The role of metaphors in the text
Metaphor is one of the brightest and most powerful means of creating expressiveness and figurativeness of a text.
Through the metaphorical meaning of words and phrases, the author of the text not only enhances the visibility and visibility of what is 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 (“The most important thing is to be skillful in metaphors. Only this cannot be adopted from another - this is a sign of talent "(Aristotle).
Metaphors serve as an important means of expressing the author's assessments and emotions, the author's characteristics of objects and phenomena.
For example: I feel stuffy in this atmosphere! Kites! Owl nest! Crocodiles!(A.P. Chekhov)
In addition to artistic and journalistic styles, metaphors are characteristic of colloquial and even scientific style (" the ozone hole», « electron cloud" and etc.).
personification- this is a kind of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts.
Most often, personifications are used to describe nature.
For example:
Rolling through sleepy valleys
Sleepy fogs lay down,
And only the stomp of a horse,
Sounding, is lost in the distance.
It went out, turning pale, autumn day,
Rolling fragrant leaves,
Eating dreamless sleep
Semi-withered flowers.
(M. Yu. Lermontov)
Less often, personifications are associated with the objective world.
For example:
Isn't it true, never again
We won't break up? Enough?..
And the violin answered yes
But the heart of the violin was in pain.
The bow understood everything, it calmed down,
And in the violin, the echo kept everything ...
And it was a pain for them
What people thought was music.
(I. F. Annensky);
There was something good-natured and at the same time cozy in the physiognomy of this house.(D.N. Mamin-Sibiryak)
Avatars- the paths are very old, with their roots in pagan antiquity and therefore occupy such an important place in mythology and folklore. The Fox and the Wolf, the Hare and the Bear, the epic Serpent Gorynych and the Poganoe Idolishche - all these and other fantastic and zoological characters of fairy tales and epics are familiar to us from early childhood.
One of the literary genres closest to folklore, the fable, is based on personification.
Even today, without personification, it is unthinkable to imagine works of art; without them, our everyday speech is unthinkable.
Figurative speech not only visually represents thought. Its advantage is that it is shorter. Instead of describing the subject in detail, we can compare it with an already known subject.
It is impossible to imagine poetic speech without using this technique:
"The storm covers the sky with mist
Whirlwinds of snow twisting,
Like a beast, she will howl
He will cry like a child."(A.S. Pushkin)
The role of personifications in the text
Personifications serve to create vivid, expressive and figurative pictures of something, to enhance the transmitted thoughts and feelings.
Personification as an expressive means is used not only in the artistic style, but also in journalistic and scientific.
For example: X-ray shows, the device speaks, the air heals, something stirred in the economy.
The most common metaphors are formed on the principle of personification, when an inanimate object acquires the properties of an animate one, as it were, acquires a face.
1. Usually, the two components of a metaphor-personification are the subject and the predicate: the blizzard was angry», « the golden cloud spent the night», « waves are playing».
« get angry", that is, only a person can experience irritation, but" snowstorm", a blizzard, plunging the world into cold and darkness, also brings" evil". « spend the night", sleep peacefully at night, only living beings are capable," cloud"But personifies a young woman who has found an unexpected shelter. Marine « waves"in the imagination of the poet" play', like children.
We often find examples of metaphors of this type in the poetry of A.S. Pushkin:
Not suddenly raptures will leave us ...
A death dream flies over him ...
My days are gone...
The spirit of life woke up in him...
Fatherland caressed you ...
Poetry awakens in me...
2. Many metaphors-personifications are built according to the method of management: “ lyre singing», « the voice of the waves», « fashion darling», « happiness darling" and etc.
A musical instrument is like a human voice, and it too " sings”, and the splashing of the waves resembles a quiet conversation. " favorite», « minion"are not only in people, but also in the wayward" fashion"or changeable" happiness».
For example: "Winters of threat", "Abyss voice", "joy of sadness", "day of despondency", "son of laziness", "threads ... of fun", "brother by muse, by fate", "victim of slander", "cathedral wax faces ”, “Joy language”, “mourn the burden”, “hope of young days”, “pages of malice and vice”, “holy voice”, “by the will of passions”.
But there are metaphors formed differently. The criterion of difference here is the principle of animation and inanimateness. An inanimate object does NOT gain the properties of an animate object.
1). Subject and predicate: “Desire is seething”, “eyes are burning”, “the heart is empty”.
Desire in a person can manifest itself to a strong degree, seethe and " boil". Eyes, betraying excitement, shine and " are burning". Heart, soul, not warmed by feeling, can become " empty».
For example: “I learned grief early, I was comprehended by persecution”, “our youth will not suddenly fade”, “noon ... burned”, “the moon floats”, “conversations flow”, “stories spread out”, “love ... faded away”, “I call the shadow "," life fell.
2). Phrases built according to the method of management can also, being metaphors, NOT be personification: “ dagger of treachery», « glory tomb», « chain of clouds" and etc.
Steel arms - " dagger" - kills a person, but " treason"is like a dagger and can also destroy, break life. " Tomb"- this is a crypt, a grave, but not only people can be buried, but also glory, worldly love. " Chain" consists of metal links, but " clouds”, whimsically intertwining, form a semblance of a chain in the sky.
Let's look for an example of personification in poetry. We read from Sergei Yesenin:
Small forests. Steppe and gave.
Moonlight all the way.
Here again they suddenly sobbed
Draft bells.
The bells did not ring, but sobbed, as women weep when they are in grief.
Personification helps a writer or poet to create an artistic image, bright and unique, expands the possibilities of the word in conveying a picture of the world, sensations and feelings, in expressing one's attitude to the depicted.
2.6 Hyperbole (tropes)- a figurative expression, consisting in an exaggeration of the size, strength, beauty, meaning of the described: In a hundred and forty suns, the sunset was blazing (V. Mayakovsky). They can be individual-author's and general language ( at the edge of the earth).
In linguistics, the word "hyperbola" call an excessive exaggeration of any qualities or properties, phenomena, processes in order to create a bright and impressive image, for example:
rivers of blood, you are always late, mountains of corpses, haven’t seen each other for a hundred years, scare you to death, said a hundred times, a million apologies, a sea of ripened wheat, I’ve been waiting for ages, I’ve stood all day, at least fill up, a house a thousand kilometers away, constantly late.
Hyperbole is often found in folklore, for example, in epics: Ilya Muromets picks up "an iron shalyga, but which weighed exactly one hundred pounds",
Yes, wherever you wave, the street will fall,
And wave back - alleys ...
In fiction, writers use hyperbole to enhance expressiveness, create a figurative characterization of the hero, a vivid and individual idea of him. With the help of hyperbole, the author's attitude to the character is revealed, the general impression of the statement is created.
2.7 Litota (trope)- this is a figurative expression, turnover, stylistic figure, (trope) which contains an artistic understatement of the size, strength of the meaning of the depicted object or phenomenon. Litota in this sense is the opposite of hyperbole, so it is called inverse hyperbole in another way. In litotes, on the basis of some common feature, two heterogeneous phenomena are compared, but this feature is represented in the phenomenon-means of comparison to a much lesser extent than in the phenomenon-object of comparison. .
N.V. Gogol often turned to litotes. For example, in the story “Nevsky Prospekt”: “such a small mouth that it can’t miss more than two pieces”, “waist, no thicker than a bottle neck”.
Litota is especially often used in poetry. Almost no poet has bypassed this stylistic device. After all, litotes are a means of expression.
In poetry, this stylistic figure occurs as:
1. Denial of the opposite.
An example from a poem by Nikolai Zabolotsky sounds like this:
"ABOUT, I'm not bad lived in this world!
2. As an understatement of the subject.
Nekrasov Lita. Example:
“In big boots, in a sheepskin coat,
Big gloves... and himself with a fingernail!»
"My The fox is so small
So small
What of the wings mosquitoes
I made two shirt-fronts for myself "
2.8 Allegory (tropes)- a conditional image of abstract ideas (concepts) through a specific artistic image or dialogue.
As a trope, allegory is used in fables, parables, morality; in the visual arts it is expressed by certain attributes. Allegory arose on the basis of mythology, was reflected in folklore, and was developed in the visual arts. The main way of depicting allegory is a generalization of human concepts; representations are revealed in the images and behavior of animals, plants, mythological and fairy-tale characters, inanimate objects, which acquire a figurative meaning
Example: the allegory of "justice" - Themis (a woman with scales).
2.9 Paraphrase (tropes)- a descriptive expression used instead of a particular word, for example: King of beasts (lion), city on the Neva (St. Petersburg). General language periphrases usually get a stable character. Many of them are constantly used in the language of newspapers: people in white coats (doctors). Stylistically, figurative and non-figurative paraphrases are distinguished, cf.: The sun of Russian poetry and the author of "Eugene Onegin" (V. G. Belinsky).Euphemism – variety paraphrases. Euphemisms replace words, the use of which by the speaker or writer for some reason seems undesirable.
2.10 Irony (trope)- the use of the word in the opposite sense of the literal: Where, smart, are you wandering, head? (I. Krylov). Clever mind- an appeal to the donkey. Irony is a subtle mockery, expressed in the form of praise or a positive description of the subject.
The classic of Russian literature N.V. Gogol in a poem "Dead Souls" with a completely serious look tells about the chief of police-bribe taker:
The police chief was in some ways a father figure and benefactor in the city. He was among the citizensjust like a native in the family, and he visited the shops and the gostiny yard, likein your own closet.
2.11 Antithesis (trope) – this is a turn of poetic speech, in which, in order to enhance expressiveness, sharplydirectly opposite phenomena, concepts, thoughts are opposed:Both the rich and the poor, and the wise, and the stupid, and the good, and the evil, sleep (A. Chekhov).
The lexical basis of antithesis is the presence of antonyms, which is clearly manifested in proverbs and sayings:
Easy to make friends, hard to part.
A smart man will teach, a fool will get bored.
Learning is light and ignorance is darkness.
The rich feast even on weekdays, while the poor mourn even on holidays.
They came together: wave and stone,
Poetry and prose, ice and fire
Not so different from each other.
(A.S. Pushkin).
2.12 Oxymoron (trope) - stylistic figure or stylistic mistake - a combination of words with the opposite meaning, that is, a combination of incongruous. An oxymoron is characterized by the intentional use of contradiction to create a stylistic effect: living corpse, large trifles.
2.13 Antonomasia - trope, which is expressed in the replacement of a name or a name with an indication of some essential feature of an object or its relation to something.
An example of a substitution for an essential feature of the subject: "great poet" instead of "Pushkin". An example of a replacement with an indication of a relationship: “the author of War and Peace” instead of “Tolstoy”; "Peleus son" instead of "Achilles".
In addition, antonymy is also called the replacement of a common noun by a proper name (the use of a proper name in the meaning of a common noun). Examples: "Esculapius" instead of "doctor". “We sang songs, ate dawns // and the meat of future times, and you - // with unnecessary cunning in your eyes // solid dark Semyonovs”, N. N. Aseev.
Antonomasia in both cases is a special kind of metonymy.
2.14 Gradation (st. figure) - Arrangement of words in increasing or decreasing importance: I do not regret, I do not call, I do not cry (S. Yesenin).
A striking example of an ascending gradation is the lines from the well-known "Tales of the Golden fish" A.S. Pushkin:
I don't want to be a black peasant
I want to be a pillar noblewoman;
I don't want to be a pillar noblewoman,
And I want to be a free queen;
I don't want to be a free queen
And I want to be the mistress of the sea.
An increase in the expressiveness of the utterance, an increase in expressiveness with the help of a climax is observed in the lines of A.P. Chekhov:
The traveler jumps up to him and, raising his fists up, is ready to tear, destroy, crush.
2.15 Inversion (st. figure) - an arrangement of words that breaks the usual word order:
A lonely sail turns white
In the fog of the blue sea (M. Lermontov).
"Everyone was ready to start a new battle tomorrow" (M. Lermontov)
"I restore Russia from dampness and sleepers" (M. Tsvetaeva)
"In the two years I've lived here, yesterday has turned into tomorrow"
Inversion allows you to focus on a particular word or phrase; places semantic loads in the sentence; in a poetic text, inversion sets the rhythm; in prose, with the help of inversion, logical stresses can be placed; inversion conveys the attitude of the author to the characters and the emotional state of the author; inversion brings the text to life and makes it more readable and interesting. To fully understand what inversion is, you need to read more classical literature. In addition to inversion, in the texts of great writers you can find many other interesting stylistic devices that make speech brighter and with which our Russian language is so rich.
2.16 Ellipsis (st. figure)- omission for stylistic purposes of any implied member of the sentence. Ellipsis gives speech a swift, dynamic character: We are cities - to ashes, villages - to dust (V. Zhukovsky). It is used by authors to force readers to think of a deliberately omitted phrase or a single word on their own.
“...Walk at the wedding, because it is the last one!” In these lines, which belong to Tvardovsky, the word “what” is missing. “Her life was longer than mine.” And here we observe the omission of a minor member of the sentence, an additional one, which is expressed by a noun in the nominative case.
2.17 Concurrency (st. figure)- the same syntactic construction of neighboring sentences, the location of similar members of the sentence in them.
Your mind is as deep as the sea.
Your spirit is as high as the mountains (V. Bryusov).
What is he looking for in a distant country? What did he throw in his native land? (M. Lermontov).
2.18 Anaphora(unity) ( Art. figure) - repetition of the same words or phrases at the beginning of sentences:
I stand at the high doors.
I follow your work (M. Svetlov).
2.19 Epiphora (st. figure) - repetition of individual words or phrases at the end of sentences: I would like to know why I am a titular councillor? Why a titular adviser? (N. Gogol).
2.20 Asindeton (non-union) (art. figure)- the absence of unions between homogeneous members or parts of a complex sentence: Swede, Russian - stabs, cuts, cuts (A. Pushkin).
Flickering past the booth, women,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.
A. S. Pushkin
2.21 Polysyndeton (multi-union) (st. figure) - repetition of the same union with homogeneous members or parts of a complex sentence: It is both boring and sad, and there is no one to give a hand to in a moment of spiritual adversity (M. Lermontov).
2.22 Rhetorical question (v. figure)- using an interrogative form for a more vivid expression of thought. It is sometimes said that a question that does not require an answer can be considered rhetorical, that is, a statement formulated in the form of a question for poetics. In fact, the answer to a rhetorical question is so obvious that it can be read "between the letters" of the question: Do you love theater as much as I do? (V. Belinsky).“O Volga, my cradle, did anyone love you like me?” (Nekrasov)
"What Russian doesn't like to drive fast?" (Gogol)
2.23 Rhetorical exclamation (art. figure)- an emotionally colored sentence in which emotions are necessarily expressed intonationally and one or another concept is affirmed in it. The rhetorical exclamation sounds with poetic enthusiasm and elation:
“Yes, love as our blood loves
None of you have loved for a long time!” (A. Blok);
"Here it is, stupid happiness
With white windows to the garden!” (S. Yesenin);
"Fade power!
To die is to die!
Until the end of my dear lips
I would like to kiss ... "(S. Yesenin)
2.24 Rhetorical address (v. figure)- an underlined appeal to someone or something, with the aim of expressing the author's attitude to this or that object, to give a description: "I love you, my damask dagger, comrade light and cold ..." (M.Yu. Lermontov) This stylistic figure contains expression, intensifying the tension of speech: “Oh, you, whose letters are many, many in my portfolio I keep ...” (N. Nekrasov) or “Flowers, love, village, idleness, field! I am devoted to you with my soul ”(A.S. Pushkin)
The form of the rhetorical appeal is conditional. It gives poetic speech the necessary authorial intonation: solemnity, pathos, cordiality, irony, etc.:
“The stars are clear, the stars are high!
What do you keep in yourself, what do you hide?
Stars, concealing deep thoughts,
By what power do you captivate the soul? (S. Yesenin)
2.25 Parceling- a special articulation of the statement, in which incomplete sentences arise, following the main one: And all the Kuznetsk bridge and the eternal French, Where fashion comes to us from, and authors, and muses: Destroyers of pockets and hearts! When will the creator deliver us From their hats! bonnets! and Shpilek! and pins!.. A.S.Griboyedov. Woe from the mind.
3. Functions of tropes in the text
The most important role in artistic speech is played by tropes - words and expressions used not in a direct, but in a figurative sense. Tropes create in the work the so-called allegorical figurativeness, when the image arises from the convergence of one object or phenomenon with another.
This is the most common function of all tropes - to reflect in the structure of the image the ability of a person to think by analogy, to embody, according to the poet, "the convergence of things far away", thus emphasizing the unity and integrity of the world around us. At the same time, the artistic effect of the trail, as a rule, is the stronger, the farther the approaching phenomena are separated from each other: such is, for example, Tyutchev's likening of lightning to “deaf-mute demons”. On the example of this path, one can trace another function of allegorical figurativeness: to reveal the essence of this or that phenomenon, usually hidden, the potential poetic meaning contained in it. So, in our example, Tyutchev, with the help of a rather complex and non-obvious path, makes the reader take a closer look at such an ordinary phenomenon as lightning, see it from an unexpected angle. Despite the complexity of the paths, it is very accurate: indeed, the reflections of lightning without thunder are naturally designated by the epithet “deaf and dumb”.
The use of tropes in artistic speech creates new combinations of words with their new meaning, enriches speech with new shades of meaning, gives the phenomenon being defined the meaning, shade of meaning that the speaker needs, conveys his assessment of the phenomenon, that is, plays on the subjective component.
And the aesthetic is a function of creativity in general, tropes are the main way to create an artistic image, and an artist. the image is the main aesthetic category. tropes make natural language a poetic language, enable it to perform the main function of poetic language - aesthetic.
For literary analysis (as opposed to linguistic analysis), it is extremely important to distinguish between general language tropes, that is, those that have entered the language system and are used by all its speakers, and author's tropes, which are used once by a writer or poet in this particular situation. Only the tropes of the second group are capable of creating poetic imagery, while the first group, common language tropes, should not be taken into account in the analysis for obvious reasons. The fact is that common language tropes are “erased”, as it were, from frequent and widespread use, lose their figurative expressiveness, are perceived as a stamp and, therefore, are functionally identical to vocabulary without any figurative meaning.
Conclusion
In conclusion of this work, I would like to note that the resources of expressive means in the language are inexhaustible and the means of language, such as figures and paths, which make our speech beautiful and expressive, are extremely diverse. And it is very useful to know them, especially for writers and poets who live in creativity, because. the use of figures and tropes leaves an imprint of individuality on the author's style.
The successful use of tropes and figures raises the level of text perception, while the unsuccessful use of such techniques, on the contrary, lowers it. A text with an unsuccessful use of expressiveness techniques defines the writer as an unintelligent person, and this is the most difficult by-product. Interestingly, when reading the works of young writers, as a rule, stylistically imperfect, one can draw a conclusion about the level of the author’s mind: some, not realizing that they do not know how to use various methods of expressiveness, nevertheless oversaturate the text with them, and it becomes difficult to read it. impossible; others, realizing that they cannot cope with the masterful use of tropes and figures, make the text neutral from this point of view, using the so-called "telegraphic style". This is also not always appropriate, but it is perceived better than a heap of expressive techniques, clumsily used. Neutral, almost devoid of expressiveness, the text looks like a meager one, which is quite obvious, but at least it does not characterize the author as a fool. Only a real master can skillfully apply tropes and figures in his creations, and brilliant authors can even be “recognized” by their individual style of writing.
Expressive devices such as tropes and figures should surprise the reader. Efficiency is achieved only in those cases when the reader is shocked by what he has read and impressed by the pictures and images of the work. The literary works of Russian poets and writers are rightfully famous for their genius, and the expressive means of the Russian language play an important role in this, which our Russian writers very skillfully use in their works.
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personified endowing inanimate objects with signs and properties of a person is called: A star speaks with a star. The earth sleeps in the radiance of blue (L.); The first morning breeze without a rustle ... ran along the road (Ch.). Artists of the word made personification the most important means of figurative speech. Personifications are used in describing natural phenomena, things surrounding a person, which are endowed with the ability to feel, think, act: The park swayed and groaned (Paust.); Spring wandered along the corridors with a light through wind, breathed in her face with her girlish breath (Paust.); Thunder muttered sleepily ... (Paust.).In other cases, the objects around us “come to life”, as in the scene described by M. Bulgakov.
Margarita struck the keys of the piano, and the first longing howl swept through the whole apartment. The innocent Becker cabinet instrument screamed frantically. The instrument howled, hummed, wheezed, rang...
Margarita swam out the window, ended up outside the window, swung slightly and hit the glass with a hammer. The window sobbed, and shards ran down the marbled wall.
personification- one of the most common tropes not only in fiction. It is used by politicians (Russia was knocked out from the shock of Gaidar's reforms), the personification is often found in a scientific style (X-ray showed that the air heals), in a journalistic style (Our guns started talking. The usual duel of batteries began. -Quiet.). The method of impersonation enlivens the headlines of newspaper articles: “The ice track is waiting”, “The sun lights the beacons”, “The match brought records”.
The personification appears in the form of various tropes, most often these are metaphors, for example, in B. Pasternak: Separation will eat us both, Longing with bones will gnaw. The snow withers and is sick with anemia, And you can hear in the corridor, What is happening in the open air, April speaks about it in a casual conversation with a drop. He knows a thousand stories / About human grief... Apple and cherry branches Dress in whitish color. Sometimes the personification is guessed in comparisons, artistic definitions: In those places, a barefoot wanderer / The night makes its way along the fence, And behind it from the windowsill stretches, A trace of an overheard conversation (Past.); In the spring, that the grandchildren are small, with the ruddy sun-grandfather Clouds play ... From small broken, Cheerful clouds, the red sun laughs, Like a girl from sheaves (N.); The east was covered with a ruddy dawn (P.).
Detailed personifications are interesting, thanks to which the author creates a complete image. For example, Pushkin wrote: I brought a frisky muse, To the noise of feasts and violent disputes, Thunderstorms of midnight patrols; And to them in their mad feasts She carried her gifts And, like a Bacchante, she frolicked, At the cup she sang for the guests, And the youth of bygone days dragged violently after her. And in “The House in Kolomna”, the poet even jokingly refers to her: “Sit down, muse: hands in sleeves, Tuck your legs Don’t fidget, frolic Now let’s start ... Complete assimilation of an inanimate object to a person is called personification (from lat. persona face, facto - do). To illustrate this type of personification, let us cite (in abbreviation) the beginning of the fairy tale by Andrey Platonov “The Unknown Flower”.
There lived a small flower in the world. He grew up alone in the wilderness. He had nothing to eat in stone and clay; raindrops that fell from the sky descended over the top of the earth and did not penetrate to its root, but the flower lived and lived and grew little by little higher. He lifted the leaves against the wind; dust particles fell from the wind onto the clay; and in those dust particles was the food of the flower. To moisten them, the flower guarded the dew all night and collected it drop by drop...
During the day, the flower was guarded by the wind, and at night by the dew. He worked day and night to live and not die. He needed life and endured his pain from hunger and fatigue. Only once a day did the flower rejoice: when the first ray of the morning sun touched its weary leaves.
As you can see, personification is achieved by a number of personifications: a flower lives, overcoming hunger, pain, fatigue, needs life and rejoices in the sun. Thanks to this combination of paths, a living artistic image is created.
In a journalistic style, personification can reach a high rhetorical sound. So. during the Great Patriotic War A.N. Tolstoy wrote in the article "Moscow is threatened by the enemy", referring to Russia:
My motherland. you had a difficult test, but you will come out of it with victory, because you are strong, you are young, you are kind, you carry goodness and beauty in your heart. You are all in hopes for a bright future, you build it with your big hands, your best sons die for it.
Rhetoric also singles out a trope opposite to personification - reification, in which a person is endowed with the properties of inanimate objects. For example: a bandit's bulletproof forehead: A traffic police sergeant with a face that looks like a no-passage sign. Where are you digging this stupid! This is a stump, a log! (From the gas.) - Among the reifications there are many common language ones - an oak, a saw, a mattress, a health hat has come unstuck.
Writers are able to achieve vivid expressiveness of speech with the help of reification: His heart thumped and for a moment fell somewhere, then returned, but with a blunt needle that sat in it (Bulg.); The head drops the leaves, feeling the approaching autumn!. Soon a fly will land on your head without brakes: the head is like a tray, but what has been done in life! (From the magazine). Reification is often used in a humorous context, which can be confirmed by examples from the letters of A.P. Chekhova: Vaudeville plots come out of me like oil from the depths of Baku: I was sitting at home, going for roses ... not knowing where to direct my steps, and inclining the arrow of my heart now to the north, then to the south, when suddenly - fuck . A telegram arrived.
Like personifications, reifications take the form of metaphors, comparisons, as can be seen from the examples given. Let us also recall the classic reifications in the form of B. Pasternak's comparisons: ... When I, in front of everyone, with you, like a shoot with a tree, Merged in my immeasurable anguish ... She was so dear to Him by any trait, Like the coast is close to the sea. The entire surf line. How it floods the reeds. A wave after a storm. Gone to the bottom of his soul. Her features and forms.
In modern stylistics, the trope described by us is not distinguished, and cases of its use are considered as part of metaphors and comparisons. However, rhetoric attaches great importance to reification as a trope that is appropriate in the oral speech of orators.
Personification is an extremely common technique used by many writers, prose writers, poets and people somehow connected with creativity. This article will show examples of this example in real life.
The essence of personification
Sometimes, in order to give their thoughts and actions described in the work a more emotional basis, the authors use personification. In simple words, when we give an inanimate object or a complex of objects a quality that is inherent exclusively in an animate creature (human, dog, etc.), this is called personification. With the help of this technique, a work or some separate process becomes more diverse and interesting. Accordingly, the more diverse and interesting the work, the greater its weight among ordinary readers and critics.
In addition, in order to use personification, you must have some experience and skills in writing works of any form. The qualitative use of this literary tool speaks of the skills of the writer himself. Many theatrical productions are based on impersonation. Often they resort to giving the stone properties of a person, thereby emphasizing the cold and callous nature of a person.
Impersonation examples
Example 1:
"The forest has awakened." This phrase is a personification, since the forest is a complex of trees, inanimate. At the same time, he was given an action that is characteristic only of a living being. The author could not use this technique and simply describe the natural processes that occur in the morning forest. But no, instead he said “the forest has awakened”, forcing us to imagine this picture in the most colorful colors and give free rein to our imagination. According to critics, those works that give the reader the opportunity to think on their own and draw all the processes that take place on their own, without the help of the author, achieve special popularity.
Example 2:
"Reed whispers." As you can already understand, this phrase is a personification. After reading it, we can imagine a swamp that is full of reeds and a small breeze that twitches them. From these small twitches, a rustling is created, which can be interpreted as a whisper.
If you ever start a creative activity in literature or another similar field, take this tool into your arsenal. You will definitely need it.
, attributing the properties and characteristics of animate objects to inanimate ones.Very often, personification is used in the depiction of nature, which is endowed with certain human features.personification - this is the endowment of inanimate objects with living qualities!
personification - a verb used in a figurative sense, which transfers the action of a living being to other objects. For example, nature has quieted down; sleeping grass.
In the poem "Here the wind is catching up the clouds" A.S. Pushkin speaks of winter as a person, a living being. For example, she [winter] came, lay down, leveled, plays pranks. This personification.
personification is the revival of an inanimate object
personification - an artistic technique based on endowing inanimate objects with human qualities and feelings.
And so start whispering trees among themselves : white birch with another white birch from a distance echo; young aspen came out into the clearing like a green candle, and calls to you the same green aspen candle,waving a twig; bird cherry tree gives a branch with open kidneys. (M.M. Prishvin.)
Close to comparison and personification metaphors . Metaphors can rightfully claim the leading role among all tropes.
At the heart of any metaphor is an unnamed comparison of some objects with others.
Metaphor - a hidden comparison, which is based on the figurative meaning of the word, the union (as, as if, as if) is absent, but implied.
In the garden red rowan bonfire burns, but he cannot warm anyone (S.A. Yesenin).
A particularly striking means of figurative speech areextended metaphors.They arise when one metaphor entails new ones related to it in meaning.
dissuaded by the grove golden birch cheerful language (S.A. Yesenin).
What is an epithet
epithet (from other Greek ἐπίθετον - "attached") -definition at the word, affecting its expressiveness. Expressed predominantlyadjective , but also adverb ("hotly love"),noun ("fun noise"), numeral ("second life").
An epithet is a word or a whole expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation, helps the word (expression) to acquire color, richness. It is used both in poetry (more often) and in prose. Many writers use epithets (T.G. Shevchenko, I. Franko)
Epithet - this is a figurative definition that gives an artistic description of a phenomenon or object. An epithet is a comparison and can be expressed as an adjective, as well as a noun, a verb or an adverb.
Epithet - this is a bright figurative definition, for example: golden autumn, blue sea, snow-white winter, velvet skin, crystal ringing.
What is comparison
Comparison - trope , in which there is an assimilation of one object or phenomenon to another according to some common feature for them. The purpose of the comparison is to reveal new, important properties that are advantageous for the subject of the statement in the object of comparison.
In comparison, the following are distinguished: the compared object (object of comparison), the object with which the comparison takes place (means of comparison), and their common feature (base of comparison, comparative sign,lat. tertium comparisonis ). One of the distinguishing features of comparison is the mention of both compared objects, while the common feature is not always mentioned. Comparison should be distinguished frommetaphors .
Comparisons are characteristic offolklore .
There are different types of comparisons:
Comparisons in the form of a comparative turnover, formed with the help of unions as if, as if, exactly: "A man is stupid as a pig, but cunning as hell." Non-union comparisons - in the form of a sentence with a compound nominal predicate: "My house is my fortress." Comparisons formed with the help of a noun in the instrumental case: "he walks like a gogol." Negative comparisons: "Trying is not torture"
Comparison is a figurative expression built on a comparison of two objects or states that have a common feature.
... black eyebrows, like mourning velvetset off his pale features (N.V. Gogol).
The comparison could be
- comparative turnover (reflected,as in a mirror; like a bird,he dived between the branches) joins with the help of unionsas, exactly, as if, as if, as if, like that;
- complex sentence with a comparative clause (You will freeze on the shore of a puddle,like a rock in the sky holds you, and below - blue.);
- combination of a verb with a noun in the instrumental case (creeps snail);
- the form of the comparative degree of adjectives, adverbs (From the darkness the bush creeps,furry bear cub.)
Comparisons can be direct (And the leaves run along the path,like yellow mice from a cat ...) and negative:
It is not the wind that rages over the forest,
Streams did not run from the mountains:
Frost-voivode patrol
Bypasses his possessions ...
(N.A. Nekrasov)
