What is anaphora? What is anaphora used for and what is it: specific examples. What is anaphora used for?

Hello, dear readers of the blog site. Today we will talk about a literary device called ANAPHOR (for correct pronunciation, the emphasis must be placed on the second letter “A”).

This term, like many others, came into the Russian language from Ancient Greece. And the word “αναφορα” itself is translated as “ repetition, return, ascent, unity of command.”

Definition - what is it?

Anaphora is a stylistic device that consists in repeating some sounds, words or . It is used by poets and writers to enhance the emotional part of the work, create a sublime tone or semantically highlight the most important, in the opinion of the author, pieces of text.

Unlike other literary devices, anaphora is most often located at the beginning of sentences, that is, they begin on the same lines.

Let's give a few examples from life. Remember the lines of the famous song by Yuri Antonov:

MY years are MY wealth

Here the anaphora is “my”. Thus, the author emphasizes, firstly, that this is about him, and secondly, he directly makes it clear that he is proud of his age.

But football fans probably remember the scandalous phrase of Andrei Arshavin after the disastrous 2012 European Championship for the Russian national team. To the fans’ reproaches of a weak game, he replied:

YOUR expectations are YOUR problems

The anaphora in this case turned out to be very unambiguous and emotional. But Arshavin himself has probably already regretted what he said a hundred times.

Examples of anaphors in poetry

Most often, anaphors can be found in poetry. This technique gives poems greater expressiveness and brightness. And it can be regarded as a kind of “voice of the poet”; it allows you to convey the author’s state of mind and the emotions that he experienced while writing.

The most striking example can be found in Alexander Sergeevich Pushkin - in his poem “”:

I love you, Petra's creation,
I love your strict, slender appearance...

The verb “love” very emotionally conveys the author’s attitude towards St. Petersburg. After all, Pushkin really adored the city on the Neva, and this is especially felt in these lines.

I love your cruel winter
Still air and frost...
I love the warlike liveliness
Amusing Fields of Mars...
I love you, military capital,
Your stronghold is smoke and thunder...

And as an opposite - the famous poems of Vladimir Vysotsky"I do not like":

I don't like myself when I'm afraid
And I don’t like it when innocent people are beaten.
I don't like it when they get into my soul,
Especially when they spit on her.
I don't like arenas and arenas
They exchange a million for a ruble, -
May there be big changes ahead
I'll never like it.

And remember how emotionally Vysotsky sang. And combined with anaphora, it generally looked like a cry from the soul.

And not a whole word, but only a prefix to it can be used as an anaphor. For example, the negation of “NOT” in a famous poem Sergei Yesenin:

I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
Withered in gold,
I won't be young anymore.

Anaphora in prose literature

Anaphors are much less common because this technique is more difficult to use. With the wrong approach, it always only leads to harm. But if done correctly, it creates very powerful and emotional text. Good examples can even be found in the Bible:

For everything there is a time, and a time for every thing under heaven: a time to be born, and a time to die; a time to plant, and a time to pluck up what is planted.

Anaphora was rarely used, but they liked to resort to classics of Russian literature:

All variety, all charm, all beauty is made up of shadow and light (Tolstoy)
Falling in love does not mean loving. You can fall in love and hate. (Dostoevsky)
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. (Leonov)

Types of anaphora (examples)

All anaphors are conventionally divided into several types:

1. Sound. This is when there are different words at the beginning of sentences, but they sound very similar.
   

   Bridges demolished by thunderstorms,
   A coffin from a washed-out cemetery. (Pushkin)

2. Morphemic anaphora. Words that have similar syllables are used.
   

   BLACK-EYED GIRL,
   BLACK-MANED horse. (Lermontov)

3. Lexical. The most common type, which we talked about before, is when words or phrases are completely repeated.
   

   You are my abandoned land,
   You are my land, wasteland. (Yesenin)

4. Syntactic. There is repetition of entire structures.
   

   Perhaps all of Nature is a mosaic of colors?
   Perhaps all Nature is a variety of voices? (Balmont)

5. Strophic anaphora. Not only individual words are repeated here, but also the rather complex structure of the entire work.
   

   Earth!..
   From snow moisture

   She's still fresh.
   She wanders by herself
   And breathes like deja.

   Earth!..
   More and more beautiful and visible

   She's lying around.
   And there is no better happiness - on her
   To live until death. (Tvardovsky)

Anaphora in everyday life

Stylistic repetitions, which are designed to strengthen speech, are often used for advertising purposes:

Your day is your water (Arkhyz)
New computers - new income (Intel)

Repetition structures can often be heard in court hearings or in any large gathering. They are used, for example, as greetings:

Dear judge, dear jury, dear present...

And finally, political strategists love to use anaphors when they write speeches for their “masters.” One striking example is Winston Churchill’s speech before Great Britain entered World War II.

In it, he used the pronoun “WE” in every sentence to inspire all his fellow citizens:

“We will go to the end. We will fight in France, we will fight on the seas and oceans, we will fight with growing confidence and growing strength in the air, we will guard our island, whatever the cost, we will fight on the beaches, we will fight on the spot landings, we will fight in the fields and in the streets, we will fight on the hills. We will never give up."

Instead of a conclusion

There is a technique in the Russian language that is very similar to anaphora. It , and it also uses repetition of various words or phrases. But the difference is that anaphora is placed at the beginning of the text, while epiphora is placed at the end.

But we’ll tell you more about this next time. See you again on the pages of our blog.

Good luck to you! See you soon on the pages of the blog site

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Anaphora is unity of command; a stylistic device that consists of the deliberate repetition of sounds, morphemes, words or syntactic structures at the beginning of two or more adjacent speech segments (words, phrases, sentences, lines, stanzas). Anaphora in stylistics refers to figures of addition.

Origin

Anaphora is an ancient literary device whose origins lie in the biblical psalms. Early religious texts contain an abundance of sound, lexical, and syntactic repetitions that emphasize individual words, phrases and sentences (“For everything there is a season, and a time for every purpose under heaven: a time to be born, and a time to die; a time to plant, and a time to pluck up what is planted...”); Bible).

Writers of the Elizabethan era and the period of romanticism embodied the stylistic device of anaphora in prose and poetry (“Mad world! Mad kings! Mad is their union!”; Shakespeare, “King John”).

Because anaphora uses redundancy of words to create a dramatic effect, this technique is not common in academic and journalistic texts. Thus, anaphora is not common to formal writing styles and is primarily used to create rhythm and emphasis in a poetic manner.

Types of anaphora

Depending on the repeating elements in speech segments, the following types of anaphora are distinguished:

• sound (phonic) anaphora - repetition of sounds in words located at the beginning of adjacent speech segments. Sound anaphora is characteristic of alliterative verse;
• morphemic anaphora - repetition of morphemes, i.e. parts of words, at the beginning of adjacent segments of speech;
• lexical (verbal) anaphora - repetition of words at the beginning of parallel speech segments. This is the most common type of anaphora;
• syntactic anaphora - repetition of syntactic structures at the beginning of adjacent speech segments;
• strophic anaphora - repetition of speech elements at the beginning of parallel stanzas of a verse;
• rhythmic anaphora - repetition of rhythmic units (stops) in adjacent poetic lines.

Anaphora in poetry

Anaphora in poetry is placed at the beginning of hemistiches, poetic lines, stanzas, or throughout the entire work (“When the yellowing field is agitated...” by M. Yu. Lermontov, “This morning, this joy...” by A. A. Fet), constituting its principle compositions.

The term anaphora is also used to describe a poem in which all the words begin with the same sound.

The stylistic device of anaphora was used by famous Russian writers A. S. Pushkin, N. V. Gogol, M. Yu. Lermontov, A. A. Fet, F. I. Tyutchev, A. A. Blok, L. N. Tolstoy, F. M. Dostoevsky, S. A. Yesenin, B. L. Pasternak, K. D. Balmont and others.

Examples of anaphora:

The city is lush, the city is poor...
(A.S. Pushkin)

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

Anaphora in rhetoric

Speakers, including political leaders, use anaphora as a rhetorical device in their speeches to emphasize the ideas they want to convey and to evoke emotions in the audience. In oral speech, anaphora is usually realized in the repetition of one word or an entire phrase.

Anaphora was used by politician and orator Winston Churchill. His affirmative speech, “We Will Fight on the Beaches” (1940), delivered during World War II, is full of anaphoric examples. W. Churchill repeatedly repeated the word “we,” referring to the plural form, which he applied to the entire nation, evoking patriotic sentiments among the people.

Functions of anaphora

Anaphora as a stylistic device in literature performs the following functions:

• strengthening the imagery and expressiveness of artistic speech;
• semantic and logical selection of significant ideas by focusing on repeating elements of speech;
• establishing connections between segments of speech based on parallelism;
• expressing the contrast between parallel speech series through antitheses;
• adding rhythm to the text, which strengthens its intonation and semantic structure, making it easier to read and memorize;
• maintaining the melodic impact of poetic speech with sound, lexical or syntactic repetition;
• compositional structure in the lyrical plot.

Anaphora as a rhetorical device is used to attract the attention of the audience, to evoke emotions in listeners, in order to convince, motivate and encourage them.

Anaphora and epiphora

Anaphora and epiphora (epistrophe) are similar concepts in the sense that both are stylistic devices based on the repetition of elements of speech. However, in anaphora, repeating units are placed at the beginning of adjacent passages of text, in epiphora - at the end. If these two figures are used simultaneously, they form a simploca - a combination of anaphora and epiphora.

Anaphora also comes into combination with other types of repetition: polyunion (polysyndeton); gradation - a figure consisting of listing the elements of speech with increasing intonation, for example: “I don’t regret, I don’t call, I don’t cry...” (S. A. Yesenin).

In contemporary art, anaphora appears in a variety of contexts, including songs, films, television, political speeches, poetry, and prose.

The word anaphora comes from the Greek anaphora, which translated means carrying out, repeating.

Means of expression are techniques that make literature more emotional and oral speech richer and more colorful. These artistic paths are studied in school, but the program does not provide a full understanding of what they are for and how they work. One of the most famous and easy to remember means is anaphora. This is a classic stylistic device that is most often found in lyrical literary works and poetry.

What is anaphora

In another way, this means of artistic expression is called unity of command. It consists of various kinds of repetitions at the beginning of parts of the work, usually hemistiches, verses or paragraphs.

The definition of what anaphora is in literature, given in the Dictionary of Literary Terms by N. I. Ryabkova, sounds like this:

A stylistic figure consisting of the repetition of the initial parts (sound, word, phrase, sentence) of two or more independent segments of speech.

Functions of anaphora

Typically, examples of anaphora from fiction can be found in poems, ditties, poems, songs and other works. It is this literary genre - poetry - that is characterized by expression, emphasis on the feelings and experiences of the lyrical hero. The image of the inner world occurs through linguistic means. Anaphora in literature serves to enhance the emotional component of the narrative and introduces an element of liveliness and energy into it. For example, in A. S. Pushkin’s poem “Cloud”:

The last cloud of the scattered storm!

Alone you rush across the clear azure,

You alone cast a dull shadow,

You alone sadden the jubilant day.

In this work, the intonation and contextual emphasis falls on the word “one” due to its repetition, which indicates the state of the inner world of the lyrical hero. In this poem, the semantic emphasis is on the fact that the cloud is the only negative factor, which gives the verse an expressive and accusatory coloring.

Examples of anaphora from literature and more

Anaphora is a means of artistic expression, so it is much less common in popular science literature or official documents, like any other means of expressiveness. Moreover, this technique has too strong an emotional connotation, unacceptable for some styles. You can glean examples of anaphora from literature, including both poetry and prose, or from public speeches or letters.

For example, anaphora was used in the speech of V.V. Putin to add solemnity, persuasiveness and insight to his words:

We need to continue the transformation we have started together with you. So that in every city, in every village, on every street, in every house and in the life of every Russian person, changes for the better occur.

To observe how the emotional coloring changes, you can remove it from this passage: “... in every city, village, on the street, in the house and in the life of a Russian person, changes for the better took place.” Without lexical repetition, this listing loses its expressive “weight” and emphasis.

An example of anaphora in prose is present, for example, in an article by Academician D. S. Likhachev:

If a man on the street lets an unfamiliar woman pass ahead of him (even on the bus!) and even opens the door for her, but at home does not help his tired wife wash the dishes, he is an ill-mannered person. If he is polite with his acquaintances, but gets irritated with his family on every occasion, he is an ill-mannered person. If he does not take into account the character, psychology, habits and desires of his loved ones, he is an ill-mannered person. If, as an adult, he takes the help of his parents for granted and does not notice that they themselves already need help, he is an ill-mannered person.

Here, too, there is an intensification of the enumeration, an emphasis on the importance of each individual example considered in the passage. Thus, the situations that the author mentions become not part of one semantic structure, but different passages with their own contextual energy, which forces the reader to pay separate attention to each of them, and not to all of them at once.

Poetry contains the most extensive number of examples of unity of command. It is in lyric poetry that expression comes into play more often than in other literary genres. An example of anaphora in a poem by A.S. Pushkin:

I swear even and odd

I swear sword and right battle...

In a specific example, anaphora is expressed by the verb “I swear.” In itself it carries a solemn connotation, but repetition strengthens it.

Types of anaphora

Anaphora happens:

• sound;
• lexical;
• syntactic;
• morphemic;
• rhythmic.

Sound anaphora in literature is the repetition of a sound or group of sounds at the beginning of a paragraph, if it is prose, or a verse, if it is a poem, for example in the work of Alexander Blok “Oh, spring! without end and without edge...”:

Oh, spring without end and without edge

An endless and endless dream!

I recognize you, life! I accept!

And I greet you with the ringing of the shield!

The paired sounds [z] - [s] are repeated, associated with a light spring breeze, which corresponds to the idea and context of the poem.

Lexical anaphora is the repetition of a lexical unit, a whole word or particle. This type is the most common and easiest to recognize by the reader. For example, in a poem by Sergei Yesenin:

It was not in vain that the winds blew,

It was not in vain that the storm came...

Syntactic is a special case of lexical anaphora, when entire syntactic constructions are repeated, for example sentences or parts of a sentence, as in the poem by Afanasy Fet:

Only in the world is there something shady

Dormant maple tent,

Only in the world is there something radiant

A child's thoughtful gaze.

Morphemic anaphora in literature implies the repetition of any part of a word - a morpheme, for example, in M. Yu. Lermontov:

The black-eyed girl

Black-maned horse...

In this case, the root “black-” is repeated, combining “maiden” and “horse” in features.

Rhythmic anaphora is when a rhythmic pattern is repeated at the beginning of a verse or stanza. A striking example of this is in the work of Nikolai Gumilyov:

Enchants the queen

Vast Rus'.

This type of anaphora is used only in poetry, since there is no rhythm in prose.

Anaphora in English

Unity of principles is a universal stylistic device and is used not only in Russia. Anaphora is also often found in literature in other languages, especially in songs, and has the same functions as in Russian.

My heart's in the Highlands,

My heart is not here

My heart's in the Highlands,

And chasing the dear.

This passage uses the lexical aspect.

Winston Churchill himself did not neglect this technique, actively using it in his speeches and performances. It was also used by Martin Luther King in his famous “I Have a Dream” speech.

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

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

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

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

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

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

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

Another example of anaphora could be:

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

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

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

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

Varieties of anaphora

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

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

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

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

3. Lexical anaphora - repetition of the same words:

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

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

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

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

6. Strophic-syntactic anaphora

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

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

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

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

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

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

Often anaphora connects with another rhetorical figure - gradation.

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

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

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

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

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

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

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

Most common threefold gradation.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Epiphora, like anaphora, has its own varieties:

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

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

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

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

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

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

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

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

4. Rhetorical epiphora.

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

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

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

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

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

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

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

Epiphora constantly used in a variety of poetic genres.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Modern poetics have established the following types of parallelism:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LEXICAL REPEATS– repetition of the same word or phrase.

For example:

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

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

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

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

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

1) Express yourself without expressing yourself !

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

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

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

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

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

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

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

Very rare simploc of the first type in original poetry.

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

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

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

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

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

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

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

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

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

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

What is anaphora

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

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

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

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

Types of anaphora and examples

The following types are distinguished:

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

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

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

Examples of anaphora in 20th century literature

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

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

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

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

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

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

Useful video: anaphora

Conclusion

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

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