Imagery, expressiveness of speech. What does a rhetorical question mean and why is it needed? Examples of rhetorical questions Intonational expressiveness of speech

The expressiveness of speech enhances the effectiveness of the speech: a bright speech arouses interest in the audience, maintains attention to the subject of the conversation, affects not only the mind, but also the feelings and imagination of the listeners. It should be borne in mind that in science there is no single definition of the concept of "expressiveness of speech". There are different approaches to describing this speech quality. Scientists believe that expressiveness can be created by means of the language of all its levels. Therefore, in the literature, the expressiveness of the pronunciation, accentological, lexical, derivational, morphological, syntactic, intonational, stylistic *
A number of researchers emphasize that the expressiveness of oral speech largely depends on the communication situation. So, A.N. Vasilieva writes:
Obviously, the expressiveness of the proof of the theorem and the expressiveness of the advertisement are significantly different both in content and in form. Therefore, one should first of all distinguish between information expressiveness (subject-logical, logical-conceptual) and expressiveness of sensual expression and impact. Moreover, both of these types can have subspecies: open (expressive) and hidden (impressive) forms of expression. The ratio of these species AND SUBSPECIES according to the main styles is different.
BN Golovin names a number of conditions on which the expressiveness of an individual's speech depends. He refers to them:
independence of thinking, activity of consciousness of the author of speech;
indifference, interest of the author of the speech to what he says or writes, and to those for whom he speaks or writes;
good knowledge of the language, its expressive capabilities;
good knowledge of the properties and features of language styles. lei;
systematic and deliberate training of speech skills;
the ability to control your speech, to notice what is expressive in it, and what is stereotyped and gray;
the conscious intention of the author of the speech to speak and write expressively, the psychological target setting for expressiveness.
Special artistic techniques, pictorial and expressive means of language, traditionally called tropes and figures, as well as proverbs, sayings, phraseological expressions, winged words help the speaker to make speech figurative, emotional.
Before analyzing the various figurative means of the language, it is necessary to clarify what properties the word has, the main instrument of the speaker, the main building material, what possibilities does oyo contain?
Words serve as names for objects, phenomena, actions
that is, everything that surrounds a person * However, the word also has an aesthetic function * it is able not only to name an object, action, quality * but also to create a figurative representation of them.
The concept of the figurativeness of a word is associated with the phenomenon of polysemy * It is known that words that name only one any object are considered unambiguous (pavement, sidewalk, trolleybus, tram), and words denoting several objects, phenomena of reality * are polysemous * then the degree reflects those complex relationships that exist in reality * So * if an external similarity is found between objects or some hidden common feature is inherent in them, if they occupy the same position in relation to something, then the name of one object can become a name and another. For example: a sewing needle, a spruce, a hedgehog; chanterelle - animal and mushroom; flexible reed - flexible person - flexible mind *
The first meaning with which the word appeared in the language is called direct, and the subsequent ones are figurative.
Direct meanings are directly related to certain subjects, the names of which they are *
Figurative meanings, in contrast to direct ones, denote facts of reality not directly, but through the relation to the corresponding direct ones.
For example, the word varnish has two meanings: direct - “to cover with varnish” and figurative - “to embellish, to present something in a better way than it really is” * The figurative use of the word is most often associated with the concept of the figurative meaning. For example, in the word a splinter, the direct meaning is highlighted - "a thin, sharp, small piece of wood that has sunk into the body", and the figurative - "harmful, corrosive person" * The figurative nature of the figurative meaning of the word is obvious. Speaking about a large amount of something, you can use the word a lot in its direct meaning, or you can use other words in a figurative meaning - a forest of pipes, a hail of blows, an abyss of books, a cloud of mosquitoes, an abyss of cases and y * d *
The concept of the figurative use of words is associated with such artistic means as metaphor, metonymy, synecdoche, widely used in oratorical speeches, oral communication. The metaphor is based on the transfer of the name by similarity. Metaphors are formed according to the principle of personification (water runs), reification (nerves of steel), distraction (field of activity), etc. Various parts of speech can act as a metaphor: a verb, a noun, an adjective. Quite often, metaphors are used in everyday speech. Often we hear and say ourselves: it is raining, the clock is steel, iron character, warm relations, keen eyesight. However, these metaphors have lost their imagery and are everyday in nature.
Metaphors should be original, unusual, evoke emotional associations, help to deeper understand, present an event or phenomenon. Here, for example, what metaphors the outstanding physiologist Academician A.A.Ukhtomsky used in his parting words to freshmen:
Every year, new waves of young people come from different condos to the university to replace their predecessors. What a powerful wind is driving these waves here, we begin to understand, remembering the sorrows and hardships that we had to endure, breaking through the barriers to these cherished walls. With the force of instinct, young people rush here. This instinct is the desire to know, to know more and more deeply.
There are several metaphors in this passage: waves of youth, what a powerful wind is driving these waves here, breaking through barriers, to these cherished walls. They create a certain emotional mood of the audience, make them feel the significance of what is happening.
A special effect is achieved when the direct and metaphorical meanings of a word collide in speech. For example, the following phrase sounds intriguing: “We have a sad anniversary today. Exactly a year ago, our city was shocked by a tragic event: a train crashed at the railway station. " In this sentence, the verb shaken has a direct meaning ("make you tremble, shake, hesitate") and transferable ("strongly excite, make a great impression").
However, the use of metaphors, direct and figurative meanings of words does not always make speech artistic. Sometimes presenters get carried away with metaphors, “Too brilliant
the syllable, - wrote Aristotle, - makes both characters and thoughts invisible ”.
The abundance of metaphors distracts listeners from the content of the speech, the audience's attention is focused on the form of presentation, and not on the content.
Metonymy, in contrast to metaphor, is based on contiguity. If, in a metaphor, two equally named objects, the phenomena should be somewhat similar to each other, then in metonymy two objects, phenomena that have received the same name, should be adjacent. The word adjacent in this case should be understood not just as adjacent, but somewhat broader - closely related to each other.
In one of the poems of KM Simonov we read: "And the hall rises, and the hall sings, and in the hall it is easy to breathe." In the first and second cases, the word hall means people, in the third - "room". Hence, the name of the room is used here to name those who are in it. Examples of metonymy are the use of the words audience, class, school, apartment, house, factory, collective farm to refer to people.
In a word, you can call the material and products made from this material Szoloto, silver, bronze, porcelain, cast iron, clay). So, one of the sports commentators, talking about international competitions, said: “Gold and silver went to our athletes, bronze went to the French.”
Quite often geographic names are used in metonymic meaning / For example, the names of capitals are used in the meaning of “government of the country”, “ruling circles”: “negotiations between London and Washington”, “Paris is worried”, “Warsaw has made a decision”, etc. Geographic the names also refer to the people living in the area. Thus, Belarus is synonymous with the combination of the Belarusian people, Ukraine - the Ukrainian people.
Synecdoche is a trope, the essence of which lies in what is called a part instead of a whole, the singular is used instead of the plural, or, conversely, the whole is instead of the part, the plural is instead of the only.
An example of the use of synecdoches is the emotional, figurative, deep in content words of M. A. Sholokhov about the character of the Russian person. Using the word man and his own name Ivan, the writer means the whole people:
The symbolic Russian Ivan is this: a man, dressed in a gray overcoat, who without hesitation gave the last piece of bread and front-line thirty grams of sugar to a child orphaned during the terrible days of war, a man who selflessly covered his comrade with his body, saving him from inevitable death, a person who, gritting his teeth, endured and will endure all the hardships and hardships, going for a feat in the name of the Motherland.
Good name Ivan!
Comparison. This is a figurative expression built on the comparison of two objects or states that have a common feature. Comparison presupposes the presence of three data: firstly, what is being compared ("object"), secondly, what is being compared with ("image"), thirdly, what is the basis for comparing one thing with another ("attribute" ).
Thus, A. V. Lunacharsky, speaking at the I All-Union Congress of Teachers, spoke about the organic connection of all levels of education, about the role of science in the life of the country. Explaining his thought, he resorted to a simple and convincing comparison for that time:
Just as a building cannot be built without cement, so now it is impossible to manage state or economic affairs without science.
In this example, science ("subject") is compared with cement ("image"), without which a building cannot be built ("sign").
Since comparison presupposes the presence of not one, but two images, the listener receives two information that are interrelated, that is, one image is complemented by the other. With the help of comparison, the speaker highlights, emphasizes an object or phenomenon, pays special attention to it. All this leads to better assimilation and memorization of what was said, which is very important for the listener. When you read a book, an article, you can reread an incomprehensible place, return to it again. When the speech is being listened to, then, as a rule, only after its completion can one ask to explain something that turned out to be incomprehensible.
Comparison will be effective only when it is organically connected with the content, when it does not obscure the thought, but clarifies it, makes it simpler. The power of comparison is in his
originality, unusualness, and this is achieved by bringing objects, phenomena or actions closer together, which, it would seem, have nothing in common with each other, P * Sergeich in his book "The Art of Speech at the Court" writes:
The greater the difference in the subjects of comparison, the more unexpected the similarities, the better the comparison.
For example, P. Pavlov showed the role of facts in science in an original way, referring to young scientists:
Train yourself to restraint and patience * Learn to do the dirty work in science * Study, compare, accumulate facts.
No matter how perfect the wing of a bird, it could never lift it up without relying on the air.
Facts are the air of a scientist. Without them, you will never be able to take off * Without them, your "theories" are empty attempts *
But as you study, experiment, observe, try not to stay on the surface of the facts. Don't become archivists of facts. Try to penetrate into the secret of their origin * Persistently seek the laws governing them.
In oral presentations, comparisons are often used to draw the attention of listeners to the subject of the conversation * For this, they resort to a complex, detailed comparison, which allows the listener to better understand the problem under discussion, to better comprehend the topic of conversation *
Vivid, expressive comparisons add a special poetry to the speech. A completely different impression is produced by comparisons, which, as a result of their frequent use, have lost their imagery, have turned into speech cliches. It is unlikely that such common expressions will evoke positive emotions in anyone: "brave as a lion"; "As cowardly as a hare"; "Reflected as in a mirror"; "Pass through the red thread", etc. It is bad when in speech used ^ Northern comparisons * Such comparisons make it difficult to understand the main idea of \u200b\u200bthe orator, distract the attention of listeners from the content of the speech *
Epithets are artistic definitions * They allow you to more clearly characterize the properties, qualities of an object or phenomenon and thereby enrich the content of the statement * Pay attention to what expressive epithets it finds
A.E. Fersman to describe the beauty and splendor of green stones:
A brightly colored emerald, now thick, almost dark, cut with cracks, now sparkling with bright dazzling greenery, comparable only with the stones of Colombia; the bright golden "chrysolite" of the Urals, that beautiful sparkling stone demantoid, which was so valued abroad, and the traces of which were found in the ancient excavations of Ecbatana in Persia. A whole gamut of tones connects the slightly greenish or bluish beryls with the dense green and dark aquamarines of the Ilmen mines, and no matter how rare these stones are, their beauty is almost unmatched (emphasized by us. -Aut.).
As with other means of speech expressiveness, it is not recommended to abuse epithets, as this can lead to the beauty of speech at the expense of its clarity and intelligibility. The advice of A.P. Chekhov may be useful in this regard. In one of his letters, he noted:
... when proofreading, cross out definitions of nouns and verbs where possible. You have so many definitions that it is difficult for the reader's attention to understand, and he gets tired. It is understandable when I write: "The man sat down on the grass," this is understandable, because it is clear and the ps delays attention. On the contrary, it is incomprehensible and hard for the brain if I write: "A tall, narrow-chested, medium-sized man with a red beard sat down on the green grass already crumpled by pedestrians, sat down silently, timidly and fearfully looking around." It doesn't immediately fit into the brain.
A complete and generally accepted theory of the epithet does not yet exist. There is also no common understanding of the content of the term epithet. In scientific literature, three types of epithets are usually distinguished: general linguistic (they are constantly used in the literary language, have stable connections with the word being defined: bitter frost, quiet evening, fast run); folk-ethnic (used in oral folk art: red maiden, open field, wolf earrings); individual copyright (created by the authors: marmalade mood (A. Chekhov), churbap indifference (D. Pisarev).
The “Dictionary of Epithets of the Russian Literary Language” by KS Gorbachevich, EP Khablo (L., 1979) can be of great help in the selection of fresh epithets and their successful use.
For clarity, we will cite materials from the dictionary entry to the word authority, omitting the examples of the use of epithets in works of fiction given there.
Authority, With a positive assessment. Boundless, big, important (outdated *), worldwide, high, huge, - deserved, healthy, exceptional, unshakable, unshakable, unlimited, irrefutable, undeniable, infallible, unyielding, unquestionable, generally recognized, huge, justified, recognized, durable, holy (outdated), solid, stable, good *
With negative evaluation. Penny (colloquial), cheap (unravel *), inflated (colloquial), fake (spacious,), short, unjustified, soiled (colloquial), undermined, shaken, dubious, wobbly.
Rare epithets - Goth, doctor, fiery.
To revitalize speech, give it emotionality, expressiveness, imagery, methods of stylistic syntax are also used, the so-called figures: antithesis, inversion, repetition, etc. *
Since ancient times, orators have introduced these figures into their speech * For example, Mark Tullius Cicero made several speeches against Lucius Sergius Catiline, a patrician by birth, who led a conspiracy to seize power by force. Addressing the quirites (this is how full-fledged Roman citizens were officially called in Drednee Rome), Cicero said:
.... On our side the sense of honor is fighting, on the other - insolence; here - bashfulness, there - debauchery; here is fidelity, there is deceit; here is prowess, there is crime; here is steadfastness, there is fury; here is an honest name, there is a shame; here - restraint, there - licentiousness; in a word, justice, moderation, courage, prudence, all valor fight against injustice, depravity, laziness, recklessness, all kinds of vices; finally, abundance fights against poverty, decency against meanness, reason against insanity, and finally good hopes against complete hopelessness.
In speech, sharply opposite concepts are compared: honor - arrogance, bashfulness - debauchery, loyalty - deception, valor - crime, steadfastness - violent -
state, an honest name - shame, restraint - licentiousness, etc. This has a special effect on the imagination of the audience, evokes in them vivid ideas about the named objects and events. This technique, based on the comparison of opposite phenomena and signs, is called antithesis. As P. Sergeich said:
... the main advantages of this figure are that both parts of the antithesis mutually illuminate one another; thought wins in power; while the thought is expressed in a concise form, and this also increases its expressiveness.
The antithesis is widely represented in proverbs and sayings: "The courageous one blames himself, the faint-hearted one blames his comrade"; “Great in body, but small in deed”, “Labor always gives, but laziness only takes”; "It's thick on my head, but my head is empty." To compare the two phenomena in proverbs, they use antonyms - words with the opposite meaning: courageous - cowardly, great - small, work - laziness, thick - empty. Many lines from fiction, journalistic, and poetic works are based on this principle. Antithesis is an effective means of speech expression in public speech.
Here is an excerpt from A. Solzhenitsyn's Nobel lecture. The use of antithesis, comparison of opposite concepts allowed the writer to express the main idea more vividly and emotionally, to more accurately express his attitude to the described phenomena:
What, on one scale, seems from afar to be an enviable prosperous freedom, on another scale, close up, feels like an annoying compulsion calling for overturning buses. What in one region would be dreamed of as improbable prosperity, in another region outrages as wild exploitation, requiring an immediate strike. Different scales for the elemental. disasters: a flood of two hundred thousand casualties seems smaller than our urban case. Different scales for insulting a person: where even an ironic smile and detaching movement humiliate, where even cruel beatings are forgivable as an unsuccessful joke. Different scales for punishment, for atrocities. On one scale, a month's arrest, or exile to a village, or a "punishment cell" where they are fed white rolls and milk - shocks the imagination, floods the newspaper pages with anger. And on another scale, familiar and simpler
us - and prison sentences of twenty-five years * and punishment cells, where
ice walls, to undress to underwear, and insane asylums for the healthy, and border shootings of countless unreasonable people, all for some reason running somewhere.
A valuable means of expressiveness in a speech is inversion, that is, a change in the usual order of words in a sentence with a semantic and stylistic purpose * So, if the adjective is placed not before the noun to which it refers, but after it, then this enhances the meaning of the definition, the characteristic of the subject ... Here is an example of such a phrase: He was passionately in love not just with reality, but with reality constantly evolving, with reality that is eternally new and unusual.
To draw the attention of listeners to a particular member of the sentence, a variety of permutations are used, up to the placement of the predicate in the narrative sentence at the very beginning of the phrase, and the subject at the end. For example: The hero of the day was honored by the whole team; No matter how difficult it is, we must do it.
Thanks to all sorts of permutations in a sentence, even one consisting of a small number of words, it is often possible to create several variants of one sentence, and each of them will have different semantic shades * Naturally, when permutations, it is necessary to monitor the accuracy of the statement.
Often, to strengthen the statement, to give dynamics to speech, a certain rhythm, they resort to such a stylistic figure as repetitions. There are many different forms of repetition. Start several sentences with the same word or group of words. Such a repetition is called anaphora, which in translation from the Greek language means monotony. Here is how L. I * Leonov used this technique in a report dedicated to the 150th anniversary of the birth of A.S. Griboyedov:
There are books that are read; there are books that are studied by patient people; there are books that are kept in the heart of the nation. My liberated people highly appreciated the noble anger of "Woe from Wit" and, setting off on a long and difficult journey, took this book with them ***
The writer repeated three times the combination of "books" in the same syntactic constructions and thus prepared the audience for the idea that the work of A, S, Griboyedov "Woe from Wit" occupies a special place in the hearts of Russian people.
Repetitive words are service units, such as unions and particles. Repeating, they perform an expressive function * Here is an excerpt from A * E * Fersman's lecture "Stone in the culture of the future." Repeatedly repeating the interrogative particle perhaps, the scientist enhances the intonation color of speech, creates a special emotional mood;
And when we try to characterize the future of technology in this way, then you involuntarily guess the role that our precious stone will play in whom.
Doesn't he answer, more than anything else, precisely to these qualities? Aren't the precious stones themselves the emblem of firmness, constancy and eternity? Is there anything harder than diamond that can match the strength and indestructibility of this form of carbon?
* .. Aren't corundum in its many modifications, topaz and garnet the main grinding materials, and only new artificial products of human genius are comparable to them?
Are not quartz, zircon, diamond and corundum one of the most stable chemical groupings of nature, and does the fire resistance and invariability of many of them at high temperatures far exceed the fire resistance of the overwhelming majority of other bodies?
Sometimes whole sentences are repeated several times in order to emphasize, highlight, make the pivotal thought contained in them more evident,
In oral speech, repetitions are found at the end of a phrase. As in the beginning of a sentence, individual words, phrases, speech constructions can be repeated. Such a stylistic figure is called an epiphora. Here is an example of an epiphora from the article by B, G. Belinsky:
For such poets it is most unprofitable to appear in the transitional periods of the development of societies; but the true death of their talent lies in the false belief that feeling is enough for a poet. * This is especially harmful for the poets of our time: now all poets, even the great ones, must be together and thinkers, otherwise talent will not help. *. Science, a living, modern science, has now become a pestle of art, and without it inspiration is weak, talent is powerless! *
If you ask the question: “What form of speech does a lecture, report, speech at a meeting refer to? Is it a dialogue or a monologue? ”, No one will think for a long time. Everyone will say: “Of course, a monologue * Only one person speaks, his speech is not designed for the verbal reaction of the interlocutor. The performance, moreover, can be long "* Bee so. But is it good? After all, the listeners also want to say something: to object to the speaker or to agree with him, to ask him to clarify some idea, to explain something, to explain an incomprehensible word. How to proceed in this case? There is an exit*
In the practice of oratory, techniques have been developed that not only enliven the narrative, give it expressiveness, but also dialogize monologue speech.
One of these techniques is a question-and-answer course. It consists in the fact that the speaker, as if anticipating the objections of the listeners, guessing their possible questions, himself formulates such questions and answers them himself. The question-and-answer course turns a monologue speech into a dialogue, makes listeners the speaker's interlocutors, activates their attention, and involves them in a scientific search for truth.
Skillfully and interestingly posed questions attract the attention of the audience, make them follow the logic of reasoning. The question-and-answer course is one of the most accessible oratorical techniques. The proof of this is the lecture "Cold Light" delivered by the greatest master of popularization of scientific knowledge S. I. Vavilov:
The question arises, why does the alcohol flame, into which table salt is introduced, glows with a bright yellow light, despite the fact that its temperature is almost the same as the temperature of a match? The reason is that the flame is not absolutely black for any color * Only the yellow color is absorbed to a greater extent, therefore, only in this yellow part of the spectrum, the alcohol flame behaves like a warm emitter with the properties of a black body.
How does the new physics explain the amazing properties of "cold light"? The tremendous advances obtained by science in understanding the structure of atoms and molecules, as well as the nature of light, made it possible to understand and explain luminescence at least in general terms.
Finally, how is the extinguishing of the "cold light" that we see experimentally explained? The reasons in different cases are significantly different.
The effectiveness of this technique is especially noticeable if the corresponding part of the speech is pronounced without interrogative sentences.
The question-and-answer course is used not only to impart expression and emotionality to speech, but is also used as an effective means in latent polemics. If the speech sets out a controversial issue that may cause doubts among the listeners, the speaker, foreseeing this, resorts to a question-and-answer method.
The lecture is also enlivened by the audience's intended remarks, with whom he either agrees or argues. These lines also introduce elements of dialogue into the monologue. Thus, the famous Russian historian V.O..Klyuchevsky used this technique twice in his lecture "On the artist's view of the situation and the dress of the face he depicts." Let us quote these places of his lecture:
If we exclude the rare eccentrics, we usually try to surround and present ourselves in our best possible way, to appear to ourselves and others even better than we really are. You will say: this is vanity, vanity, pretense * So, absolutely so. Let me just draw your attention to two very nice motives.<..>
And look how she (noblewoman Fedosya Prokofievna Morozova * - Auth.), Left as a young widow, in a "meek manner", in our mourning, left the house: she was put into an expensive carriage, decorated with silver and mosaics, at six or twelve horses with rattling chains; She was followed by about a hundred servants, slaves and slaves, and with a particularly solemn train from two hundred and three hundred, preserving the honor and health of their sovereign mother. The Assyrian Queen, and only, you will say, is a slave of a superstitious and vain, magnificent age. Okay*
In excerpts V.O. Klyuchevsky, the audience's opinion highlights the words you say and then formulates his attitude to this: So, absolutely so. Okay.
The techniques of dialogizing a monologue, characteristic of oratorical speech, have become widespread in journalism, fiction.
In addition to the question-and-answer technique, the so-called emotional or rhetorical question is often used. Its peculiarity lies in the fact that it does not require an answer, but serves for an emotional affirmation or denial of something. Asking a question to your audience is an effective technique.
The rhetorical question spoken by the speaker is perceived by the listeners not as a question to be answered, but as a positive statement. This is the meaning of the rhetorical question in the concluding part of AE Fersman's lecture "Green stones of Russia":
What could be more interesting and more beautiful than this close connection between the deep laws of the distribution of chemical elements in the earth's crust and the spread of its inanimate colors in it - a precious stone ?!
The glory of the Russian green stone is rooted in the deep laws of geochemistry of Russia, and it is no coincidence that our country has become a country of a green gem.
A rhetorical question enhances the impact of speech on listeners, awakens corresponding feelings in them, carries a great semantic and emotional load.
The means of expressiveness also include direct speech, which is introduced into the speech. This speech can be accurate or approximate, and sometimes even fictional. Literally transmitted someone else's speech is called a quote. Sometimes it seems that quoting does not require special skill. However, this also has its own characteristics, its positive and negative sides, which must be taken into account. For example, some people base their speech on quotes alone. Such speeches cause bewilderment, that is, listeners want to know the opinion of the speaker himself, the results of his observations, In addition, the abundance of quotations tires the audience, since it is difficult to hear by ear what is said belongs to the author and what to those whom he quotes ... Therefore, first of all, it is necessary from the citations selected for the speech to select the most interesting, meaningful, original or least known.
For "room 452
Speakers do not always skillfully enter a quote, do not take into account how it is perceived by ear.
It is necessary to present the quotation in such a way that it is easy to catch where its beginning and end are.
It is very important not to distort the thought of the quoted author. After all, a single sentence or several sentences may have a different meaning than in context.
You cannot arbitrarily change the text, that is, rearrange words, enter another instead of one word, change the grammatical form of words.
The quote must be accurate.
You need to know who owns the cited words, what source they are taken from, what is the output of the source, Sometimes this information is given after the quotation, when the used literature is called or when answering questions from the audience, if any of those present asks about it.
In conversations on various topics in which one has to discuss other people's thoughts, actions, actions, talk about the feelings of people, approximate (or fictional) direct speech is mainly used. It enlivens the statement, makes it emotional, and attracts the attention of the audience. The introduction of direct speech helps to dialogize the statement. For example, Academician BV Gnedenko successfully used direct speech in his lecture "Scientific and Technological Progress and Mathematics";
After we demonstrated the car and our guests worked with it themselves, Professor Ivanov, whom I told you about, said: “Come and work with us, we know how to diagnose well, with us you will be able to create such a car that will diagnose as well the best diagnostician in the world. "
A general practitioner, a specialist in diagnosing diseases of the digestive tract, said differently: “Why did you undertake such a difficult task as diagnosing heart diseases. Let's work together and we will create a machine that will diagnose almost error-free. "
Finally, the psychiatrists reacted like this: “Well, why did you start diagnosing heart diseases,” they said. - Every engineer will tell you that the heart is a simple pump that drives fluid through pipes. But nobody knows the human psyche. Let's work with us. Things cannot go here without mathematicians. And any step in the study of higher nervous activity for humanity will be the greatest blessing. Not only human diseases are associated with the psyche. All daily human activities depend on it. We do not know the capabilities of the human psyche, we do not know how much we can secure it. We do not know whether we teach people the right way, whether we treat them the right way. "
Experienced speakers not only introduce direct speech into the text, but also comment on someone else's statement, determine their attitude towards it, and sometimes enter into polemics with a specific (or fictional) person whose speech is quoted. Here is an example of the use of this technique in the lecture "On the most important subjects of upbringing" delivered by the professor of Moscow University P * S, Aleksandrov:
Yesterday I fell into my hands with the statement of one of the greatest modern physicists, the old Gottingen professor Max Born: “The future of science depends on whether this need, impulse and desire for creativity can be harmonized and brought into harmony with the conditions of social life and ethics” *
To these words can only be added that not only the fate of science depends on this, but, perhaps, the fate of mankind *
As a form of transferring someone else's statement into speeches, indirect speech is also used, transmitting someone's words from a third person. An example of the introduction of indirect speech is found in the above lecture by PS Aleksandrov;
Tchaikovsky spoke of music as a special means of communication between people, which cannot be replaced by any other means of communication. I remember one concert at the conservatory: they were giving Beethoven's First Symphony * I noticed the expressions on the faces of our students.
Indirect speech, in comparison with direct speech, is less expressive and expressive * As P * Sergeiicht rightly noted
... to convey in a completely understandable way someone else's feeling, someone else's thought is incomparably more difficult in descriptive expressions than in those words in which this feeling or thought is expressed directly. * * The last way of expression is both more precise and clearer, and, most importantly, more convincing for the audience.
A good effect is given by a skillful combination in the speech of direct and indirect speech * On the one hand, this avoids abundant quotation, and on the other, makes the statement more diverse and vivid, As an example, we use an excerpt from a lecture on the work of N, A * Nekrasov:
We are convinced that truly innovative creations always evoke contradictory judgments, ambiguous assessments of contemporaries. Remember the critics' rejection of "The Storm", the struggle and controversy around the novel "Fathers to Children" *, * The same fate befell the lyrics of Nekrasov. Readers 'and critics' opinions and assessments were sharply divided *
So, a subtle connoisseur of the graceful, the famous critic-esthete Vasily Botkin argued that Nekrasov's poems cannot really excite - what a coarse syllable, clumsy phrases.
At the same time, Belinsky "gave his head to be cut off, that Nekrasov has talent", that he is "a poet - and a true poet." Turgenev "in a moment of irritation assured that" poetry did not spend the night in Nekrasov's poems, "but he also admitted that the poem" I am going at night ... "" drove him completely crazy ":" I keep repeating this amazing I have already learned the work by heart ”.
Nekrasov himself exclaimed sadly: “You have no poetry of your own. vigorous, my stern, clumsy verse "* And Chernyshevsky and Dobrolyubov called him" the only beautiful hope of our literature *, "the favorite Russian poet *.
Which one is right? How to reconcile the seemingly irreconcilable? Where is the truth?
The work that we will do with you today will allow us to approach the solution of this issue.
Rich material for speeches contains oral folklore * A real treasure for an orator - proverbs and sayings. These are apt figurative folk expressions with an edifying meaning, generalizing various phenomena of life * In short sayings, the people expressed their knowledge of reality, their attitude to its various manifestations * They help to understand the history of our people, teach to love the Motherland, to be honest and fair. Proverbs magnify labor, condemn laziness, ridicule greed, strengthen faith in goodness and justice, and urge respect for knowledge and the book. “And what a luxury, what a meaning, what is the use of each of our sayings! What gold! " - this is how Alexander Pushkin spoke about Russian proverbs *
Proverbs and sayings are clots of folk wisdom, and they express the truth, tested by the centuries-old history of the people-creator, the experience of many generations. “A proverb is not said for nothing,” says popular wisdom. They express joy and sorrow, anger and sadness, love and hate, irony and humor. Therefore, in speech, proverbs and sayings acquire special significance * They not only enhance the expressiveness of speech, add sharpness, deepen the content of speeches, but also help to find a way to the hearts of listeners, to win their respect and favor.
What attracts proverbs and sayings? Why are they recommended for use in oral presentations?
The generalizing nature of proverbs and sayings allows you to express the essence of the statement in a figurative and extremely brief form. Folk sayings are also given for the formulation of individual provisions of the statement.
Often proverbs and sayings serve as a starting point for the beginning of a speech, the development of a topic, the disclosure of a position, or are the final chord, conclusion, are used to generalize what has been said * Here, for example, how A. Solzhenitsyn finished the Nobel lecture:
In Russian, proverbs about the truth are favorite * They persistently express a considerable difficult folk experience, and sometimes it is amazing:
ONE WORD OF TRUTH WILL OVERCOME THE WHOLE WORLD *
It is on this pseudo-fantastic violation of the law of conservation of masses and energies that my own activity and my appeal to writers all over the world are based *
Proverbs and sayings are also given as illustrations, figurative parallels to what is being said. This use of proverbs and sayings allows you to express an idea more vividly and convincingly. The audience will remember figurative illustrations for a long time. M.A.Sholokhov played up a popular saying in one of his speeches in an interesting way:
An old folk proverb, which was born long ago where swift mountain streams seethe, says: "Only small rivers are noisy."
The gatherings of regional and regional writers' organizations, meetings filled with sharp polemics and fervent speeches, went out of their way. Republican congresses were held at a more restrained level.
An example of the use of proverbs as figurative parallels to support a thought is contained in G.E. Nikolaeva's speech:
“A fisherman can see a fisherman from afar” - there is such a proverb. Talent will see talent from afar. The mind recognizes the mind from afar and is drawn to it. Integrity recognizes integrity from afar and is drawn to it. Limitation and unprincipledness also recognize limitation and unprincipledness from afar and are also drawn to each other. Therefore, it is dangerous when the leadership of a creative organization is run by mediocre and unprincipled people, who do not know the price of genuine selfless writing, who are limited in their convictions and are incapable of a master's, objective view of literature.
In this talk, the proverb is not just an illustration. Subsequent sentences have the same syntactic structure, similar to the structure of the proverb. A slightly different word order creates a greater contrast and explains the gem that nouns have talent, intelligence, adherence to principles, limitedness, lack of principle coincide in writing and sounding the forms of the nominative and accusative cases. Compare: "A fisherman sees a fisherman from afar", but "Talent from a distance sees talent." The closeness of the structure of the folk proverb and the author's sentences makes the latter aphoristic and authentic. The meaning of the proverb extends to other phenomena of life, simultaneously expands and concretizes.
Proverbs and sayings enliven the statement, attract the attention of listeners, create a certain psychological mood.
Sometimes proverbs and sayings are attracted to give the statement a jokingly ironic shade. In such a meaning
nii proverb is found in the speech of S. V * Mikhalkov at the congress of writers, in which he talks about satirical and comedy genres:
Too often we have to listen to such arguments: “Where have you seen such fools in our reality? Such official eggs are not typical for our state apparatus *. But we know that there are such fools, and that they spoil our whole life in order, and if the viewer laughs at them heartily, then this is exactly what is required. After all, it is not for nothing that the popular proverb says: "Fear the cow in front, the horse in the back, and the fool from all sides" *
The above proverb gives the words an ironic connotation, enlivens the speech and arouses people's approval.
The success of using proverbs and sayings in speech depends on how well the necessary proverbs and sayings are selected * It is not for nothing that they say: "A good proverb is in harmony and in suit."
To create imagery and emotionality of speech, the phraseology of the Russian language is used. It is unusually rich and diverse in its composition, has great stylistic possibilities due to its internal properties, which make up the specificity of phraseological units * This is a semantic capacity, emotional-expressive coloring, a variety of associative connections * Expression of the emotional, subjective beginning in speech * evaluative, semantic the saturation of phraseological units act constantly, regardless of the will of the speaker *
Phraseological units help to say a lot in few words, since they determine not only the object, but also its feature, not only the action, but also its circumstances * The complexity of the semantics of phraseological units distinguishes them from single-word synonyms * So, a stable combination on a grand scale does not just mean "rich" , but "rich, luxurious, not embarrassed by the means." Phraseologism to cover up traces means not just "destroy, eliminate something", but "eliminate, destroy that which can serve as evidence of something" *
Phraseology attracts speakers with its expressiveness, potential ability to positively or negatively evaluate phenomena, express approval or condemnation, ironic, derisive or other attitude towards it. This is especially clearly manifested in the so-called phraseological units-characteristics, for example: white crow, decoy duck, prodigal son, awkward ten, one berry field, dog in the hay.
Phraseological units deserve special attention, the value of which is due to their origin. Indeed, in order to understand the accusatory nature of phraseological units, for example, the gifts of the Danaans, the scapegoat, one must know the history of the emergence of a stable phrase. Why are the gifts of the Danaans "insidious gifts that bring death with them for those who receive them", what is the history of the appearance of this phraseological unit? The expression is taken from the Greek legends about the Trojan War. “The Danaans, after a long and unsuccessful siege of Troy, resorted to cunning: they built a huge wooden horse, left it at the walls of Troy, and pretended to be sailing away from the coast of Troad. Priest Laocoon, seeing this horse and knowing the tricks of the Danaans, exclaimed: "Whatever it is, I am afraid of the Danaans, even those who bring gifts!" But the Trojans, not listening to the warnings of Laocoon and the prophetess of Cassandra, dragged in the city. At night, the Danaans, hiding inside the horse, went out, killed the guards, opened the city gates, let in the comrades who had returned on the ships, and thus captured Troy.
The origin of the expression "scapegoat" is also noteworthy. It is found in the Bible and is associated with a special rite among the ancient Jews to impose the sins of the whole people on a living goat, therefore this is the name for a person who is blamed for someone else's fault, who is responsible for others.
Phraseologisms that originate from ancient mythology are quite diverse. Each such phraseological unit evokes certain associative connections, the honeycomb relates to the images of the heroes of antiquity, which determines their semantic richness and expressiveness. Thus, the stable phrase sword of Damocles in the meaning of "impending, threatening danger" is associated with the ancient Greek legend about Damocles, who was one of the close associates of the Syracuse tyrant Dionysius the Elder and spoke with envy of him as the happiest of people. Dionysius decided to teach the envious a lesson and put him in his place during the feast. And here Damocles saw a sharp sword over his head, hanging on a horse's hair. Dionysius explained * that this is a symbol of the dangers to which he, as a ruler, is constantly exposed, despite the seemingly happy life *
Phraseologism Procrustean bed comes from the nickname of the robber Polypemon. In Greek mythology, it is said that Procrustes laid all those caught by him on his bed and cut off the legs of those * who did not fit, and for those for whom the bed was long, he stretched their legs * Procrustean bed means “that which is a measure for something, to which they forcefully adjust or adapt something ”.
Antique phraseological units serve as an excellent means for conveying the author's irony, ridicule. Such a function is performed by the revolutions of the exploits of Hercules, the Trojan horse, Sisyphean labor, Pandora's box, between Szilaya and Charybdis, Pyrrhic victory, Aesopian language, Babylonian pandemonium.
The stylistic use of many emotionally expressive phraseological units is determined by the originality of the relationship between the general meaning of the phraseological unit and the meaning of its components. Of particular interest are phraseological unity, the imagery of which acts as a reflection of clarity, "picturesqueness", enclosed in the most free phrase * on the basis of which the phraseological unit is formed. For example, when getting ready for work, we roll up our sleeves to make it easier to do business; welcoming dear guests, we spread our arms wide, showing that we are ready to embrace them; when counting, if it is small, we bend our fingers for convenience. Free phrases calling such actions of people have a visual, "picturesque", which is inherited by homonymous phraseological units: roll up your sleeves - "diligently, diligently * energetically doing something"; with open arms - "affably, cordially (to receive, to meet someone)"; count on one hand - "very little, little."
The picture quality of the phraseological unit, due to the clarity of the free phrase homonymous to it *, becomes especially visible when the direct and figurative meaning is simultaneously played out. This is already one of the stylistic devices. Let's give an example of such use of phraseological units in one of the journalistic articles; "Emergency Exit" - advice to company owners facing acquisitions, mergers and other digestive functions of competition. True, an emergency exit does not guarantee against disappearance in the elements of competition. You pull yourself together, and they take you by the throat. Breathing stops, hands drop. "
You take yourself in hand - a phraseological unit with the desire to "achieve complete self-control", and taking by the throat means "oppressing, forced to act in a certain way." In the above text, phraseological units are used, but through it the direct meaning of the free phrase to take by the throat shines through. The phrase hands down has a direct meaning, but the meaning of the phraseological unit pulsates in it - “to lose the ability or desire to act, to do something”.
In this chapter, there are only some tropes, figures, techniques that help make speech figurative and emotional. However, they do not exhaust the whole variety of expressive means of native speech. When resorting to them, one should not forget that all these “flowers of eloquence,” as the prominent master of Russian judicial eloquence PS Porokhovshchikov (P. Sergeich) called them, are good only when they seem unexpected to the listener. They cannot, and they do not need to be memorized, they can only be absorbed into oneself along with the folk speech, developing and improving speech culture, speech taste and flair.
The culture of speech is not only a sign of a high culture of a person, but also due to the latter, therefore it is important to systematically engage in self-education. Work with reference literature, familiarity with various linguistic dictionaries is of great importance for increasing speech culture. An invaluable service will be rendered by an appeal to domestic literature, especially to poetry.
Among great writers, every single word is chosen deliberately, for a specific purpose - P.S. Porokhovshikov taught the young orators, - every single turn is deliberately created for a given thought.<..> we<...> must know Pushkin by heart; whether we love poetry or not, it's all the same; are required in order to know the native language in all its abundance. Try to get rich every day.
It must be remembered that the correctness of our speech, the accuracy of the language, the clarity of the wording ^ skillful use of terms, foreign words, the successful use of the figurative and expressive means of the language, proverbs and sayings, winged words, phraseological expressions, the richness of the individual vocabulary increase the efficiency of communication, enhance the effectiveness spoken word *

ExpressivenessIs the quality of speech, which, with its properties and characteristics, maintains attention and interest among listeners (readers). Consequently, speech culture is not only a good knowledge of the language, the ability to use its wealth, but also mastery of the expressive capabilities of speech.

Expressiveness - this is first of all imagery speech, its brightness, originality. Figurative speech, by its properties, affects consciousness, forms concrete-sensory ideas about reality.

Imagery is unthinkable without the richness of speech, for it is achieved proper language means, in other words: skillful use of all the riches of the language, fluency in its lexical diversity - homonyms, synonyms, paronyms, antonyms, phraseological units.

Imagery is inherent primarily in written speech, in which the author has the opportunity to improve his text as much as possible in order to most fully convey his feelings, thoughts, intentions. It is a well-chosen, bright word that makes speech bright and unforgettable.

The second, no less important means of speech expression is intonation... Under intonation understand various shades of the reader's voice, which reflect the semantic and emotional aspects of speech.

Intonation is made up of logical stress, pauses, tempo, strengthand pitch, tone... All these elements of intonation are closely interconnected, complement each other, are determined by the content of speech and are determined by the speaker's choice, i.e. entirely depend on his speech intentions.

Intonation, speech expressiveness is the prerogative of oral speech.

What kind of conscious choice of expressive intonation means can we talk about?

From the standpoint of speech expressiveness, clarityand clarity of pronunciation, good diction, accuracy of stress, voice capabilities, correct breathing - in a word, all those components that have a common name - speech technique.

Speech technique - this is a system of work of the speaker (orator, reader) on his speech apparatus.

So, speech technique, intonational logic sounding speech, emotional-figurative expressiveness (expressiveness) - three interrelated components of intonation, expressive triad , which forms the basis of performing skills, the essence of which is the ability to “draw with intonation”.

Let's dwell on the technical side of intonation. Breath, voice and diction - constituent parts of word formation, i.e. speech apparatus in action.

Speech breathing differs from the usual, physiological, involuntary, when inhalation - exhalation - pause rhythmically alternates. Speech breathing is abdominal (diaphragmatic). During speaking (reading), breathing becomes voluntary, consciously controlled and controlled: a deep breath is followed by a short pause, and then a slow, smooth exhalation, during which the act of speaking (reading) occurs.

Correct breathing is free breathing (devoid of tension), deep, imperceptible, automatically subordinate to the will of the speaker (reader). In this case, one should not overfill the lungs with air and do not exhale completely. Several training exercises will teach you to take correct inhalation and smooth exhalation until the full pronunciation of an indivisible text. Such exercises are convenient for reading proverbs.

The purity of the speaker's voice (reader) also depends on correct breathing.

Vote - the most delicate and thinnest instrument that every person should easily and freely own. The voice must be well developed, modulated, loud enough, therefore, it must be protected, exercised, enriched, improved, developed. The best is the voice of medium strength and height, as it is the most mobile and flexible.

Good diction - one of the most important conditions for expressive speech. It enables clear sounding and quick understanding of any word. Hence, strict requirements arise not only for expressive, but also for cultural speech in general: dictionary purity, clarity, intelligibility, as well as strict adherence to orthoepic norms and rules of literary stress.

By means of implementation logical expressiveness of the sounding text are the arrangement of logical accents, pauses, changing the tempo of pronouncing speech bars, playing the voice. To create the appropriate melody of speech, it is necessary to mentally divide it into parts and within each of these parts find the logical centers and the logic of pronouncing the phrase as a whole.

Good speech - meaningful paused speech... Pauses make live speech natural, clear, expressive. Pauses not only dismember speech, but also unite it: the words between the pauses acquire semantic unity.

An important means of logical expressiveness is and pace... It slows down or speeds up due to the stretching or condensation of the time it takes to pronounce words and take pauses. The pace of reading depends on the genre of the speech work, on the nature of the depicted pictures, phenomena.

By raising and lowering the voice, increasing and decreasing its volume and strength, accelerating and slowing down the tempo, logical melodic phraseswhich in speech score (graphical scheduling of the melodic pattern of speech) is indicated by the corresponding icons, and in the letter it is determined by punctuation marks.

Emotional expressiveness living speech is not limited to intelligibility, intonational logic. Every word that flew out of a person's mouth, apart from will and intention, reveals his state. Moreover, each person expresses his feelings in his own way. In order for the thought to be preserved as clearly as possible during the transfer of judgment, it is necessary to clearly see in front of us are those images that we want to convey to our audience, with which we strive to captivate our listeners. This is the only way for the audience to “see” these images. Otherwise, the words themselves, not illuminated by the inner representation, will slide past the consciousness and imagination of those to whom they are intended, and will become only combinations of sounds denoting concepts, but the meaning of these concepts and their meaning will not be revealed by the addressees. Such images that appear before the mind's eye of a person are usually called in special literature in and́ denii.

In and́ denia they are needed not only when speaking, but also when reading the text, they must correspond to the meaning of the speech being spoken, to the events we are talking about, because you cannot pronounce the text without imagining the reality behind it. Visions should reflect subtext.

The degree of clarity, detail, and continuity of visions varies. Usually pictures and images appear in our imagination immediately at the birth of thought, but they are not so complete and clear. Vivid and accurate visions, figurative representations are formed gradually, in the process of training, in parallel with the assimilation of the meaning of various phenomena of life, our attitude to them, as a result of careful reading and work on creative imagination.

Sharing our thoughts, telling our interlocutors about the event that excited us, the event, we draw with our voice the behavior of people, pictures of nature, the interior and strive to evoke from the listeners the corresponding visions and a certain assessment of what we saw. At the same time, regardless of whether we look at them or not, they are still in our field of attention. We always feel their mood, their response, which influence the course of our story, stimulate or inhibit it.

In this way, subtext and ví denia - the fruit of the creative mastering of the text, as a result of which it becomes extremely understandable, close and exciting. The subtext is conveyed by intonation. Intonation is born in verbal action, that is, the purposeful pronunciation of individual sentences, phrases.

Summing up the description of the expressiveness of speech, this most important communicative speech quality, it must be emphasized that it can be achieved only by observing certain conditions.

The first one is independent thinking... The second condition is caring attitude of the author to what he talks and writes... The third condition is proficiency in speech (intonation) and good knowledge of the language, its expressive capabilities.

Good knowledge of the language implies mastery not only of such communicative qualities of speech as correctness, richness and expressiveness, but also purity of speech.

Expressiveness of speech - these are features that contribute to maintaining the attention and interest of the listener: pronunciation features, intonation, accents, etc.

Depending on the techniques that are used to attract the attention of listeners, they distinguish pronouncing, accentological, lexical, intonational and stylistic (or stylistic) expressiveness.

Expressiveness of speech depends on the independence of the speaker's thinking, his interest in what he says. Knowledge of the language also plays an important role in the expressiveness of speech; properties and characteristics of language styles: artistic, scientific, business, journalistic, conversational; possession of expressive language capabilities, speech skills of the speaker.

To create expressiveness, it is very important intonation. Intonation allows you to express the logical meaning of the utterance, to focus on more important points, which helps the audience to correctly perceive the text.

Such a communicative quality is no less important. speecheslike her relevance.Speech should be “right”: appropriate to the topic of conversation and the selected audience. The relevance of speech is expressed in the target setting of the utterance, in the adequacy of the language means used.

There are several types of relevance: stylistic, contextual, situational, personal and psychological.

The main task of all communicative qualities of speech is to ensure the effectiveness of speech.

The expressiveness (beauty) of speech is a very multifaceted concept, it is a set of speech features that support the attention and interest of the listeners. Expressiveness is based on wealth, is achieved by the use of expressions in speech that avoid the commonplace, unexpected turns.

We can say that expressive speech is emotional speech. The speaker must influence not only the mind, but also the feelings, the imagination of the listeners. The imagery and emotionality of speech enhance its effectiveness, contribute to its better perception, understanding and memorization, and provide aesthetic pleasure. But this statement can be refuted - unemotional speech can also be expressive, and an orator who speaks in an even voice, not giving away his emotions, can make a greater impression than a joker and joker.

The expressiveness of speech, as well as its wealth, is the fruit of great work. Gustave Flaubert made sure that he did not repeat the same word even on adjacent pages, for this he rewrote each page 5-7 times. Only that impromptu that is carefully prepared is successful.

The expressiveness of speech is supported by special language and speech means of expressiveness, which include tropes and rhetorical figures. The purpose of these linguistic tools is to make the thought brighter, more precise, and memorable. It is known that a catchy phrase has a stronger effect on the listener than a deep thought. For example, the words of the poet N.A. Nekrasova: "Follow the rule stubbornly: so that words are cramped, thoughts are spacious." It is beautifully said, but if you think about it carefully, then this advice will seem strange: it is cramped when there is too much of something, and spacious - if there is too little, i.e. it is recommended to write in such a way that there are fewer thoughts and more words.

The expressiveness of speech is understood as such features of its structure that make it possible to enhance the impression of what was said (written), arouse and support the addressee's attention and interest, and influence not only his mind, but also his feelings and imagination.

The expressiveness of speech depends on many reasons and conditions - actually linguistic and extralinguistic.

One of the main conditions for expressiveness is the autonomy of thinking of the author of the speech, which implies a deep and comprehensive knowledge and understanding of the subject of the message. Knowledge extracted from any sources must be mastered, processed, deeply comprehended. This gives the speaker (writer) confidence, makes his speech convincing, effective. If the author does not think over the content of his statement properly, does not comprehend the issues that he will express, his thinking cannot be independent, and his speech cannot be expressive.

To a large extent, the expressiveness of speech also depends on the author's attitude to the content of the statement. The inner conviction of the speaker (writer) in the importance of the statement, interest, indifference to its content gives speech (especially oral) an emotional coloring. An indifferent attitude towards the content of the utterance leads to an impassive presentation of the truth, which cannot affect the feelings of the addressee.

In direct communication, the relationship between the speaker and the listener is also essential, the psychological contact between them, which arises primarily on the basis of joint mental activity: the addressee and the addressee must solve the same problems, discuss the same questions: the first - setting out the topic of their message, the second - following behind the development of his thought. In establishing psychological contact, it is important that both the speaker and the listener treat the subject of speech, their interest, indifference to the content of the statement.

In addition to deep knowledge of the subject of the message, the expressiveness of speech also presupposes the ability to convey knowledge to the addressee, to arouse his interest and attention. This is achieved by a careful and skillful selection of language tools, taking into account the conditions and tasks of communication, which in turn requires a good knowledge of the language, its expressive capabilities and features of functional styles.

One of the prerequisites for speech expressiveness is the skills that allow you to easily choose the language means needed in a specific act of communication. Such skills are developed through systematic and deliberate training. A means of training speech skills is attentive reading of exemplary texts (artistic, journalistic, scientific), keen interest in their language and style, attentive attitude to the speech of people who can speak expressively, as well as self-control (the ability to control and analyze your speech in terms of its expressiveness ).

The speech expressiveness of an individual also depends on the conscious intention to achieve it, on the author's target attitude towards it.

The expressive means of language usually include tropes (figurative use of linguistic units) and stylistic figures, calling them pictorial and expressive means. However, the expressive capabilities of the language are not limited to this; in speech, any unit of language of all its levels (even a single sound), as well as non-verbal means (gestures, facial expressions, pantomime) can become a means of expressiveness.

Paths are words and expressions used not in the usual, direct sense, but in a figurative sense. The path is based on the comparison of phenomena that are similar in any way or in some way related, correlated with each other. Paths include: metaphor, metonymy, synecdoche, allegory, comparisons, epithets.

Metaphors are based on the transfer of the name by similarity. They are formed according to the principle of personification (water runs), reification (nerves of steel), distraction (field of activity), etc. Quite often metaphors are used in everyday speech. We often hear and say: it is raining, the clock has become, iron character, warm relations, keen eyesight. However, these metaphors have lost their imagery and are everyday in nature.

The use of metaphors does not always make speech artistic. Sometimes speakers get carried away with metaphors. "Too brilliant style," wrote Aristotle, "makes both characters and thoughts invisible."

The diversity of metaphors distracts listeners from the content of the speech, the attention of the audience is concentrated on the form of presentation, and not on the content.

Metonymy, in contrast to metaphor, is based on contiguity. If, in a metaphor, two similarly named objects, phenomena should be somewhat similar to each other, then in metonymy, two objects, phenomena that have received the same name, should be adjacent. The word adjacent in this case should be understood not just as adjacent, but somewhat broader - closely related to each other. Examples of metonymy are the use of the words class, school, auditorium, apartment, house, factory to refer to people.

Synecdoche is a trope, the essence of which lies in what is called a part instead of a whole, the singular is used instead of the plural, or, conversely, the whole instead of the part, the plural is used instead of the single.

An example of synecdoches is the emotional, figurative, deep content words of M.A. Sholokhov about the character of the Russian person. Using the word man and his own name Ivan, the writer means the whole people:

The symbolic Russian Ivan is this: a man dressed in a gray overcoat, who without hesitation gave the last piece of bread and front-line thirty grams of sugar to a child orphaned during the terrible days of war, a man who selflessly covered his comrade with his body, saving him from inevitable death, a man who, gritting his teeth, endured and will endure all the hardships and hardships, going to the feat in the name of the Motherland. Good name Ivan!

Allegory is an allegorical depiction of an abstract concept using a concrete life image. This technique is used especially actively in fables and fairy tales. With the help of animal images, various human vices (greed, cowardice, cunning, stupidity, ignorance) are mocked, good, courage, and justice are glorified. So, in folk tales, the fox is an allegory of cunning, the hare is cowardice, the donkey is stubbornness, etc. Allegory allows you to better understand one or another idea of \u200b\u200bthe speaker, to understand the essence of the statement, to more clearly present the subject of the conversation.

Geographical names are often used in metonymic meaning. For example, the names of the capitals are used in the meaning of "the government of the country", "the ruling circles": Negotiations between London and Washington, Paris is worried, Warsaw has made a decision, etc. Geographic names also mean people living in a given territory. Thus, the name Belarus is synonymous with the combination of the Belarusian people, Ukraine - the Ukrainian people.

Comparison is a figurative expression built on the comparison of two objects or states that have a common feature. Comparison presupposes the presence of three data: firstly, object 1, which is compared with object 2, secondly, object 2, with which object 1 is compared, and, thirdly, a feature on the basis of which two objects are compared. With the help of comparison, the speaker highlights, emphasizes an object or phenomenon, pays special attention to it. Comparison will be effective only when the eye is organically connected with the content, when it does not obscure the thought, but explains it, makes it simpler, The power of comparison is in its originality, unusualness, and this is achieved by bringing objects, phenomena or actions closer together, which, it would seem , have nothing in common with each other.

Vivid, expressive comparisons add a special poetry to the speech. A completely different impression is produced by comparisons, which, as a result of their frequent use, have lost their imagery, have turned into speech cliches. It is unlikely that such common expressions will evoke positive emotions in someone: brave as a lee, cowardly as a hare, reflected as in a mirror, pass like a red thread, etc.

The disadvantage is the use of comparison for the sake of comparison. Then speech becomes florid, artificial, stretched.

Epithets are artistic definitions. They allow you to more clearly characterize the properties, qualities of an object or phenomenon and thereby enrich the content of the statement. Pay attention to what expressive epithets A.E. Fersman to describe the beauty and splendor of green stones:

A brightly colored emerald, now thick, almost dark, cut with cracks, now sparkling with bright dazzling green, comparable only to the stones of Colombia; bright golden "chrysolite" of the Urals, that beautiful sparkling stone demantoid, which was so appreciated abroad - traces of which were found in the ancient excavations of Ecbatana and Persia. A whole range of tones connects the slightly greenish or bluish beryls with the deep green dark aquamarines of the Ilmen mines, and no matter how rare these stones are, their beauty is unparalleled.

In order to draw the attention of the listener, the reader to a particular member of the sentence, a variety of permutations are used, up to the placement of the predicate in the narrative sentence at the very beginning of the phrase, and the subject at the end. For example: Celebrated the hero of the day by the whole team; No matter how difficult it is, we must do it.

Often, to strengthen the utterance, to give the speech dynamism, a certain rhythm, they resort to such a stylistic figure as repetition. The forms of repetitions are very diverse. Sometimes several sentences begin with the same word or with a group of words. Such a repetition is called anaphora, which in translation from the Greek language means monotony.

Sometimes whole sentences are repeated several times in order to emphasize, highlight, and make the pivotal thought contained in them more evident.

There are also repetitions at the end of a phrase. As in the beginning of a sentence, individual words, phrases, speech constructions can be repeated. Such a stylistic figure is called an epiphora.

To know the expressive means of the language, to be able to use its stylistic and semantic wealth in all their structural diversity - every native speaker should strive for this.

To find (find) a common language - to achieve, to achieve complete mutual understanding, to understand each other. For example, a mother says to her son: “Well done, son, you find a common language with your peers!”.

Give free rein to the language - talk, allow yourself to say too much. As an example, one can imagine a situation when, being at a solemn event, a woman says to her husband: "Dear, in my opinion you have given free rein to your language, behave yourself!"

Speaking in different languages \u200b\u200bmeans not understanding each other, understanding the essence of the conversation subjectively, in your own way, not like the other interlocutor. For example, when people quarreled, they say: "You and I speak different languages!"

Aesopian language is an allegory, a figurative language, an allegorical, allegorical language that requires decoding because of the many hints and omissions. On behalf of the legendary fabulist Aesop (c. VI century BC), first a slave and then a freedman. In his fables, Aesop resorted to numerous allegories, to an allegorical depiction of reality. The very concept and techniques of the Aesopian (Aesopian) language were introduced into wide use by M.E. Saltykov-Shchedrin, who also called the allegorical presentation a "slave" manner, necessary under the conditions of the tsarist censorship. Here is a situation that can be characterized by the techniques of "Aesopian language" - the boss says to his subordinate: "Igor, this year you worked like an ant, so I think you deserve a promotion!" Here, the comparison of Igor with an ant acts as a technique of the "Aesopian language", meaning that he worked as hard, industriously as an ant, and we all know that ants are considered the most hardworking insects.

The concept of expressiveness of speech

The expressiveness of speech is given by various units of the language of all its levels.

Sound expressiveness in speech lies in its harmonious euphony, in the use of rhythm and rhyme. Alliteration and assonance also give expressiveness.

Definition 2

Alliteration consists in the repetition of the same or similar consonant sounds.

Definition 3

Assonance Is the repetition of vowel sounds.

The main source of expressiveness of speech are vocabulary and phraseology, which give speech a special expressive coloring.

Expressiveness in speech means expressiveness.

To give expressiveness to the usual meaning of the word, special stylistic evaluations are added that enhance its expressiveness. For example, to give expressiveness to the word good, more expressive adjectives are used, such as beautiful, delicious, and others. In this case, the lexical meaning of the word is further complicated by expression. One neutral word can have several expressive synonyms, which differ in the degree of expressive tension.

Expressive coloring is layered on the emotional-evaluative meaning of the word. At the same time, some words are dominated by expression, while others, on the contrary, have an emotional coloring.

Ways to make speech expressive

Expressive vocabulary is classified into the following groups:

• words that express a positive assessment of the concepts;
• words that express a negative assessment of concepts.

The first group includes sublime, playful, affectionate words, and the second, ironic, abusive, disapproving words.

We use words in our speech, obeying the conditions of communication, trying to influence the interlocutor, while taking into account his social status, the nature of relations and the content of the conversation. All this tells us what words need to be used in speech: sublime, lowered, solemn, playful. Accordingly, our speech takes on a certain stylistic coloring. Sometimes, it is possible to combine stylistically heterogeneous and contrasting linguistic means in speech in an emotionally expressive coloration in speech.

To create contrast, use antonyms... They serve as the basis for a stylistic figure, which is built on the opposition of words with opposite meanings. For example, the phrase "... Know where the light is - you will understand where the darkness is ...".

Definition 4

Opposition of antonyms is called antithesis.

In antithesis concepts can be compared that are not antonyms outside the general context. For example, lines from a well-known poem: "... We will not drink from one glass, neither we water, nor sweet wine ..."

Combinations of antonyms form a stylistic figure - oxymoron, which consists in attributing to a concept an attribute incompatible with a given concept, at the same time in a combination of concepts opposite in meaning. Prominent examples of oxymoron are the expressions: "living corpse" or "hurry slowly." Oxymoron makes it possible to characterize the complexity and internal inconsistency of any object or phenomenon with minimal linguistic means.

They have great expressiveness paronyms... They add humor, satire, and irony to speech. For example, the expression: "more beauty than beauty."

Lexical repetitions also enhance the expressiveness of our speech. They help to highlight important concepts in the text, make it possible to delve deeper into the content, give speech a special emotional and expressive color.

The source of expressiveness of speech are phraseological combinations... They are characterized by imagery, emotionality and expressiveness. Phraseologisms allow not only to name an object or phenomenon, but to express a certain attitude towards it. An example is the phrase: "Poverty is not a vice, but a great disgusting thing." Phraseologisms can enter into synonymous relationships with each other.

Another catalyst for expressiveness of speech - trails.

Main trails

Definition 5

Trope - this is the transfer of the name, the use of individual words and their combinations for the name of another object in a certain speech situation.

Trails include:

• metaphor,
• metonymy,
• synecdoche,
• impersonation,
• comparison,
• allegory,
• epithet,
• hyperbola,
• litotes,
• antonomasia,
• paraphrase.

Metaphor - this is the use of the word in a figurative sense, when comparing objects.

A kind of metaphor - metaphorical epithet, which is an artistic definition to emphasize the essential property or quality of an object, phenomenon. For example: "... How eagerly the world of the night soul listens to the story of its beloved ..."

Much like a metaphor - comparison. Comparison is a comparison of phenomena to explain one of them with the help of another.

Often, to make speech expressive, human properties are transferred to animals, objects or phenomena of inanimate nature. This technique is called personification... For example: it is raining, birch trees are crying.

Metonymy - this is the transfer of the meaning of a word by contiguity or contiguity. For example, expressions: ate two plates, the whole city was asleep.

Synecdoche - a kind of metonymy. Synecdoche is the replacement of the plural by a single number, the use of the name of the part instead of the whole, and the particular instead of the general.

Expressive speech is impossible without the use of hyperbole. Hyperbola - figurative exaggeration of the meaning of something. Examples of hyperbole: "... And a mountain of bloody bodies prevented the nuclei from flying ..."

The concept of inverse hyperbole is litota. Litotes is a figurative understatement of the significance of a phenomenon.

Periphrase use instead of any phrase or word. For example: the author of "Fathers and Sons" or "the king of beasts". In the first case, a logical periphery is used, and in the second, a figurative one.

Irony belongs to the paths. Irony - this is a special use of words, phrases or sentences and pieces of text in the opposite sense relative to the literal one. The ironic coloring of the text can be understood through knowledge of the situation, cultural traditions, as well as through intonation or other ways of emphasizing the opposite meaning of the statement by the narrator.

Allegory represents the expression of abstract concepts in specific images. For example, a fox is cunning, and a snake is cunning.

Another trope that makes our speech brighter is antonomasia... When proper names are used in the meaning of a common noun.

Expressiveness of speechIs a quality that can maintain the attention and interest of a listener or reader, influence not only the mind, but also the feelings and imagination. Expressive speech enhances the effectiveness of the impact of the speech on the addressee.

There are different approaches to describing this quality. Scientists believe that expressiveness can be created by means of the language of all its levels. The phonetic aspect of speech primarily contributes to the creation of expressiveness: diction (clear pronunciation of sounds), voice (strength, tempo, timbre), intonation (pitch, pauses).

The traditional linguistic basis of expressiveness is the presence in the language of figurative and expressive means of the lexical level (tropes) and syntactic level (stylistic figures).

Trails - These are words and turns of speech used in a figurative sense, calling one object (phenomenon, process, property) to designate another.

The main types of trails: epithet, comparison, metaphor, metonymy, synecdoche, hyperbola, litotes, impersonation, allegory, paraphrase.

Epithet(from greekepitheton - application). Artistic, figurative definition, kind of trail. Cheerful wind, dead silence, gray antiquity, black melancholy.With an expansive interpretation, the epithet is called not only the adjective that defines the noun, but also the noun-application, as well as the adverb that metaphorically defines the verb. Frost-voivode, vagabond-wind, old man-ocean; the petrel flies proudly(Bitter); Petrograd lived these January nights tensely, excitedly, viciously, furiously(A.N. Tolstoy). Permanent epithet. An epithet often found in folk poetry, passing from one work to another. The sea is blue, the field is clear, the sun is red, the clouds are black, good fellow, the grass is green, the maiden is red.

Comparison.A trail that consists in assimilating one object to another on the basis of a common feature between them. Comparison is expressed: a) instrumental case. Snow dust is a pillar in the air(Gorbatov);

b) the form of the comparative degree of an adjective or adverb. You are the loveliest, the dearest of all, Russian, loamy, hard land(Surkov); c) turnover with comparative unions. Below, like a steel mirror, the lakes of jets turn blue(Tyutchev). Whiter, the mountains are snowy, the clouds go west(Lermontov). The moon rose very crimson and gloomy, like a sick person(Chekhov); d) lexically (using words similar, similaretc.). Her love for her son was like madness(Bitter). Pyramidal poplars look like mourning cypresses(Serafimovich).

Metaphor(Greek.metaphora - transfer). The use of a word in a figurative sense based on the similarity in any respect of two objects or phenomena. "Noble Nest"(direct meaning of the word nest- "bird dwelling", figurative - "human community"), airplane wing(cf .: bird wing), golden autumn(cf .: gold chain).Unlike a two-term comparison, in which both what is being compared and what is being compared with are given, the metaphor contains only the second, which creates a compact and figurative use of words. Metaphor is one of the most common tropes, since similarities between objects or phenomena can be based on a variety of traits. The bow of the ship, the leg of the table, the dawn of life, speech flows, a steel nib, a clock hand, a doorknob, a sheet of paper.

Metonymy(Greek.metonymia - rename). The use of the name of one object instead of the name of another object on the basis of an external or internal connection between them; kind of trail. The connection can be: a) between the object and the material from which the object is made. Wrong on silver- ate on gold(Griboyedov); b) between the content and the containing. Well, eat another plate, my dear(Krylov); c) between the action and the instrument of this action. The pen of his vengeance breathes(A.K. Tolstoy); d) between the author and his work. I read Apuleius willingly, but I did not read Cicero(Pushkin); e) between the place and the people at that place. But our bivouac was quiet open(Lermontov).

Synecdoche(Greek.synekdoche - co-understanding). One of the tropes, a type of metonymy (see this term in alphabetical order), consisting in the transfer of meaning from one subject to another on the basis of the quantitative relationship between them. Synecdoche is an expressive means of typing. The following types of synecdoches are most commonly used:

a) part of the phenomenon is called in the meaning of the whole:

And at the door -

pea jackets,

overcoats,

Sheepskin coats ...

(Mayakovsky);

b) whole in the meaning of a part:

- Oh, how are you! Fight with a helmet? Well, isn't it mean people! (Tvardovsky);

c) the only number in the meaning of general and even universal:

There a man groans from slavery and chains ...

(Lermontov);

d) replacing a number with a set:

Millions of us. Us - darkness,and darkness, and darkness. (Block);

e) replacement of a species concept with a generic one:

"Well, sit down, shine!"(Mayakovsky).

Hyperbola.A figurative expression containing an exaggerated exaggeration of the size, strength, significance, etc. of any object, phenomenon. By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he makes fun of. In artistic speech, hyperbole is often intertwined with other means - metaphors, personifications, comparisons, etc. In one hundred and forty suns the sunset blazed(Mayakovsky).

Litotes(Greek.litotes - simplicity, smallness, moderation). Trail opposite hyperbole(cm.). Litota is a figurative expression, a turnover, which contains an artistic understatement of the magnitude, strength, meaning of the depicted object or phenomenon. There is litota in folk tales: a boy with a finger, a little man with a fingernail. Below a thin blade you need to bow your head(Nekrasov).

Impersonation (Greek.prosopopoieia, from prosopon - face + poieo - doing). The trope, which consists in the fact that qualities or actions inherent in man are attributed to an inanimate object, an abstract concept, a living being, not endowed with consciousness, - the gift of speech, the ability to think and feel. Incarnation is one of the oldest tropes, owing its origin to the animalistic worldview and all kinds of religious beliefs; occupies a large place in mythology, in folklore: the phenomena of nature and everyday life are personified; fantastic and zoological characters of epics, fairy tales, legends. In the modern period, it is most often found in the language of fiction: more in poetry, to a lesser extent in prose. You howl about him, the wind of the night, about him so madly complaining? (Tyutchev ). Her nurse lay down beside her in the bedchamber- silence(Block). When, raging in stormy darkness, the sea played with the shores ...(Pushkin).

Allegory(greekallegoria - allegory). The trail, which consists in an allegorical depiction of an abstract concept using a concrete life image. For example, in fables and fairy tales, cunning is shown in the form of a fox, greed is shown in the form of a wolf, deceit is shown in the form of a snake, etc.

Paraphrase and paraphrase... The same as periphrase and periphrase (from green.paraphrasis - descriptive phrase, description). 1. An expression that is a descriptive transfer of the meaning of another expression or word. Writing these lines(instead of "I" in the speech of the author). 2. Trail, consisting in replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features. King of beasts(instead of "lion"). Foggy Albion(instead of "England"). Wed from Pushkin: singer Giaur and Juan(Byron) lithuanian singer(Mitskevich), macbeth creator(Shakespeare).

Paths perform the following functions: they give speech attractiveness, emotionality, clarity, allow a better understanding of the inner state of a person, contribute to the original reflection of reality.

Figures of speech - special forms of syntactic structures that enhance the impact of speech on the addressee.

There are the following types of stylistic figures: anaphora, epiphora, inversion, parallelism, antithesis, oxymoron, gradation, parceling... In the practice of oratory, special figures have also been developed that are used to dialogize monologue speech, to attract the attention of the listener: a rhetorical question, rhetorical address, question-answer move.

Anaphora(greekanaphora - taking up). Stylistic figure, consisting in the repetition of the same elements at the beginning of each parallel row (verse, stanza, prose): Repetition of the same combinations of sounds: Bridges demolished by a thunderstorm, Graves from a washed-out cemetery.

(Pushkin). Repetition of the same morphemes or parts of compound words: ... Black-eyed girl, Black-maned horse!(Lermontov). Repetition of the same words: Not in vainthe winds were blowing, the thunderstorm was not in vain.(Yesenin). Repetition of the same syntax: Do I wander along noisy streets, or enter a crowded temple, I'm sittingbetween the mad youths; I surrender to my dreams.

(Pushkin). Anaphora is widely used when constructing a period, whose members (sentences that are part of an increase or decrease) begin with the same service words. For instance: Few togothat I was condemned to such a terrible fate; little ofthat before her end she must see her father and mother begin to die in inexpressible torment, for whose salvation she would have been ready to give her life twenty times,- few things this: it is necessary that before the end of my life I had a chance to see and hear words and love, which I have not seen(Gogol).

Epiphora(Greek.epiphora from epi - after + phoros - carrier). A stylistic figure, opposite to anaphora, which consists in repeating the same elements at the end of each parallel row (verse, stanza, sentence, etc.). I would like to know why I titular counselor?Why exactly titular counselor ? (Gogol).

Dear friend, and in this quiet house

The fever hits me.

Can't find me a place in quiet house

Near a peaceful fire!(Block)

Inversion(lat.inversio - permutation, overturning). The arrangement of the members of the sentence in a special order, violating the usual (direct) order, in order to enhance the expressiveness of speech. Inversion is one of the stylistic figures. Hunting for a bear is dangerous, a wounded animal is terrible, but the soul of a hunter, accustomed to dangers from childhood, dared(Koptyaeva) (inversion of the main members of the sentence). A month came out at a dark night, looking alone from a black cloud at desert fields, at distant villages, at nearby villages(Neverov) (inversion of agreed definitions). At first I was very upset(Pushkin) (inversion of the circumstance of measure and degree). Inversion is associated not only with a change in the position of the correlative members of the sentence between them, but also with the place of the word in the sentence. The most advantageous position is that member of the sentence, which is taken to its beginning (unless this place is usual for him) or, conversely, is moved to the end of the sentence, especially if something new is communicated at the absolute end of the sentence. The purest chance helped them(the subject is inverted). Do not hope i'm on his neatness(predicate inverted). Per Homelandheroes-partisans fought(complement inverted). The story he wrote great (definition inverted). With joy this message was received(the circumstance of the course of action is inverted).

Inversion is widely used in the language of fiction as an expressive stylistic means. Compare the inversion of subject, predicate, object, definition, and circumstance in the sentences below. Seahorses turned out to be much more interesting.(Kataev). His sharpness and subtlety of intuition amazed me(Pushkin). It was annoying, they were waiting(Lermontov). A dazzling bright flame burst from the furnace(Gladkov). Everyone agreed to behave with her in the presence of Stepan Mikhailovich affectionately(Aksakov). Yes, we were very friendly(L. Tolstoy). Then my friend burned out of shame(Turgenev).

Parallelism (from greekparallelos - next to him). The same syntactic structure (the same arrangement of similar members of a sentence) of neighboring sentences or segments of speech. Your mind is as deep as the sea. Your spirit is high that mountains(Bryusov). When you walk along the snowy ridges, When you step into the clouds up to your chest - Be able to look at the ground from a height! Don't you dare look down on the ground! (Island)

The parallelism is negative. Parallelism based on negative comparison. Not a flock of crows flewOn piles of smoldering bones, Beyond the Volga, at night, around the lights The daring gang was gathering.(Pushkin)

Antithesis (Greek.antithesis is the opposite). A stylistic figure serving to enhance the expressiveness of speech by sharply opposing concepts, thoughts, images. Where the table was of food, there is a coffin(Derzhavin). The antithesis is often based on antonyms. Rich and feasts on weekdays, and the poor and grieves on holiday(proverb).

Gradation(lat.gradatio - gradual increase). A stylistic figure, consisting in such an arrangement of parts of an utterance (words, segments of a sentence), in which each subsequent one contains an increasing (less often decreasing) semantic or emotionally expressive meaning, due to which an increase (less often weakening) of the impression they produce is created. I defeated him, defeated him, destroyed him.

Oxymoron(Greek.oxymoron - witty stupid). A stylistic figure, consisting in the combination of two concepts that contradict each other, logically exclude one another, as a result of which a new semantic quality arises. Oxymoron always contains an element of surprise. Bitter joy, ringing silence, eloquent silence, sweet sorrow, sad joy.The title of the work is often based on the oxymoron: L. Tolstoy "Living Dead",Yu Bondarev "Hot Snow".

Parcelling(goes back to frenchparceile from lat.particuia - particle). Such a division of the sentence, in which the content of the utterance is realized not in one, but in two or more intonational-semantic speech units, following one after the other after the dividing pause. He soon quarreled with the girl. And that's why(Ch. Uspensky). Elena is in trouble here. Big(Panferov). Flerov can do everything. And Uncle Grisha Dunaev. And the doctor too(Bitter). Mitrofanov grinned and stirred the coffee. Squinted(N. Ilyina). Parcelling is widely used in modern fiction as a means of depiction, a special stylistic technique that allows to enhance semantic and expressive shades of meanings. Parceling differs from attachment in that the parceled parts are always outside the main offer, while attachment structures can be both within the main offer and outside it (in the latter case, the parceling and attachment actually coincide).

A rhetorical question.The same as an interrogative rhetorical sentence (used as a stylistic figure). A sentence containing an affirmation or denial in the form of a question that is not expected to be answered. Who is not affected by novelty?(Chekhov).

Rhetorical appeal.A stylistic figure, consisting in the fact that the statement is addressed to an inanimate object, an abstract concept, an absent person, thereby increasing the expressiveness of speech. Dreams Dreams! Where is your sweetness? (Pushkin).

It should be borne in mind that the mentioned tropes and stylistic figures, which help to make speech expressive, figurative, emotional, are good only if they are appropriate in a specific situation, skillfully used, allow achieving the set communication goals, and increase the effectiveness of communication.

Multi-Union (polysindeon) - a stylistic figure, consisting in a deliberate increase in the number of unions in a sentence, usually to connect homogeneous members, due to which the role of each of them is emphasized, a unity of enumeration is created, the expressiveness of speech is enhanced. For instance: The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and shone, and went somewhere into infinity.

Ellipsis(from the Greek elleipsis - omission, lack) - a stylistic figure consisting in the omission (in speech or text) of any implied member of a sentence (linguistic unit) and giving speech dynamism, liveliness. For instance: An order was given to him to the west, to her in the other direction; Tanya - 5, and Vale - 3; My mother is a doctor.

The expressiveness of speech can be safely equated with its wealth, the beauty of a person's inner world. After all, the breadth of his knowledge is represented precisely by the vocabulary and by how skillfully he uses various stable combinations, stylistic figures, etc. in his speeches.

Basic means of expressiveness of speech

In order to give speech brilliance, brightness, liveliness, greater expressiveness, the following methods are used:

1. Synonyms... Everyone knows that they are words that are close in meaning (for example, the interlocutor is the conversationalist). What should they be used for? First of all, so that the story does not resemble something like "butter oil". Synonyms help avoid tautology in a narrative, thus giving something a more accurate description.
2. Homonyms... A maiden braid and a scythe with which the grass is mowed. Here are vivid examples of what homonyms are (words that differ in meaning, but in spelling coincide one to one).
3. Antonyms... They are used in the case of oppositions: cold - hot, anger - joy. Thanks to them, contradictions are better portrayed.
4. Archaisms... In order to give your speech a certain solemnity, especially, phrases or words that have long been out of use are used (to get angry - to get angry, slippers - shoes).
5. Neologism... They are the opposite of the previous concept. This innovation not only adds expressiveness to speech, but also makes it clear to the interlocutor that the narrator is keeping up with the times (for example, brand, device).
6. Phraseologisms... Expressions are stable in their composition. They cannot change the word order or try to change the grammatical structure. They are used as a means of depicting thoughts (for example, "pan or miss").
7. Metaphor... This is a kind of paths, which is a secret comparison with something or someone (nerves of iron, a windy person).
8. Impersonation... This way of expressiveness of speech also gives it additional imagery. Here inanimate objects turn into living beings (the wind howls, the clouds float).
9. Hyperbola... Conscious exaggeration of the meaning of something, beauty or even size (not seeing each other for a hundred years, an ocean of tears).
10. Irony... Where is it in our life without irony, one of the main methods of expressiveness of speech? In order not to offend the interlocutor, but at the same time to show his attitude to what he heard, what he saw, this hidden mockery is used. A striking example of this is the phrase of M. Zhvanetsky "Doctors fought so hard for her life that, alas, she was able to survive."

Intonational expressiveness of speech

It manifests itself in the tempo of what is said, which are classified into fast, medium and slow. Also in the vocal power, speech coloring, rhythm and logical stress of the whole sentence.