the general laws of language development, that, without special linguistic knowledge, it is impossible to deal with the problems of poetic language, then at the same time it is completely obvious that, as a phenomenon of verbal art, language cannot be excluded from the sphere of literary sciences that study verbal art at the figurative-psychological, social and other levels.

Poetic language is studied in connection with the ideological-thematic and genre-compositional specificity of a work of art.

The language is organized in accordance with certain tasks that a person sets for himself in the course of his activity. Thus, the organization of language in a scientific treatise and in a lyrical poem are different, although in both cases forms of the literary language are used.

The language of a work of art has two main types of organization - poetic and prose (the language of dramaturgy is close in its organization to the language of prose). The forms and means of organizing types of speech are at the same time speech means (rhythm, meter, ways of personification, etc.).

The source of poetic language is the national language. However, the norms and level of language development at a given historical stage do not in themselves determine the quality of verbal art, the quality of the image, just as they do not determine the specifics of the artistic method. In the same periods of history, works were created that differed in artistic method and in their poetic significance. The process of selecting language means is subordinated to the artistic concept of a work or image. Only in the hands of the artist does language acquire high aesthetic qualities.

Poetic language recreates life in its movement and in its possibilities with great fullness. With the help of a verbal image, you can “draw” a picture of nature, show the history of the formation human nature, depict the movement of masses. Finally, the verbal image can be close to the musical one, as is observed in the verse. The word is firmly connected with thought, with the concept, and therefore, in comparison with other means of creating an image, it is more capacious and more active. A verbal image, which has a number of advantages, can be characterized as a "synthetic" artistic image. But all these qualities of a verbal image can be revealed and realized only by an artist.

The process of artistic creation or the process of poetic processing of speech is deeply individual. If in everyday communication you can distinguish a person by the manner of his speech, then in artistic creativity it is possible to identify the author by the method of artistic processing of the language peculiar only to him. In other words, the artistic style of a writer is refracted in the speech forms of his works, and so on. This peculiarity of the poetic language underlies the entire infinite variety of forms of verbal art. In the process of creativity, the artist does not passively apply the treasures of the language already mined by the people - a great master with his creativity influences the development of the national language, improving its forms. At the same time, it relies on the general laws of the development of the language, its folk basis.

Publicism (from lat. publicus - public) - a type of literature, the content of which is mainly modern issues of interest to the general reader: politics, philosophy, economics, morality and morality, law, etc. The closest in terms of the specifics of creativity to journalism are journalism and criticism.

The genres of journalism, journalism, criticism are often identical. This is an article, a series of articles, a note, an essay.

A journalist, critic, and publicist often act in one person, and the boundaries between these types of literature are quite fluid: for example, a journal article can be critical and journalistic. Quite a common thing is the performance of writers as publicists, although often a journalistic work is not artistic: it is based on real facts of reality. The goals of a writer and a publicist are often close (both can contribute to the solution of similar political and moral problems), but the means are different.

The figurative expression of the content in a work of art corresponds to the direct, conceptual expression of the problematics in journalistic work, which in this respect is closer in form to scientific knowledge.

Artistic and journalistic literature includes works in which specific life facts are clothed in a figurative form. In this case, elements of creative imagination are used. The most common genre is the artistic essay.

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

When we talk about art literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. In fiction and poetry, there are special techniques for enhancing expressiveness. Competent presentation, public speaking - they also need ways to build expressive speech.

For the first time, the concept of rhetorical figures, figures of speech, appeared among speakers ancient greece. In particular, Aristotle and his followers were engaged in their research and classification. Going into details, scientists identified up to 200 varieties that enrich the language.

The means of expressiveness of speech are divided by language level into:

phonetic;
lexical;
syntactic.

The use of phonetics is traditional for poetry. The poem is often dominated by musical sounds that give poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, and combinations of sounds are used for amplification.

Anaphora- repetition of sounds, words or phrases at the beginning of sentences, poetic lines or stanzas. “The golden stars dozed off ...” - a repetition of the initial sounds, Yesenin used a phonetic anaphora.

And here is an example of a lexical anaphora in Pushkin's poems:

Alone you rush through the clear azure,
You alone cast a sad shadow,
You alone grieve the jubilant day.

Epiphora- a similar technique, but much less common, with words or phrases repeated at the end of lines or sentences.

The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax, is considered as a tradition of literary creativity, although it is also widely found in poetry.

Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.

trails

Tropes are the use of words and phrases in a figurative sense. Tropes make speech more figurative, enliven and enrich it. Some tropes and examples of them in literary work are listed below.

Epithet- artistic definition. Using it, the author gives the word an additional emotional coloring, its own assessment. To understand how an epithet differs from an ordinary definition, you need to catch when reading, does the definition give a new connotation to the word? Here is an easy test. Compare: late autumn - Golden autumn, early spring - young spring, a quiet breeze - a gentle breeze.

personification- transferring the signs of living beings to inanimate objects, nature: "The gloomy rocks looked sternly ...".

Comparison- direct comparison of one object, phenomenon with another. “The night is gloomy, like a beast ...” (Tyutchev).

Metaphor- transferring the meaning of one word, object, phenomenon to another. Similarity detection, implicit comparison.

“A fire of red mountain ash is burning in the garden ...” (Yesenin). The rowan brushes remind the poet of the flames of a fire.

Metonymy- renaming. Transfer of property, value from one object to another according to the principle of adjacency. “Which is in felt, let's bet” (Vysotsky). In felts (material) - in a felt hat.

Synecdoche is a kind of metonymy. Transferring the meaning of one word to another on the basis of a quantitative relationship: singular - plural, part - whole. “We all look at the Napoleons” (Pushkin).

Irony- the use of a word or expression in an inverted sense, mocking. For example, an appeal to the Donkey in Krylov’s fable: “From where, smart, are you wandering, head?”

Hyperbola- a figurative expression containing exorbitant exaggeration. It can relate to size, value, strength, other qualities. Litota, on the contrary, is an exorbitant understatement. Hyperbole is often used by writers, journalists, and litotes are much less common. Examples. Hyperbole: “In a hundred and forty suns the sunset burned” (V.V. Mayakovsky). Litota: "a man with a fingernail."

Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of the allegory is to point to the subtext, to force you to look for hidden meaning when reading. Widely used in fable.

Alogism- deliberate violation of logical connections for the purpose of irony. “That landowner was stupid, he read the Vesti newspaper and his body was soft, white and crumbly.” (Saltykov-Shchedrin). The author deliberately mixes logically heterogeneous concepts in the enumeration.

Grotesque- a special technique, a combination of hyperbole and metaphor, a fantastic surrealistic description. An outstanding master of the Russian grotesque was N. Gogol. On the use of this technique, his story "The Nose" is built. The combination of the absurd with the ordinary makes a special impression when reading this work.

Figures of speech

Stylistic figures are also used in literature. Their main types are displayed in the table:

Repeat	At the beginning, end, at the junction of sentences	This cry and strings These flocks, these birds
Antithesis	Contrasting. Antonyms are often used.	Long hair, short mind
gradation	Arrangement of synonyms in increasing or decreasing order	smolder, burn, blaze, explode
Oxymoron	Connecting contradictions	A living corpse, an honest thief.
Inversion	Word order changes	He came late (He came late).
Parallelism	Comparison in juxtaposition form	The wind stirred the dark branches. Fear stirred in him again.
Ellipsis	Omitting an implied word	By the hat and through the door (grabbed, went out).
Parceling	Dividing a single sentence into separate	And I think again. About you.
polyunion	Connection through repeated unions	And me, and you, and all of us together
Asyndeton	Exclusion of unions	You, me, he, she - together the whole country.
Rhetorical exclamation, question, appeal.	Used to enhance the senses	What a summer! Who if not us? Listen country!
Default	Interruption of speech based on a guess, to reproduce strong excitement	My poor brother...execution...Tomorrow at dawn!
Emotional-evaluative vocabulary	Words expressing attitude, as well as a direct assessment of the author	Henchman, dove, dunce, sycophant.

Test "Means of artistic expression"

To test yourself on the assimilation of the material, take a short test.

Read the following passage:

“There, the war smelled of gasoline and soot, burnt iron and gunpowder, it gnashed its caterpillars, scribbled from machine guns and fell into the snow, and rose again under fire ...”

What means of artistic expression are used in an excerpt from the novel by K. Simonov?

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle,

The thunder of cannons, the clatter, the neighing, the groan,

And death and hell on all sides.

A. Pushkin

The answer to the test is given at the end of the article.

Expressive language is, first of all, an internal image that arises when reading a book, listening to an oral presentation, presentation. Image management requires pictorial techniques. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their image in your speech pattern.

Study expressive language, its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your language will become an obedient tool and your weapon.

Answer to the test

K. Simonov. The personification of war in a passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically combines them into a generalized image of war. The used methods of expressive language are polyunion, syntactic repetition, parallelism. Through this combination of stylistic devices, when reading, a revived, rich image of the war is created.

A. Pushkin. There are no conjunctions in the first lines of the poem. In this way, the tension, the saturation of the battle is conveyed. In the phonetic pattern of the scene, the sound "p" in various combinations plays a special role. When reading, a roaring, growling background appears, ideologically conveying the noise of battle.

If answering the test, you could not give the correct answers, do not worry. Just re-read the article.

In the modern world, we are faced with a huge variety of trends and trends in art. The 20th century becomes a turning point in the transition from "classical" to "post-non-classical" works: for example, free verses appear in poetry - free poems that lack both the usual rhyme and metrical rhythm.

The question of the role of poetry in modern society becomes relevant. Giving preference to prose, readers justify this by the fact that prose provides more opportunities for the author to convey his thoughts and ideas. It is more informative, simple and understandable, more plot-driven than poetry, which exists rather to enjoy the beauty of the form, conveys an emotional charge, feelings, but the form can cover the content and complicate the conveyed meaning. Poetry requires a special attitude and often causes misunderstanding. It turns out that poetry, which in the process of developing a work of art seems to be simpler than prose, since it has poetic rhythm as an expressive tool that helps convey meanings (Yu.M. Lotman, A.N. Leontiev), among readers becomes very difficult for understanding the text, where the rhythm, form - can interfere.

In this regard, the main task of the study was to highlight the internal criteria of readers, according to which a particular text belongs to the category of prose or poetry, the aspects of form that are important for determining the text as poetic, and the significance of these criteria in the perception of works of art.

As possible aspects of the poetic form, we have identified the following: the division of the text into lines, metrical rhythm, rhyme, as well as the rhythm of the end pauses, the presence of caesuras, diversity, similarity of stanzas. The subjects were presented with three tasks. The method of "experimental deformation" of the text was used (EP Krupnik). This technique consists in the sequential "destruction" of a work of art in such a way that the magnitude of the destruction is known. At the same time, a change in the possibility of text recognition is recorded depending on the degree of destruction (in our study, the assignment of the text to the category of prose or poetry). "Destruction" in our study affected only the rhythmic scheme, keeping the verbal content intact. In task 1 and 2, 2 variables were varied, so 4 texts were presented in each task. In task 1, we compared the influence of the form of writing the text and metric rhythm, in task 2 - the influence of metric rhythm and rhyme. In task 3, 7 different texts were presented, each of which contained a different richness of rhythmic components. The subjects presented the texts in each task on the scale "prose - poetry" according to the degree of proximity to one or another category (gradations of the scales were not indicated). It was also proposed to choose the text that best represents the author's intention and justify their decision. In task 3, it was additionally proposed to evaluate each text according to the degree of preference by the reader himself.

When compiling tasks 1 and 2, the possible influence of the sequence of presentation of texts was taken into account, so 4 types of tasks were compiled (scheme of a balanced Latin square).

For each task, a hypothetical sequence of texts on the scale was compiled, which was then compared with the sequence obtained experimentally.

The study involved 62 people in the age group from 18 to 50 years, 23 men and 39 women, education: technical (17.7%), humanitarian (41.9%) and natural sciences (40.3%). Excerpts from the works were used: A. Blok "Song of Hell", "Night Violet", "When you stand in my way ...", M. Lermontov "Demon", "Duma", A. Pushkin "Poltava", M. Tsvetaeva " You who loved me…”, E. Vinokurov “Through My Eyes”, N. Zabolotsky “Testament”.

Metrical rhythm and form: most of the subjects consider metrical rhythm to be the most pronounced sign of poeticity. The text, which has only the form of a poem, is more often related to prose. But 20% of our subjects, when answering this task, focused primarily on the form of writing. As a rule, this was due to a little experience of acquaintance with poetry (poems are not very popular and are either rarely read or not read at all).

Metrical rhythm and rhyme (all texts are written in the form of prose, without division into lines). Metric rhythm was recognized as a more important feature of poetry. Rhyme does not carry an independent poetic load if there are no other rhythms, but it helps to unambiguously classify the text as poetic, even if the present meter is violated or is present only in part of the text. A clear metrical rhythm without rhymes (signs of white verse) has a more independent meaning.

Saturation with rhythmic components. Among the proposed 7 texts, two groups can be clearly distinguished: free breeze (the rhythm of end pauses, the repetition of stressed syllables, which does not create a clear metrical rhythm, or the presence of only a metrical rhythm that changes from line to line) and more classical examples poetic texts(metric rhythm, rhyme, number of syllables, caesuras, rhythm of terminal and internal pauses). At the same time, the text of M. Tsvetaeva turned out to be ambiguous in determining its place in the sequence. Some subjects rated it as very poetic, strong, with a clear rhythm, recognizing in it the "standard" of a poem, while others, on the contrary, attributed it to more prosaic ones, justifying this by the fact that the rhythm in it is confused and there are sharp transfers. If you look at this poem, its rhythmic structure, then this inconsistency is embedded in the text itself by the author, which creates a certain tension and harshness of the text.

The attitude towards vers libre, a new direction in versification of the twentieth century, remains very ambiguous. A reader brought up on rhymes and classical works (studying poetry only as part of the school curriculum) most often refers to these texts as either prose or an unsuccessful attempt by the author to write a poem. A richer experience of communication with various poetic works allows us to catch the rhythmic schemes of a different level, the special poetry of these texts.

Municipal educational institution

secondary school No. 44

RESEARCH

IN RUSSIAN

Artistic means of expression in the lyrics of the Khabarovsk poet Igor Tsarev

Completed: student of 9 "B" class

Parfenova Love;

Teacher: Vitokhina Ludmila Alexandrovna

Khabarovsk, 2016

1. Introduction ……………………………………………………………………

2. The main part.

A) Table "Artistic means of expression in the poetry of I. Tsarev ... ... 6-20

B) Practical part…………………………………………… 20-25

3. Conclusion……………………………………………………………………26

4. Used literature………………… 27

Introduction

With this little study, we discover something new for most Khabarovsk residents are a creative phenomenon, a new name for researchers - Igor Tsarev.

According to the results of 2012, the poet Igor Tsarev was awarded the Golden Pen, the national literary prize"Poet of the Year" And in April 2013 Igor Tsarev passed away, "... disliked, having not smoked his last cigarette", stepped into eternity. Poet and friend Andrei Zemskov in the preface to a selection of fifteen poems sent to the Far East magazine by Igor Tsarev himself and publishedalready after his death - in the autumn issue of 2013, he wrote very sincerely: “Slouching and even embarrassed, I went on stage to receive the well-deserved Golden Pen. Igor was, as it were, aloof from all these awards, ratings, recognitions. Modest, smiling, wise. And most importantly - kind and bright.

Having decided to follow in the footsteps of his father, Igor entered the Leningrad Electrotechnical Institute. By distribution worked in Moscow in a "secret box", was engaged in the calculations of flights ... to Mars. A short digression into the biography of the poet, when analyzing his work, much will turn out to be incomprehensible and remain incomprehensible, so let's start from the beginning. Future journalist, poet and writer Igor Vadimovich Grave (Igor Tsarev)was born in the Primorsky village of Grodekovo on November 11, 1955. In Khabarovsk, he began to study at school 78(now school number 15 - "school of five heroes", from the walls of which five Heroes of the Soviet Union came out). He continued his studies at school number 5, and completed his studies atMathematical School of Khabarovsk.

The literary and journalistic activities of Igor Tsarev ended as a responsible Editor of Rossiyskaya Gazeta, Deputy Chief Editor of RG-NedelyaApril 4, 2013 right at the table in the office. The parents of our fellow countryman, a poet from the Far East, live in Khabarovsk:Igor's mother - Ekaterina Semyonovna Kirillova- teacher of the Russian language and literature of the Khabarovsk school, excellent student of public education; father - Vadim PetrovichGrave, professor at the Far Eastern State University of Communications, "a real physicist."

Physics and lyrics - parental principles - intertwined in life and work

Since ancient times, the word had great power. For a very long time, people understood the meaning of the word as follows: what is said is done. It was then that faith in the magical power of the word arose. “The word can do everything!” the ancients said.

More than four thousand years ago, the Egyptian pharaoh told his son: "Be skillful in speeches - the word is stronger than the weapon."

How relevant these words are today! Every person should remember this.

We should also recall the famous words of the poet V.Ya. Bryusov about his native language:

My faithful friend! My friend is wicked!

My king! My slave! Native language!..

Relevance chosen topic is confirmed by the fact that interest in the study of the poetry of the Far East and in the means of creating expressiveness and imagery in poetic textsnever weakened.What is the secret of the impact of Igor Tsarev's work on the reader, what is the role of the speech construction of works in this, what is the specificity of artistic speech, unlike other types of speech.

object studies are the poetic texts of Igor Tsarev.

Subject research is a means of linguistic expressiveness in the work of I. Tsarev

aim is to determine the function and features of the means of language expressiveness in the process of forming imagery and expressiveness in the texts of Igor Tsarev's poems

Tasks:

- consider a short biographical path of the author;

Reveal morphological techniques for creating expressiveness;

Consider the means of language expressiveness;

Determine the features of the artistic style and their influence on the use of visual and expressive means

The theoretical and practical basis of the work are articles, monographs, dissertations, and various collections.

Research methods used in the work:

direct observation, descriptive, method of component analysis, directly constituents, contextual, comparative descriptive.

Scientific novelty lies in the fact that in this study: a relatively complete list of features that distinguish the language of poetry (artistic speech) from the practical language (non-artistic speech) is presented and systematized; the linguistic means of expression in the texts of the poems of the Khabarovsk poet Igor Tsarev are characterized

Practical significance The research lies in the fact that the materials of the work can be used in practical classes in the Russian language in the study of the sections "Lexicology", "Analysis of a literary text", when reading special courses, in classes with an in-depth study of literary criticism in gymnasiums and lyceums.

Structure and volume of research work.

The work consists of an introduction, two chapters, a conclusion, a list of references.

Chapter I. General information about the means of artistic expression

1.1. Means of artistic expression in poetry.

In literature, language occupies a special position, since it is that building material, that matter perceived by ear or sight, without which a work cannot be created. The artist of the word - the poet, the writer - finds, in the words of L. Tolstoy, "the only necessary placement of the only necessary words" in order to correctly, accurately, figuratively express an idea, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author . The best in a work is achieved by the artistic means of language.

The means of artistic expression are varied and numerous.

trails (Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.

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:

Windows of Khabarovsk

In the pocket of a knife, in the trunk of a zhakan,
A special walk...
Go to the Siberian peasants
Chasing sables on the hills,
Where the kestrel trail winds
purple decay,
And the taiga darns the soul
Spruce needles. ("Aida!"

Metonymy - this is the replacement of a word or concept by another word, one way or another involved in it, adjacent to it:

Visiting the Northerner

In a white shirt barefoot winter

IN drift in the Sea of Okhotsk

Life-giving dawn hemoglobin ,
The sun is rising from the mute depths

Comparison -

He, rattling like a cymbal,

Nodding the trumpet

As if the waves were rhyming

Between themselves.

Applications

Application No. 1

Possible role in the text

Epithet

artistic figurative definition.

Strengthen the expressiveness, figurativeness of the language of the work;

Give artistic, poetic brightness of speech;

Highlight a characteristic feature or quality of an object, phenomenon, emphasize its individual attribute;

Create a vivid representation of the subject;

Evaluate an object or phenomenon;

Cause a certain emotional attitude towards them;

I could…

Prospector ice.

Ida.

Self-satisfied Moscow.

Night dive.

Phantom shrimp, cottage bathysphere, unlocked doors, zodiacal light, mundane porch.

Rain.

Ringing staff, blind rain.

Windows of Khabarovsk

I myself now enter the Moscow circus,
I spent more than one vacation in the Crimea,
But more and more dreams gray-haired Khekhtsir ,

Sunrise in the Sea of Okhotsk

And through the storm and the angry cries of seagulls,
Through the scalpel incision of the oriental eyes
Warm, motherly studies
We are not yet illuminated -
Unshaven, tired, small -
Sympathizes and strokes the whirlwinds ...

evil word beats right through, crushes his toes with his boot.

Visiting the Northerner

In a white shirt barefoot winter

Comparison

likening one object to another on the basis of a common feature they have.

It communicates to the phenomenon and concept that illumination, the shade of meaning that the writer intends to give it;

Helps to more accurately represent an object or phenomenon;
- helps to see new, invisible sides in the subject;

Comparison gives the description a special clarity. creates a picture of an elegant, noisy forest, its beauty.

Koktebel.

And milk is like clouds

Over Koktebel.

He, rattling like a cymbal,

Nodding the trumpet

As if the waves were rhyming

Between themselves.

Let's drink, brothers, to Rubtsov.

I managed to live with talent, as with a lamp in my chest.

Night dive.

Overgrown garden, where the shadows of the branches,

Like the paws of ghost shrimp.

Midnight is like good coffee.

Night dancing .

Night like Linda Evangelista.

Windows of Khabarovsk

I, still a wolf cub leaving the shelter
Don't let your enemies offend you
After alla wave of Amur blood boiled

Let, over the years, gaining gloss,
I did not mind swimming, but obliquely.
My wife has a wonderful hair color -
Like Amur braids golden sand .

Night dive.

Midnight is like good coffee
And fragrant and dark.

CARNIVAL IN PIAZZA SAN MARCO
The flute plays like light in a diamond.
On a white chair in a cafe on the piazza

And though I am not a great speaker,
Far from absolute
Poems under the vaults of the basilica
They sound more solemn than fireworks.

Sunrise in the Sea of Okhotsk

And we blissfully catch the glare with our faces,
Like neophytes on the threshold of the temple.

Koktebel

And milk is like clouds
Over Koktebel.

Let's drink, brothers, for Rubtsov!

Heaviness in the back of the head, but a candle for the rest.
unopened bottle, like a kitten at hand.

VISITING A SEVERYANIN

Combing all the birches around in the middle,
The wind rubs the mongrel against the sled.
Five centuries without losing posture.

Visiting the Northerner

Perfection frightens and beckons.
And the silver of the Northern lines rings

VISITING A SEVERYANIN

Leaving, at least for a moment on the edge I will turn around,

I love the piercing sky...
I'll be back, I'll definitely be back
Let, at least fallen snow.

Metaphor

the use of a word in a figurative sense based on the similarity of two objects or a phenomenon.

Through the metaphorical meaning of words and phrases, the author of the text not only enhances the visibility and clarity of the depicted, but also conveys the uniqueness, individuality of objects or phenomena, while showing the depth and nature of his own associative-figurative thinking, vision of the world, the measure of talent.

Ida.

Longing will press, it will seem like a prison

Moscow, the current pulls.

Night dive.

Ghost shrimp paws scratch the window.

The zodiacal light flows.

Windows of Khabarovsk

A curtain not embroidered with stars -
Shine in the heart of the windows of Khabarovsk .

Ayda

And the taiga darns the soul
Spruce needles.

IN DRINK, BROTHERS, FOR R UBTSOVA !

It would be mediocrity - and okay. Them, darlings, a dime a dozen.
I managed to live with talent, as with a lamp in my chest -
She burned in winter and summer, so, God save me! -
And without this, there were no poets in Russia.

evil word beats right through, crushes his toes with his boot.
Hey, diamonds, didn't you hoot in pursuit?

Visiting the Northerner

Here centuries pass with a draft on the legs,
Time is waving its fir paw.
And the organ plays the creaky steps
Silence royal marches.

Visiting the Northerner

The icy horizon is concise and strict -
Perfection frightens and beckons.
And the silver of the Northern lines rings
Talisman in breast pocket.

personification

the transfer of signs of a living being to natural phenomena, objects and concepts.

Personifications give the text a bright, visible character, emphasize the individuality of the author's style.

Rain.

It was raining blindly over the river.

Someone grew up in the Crimea, ate persimmons in winter,
Someone could look at the capital's circus,
What about me all childhood rocked cupid,
AND Khekhtsir watered the cedar distance.

Metonymy

the use of the name of one object instead of the name of another object on the basis of an external or internal connection between them. The connection can be between content and form, author and work, action and tool, object and material, place and people in this place.

Metonymy allows briefly

to express a thought, it serves as a source of imagery.

AND taiga gave its strength .

Windows of Khabarovsk

AND calling, missing me, Cupid.

On the kukane sleep - not carp weight.
Though the river is sleeping , but the wave is sharp.

CARNIVAL IN PIAZZA SAN MARCO

And we hardly ever forget
How Venice kissed us
Warmed hearts from everyday life,
And crowned with a carnival ...

R US TUMBALALAYKA

Throwing yellow leaves into the wind
Autumn made friends with tavern melancholy,
In the sky a star is shining,
In the field, the jester's bell rings.

IN GUESTS FROM EVERYANINA
Combing all the birches around in the middle,
The wind rubs the mongrel against the sled.
The Assumption Cathedral floats over the field,
Five centuries without losing posture.

Visiting the Northerner

In a white shirt barefoot winter
He walks over Sheksna, and the Court.

IN DESCRIPTION IN ABOUT SEA OF HOTS

At sea, all sunrises are excellent,
Life-giving dawn hemoglobin,
When to the sound of a steamboat siren
The sun rises from the mute depths

Synecdoche

the name of a part of an object is transferred to the whole object, and vice versa - the name of the whole is used instead of the name of the part. A part is used instead of the whole, singular. instead of plural, and vice versa.

Synecdoche enhances the expression of speech and gives it a deep generalizing meaning.

paraphrase

replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features.

Paraphrases allow:
highlight and emphasize the most significant features of the depicted;
avoid unjustified tautology;
brighter and more fully express the author's assessment of the depicted.

Paraphrases play an aesthetic role in speech, they are distinguished by a bright emotionally expressive coloring. Figurative periphrases can give speech a variety of stylistic shades, acting either as a means of high pathos, or as a means of relaxed sounding of speech.

Visiting the Northerner

Well, it would seem, the roof, four walls,
But not the boring dust of cornices -
The air is the sacrament of letters of birch bark
And riddled with rhyming trembling.

Hyperbola

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

a figurative expression containing an exorbitant underestimation of the size, strength, significance of some object, phenomenon.

The use of hyperbole and litotes allows the authors of texts to sharply enhance the expressiveness of the depicted, to give thoughts unusual shape and bright emotional coloring, appraisal, emotional persuasiveness.
Hyperbole and litotes can also be used as a means of creating comic images.

Russian tumbalalaika city The honey of our life is sometimes sweet, sometimes bitter.
It is a pity that there is not much of it on the scales.
So isn't it time, having ascended the hillock,
Arms outstretched, step into the sky.

D ESTATE P ETROV GOES DOWN TO THE METRO

Associate Professor Petrov, leaving a warm shelter,
With a cloak sheltering from rain and wind,
Overcoming a hundred meters to the subway,
Descends into the thundering bowels.

Associate Professor Petrov is afraid of the catacombs.
Way to work - more than a feat.

Allegory

allegorical image of an abstract concept with the help of a concrete, life image.

In fables or fairy tales, stupidity, stubbornness, cowardice of people are shown through the images of animals. Such images are of general linguistic character.

TO OKTEBEL

Ofonareli city
From the Crimean night.
In her brine Kara-Dag
Soles get wet.
The soul is ready to fall prone
But the prophetic stone
Guests are greeted with a barbecue,
Not poetry.
IN DESCRIPTION IN ABOUT SEA OF HOTS

Let the cyclone puff the abyss overboard,
Shafts uplifting and prostrate,
Let the smuggled snow dashing clouds
They are dragged to Russia through a hundred borders -
Our trawler (fishing breed!),
Having collected all pollock in a string bag,
King of the sea proud chin
Cheeky lathers with foam from the propeller.

Figures of speech

Possible role in the text

Examples

Rhetorical question

stylistic figure, the construction of speech, in which the statement is expressed in the form of a question. A rhetorical question does not imply an answer, but only enhances the emotionality of the statement, its expressiveness.

Draw the reader's attention to the depicted; enhance emotional perception

Rhetorical questions are used in artistic and journalistic styles to create a question for a response form of presentation. It creates the illusion of a conversation with the reader.
Rhetorical questions are also a means of artistic expression. They focus the reader's attention on the problem.

H INTERNAL DANCES

In the morning friends will ask: "Who were you with?
The skin is wrinkled, the color is earthy ... "
What will I answer? With Naomi Campbell?
Or with Linda Evangelista?

IN DRINK, BROTHERS, FOR R UBTSOVA !

How much use is in a cigarette? Is there a lot of happiness from the mind?
Took a life and gave it up. Or did she quit?

An evil word beats right through, crushes the toes with a boot.
Hey, diamonds, didn't you hoot in pursuit?

Visiting the Northerner

In a snow-white shirt barefoot winter
He walks over Sheksna, and the Court.
Together with her line by line I'm going crazy.
Or am I regaining my sanity?

Rhetorical address

an underlined appeal to someone or something to enhance expressiveness.

The rhetorical appeal serves not so much to name the addressee of the speech, but to express the attitude towards what is being said in the text. Rhetorical appeals can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state.

Handling:

H INTERNAL DANCES

From gentle sounds frost on the skin.
Have mercy, God, well, how can you?!
And I am a nobleman in the doge's camisole,
And you are enthusiastic and noble.

R US TUMBALALAYKA

Come on, come on, buddy, play along,
To prevent the ash from cooling in the oven:
Russian tumbala, tumbalalaika,
Tumbalalaika, tumbala-la!..

Rhetorical exclamation

an exclamatory sentence that serves to express a strong feeling. It is used to enhance emotional perception, especially in cases where interrogative and exclamatory intonations are combined.

A rhetorical exclamation marks the highest point of intensity of feeling and at the same time the most important thought of a speech (often at its beginning or end).

R US TUMBALALAYKA

God, my God, tell me why
Does your heart get worse as the days go by?
Our path is getting narrower and narrower,
The nights are longer, the rains are colder.

IN DRINK, BROTHERS, FOR R UBTSOVA !

Let's drink, brothers, for Rubtsov - was a real poet!

repetition of sounds, words or phrases at the beginning of poetic lines; unity of command

combinations of sounds, morphemes, words, syntactic constructions) at the beginning of each parallel row (verse, stanza, prose passage)

Let him not live exemplary - who is sinless, show yourself!
Let's drink, brothers, to Rubtsov's restless life.

IN DRINK, BROTHERS, FOR R UBTSOVA !

The sailors have no questions. I'm probably not a sailor...
Why do we look askance at someone who has grown into the sky?
A stove in a tiled tile overshadows the light with smoke.
Let's drink, brothers, for Rubtsov was a real poet!

Let him not live exemplary - who is sinless, show yourself!
Let's drink, brothers, for Rubtsov restless life.

Conclusions for Chapter II:

Analyzing the above, we can conclude that the lexical and syntactic means of expression in the poetry of I. Tsarev are very diverse. It is worth noting their active use by the author in his work. The use of metaphors and symbols allows the poet to have an emotional, aesthetic impact on the reader, to describe the inner world of a person and the state of a person. Complicated, intricate words and expressions are the incorruptible style of the poet. The originality, that is, the originality of the author's work makes the reader involuntarily re-read and once again plunge into the diverse, interesting, colorful world of their works.

Conclusion

In the lyrics of Igor Tsarev, we saw various modifications of the poetics of allegory.

After analyzing and synthesizing the means of linguistic expressiveness in the poetry of Igor Tsarev, it should be emphasized that the expressiveness of speech in creativity can be created as linguistic units of lexical groups (expressive-colored vocabulary, everyday vocabulary, neologisms, etc.), if they are skillfully the author uses in a peculiar way, as well as figurative means of the language (epithets, personifications, metaphors, etc.), syntactic figures (inversion, anaphora, appeals, etc.). It should be noted that a special place in the lyrics of I. Tsarev is occupied by metaphors and symbols that reflect the emotions of the lyrical hero, helping to reveal the main intention of the authors.

The poems of Igor Tsarev are not rhymed prose, not a literary “remake”, but Russian poetry, which reflects the deepest culture, powerful knowledge behind the text: life, literature, poetry.

tribute hometown is a very personal poem - "Windows of Khabarovsk". The composition of the text is set by several positions: a strong position of the text - the title and an absolute finale - the line "They shine in the heart of the window of Khabarovsk." The phrase "windows of Khabarovsk" closes the ideal ring (frame) classical composition of the text. However, the author once again strengthens the frame of the text of the poem, using for this a variant distant repetition of the first quatrain in the penultimate stanza: I myself now enter the Moscow circus, / I spent more than one vacation in the Crimea, / But more and more often I dream of gray-haired Khekhtsir, / And he calls , missing me, Cupid. One can say with a fair amount of confidence that the signs of Igor Tsarev's idiostyle are not only internal rhyme, but also the ring composition of the text, the saturation of the texts of verses with details, details; appeal to significant personal proper names, geographical specificity, which distinguished the style of the great predecessor of I. Tsarev - Nikolai Gumilyov, whose medal the poet was awarded for literary work ("Nikolai Gumilyov's Big Silver Medal", 2012). Love for hometown Far East inseparable for the poet with a feeling for a loved one, captured in a touching comparison: "My wife has a wonderful hair color - / Like Amur braids golden sand." It is interesting to study the change of rhythm in the last quatrain of the text, the re-emerging internal rhyme, which creates a micro-image of the "river - cutting".

Someone grew up in the Crimea, ate persimmons in winter,
Someone could look at the capital's circus,
And all my childhood I was rocked by Cupid,
And Khekhtsir watered the cedar distance.

I, still a wolf cub, left the shelter,
Don't let your enemies offend you
After all, the blood boiled like a wave of the Amur,
And the taiga gave its strength.

Let, over the years, gaining gloss,
I did not mind swimming, but obliquely.
My wife has a wonderful hair color -
Like Amur braids golden sand.

I myself now enter the Moscow circus,
I spent more than one vacation in the Crimea,
But more and more often the gray-haired Khekhtsir is dreaming,
And calls, missing me, Cupid.

On the couch of sleep - not carp weight.
Though the river sleeps, but the wave is sharp.
A curtain not embroidered with stars -
Shine in the heart of the windows of Khabarovsk.

The memory of the poet is his poems, they must sound, because

... What is in them - no falsehood, no aplomb,
Only a broken filling of the heart
From a troubled soul...

The Golden Pen of Russia left a Golden trace. The circle of readers, including young ones, is, perhaps, future poets who today choose between “physics and lyrics” so far not in favor of the latter ... But the example of Igor Tsarev is instructive: it is never too late for poetry! As it is never too late for their professional understanding and analysis .

List of used literature

Elena Kradozhen - Mazurova. Individuality of Igor Tsarev's Poetic Style: Textual Analysis.

Valgina N.S. Syntax of the modern Russian language: Textbook, Publisher: "Agar", 2000. 416 p.

Vvedenskaya L.A. Rhetoric and culture of speech / L.A. Vvedenskaya, L.G. Pavlova. – Ed. 6th, supplemented and revised. - Rostov - on - Don: Publishing House "Phoenix", 2005. - 537 p.

Veselovsky A.N. Historical poetics. L., 1940. S. 180-181.

Vlasenkov A.I. Russian language: grammar. Text. Styles of speech: textbook for 10-11 cells. general Institutions / A.I. Vlasenkov, L.M. Rybchenkov. - 11th ed. - M.: Enlightenment, 2005. - 350 p., p. 311

Expressive means of syntax. Video tutor in Russian. - G.

1. The originality of the genre "Words ...".
2. Features of the composition.
3. Linguistic features of the work.

So, one of the means of artistic expression of the "Word ..." is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved due to compositional features. What is the composition of the monument of Ancient Russia? In the storyline of this work, three main parts can be seen: this is actually the story of Igor's campaign, the sinister dream of the Kiev prince Svyatoslav and the "golden word" addressed to the princes; lamentation of Yaroslavna and Igor's escape from the Polovtsian captivity. In addition, The Word ... consists of thematically integral song-pictures, which often end with phrases that play the role of a chorus: "seeking honor for oneself, and glory for the prince", "O Russian land! You are already behind the hill! ”,“ For the Russian land, for the wounds of Igor, the buoy of Svyatoslavich.

An important role in enhancing the artistic expressiveness of the "Words ..." is played by pictures of nature. Nature in the work is by no means a passive background of historical events; She acts as a living being, endowed with reason and feelings. A solar eclipse before a hike portends trouble:

Before the decisive battle with the Polovtsy, “the earth is buzzing, the rivers flow muddy, the field is covered with dust”, that is, nature itself seems to oppose what should happen. At the same time, attention should be paid: the land, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know that there will be something to profit from: “Igor is leading an army to the Don. Birds in the oak forests are already waiting for his death, wolves call a thunderstorm by yarugas, eagles call animals on the bones with a scream, foxes rattle on scarlet shields. When Igor's army fell in battle, "the grass droops from pity, and the tree bends to the ground from sadness." As a living being, the Donets River appears in the "Word ...". She speaks to the prince and helps him during his flight.

In the "Word ..." we also meet symbolic pictures. For example, the battle is described either as sowing, or as threshing, or as a wedding feast. The skill of the legendary storyteller Boyan is compared with falconry, and the clash of the Polovtsy with the Russians is described as an attempt by "black clouds" to cover the "four suns". The author also uses symbolic designations traditional for folk poetry: he calls the Russian princes falcons, the raven is a symbol of the Polovtsian, and the yearning Yaroslavna is compared with the cuckoo.

Lesson topic:

The role of figurative and expressive means of language in works of fiction

Lesson Objectives:

cognitive : repeat terms; develop the ability to distinguish between tropes, stylistic figures and other means of expression; determine their role in the text;

developing : to develop the mental and speech activity of students, the ability to analyze, compare, classify, generalize, logically correctly express their thoughts; continue to work on the disclosure of creative abilities; on the development of critical, figurative thinking; create conditions for the development of communication skills;

educational: development of a system of value relations to the native language; fostering a careful attitude to the word of the author, a responsible attitude to one's own word, to the culture of speech.

DURING THE CLASSES.

1. Organizing time.

2. Opening remarks. Let's start our lesson by reading and analyzing O. Mandelstam's poem. Reading and analysis of O. Mandelstam's poem. (1 slide).

What is this poem about? What is the theme and main idea of this poem? What helps the author to create such a picture of St. Petersburg and convey his feelings? (comparisons - “like a jellyfish”; epithets - “transparent spring”, personifications - “spring clothes”, metaphors - “a heavy emerald of the sea wave”, etc.).

What can expressions be used for?

Output : figurative - expressive means make speech bright, figurative, expressive.

Based on the above, how can we formulate the theme and objectives of the lesson?

3. Recording the topic of the lesson. ( 2 slide). What are the objectives of the lesson? (3rd slide).

Let's turn to the epigraph of our lesson. We read lines from the works of N.V. Gogol, V. Bryusov, A. Akhmatova.

What do these quotes have in common? How do they reflect the theme of our lesson?

4. Conversation on questions. Repetition.

1 .What are the three groups of figurative - expressive means of language?

2. List the figurative and expressive means of the language, write down the terms in a notebook, give oral definitions.

METAPHOR - the use of a word or expression in a figurative sense based on the similarity of two objects or phenomena.

COMPARISON - a comparison of two phenomena in order to explain one of them with the help of the other.

EPITHET - figurative definition.

METONYMY - a trope, consisting in the fact that instead of the name of one object, the name of another is given.

HYPERBOLA - a figurative expression containing an exorbitant exaggeration of the strength, size, significance of a phenomenon.

LITOTES - a trope containing an exorbitant underestimation of the subject, power, significance of a phenomenon.

IRONY - trope, consisting in the use of the word in the opposite sense of the literal.

ALLEGORY - the expression of an abstract concept or idea in a specific artistic image.

PERSONALIZATION - a trope, consisting in transferring human properties to inanimate objects and abstract concepts.

PERIPHRASE - a trope, consisting in replacing the usual one-word name of an object with a descriptive expression.

ANAPHORA - repetition of individual words or phrases at the beginning of a sentence.

EPIPHORA - repetition of words or expressions at the end of adjacent, adjacent sentences.

ANTITHESIS - a turn in which opposing concepts are sharply opposed.

GRADATION - such an arrangement of words in which each subsequent contains an amplifying meaning.

INVERSION - a special arrangement of words that violates the usual order.

SYNECDOCHE - , variety , based on the transfer of meaning from one phenomenon to another on the basis of the quantitative relationship between them.

OXYMORON - "smart stupidity" stylistic or mistake, a combination of words with the opposite meaning (that is, a combination ).

SYNTAX PARALLELISM – the samesyntacticstructureneighboringproposals.

PARCELLATION - segmentation of the proposal.

Consolidation and generalization of the material

5. Divide the terms into two groups. ( slide 5)

6. Find the error in the definition of the path. (Slide 6)

7. Match the definition and the stylistic figure. (Slide 7)

8. Match the definition and lexical means . (Slide 8).

9. Physical education (Slides 10 - 16)

Metonymy, phraseological units, paraphrase, parallelism, epithet, synonyms, comparison, rhetorical question, colloquial words, litote.

10. Working with texts of works of art (based on printouts) Examples from artistic works of tropes and stylistic figures.

What means of language are found in these texts?

As long as Apollo does not require the poet To the sacred sacrifice, In the cares of the vain world He is cowardly immersed;Silent his holy lyre: Souleats a cold dream, And among the insignificant children of the world, Perhaps he is the most insignificant of all. (A.S. Pushkin, "The Poet") (Metaphors)

Red brush Rowanlit up . Leaves were falling. I was born

(M. Tsvetaeva, From poems about Moscow) (Metaphor)

And you fall like this

How a fallen leaf will fall from a tree!

And you will die like this

How your last slave will die .

(G.R. Derzhavin, “To the Rulers and Judges”) (Comparisons)

But only the divine word

Touches the ear clearly

The poet's soul will tremble,

Like an awakened eagle.

(A.S. Pushkin "Poet") (Comparison)

Here is a dark oak and ashemerald,

And there is azuremelting tenderness…

As if from realitywonderful

You're blown away inmagical boundlessness.

(A.A. Fet, "Mountain Gorge") (Epithets)

feigned do not demand tenderness from me,

I will not hide the coldness of my heartsad .

You're right, it doesn't havebeautiful fire

My original love.

(E.A. Baratynsky, “Recognition”) (Epithets)

We need such a language, as the Greeks had,

Which the Romans had and, following them in that,

As Italy and Rome now say.

(A. Sumarokov) (Metonymy)

8. He is a man! They are dominated by the moment

He is a slave of rumors, doubts and passions;

Forgive him wrong persecution:

He took Paris, he founded the Lyceum.

(A.S. Pushkin) (Metonymy)

And it was heard before dawn,

How jubilantFrenchman …

(M.Yu. Lermontov, Borodino) (Synecdoche)

10. Everything sleeps - and man, and beast, and bird

(Gogol) (Synecdoche)

11. “It rained in one place, sothe river, which the hare had swum a day earlier, swelled and overflowed for ten miles.

(M.E. Saltykov-Shchedrin "The Selfless Hare"). (Hyperbola)

12. Jumping dragonfly

Summer redsang,

Didn't have time to look back

As winter rolls in the eyes.

(I.A. Krylov, "Dragonfly and Ant") (personification)

13. Where are you, where are you,storm of kings

Freedom proud singer?

Come, pluck the wreath from me

Break the pampered lyre...

I want to sing freedom to the world

On the paths to strike vice.

(A.S. Pushkin, Ode "Liberty") (Paraphrase)

14. You are poor

You are abundant

You are powerful

You are powerless...

(N.A. Nekrasov, “Who should live well in Russia”) (Anaphora)

15. Let the thunders shake the sky,

Villains oppress the weak,

Fools praise their reason!

A friend of mine! We are not to blame.

(N.M. Karamzin) (Gradation)

16. Not a rest full of proud trust,

No dark antiquity cherished legends

Do not stir in me a pleasurable dream.

(M.Yu. Lermontov "Motherland")(Inversion)

17. And marching importantly, in serenity,
A man is leading a horse by the bridle
In big boots, in a sheepskin coat,
Big gloves...and himself with a fingernail!

(N.A. Nekrasov) (Litota)

18. The forest is not the same!
- The bush is not the same!
- Thrush is not the same!

(M. Tsvetaeva) (Epiphora)

And the day has come. Gets up from the bed
Mazepa, this frail sufferer,
Thisdead body , just yesterday
Moaning weakly over the grave.

( . «

11. Reading and listening to A. Blok’s poem “The Stranger ". (Slides 17 - 21)

Analysis of the figurative and expressive means of the poem, their role in the text.

12. Conclusion: What is the role of visual and expressive means in works of fiction?

What is the practical orientation of knowledge of visual and expressive means and their role in the text? (Performing task 24 of the Unified State Examination in the Russian language).

13. Work with the text and review from the KIM USE in the Russian language. ( Slides 22 - 26)

Complete task 24 using the algorithm.

14. Reflection. (Slide 27). Let's summarize what we learned in the lesson.

What role do figurative and expressive means of language play in works of fiction and in human life?

Creation of new, bright, fresh images.

Fully, accurately, deeply, in accordance with the plan, the thought is expressed

Impact on the thoughts and feelings of the reader, purification on the spiritual and, as a result, on the physical level.

15. Homework. (Slide28)

1. Analyzefrom the point of view of the use of figurative and expressive means, the poem of the poet of the Silver Age.

2. Complete task 24 of the USE in the Russian language.

TRACKS AND STYLISTIC FIGURES.

TRAILS(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical sense. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litote, etc.

STYLISTIC FIGURES- figures of speech used to enhance the expressiveness (expressiveness) of the statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek hyperbole - exaggeration) - a kind of trail based on exaggeration ("rivers of blood", "sea of laughter"). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole is already found in the ancient epic in different peoples, in particular in Russian epics.
In the Russian litera, N.V. Gogol, Saltykov-Shchedrin, and especially

V. Mayakovsky ("I", "Napoleon", "150,000,000"). In poetic speech, hyperbole is often intertwinedwith other artistic means (metaphors, personifications, comparisons, etc.). The opposite - litotes.

LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon. There is a litote in folk tales: "a boy with a finger", "a hut on chicken legs", "a peasant with a fingernail".
The second name for litotes is meiosis. The opposite of litote hyperbola.

N. Gogol often addressed the litote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol

METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transferring the properties of one object or phenomenon to another based on common features (“work is in full swing”, “forest of hands”, “dark personality”, “stone heart” ...). In metaphor, unlike

comparisons, the words "as", "as if", "as if" are omitted, but implied.

Nineteenth century, iron,

Truly a cruel age!

You in the darkness of the night, starless

Careless abandoned man!

A. Blok

Metaphors are formed according to the principle of personification ("water runs"), reification ("nerves of steel"), distraction ("field of activity"), etc. Various parts of speech can act as a metaphor: verb, noun, adjective. Metaphor gives speech exceptional expressiveness:

In every carnation fragrant lilac,
Singing, a bee crawls in ...
You ascended under the blue vault
Above the wandering crowd of clouds...

A. Fet

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

With a sheaf of their oatmeal hair
You touched me forever...
The eyes of a dog rolled
Golden stars in the snow...

S. Yesenin

In addition to verbal metaphor, metaphorical images or extended metaphors are widely used in art:

Ah, my bush withered my head,
Sucked me song captivity
I am condemned to hard labor of feelings
Turn the millstones of poems.

S. Yesenin

Sometimes the entire work is a broad, detailed metaphorical image.

METONYMY(Greek metonymia - renaming) - tropes; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest noise" - trees are meant; etc.).

The theater is already full, the boxes are shining;

Parterre and chairs, everything is in full swing ...

A.S. Pushkin

In metonymy, a phenomenon or object is denoted with the help of other words and concepts. At the same time, signs or connections that bring these phenomena together remain; Thus, when V. Mayakovsky speaks of "a steel speaker dozing in a holster," the reader easily guesses in this image the metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:

You led swords to a plentiful feast;

Everything fell with a noise before you;
Europe perished; grave dream
Worn over her head...

A. Pushkin

When is the shore of hell
Forever will take me
When forever fall asleep
Feather, my consolation...

A. Pushkin

PERIPHRASE (Greek periphrasis - roundabout, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its features, as a rule, the most characteristic, enhancing the figurativeness of speech. ("king of birds" instead of "eagle", "king of beasts" - instead of "lion")

PERSONALIZATION(prosopopoeia, personification) - a kind of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).

my bells,

Steppe flowers!

What are you looking at me

Dark blue?

And what are you talking about

On a happy May day,

Among the uncut grass

Shaking your head?

A.K. Tolstoy

SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one object to another on the basis of a quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche are:
1) Part of the phenomenon is called in the sense of the whole:

And at the door
jackets,
overcoats,
sheepskin coats...

V. Mayakovsky

2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:

Oh, how are you! Fight with a helmet?
Well, isn't it a vile parod!

3) Singular in the meaning of general and even universal:

There a man groans from slavery and chains...

M. Lermontov

And the proud grandson of the Slavs, and the Finn ...

A. Pushkin

4) Replacing a number with a set:

Millions of you. Us - darkness, and darkness, and darkness.

A. Blok

5) Replacing a generic concept with a specific one:

We beat a penny. Very good!

V. Mayakovsky

6) Replacing a specific concept with a generic one:

"Well, sit down, luminary!"

V. Mayakovsky

COMPARISON - a word or expression containing the likening of one object to another, one situation to another. (“Strong as a lion”, “said how he cut off” ...). A storm covers the sky with mist,

Whirlwinds of snow twisting;

The way the beast she howls

He will cry like a child...

A.S. Pushkin

"Like a steppe scorched by fires, Grigory's life became black" (M. Sholokhov). The idea of the blackness and gloom of the steppe evokes in the reader that dreary and painful feeling that corresponds to the state of Gregory. There is a transfer of one of the meanings of the concept - "scorched steppe" to another - the internal state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:

The view of the steppe is sad, where there are no obstacles,
Exciting only a silver feather grass,
Wandering flying aquilon
And before him freely drives the dust;
And where around, no matter how vigilantly you look,
Meets the gaze of two or three birches,
Which under the bluish haze
Blacken in the evening in the empty distance.
So life is boring when there is no struggle,
Penetrating into the past, distinguish
There are few things we can do in it, in the color of years
She will not cheer the soul.
I need to act, I do every day
I would like to make immortal like a shadow
Great hero, and understand
I can't what it means to rest.

M. Lermontov

Here, with the help of expanded S. Lermontov, he conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by unions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"Do I have curls - combed linen" N. Nekrasov. Here the union is omitted. But sometimes it's not meant to be:
"Tomorrow is the execution, the usual feast for the people" A. Pushkin.
Some forms of comparison are built descriptively and therefore are not connected by conjunctions:

And she is
At the door or at the window
The early star is brighter,
Fresh morning roses.

A. Pushkin

She is sweet - I will say between us -
Storm of the court knights,
And you can with southern stars
Compare, especially in verse,
Her Circassian eyes.

A. Pushkin

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

The red sun does not shine in the sky,
Blue clouds do not admire them:
Then at the meal he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.

M. Lermontov

In this parallel depiction of two phenomena, the form of negation is at the same time a way of comparing and a way of transferring meanings.
A special case is the forms of the instrumental case used in comparison:

It's time, beauty, wake up!
Open your closed eyes,
Towards North Aurora
Be the star of the north.

A. Pushkin

I do not soar - I sit like an eagle.

A. Pushkin

Often there are comparisons in the accusative case with the preposition "under":
"Sergey Platonovich ... sat with Atepin in the dining room, pasted over with expensive, oak-like wallpaper ..."

M. Sholokhov.

IMAGE -a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Frost - warlord patrol

Bypasses his possessions.

ON THE. Nekrasov

ALLEGORY(Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images date back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes.

Unlike a metaphor, in an allegory, the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).

GROTESQUE (French grotesque - bizarre, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Enraged at the meeting, I burst into an avalanche,

Spouting wild curses dear.

And I see: half of the people are sitting.

O devilry! Where is the other half?

V. Mayakovsky

IRONY (Greek eironeia - pretense) - an expression of mockery or slyness through allegory. A word or statement acquires in the context of speech a meaning that is opposite to the literal meaning or denies it, calling it into question.

Servant of powerful masters,

With what noble courage

Thunder with speech you are free

All those who had their mouths shut.

F.I. Tyutchev

SARCASM (Greek sarkazo, lit. - tear meat) - contemptuous, caustic mockery; the highest degree of irony.

ASSONANCE (French assonance - consonance or respond) - repetition in a line, stanza or phrase of homogeneous vowel sounds.

Oh spring without end and without edge -

Endless and endless dream!

A. Blok

ALLITERATION (SOUND)(lat. ad - to, with and littera - letter) - the repetition of homogeneous consonants, giving the verse a special intonational expressiveness.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

Storm is near. Beats on the shore

A black boat alien to charms ...

K. Balmont

ALLUSION (from Latin allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work ("Gerostratus's glory").

ANAPHORA(Greek anaphora - pronouncement) - repetition of initial words, lines, stanzas or phrases.

You are poor

You are abundant

You are beaten

You are almighty

Mother Russia!…

ON THE. Nekrasov

ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blush, like a poppy color,

I am like death, and thin and pale.

A.S. Pushkin

You are poor
You are abundant
You are powerful
You are powerless...

N. Nekrasov

So few roads traveled, so many mistakes made...

S. Yesenin.

Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the whole work is built on the principle of antithesis

APOCOPE(Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.

... Suddenly, out of the forest

The bear opened its mouth on them ...

A.N. Krylov

Lay, laugh, sing, whistle and clap,

People's talk and horse top!

A.S. Pushkin

ASYNDETON (asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.

Night, street, lamp, pharmacy,

A meaningless and dim light.

Live at least a quarter of a century -

Everything will be like this. There is no exit.

A. Blok

POLYUNION(polysyndeton) - excessive repetition of unions, creating additional intonational coloring. The opposite figureunionlessness.

Slowing down speech with forced pauses, polyunion emphasizes individual words, enhances its expressiveness:

And the waves are crowding, and rushing back,
And they come again, and hit the shore ...

M. Lermontov

And boring and sad, and there is no one to give a hand to ...

M.Yu. Lermontov

GRADATION- from lat. gradatio - gradualness) - a stylistic figure in which definitions are grouped in a certain order - the increase or decrease in their emotional and semantic significance. Gradation enhances the emotional sound of the verse:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.

S. Yesenin

INVERSION(lat. inversio - rearrangement) - a stylistic figure, consisting in a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.

Traditions of antiquity deep

A.S. Pushkin

Doorman past he's an arrow

Flew up the marble steps

A. Pushkin

OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting, opposite in meaning words (a living corpse, a giant dwarf, the heat of cold numbers).

PARALLELISM(from the Greek. parallelos - walking side by side) - an identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.

Waves crash in the blue sea.

The stars are shining in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is as high as mountains.

V. Bryusov

Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and literary works close to them in their artistic features (“The Song about the Merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Russia” N. A Nekrasov, "Vasily Terkin" by A. T, Tvardovsky).

Parallelism can have a broader thematic character in content, for example, in the poem by M. Yu. Lermontov "The clouds of heaven are eternal wanderers."

Parallelism can be both verbal and figurative, as well as rhythmic, compositional.

PARCELLATION- an expressive syntactic technique of intonational division of a sentence into independent segments, graphically highlighted as independent sentences. ("And again. Gulliver. Standing. Stooping" P. G. Antokolsky. "How courteous! Good! Mila! Simple!" Griboedov. "Mitrofanov grinned, stirred the coffee. Squinted."

N. Ilyina. “He had a fight with a girl. And that's why." G. Uspensky.)

TRANSFER (French enjambement - stepping over) - a mismatch between the syntactic articulation of speech and articulation into verses. When transferring, the syntactic pause within a verse or half-line is stronger than at its end.

Peter comes out. His eyes

Shine. His face is terrible.

The movements are fast. He is beautiful,

He's all like God's thunderstorm.

A. S. Pushkin

RHYME(Greek "rhythmos" - harmony, proportionality) - variety epiphora ; the consonance of the ends of poetic lines, creating a sense of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.

ELLIPSIS (Greek elleipsis - loss, omission) - a figure of poetic syntax based on the omission of one of the members of the sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech, a tense change of action is transmitted. Ellipsis is one of the default types. In artistic speech, it conveys the excitation of the speaker or the intensity of the action:

We sat down - in ashes, cities - in dust,
In swords - sickles and plows.

Full text of the dissertation abstract on the topic "Poetics of Folklore in the Artistic System "The Tale of Igor's Campaign""

As a manuscript

POETICS OF FOLKLORE IN THE ARTISTIC "WORDS ABOUT IGOREV'S POLICE"

Specialty 10.01.01. - Russian literature

Vladivostok - 2007

The work was done at the Department of the History of Russian Literature

GOU VPO "Far Eastern State University" (Vladivostok)

Scientific adviser:

candidate of philological sciences, associate professor Sviridova Lyubov Mikhailovna

Official opponents:

Doctor of Philology, Professor Rubleva Larisa Ivanovna

Candidate of Philological Sciences, Senior Researcher Krayushkina Tatyana Vladimirovna

Lead organization: Far Eastern State

humanitarian University

The defense will take place on November 8, 2007 at 2:00 pm at a meeting of the dissertation council DM 212.056.04 at the Far Eastern State University at the address: 690600, Vladivostok, st. Aleutskaya, 56, room. 422.

The dissertation can be found in the Zonal Scientific Library of the Far Eastern State University at the address: Vladivostok, st. Mordovtsev, 12.

general description of work

The dissertation research is devoted to the consideration of the features of the poetics of "The Tale of Igor's Campaign" in the light of the folklore tradition

"The Tale of Igor's Campaign" is an outstanding literary work of a secular nature, based on historical material, written by an unknown author of the XII century. The study of the "Word" revealed its important artistic feature: being an original author's work, focused on the genre and style literary traditions of its time, it at the same time reveals a close connection with folklore. This is manifested in different levels poetics, in composition, in the construction of the plot, in the depiction of artistic time and space, in the stylistic features of the text. One of characteristic features medieval literature, which has common traditions with folklore, was anonymity. The author of the ancient Russian work did not seek to glorify his name.

Question history. The study of the question of the relationship between the "Word" and folklore has been developed in two main directions - "descriptive", expressed in the search and analysis of folklore parallels to the "Word", and "problematic", whose adherents set as their goal to clarify the nature of the monument - oral-poetic or literary

For the first time, the most vivid and complete embodiment of the idea of the connection between the Lay and folk poetry was found in the works of M. A. Maksimovich. However, in the works of Vs. F Miller considered the parallels between The Word and the Byzantine novel. The polar points of view - about the folklore or bookish nature of the Word - were subsequently combined into a hypothesis about the dual nature of the monument. Some results of the development of the problem of The Word and folklore were summed up in the article by V. P. Adrianova-Peretz "The Tale of Igor's Campaign and Russian Folk Poetry", where it was pointed out that supporters of the idea of the "folk poetic" origin of the "Word" often lose sight of the fact that "in oral folk poetry, lyrics and epic each have their own artistic system" , while in the author's integral organic poetic system "the best sides of the lyrical and epic style are inextricably merged" . DS. Likhachev also reasonably pointed out the proximity of the "Lay" to folklore, especially to folk laments and glories, in terms of ideological content and form. Thus, an unresolved problem in literary criticism about the relationship between folklore and literary elements in the text of the most famous monument of ancient Russian literature was stated.

In a number of works, ideas were expressed about the relationship of the Lay with individual genres of folklore. Various aspects of the problem of the relationship between the monument and folklore were covered in the works of I.P. Eremin, L.A. Dmitriev, L.I. Emelyanov, B.A. Rybakov, S.P. Pinchuk, A.A. Zimin, S.N. they are united by the type of work by a common setting, according to their authors, the “Word” is genetically and in form connected with folk poetic creativity, to which it is rooted

At one time, a very accurate, from our point of view, idea was expressed by Academician MN Speransky, who wrote “In the “Word” we see constant echoes of those elements and motives that we deal with in oral folk poetry. This shows that "The Word" is a monument that combines two areas - oral and written." images with the worldview of the author.

Scientific novelty - Despite the scientific searches of researchers, which are mentioned above, the questions of the formation of the author's artistic skill in the early Middle Ages, relying on the folklore tradition have not yet received an exhaustive answer in literary criticism. literary genres of ancient Russia and the system of folklore genres. Without a number of extensive preliminary studies, this question not only cannot be resolved, but even correctly posed.

This work is an attempt to resolve the question of why The Tale of Igor's Campaign is so saturated with folklore, as well as the key question of the relationship between the system of literary genres of ancient Russia and the system of folklore genres. The work provides a comprehensive analysis of the folklore tradition in The Tale of Igor's Campaign, reveals how the worldview influenced the design of the idea and the embodiment of the idea of the work, clarified the problem of studying the system of folklore genre forms used by the author, analyzed the relationship between the elements of the folklore chronotope, folklore images and poetic techniques that are found in the text of the literary monument of the 16th century, with the images and tropes of "The Tale of Igor's Campaign".

The study proves that the poetic system that was formed in oral folk art undoubtedly influenced the poetics of the emerging medieval Russian literature, including the artistic structure of The Tale of Igor's Campaign, because during the period of artistic searches, during the formation of written literature the culture of oral poetry worked out over the centuries influenced the formation of literature by the fact that there were already ready-made genre forms and artistic poetic techniques that were used by ancient Russian writers, including the author of The Tale of Igor's Campaign.

The "Word" is usually published in parallel: in the original language and in translation, or separately in each of these two versions. For our analysis of The Tale of Igor's Campaign, it was necessary to turn to the Old Russian text, since the text of the original allows us to better understand the artistic specifics of the work.

The object of the study is the text "The Tale of Igor's Campaign" in Old Russian, as well as folklore texts of various genres in the records of the 19th-20th centuries, which are necessary for comparative analysis.

The relevance of the work. Appeal in the dissertation research to the relationship between oral (folklore) and written (Old Russian literary) traditions is very important, because it reveals the relationship between the poetics of a literary work and the poetics of folklore, as well as the process of influence of one artistic system on another in the early period of formation of Russian literature.

The purpose of the dissertation research is a comprehensive study of the features of the poetics of folklore in artistic structure"Words about Igor's regiment

Based on the general goal, the following particular tasks are formulated.

Reveal the basis of the author's artistic worldview, determine the role of its various structural elements in the poetics of the "Word", consider the elements of animistic and pagan beliefs reflected in the work.

Consider elements of folklore genres in the "Word", general genre models, elements of composition, features of the chronotope, common with folklore, folklore images

Determine in the "Word" the specifics of the image of a person, the type of hero, his connection with the folklore system of images

Reveal artistic features, general stylistic patterns in the creation of the text of the monument and folklore works.

The methodological basis of the dissertation was the fundamental works of Academician DS Likhachev "Man in the culture of Ancient Russia", "Development of Russian literature XI - XVII centuries - eras and Styles", "Poetics of Old Russian Literature", "The Tale of Igor's Campaign Collection of Researches and Articles (Oral Origins of the Art System "The Tale of Igor's Campaign". As well as the works of V. P. Adrianov-Peretz "The Tale of Igor's Campaign and Russian Folk Poetry", "The Tale of Igor's Campaign and Monuments, Russian Literature of the 11th - 12th Centuries" Collection of Research These works allowed us to consider the following aspects of the poetics of the "Word", the categories of artistic time and space, the system of artistic means in the context of folklore

The theoretical significance of the study lies in the comprehensive study of the features of the poetics of folklore in the artistic system "The Tale of Igor's Campaign", which is important for understanding the aesthetic values of ancient Russian literature as a whole. Identification of folklore traditions at different levels of text poetics suggests further development of the problem in literary criticism.

The practical significance of the study, the materials of the dissertation research can be used in lecturing in university courses on the history of Russian literature, in the special course "Literature and Folklore", for compiling educational and methodological manuals on

Old Russian literature, as well as in school courses of literature, history, courses "World Artistic Culture". Provisions for defense

1 The poetics of the Lay reflects the worldview of the ancient Russian man, who absorbed the ancient mythological ideas of the Slavs about the world, but already perceiving them at the level of aesthetic categories. Mythological characters associated with ancient ideas about the world around us penetrate literature, but they are no longer perceived as divine beings, but as some kind of mythological magical characters.

2 The Tale of Igor's Campaign reveals elements of numerous folklore genres. From ritual folklore, traces of wedding and funeral rites are noted, there are elements of incantation and spells.

In the artistic structure of the monument, the influence of epic genres is noticeable, in particular, fairy tale and epic in the elements of composition, in plot construction, in the chronotope. The system of images is close to a fairy tale, although types of heroes similar to epic ones are found. Small genre forms - proverbs, sayings, parables are a means of characterizing and enhancing emotionality

3 The “Word” uses the inseparability of tropes and symbols, characteristic of folklore, with the help of which the author gives a bright and figurative characteristic characters, finds out the reasons for their actions The syntax of the monument is archaic (influenced by oral tradition) and is largely associated with the poetic syntax of the folk lyric song The rhythmic structure of the "Word" creates an artistic context that is correlated with the epic tradition of reproducing the text

4. Folklore was the "nutrition medium" that influenced the formation of the artistic system of ancient Russian literature in the early period of its formation, which is evident from the analysis of the outstanding work of the 15th century, permeated with folklore traditions. During the creation of "The Tale of Igor's Campaign", the process of formation of literary poetics deepens influenced by folklore

The structure of the dissertation, determined by the goals and objectives of the study, includes an introduction, three chapters (the first and second chapters consist of four paragraphs, the third contains three paragraphs), a conclusion and a bibliographic list of references, including 237 titles. The total volume of the dissertation is 189 pages.

artistic structure of the text

In the first paragraph, "Peculiarities of the worldview of the author of the Lay" analyzes the views of researchers on the worldview of the author, who note that the relationship between the Christian and pagan worldview has been palpable for many centuries. The paragraph suggests that the author's worldview is undoubtedly Christian, and the pagan and animistic ideas that permeate the entire text of the monument originate in traditional folk culture and are perceived as aesthetic categories. "a system of images, many of which have been preserved since the times of paganism. Many animistic ideas were also characteristic of the mentality of the ancient Russian person, as well as modern

Instead of a pagan naturalistic balance, the author introduces a tense confrontation between spirit and matter Both in the world and in man, an irreconcilable struggle of two principles is seen, identified with God and the devil, soul and flesh Instead of the idea of an eternal cycle, the idea of vector development from the creation of the world to its end is developed. A person calls for moral responsibility, he must make a conscious choice between two world forces, his life is connected to the world universe, his fate becomes part of the world's fate. That is why the author of the Lay calls on the princes to unite - the fate of the country depends on them

The second paragraph analyzes pagan images and their functions in the "Word" Three rows can be distinguished in the structure of the poetic images of the "Word" artistic images associated with pagan beliefs

1) Images recreated on the basis of a powerful cultural layer of pagan Russia (Stribog, Veles, Dazhdbog, Hora as one of his incarnations)

2) Personalized mythological images and characters (Virgo-Resentment, Karna, Zhlya, Div, Troyan).

3) Poeticized images of real animals and birds (nightingale, ermine, falcon, swan, raven, jackdaw, eagle, wolf, fox)

Dana a brief description of image or group of images

The analysis allowed us to come to the following conclusions The anonymity of the text is a bright feature that characterizes the author’s worldview and makes it related to folklore Such signs of pagan worldview as anthropomorphism and pantheism return readers to mythological times Images of the gods (Stribog, Veles, Dazhdbog, Khors) emphasize the connection between times and generations and the power of natural vultures. The images of the Virgin-Resentment, Karna, Zhli, Diva are personified images-symbols associated with the theme of grief, sadness, grief, death

The images of animals poeticized in the "Word" perform a symbolic function and at the same time complement the realistic picture of nature, which is abundantly presented in the work.

earth, the swan - the power of the water element, its connection with the air element. And crows, jackdaws, falcons, nightingales, an eagle are symbols of the sky. Such a trinity of natural forces is associated with the image of the World Tree

The author uses mythologized images of long-gone people, artistic images associated with pagan views, personified images to understand the historical significance of what is happening and the present as an aesthetically valuable phenomenon worthy of glorification.

In the third paragraph - "The author's animistic ideas and their functions" - the images of nature and their role in the "Word" are considered in detail. Worship of the deities of nature persisted longer than others. That is why the ancient Russian man lost the old religious forms of paganism, but retained it on a spiritual level With the loss of mythological perception of the world remained the same view of nature

According to ideas, a person could change the future by the power of a word, ruled over the fate of other people and commanded the forces of nature Conspiracy as an “ancient pagan prayer” played a major role Popular understanding attributed power not to the things and phenomena of nature themselves, but to the word that gave them this power She proceeded not from nature, but from a person, from his soul. This was the spiritual power that had roots in mythological representations. Therefore, Yaroslavna performs a ceremony. She “transfers” her spiritual power in a tested way - by referring to the main natural forces - wind, sun, water (Dnepr) .

The inseparability of the connection between the world of nature and man is also ensured by the richness of the poetic style. The brightness of the color symbols of the monument (bloody dawns, black clouds, muddy rivers, etc.) is a direct borrowing from the pagan vision of the world, although we note that Christian art also actively included the symbolism of color.

The functions of nature in the "Word" are diverse, emphasizes the tragedy of the situation, the joy at the release of Prince Igor, brings military pictures closer to the reader, presenting them in the images of arable land, harvest, threshing Pictures of nature also have a symbolic meaning, although they are basically realistic The author does not say what surrounds heroes, he draws attention to what is happening around, talks about actions. Nature also serves as a means of expressing the author's assessment. This is the difference between the "Words" and folklore

In the fourth paragraph "Mythological symbols and motifs in the artistic structure of the "Word"" the main mythological oppositions that are important for understanding the artistic structure of the text are identified. The figurative model of the world - the World Tree - and its manifestation in the folklore tradition, the motive of the struggle of light with darkness and the role of solar symbols are considered. in the text An analysis of the mythological model of the chronotope and its transformation in the "Word" is presented

As a result, regularities were revealed. The mythological motif of the struggle between light and darkness is the most important plot-forming element and

one of the mythological oppositions in the text of the monument, the identification of the princes in the "Word" with the sun goes back to mythology (like Vladimir Krasno Solnyshko in the epics of the Kiev cycle), the motive of werewolf is used in the work as a means of characterizing the heroes (Boyan, Igor, Vseslav Polotsky)

The space of the “Word” is heterogeneous, inextricably linked with time, their characteristic feature is qualitative heterogeneity The cult of ancestors underlies the understanding of the concepts “Russian land” and “unknown field” Time for an ancient Russian person is a sequence of stages, each of which has its own value and importance The author twisted “both sexes of their time” in the same way as in folklore “tops twisted with tops, streams merged with streams” Thus, creating an image of time, the author uses both artistically meaningful mythological representations and folklore images

The author of the "Lay" rethinks the poetic tradition, which is based on mythological ideas. For him, "blasphemy" and "glory" are only poetic devices with the help of which he evaluates reality. in the rite of initiation, and then in the genre of a fairy tale. It contains the features of ancient mythological ideas

Thus, comparing Igor’s path to the “unknown land” and back, we can also say that the basis of the narrative plot is similarity with the ancient myth. This means that behind each symbol in the work there is not just reality. It is rethought by the author in accordance with the artistic conception.

The Russian perception of Christianity is characterized by a sense of inseparability and inseparability of the divine world and the human world Mythological subtext is the background on which the content of the work as a whole and its individual details are superimposed The author’s artistic worldview has absorbed pagan traditions, therefore the fate of a person becomes part of world destiny clearly indicates the roots of Russian spirituality, a person is called to moral responsibility

The second chapter "Elements of folklore genres in the artistic structure of the "Words"" examines folklore genre models and images reflected in the monument.

The first paragraph of the first paragraph reveals in the text of the monument of glory, toasts, magnification, reproachful songs as elements of the wedding ceremony. an image reminiscent of the motifs of wedding poetry

Marriage motifs of kidnapping and hunting motifs retain the idea of the ancient Slavic custom of “getting” a wife as a tribute real and symbolic plan As can be seen from the analysis of the text, in the 15th century, folklore genre forms and poetic images of oral culture organically fit into the poetics of written culture.

In a separate group, we single out princely glory and toasts used by the author, which, as a genre variety, have long since disappeared from folklore life. They are genetically close to wedding glorifications, but their function is changing. The images of the “princely”, thousandth, preserved in the folklore records of the 19th century, also suggest that the glory, magnificence and toast of princes and squads existed, since folklore recorded words related to the military squad theme

In the second paragraph of the first paragraph "Traces of funeral ritual poetry in the "Word"" elements of funeral rituals in the plot outline of the work are revealed, and the author is well aware of two types of funeral rituals - the usual given of the XII century burial in the ground and the archaic rite of cremation "Muten dormouse" by Svyatoslav of Kiev is saturated elements of the funeral rites traditional for the Middle Ages (black veil, yew bed, blue wine, pearls, tower without "yuigs", "dabrski sled") as messengers of grief and sadness accompanying the archaic rite of cremation

In addition, the text of the monument revealed elements of lamentation, its traditional structure, the form of a monologue, the stringing of homogeneous constructions. e obeyed the scenario of the funeral ritual

The basis of the poetic imagery of crying in folklore is made up of frozen poetic formulas - cliché images of a bird-soul, longing, a field sown with torment and fenced with longing, a sea filled with tears. lamentation of the Polotsk combatant-poet, who reports on the tragic outcome of the battle and the death of Prince Izyaslav Vasilkovich

An analysis of the text leads to the conclusion that the inseparable connection between funeral and wedding rituals was manifested in the "Word" in the image

climax moments of the story - just like in folklore, the rite accompanies a person in the most significant moments of life

The third paragraph of the second paragraph "Elements of the genre of conspiracy and spells in the "Word"" considers the so-called "lament of Yaroslavna", in which we see not lamentation, as researchers traditionally believe, but traces of a conspiracy and spell. The proof is the similarity of the structure, images, rhythmic organization , stylistics of the fragment Yaroslavna's appeal to the Dnieper in structure corresponds to a conspiracy to water naming a wonderful helper, praising his power or mild reproach, asking for help The principle of trinity, originating in the Indo-European tradition, also indicates the presence of elements of the conspiracy genre.

The purpose of Yaroslavna's appeal to the forces of nature - water, the sun and the wind - is to turn them into Igor's assistants. Thus, in the worldview of an ancient Russian person, the unity of man and nature is manifested, faith in the strength and power of the elements. the basis of folklore texts The imagery of the "Word" is rooted in the pagan past, and the ancient religious images of paganism are transformed into poetic ones. The author uses archaic genres of incantation and spells, the figurative system of ancient rituals, their style in the artistic fabric of the work.

In the second paragraph of the second chapter "Elements of epic genres in the artistic structure of the "Word"" we examined the features of plot construction, chronotope, system of images, types of heroes similar to the epic folklore tradition. In the first paragraph of this paragraph - "Elements of a fairy tale epic" - the plot and compositional elements of a folk fairy tale are revealed, the role of repetition, fairy tale motifs is determined, the system of images of the heroes of the work is considered in comparison with the artistic system of a fairy tale

Using a fairy-tale type of plot - obtaining a bride or treasures, the author freely replaces it with the motive of obtaining a kingdom In the Lay, leaving the earth to gain a kingdom is a warning of danger (eclipse of the sun, disturbing behavior of birds and animals) - temporary defeat - victory over the enemy with the help of helpers - return

The author creatively transforms the fairy tale plot in a fairy tale, the hero wins - and this is the end result. Prince Igor is defeated, but the moral victory in the end turns out to be on his side. The hero of a fairy tale is usually helped by the bride (wife), magical helpers (horse, bird), nature ( in the fairy tale "Swan Geese" is a river, trees) In the "Word" Igor is helped by his wife (Yaroslavna), the forces of nature (horse, birds, river, trees, grass) The plot elements are clearly similar

As in a fairy tale, the world of "reality" in the "Word" is special, conditional, and the convention manifests itself in connection with the plot action. Space differs from the fairy tale in that it is filled with realistic features. Time in the "Word" is close to folklore and fairy tale, but its difference is the fact that in the "Word" the author "returns" to the historical past, which not only deepens the lyricism of the narration, but also enhances the epic character.

A significant day of revealing the ideological content in the epic tradition is a recurring motif, designated in the "Word" as the idea of the need for unity of the Russian princes in the face of the danger of the Formula for the transition from one event to another ("Dawn darkens for a long time, the sun has sunk, the darkness of the field has covered"), designation time period (“the night is fading”, “the darkness of the field has covered”) in the text bear the imprint of psychologism

Having singled out, as in a fairy tale, the hero at the beginning of the narrative, the author connects all the action with him, but, combining the epic and lyrical in one work (a feature of the book style), complicates the unilinearity with retrospective digressions into the past, “twisting both sexes of time”

The most important in the "Word" is the motive of tripling Another motive is the path of the hero - a hero, a warrior, in whose image fairy and epic motifs merge. the path in a fairy tale - the path to another world You can return back unscathed with the help of magical powers or objects

The horse (the main function) acts as an intermediary between the world of the living and the dead. Apparently, such a frequent (three times in a small fragment of the text) mention of the image of the horse should have emphasized the danger that every minute awaits Igor on the way home. From our point of view, here the function of the mediator horse is intertwined with a real fact, creating a complex artistic image of the assistant Using the motifs of a fairy tale (violation of the ban, werewolves, living and dead water) made it possible to describe real events without reducing the level of idealization of the main character.

In the "Word" there is an almost complete system of images of a Russian fairy tale, a lucky hero - Igor, magical assistants - brother Vsevolod and a squad, Yaroslavna, Ovlur, forces of nature called with the help of a spell, animals, birds, pests - Polovtsians. Only magic objects are missing - assistants

Prince Igor personifies the type of hero-successful who, with the help of magical assistants, returns to that Russian land, deeply repenting of his "seditions". At the same time, unlike the fairy tale, individual traits are already visible in the images of the heroes of the Lay.

is presented not as an abstract ideal property, but as a necessary one for him in the future. Igor is also endowed with realistic features, individualized in comparison with fairytale hero. So, using the folklore model, the author creates a literary image

Going beyond the system of fairy-tale images, the author introduces many characters necessary to reveal the idea of the work Goodies, embodying the ideals of the past, expand the scope of the narrative, negative, embody the "strife" of the past. The process of getting used to folklore in literature is clearly visible already in the complication of the system of images.

The second paragraph of the second paragraph "Elements of the epic epic" considers the compositional and plot elements of the epic genre in the structure of the text, types of heroes close to the epic ones. We find similarities in the motif of werewolf, the images of the wolf, Vsevolod's buoy-tour, the image of the Russian land, in the image of princes Real heroes the author of the "Word" draws using folklore formulas, the technique of hyperbolization is one of the ways of artistic generalization, typical of oral epic

Drawing the images of the princes, he depicts them realistically and at the same time uses the poetic idealization inherent in the bylina, endows them with a certain set of qualities, creates the ideal of the defender of the motherland, hyperbolically depicts the military prowess and political power of those princes from whom he expects real help in uniting the military forces against advancing Polovtsy The epic hero is endowed with extraordinary military prowess, his merits are tested in battle The features of the ideal epic hero are embodied in the images of Vsevolod Svyatoslavich, Vsevolod Yuryevich, Yaroslav Osmomysl

Specific geographical names in the text of the monument also bring it closer to the epic epic. In the epics, the hero combines all the properties of the Russian army, the Russian squad or the Russian peasantry, in the "Word" the images of heroes - princes are characterized through the exploits of their squad. Before us - reflected in the "Word" the initial stage of that process, which in the epic at a later time led to the fact that the Russian army was depicted in the collective image of a hero

The similarity with the epic is noted in the "Word" in the idea of the unity of the Russian land, in the image of the Steppe, in the images of princes, rhythmic structure, the motif of werewolves, the technique of hyperbolization. palliology, retardation and compositional deceleration (refrains, triple inversions, repetitions)

Correspondences in the plot reveal the independence of the author’s artistic thinking. He builds his system of artistic means on familiar folklore techniques. The difference is that the author introduces into the plot the lines of other heroes who are not directly involved in the campaign (Svyatoslav, Yaroslavna, Vseslav Polotsky, etc.)

In the third paragraph of the second paragraph "Folklore images-symbols of a lyrical song in the artistic structure of the "Words"" the elements of the lyrical song genre in the text of the monument are considered, the features of the use by the author of the images-symbols of a lyrical song are indicated

The bulk of color symbols is shown through the choice of bright colors and a limited number of colors, which is a defining feature of the folklore style, leading from magic symbols. "blue haze", "blackened shields", "white horyugov", "gray wolves", "grey eagles"). A characteristic feature of the images-symbols of the "Word" is their two-dimensionality - maximum concreteness and visibility of the artistic image.

The author adopted the traditions of folk poetry, using the general folklore images of the battle-harvest and the battle-feast Realistic picture is superimposed on artistic images, creating a symbolic metaphorical reality The figurative system of the monument combines the images-symbols of folk poetry Polovtsian army - black clouds, "falcon-prince" - the image of the defender of the Russian land, strength, courage, youth. The image of the nest-kin is also symbolic. The raven and the eagle are used as symbols in soldiers' songs, which allows us to judge their connection with the once common squad songs, the presence of elements of which we find in the text of the "Words"

Comparison of folklore texts with the text of the work allows us to conclude that compositionally, and by the presence of traditional formulas, and stylistically, the beginnings of “Yaroslavna’s lament” correspond to the poetics of the lyrical song. The features of the soldier’s song (“the black earth under the hooves was a clearing with bones, and the blood of a tight glade ascended across the Russian land”) was reflected in the figurative system of “Words about Igor’s Campaign”

We also see elements of the genre of lyrical song in the figurative structure and artistic devices of the fragment “Depressing the flowers with a complaint, and the tree bowed hard to the ground”, because the author’s sad thoughts about the death of young Rostislav are conveyed through images characteristic of a folk lyrical song. However, if the need arises, the author combines folk and literary traditions in order to reveal the ideological subtext of the entire work as a whole.

The composition of the Lay is subject to emotional and lyrical requirements and has nothing to do with historical or other narrative structure. It is this composition that is characteristic of the folk lyric song

The fourth paragraph of the second paragraph "Proverbs, sayings and other small genre forms" defines the functions of these genres in the text of the monument, analyzes the images, structure, small genre forms. Each of the proverbs is a metaphorical generalization of a specific situation. The author gives the characters nicknames that characterize their fate and

character is a manifestation of the broadest outlook and deep erudition of the author. In a detailed description of signs, omens, the dependence of medieval man on the forces of nature was reflected. Therefore, the description of signs in ancient Russian literature organically entered the plot, helped to organize it, gave the narrative dramatic sharpness and tension, and was a harbinger of psychologism.

The use of proverbs, sayings, omens, teasers by the author as a means of characterizing the characters and enhancing the emotionality of the narration testifies to the great influence of the oral tradition on the artistic structure of the "Word"

Folklore was the breeding ground from which Russian literature “grew” The author perceived the actively practiced rituals as an integral part of life, and the elements of pagan culture were so familiar that they were perceived as ordinary The author uses genre models that are familiar to him, thinks in folklore images coming from mythological representations of pre-Christian Russia

The content and poetics of the narrative depended on the samples of folklore works, since the artistic system of ancient Russian literature itself had not yet been formed. The author also relied on the traditions of the squad poetry of the period of Slavic unity. The structure of the ancient Russian monument is so polyphonic that it contains the features of almost all genres of folklore. As in folklore, real events undergo a certain artistic transformation.

The third chapter "Folklore tradition in the poetic style and language" Words "" focuses on the analysis of the system of artistic techniques, establishing the features of the use of means of artistic expression, their functions, determining the links between the poetic syntax of the work and the folk poetic, identifying the role of sound means and the importance of rhythm for poetic text organization

In the first paragraph "Folklore means of artistic representation in the "Word"" different types of folklore tropes are considered, their characteristics are given, the functions of the means of artistic expression are analyzed in the order of their frequency in the text of the monument.

Artistic techniques and images are associated with a special poetic idea of the world. Firstly, the whole world is alive, nature and man are one, therefore the cult of the earth, water, sun, animate and inanimate phenomena in nature are connected. the formula of the Path is basically folklore, like the entire figurative system of the "Word"

Emphasizing the traditional nature of the main poetic tropes in the Lay, we note that it is built as an individual unique work with artistic values that cannot be reduced even to the richest traditions. The author shows his artistic

abilities, creating on a folklore basis their own means of artistic expression, or rethinking already known ones.

In the second paragraph "The poetic syntax of the "Word" and its connection with the folklore tradition" the connection between the poetic syntax of the monument and folk poetry is revealed, the analysis of the main syntactic devices and their functions is given. The syntax of the "Word" is an example of the synthesis of archaic means and new artistic content. The authenticity of the monument can be confirmed, among other things, by the parataxic organization of the utterance, which is characteristic of the most ancient linguistic system. The poetic syntax of the work is undoubtedly associated with the oral-poetic tradition, especially in terms of the lyrical component of the literary text. Perhaps, during this period, the development of literature and lyrical folklore genres went in parallel

In the third paragraph, "Sound of the Word" and its functions in the context of folklore, an analysis of sound writing as a poetic means of an oral work, the basis of the systemic organization of verbal and figurative material in the text, is given. We came to the conclusion that the "Word" is characterized by "sonic poetization of style", in which sound writing played a role not only poetic, but also semantic.

Sound writing in the Word is associated with oral forms of poetry and with oratory at the same time, which led to the combination of rhetorical devices with the poetics of folk art, reflected in the living word Sound in the Word performs compositional, artistic and content-semantic functions. The bulk of color symbols shown through a choice of bright colors and a limited number of colors, which is a defining feature of the folklore style, leading from magical symbols. The poetic style of the "Word" is based on a bright combination of contrasting colors - paints.

Phonetic techniques also play an important role in creating the rhythm of the monument. With the help of assonances and alliterations, lines are tied to each other, creating a separate whole unit of rhythm. The rhythmic organization of the text is connected with the folklore poetic tradition

In the Conclusion, the results of the research are summed up. The author created his work, relying on the poetics of folklore, well known to him. His task was, by combining all known artistic forms and techniques, to create an image that makes the reader imbued with the ideas of patriotism and unity in the face of the impending danger, which the author, as a person close to the military feudal elite and thinking strategically and tactically, was well aware. Therefore, it was so important not to record actual events, but to show their inner essence, drawing the reader's attention to the key ideas of the work and using the art system of folklore that is accessible and well known to both the author and readers

the artistic system of ancient Russian literature itself was formed.

The structure of the ancient Russian monument is so polyphonic that it contains features of almost all genres of folklore. This convinces that the author was as close as possible to the folk environment. organically introduced into the artistic canvas of his work, but did not remain within the framework of the previous genre and folklore forms, but, changing them and subordinating them to his artistic task, developed the literature of the 16th century in this way. As in folklore, real events undergo a certain artistic transformation. Creatively rethinking tradition, the author creates an independent work, with a strong personal beginning

The list of references contains a list of sources, reference and encyclopedic publications, studies, monographs, articles on the poetics of "The Tale of Igor's Campaign" The list of references also contains those works that determined the methodological apparatus of the study

Promising areas of research could be those that examine various aspects of the relationship between pagan and Christian components in the author's worldview. It is necessary to identify in the future the remaining elements of folklore genres, in particular, proverbs, to trace the organizing function of folklore symbols in the artistic structure of the text.

Approbation of the research and bibliographic description of publications on the topic of dissertation research

During 2005-2006, the main provisions of this study were tested in the course of lectures "Old Russian Literature" at the college of the FENU branch in Artem, in the course of lectures "Old Russian Literature and Orthodoxy" for philologists in Artem in 2005, in speeches at international, all-Russian and regional conferences.

"Progressive Development Technologies". International Scientific and Practical Conference, December 2005

"Quality of Science - Quality of Life" International Scientific and Practical Conference, February 2006

"Fundamental and applied research in the education system". International 4th scientific and practical conference (correspondence), February 2006

"Components of scientific and technological progress". 2nd international scientific and practical conference, April 2006

Report "Elements of folklore genres in the artistic structure" The Tale of Igor's Campaign "at the literary seminar on the specialty 10 01 01 - October 2006

3. On the issue of Yaroslavna's crying in the "Word of Igor's Campaign" // Progressive Development Technologies: collection of materials of the International Scientific-Practical Conference, December 10-11, 2005 - Tambov Pershina, 2005. - P. 195-202

4 On the question of the poetics of "The Tale of Igor's Campaign" // Fundamental and applied research in the education system materials of the 4th Intern. scientific conference / editor N. N. Boldyrev - Tambov Pershina, 2006 -С 147-148

5. Features of the use of elements of retinue poetry in the "Tale of Igor's Campaign" // Progressive technologies for the development of materials of the international. scientific-practical conference, December 10-11, 2005 - Tambov Pershina, 2005 - С 189-195

6 Features of the worldview of a Russian person // Primorsky educational readings, in memory of Saints Cyril and Methodius, collection of abstracts and reports - Vladivostok * Publishing House of the Far Eastern State University, 2007. - Issue. 5 - C 96-98.

7 Landscape in "The Tale of Igor's Campaign" and its connection with folklore // Quality of science - quality of life: collection of materials of international scientific-practical. conf, 24-25 Feb. 2006 - Tambov: Pershina, 2006 - S. 119-124

8 Poetics of Folklore in the Artistic System "The Tale of Igor's Campaign" // Vestn. Pomor University. Ser Gumanig and social sciences 2007 - No. 3 - P.83-87. 9. Elements of a fairy tale in the "Tale of Igor's Campaign" // Components of scientific and technological progress: collection of materials. - Tambov Pershina, 2006. - S. 240-247.

10 Elements of the folk song genre in "The Tale of the Regiment and Igor" // New technologies in education - Voronezh Scientific book, 2006 - No. 1. - P. 81-83 11. Elements of funeral and wedding ritual poetry in the "Tale of Igor's Campaign" // Components of scientific and technological progress collection of materials. - Tambov: Pershina, 2006 - S. 247-258.

Novoselova Antonina Nikolaevna

POETICS OF FOLKLORE IN THE ARTISTIC SYSTEM "WORDS ABOUT IGOREV'S GUARD"

Signed for printing 21.09.2007 Format 60x84/16. Conv. oven l. 1.16. Uch.-ed. l. 1.26. Circulation 100 copies.

Publishing House of the Far Eastern University 690950, Vladivostok, st. October, 27

Printed in the printing complex OU FEGU 690950, Vladivostok, st. October, 27

1.2. Pagan images and their functions in the Word.

1.3 Elements of the author's animistic ideas in the Lay.

1.4. Mythological symbols and motifs in the Word.

CHAPTER 2. ELEMENTS OF FOLKLORE GENRES IN ART

STRUCTURE OF "WORD".

2.1. Features of ritual folklore in the artistic structure of the genres of the monument.

2.1.1. Glory (toast, praise), reproachful songs as elements of the wedding ceremony in the "Word".

2.1.2. Traces of Funeral Ritual Poetry in the Lay.

2.1.3. Elements of the genre of conspiracy and spells in the "Word".

2.2. The influence of epic genres on the artistic structure of the Lay.

2.2.1. Features of the fairy-tale epic in the "Word".

2.2.2 Features of epic poetics in the "Word".

2.3. Folklore images-symbols of a lyrical song in the artistic structure of the "Words".

2.4. Proverbs, sayings and other small genre forms in the "Word".

CHAPTER 3. FOLKLORE TRADITION IN POETIC STYLE AND LANGUAGE

3.1. Folklore means of artistic depiction in the "Word".

3.2. The poetic syntax of the "Word" and its connection with the folklore tradition.

3.3. Sound writing in the "Word" and its functions in the context of folklore.

Dissertation Introduction 2007, abstract on philology, Novoselova, Antonina Nikolaevna

The dissertation research is devoted to the consideration of the features of the poetics of "The Tale of Igor's Campaign" in the context of the folklore tradition.

The Tale of Igor's Campaign" is a medieval literary work of a secular nature, based on historical material, which leads to a multi-level approach to its study. It can be studied as a monument of literature, as a linguistic phenomenon. It gives an idea of the art of war, battle tactics, weapons of the Middle Ages. The Word attracted the attention of archaeographers, historians, biologists, geographers, and folklorists.

The study of the "Word" revealed its important artistic feature: being the author's work, which has a bright originality of expressive means, it is at the same time in many respects close to folklore works. The connection with folklore is manifested in the composition, in plot construction, in the depiction of artistic time and space, in the stylistic features of the text. One of the characteristic features of ancient Russian literature, which has common traditions with folklore, was anonymity. The author of the ancient Russian work did not seek to glorify his name. Therefore, we do not know who was the author of literary works, especially of the early medieval period, just as we do not know the creators of fairy tales, epics, songs.

Principles of selection of artistic material. Usually, when publishing the Lay, publishers give it in the original language or in translation, sometimes in parallel, citing both versions. In our analysis of The Tale of Igor's Campaign, we turn to the Old Russian text, since the text of the original allows us to better understand the artistic specifics of the work.

Relevance of the work: Appeal in the dissertation research to the relationship of oral (folklore) and written (Old Russian literary) traditions is very important, because. reveals the relationship between the poetics of a literary work and the poetics of folklore, as well as the process of influence of one artistic system on another in the early period of the formation of Russian literature.

The subject of the research is the realization of folklore poetics in the text of an ancient Russian literary monument.

The purpose of the dissertation research is a comprehensive study of the features of the poetics of folklore in the artistic structure “The Tale of Igor's Campaign.

Based on the general goal, the following particular tasks are formulated:

1. Reveal the basis of the author's artistic worldview, determine the role of various structural elements of the worldview in the poetics of the "Word", consider the elements of animistic and pagan beliefs reflected in the work.

2. Consider elements of folklore genres, general genre models, elements of composition, features of the chronotope, common with folklore, folklore images in the "Word".

3. Determine in the "Word" the specifics of the image of a person, the type of hero, his connection with the folklore system of images.

4. Reveal artistic features, general stylistic patterns in the creation of the text of the monument and folklore works.

The methodological basis of the dissertation was the fundamental works of Academician D.S. Likhachev "Man in the culture of Ancient Russia", "Development of Russian literature of the XI - XVII centuries: eras and styles", "Poetics of ancient Russian literature", "The Tale of Igor's Campaign. Sat. studies and articles (Oral origins of the artistic system "The Tale of Igor's Campaign"), as well as the works of V.P. Adrianova-Peretz "The Tale of Igor's Campaign and Russian Folk Poetry", "The Tale of Igor's Campaign and Monuments of Russian Literature of the 11th - 13th Centuries" Sat. research. These works made it possible to consider the following aspects of the poetics of the "Word": the categories of artistic time and space, the system of artistic means in the context of folklore.

The research methodology includes a comprehensive analysis of the text, combining historical-literary, comparative-typological methods.

Question history. The study of the question of the relationship between the "Word" and folklore has been developed in two main directions: "descriptive", expressed in the search and analysis of folklore parallels to the "Word", and "problematic", whose adherents set as their goal to clarify the nature of the monument - oral-poetic or book and literary.

In the works of N.D. Tsereteleva was the first to express the idea of the “nationality” of the style of “Words” (close to the style of “heroic stories”). The researcher defined the language of the monument as "common" and pointed to the presence of constant epithets in it - the most characteristic of folklore works. The author of the "History of the Russian people" N.A. Polevoy defined The Lay as "the most ancient monument of poetry", combining the features of folk lyrics and epic works [op. by 47, 304].

For the first time, the most vivid and complete embodiment of the idea of the connection between the “Word” and folk poetry was found in the works of M.A. Maksimovich, who saw in the monument “the beginning of that South Russian epic, which then sounded in the thoughts of bandura players and in many Ukrainian songs” . Analyzing the rhythm of the Old Russian text, the researcher found in it signs of the size of Ukrainian thoughts; considering the peculiarities of the poetics of the monument, he brought folklore parallels to the epithets, images and metaphors characteristic of the Lay.

However, Sun. F. Miller, in whose work the parallels between The Lay and the Byzantine novel were considered, pointed out that one of the main proofs of the bookishness of the Lay should be seen in its beginning, in the author’s address to readers, in the memory of the ancient singer Boyan, the ornate style , in the author's dedication to the relationship of the princes, the instructive nature of the monument, which is alien to folklore works, since, in his opinion, “morality in all forms, . in lives, in parables, in sayings - is a characteristic feature of book literature.

Polar points of view - about the folklore or bookishness of the "Word" - subsequently united into a hypothesis about the dual nature of the monument. So, according to the author of the "Course of the History of Russian Literature" V.A. Keltuyaly, "The Word" is associated with oral works of patriarchal-tribal and princely-retinue origin, on the one hand, and with Byzantine and Russian literature, on the other.

Some results of the development of the problem "Word" and folklore" were summed up in the article by V.P. Adrianova-Peretz "The Tale of Igor's Campaign" and Russian Folk Poetry. She pointed out the one-sidedness of the method of accumulating parallels to individual episodes and phrases, to the phraseology and rhythm of the "Word" - a method of analysis in which the question of the artistic method of the work is replaced by a comparison of stylistic means.

At the same time, V.P. Adrianova-Peretz, supporters of the idea of the “folk poetic” origin of the “Word” often lose sight of the fact that “in oral folk poetry, lyric and epic each have their own artistic system, while in the author’s integral organic poetic system “the best aspects of lyrical and epic style are indissolubly merged » . “The reason for such a coincidence of the “Word” with the folk epic, according to the researcher, in the very method of reflecting reality is not the influence of folklore, not the subordination of the writer to it, but the fact that this writer set himself a task similar to the goal of the heroic oral songs of his time” .

So, V.P. Adrianov-Peretz considers the problem of the relationship between literature and folklore in Ancient Russia "a problem of two worldviews and two artistic methods, either converging to complete coincidence, or diverging in their fundamental irreconcilability." On a number of specific examples, the researcher showed that the proximity of the "Word" with folk poetry is not limited to the similarity of the elements of the artistic form, believing that the commonality of ideas, events, worldview in general is paramount.

D.S. Likhachev reasonably pointed out the proximity of the Lay to folklore, especially to folk laments and glories, in terms of ideological content and form: “The folk song beginning is expressed in the Lay strongly and deeply. The "Word" combines both the oral folk element and the written one. The written origin of the "Word" is reflected in the mixture of various methods of oral folk art. In the "Word" one can find closeness to oral tales, and to epics, and to glories. and to the lyrical folk song. .

It was D.S. Likhachev noted that the artistic system of The Lay is all built on contrasts, and that "one of the sharpest contrasts that permeate the entire Lay is the contrast between book style elements and folk poetic ones." According to him, the element of the people in the "Word" is expressed in negative metaphors, beloved by folk poetry, as well as in folklore epithets, in some hyperbole, comparisons. It is remarkable that the emotional opposition of these genres enables the author to create “that vast range of feelings and mood swings that is so characteristic of the Lay and which separates it from the works of oral folk literature, where each work is mainly subordinated to one genre and one mood” . Thus, the problem of the correlation of folklore and literary elements in the text of the most famous monument of ancient Russian literature, unresolved even in literary criticism, was stated.

In a number of works, ideas were expressed about the relationship of the Lay with individual genres of folklore. So, the thought of M.A. Maksimovich about the proximity of the "Word" to Ukrainian thoughts and South Russian poetry was supplemented by a different point of view - about the relationship of the "Word" with the North Russian epic poetry. For the first time epic parallels were given by N.S. Tikhonravov, and then the theme was developed in the works of F.I. Buslaev, who defended in the polemic with V.V. Stasov, the national originality of Russian epics and, in this regard, focusing attention on the connections of the folk epic with the artistic system of the Lay.

The position of E.V. Barsova was ambiguous about the relationship between the Lay and the epics. The scientist emphasized that with the proximity of artistic means, these works have a different nature: the epic is a work of the whole people, while The Word is “purely retinue”. The researcher also found parallels to the "Word" in the images of funeral and recruiting laments. In a number of works - P.A. Bessonova, E.F. Karsky, V.N. Peretz, V.F. Mochulsky and others - parallels from Belarusian folklore are given. Various aspects of the problem of the relationship between the monument and folklore were also covered in the works of I.P. Eremin, L.A. Dmitrieva, L.I. Emelyanova,

B.A. Rybakova, S.P. Pinchuk, A.A. Zimina, S.N. Azbeleva, N.A. Meshchersky, R. Mann.

These and many works close to them in terms of the type of work are united by a common setting: according to their authors, the Lay is genetically and in form connected with folk poetic creativity, to which it is rooted.

V.N. Peretz, highlighting aspects of the relationship between the "Word" and folklore in "Notes to the text" The Word about Igor's Campaign ", in contrast to the existing since the time of M.A. Maksimovich and F.I. Buslaev's opinion about the influence of folk poetry on the author of the Lay, put forward a hypothesis about the reverse influence - the Lay and similar monuments of ancient Russian literature on folk singers. The scientist argued this position with materials from the records of songs, medical books, as well as data from folk superstitions and everyday life. In the monograph “The Tale of the Regiment of the 1st Gorev1m - a memorial to feudalism! Ukra1ni - Russia XII Vzhu” both sides of the issue under consideration were developed: “The Lay” and folklore, on the one hand (epithets in the “Word” and in oral tradition, etc.); "Word" and monuments of writing - on the other hand ("Word" and the Bible, "Word" and "The Tale of the Devastation of Jerusalem" by Josephus).

A.I. Nikiforov put forward an original assumption that "The Tale of Igor's Campaign" is an epic of the 12th century. As a result of some tendentiousness of interpretation, the scientist came to the conclusion that the “Word” fully corresponds to the epic genre and the absence of any characteristics of a written work in it. This view and positions similar to it have received a critical appraisal in science. For example, I.P. Eremin rightly objected: “Now to deny the literary nature of The Tale of Igor's Campaign would mean to deny a fact, the establishment of which is one of the most lasting achievements of our science. Recently, there has been a tendency in some people to deduce the entire "Lay" only from folklore. This trend must be unconditionally condemned, because it. contradicts everything that we know about the “Word”, is dictated by the false idea that only “folklore” is folk.”

At one time, a very accurate, from our point of view, idea was expressed by Academician M.N. Speransky: “In the Lay we see constant echoes of those elements and motifs that we deal with in oral folk poetry. This shows that the "Word" is a monument that combines two areas: oral and written. These areas are so closely intertwined in it that we did not understand much in the "Word" until we were converted in the study of it. to the comparative study of written literature, and traditional, oral or "folk" literature. This attitude became for us an incentive to turn to a comparative study of The Tale of Igor's Campaign and folklore tradition and the need to raise the issue of the origin and connection of mythological images with the author's worldview.

Scientific novelty: Despite the scientific searches of researchers, which are mentioned above, the questions of the formation of the author's artistic skills in the early Middle Ages, relying on the folklore tradition have not yet received an exhaustive answer in literary criticism. D.S. Likhachev wrote: “A complex and responsible question is the question of the relationship between the system of literary genres of ancient Russia and the system of folklore genres. Without a number of extensive preliminary studies, this question not only cannot be resolved, but even more or less correctly posed.

This work is an attempt to resolve the question of why The Tale of Igor's Campaign is so saturated with folklore, as well as the key question of the relationship between the system of literary genres of ancient Russia and the system of folklore genres. The paper provides a comprehensive analysis of the folklore tradition in The Tale of Igor's Campaign: it reveals how the worldview influenced the design of the idea and the embodiment of the idea of the work, clarifications are made to the problem of studying the system of folklore genre forms used by the author, the connection between the elements of the folklore chronotope, folklore images and poetic devices that are found in the text of the literary monument of the 12th century, with images and tropes of "The Tale of Igor's Campaign".

The study proves that the poetic system that was formed in oral folk art undoubtedly influenced the poetics of the emerging medieval Russian literature, including the artistic structure of The Tale of Igor's Campaign, because during the period of artistic searches, during the formation of written literature The culture of oral poetry worked out over the centuries influenced the formation of literature by the fact that there were already ready-made genre forms and artistic poetic techniques that were used by ancient Russian writers, including the author of The Tale of Igor's Campaign.

The theoretical significance of the study lies in a comprehensive study of the peculiarities of the poetics of folklore in the artistic system of "The Tale of Igor's Campaign", which is important for understanding the aesthetic values of ancient Russian literature as a whole. The identification of folklore traditions at different levels of text poetics suggests further development of the problem in literary criticism.

The practical significance of the study: the materials of the dissertation research can be used in lecturing in university courses on the history of Russian literature, in the special course "Literature and Folklore", for compiling educational and methodological manuals on ancient Russian literature, as well as in school courses of literature, history, courses " World Art".

The main provisions of the dissertation were tested in the course of lectures "Old Russian Literature" at the college of the FENU branch in Artem, "Old Russian Literature and Orthodoxy" for philologists in Artem in 2005, in speeches at international, regional conferences:

Fifth Primorsky educational readings, in memory of Saints Cyril and Methodius Equal to the Apostles.

Sixth Primorsky educational readings, in memory of Saints Cyril and Methodius Equal to the Apostles.

"Progressive Development Technologies". International Scientific and Practical Conference - December 2005

"The quality of science is the quality of life." International Scientific and Practical Conference - February 2006

"Fundamental and applied research in the education system". International 4th scientific and practical conference (correspondence) - February 2006

"Components of scientific and technological progress". 2nd International Scientific and Practical Conference - April 2006

1. Poetics of folklore in the artistic system "Tales of the regiment

Igor” // Bulletin of the Pomor University. - Arkhangelsk: Series "Humanities and social sciences": 2007. - No. 3 - P.83-87 (0.3 pp).

2. On the issue of Yaroslavna's lamentation in the Tale of Igor's Campaign // Progressive Development Technologies: Sat. materials of the international scientific-practical conference: December 10-11, 2005 - Tambov: Pershina, 2005. -S. 195-202 (0.3 p.l.).

3. Features of the use of elements of squad poetry in the "Tale of Igor's Campaign" // Progressive Development Technologies: Sat. materials of the international scientific-practical conference: December 10-11, 2005 - Tambov: Pershina, 2005. - S. 189-195 (0.3 p.l.).

4. On the question of the poetics of "The Words about Igor's Campaign" // Fundamental and applied research in the education system: materials of the 4th International Scientific Conference / ed. ed. N.N. Boldyrev. - Tambov: Pershina, 2006. - S. 147-148 (0.2 pp).

5. Elements of a fairy tale in "The Tale of Igor's Campaign" // Components of scientific and technological progress: Sat. materials. - Tambov: Pershina, 2006. - S. 240-247 (0.2 pp).

6. Elements of funeral and wedding ritual poetry in "The Tale of Igor's Campaign" // Components of Scientific and Technical Progress: Sat. materials. - Tambov: Pershina, 2006. - S. 247-258 (0.4 pp).

8. Elements of the folk song genre in "The Tale of the Regiment and Igor" // New technologies in education. - Voronezh: Scientific book, 2006. - No. 1. - S. 81-83 (0.3 p.l.).

10. Landscape in "The Tale of Igor's Campaign" and its connection with folklore //

The quality of science - the quality of life: Sat. materials of the international scientific-practical conference: February 24-25, 2006 - Tambov: Pershina, 2006. -S. 119-124 (0.3 p.l.).

Conclusion of scientific work dissertation on the topic "Poetics of folklore in the artistic system "The Tale of Igor's Campaign""

Thus, the author's depiction of reality and his use of artistic means of expression testify to an undoubted connection with the works of oral folk art, with the tropes characteristic of oral poetics. The "Word" does not bring artistry into the life it depicts, but "extracts artistry from life itself", which explains why only aesthetically significant phenomena in life itself become the property of the artistry of the work.

It is for folklore that the inseparability of tropes and symbols is characteristic, which is used to give a vivid and figurative description of the heroes, to find out the reasons for their actions. The use of a set of artistic means creates a special technique, which will later be called "psychologism". The author of The Lay tries to convey the inner state of the characters, using folklore techniques, not only motivates the actions and spiritual impulses of his characters, but expresses the author's idea, his political views. This is the exclusivity of the monument: for the first time in ancient Russian literature, historical events are shown that reflect the people's point of view, and this is done with the help of poetics characteristic of oral folk art.

The poetic features of the monument make it possible to note folklore parallels to epithets, images, metaphors, metonymy, synecdoches, paraphrases. All these are not metaphorical synonyms, but a method of “renaming”, a method of unfolding a symbol into an image, common in medieval literature. The folk basis of the Lay is also expressed in such tropes characteristic of oral poetry as hyperbole and simile. Repetitions play an important role in the ideological, semantic and compositional organization of the text. An element of the poetics of repetitions are the constant epithets used by the author in those cases when they are comprehended in relation to the content of a given fragment. Artistic parallelism, that is, the juxtaposition of the images of the natural world and the psychological experiences of the author or hero, is characteristic of the Lay, as well as of a lyrical song.

The figurativeness of the "Word" is directly related to the system of figurative means (figures and tropes), with the figurative meaning of words, reflecting the features of text forms. Imagery is perceived as metaphorical in a broad sense. The term "image" was used in the medieval scope of the concept: the image is wider than a path or figure and connects linguistic imagery with mythological symbols inherent in culture. Many artistic techniques and images are associated with a special poetic idea of the world.

Emphasizing the traditional nature of the main poetic tropes in the Lay, let us clarify that it is built as an individual work, unique in its general basis, possessing artistic values that cannot be reduced even to the richest traditions. A symbol as a category is revealed only in a systemic correlation with language means that are parallel or opposed to it, if it becomes necessary to reveal the ideological subtext of the entire work as a whole.

The choice of poetic means is determined by the fact that they do not go beyond the limits allowed in ancient Russian literature and correspond to ideas about the real world. The syntax is associated with folk poetic sources, the origin of the monument and the place in the history of Russian culture clearly indicate its folklore basis. The formality of the text implies its close connection with the poetics of the lyrical song. Both chiasmus and syntactic parallelism are borrowed from the poetic syntax of the folk lyric song. Catahresis leads to a reduction in the text, giving the description a laconism, such a feature is inherent in the folk lyric song. Catachresis and metalepsis are an artistic means of oral folk poetry, which creates a literary text based on traditional and very stable speech formulas.

One of the methods of rhythmic design and semantic emphasis in the "Word" is the inversion word order, which is characteristic of oral folk art. The connection with folk songs is reflected not only in the wealth of semantic-semantic, verbal ways artistic expression, but also in a rich melodic sound. Semantic expressions are confirmed at the level of sound writing of the word, which is closely related to the entire emotional mood of the work.

Sound writing is associated in the "Word" with oral forms of poetry and with oratory at the same time, which led to the combination of purely rhetorical devices with the poetics of folk art, reflected in the living word. Like color, sound in the "Word" performs compositional, artistic and content-semantic functions. Phonetic techniques play an important role in creating the rhythm of the monument. With the help of assonances and alliterations, the lines are attached to each other, creating a separate whole unit of rhythm.

The rhythmic contour created an artistic context, because without it such a text simply could not exist in time: a large text cannot be remembered and reproduced without knowledge of the rhythm that holds it together. Thus, the rhythmic structure of the Lay as a whole is correlated with the epic tradition of reproducing and performing a canonically important text. The entire rhythmic structure of the Lay rests on a complex interweaving of devices: lexical and syntactic repetitions, inversions, parallelisms, anaphoras and antitheses.

The "Word" is characterized by "sonic poeticization of style", in which sound writing played not only a poetic, but also a semantic role. The rhythmic organization of the text is connected with the folklore poetic tradition. The rhythm of the text becomes an artistic medium. All rhythmic units of the monument are organized according to the type of folklore texts. Undoubtedly, "The Tale of Igor's Campaign" was intended for the listener, it was spoken orally. It is no coincidence that the methods of oral folk art are so obvious in it.

CONCLUSION

Analyzing the poetics of folklore in the artistic system of The Tale of Igor's Campaign, we took into account the following:

1. Old Russian literature was formed under the influence of various factors, the decisive of which was the artistic system of folklore.

2. The Tale of Igor's Campaign reflects the era in which the author lived.

3. The time when "The Tale of Igor's Campaign" was written is a decisive factor for the peculiarities of the poetics of this work.

4. The reflection of the era in the work determines its historicism.

Folklore, having given rise as one of the components of Old Russian literature, determined the specifics of Old Russian works. The heroes of ancient Russian literature are bright, unique personalities. Created as heroes of literary works and existing only on the pages of these works, they bear the features of a real personality. In The Tale of Igor's Campaign, the reader passes through types of characters that are in many respects similar to the folklore features of epic heroes, but at the same time they are individualized. The author uses the character model known to him and creatively transforms it, using the whole range of folklore techniques.

The author created his work, relying on the poetics of folklore, well known to him. His task was, by combining all known artistic forms and techniques, to create an image that makes the reader imbued with the ideas of patriotism and unity in the face of the impending danger, which the author, as a person close to the military feudal elite and thinking strategically and tactically, was well aware. Therefore, it was so important not to fix the actual events, but to show their inner essence, drawing the reader's attention to the key ideas of the work and using the artistic system of folklore that is accessible and well known to both the author and readers.

The selection of the necessary artistic techniques and forms required from the author not only the widest erudition, excellent knowledge of folklore, but also the ability to creatively transform this knowledge in order to more fully and vividly embody the idea on the pages of the work. All this contributed to the formation of a special literary genre "Words". Despite the obvious features of the written literary language, it was designed primarily for oral reproduction, as evidenced by the special phonetic, lexical, syntactic devices found on the pages of the work. The masterful combination within the framework of the creation of folklore and book elements makes it possible to classify The Tale of Igor's Campaign as one of the pinnacle works of ancient Russian literature.

Having considered the poetics of folklore in the artistic system of The Tale of Igor's Campaign, we determined that the author of the Lay absorbed the spiritual culture of the people. Through the folklore forms, on which the author relied, he comes to the creation of new literary images, his own artistic means. The artistic worldview of the author absorbed many pagan traditions. His ideological attitude clearly points to the roots of Russian spirituality. Undoubtedly, they go back to the pre-Christian era, but pagan symbols are perceived by the author as aesthetic categories already in the era of the “Word”.

The mythological worldview system left the stage of beliefs and moved into the stage of artistic thinking. The traditional model of the world, the system of spatio-temporal coordinates and assumptions about the heterogeneity, the sacredness of space-time were stable features of the worldview of a person of the XII century. The life of the world is presented in the "Word" in oppositions. The metaphorical connection of the images of "light" and "darkness" in the plot of the "Word" is not only the most important plot-forming element, but also one of the most important mythological binary oppositions. The folklore image of the World Tree acts as a figurative model of the world and man and underlies the symbolic expression of the most diverse manifestations of human life. Behind the mythological symbols in the "Word" there is always a reality artistically rethought by the author, where the mythological subtext acts as a background that allows comparing the past and the present.

Animistic ideas are manifested in the spiritualization of nature. On the basis of the natural world, the author created a whole artistic system. The peculiarity of its functioning in the "Word" is that nature is a means of poetic expression of the author's assessment, which emphasizes its dynamism, close connection with the fate of the characters, influence on fate, direct participation in events. The difference between the "Word" and folklore genres is manifested in the multifunctionality of images of nature. In the structure of the poetic images of the Lay, one can single out three series of artistic images associated with pagan views: images known in pagan Russia, personification images and characters with mythological roots, poeticized images of real animals and birds. Indissolubility with the world of the eternal circulation of nature, involvement in the eternal movement of the world, the interconnection of all living things - these ideas, originating in paganism, are embodied in artistic form by the author on the pages of the work.

The folklore nutrient medium "nurtured" Old Russian literature. The actively practiced rituals were perceived by the author as an integral part of life, and the elements of pagan culture were familiar, perceived as ordinary. The author uses genre models that are well known to him, he thinks in folklore images coming from the mythological ideas of pre-Christian Russia. The content and poetics of the narration depended on the samples of folklore works, since the artistic system of ancient Russian literature itself had not yet been fully formed.

The structure of the ancient Russian monument is so polyphonic that it contains the features of almost all genres of folklore. This convinces that the author was as close as possible to the people's environment. In folklore, ready-made artistic forms (compositional, figurative-poetic, semantic, etc.) were developed, which the author organically introduced into the artistic canvas of his work, but did not remain within the framework of the previous genre and folklore forms, but, changing them and subordinating them to his artistic task , so developed the literature of the XII century. As in folklore, real events undergo a certain artistic transformation.

In the basis of the formation of the genres of ritual poetry, a large role was played by folklore traditions that developed back in the era of Kievan Rus. That is why in the poetic system of the "Words" such frequent use of images associated with funeral, wedding rites, images associated with the agricultural cycle, traces of conspiracy practice are noticeable.

The poetics of The Tale of Igor's Campaign is rich in elements characteristic of a Russian fairy tale: there is a fairy tale plot, fairy tale motifs, a system of images operates, in many respects similar to a fairy tale. Drawing images of princes, the author depicts them realistically and at the same time uses the poetic idealization characteristic of epics. However, there is already some psychologism in the image of Igor, which undoubtedly testifies to the literary nature of the monument. This is also reminiscent of the dynamism of the image of the protagonist, as well as the nature that surrounds him. The folk idea of the "Word" is embodied by the means inherent in the oral epic. The compositional means of the Lay make it related to the epic genre. The difference is that the author introduces into the plot lines of other heroes who are not directly involved in the campaign (Svyatoslav, Yaroslavna, Vseslav Polotsky, etc.). The genre features of the military story are superimposed on the poetics of the epic epic, which still prevails in the Lay.

The composition of the Lay is subject to emotional and lyrical requirements and has nothing to do with a historical or other narrative structure in which the chronological sequence of the events described would be observed. It is this composition that is characteristic of Russian lyrical song. The lyrical thread of the narration is also strengthened by images-symbols. Images-symbols peculiar to the poetics of folk lyrical songs, symbolic-metaphorical images-pictures of agricultural labor are used by the author in accordance with the artistic conception.

Proverbs, sayings, omens, teasers as a means of characterizing characters and enhancing the emotionality of the narrative also testify to the influence of oral tradition on the artistic structure of the Lay. It is “The Tale of Igor's Campaign” that gives us an idea of what folklore was like at the time of the creation of the work, what genres existed, what was the poetry of the plowman that existed at that time. However, the artistic structure of the monument allows us to speak about the author's good knowledge not only of peasant folklore, but also of such a social group as the squad. The author has preserved for us the features of contemporary folklore in some fragments of the text, which was discussed in detail above. The question of retinue folklore has a further scientific perspective.

Creatively rethinking the tradition, the author creates an independent work, with a strong personal beginning. Before us is a literary work of the transitional era, which uses elements of various folklore genres to solve an important artistic task for the author: to force the princes to gather together all their forces in the face of an external threat that comes from the steppe, and to spend their forces not on internecine strife, but on creative ones, creative goals.

The author's depiction of reality and his use of artistic means of expression testify to the undoubted connection with the works of oral folk art, with the tropes characteristic of oral poetics. It is impossible to break the living connections of figurative-linguistic correspondences in The Tale of Igor's Campaign, which together create a symbolic picture of the work. It is for folklore that the inseparability of tropes and symbols is characteristic, which is used in order to give a vivid and imaginative description of the heroes. The use of a set of artistic means creates a special technique, which will later be called "psychologism". The author tries to convey the inner state of the characters, using folklore techniques, not only motivates the actions and spiritual impulses of his characters, but expresses the author's idea. This is the exclusivity of the monument: for the first time in ancient Russian literature, it shows the people's point of view on historical events, and this is done with the help of the poetics characteristic of oral folk art.

The poetic features of the monument make it possible to note folklore parallels to epithets, images, metaphors, metonymy, synecdoches, paraphrases, hyperbole, comparisons. Repetitions play an important role in the ideological, semantic and compositional organization of the text. Artistic parallelism, that is, the juxtaposition of the images of the natural world and the psychological experiences of the author or hero, is characteristic of the Lay, as well as of a lyrical song. Emphasizing the traditional nature of the main poetic tropes in the Lay, let us clarify that it is built as an individual work, unique in its general basis, possessing artistic values that cannot be reduced even to the richest traditions. The choice of poetic means is determined by the fact that they do not go beyond the limits allowed in ancient Russian literature and correspond to ideas about the real world.

The syntax is associated with folk poetic sources, the origin of the monument and the place in the history of Russian culture clearly indicate its folklore basis. The formality of the text implies its close connection with the poetics of the lyrical song. Both chiasmus, and syntactic parallelism, and catachresis, and metalepsis, and inversion word order are borrowed from the poetic syntax of a folk lyric song.

One of the methods of rhythmic design and semantic emphasis in the "Word" is the sound recording associated with oral forms of poetry and with oratory at the same time, which led to the combination of purely rhetorical techniques with the poetics of folk art, reflected in the living word. The phonetic devices of assonances and alliterations play an important role in creating the rhythm of the monument. The rhythmic contour created an artistic context, since a large text cannot be remembered and reproduced without knowledge of the rhythm that holds it together. Thus, the rhythmic structure of the Lay as a whole is correlated with the epic tradition of reproducing and performing a canonically important text. The "Word" is characterized by "sonic poeticization of style", in which sound writing played not only a poetic, but also a semantic role. The rhythmic organization of the text is connected with the folklore poetic tradition.

So, folklore had a huge impact on the formation of the literature of the early Middle Ages. He already had a clear system of genres and poetic means. The author of the pinnacle work of ancient Russian literature, The Tale of Igor's Campaign, creatively used the poetic system of folklore that he knew well, transformed the techniques known to him in accordance with artistic tasks and created an original, talented work on their basis. "The Tale of Igor's Campaign" is saturated with folklore at all levels, because the author himself absorbed the already established artistic system of folklore at the subconscious level, he lived in it, he created in it.

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As you know, the word is the basic unit of any language, as well as the most important component of its artistic means. The correct use of vocabulary largely determines the expressiveness of speech.

In the context, the word is a special world, a mirror of the author's perception and attitude to reality. It has its own, metaphorical, accuracy, its own special truths, called artistic revelations, the functions of vocabulary depend on the context.

The individual perception of the world around us is reflected in such a text with the help of metaphorical statements. After all, art is, first of all, the self-expression of an individual. The literary fabric is woven from metaphors that create an exciting and emotional image of a particular work of art. Additional meanings appear in words, a special stylistic coloring that creates a kind of world that we discover for ourselves while reading the text.

Not only in literary, but also in oral, we use, without hesitation, various methods of artistic expression to give it emotionality, persuasiveness, figurativeness. Let's see what artistic techniques are in the Russian language.

The use of metaphors especially contributes to the creation of expressiveness, so let's start with them.

Metaphor

Artistic devices in literature cannot be imagined without mentioning the most important of them - a way to create a linguistic picture of the world based on the meanings already existing in the language itself.

The types of metaphors can be distinguished as follows:

Fossilized, worn, dry or historical (bow of a boat, eye of a needle).
Phraseological units are stable figurative combinations of words that have emotionality, metaphor, reproducibility in the memory of many native speakers, expressiveness (death grip, vicious circle, etc.).
A single metaphor (for example, a homeless heart).
Unfolded (heart - "porcelain bell in yellow China" - Nikolai Gumilyov).
Traditional poetic (morning of life, fire of love).
Individually-author's (hump of the sidewalk).

In addition, a metaphor can simultaneously be an allegory, personification, hyperbole, paraphrase, meiosis, litote and other tropes.

The word "metaphor" itself means "transfer" in Greek. In this case, we are dealing with the transfer of the name from one subject to another. For it to become possible, they must certainly have some kind of similarity, they must be related in some way. A metaphor is a word or expression that is used in a figurative sense due to the similarity of two phenomena or objects on some basis.

As a result of this transfer, an image is created. Therefore, metaphor is one of the most striking means of expressiveness of artistic, poetic speech. However, the absence of this trope does not mean the absence of expressiveness of the work.

Metaphor can be both simple and detailed. In the twentieth century, the use of expanded in poetry is revived, and the nature of simple changes significantly.

Metonymy

Metonymy is a type of metaphor. Translated from Greek, this word means "renaming", that is, it is the transfer of the name of one object to another. Metonymy is the replacement of a certain word by another on the basis of the existing adjacency of two concepts, objects, etc. This is an imposition on the direct meaning of a figurative one. For example: "I ate two plates." The confusion of meanings, their transfer is possible because the objects are adjacent, and the adjacency can be in time, space, etc.

Synecdoche

Synecdoche is a type of metonymy. Translated from Greek, this word means "correlation". Such a transfer of meaning takes place when a smaller one is called instead of a larger one, or vice versa; instead of a part - a whole, and vice versa. For example: "According to Moscow".

Epithet

Artistic techniques in literature, the list of which we are now compiling, cannot be imagined without an epithet. This is a figure, trope, figurative definition, phrase or word denoting a person, phenomenon, object or action with a subjective

Translated from Greek, this term means "attached, application", that is, in our case, one word is attached to some other.

An epithet differs from a simple definition in its artistic expressiveness.

Permanent epithets are used in folklore as a means of typification, and also as one of the most important means of artistic expression. In the strict sense of the term, only those of them belong to paths, the function of which is played by words in a figurative sense, in contrast to the so-called exact epithets, which are expressed by words in a direct sense (red berry, beautiful flowers). Figurative are created by using words in a figurative sense. Such epithets are called metaphorical. The metonymic transfer of the name can also underlie this trope.

An oxymoron is a kind of epithet, the so-called contrasting epithets, which form combinations with definable nouns that are opposite in meaning to words (hating love, joyful sadness).

Comparison

Comparison - a trope in which one object is characterized through comparison with another. That is, this is a comparison of various objects by similarity, which can be both obvious and unexpected, distant. Usually it is expressed using certain words: "exactly", "as if", "like", "as if". Comparisons can also take the instrumental form.

personification

Describing artistic techniques in literature, it is necessary to mention personification. This is a kind of metaphor, which is the assignment of the properties of living beings to objects of inanimate nature. Often it is created by referring to similar natural phenomena as conscious living beings. The personification is also the transfer of human properties to animals.

Hyperbole and litote

Let us note such methods of artistic expressiveness in literature as hyperbole and litotes.

Hyperbole (in translation - "exaggeration") is one of the expressive means of speech, which is a figure with the meaning of exaggeration of what is being discussed.

Litota (in translation - "simplicity") - the opposite of hyperbole - an excessive understatement of what is at stake (a boy with a finger, a peasant with a fingernail).

Sarcasm, irony and humor

We continue to describe artistic techniques in literature. Our list will be supplemented by sarcasm, irony and humor.

Sarcasm means "I tear meat" in Greek. This is an evil irony, a caustic mockery, a caustic remark. Using sarcasm creates comic effect, however, at the same time, an ideological and emotional assessment is clearly felt.
Irony in translation means "pretense", "mockery". It occurs when one thing is said in words, but something completely different, the opposite, is implied.
Humor is one of the lexical means of expression, in translation meaning "mood", "temper". In a comical, allegorical manner, whole works can sometimes be written in which one feels a mockingly good-natured attitude towards something. For example, the story "Chameleon" by A.P. Chekhov, as well as many fables by I.A. Krylov.

The types of artistic techniques in literature do not end there. We present to you the following.

Grotesque

The most important artistic devices in literature include the grotesque. The word "grotesque" means "intricate", "fancy". This artistic technique is a violation of the proportions of phenomena, objects, events depicted in the work. It is widely used in the work of, for example, M.E. Saltykov-Shchedrin ("Lord Golovlevs", "History of a City", fairy tales). This is an artistic technique based on exaggeration. However, its degree is much greater than that of hyperbole.

Sarcasm, irony, humor, and the grotesque are popular artistic devices in literature. Examples of the first three are the stories of A.P. Chekhov and N.N. Gogol. The work of J. Swift is grotesque (for example, "Gulliver's Travels").

What artistic technique does the author (Saltykov-Shchedrin) use to create the image of Judas in the novel "Lord Golovlevs"? Of course, grotesque. Irony and sarcasm are present in the poems of V. Mayakovsky. The works of Zoshchenko, Shukshin, Kozma Prutkov are filled with humor. These artistic devices in literature, examples of which we have just given, as you can see, are very often used by Russian writers.

Pun

A pun is a figure of speech that is an involuntary or deliberate ambiguity that occurs when two or more meanings of a word are used in the context or when their sound is similar. Its varieties are paronomasia, false etymologization, zeugma and concretization.

In puns, word play is based on homonymy and ambiguity. Anecdotes emerge from them. These artistic techniques in literature can be found in the works of V. Mayakovsky, Omar Khayyam, Kozma Prutkov, A.P. Chekhov.

Figure of speech - what is it?

The word "figure" itself is translated from Latin as "appearance, outline, image." This word has many meanings. What does it mean this term in relation to artistic speech? Syntactic means of expression related to figures: questions, appeals.

What is a "trope"?

"What is the name of the artistic technique that uses the word in a figurative sense?" - you ask. The term "trope" combines various techniques: epithet, metaphor, metonymy, comparison, synecdoche, litote, hyperbole, personification and others. In translation, the word "trope" means "revolution". Artistic speech differs from ordinary speech in that it uses special phrases that decorate speech and make it more expressive. Different styles use different means of expression. The most important thing in the concept of "expressiveness" for artistic speech is the ability of a text, a work of art to have an aesthetic, emotional impact on the reader, to create poetic pictures and vivid images.

We all live in a world of sounds. Some of them evoke positive emotions in us, while others, on the contrary, excite, alert, cause anxiety, soothe or induce sleep. Different sounds evoke different images. With the help of their combination, you can emotionally influence a person. Reading works of art of literature and Russian folk art, we especially acutely perceive their sound.

Basic techniques for creating sound expressiveness

Alliteration is the repetition of similar or identical consonants.
Assonance is the intentional harmonic repetition of vowels.

Often alliteration and assonance are used in works at the same time. These techniques are aimed at evoking various associations in the reader.

Reception of sound writing in fiction

Sound writing is an artistic technique, which is the use of certain sounds in a specific order to create a certain image, that is, the selection of words that imitate sounds real world. This technique in fiction is used both in poetry and in prose.

Sound types:

Assonance means "consonance" in French. Assonance is the repetition of the same or similar vowel sounds in a text to create a specific sound image. It contributes to the expressiveness of speech, it is used by poets in the rhythm, rhyme of poems.
Alliteration - from This technique is the repetition of consonants in an artistic text to create some sound image, in order to make poetic speech more expressive.
Onomatopoeia - the transmission of special words, reminiscent of the sounds of the phenomena of the surrounding world, auditory impressions.

These artistic techniques in poetry are very common; without them, poetic speech would not be so melodic.

1. The originality of the genre "Words ...".
2. Features of the composition.
3. Linguistic features of the work.

So, one of the means of artistic expression of the "Word ..." is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved due to compositional features. What is the composition of the monument of Ancient Russia? In the storyline of this work, three main parts can be seen: this is actually the story of Igor's campaign, the sinister dream of the Kiev prince Svyatoslav and the "golden word" addressed to the princes; lamentation of Yaroslavna and Igor's escape from the Polovtsian captivity. In addition, "The Word ..." consists of thematically integral pictures-songs, which often end with phrases that play the role of a chorus: "seeking honor for oneself, and glory for the prince", "O Russian land! You are already behind the hill! ”,“ For the Russian land, for the wounds of Igor, the buoy of Svyatoslavich.

When compiling tasks 1 and 2, the possible influence of the sequence of presentation of texts was taken into account, so 4 types of tasks were compiled (scheme of a balanced Latin square).

For each task, a hypothetical sequence of texts on the scale was compiled, which was then compared with the sequence obtained experimentally.

Saturation with rhythmic components. Among the proposed 7 texts, two groups can be clearly distinguished: free verse (the rhythm of end pauses, the repetition of stressed syllables, which does not create a clear metric rhythm, or the presence of only a metric rhythm that changes from line to line) and more classical examples of poetic texts (metric rhythm, rhyme, number of syllables, caesuras, rhythm of terminal and internal pauses). At the same time, the text of M. Tsvetaeva turned out to be ambiguous in determining its place in the sequence. Some subjects rated it as very poetic, strong, with a clear rhythm, recognizing in it the "standard" of a poem, while others, on the contrary, attributed it to more prosaic ones, justifying this by the fact that the rhythm in it is confused and there are sharp transfers. If you look at this poem, its rhythmic structure, then this inconsistency is embedded in the text itself by the author, which creates a certain tension and harshness of the text.

When we talk about art, literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. In fiction and poetry, there are special techniques for enhancing expressiveness. Competent presentation, public speaking - they also need ways to build expressive speech.

For the first time, the concept of rhetorical figures, figures of speech, appeared among the speakers of ancient Greece. In particular, Aristotle and his followers were engaged in their research and classification. Going into details, scientists identified up to 200 varieties that enrich the language.

The means of expressiveness of speech are divided by language level into:

phonetic;
lexical;
syntactic.

And here is an example of a lexical anaphora in Pushkin's poems:

Alone you rush through the clear azure,
You alone cast a sad shadow,
You alone grieve the jubilant day.

Epiphora- a similar technique, but much less common, with words or phrases repeated at the end of lines or sentences.

The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax, is considered as a tradition of literary creativity, although it is also widely found in poetry.

Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.

trails

Tropes are the use of words and phrases in a figurative sense. Tropes make speech more figurative, enliven and enrich it. Some tropes and examples of them in literary work are listed below.

Epithet- artistic definition. Using it, the author gives the word an additional emotional coloring, its own assessment. To understand how an epithet differs from an ordinary definition, you need to catch when reading, does the definition give a new connotation to the word? Here is an easy test. Compare: late autumn - golden autumn, early spring - young spring, a quiet breeze - a gentle breeze.

personification- transferring the signs of living beings to inanimate objects, nature: "The gloomy rocks looked sternly ...".

Comparison- direct comparison of one object, phenomenon with another. “The night is gloomy, like a beast ...” (Tyutchev).

Metaphor- transferring the meaning of one word, object, phenomenon to another. Similarity detection, implicit comparison.

“A fire of red mountain ash is burning in the garden ...” (Yesenin). The rowan brushes remind the poet of the flames of a fire.

Irony- the use of a word or expression in an inverted sense, mocking. For example, an appeal to the Donkey in Krylov’s fable: “From where, smart, are you wandering, head?”

Figures of speech

Stylistic figures are also used in literature. Their main types are displayed in the table:

Repeat	At the beginning, end, at the junction of sentences	This cry and strings These flocks, these birds
Antithesis	Contrasting. Antonyms are often used.	Long hair, short mind
gradation	Arrangement of synonyms in increasing or decreasing order	smolder, burn, blaze, explode
Oxymoron	Connecting contradictions	A living corpse, an honest thief.
Inversion	Word order changes	He came late (He came late).
Parallelism	Comparison in juxtaposition form	The wind stirred the dark branches. Fear stirred in him again.
Ellipsis	Omitting an implied word	By the hat and through the door (grabbed, went out).
Parceling	Dividing a single sentence into separate	And I think again. About you.
polyunion	Connection through repeated unions	And me, and you, and all of us together
Asyndeton	Exclusion of unions	You, me, he, she - together the whole country.
Rhetorical exclamation, question, appeal.	Used to enhance the senses	What a summer! Who if not us? Listen country!
Default	Interruption of speech based on a guess, to reproduce strong excitement	My poor brother...execution...Tomorrow at dawn!
Emotional-evaluative vocabulary	Words expressing attitude, as well as a direct assessment of the author	Henchman, dove, dunce, sycophant.

Test "Means of artistic expression"

To test yourself on the assimilation of the material, take a short test.

Read the following passage:

“There, the war smelled of gasoline and soot, burnt iron and gunpowder, it gnashed its caterpillars, scribbled from machine guns and fell into the snow, and rose again under fire ...”

What means of artistic expression are used in an excerpt from the novel by K. Simonov?

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle,

The thunder of cannons, the clatter, the neighing, the groan,

And death and hell on all sides.

A. Pushkin

The answer to the test is given at the end of the article.

Study expressive language, its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your language will become an obedient tool and your weapon.

Answer to the test

If answering the test, you could not give the correct answers, do not worry. Just re-read the article.