Anaphora technique. Anaphora, epiphora and other stylistic figures. Anaphora in everyday life

In poetry, various stylistic and rhetorical figures (epithets, tropes, metaphors, allegories, etc.) are used to enhance the impact. One of them in speech is anaphora - this is unity of command. You can find out what it is by reading this article.

Anaphora: what is it? Examples of using this figure of speech

Why is this stylistic figure needed? Anaphora is a specific word or sounds repeated at the beginning of a verse, several stanzas or hemistiches. They are needed to hold together speech segments and give the entire poem expressiveness and brightness. The term comes from the ancient Greek word ἀναφορά, which means “to bring out.” For example, in Alexander Sergeevich’s poem you can find the anaphora “Uzh,” which is repeated at the beginning of the first two stanzas. It enhances the sensations of the signs of approaching autumn. After reading a poem with the anaphora “uzh”, a sad feeling arises from the approaching damp and cold season.

Examples of anaphors

Like any other repetitions, these, regardless of their location, add a certain zest to the poem, greater expressiveness, as if directing attention to a particular word or thought. The same applies to other stylistic and rhetorical figures, but, unlike, for example, epithets or tropes, anaphora is one that has its strict location - the initial position. Similar techniques exist in music. Here is another example of anaphora that can be found in Vysotsky:

"To avoid falling into a trap,

To avoid getting lost in the dark...

…Draw a plan on the map.”

In this case, the word “so that” seems to list all the adversities that can be encountered if you do not draw a plan.

Varieties of anaphora

This stylistic figure has several varieties, namely:

1. Sound anaphora- These are repeated combinations of the same sounds. For example, in a poem by A. S. Pushkin, at the beginning of the lines it is not the word that is repeated, but only its first three letters: “Bridges demolished by a thunderstorm, coffins from a washed-out cemetery...”

2.Morphemic. In this case, repetition of morphemes (roots) or other parts of the word is used. Here, at the beginning of the lines of Mikhail Yuryevich Lermontov’s poem “... A black-eyed maiden, a black-maned horse!..” the root “black” is repeated. But not the whole word.

3. Lexical. In this case, entire words are repeated. Here is an example of such an anaphora: “It was not in vain that the winds blew, and it was not in vain that the thunderstorm came.” By the way, this type is the most common. This can be seen from the school course on this subject. In literature textbooks, regardless of the time of their publication, you can always find poems by Afanasy Fet; he is truly a master in the use of these stylistic figures.

Here is an excerpt from one of his poems: “I came to you with greetings, to tell you that the sun has risen,... to tell you that the forest has woken up...” Here the lexical anaphora is the word “tell.”

4. Syntactic. In addition to repeated words and combinations of sounds, anaphora is also the repetition of syntactic structures. For example, “am I wandering..., am I sitting..., am I entering...”.

5. Strophic. Repetition can appear at the beginning of each stanza, and it can be either a single word or a phrase, in most cases an exclamation. For example: “Earth!.. From the moisture of the snow... Earth!.. She runs, runs.”

6.Strophico-syntactic anaphora- this is a type of stylistic figure that is similar in principle to the previous one, but here at the beginning of the stanza a repeating sentence is placed with some semantic changes, for example: “Until the machine gun craves, ... until the army commander suffers...”

By the way, anaphora is also where all the words in a poem begin with the same sound. For example: “Radiant flax lovingly sculpts...”

Epiphora, or stylistic figure opposite to anaphora. What's this?

Unlike anaphora, epiphora is a repetition not at the beginning of a verse or stanza, but, on the contrary, at the end. Thanks to her, the rhyme is created: “The guests have come ashore, Prince Guidon is inviting them to visit...”. Epiphora, like anaphora, is a stylistic figure. She gives this literary work(poem, poem, ballad) expression, brightness, poignancy. This figure of speech creates a rhyme.

Types of epiphora

Epiphora has several varieties. It can be of the following types:

1. Grammar. When the same sounds are repeated at the end of identical segments, for example, they were friends - they lived, etc., then we are dealing with a grammatical epiphora.

2. Lexical. In poetry, sometimes the same word may be repeated at the end of each stanza. This is a lexical epiphora. This stylistic figure can be found in A. S. Pushkin’s poem “Keep Me, My Talisman.” Here, at the end of each verse, the word “talisman” is repeated.

3.Semantic epiphora. This type of stylistic figure is distinguished by the fact that it is not words and combinations of sounds that are repeated, but synonymous words.

4. Rhetorical. This is often used in folklore works, for example, in a song about geese - “...one white, the other gray - two cheerful geese.” This construction, consisting of two lines, occurs at the end of each of the verses.

Conclusion

Anaphora is unity of command. It is a stylistic figure that gives a poem or the speech of individual characters (in a poem) special semantic and linguistic expressiveness by repeating words, combinations of sounds, phrases, as well as sentences at the beginning of a line, stanza or couplet.

In Russian poetry, in order to enhance the impact of expressions, they use different types rhetorical and stylistic figures (epithets, allegories, tropes, etc.).

One of these figures is anaphora. Let's try to figure out what exactly it is and how it is used in Russian language and literature.

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Anaphora: meaning

Anaphora means unity of command or in other words, the simultaneous beginning and repetition of sounds, syllables, one word or several in the beginning phrases or stanzas of a poem or prose passage. Let's take as an example the famous lines of A. S. Pushkin:

I love you, Peter's creation, I love... slender look...

The repetition of the word “love” in this case is a mysterious stylistic move that serves as a connection between speech segments and gives the poem brightness and expressiveness.

The term comes from a word that, translated from ancient Greek into Russian, means “carrying up.” For example, in the poem “Autumn” by A. S. Pushkin, the anaphora “uzh” is used, it is repeated in the first two stanzas, thereby strengthening the approaching autumn. When reading this poem, a feeling of melancholy arises, because it reminds us of the approaching cold and damp season.

Anaphora: Wikipedia

Anaphora(translated from ancient Greek ἀναφορά - ascent) - a stylistic figure that consists of the repetition of related sounds, one word or a group of words located at the beginning of each row parallel to each other, i.e. in the repetition of the beginning parts of two or more independent segments of speech (verses, hemistiches, prose passages or stanzas).

Meaning and examples of anaphora in literature

Anaphora in literature is a figure of artistic speech, a literary device, which is based on the similarity of words in prose passages and verses, repeated in words, phrases, sounds, syntactic structures and morphemes at the beginning of parts of complex sentences, stanzas, phrases, paragraphs and periods.

Examples:

In works of this kind, a stylistic device is used with the aim of emotionally influencing the reader, often this is expressed in raising the tone, as well as by logical and semantic highlighting of important thoughts that combine into one whole the selected constructions that are different in structure and syntactic level.

Also the stylistic figure is considered as a type of continuous sentence. In Old Germanic poetry, this turn of phrase occurs as a form of connection of certain sentences or parts of a sentence and forms the so-called “anaphoric trisyllabic.” There is also a connection between anaphora and a rhetorical figure such as gradation; in this case, in literary techniques there is a gradual increase in the emotional nature of speech (for example: “A cattle dies, a friend dies, a man dies too”).

In prose speech, it is closely related to the forms of farewell and greeting. Poets and prose writers call these forms anaphoric; they often manifest themselves in imitation national significance and in the works of modern writers.

It is worth noting the historical and cultural basis of this literary device. A similar appeal has long been considered an important turn of phrase to rulers, gods or those who sit together; everyone was treated equally so as not to anger anyone (e.g. , at a meeting, at a banquet or at a trial they said: “most venerable, respected, highly learned, wise gentlemenburgomasters and ratmans»; “most respectable, eminent and prudent gentlemen Elterman and old people" and so on.).

Stylistic figures- figures of speech that enhance its impact due to certain syntactic structures, but do not introduce new content.

ANAPHORA- unity of beginning, repetition of a certain word or individual sounds at the beginning of several stanzas, verses or hemistiches.

ANAPHORA(Greek anaphora - removal; Russian term - unity of command) - stylistic figure; fastening speech segments (parts of a phrase, poetry) by repeating a word or phrase in the initial position.

For example:
This is a cool whistle,
This is the clicking of crushed ice floes,
This is the night that chills the leaf,
This is a duel between two nightingales.
(B. L. Pasternak, “ Definition of poetry»)

Anaphora, as in general any kind of repetition of individual words or expressions, regardless of their location, often gives the verse poignancy and expressiveness, emphasizing certain moments like a guiding motive (leitmotif) in a musical work.

So, in Blok’s stanza:
Again with age-old melancholy
Feather grass bent down to the ground,
Again beyond the foggy river
You are calling me from afar... –

anaphoric " again" in the first and third verses of the stanza sets off " eternity"Russian melancholy and the incessant voice that calls the poet somewhere.

Another example of anaphora could be:

1) anaphoric " dusk"in the hemistiches of Tyutchev's verse:

« Quiet dusk, sleepy dusk", where the repetition of the word " dusk» a certain melodic effect of the verse is maintained or

2) anaphoric " edge"or approaching full verbal anaphora" these" And " this"in the famous stanza of Tyutchev:
These poor villages
This meager nature -
The native land of long-suffering,
You are the land of the Russian people.

By placing anaphors in this stanza at the beginning of each pair of verses, Tyutchev, of course, emphasizes that exactly “ these villages" And " this nature", his native land is Russia.

Varieties of anaphora

1. Sound anaphora - repetition of the same combinations of sounds.

For example:
Bridges destroyed by thunderstorms,
Gr both from the blurred cemetery"
(Pushkin A.S.)

2. Anaphora morpheme - repetition of the same morphemes or parts of words.

For example:
I blackly eye the girl,
Black-maned horse!..
(Lermontov M.Yu.)

3. Lexical anaphora - repetition of the same words:

For example:
It was not in vain that the winds blew,
It was not in vain that the storm came.
(Yesenin S.A.)

4. Syntactic anaphora - repetition of the same syntactic structures:

For example:
Do I wander along the noisy streets,
I enter a crowded temple,
Am I sitting among crazy youths,
I indulge in my dreams.
(Pushkin A.S.)

5. Strophic anaphora
Earth!..
From snow moisture
She's still fresh.
She wanders by herself
And breathes like deja.
Earth!..
She's running, running
Thousands of miles ahead
Above her the lark trembles
And he sings about her.
Earth!..
Everything is more beautiful and visible
She's lying around.
And there is no better happiness - on her
To live until death.
Earth!..
To the west, to the east,
To the north and to the south...
I would fall down and hug Morgunok,
There aren't enough hands...
(Tvardovsky A.T.)

6. Strophic-syntactic anaphora

For example:
Until the machine gun craves
Gut the human mass,
Omet lives and lives
Among the mills, the harvest is chewing.

Until he suffers army commander
Cut the enemy with one blow,
It’s not for nothing that the barns are full
Fields with gold-bearing gifts.

Until the enemy thunder speaks
Your opening remarks,
There can be no other way in the fields
A space catcher than an agronomist.
(Tikhonov N.S.)

Anaphora may be located at the beginning of hemistiches (" The city is lush, the city is poor"), lines (" She was not afraid of retribution, She was not afraid of loss"), stanzas, are carried out through the entire poem in certain combinations (Lermontov " When he gets worried";Fet" This morning, this joy" etc.).

Anaphora also called a poem whose words all begin with the same sound.

For example:
Pure flax lovingly sculpts
The azure of caressing forests,
I love the crafty babble of lilies,
Flowing incense of petals.

Often anaphora connects with another rhetorical figure - gradation.

GRADATION(from lat. gradatio- gradual elevation) is a stylistic figure consisting of a consistent intensification or, conversely, weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech.

There are two types gradations- menopause (climb) And anticlimax (descent).

Climax - one of the popular figures of Russian poetry, in which words and expressions in a phrase are arranged in order of their increasing meaning.

For example:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
(S.A. Yesenin)

And the thoughts in my head are agitated in courage,
And light rhymes run towards them,
And fingers ask for pen, pen for paper,
a minute - and the poems will flow freely.
(A.S. Pushkin)

Anticlimax - a figure in which words and expressions are arranged according to the strength of intonation and meaning in descending order.

For example:
I swear to the wounds of Leningrad,
The first devastated hearths;
I won’t break, I won’t waver, I won’t get tired,
I will not forgive my enemies a single grain.
(O.G. Bergolts)

Most common three-term gradation.

For example:
I came, I saw, I conquered. (Caesar);

And where is Mazepa? Where is the villain?
Where did Judas run in fear?(Pushkin);

In sweet-foggy care
Not an hour, not a day, not a year will leave.(Boratynsky);

The impression of gradation is enhanced by a special rhythmic-syntactic structure, often - anaphora(see above).

For example:
Love you capricious dream
I love you with all the strength of my soul,
I love you with all my young blood,
I love you, I love you, hurry up!

Sometimes the middle terms of the gradation, in their logical meaning, do not form a strict increase, but thanks to the melody of the verse and its syntactic features, the impression of gradation is obtained, which in this case is more obvious during recitation.

For example, at the beginning of the poem F.I. Tyutcheva „ Malaria“:
"...I love this, invisibly
There is a mysterious evil spilled throughout everything -
In flowers, in a source transparent as glass,
And in the rainbow rays, and in the very sky of Rome" -

In themselves, more or less equivalent images of flowers, a source, rays and the sky form an increasing series, mainly due to the fact that the first image is expressed in one word - general concept, in the second the essential feature is highlighted, and the third and fourth begin with the anaphoric and, increasing intonation, which culminates in the intensifying adjective “most”, which precedes the last image.

And conversely, semantic growth, not supported rhythmically and syntactically, does not provide sufficient sensation gradations.

For example, from Zhukovsky:
"Both summer and autumn were rainy,
Pastures and fields were drowned,
The grain in the fields was not ripe and disappeared,
There was a famine, people were dying".

Gradation may be the principle of composition of an entire poem.

For example strophic gradation with anaphora in Tyutchev's poem: " The East turned white... The East turned red... The East flared up..."or Fet's poem: " I came to you with greetings»:
I came to you with greetings,
Tell me that the sun has risen
What is it with hot light
The sheets began to flutter;

Tell that the forest has woken up,
All woke up, every branch,
Every bird was startled
And full of thirst in spring;

Tell me that with the same passion,
Like yesterday, I came again,
That the soul is still the same happiness
And I’m ready to serve you;

Tell me that from everywhere
It blows me away with joy,
That I don’t know myself that I will
Sing - but only the song is ripening.

In a similar way, we can observe gradation in the plot structure of larger literary genres, fairy tales, short stories, etc., for example, in folk tale « Mena"(in Afanasyev, parallels in the brothers Grimm, Andersen, etc.), in " The Tale of the Fisherman and the Fish"and others, in the story by Leonid Andreev" Life of Vasily Fiveysky", in the biblical story of Job, etc.

EPIPHORA(from Greek epiphora- addition, repetition) - stylistic figure - repetition of the same word at the end of adjacent segments of speech, one of the varieties of parallel syntactic constructions.

For example:
I won't deceive myself
Concern lay low in a hazy heart.
Why did he become famous? I'm a charlatan,
Why am I known as a brawler?
And now I won’t get sick.
The pool has cleared up in a hazy heart.
That's why I became known as a charlatan,
That's why I became known as a brawler.
(S. Yesenin)

Dear friend, and in this quiet house
The fever hits me.
I can't find a place in a quiet house
Near the peaceful fire!
(A. Blok)

Well, I... I'm walking along the road,
The usual work is not hard:
There are some places that believe in God.
No priest
And here I am.
There the bride and groom are waiting, -
No priest
And here I am.
There they take care of the baby, -
No priest
and here I am.
(A. Tvardovsky)

They call me a youth without a mustache,
It really doesn't matter to me.
But they don’t call him a coward...
A long time ago... A long time ago...

Another mustache twirls furiously,
Everyone looks at the bottom of the bottles,
But he himself is only a copy of the hussar...
A long time ago... A long time ago...

Another swears by ardent passion,
But when the wine is drunk,
All his passion is at the bottom of the bottle...
A long time ago... A long time ago...

The sea is knee-deep for lovers,
I'm with them in this together,
But treason watches over everyone...
A long time ago... A long time ago...
(A. Gladkov)

The stylistic device of repeating the same sounds at the ends of adjacent words in lines can be clearly demonstrated with a simple rhyme. This is a grammatical epiphora: Sometimes, in order to emphasize the importance of a single word or phrase, it is repeated at the end of a stanza or lines, forming a so-called tautological rhyme.

Epiphora, as well as anaphora, has its own varieties:

1. Grammatical epiphora - the technique of repeating the same sounds at the ends of adjacent words in lines. Examples of it are often found in children's poems.

For example:
We lived together on the balcony
Poppy, narcissist.
They were friends.

2. Lexical epiphora - repetition of the same word at the end of a segment of speech.

For example:
When the ocean rises
The waves are roaring around me,
When the clouds burst into thunder,
Keep me safe, my talisman.

In the solitude of foreign countries,
In the bosom of boring peace,
In the anxiety of a fiery battle
Protect me, my talisman...
(A.S. Pushkin)

Scallops, all scallops: a cape made of scallops, scallops on the sleeves, epaulettes made of scallops, scallops at the bottom, scallops everywhere.(N.V. Gogol)

3. Semantic epiphora - repetition at the end of a synonymous word.

For example:
Under the pipes there are twists, under the helmets they are cherished, the end is a copy of the education...("A Word about Igor's Campaign")

4. Rhetorical epiphora.

Examples of this technique can be found in songs, especially often in Russian folk songs. The children's song about two geese demonstrates this perfectly with its unforgettable lines: “ One is gray, the other is white, two cheerful geese", as well as poems by Yulia Drunina " You're near»:
You are nearby, and everything is fine:
And rain and cold wind.
Thank you, my clear one,
For the fact that you exist in the world.

Thank you for these lips
Thank you for these hands.
Thank you, my dear,
For the fact that you exist in the world.

You are nearby, but you could
You won’t be able to meet each other at all...
My only one, thank you
For the fact that you exist in the world!

Often in poetry they use repetition of the first quatrain in the conclusion. Sometimes they are slightly different, more often they are repeated verbatim. it's the same rhetorical epiphora.

Examples are poems by the same Yu. Drunina “ There's a time to love" They begin with the words: “ There is a time to love, there is a time to write about love", and at the end these lines are repeated with a slight change: instead of the word " write"the author uses the verb " read».

There's a time to love
Eat - write about love.
Why ask:
“Tear up my letters”?
I'm happy -
There is a man alive on earth,
who doesn't see
What time is it snowing
For a long time with my head
He brought that girl
That I sipped to my heart's content
And happiness and tears...
No need to ask:
“Tear up my letters!”
There's a time to love
Eat - read about love.

This is how the vigilant orator Cicero uses epiphora: “ You mourn that three armies of the Roman people were destroyed - Antony destroyed them. You are short of illustrious citizens - and Antony took them away from us. The authority of our class has been overthrown - Anthony overthrew it. In a word, if we think strictly, everything that we subsequently saw (and what kind of disasters did we not see?), we will attribute to Anthony alone"(Cicero. Second Philippica against Mark Antony).

Epiphora constantly used in a variety of poetic genres.

For example, in the poem by F.G. Lorca " Desert"(translation by M. Tsvetaeva):
The labyrinths dug by time have disappeared.
The desert remains.
The incessant heart - the source of desires - has dried up.
The desert remains.
The sunset haze and kisses are gone.
The desert remains.
It fell silent, died out, cooled down, dried up, disappeared.
The desert remains.

The epiphora contained in the epigram of O.E. is perceived in a completely different way. Mandelstam to the artist N.I. Altman (who painted the portrait of the poet):
This is the artist Altman,
very old man.
In German it means Altmann -
very old man."

The true tragedy of loneliness is expressed in the poems of Z.N. Gippius, a very middle-aged poetess who lost her husband D.S. Merezhkovsky, from whom she was not separated for a single day for more than 50 years. Poems dedicated to her and her husband’s secretary and longtime friend V.A. Zlobin, are an example of an epiphora that even has a graphic expression:

Loneliness with you... It is like that
What is better and easier to be ALONE.

It embraces with thick melancholy,
And I want to be completely ALONE.

This melancholy - no! - not thick - empty.
In silence it is easier to be ALONE.

Clock birds, like a sightless flock,
They don’t fly by - one to ONE.

But your silence is not silent,
Noises, shadows, all to ONE.

With them, perhaps, it’s not sickening, not boring,
The only desire is to be ONE.

Nothing will be born from this silence,
It’s easier to give birth yourself - ALONE.

There's just something flowing idly inside of him...
And at night it’s so scary to be ALONE.

Maybe this is offensive to you,
You are used to being ALONE.

And you won’t understand... And isn’t it obvious
It’s easier for you too, without me - ALONE.

Epiphora V pure form is used less frequently than anaphora, but in a weakened version (parallelism of synonyms or grammatical forms) - much more often.

Epiphora how the figure is opposite anaphora, in combination with which it forms a new figure - simploc.

Parallelism is close to these figures - the same syntactic structure of segments of speech.

PARALLELISM(from Greek - walking next to, parallel) - a compositional technique that emphasizes the structural connection of two (usually) or three elements of style in a work of art; the connection between these elements lies in the fact that they are located in parallel in two or three adjacent phrases, poems, stanzas, due to which their commonality is revealed.

Modern poetics have established the following types of parallelism:

1. Syntactic parallelism , the most common, is that adjacent verses follow the same sentence structure.

For example:
The waves splash in the blue sea,
The stars shine in the blue sky.
(A. Pushkin)

And, devoted to new passions,
I couldn’t stop loving him;
So the temple abandoned - all the temple,
The defeated idol is all god!
(M. Lermontov)

The light wind subsides,
The gray evening is coming,
The raven sank to the pine tree,
Touched a sleepy string.
(A. Blok)

When horses die, they breathe,
When the grasses die, they dry up,
When the suns die, they go out,
When people die, they sing songs.
(V. Khlebnikov)

A green fish swam to me,
A white seagull flew towards me!
(A. Akhmatova)

The candles fluttered like a wave of light.
Thoughts stirred like a dark wave.
(M. Tsvetaeva.)

I don't know where the border is
Between North and South
I don't know where the border is
Between comrade and friend...
...I don't know where the border is
Between flames and smoke
I don't know where the border is
Between a friend and a loved one.
(M. Svetlov)

A diamond is polished by a diamond,
The line is dictated by the line.
(S. Podelkov)

Two immortalities at the Volga -
mouth and source.
A soldier has two worries -
West and East!
Trees have two hopes -
autumn and spring.
A soldier has two worries -
gun and war...
(A. Nedogonov)

Syntactic parallelism contributes to the rhythm of speech and performs an amplifying and excretory function in the text. It can be supported by lexical repetition, the use of words of one lexical-semantic or thematic group.

For example:
The moon is high.
The frosts are high.
Distant carts creaking.
And it seems that we can hear
Arkhangelsk silence.
(I. Severyanin.)

Syntactic parallelism as a stylistic device often found in works of oral folk art in the form of an analogy, a rapprochement of phenomena (for example, natural phenomena and human life).
It’s not the wind that bends the branch,
It is not the oak tree that is making noise.
My heart is groaning,
Like an autumn leaf trembling.
(Russian folk song).

2. Strophic parallelism consists in the fact that in adjacent stanzas of the poem the same syntactic and sometimes lexical construction is repeated:
You bear grief - you think,
How to throw it off your shoulders,
Where should I leave him?
Where should I leave it?
You bring happiness - you think
How can I avoid stumbling with him?
No matter how it breaks,
Who wouldn't take it away?
(V. Tushnova)

M. Lermontov’s poem “ Sail»:
The lonely sail is white
In the blue sea fog.
What is he looking for in a distant land??
What did he throw in his native land??
The waves are playing, the wind is whistling,
And the mast bends and creaks...
Alas, he not looking for happiness
And he’s not running out of happiness!
Below him is a stream of lighter azure,
Above him is a golden ray of sun.
And he, the rebellious one, asks for a storm,
It's like there's peace in the storm!

3. Rhythmic parallelism is expressed in the fact that the motives of the poem are emphasized by the corresponding repetition of the rhythmic pattern.

For example:
The garden is all in bloom
Evening on fire,
It makes me so refreshingly happy!
Here I stand
Here I come,
I'm waiting for a mysterious speech.
This dawn
This spring
So incomprehensible, but so clear!
Are you full of happiness?
Am I crying?
You are my blessed secret.
(A.A. Fet)

4. Besides direct parallelism , found in poetry negative concurrency , consisting in the fact that the first term of the parallel is given with a negative particle " Not" This form of parallelism is especially common in folk poetry, and it is also common in original poems.

For example:
It's not the cold winds that rustle,
It's not the quicksand that runs, –
The grief rises again
Like an evil black cloud.

It is not the wind that rages over the forest,
Streams did not run from the mountains,
Moroz the voivode on patrol
Walks around his possessions.
(N. Nekrasov)

LEXICAL REPEATS– repetition of the same word or phrase.

For example:

And so mom prepared three lunches, three breakfasts and three dinners for three days and showed the boys how to heat them up.(E. Schwartz)

By repeating a word in the text the key concept is highlighted. Therefore, it is not always necessary to remove lexical repetitions from speech.

In some cases this is impossible, in others it will be an unnecessary impoverishment and discoloration of speech.

Several cognate words in a sentence are stylistically justified even if related words are the only carriers of the corresponding meanings and cannot be replaced by synonyms.

Lexical repetitions can also be used as a means of humor. In a parody text, the accumulation of identical words reflects the comedy of the situation being described.

1) Express yourself without expressing yourself !

2) It seemed that I wanted to, but it turned out that I wanted to, because it seemed;

3) It is very important to be able to behave in society. If inviting a lady to dance, you stepped on her foot and she pretended not to notice it, as she noticed, but pretended not to notice.

In artistic speech, verbal repetitions can perform different stylistic functions. This must be taken into account when giving stylistic assessment use of the word in the text.

SIMPLOCA(Greek - plexus) - a figure of syntactic parallelism in adjacent verses, which a) have the same beginning and end with a different middle and b) on the contrary, have different beginnings and ends with the same middle.

Samples simplocs The first type is more often found in folk poetry.

For example:
There was a birch tree in the field,
There was a curly girl standing in the field.
(Folk song)

There was a feast, an honorable feast,
There was a table, a table of honour.
(Russian epic)

Very rare simploc of the first type in original poetry.

For example:
Always and everywhere
Two people go like this
And they think -
The whole universe is here.
Everything - just extend your hand - everything is here.
Everything - just take a closer look - everything is here.
That's it - just hug me tighter - everything is here.
And the nightingales sing,
And kiss
And the crunch of steps in the forest...
(V. Lugovskoy)

What are you, my song,
Are you silent?
What are you, my fairy tale,
Are you silent?
(P. Vasiliev)

Examples simplocs of the second type :
We have a place for young people everywhere,
Old people are respected everywhere.
(V. Lebedev-Kumach)

I love the sea with ships,
I love the sky with cranes.
(V. Bokov)

I hate all kinds of dead things!
I love all kinds of life!
(V. Mayakovsky)

Simploc, at first glance, can be easily confused with parallelism. However, this is true only at first glance, because in fact simploc has little to do with parallelism. At parallelism it is the constructions themselves that are repeated (and completely, exactly), not the words: words in parallel structures are always different. As for simploki, words are reproduced with its help and only therefore, as a consequence, constructions.

Vocabulary provides the language with stylistic material, and syntax builds it, combining these “building blocks” to obtain a complete thought. It is thanks to syntax that the individual characteristics of writers’ creativity are revealed. In literature, syntax, with the help of stylistic means of language, participates in the creation of artistic images and helps convey the author’s attitude to the depicted reality.

To enhance the expressive function of artistic speech, writers use various figures of speech:

• hyperbola;
• gradation;
• oxymoron;
• anaphora;
• parallelism;

Note! Words in figures of speech are not used in a figurative sense, as in tropes, but have a direct meaning, but they are constructed in a special way, combined in an unusual way.

What is anaphora

One of the figures in the Russian language is anaphora. The word itself comes from the Greek language, and it means “repetition.” Typically used at the beginning of lines as well as stanzas. Unlike other stylistic means of language and tropes, this figure has its own strict location - the initial position.

Wikipedia defines this figure of speech and explains what it is and what it is used for.

Anaphora in verse gives poetic speech sharpness and rhythm, melody and expressiveness, serves as the leitmotif of the work, and sounds like the original passionate voice of the author. With the help of this figure, the thoughts that seem most significant to the writer are emphasized.

Attention! Unity of principle is used not only in poetic speech - stylistic device can also be found in prose when parts of sentences are repeated at the beginning of paragraphs. Anaphora is also actively used in rhetoric in order to evoke emotions in the public.

Types of anaphora and examples

The following types are distinguished:

1. When repeating the same sounds in poetic speech, sound anaphors are created. U: “Bridges demolished by a thunderstorm, / Coffins from a washed-out cemetery.”
2. Morphemic anaphors are characterized by the repetition of the same morphemes or parts of words, as in “The Prisoner” by M. Lermontov: “The black-eyed maiden, / The black-maned horse!..”
3. Writers often resort to the use of lexical anaphors in their works, when the same words are repeated at the beginning of rhythmic lines, as well as stanzas. Such repetitions add lyricism and emotionality, help convey to the reader the main idea of ​​the work, highlight the most important points in the text. For example, “Farewell, my sun. / Goodbye, my conscience, / Goodbye, my youth, dear son.” (P. Antokolsky)

In the poem “Gratitude” by M. Lermontov, the repetition of the preposition “for” at the beginning of six lines gives words that are not used direct meaning, the sharpness of irony. In “The Demon,” the unity of command “I swear” achieves passion of speech, emotionality, and enhances the parallelism of the passage and its semantic expressiveness. In the famous poem “Motherland,” M. Lermontov expresses a strange love for his Motherland; in the very first stanza, by repeating the particle “ni,” the generally accepted concept of patriotism is denied.

Another representative of pure art, F. Tyutchev, who is the discoverer of new imaginative worlds in poetry, glorified the beauty of the universe in his work. Here is an example of an anaphora from the poet: “Quiet dusk, sleepy dusk” . The repetition of this word gives a feeling of lyricism and melody, which have an emotional impact on the reader. Another repetition of the word “edge” and the verbal anaphors “these” and “this” in Tyutchev’s quatrain “These poor villages” at the beginning of each pair of lines of the first stanza, with the help of which the idea is emphasized that this particular region , despite poverty, it is the poet’s native land.

Examples of anaphora in 20th century literature

Poet B. Pasternak his impressionistic poem “February. Get some ink and cry” was created under the impression and impulse of the soul, using nominative and impersonal offers. In this lyrical miniature, sentences are connected by repetitions of “get” (ink and carriage). One feels lightness, a momentary impression of the view of a spring day.

In the poem “Winter Night” the line “the candle was burning on the table” sounds like a leitmotif. The author, despite everything hostile on earth and the raging elements outside the window, affirms the love of two hearts. The poet’s candle is a symbol of human life. In another poem, “It’s snowing,” the poet used the anaphora “it’s snowing,” it is repeated in almost every stanza and sounds meditative, thoughtful, affirming the beauty of the world order.

Important! Anaphora adds rhythm to the text, with its help the semantic structure of the text is enhanced, it is easier to remember.

In the works of M. Tsvetaeva there are poems dedicated to her favorite poets. The poetess considered A. Blok her teacher; for her he was the embodiment of the ideal. Already in the first poem of the cycle of “Poems about Blok” she perceives with trepidation the sound of the name of her beloved poet. The repetition of the phrase “Your name...” enhances the feeling of admiration for Blok’s talent and emphasizes how much is hidden even in the sound of the teacher’s name.

Have a poem philosophical content“The Old Apple Tree” consists of six lines. Its first two lines begin with a repetition of the word “all.” The use of such unity of command at the beginning of the stanza enhances expressiveness and helps to present the picture of the old apple tree entirely in white.

In “The Reserve,” Vysotsky used a repetition of the phrase at the beginning of the line “how many of them are in the booths...” and the word “how many.” By using these repetitions, the poet expresses outrage at the large scale of extermination of animals by humans.

Useful video: anaphora

Conclusion

With the help of anaphora, artistic speech acquires special emotionality and zest. The use of this figure allows authors to express their attitude to the thought being expressed and to direct the reader’s attention to understanding the essence.

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Translated from Greek, “anaphora” means unity of command. Let's try to understand what anaphora is in literature. Anaphora is the repetition of speech phenomena, such as words, sounds, stanzas or phrases, located in the initial parts of the speech flow. This stylistic figure is widely used in poetic speech. In addition, there are many types of anaphora, among which the following are distinguished:

• sound - based on the repetition of the same sounds at the beginning;
• morphemic - repetition of parts of a word or morphemes;
• lexical - repetition of the same words;
• syntactic - repetition of syntactic structures;
• strophic - repetition of stanzas of a poem and the scheme of their construction;
• strophic-syntactic - a combination of strophic and syntactic anaphors;
• rhythmic anaphora - based on repetition of rhythm, rarely used.

Now let's look at examples of anaphora, which occurs most often and is studied in literature classes at school.

Examples of anaphora

Textbooks distinguish many types of anaphora. To find out the role of anaphor, it will be enough to consider lexical anaphor as the most common and expressive. It is always based on emotion and excitement.

Afanasy Afanasyevich Fet often used anaphora in his poems. Let's look at excerpts from some of his poems as illustrative examples. After this, it will become even more clear to you what anaphora is. So:

This blue vault

This cry and the line,

These flocks, these birds,

This is the talk of the waters,

In this example, numerous repetitions are clearly visible: this, this, these. This is the anaphora of the poem; here it points to the regenerating spring nature. Let's consider another excerpt from Fet's poem as an example of anaphora:

Only in the world is there something shady

Dormant maple tent.

Only in the world is there something radiant

A childish, pensive look.

When considering this example of a poem, the lexical anaphora is also very clearly visible. The examples given are poems by Fet because he is a poet of anaphora. What is anaphora in Fet’s works? She happens to be expressive means for poetic speech. It is this poet who brilliantly uses anaphora, achieving a melodic structure in his poems.