Repetition is a term in literature. Use of repetition in literature

Repeat 1 , or reprise, is called a figure of speech, which consists of repeating sounds, words, morphemes, synonyms or syntactic structures in conditions of sufficient closeness of the series, i.e. close enough to each other to be seen. Just like other figures of speech that enhance the expressiveness of an utterance, repetitions can be considered in terms of the discrepancy between traditionally denoting and situationally denoting as some purposeful deviation from the neutral syntactic norm, for which a single use of the word is enough: Beat! beat! drums! - blow! bugles! blow! (W. Whitman).

Repetition usually does not add anything to the subject-logical information, and therefore it can be regarded as redundancy: Tyger, tyger, burning bright (W. Blake) is not an appeal to two tigers - doubling here is only expressive. But using the term “redundancy” for repetition can only be done with a reservation, because repetitions convey significant additional information of emotionality, expressiveness and stylization and, in addition, often serve as an important means of communication between sentences, and sometimes subject-logical information can be difficult to separate from additional information. pragmatic.

The variety of functions inherent in repetition is especially strongly expressed in poetry. Some authors 2 even consider repetitions to be a stylistic feature of poetry, distinguishing it from prose, and divide repetitions into metrical and euphonic elements.

Metric elements include foot, verse, stanza, anacrusis and epicruse, and euphonic elements include rhyme, assonance, dissonance, and refrain.

We will consider those types of repetition that are common to poetry and prose 3. Consideration of repetition in syntactic stylistics is somewhat conditional, since elements of different levels can be repeated, and repetitions are classified depending on which elements are repeated.

Let's start with poetic examples. The interweaving of several types of repetition makes the last lines of Shakespeare's sonnet XVIII unforgettable. One of Shakespeare's key themes is embodied here - the theme of ruthless time and poetry's combat with it, thanks to which beauty becomes immortal and timeless. The importance of the topic causes convergence, i.e. accumulation of stylistic devices when conveying one general content:

So long as men can breathe or eyes can see

So long lives this and this gives life to them.

Intense convergence makes it possible to distinguish several different types of repetition in these two lines.

1) Meter - periodic repetition of the iambic foot.

2) Sound repetition in the form of alliteration, which we will consider in more detail in Chapter V, - long lives... life.

3) Repeat words or phrases - so Song... so long; in this case, the repetition is anaphoric, since the repeated elements are located at the beginning of the line.

4) Repetition of morphemes (which is also called partial repetition); the root morpheme in the words live and life is repeated here.

5) Repetition of constructions - the parallel constructions men can breathe and eyes can see are syntactically constructed in the same way.

6) The second example of parallelism: ...lives this and this gives... is called chiasmus. Chiasmus consists in the fact that in two adjacent phrases (or sentences) built on parallelism, the second is constructed in the reverse order, so that a cross arrangement of identical members of two adjacent constructions is obtained.

7) B in this example However, chiasmus is complicated by the fact that syntactically identical elements this ... this are expressed in identical words. Such a figure, consisting of the repetition of a word at the junction of two constructions, is called pickup, anadiplosis, epanalepsis or junction. Picking up shows the connection between two ideas and increases not only expressiveness, but also rhythm.

8) Semantic repetition...men can breathe = eyes can see, i.e. as long as life exists.

Repetition of lexical meanings, i.e. accumulation of synonyms, in our example is also represented by situational synonyms breathe and live. We considered it in connection with synonymy using the example of Shakespeare's sonnet LXI (see p. 104).

Thus, two lines of Shakespeare provide an entire encyclopedia of repetition. There is little left to add. In addition to the anaphora and pickup presented here, depending on the location of the repeated words, there are also epiphora, those. repetition of a word at the end of two or more phrases, and ring repeat, or frame(see tired with all these in sonnet LXVI, p. 50). The repetition of conjunctions, which has already been discussed using the example of sonnet LXVI, is called polysyndeton.

Repeat functions Additional Information, which he carries, can be very diverse. Repetition can, for example, highlight the main idea or theme of a text. That's how anadiplosis at the end of Keats's famous ode on the Grecian urn:

Beauty is truth, truth beauty, - that is all

Ye know on earth, and all ye need to know.

The pickup emphasizes the unity and even identity of beauty and truth. Linguistically, this is expressed by the fact that the subject and predicate connected by the verb be change places, and this is only possible if there is an identity between the concepts they denote.

Repeat can also perform several functions at the same time. In “The Song of Hiawatha” by G. Longfellow, repetition creates a folkloric flavor, song rhythm, consolidates and emphasizes the interconnection of individual images, merging them into a single picture.

Should you ask me, whence these stories?

Whence these legends and traditions,

With the scents of the forest,

With the dew and damp of meadows,

With the curling smoke of wigwams,

With the rushing of great rivers,

With their frequent repetitions,

And their wild reverberations

As of thunder in the mountains?

"From the forests and the prairies,

From the great lakes of the Northland,

From the land of the Ojibways,

From the land of the Dakotas,

From the mountains, moors and fenlands,

Where the heron, the Shuh-shuh-gah,

Feeds among the reeds and rushes.

I repeat them as I heard them

From the lips of Nawadaha,

The musician the sweet singer.”

Should you ask where Nawadaha

Found these songs, so wild and wayward,

Found these legends and traditions,

I should answer, I should tell you,

"In the bird-nests of the forest,

In the lodges of the beaver,

In the hoof prints of the bison,

In the eyrie of the eagle!

In the first stanzas of “The Song of Hiawatha,” the reader again encounters a convergence of stylistic devices, and primarily repetitions, which introduces him to the genre of lyrical-epic work, stylized in the spirit of Indian folk poetry. Repetition gives the tale a rhythmic, song-like character and combines into one whole the enumeration of the elements of the nature of the region. It is interesting that the use of frequency repetitions is specifically mentioned and explained by the author as being borrowed from the Indian singer Navadahi. And G. Longfellow explains the appearance of repetitions in Navadahi’s songs by the influence of the surrounding nature (reverberations / As of thunder in the mountains).

Various types of repetition can serve as an important means of communication within a text. Communication using prepositions is more specific than allied connection. In the example given, the connection is made by the anaphoric repetition of the prepositions with, from and in with parallel constructions and some other repetitions. The connection of the listed images, forming one overall picture, would be noticed by the reader even if they simply followed each other, i.e. as a function of the closeness of the series, but the repetition of prepositions and constructions makes this connection materially expressed.

Along with lexical synonymous repetition (stories - legends, moors - fenlands), purely syntactic repetition in the form of homogeneous members of the sentence is widely represented here. More precisely, lexical synonymous repetition is, as it were, a development of syntactic repetition.

G. Longfellow's poem is called a song. But the word song is polysemantic, and the meaning that the poet puts into it is explained by three homogeneous members: stories, legends and traditions. Homogeneous members allow you to clarify and detail the content of the statement. The nature of the legends and traditions told in the songs is explained by a series of prepositional phrases beginning with the preposition with. The repetition of an indirect question with the word whence makes us think about the sources of the song. The answer to this question is again a series of identical syntactic functions and identical construction, i.e. parallel constructions with the anaphoric preposition from. Within this syntactic convergence is the convergence of one-word homogeneous members: the forests and the prairies... from the mountains, moors and fenlands.

Although the variety of functions of repetition is especially strongly represented in poetry, since versification is based on the repetition of constructive elements, repetition plays a significant role in prose. Let's look at an example. The central problem of E.M.’s creativity Forster is the problem of mutual understanding and human contacts. In the novel A Passage to India, this problem is realized in the relationship between the Englishman Fielding and the Indian Aziz. Is friendship possible between an Englishman and an Indian? The ending of the novel contains an emotional, figurative response, the expressiveness of which relies heavily on lexical repetition:

"Down with the English anyhow. That"s certain. Clear out, you fellows, double quick, I say. We may hate one another, but we hate you most. If I don"t make you go, Ahmed will, Karim will, if it"s fifty five hundred years we shall get rid of you, yes, we shall drive every blasted Englishman into the sea, and then" - he rode against him furiously - "and then," he concluded, half kissing him, "you and 1 shall be friends ."

“Why can't we be friends now?” said the other, holding him affectionately. “It"s what I want. It's what you want."

But the horses didn"t want it - they swerved apart; the earth didn"t want it, sending up rocks through which riders must pass single file;

the temples, the tanks, the jail, the palace, the birds, the carrion, the Guest House, that came into view as they were issued from the gap and saw Man beneath: they didn't want it, they said in their hundred voices , “No, not yet,” and the sky said “No, not there.”

(E.M. Forster. A Passage to India)

A Passage to India is an anti-colonial novel. Its author shows that mutual understanding between peoples is possible only after the destruction of colonial oppression. The kindness of individual people, their desire for friendship is not enough for this, no matter how strong this desire may be.

Series of lexical repetitions can alternate in the text or intertwine, like motifs in a piece of music, with each row corresponding to one ideological, plot or emotional motif.

Aziz's excited monologue contains several separate repetitions: hate... hate, will... will, then... then and the synonymous repetition Down with the English... clear out... make you go... get rid of you ... drive every blasted Englishman into the sea.

Fielding's question introduces a new repetition - the verb want; he and Aziz want to be friends, but the author’s commentary shows that in the conditions of colonial India this is impossible, everything that surrounds them is opposed to this. Repeated from one sentence to another, the word want connects them into a single whole. The significance of the passage is again indicated by convergence: parallel constructions, forcing of homogeneous terms and metaphor, since the verb want is connected to inanimate nouns. The expressiveness of the first part of the passage is predominantly intensifying, the second - figurative.

The repetition in Aziz’s speech conveys his emotionality; the nature of such repetition is common for direct speech. In the same novel, it is often used in this way: “Do you remember our mosque, Mrs Moore?” “I do. “I do,” she said suddenly vital and young.

Expressive redundancy of a tautological nature is typical of the vernacular: “Why don"t you shut your great big old gob, you poor bloody old fool!” (J. Osborne. Entertainer).

Thus, in the speech characteristics of characters, repetitions rarely perform only one function. They almost always combine expressiveness and functional-stylistic features, expressiveness and emotionality, expressiveness and the function of connection between sentences.

Tautological repetition can have a satirical orientation. Exposing the emptiness and monotony of his character's work, Munro writes: His “Noontide Peace,” a study of two dun cows under a walnut tree, was followed by “A Midday Sanctuary,” a study of a walnut tree with two dun cows under it.

Tautology It is customary to call repetition, which does not add anything to the content of the statement. As can be seen from the examples given, this applies only to the logical content of the message, to information of the first type. The second type of information is conveyed quite effectively by the tautology. It can, for example, be used for speech characteristics of characters.

The problem of repetition attracts the attention of many researchers; the number of works devoted to repetition is constantly growing. Of great interest is the task of distinguishing between repetition - an expressive means and stylistic device, on the one hand, and repetition of the type of prominence, which ensures the structural coherence of the whole text and establishes the hierarchy of its elements, on the other.

Consists in the deliberate repetition in a visible area of ​​the text of the same word or speech construction. Lexical repetitions various types are widely used to give [[ |expressiveness]] to a literary text, among them the following types are distinguished:

Anadiplosis- the last word or phrase of the first part of a speech segment is repeated at the beginning of the next part:

Anaphora(lexical) - repetition of the initial parts of two or more relatively independent segments of speech (hemistiches, verses, stanzas or prose passages):

Simploca- a combination of anaphora and epiphora, that is, lexical repetition at the beginning and end of segments of speech:

Epiphora- repetition of the same words at the end of adjacent segments of speech:

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See what “Lexical repetition” is in other dictionaries: lexical repetition

- (repetition, doubling). Full or partial repetition of a root, stem or whole word as a way of forming words, descriptive forms, phraseological units. Barely, firmly, crosswise, little by little, glad dear, honor to honor,... ... Dictionary of linguistic terms

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Speech coherence as a text category- – 1) a property of speech or a whole text (see Text category), implemented by specialized or functionally oriented multi-level devices linguistic units; 2) semiological category, which is ... Stylistic encyclopedic Dictionary Russian language

- (from other Greek χιασμός) a rhetorical figure consisting of a cruciform change in the sequence of elements in two parallel rows of words (for example, the phrase of K. S. Stanislavsky: “Know how to love art in yourself, and not yourself in ... ... Wikipedia

anaphora- s. Stylistic device, syntactic figure2: 1. Lexical repetition at the beginning of several successive canonical fragments of a literary text (poetic line, stanza or column). 2. Any initial repetition (including... ... Educational dictionary of stylistic terms

Main article: Functional styles of speech Colloquial speech is a functional style of speech that serves for informal communication, when the author shares his thoughts or feelings with others, exchanges information on everyday issues in ... ... Wikipedia

Stylistics of resources- (structural, structure of language, stylistic means of language, analytical, practical, traditional) - a direction of stylistics that studies the stylistic resources of language. This is the most traditional area of ​​stylistics, the object of which is the composition... ... Stylistic encyclopedic dictionary of the Russian language

Alexander Petrovich Skovorodnikov Date of birth: November 30, 1929 (1929 11 30) (83 years old) Place of birth: Harbin, China Country ... Wikipedia

ways to update the communicative center of utterance- 1) logical (or phrasal) stress, which allows you to highlight the informative center of a sentence in any word order; 2) word order, which is the most important means of highlighting the CC of a sentence in oral and written speech, performing a number of functions: a)… … Dictionary of linguistic terms T.V. Foal

See repetition 1 Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011. repetition noun, number of synonyms: 12 ... Synonym dictionary

Repeat- see Refrain. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov Rogachevsky, M. Rozanov, V. Cheshikhin Vetrinsky. M.; L.: Publishing house L. D. Frenkel, 1925 ... Literary encyclopedia

REPEAT- REPEAT, repeat, husband. (lit.). Admission to artistic speech, which consists in repeating the same sounds or their combinations in a known sequence. Sound repeats. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

REPEAT- REPEAT, ah, husband. The same as repetition (in 2 meanings). Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

repeat- repeat. See telomeric sequence. (Source: Anglo Russian Dictionary genetic terms." Arefiev V.A., Lisovenko L.A., Moscow: Publishing house VNIRO, 1995) ... Molecular biology and genetics. Dictionary.

Repeat- REPEAT see Refrain... Dictionary of literary terms

repeat- repetition step cycle iteration iterative - [L.G. Sumenko. English-Russian dictionary on information technology. M.: State Enterprise TsNIIS, 2003.] Topics information technology in general Synonyms repetition step cycliteration iteration EN iteration ... Technical Translator's Guide

REPEAT- in an election campaign, the main method that influences the voter’s perception of the campaign message. Psychologists say that in order for a person to remember one thesis, he (the voter) needs to repeat it (the thesis) from five to eight... ... Legal encyclopedia

repeat- (not) repeat mistakes action, repeat (not) repeat other people’s mistakes action, repeat inhale new life action, causation, repetition returned ability possession, subject, repetition returned good mood possession, subject, repetition... Verbal compatibility of non-objective names

repeat- (repetition, doubling). Full or partial repetition of a root, stem or whole word as a way of forming words, descriptive forms, phraseological units. Barely, firmly, crosswise, little by little, glad dear, honor to honor,... ... Dictionary of linguistic terms

repeat- 1) Additional syntactic device. For example, in the Russian language repetition always introduces expressive shades and emphasizes one or another meaning: And he kept thinking and thinking... In this example, repetition emphasizes the duration and intensity of the action.... ... Dictionary of linguistic terms T.V. Foal

Books

• Anthology of colloquial speech. Some aspects of the theory. Repetition is word creation. Volume 3, Kharchenko V.K. , Each volume of the five-volume series contains theoretical information of a general nature, and as the main body - recordings of spoken remarks personally collected by the author, systematized by aspects... Category: Language textbooks Publisher:

Expressive syntax - this is the ability of syntactic units to act as expressive-stylistic means, that is, associated with achieving the expressive effect of a statement.

Stylistic figure – a figure of speech, a syntactic construction of a relatively formalized nature, that is, having an elementary syntactic scheme, model.

Question 27. Alliteration and assonance in artistic and journalistic discourses.

Alliteration- one of the types of sound writing, which consists in repeating the same or homogeneous consonant sounds to give the text sound and intonation expressiveness. Most often used in poetry. " H blackh AndT yesThu ets , / T oph atts I am an idle people... - MerT you lie downT singts / And we celebrate SundayT "(M. I. Tsvetaeva).

Assonance- one of the types of sound writing, which consists in repeating the same or homogeneous vowel sounds. " Roman classAnd CzechAnd y, oldAnd ny, / excellent forAnd nal, dlAnd nal, dlAnd moral, / moralizingAnd telnyAnd hAnd ny, / without romanticAnd creative ideas"(A.S. Pushkin. “Count Nulin”)

Alliteration and assonance create a rhythmic pattern of the text and give it musicality. These figures can be used as onomatopoeia, highlight significant sections of text, and increase the expression of the text.

Question 28. Lexical repetition. Derivational repeat. Anadiplos(h)is (joint (pickup). Chain repetition. Ring (frame, rondo, coverage, framing). Definition of concepts. Basic stylistic functions.

Lexical repetition - a stylistic figure consisting of the deliberate repetition of the same word or speech structure in a visible area of ​​the text. Lexical repetitions of various types are widely used to add expressiveness to a literary text, among them the following types are distinguished:

Anadiplosis - the last word or phrase of the first part of a speech segment is repeated at the beginning of the next part:

...where will my help come from?

My help comes from the Lord...

Anaphora - repetition of the initial parts of two or more relatively independent segments of speech (hemistiches, verses, stanzas or prose passages):

It was not in vain that the winds blew,

It was not in vain that the storm came. - Yesenin S. A.

Anaphora can be classified as figures, the use of which can actively influence the mind and feelings of the addressee. Anaphora can also serve to express the author’s feelings and emotions and enhance the figurativeness of the text.

Epiphora - a single ending, a figure in the construction of which each subsequent stanza, line or sentence ends in the same way as the previous one.

“I bless the radiance of your eyes.

In my delirium it shone for me,

I bless the smile of your lips!

She intoxicated me like wine."

(V. Ya. Bryusov);

Epiphora is used with the same stylistic tasks as anaphora.

Simploca - a combination of anaphora and epiphora, that is, lexical repetition at the beginning and end of segments of speech:

August - asters,

August - stars

August - grapes

Grapes and rowan

Rusty - August!

- M. Tsvetaeva, August – Derivational repeat a type of repetition in which not the entire word is repeated, but only some part of it (root, prefix, suffix). " Tenderer than tender your face / Whiter than white

your hand” (O. Mandelstam). Anadiplosis (joint (pickup)) - a syntactic figure in which the final words of a verse or phrase are repeated at the beginning of the next verse or phrase. "Oh, spring without end and without edge - Without end and without edge

dream!" (A. Blok). Chain repeat

- a figure representing a series of hooks (joints) that follow each other. “The more you study, the more you know. The more you know, the more you forget. The more you forget, the less you know.

The less you know, the less you forget.

The less you forget, the more you know.

This means that the less you study, the more you know” (Student joke).

Ring

(frame, rondo, coverage, framing) - a figure, when constructed, at the end of a phrase, verse, stanza or the entire poem, it is repeated

initial word

1. Words, phrases, sentences that appear at the beginning of syntactic or text units form a repetition called anaphora (single beginning). For example:

Because I lived in the world ineptly,
For the fact that I did not serve you falsely,
For having an immortal body,
I am involved in your wondrous fate.
(A. Tarkovsky)

Anaphora is also found in prose, for example: Institution... Someone established it; since then it has been there; and before that time it was - at one time, the bottom. So the “Archive” tells us. An institution... Someone established it, before him there was darkness; someone was rushing over the darkness; there was darkness and there was light - the circular is number one... (A. Bely).

2. Repetition, in which the end of one syntactic construction can be doubled due to its repetition at the beginning of an adjacent construction, is called anadiplosis (pickup, junction). For example:

He died proudly alone.
One... A tear of regret
Nobody honored the poet...
(Nadson)

Anadiplosis is often used in proverbs like “I am not with the word, but the word is with me.” In prose speech it becomes a way of developing thought. See Blok: What is harmony? Harmony is the agreement of world forces, the order of world life. Order is space, as opposed to disorder - chaos. From chaos the cosmos, the world, is born, the ancients taught.

3. The repetition of the beginning and end of a syntactic structure is called a ring (frame, frame). For example: In these cheerful truths of common sense, before which we are so sinful, you can swear by the cheerful name of Pushkin (Blok).

4. Repetition in which the ends of adjacent or related units are repeated is called epiphora; This type of repetition is much less common: Our memory keeps from childhood a cheerful name: Pushkin. This name, this sound fills many days of our lives. The names of emperors, generals, inventors of murder weapons, torturers and martyrs of life are gloomy. And next to them is this easy name - Pushkin (A. Blok) (the ends of the beginning and ending of a complex syntactic whole are repeated).

The position occupied by a repeated word, phrase, etc. can be the position of an absolute beginning or end (see the example of anadiplosis from Nadson) and relative (see the example of a ring from Blok).

Repetitions may be complete or incomplete and may vary. For example: The Russian language itself is not to blame for the fact that, according to the laws of historical inevitability, it has become common language peoples of our country. It was not the Russian language and not bilingualism that led to doublethink and double-mindedness. It is not the Russian language that is to blame for the fact that it was more convenient and calm for the authorities in the center and in the localities for everyone to speak the same way without the risk of dissent when translating into different languages(From newspapers).

When combined, repetitions mutually complicate each other: What outrages you? That they were given too much work and too much income, too much air, light, sun, too much long life? Does this outrage you? (translation from Chez d'Est Ange).

Repetition from a stylistic device can develop into a structural and compositional one, forming a prosaic stanza or even large sections of text. In poetry, repetition sometimes organizes the entire text:

A star dances before the stars,
The water is dancing like a bell,
The bumblebee dances and blows the pipe,
David dances in front of the tabernacle.
A bird cries for one wing,
The fire victim is crying in the ashes,
The mother is crying over the empty cradle,
A strong stone is crying under your heel.
(A. Tarkovsky)

Types of syntactic repetition

1. Based on repetition, parallelism is formed - repetition of adjacent syntactic structures: sentences or parts thereof. For example, the parallel organization of sentences in Heredia's speech at the opening of the monument to Leconte de Lisle: He showed the royal tiger of the jungle, the dreams of a jaguar, the wavy back of a black Javanese panther disappearing into the grass. He knew how the Caribbean serpent coils itself. He followed the steppe eagle, the herd of thoughtfully wandering elephants, and the lingering howl of his wild dogs, lost in the desert expanses, always fills our soul with endless melancholy (translated by N. Golubentsev). See also the complete syntactic repetition of the first part of the sentence (up to the semicolon) in the second part, complicated by anaphora: And then the orchestra struck - and your soul anticipates in its sounds the impressions that are preparing to hit it; and now the curtain has risen - and before your eyes an endless world of human passions and destinies unfolds! (Belinsky). In poetry there are more complex types of parallelism, for example, chiasmus:

Beautiful as a heavenly angel
Like a demon, insidious and evil.
(Lermontov)

This air is so loud.
Deception is so tempting.
(Block)

Parallelism, as a rule, is accompanied by lexical repetition, which creates the background for comparing statements: Objects of science are phenomena or conditions of phenomena. Objects of art are essences (Bryusov).

2. On the basis of parallelism, an antithesis is formed - the opposition of two statements. For example: But alas! all this is poetry, not prose, a dream, not reality! (Belinsky). Antithesis is very common in poetry:

Yesterday I looked into your eyes,
And now everything is looking sideways!
Yesterday I was sitting before the birds,
All larks these days are crows.
(Tsvetaeva)

I am the lonely son of the earth,
You are a radiant vision.
(Block)

The opposition of a statement in antithesis is created with the help of lexical (linguistic and contextual antonyms) and grammatical means (different types predicate, verb tenses, personal pronouns, etc.), and the adversative parts themselves can be connected both with the help of appropriate conjunctions and in a non-union way.

Sometimes the antithesis is not adversarial, but concessive in nature:
Don't tell me: "he died." He lives!
Even though the altar is broken, the fire still burns,
Even if the rose is plucked, it still blooms,
Even if the harp is broken, the chord is still crying...
(Nadson)

3. A period is built on the basis of syntactic parallelism and lexical repetition. Most often it is formatted as a complex sentence, the first part of which concentrates the same type subordinate clauses with parallel construction and anaphora, and in the second - main part statements. The first part is usually larger in size than the second and is pronounced with a rising intonation, enhancing the moment of anticipation for the second part. At the junction of the two parts there is a change in intonation and a pause is observed.

The period is used when necessary:

1) to give a broad scope of the picture of the world, to reflect the result of deep philosophical reflections, for example: No matter how hard people tried, having gathered several hundred thousand in one small place, to disfigure the land on which they huddled, no matter how hard they stoned the ground so that nothing would grow on it no matter how much they cleaned off any escaping weed, no matter how much they smoked coal and oil, no matter how they trimmed the trees and drove out all the animals and birds, spring was spring even in the city (L. Tolstoy);

2) convey the complex lyrical state of the hero, for example:

When my green turf hides my ashes,
When, saying goodbye to a short existence,
I'll be the only sound in your mouth,
Only a shadow in your imagination;
When young friends are at feasts,
They won’t remember me with wine, -
Then take a simple harp,
She was my friend and dream friend.
(Lermontov);

3) emphasize the ironic attitude with the help of incommensurable semantic content of the first and second parts, as well as elements within the first part, for example: In the 1800s, at a time when there were no railways, no highways, no gas, no stearin light, no springy low sofas, no furniture without varnish, no disappointed young men with glass, no liberal female philosophers, no lovely camellia ladies, of which there are so many in our time - in those naive times when leaving Moscow, leaving to St. Petersburg in a cart or carriage, they took with them a whole kitchen homemade, traveled for eight days on soft, dusty or dirt road and they believed in Pozharsky cutlets, in Valdai bells and bagels - when tallow candles burned on long autumn evenings, illuminating family circles of twenty and thirty people, at balls wax and spermaceti candles were inserted into candelabra, when furniture was placed symmetrically, when our fathers were young not only because of the absence of wrinkles and gray hair, but they shot at women and from the other corner of the room rushed to pick up accidentally and not accidentally dropped handkerchiefs, our mothers wore short waists and huge sleeves and solved family matters by taking out tickets, when the lovely camellia ladies were hiding from the daylight - in the naive times of Masonic lodges , Martinists, Tugenbund, during the times of the Miloradovichs, Davydovs, Pushkins - in the provincial city of K. there was a congress of landowners and the noble elections ended (L. Tolstoy).

Another organization of the period is also possible, cf., for example, in F. Koni: A hospitable patron of the arts, a fastidious theatergoer and a helper in need, an assessor of a court court, who gave his salary to poor officials and to improve food for prisoners, by that time had turned into a self-contained, an unsociable and suspicious miser. The syntactic structure, the semantic content of the parts, and the size of the parts themselves, which ranges from the obvious superiority of the first part to the harmony of the parts, as, for example, in Fet’s:

If the sun makes you happy,
If you believe in a magnificent omen,
At least for a while, for a moment falling in love,
Give this joy to the poet.

Types of transfer

Based on repetition and parallelism, a group of figures is built under the general name of enumeration. Enumeration is a syntactic equalization carried out with the help of homogeneous members of a sentence, the degree of homogeneity of which depends on what parts of speech, word forms the homogeneous members are expressed, etc. The syntactic equality of the listed units contributes to their semantic equalization. Enumerations are undesirable in informative texts. They tire the recipient, who usually perceives only the beginning and end of the series. In literary texts, the impact depends on the length of the listed series, the meanings of its components and their syntactic function. For example: Sometimes Vasily Mikhailovich imagined that he would live out this life and begin a new one, in a different guise. He meticulously chose his age, era, appearance; either he wanted to be born as a fiery southern youth, or as a medieval alchemist, or as the daughter of a millionaire, or as the beloved cat of a widow, or Persian king. Vasily Mikhailovich wondered, chose, was capricious, set conditions, was overwhelmed by ambition, rejected all the proposed options, demanded guarantees, sulked, got tired, lost his train of thought and, leaning back in his chair, looked for a long time in the mirror at himself - the only one.

Nothing happened. Neither the six-winged seraph nor any other feathered creature appeared to Vasily Mikhailovich offering services, nothing opened up, no voice was heard from heaven, no one tempted, lifted up, or spread out. The three-dimensionality of existence, the end of which was approaching, suffocated Vasily Mikhailovich, he tried to get off the rails, make a hole in the sky, go through the painted door (T. Tolstaya).

Semantic characteristics of enumeration

1. If the enumerated units are in synonymous relationships (linguistic or contextual synonyms) and are arranged in order of increasing or weakening of any attribute, the enumeration takes the form of gradation, for example, in Belinsky: ... here this thirst will flare up in you with a new, indomitable by force, here this image will appear to you again, and you will see his eyes fixed on you with longing and love, you will revel in his charming breath, you will shudder from the fiery touch of his hand. In ironic texts, such gradation can develop into hyperbole.

Often, gradation (and enumeration in general) is based on the principle of stringing together synonyms: ... his well-shaven cheeks always glowed with a blush of embarrassment, bashfulness, shyness and embarrassment (I. Ilf and E. Petrov), as well as lexical repetition with the expansion of the composition of syntactic units and deepening the semantics:

An irritated soul and a sick chest
Tears and groans are understandable.
Sing about the willow, about the green willow,
About Desdemona's sister's willow tree.
(Fet)

2. Based on the enumeration, an imposition is also built - a connection of the obviously incompatible. The generality of the series thus acquires an imaginary character, since the members of the series, although they correlate with the same common main word, but this word in some meanings enters into a semantic relationship with one part of the series, and in others - with another, for example: he broke your head and ribs; Agafya Fedoseevna wore a cap on her head, three warts on her nose and a coffee bonnet with yellow flowers (Gogol). The overlap creates the conditions for puns.

Syntactic characteristics of enumeration

The connection between the listed units can be union, non-union and mixed, and the units themselves can be given in one stream or combined into two- and three-members with relations of both synonymy and antonymy.

1. If the entire series is connected by a non-union connection, we are dealing with a figure called asindeton (non-union), which contributes to the semantic equalization of the enumerative series. For example: And in fact, aren’t all the spells, all the seductions concentrated in it [the theater]? fine arts(Belinsky); And again there is darkness, cold, fatigue in the world... (Bunin).

2. If the members of a series are connected by repeating unions, we have a polysyndeton (multi-union), which autonomises each of the components of this series.

And now I'm dreaming
There is a white hospital under the apple trees,
And a white sheet under the throat,
And the white doctor is looking at me, And the white sister is standing at my feet
And he moves his wings.
(A. Tarkovsky)

These methods of connection are especially expressive when they occur in one complex syntactic whole, as in the above example from T. Tolstoy, where, on the one hand, a series with a repeating conjunction this...that, and on the other - a non-conjunction - he figured out, chose , was capricious...

All figures in this group are based on repetition and thereby contribute to the overall coherence of the text, its smoothness and rhythm.