Paths: Comparison is a figurative expression in which one phenomenon, object, person is likened to another. Comparisons are expressed in different ways: instrumental(“leaves smoke”); various unions (like, as if, exactly, as if, etc.) lexically (using words similar, similar)

Paraphrase is a descriptive phrase. An expression that descriptively conveys the meaning of another expression or word. City on the Neva (instead of St. Petersburg) An oxymoron is a trope that consists in connecting words that name mutually exclusive concepts. Dead Souls (N.V. Gogol); look, she is happy to be sad (A.A. Akhmatova)

Epithet An artistic definition that draws a picture or conveys an attitude to what is being described is called an epithet (from the Greek epiton - application): a mirror surface. Epithets are most often adjectives, but often nouns also act as epithets (“witch-winter”); adverbs (“standing alone”). In folk poetry, there are constant epithets: the sun is red, the wind is violent.

N.V. Gogol

slide 2

Trails:

Comparison is a figurative expression in which one phenomenon, object, person is likened to another.

Comparisons are expressed in different ways:

• instrumental case (“leaves smoke”);
• various unions (as, as if, exactly, as if, etc.)
• lexically (using words similar, similar)

slide 3

Metaphor, personification are built on the basis of comparison.

• Metaphor - (Greek transfer) - transfer of the name of one object to another based on their similarity. Book of life, branches of hands, circle of love

slide 4

Personification is one type of metaphor. The transfer of human feelings, thoughts and speech to inanimate objects and phenomena, as well as when describing animals.

A drop of rain slid down the rough currant leaf.

slide 5

Metonymy - (from Greek - renaming) - the transfer of a name from one object to another, adjacent to it, that is, close to it.

The whole camp is sleeping (A.S. Pushkin)

slide 6

Paraphrase is a descriptive phrase. An expression that descriptively conveys the meaning of another expression or word.

• City on the Neva (instead of St. Petersburg)

An oxymoron is a trope that consists of combining words that name mutually exclusive concepts.

• Dead Souls (N.V. Gogol); look, she is happy to be sad (A.A. Akhmatova)

Slide 7

Hyperbole and litote

• Paths, with the help of which a sign, property, quality is either strengthened or weakened.
• Hyperbole: and the pine reaches the star (O. Mandelstam)
• Litota: a man with a marigold (A. Nekrasov)

Slide 8

Epithet

• An artistic definition that draws a picture or conveys an attitude to what is being described is called an epithet (from the Greek epiton - application): a mirror surface.
• Epithets are most often adjectives, but often nouns also act as epithets (“witch-winter”); adverbs (“standing alone”).
• In folk poetry, there are constant epithets: the sun is red, the wind is violent.

View all slides

In 2016/17 academic year in the "Alcora Creative Workshop" we will study the means of artistic expression that are used in poetry, and even hold a new educational competition series on this topic under the general name TROPES.

TROP is a word or expression used in figurative meaning for creating artistic image and achieve greater expressiveness.

Tropes include such artistic devices as epithet, comparison, personification, metaphor, metonymy, sometimes they include hyperbole and litotes and a number of others. means of expression. No work of art is complete without tropes. The poetic word is polysemantic; the poet creates images, playing with the meanings and combinations of words, using the environment of the word in the text and its sound - all this makes up the artistic possibilities of the word, which is the only tool of the poet or writer.

When creating a TROPA, the word IS ALWAYS USED IN A PORTABLE MEANING.

Let's get acquainted with the most famous types of trails.

1. EPITET

An epithet is one of the tropes, which is an artistic, figurative definition.
An epithet can be:

Adjectives:
meek face (S. Yesenin);
these poor villages, this meager nature ... (F. Tyutchev);
transparent maiden (A. Blok);

Participles:
abandoned land (S. Yesenin);
frenzied dragon (A. Blok);
shining takeoff (M. Tsvetaeva);

Nouns, sometimes together with their surrounding context:
Here he is, the leader without squads (M. Tsvetaeva);
My youth! My dove is swarthy! (M. Tsvetaeva).

Each epithet reflects the uniqueness of the author's perception of the world, therefore it necessarily expresses some kind of assessment and has a subjective meaning: a wooden shelf is not an epithet, so there is no artistic definition, a wooden face is an epithet that expresses the impression of the interlocutor speaking about the facial expression, that is, creating an image .

AT work of art An epithet can perform various functions:
- figuratively characterize the object: shining eyes, diamond eyes;
- create an atmosphere, mood: gloomy morning;
- convey the attitude of the author (narrator, lyrical hero) to the object being characterized: "Where will our prankster ride?" (A. Pushkin);
- combine all previous functions (as is the case in most cases of using the epithet).

2. COMPARISON

Comparison is artistic technique(trope), in which the image is created by comparing one object with another.

Comparison differs from other artistic comparisons, for example, likenings, in that it always has a strict formal feature: a comparative construction or turnover with comparative conjunctions AS, AS IF, AS LIKE, EXACTLY, AS IF and the like. Expressions like HE WAS LIKE… cannot be considered a comparison as a trope.

"And slender reapers have short hemlines, LIKE FLAGS ON A HOLIDAY, fly in the wind" (A. Akhmatova)

"So the images of changeable fantasies, running, AS CLOUDS IN THE SKY, petrified, then live for centuries in a refined and complete phrase." (V. Bryusov)

3. PERSONIFICATION

Personification is an artistic technique (tropes) in which HUMAN PROPERTIES are given to an inanimate object, phenomenon or concept.

Personification can be used narrowly, in one line, in a small fragment, but it can be a technique on which the whole work is built (“You are my abandoned land” by S. Yesenin, “Mom and the evening killed by the Germans”, “Violin and a little nervously” by V. Mayakovsky and others). Personification is considered one of the types of metaphor (see below).

The task of personification is to correlate the depicted object with a person, to make it closer to the reader, to figuratively comprehend the inner essence of the object, hidden from everyday life. Personification is one of the oldest figurative means of art.

4. HYPERBOLE

Hyperbole (exaggeration) is a technique in which an image is created through artistic exaggeration. Hyperbole is not always included in the set of tropes, but by the nature of the use of the word in a figurative sense to create an image, hyperbole is very close to tropes.

"My love, like an apostle during it, I will smash the roads AT A THOUSAND THOUSANDS .." (V. Mayakovsky)

"And the pine reaches the STARS." (O. Mandelstam)

A technique opposite to hyperbole in content is LITOTA (simplicity) - an artistic understatement. A litote is also the definition of a concept or object by negating the opposite: “he is not stupid”, instead of “he is smart”, “it is well written” instead of “it is well written”

"Your Pomeranian is a lovely Pomeranian, NO MORE THIMBLE! I stroked him all over; like silk fur!" (A.Griboyedov)

"And marching importantly, in serenity, the horse is led by the bridle by a little man in big boots, in a sheepskin coat, in big mittens ... AND HIMSELF WITH A MAIL!" (A. Nekrasov)

Hyperbole and litote allow the author to show the reader in exaggerated form the most character traits depicted subject. Often, hyperbole and litotes are used by the author in an ironic vein, revealing not just characteristic, but negative, from the author's point of view, sides of the subject.

5. METAPHOR

Metaphor (transfer) is a type of so-called complex trope, a speech turnover, in which the properties of one phenomenon (object, concept) are transferred to another. Metaphor contains a hidden comparison, a figurative likening of phenomena using the figurative meaning of words, what the object is compared with is only implied by the author. No wonder Aristotle said that "to compose good metaphors means to notice similarities."

“I don’t feel sorry for the years wasted in vain, I don’t feel sorry for the SOUL OF THE LILAC FLOWER. In the garden, the FIRE OF THE RED ROWBAR IS BURNING, but it cannot warm anyone.” (S. Yesenin)

"(...) The sleepy sky was disappearing, again the WHOLE FROZY WORLD WAS CLUTTERED WITH THE BLUE SILK OF THE SKY, PUNCHED BY THE BLACK AND DEATH STROKE OF THE GUNS". (M. Bulgakov)

6. METONYMY

MetonImia (rename) - type of trail: a figurative designation of an object according to one of its features, for example: drink two cups of coffee; joyful whisper; the bucket spilled.

"Here the lordship is wild, without feeling, without law, APPROPRIATED by a violent vine
And labor, and property, and the time of the FARMER ... "(A. Pushkin)

"Here you WILL MEET WHISPERS, the only ones, passed with extraordinary and amazing art under a tie (...) Here YOU WILL MEET a wonderful mustache, no pen, no brush can be depicted (...) Here you WILL MEET LADIES' SLEEVES on Nevsky Prospekt! (. ..) Here you WILL MEET the only SMILE, the smile is the height of art, sometimes such that you can melt with pleasure (...) "(N. Gogol)

"I read APULEI willingly (instead of: the book of Apuleius" The Golden Ass "), but I did not read Cicero." (A. Pushkin)

"Girey sat with downcast eyes, AMBER smoked in his mouth (instead of "amber pipe") (A. Pushkin)

7. SYNECDOCHE

SynEkdoha (correlation, literally - "comprehension") - a trope, a kind of metonymy, a stylistic device, consisting in the fact that the name of the general is transferred to the particular. Less often - on the contrary, from the particular to the general.

"The whole school spilled out into the street"; "Russia lost to Wales: 0-3",

The expressiveness of speech is built on the use of synecdoche in an excerpt from A.T. Tvardovsky’s poem “Vasily Terkin”: “To the east, through everyday life and soot // From one prison, deaf // Europe goes home // Fluff of a feather bed over it with a blizzard // And at the Russian soldier // Brother-French, British-brother // Brother-Pole and everything in a row // With friendship as if to blame // But they look from the heart ... "- here the generalized name Europe is used instead of the name of the peoples inhabiting European countries ; the singular of the nouns "soldier", "brother-French" and others replaces their plural. Synecdoche enhances the expression of speech and gives it a deep generalizing meaning.

“And it was heard before dawn how the Frenchman rejoiced” (M. Lermontov) - the word “Frenchman” is used as the name of the whole - “French” (a noun in singular used instead of a noun in plural)

"All flags will visit us (instead of "ships" (A. Pushkin).

The definitions of some tropes cause controversy among literary scholars, as the boundaries between them are blurred. So metaphor, in essence, is almost indistinguishable from hyperbole (exaggeration), from synecdoche, from simple comparison or personification and likening. In all cases, there is a transfer of meaning from one word to another.

There is no generally accepted classification of trails. An approximate set of the most famous tropes includes such techniques for creating expressive means as:

Epithet
Comparison
personification
Metaphor
Metonymy
Synecdoche
Hyperbola
Litotes
Allegory
Irony
Pun
Pathos
Sarcasm
paraphrase
Dysphemism
Euphemism

We will talk about some of them in more detail in the process of participating in individual competitions of the educational series "Paths", but for now, just remember the new term:

TROP (revolution) is a rhetorical figure, word or expression used in a figurative sense in order to enhance the figurativeness of the language, artistic expressiveness speech. Tropes, in addition to poetry, are widely used in literary prose works, in oratory and in everyday speech.

Poetics Mandelstam beautiful in that frozen words and sentences, under the influence of his pen, turn into lively and enchanting visual images filled with music. It was said about him that in his poetry "concert descents of Chopin's mazurkas" and "parks with curtains of Mozart", "Schubert's musical vineyard" and "undersized bushes of Beethoven's sonatas", Handel's "tortoises" and "warlike pages of Bach" come to life, and violin musicians the orchestra got mixed up with "branches, roots and bows".

Graceful combinations of sounds and harmonies are woven into an elegant and subtle melody, invisibly shimmering in the air. Mandelstam is characterized by a cult of creative impulse and an amazing manner of writing. "I alone write from the voice," the poet said about himself. It was the visual images that initially arose in Mandelstam's head, and he began to pronounce them silently. The movement of the lips gave rise to spontaneous metrics, which grew into clusters of words. Many of Mandelstam's poems were written "from the voice."

Iosif Emilievich Mandelstam was born on January 15, 1891 in Warsaw into a Jewish family of a merchant, glove maker, Emil Mandelstam, and a musician, Flora Verblovskaya. In 1897, the Mandelstam family moved to St. Petersburg, where little Osip was sent to the Russian forge of "cultural personnel" of the early twentieth century - the Tenishevsky School. After graduating from college in 1908, the young man went to study at the Sorbonne, where he actively studied French poetry - Villon, Baudelaire, Verlaine. There he met and became friends with Nikolai Gumilyov. In parallel, Osip attended lectures at Heidelberg University. Arriving in St. Petersburg, he attended lectures on versification in the famous "tower" of Vyacheslav Ivanov. However, the Mandelstam family gradually began to go bankrupt, and in 1911 he had to leave his studies in Europe and enter St. Petersburg University. For Jews at that time there was a quota for admission, so they had to be baptized by a Methodist pastor. On September 10, 1911, Osip Mandelstam became a student of the Romano-Germanic department of the Faculty of History and Philology of St. Petersburg University. However, he was not a diligent student: he missed a lot, took breaks in his studies, and without completing the course, he left the university in 1917.

At this time, Mandelstam was interested in something other than the study of history, and the name of this was - Poetry. Returning to St. Petersburg, Gumilyov constantly invited the young man to visit, where in 1911 he met Anna Akhmatova. Friendship with a poetic couple became "one of the main successes" in the life of a young poet, according to his memoirs. Later he met other poets: Marina Tsvetaeva. In 1912, Mandelstam joined the group of acmeists, regularly attended meetings of the Workshop of Poets.

The first known publication took place in 1910 in the Apollo magazine, when the aspiring poet was 19 years old. Later he was published in the journals "Hyperborea", "New Satyricon" and others. Mandelstam's debut book of poems was published in 1913. "A rock", then reprinted in 1916 and 1922. Mandelstam was at the center of the cultural and poetic life of those years, he regularly visited the art cafe " homeless dog", communicated with many poets and writers. However, the beautiful and mysterious veil of that era of "timelessness" was soon to dispel, with the outbreak of the First World War, and then with the advent of the October Revolution. After it, Mandelstam's life was unpredictable: he could no longer feel in safety. his future wife, a young artist, Nadezhda Yakovlevna Khazina, with whom he married in 1922. At the same time, a second book of poems was published "Tristia"("Sorrowful Elegies") (1922), which included works from the time of the First World War and the revolution. In 1923 - "The Second Book", dedicated to his wife. These verses reflect the anxiety of this troubled and unstable time when the Civil War, and the poet and his wife wandered around the cities of Russia, Ukraine, Georgia, and his successes were replaced by failures: hunger, poverty, arrests.

To earn a living, Mandelstam was engaged in literary translations. He did not abandon poetry either, moreover, he began to try himself in prose. In 1923, "The Noise of Time" was published, in 1927 - "Egyptian stamp", and in 1928 - a collection of articles "On Poetry". Then, in 1928, the collection "Poems" was released, which became the last lifetime poetry collection. Hard years lay ahead of the writer. At first, Mandelstam was saved by the intercession of Nikolai Bukharin. The politician advocated Mandelstam's business trip to the Caucasus (Armenia, Sukhum, Tiflis), but the Journey to Armenia published in 1933 based on the trip was met with devastating articles in Literaturnaya Gazeta, Pravda and Zvezda.

"The Beginning of the End" begins after the writing by the desperate Mandelstam in 1933 of the anti-Stalinist epigram "We live, not smelling the country under us ...", which he reads to the public. Among them is someone who denounces the poet. An act called by B. Pasternak "suicide" leads to the arrest and exile of the poet and his wife to Cherdyn (Perm Territory), where Mandelstam, brought to an extreme degree of emotional exhaustion, is thrown out of the window, but he is rescued in time. Only thanks to the desperate attempts of Nadezhda Mandelstam to achieve justice, her numerous letters to various authorities, the spouses are allowed to choose a place to settle. The Mandelstams choose Voronezh.

The Voronezh years of the spouses are bleak: poverty is their constant friend, Osip Emilievich cannot find a job and feels unnecessary in a new hostile world. Rare earnings in the local newspaper, the theater and the feasible help of true friends, including Akhmatova, make it possible to somehow put up with the hardships. In Voronezh, Mandelstam writes a lot, but no one intends to publish it. "Voronezh notebooks", published after his death, are one of the pinnacles of his poetic work.

However, representatives Soviet Union writers had a different opinion on this matter. In one of the statements, the poems of the great poet were called "obscene and slanderous." Mandelstam, in 1937, unexpectedly released "at will" to Moscow, was again arrested and sent to hard work in a camp on Far East. There, the poet's health, shattered by mental trauma, finally deteriorated, and on December 27, 1938, he died of typhus in the camp point Second River in Vladivostok.

Buried in a mass grave, forgotten and deprived of all literary merit, he seems to have foreseen his fate as early as 1921:

When I fall down to die under a fence in some hole,
And there will be nowhere for the soul to escape from the cast-iron cold -
I will politely leave. I imperceptibly blend into the shadows.
And the dogs will pity me, kissing under the dilapidated fence.
There will be no procession. Violets will not decorate me,
And the maidens will not scatter flowers over the black grave ...

Nadezhda Yakovlevna Mandelstam actually refused her will Soviet Russia in any right to publish Mandelstam's poems. This refusal sounded like a curse to the Soviet state. Only with the beginning of perestroika, Mandelstam began to gradually print.

"Evening Moscow" offers a selection of beautiful poems by a wonderful poet:

***
I was given a body - what should I do with it,
So single and so mine?

For the quiet joy to breathe and live
Who, tell me, should I thank?

I am the gardener, I am the flower,
In the darkness of the world, I am not alone.

On the glass of eternity has already fallen
My breath, my warmth.

The pattern will be imprinted on it,
Recently unrecognizable.

Let the dregs flow for a moment -
Do not cross out the cute pattern.
<1909>

***
The thin ashes are thinning -
purple tapestry,

To us - on the waters and on the forests -
The skies are falling.

indecisive hand
These brought out the clouds.

And the sad meets the gaze
Their misty pattern.

I stand dissatisfied and quiet,
I, the creator of my worlds,

Where the skies are artificial
And the crystal dew sleeps.
<1909>

***
On pale blue enamel
What is conceivable in April,
Birch branches raised
And imperceptibly evening.

The pattern is sharp and fine,
Frozen thin mesh
Like on a porcelain plate
Drawing, drawn aptly -

When his artist is cute
Displays on the glassy firmament,
In the consciousness of momentary power,
In the oblivion of a sad death.
<1909>

***
Unspeakable sadness
Opened two huge eyes
Flower woke up vase
And threw out her crystal.

The whole room is drunk
Tiredness is sweet medicine!
Such a small kingdom
So much sleep has been consumed.

A little red wine
A little sunny May -
And, breaking a thin biscuit,
The thinnest fingers are white.
<1909>

***
Silentium
She hasn't been born yet
She is both music and words.
And therefore all living things
Unbreakable connection.

The seas of the chest breathe calmly,
But, like crazy, the day is bright.
And pale lilac foam
In a cloudy-azure vessel.

May my lips find
Initial dumbness -
Like a crystal note
What is pure from birth!

Stay foam, Aphrodite,
And return the word to the music,
And be ashamed of the heart of the heart,
Merged with the fundamental principle of life!
< 1910>

***
Don't ask, you know
That tenderness is irresistible
And what do you call
My trembling is all the same;

And what is the confession for?
When irrevocably
my existence
Have you decided?

Give me your hand. What are passions?
Dancing snakes!
And the mystery of their power -
Killer Magnet!

And, the serpent's disturbing dance
Don't dare to stop
I contemplate the gloss
Girlish cheeks.
<1911>

***
I'm shivering from the cold -
I want to be dumb!
And gold dances in the sky -
Tells me to sing.

Tomis, an anxious musician,
Love, remember and cry
And, abandoned from a dim planet,
Pick up an easy ball!

So this is the real one
Connection with the mysterious world!
What an aching longing
What a disaster!

What if, shuddering wrong,
shimmering always,
With your pin rusty
Will a star get me?
<1912>

***
No, not the moon, but a light dial
It shines on me - and why am I to blame,
What faint stars I feel the milkiness?

And Batyushkov's arrogance disgusts me:
What time is it, he was asked here,
And he answered the curious: eternity!
<1912>

***
Bach
Here the parishioners are children of dust
And boards instead of images,
Where in chalk - Sebastian Bach
Only numbers appear psalms.

High wrangler, is it?
Playing their chorale to grandchildren,
The support of the spirit indeed
Are you looking for proof?

What's the sound? sixteenths,
Organ polysyllabic cry -
Only your grumbling, no more,
Oh, intractable old man!

And a Lutheran preacher
On his black pulpit
With yours, angry interlocutor,
Interferes with the sound of his speeches.
<1913>

***
"Ice cream!" The sun. Air biscuit.
Transparent glass with ice water.
And into the world of chocolate with a ruddy dawn,
In the milky Alps, dreaming flies.

But, clinking with a spoon, it is touching to look -
And in a cramped arbor, among dusty acacias,
Accept favorably from the bakery graces
Fragile food in an intricate cup...

A hurdy-gurdy friend will suddenly appear
Wandering glacier motley cover -
And the boy looks with eager attention
In a wonderful cold chest full.

And the gods do not know what he will take:
Diamond cream or stuffed waffle?
But quickly disappear under a thin splinter,
Sparkling in the sun, divine ice.
<1914>

***
Insomnia. Homer. Tight sails.
I read the list of ships to the middle:
This long brood, this crane train,
That over Hellas once rose.

Like a crane wedge in foreign borders, -
Divine foam on the heads of kings, -
Where are you sailing? Whenever not Elena,
What is Troy to you alone, Achaean men?

Both the sea and Homer - everything is moved by love.
Who should I listen to? And here Homer is silent,
And the black sea, ornate, rustles
And with a heavy roar, he approaches the headboard.
<1915>

***
I don't know since when
This song started
Isn't a thief rustling over her,
Mosquito ringing Prince?

I would like about anything
Talk again
Rustling a match, shoulder
Push the night, wake up;

Scatter a haystack around the table
A cap of air that torments;
Rip open the bag
In which cumin is sewn up.

To pink blood bond,
These dry herbs are ringing,
The stolen was found
A century later, a hayloft, a dream.
<1922>

***
I returned to my city, familiar to tears,
To veins, to children's swollen glands.

You're back here, so swallow quickly
Fish oil from Leningrad river lanterns,

Get to know the December day,
Where the yolk is mixed with the sinister tar.

Petersburg! I don't want to die yet!
You have my phone numbers.

Petersburg! I have more addresses
By which I will find the voices of the dead.

I live on a black staircase, and in the temple
A bell torn with meat strikes me,

And all night long waiting for dear guests,
Moving the shackles of door chains.

<декабрь 1930>

***
For the explosive valor of the coming centuries,
For the high tribe of people
I lost the cup at the feast of the fathers,
And fun, and his honor.
A wolfhound age throws itself on my shoulders,
But I'm not a wolf by my blood,
Stuff me better, like a hat, in a sleeve
Hot fur coat of the Siberian steppes.

So as not to see a coward or a flimsy filth,
No bloody blood in the wheel
So that blue foxes shine all night
Me in my primeval beauty,

Take me to the night where the Yenisei flows
And the pine reaches the star
Because I'm not a wolf by my blood
And only an equal will kill me.

<март 1931>

***
Oh how we love to be hypocritical
And forget easily
The fact that we are closer to death in childhood,
Than in our mature years.

Still resentment pulls from the saucer
sleepy child,
And I have no one to pout
And I am alone in all ways.

But I don't want to sleep like a fish
In the deep swoon of the waters,
And free choice is dear to me
My suffering and worries.
<февраль 1932>

TROPES (based on the lexical meaning of the word)

Allegory - a trope based on replacing an abstract concept or phenomenon with a concrete image of an object or phenomenon of reality: medicine - a snake wrapping around a bowl, cunning - a fox, etc.
Hyperbola - a trope based on the excessive exaggeration of certain properties of the depicted object or phenomenon:

And the pine reaches the stars. (O. Mandelstam)

Metaphor - a trope in which words and expressions are used in a figurative sense based on analogy, similarity, comparison:
And my tired soul is embraced by darkness and cold (M. Yu. Lermontov).
Comparison - a trope in which one phenomenon or concept is explained by comparing it with another. Usually, comparative unions are used in this case: Anchar, like a formidable sentry, stands alone - in the whole universe (A. S. Pushkin).
Metonymy - a trope based on the replacement of one word with another, adjacent in meaning. In metonymy, a phenomenon or object is denoted with the help of other words or concepts, while their connections and signs are preserved: The hiss of foamy glasses and punch, a blue flame (A. S. Pushkin).
Synecdoche - one of the types of metonymy, based on the transfer of meaning from one object to another on the basis of the quantitative relationship between them: And it was heard before dawn, how the Frenchman rejoiced (meaning the whole french army) (M. Yu. Lermontov).

Litotes - a trope opposite to hyperbole, an artistic understatement: Your Spitz, lovely Spitz, is no more than a thimble (A. Griboyedov).
personification - a trope based on the transfer of the properties of animate objects to inanimate ones: Silent sadness will be consoled, and joy will reflect friskyly (A. S. Pushkin).
Epithet - a word that defines an object or phenomenon and emphasizes any of its properties, qualities, signs. Usually, a colorful definition is called an epithet: Your thoughtful nights are transparent dusk (A. S. Pushkin).
paraphrase - a trope in which the direct name of an object, person, phenomenon is replaced by a descriptive expression, which indicates the signs of an object, person, phenomenon that is not directly named: the king of animals is a lion.
Irony - a technique of ridicule, containing an assessment of what is ridiculed. There is always a double meaning in irony, where the true is not what is directly stated, but what is implied: Count Khvostov, a poet beloved by heaven, already sang with immortal verses of the misfortune of the Neva banks (A. S. Pushkin).

Stylistic figures
(based on a special syntactic construction of speech)
Rhetorical address - giving the author's intonation solemnity, pathos, irony, etc.: Oh, you haughty descendants ... (M. Yu. Lermontov)
Rhetorical question - such a construction of speech in which the statement is expressed in the form of a question. The rhetorical question does not require an answer, but only enhances the emotionality of the statement: Will a beautiful dawn finally rise over the fatherland of enlightened freedom? (A. S. Pushkin)
Anaphora - repetition of parts of relatively independent segments, otherwise the anaphora is called monophony: As if you curse the days without a gap, as if the gloomy nights scare you
(A. Apukhtin).

Epiphora - repetition at the end of a phrase, sentence, line, stanza.

Antithesis - a stylistic figure based on the opposition: Both day and hour, both in writing and orally, yes and no for the truth ... (M. Tsvetaeva).
Oxymoron - connection of logically incompatible concepts:
living Dead, dead Souls etc.
gradation - grouping homogeneous members sentences in a certain order: according to the principle of increasing or weakening emotional and semantic significance: I do not regret, I do not call, I do not cry (S. Yesenin).
Default - deliberate interruption of speech, counting on the guess of the reader, who must mentally finish the phrase: But listen: if I owe you ... I own a dagger, I was born near the Caucasus (A. S. Pushkin).
Nominative topics (nominative representations) - a word in the nominative case or a phrase with the main word in the nominative case, which is at the beginning of a paragraph or text and in which the topic of further reasoning is declared (the name of the subject is given, which serves as the topic of further reasoning): Letters. Who likes to write them?
Parceling - intentional breaking of one simple or complex sentence into several separate sentences in order to draw the reader's attention to the selected segment, to give it (the segment) additional meaning: One and the same experience has to be repeated many times. And with great care.
Syntax parallelism - the same construction of two or more sentences, lines, stanzas, parts of the text:
AT blue sky the stars are shining,
Waves crash in the blue sea.
(sentences are built according to the scheme: adverb of place with a definition, subject, predicate)
A cloud is moving across the sky, A barrel is floating on the sea. (A. S. Pushkin) (sentences are built according to the scheme: subject, circumstance, predicate)
Inversion - violation of the generally accepted grammatical sequence of speech: The sail of the lonely one in the fog of the blue sea turns white.
(M. Yu. Lermontov) (according to the rules of the Russian language: A lone sail turns white in the blue fog of the sea.)