Sound recording examples. Techniques in literature

Shklover Mark Yurievich

Emotions of sound and sound of emotions

Tab. one. The sound of emotions.

All values ​​are given relative to the letter "A". The grammatical potential of the letter, the rhyming potential of the letter, the magnitude of the emotional potential of the letter and the quality of the poem were evaluated on a 5-point scale.

Letter	Quantity	Potential	EMOTIONAL VECTOR LETTERS	The quality of the poem	Comments
words	verbs	grammatical	rhyming	Value	Direction
BUT						CONFUSION. Absurdity, excitement and apathy		Few verbs, weak EVB.
B						HOSTILITY Burden of combat (brother beats brother)
AT						Faith, majesty Eternity, time, universe
G						ANGER The oppression of anger, sin, dirt and grief.
D	1.5					DEBT Business, money, soul, friendship
E	0.1	0.1	-	-	-	No sound E	-	Weak letter
AND	0.1	0.5				PASSION, THIRST Desire, lust for life		Weak letter
W						DEPENDENCE Call, earth, gold, zone, link
And			1.5			INTEREST Play, search, intrigue		Slight lack of verbs
Y					-	-	-	Weak letter
To						Cunning Kaverza, dagger, conflict
L	0.5	1.5				LOVE Caress, cling, kiss
M	1.5					MAYATA Flicker, loom, wrinkle		Missing verbs
H						DEPRESSION Whining, punishment, nerves		Verb storage
O						SURPRISING		Verb storage
P						PRIDE Victory feat premium prize		Verb storage
R						Rage, zeal, roar, roar		Verb storage RL Lack of noun. and apply.
FROM						COMPASSION Death, sorrow, old age
T		2.6				ALARM Darkness, mystery, silence		Slight lack of verbs
At		8.6				HORROR Ghoul, killer, freak		Lack of nouns
F	0.5					CONFIDENCE Fort, queen, doom		Serious disadvantage verbs.
X	0.5					DISPOSAL Boor, rubbish, barn
C	0.1	0.5				SUPERIORITY King, center		Weak letter
H	0.5					FUN Eccentric, scarecrow, grubby
W	0.5					SHOCK Assault, flurry, storm		Skewed towards verbs, missing nouns
SCH	0.05	0.3				ATTACHMENT Spare, shield, grope		Weak letter
E	0.5	0.5	0.5			ANNOUNCE Eh		Serious lack of verbs. Zero EVB
YU	0.05	0.1				No sound Yu		Serious lack of verbs
I	0.1	0.1				No sound I		Weak letter

Tab. 2. Emotion of sounds. The classification of emotions and feelings was taken as a basis. Ilyin E.P. (added emotions in the left column are written in lowercase letters)

EMOTION-FEELING	SOUND	Emotion vector
Emotions of expectation and forecast
ANXIETY	T	Darkness, mystery, silence
FEAR, horror	At	Ghoul, murder
frustration emotions
ANNOUNCE	E	Eh
DEPRESSION, whining	H	Whine punishment attack in vain anguish
LONGING, lighthouse	M	flicker looming crumple
DISGUST	X	Khabal ham trash
ANGER	G	Gad hell rot pus bend sin grimace thunder
frenzy, rage,	R	Roar, joy, zeal, roar
Communicative emotions
FUN	H	Smack child tap dance smack eccentric scarecrow
CONFUSION, a state of absurdity	BUT	Agony adrenaline crash anarchy
compassion	FROM	Death, sorrow, old age
Intellectual emotions
SURPRISE, stunned	O	Very cheating to measure oh misfire
INTEREST	And	Game, intuition, seek
Emotion guesswork
CONFIDENCE	F	Fact fort queen finca fatum
Emotions arising in the process of activity
STRESS, shock	W	Assault flurry storm awl syringe epee spire spur bayonet
THE SENSES
ATTACHMENT	SCH	Spare, shield, feel
addiction	W	Call, earth, gold, zone, link, grain
duty	D	Do, children, home, money, friend, power, team, soul
LOVE	L	caress, cuddle, kiss
passion, thirst	AND	Wish, live, woman, greed, love of life
SUPERIORITY	C	reign, whole, center
HOSTILITY	B	Beat, scourge, bomb, fight
AGGRESSION, conflict, deceit	To	Punish, dagger, blade, boil, conflict
PRIDE	P	win patriot prestige pearl feat honor prize prize
faith, majesty	AT	Eternity, time, universe, top, will, warrior, power

The sound sequence of words, which creates a certain sound, acts as a tool for the formation of meanings. This is the first (and main) function of sound writing in a poetic text. The term "function" is used here in the meaning of "task" - simply put, the function determines what the use of this or that technique in the text gives.

Sound recording functions

1. Sound is a conductor of meaning.
In this context, the concept of "sound-writing" is used in the narrow sense of the word: as the correspondence of the sound composition of the phrase to the depicted one.

1. And I will listen to silence,
leafing through Pushkin's poems,
Look out the window at the moon
And stir up problems in your mind.

2. Blowing lips in the evening. The wind blows.
The river frowns eyebrows-shores ...

2. Sound repetition acts suggestively, generates the magic of the word, the effect musical accompaniment, subtly conveys the mood of the lyrical hero.
Phonetic expressiveness makes a significant contribution to the creation of the energy of the poem, its influencing potential. Articulatory tension, with which many combinations of consonants are pronounced, entails the general phonetic tension of the verse, and this tension is transmitted to the content, affects its perception.

The ear of the spikelet
The sun aims at the temple.
Glare, faces, faces.
But the bird is chirping.
wheel wheeled,
Rolled over the woods.
Cross on the bell tower
The sky hurts

.
3. Sound writing enhances the non-linearity of the poetic text, which manifests itself in the large role of vertical connectivity. Words are connected not only horizontally, linearly - by morphological and syntactic connection (cohesion), but also vertically, i.e. semantic, figurative, sound echoes of words are created, uniting them into one whole (coherence).

Anatoly Melnik
FISHING

Light ripples and swells
Dark fish backs
Glare and clouds
The river is full of sunshine.
smooth fins,
Nega and whim lines.
My little catch
Pike, perch and words.

4. Sound writing weakens inaccurate rhyme, if any, in the stanza. For example:

I looked - completely gray,
Near neighbor, grandfather,
In my soul - a garden,
Seven settled troubles.

ALLITERATION(from lat. ad - to, with, with and littera - letter; subletter) - the oldest stylistic device for enhancing expressiveness artistic speech, especially in verse, by repetitions of consonant sounds. A. is found in folk poetry and in the literature of all peoples of the world. A. rich poems of Homer, Hesiod, Horace, Virgil and many later poets in Europe - Dante, Petrarch, Ronsard, Shakespeare. The sense of proportion and artistic tact of the poet determine the choice, character and relevance of A. in verse; there are no rules for using it and cannot be.

A. occupies a prominent place in Russian folk poetry. Sonorous A. are scattered in the text "Words about Igor's Campaign":

The trumpets are blowing in Novegrad, the banners are standing in Putivl...

Night moaning to him with a thunderstorm, wake the bird; the whistle of the beasts is near ...

With advance in the heel of the trample, the filthy Polovtsian placks ...

Many Russian proverbs and sayings are built in sound terms on A. and on the rhyme that came out of A., which is under stress: “As hunger takes, a voice will appear”; "The quieter you go, the further you'll get"; "One with a bipod, seven with a spoon." The poets of the presyllabic and syllabic era do not have A.'s versification: at that time, Russian poets worked hard on developing new rhythmic forms of verse, and such details as A. were out of their field of vision. Only in the 18th century, when the reformers of Russian versification V. Trediakovsky and M. Lomonosov developed the foundations of a new metrical verse, did a tendency to use alphabet as a means of sound expression emerge. A scientist and experimenter, Lomonosov composed special alliterative verses in which the "g" sound prevailed:

Hilly coast, favorable moisture,

Oh, mountains with clusters, where the south warms the lambs,

Oh, grads, where are the auctions, where are the brain-round mash ...

(“On the dubious pronunciation of the letter “g” in the Russian language”)

A. Sumarokov, G. Derzhavin and K. Batyushkov's experiments in verse alliteration were successful. Gorgeous A. in the verses of A. Pushkin.

Neva swelled and roared

Cauldron bubbling and swirling.

The hiss of foamy glasses

And punch flame blue.

Who will start a passionate bargain?

I sell my love...

In the following poems by Pushkin, subtle A. is used - a combination of consonants and vowels:

Sad time! oh charm!

Your farewell beauty is pleasant to me ...

In the spirit of Pushkin's artistry, there are beautiful A. and other poets, for example:

Like the Volga shaft is white-headed

Reaches a whole to the shores.

(N. Languages)

Volga, Volga, abounding in spring

You don't flood the fields like that...

(N. Nekrasov)

In the verses of the Symbolists who cultivated A., the sense of proportion is often violated; their A. are pretentious and intrusive, which is especially true of Balmont, who once struck his contemporaries with the poem “The Longing Boat”, entirely built on a mechanical change of alliterative sounds - c, b, h, s, etc .:

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

A storm is close, beats on the shore

Uncharmed black shuttle...

Alien to the pure charms of happiness,

Boat of languor, boat of worries

Threw the shore, beats with the storm,

looking for bright dreams hall...

Another poem by Balmont "Moisture" is entirely alliterated to "l":

The oar slipped from the boat,

The coolness is gentle.

"Cute! My dear!" - light,

Sweet from a cursory glance.

The swan swam away in the semi-darkness,

In the distance, whitening under the moon.

The waves crash to the oar,

Lashes to the moisture of the lily.

Involuntarily I catch hearing

The babble of a mirror bosom.

"Cute! My dear! I love" -

Midnight looks from the sky.

A. is original in the following verses by I. Severyanin:

Elegant stroller with electric beat

It rustled elastically on the highway sand.

“To dose alliteration,” wrote V. Mayakovsky in the article “How to make poetry?”, “It is necessary to be extremely careful and, if possible, repetitions that do not stick out to the outside. An example of clear alliteration in my Yesenin verse is the line: “Where is he, the ringing of bronze or the edge of granite ...”. I resort to alliteration for framing, for even greater emphasis on a word that is important to me.

One of the elementary types of A. is onomatopoeia, for example, in the poem “Pulkovo Meridian” by V. Inber (the growl of Nazi aircraft over besieged Leningrad):

German engines growl above:

We are the Fuhrer's obedient slaves,

We turn cities into coffins

We are death... You will be gone soon.

Or in P. Antokolsky's poem "About a guy from the Nazi division":

For three days it was heard how on the road a boring, long

The joints were tapping: to the east, east, east ...

ASSONANCE(French assonance - consonance) - 1) incomplete rhyme common in romance poetry, in which only stressed vowel sounds coincide. In Russian poetics, however, it is customary to call an inaccurate rhyme in which stressed syllables coincide, while the ends of rhyming words are either dissonant or approximately consonant. Assonance rhymes, as a stylistic device of euphony, have existed in Russian folk poetry for a long time. A. are found in "The Tale of Igor's Campaign", in "The Tale of Grief-Misfortune", in "Zadonshchina" and other ancient monuments of Russian literature. For example, A. in "The Tale of Igor's Campaign":

Rishcha in the path of Troyan,

through the fields to the mountains, -

sing the song of Igor...

If Igor is a falcon in flight, -

then Vloor will flow vlkom ...

A. Russian folk verses are sprinkled - songs, ditties, proverbs and sayings:

The girl is arrogant -

Didn't give thanks

Didn't call me friend.

Alyonushka is not good,

Didn't let me drink water.

Black-browed big guy

He put a stone on his heart.

I give a scarf - blue coims,

Wipe yourself, dear, remember.

Dear falcon, dear swan,

When you get bored, you will come.

Here is A. in ditties Yaroslavl region:

I will sew a dress with a frill,

I will embroider a puff on the frill.

No time is harder

When a darling loves two.

Sing more merrily, harmonica,

Louder, black furry,

My darling on the path

I was driving a fordzone.

Friends about me

They say that a fashionista.

I need to be fashionable,

Because - a collective farmer.

Along with rhymes, A. are found in the works of Russian virsheviks. The reform of versification, carried out by Trediakovsky - Lomonosov, established the principle of classical rhyme: from the vowel of the stressed sound to the end of the word, all sounds must coincide. However, Russian classics can sometimes be found among strict rhymes and A., for example, in Pushkin:

And in front of the blue rows

Their militant squads,

Carried by faithful servants,

In a rocking chair, pale, motionless,

Suffering from a wound, Karl appeared.

("Poltava")

But the hammer crushes stones,

And soon the ringing pavement

The saved city will be covered,

Like forged armor.

("Onegin's Journey")

The Development of Arrow in Russian Poetry of the Late 19th and Early 20th Centuries should be considered as important point search for new means of expression. In the Soviet era almost all Russian poets use A.

Here is the beginning of V. Mayakovsky's poem "Vladimir Ilyich Lenin", where the first two stanzas are entirely sustained in the A. system:

a story about Lenin.

But not because

no more

time because,

what a sharp longing

became clear

conscious pain.

Lenin's slogans whirlwind!

spread out

tear puddle?

more than alive.

Our knowledge is

and weapons.

Here are a number of examples of A. in the verses of other Soviet poets:

I want to go home, in vastness

An apartment that brings sadness.

I'll come in, take off my coat, I'll come to my senses,

Light up the street lights.

(B. Pasternak)

Congratulations mom

happy birthday to your son.

Are you worried about him?

and worry a lot.

Here he lies

sick and untidy,

unwisely married,

unprofitable for the home.

(E. Evtushenko)

We watched the sunset for a long time

Neighbors of our keys were angry.

To the old piano musician

He bowed his sad gray hairs.

(B. Akhmadulina)

When there is an excess of the soul in the soul -

No petty feelings, no hackneyed words.

The soul is generous in a new way,

Good, like a song carduelis.

(R. Kazakova)

2) The repetition of percussive, mostly vowel sounds within the verse. Internal A. are found in Russian folk verse, for example, in the song “Oh, you, canopy, my canopy”:

Canopy new, maple, trellis...

Released a falcon from the right sleeve ...

Fly you, my falcon, high and far,

And high and far to the native side.

Pushkin masterfully used the internal A., for example, in the following verses, built on a booming “u”:

Do I wander along the noisy streets,

I enter a crowded temple,

Am I sitting among the foolish youths,

I surrender to my dreams.

M. Lermontov’s internal A. on “u” and on “a” are very expressive in the poem “Borodino”:

At our ears on top,

A little morning lit up the guns

And forests blue tops -

The French are right here.

I scored a charge in the cannon tight

And I thought: I will treat my friend! ..

Here the drums crackle -

Examples of sound writing in Russian poetry

What is a poet? A person who writes poetry? Of course not. He is called a poet... because... because he... brings words and sounds into harmony, because he is the son of harmony, a poet... Three things are possible for him: firstly, to free sounds from their native beginningless element in which they reside, firstly secondly, to bring these sounds into harmony, to give them a form, and thirdly, to bring this harmony into the external world.

The Russian language is famous all over the world for its beauty and richness. He earned fame for a huge number included in the active stock.

In this article we will answer the question: "What is sound writing?". This one is often found in the poetic works of Russian authors.

Sound writing is a phonetic speech tool that gives a work a special artistic expressiveness. It is based on the repetition of various phonetic combinations. This is a technique for enhancing the visual properties of the text. It helps to make the text more expressive, to create auditory images. For example, it can convey the sound of rain, the clatter of hooves, thunder.

The essence of sound painting is reduced to the repetition of certain sounds or syllables in order to achieve the desired visual effect. There are only four varieties of this technique:

1. The author uses combinations of the same sounds in different words to achieve speech figurativeness. Consider an understandable example: "Reeds rustled in the wilderness." A repeated repetition of the sound "sh" is visible.
2. The repetition of letters similar in their phonetic sound is used. For example: "A siskin jumps on tiptoe." A combination of the sounds "c", "ch" and "zh".
3. The reception is based on the use of sounds that create contrast with their sound (such as "d" and "l"). Let's get acquainted with an example: "May's wonderful day of summer is the best gift."
4. They resort to several types of sound organization, supplementing with intonational features.

We learned what sound writing is. And now let's move on to getting to know her techniques.

Alliteration and consonance

Alliteration is a technique of speech expressiveness, which is based on repetition. We encounter it both in Russian and in foreign poetry. The successful use of alliteration shows how strongly the author has a sense of artistic tact.

In order to successfully use this technique, you must be the owner of a sense of proportion. You need to feel exactly how many repeated sounds you can enter without overloading the text.

Alliteration is used by poets to create certain associations. For example, repeating the sound "p" can convey the sound of a motor, and "gr" - the sound of thunder.

In Russian, alliteration exists hand in hand with consonance (the repetition of a consonant that ends a word).

Sound writing: examples of alliteration

Many Russian poets are famous for their ability to successfully use the technique of alliteration. The most famous of them: A. S. Pushkin, N. A. Nekrasov, G. R. Derzhavin, V. V. Mayakovsky, F. I. Tyutchev.

Let's look at a few examples from their works in order to understand how sound writing looks like in the verses of talented and recognized poets:

1. “In an hour from here, your flabby fat will flow out into a clean lane over a person,” a line from V. V. Mayakovsky’s poem “Nate”. We see the repetition of the sounds "h", "s".
2. AT " The Bronze Horseman» A. S. Pushkin, we also come across an expressive and good example repeated use of a dull sound: "The hiss of foamy glasses and punch a blue flame." The author uses the phonetic repetition "sh", which conjures up the image of sizzling champagne.
3. The work of G. R. Derzhavin “Waterfall” presents us with a repetition of the sounds “gr”, which reproduce the sound of thunder: “The echo rumbles over the mountains, like thunder rumbling over thunders.”

Assonance

Assonance is the repetition of a stressed vowel or a combination of both within the same verse or phrase. This technique is used to make the piece easier to hear. And his sound is more melodic.

Assonance is much rarer than alliteration. It is not so easy to notice it in the text, but if you are careful, it is possible.

Assonance has been used by poets for centuries. For example, it is found in French and old folk songs.

Assonance examples

Like alliteration, assonance is found in the works of many Russian poets. For this reason, their poems are distinguished by a special euphony and expressiveness. Consider examples of what sound writing looks like in literature:

1. In A. Blok's poem "Factory" there is a repetition of the stressed vowel "o": "Thoughtful bolts creak, people approach the gate."
2. AT romantic poem A. S. Pushkin, you can find a detailed example of the use of assonance: “His young daughter went for a walk in a deserted field.” The stressed sound "o" is repeated in each independent part of speech.
3. The work of B. L. Pasternak “Winter Night” also shows a good example of the use of assonance: “It is snowy, snowy all over the earth to all limits.” The repetition of the stressed sound "e" in each independent word is clearly visible, because of this technique the line seems more melodious.

Dissonance and lipogram

Dissonance and lipogram are sound writing techniques that are rarely found in modern Russian literature.

A lipogram is an artistic technique, the essence of which is that the poet deliberately avoids the use of any sound. In the golden age of literature, the use of this tool was considered an indicator high level poet's skill.

Among Russian writers, the most famous adherent of the lipogram is G. R. Derzhavin. Consider sound writing, examples of which can be found in his poem "Freedom":

Warm autumn breath

anointing oaks,

Quiet whispering sheets

The verse consists of four stanzas of six lines each. In none of them you will find a word containing the letter "r".

The technique is found in the works of experimental poets silver age. For example, V. V. Mayakovsky, I. Severyanin.

Consider an example from a poem by V. V. Mayakovsky "To the workers of Kursk, who mined the first ore ...".

Passed through the fire

through cannon muzzles.

Instead of mountains of delight -

woe down.

Anaphora and epiphora

Sound writing in literature includes many techniques. They can be both generally accepted and copyrighted. Let's look at a few more tricks.

Sound anaphora and epiphora are the repetition of one sound or consonances at the beginning or at the end of a word, respectively. The technique is widely used in poetic works.

Let's get acquainted with examples found in famous Russian poets:

1. In K. Balmont's poem, one can find an epiphora: "They made a noise, sparkled and attracted to the distance, and drove sorrows, and sang in the distance." At the end of each verb, we see a combination of “li” sounds, which gives the lines a special melody and melodiousness.
2. An example of an anaphora using the repetition of two sounds “d” and “m” is found in the work of M. Tsvetaeva “To you in a hundred years”: “Friend! Don't look for me! Another fashion! Even the old people don't remember me." The repetition of phonetic combinations in this case helps to highlight the most significant words for the author.

pun rhymes

The means of speech expressiveness glorified the Russian language. Sound writing is one of the techniques that make our literature unusually melodious and expressive.

punning rhymes - artistic medium, which is based on a play on words and sound similarity. The poet rhymes lines at the expense or homonymy.

Often this technique is used to achieve comedy. It is found in the works of V.V. Mayakovsky, A.S. Pushkin, Emil Krotky, D. Minaev. Let's look at a few examples:

1. In V. V. Mayakovsky's Chastushkas, one can easily find a punning rhyme:

In October, do not fluff from heaven -

snow is falling from the sky.

Something our Denikin is swollen,

he became curvy.

2. A not entirely humorous use of punning rhyme can be seen in the ironic creation of the famous poetess M. Tsvetaeva “Flour and Flour”:

Will everything move? Will it be flour?

No, flour is better!

Outcome

In this article, you learned what sound recording is. We examined its most common techniques and examples of use in Russian poetry, made sure that the extraordinary beauty and expressiveness poetry gives masterful use speech means expressiveness.

Now you can easily determine which sound technique the poet used, and evaluate his talent as he deserves.

The use of various phono-stylistic techniques to enhance the sound expressiveness of speech is called sound recording.

Repetitions are the brightest expressive means of sound writing:

Alliteration - the repetition of identical or similar consonants (Even in the fields the snow turns white, and the waters are noisy in the spring - they run and wake up the sleepy shore, they run and shine, and they say - Tyutch.). Alliteration is the most common type of sound repetition. This is explained by the dominant position of consonants in the system of sounds of the Russian language. Consonants play the main semantic role in the language.

Assonance - the repetition of vowels (It's time, it's time, the horns trumpet ... - P.). Assonance is usually based on only percussion sounds, since in an unstressed position vowels often change significantly. Therefore, sometimes assonance is defined as the repetition of stressed or weakly reduced unstressed vowels. In cases where unstressed vowels do not undergo changes, they can increase assonance. In the same text, different sound repetitions are often used in parallel.

Anaphora - Repetition of the initial consonants in words (Golden stars dozed off, the mirror-bottom trembled ... - Es.). With an adjacent anaphora, consonant words stand side by side (as in the above example), with a separate one they do not immediately follow each other (- Friend! Don't look for me! Another fashion! Even the old people don't remember me. - Tsv.).

Epiphora - Repetition of final sounds in words (Noisy, sparkled and attracted to the distance, and drove sorrows, and sang in the distance ... - Balm.). Like the anaphora, the epiphora can be adjacent or separate. With an adjacent epiphora, consonant words are usually grammatically dependent: they agree (In the blue evening, in the moonlit evening, I was once beautiful and young. - Es.). The combination of epiphora and anaphora gives special musicality to poetic speech. The abuse of alliteration, assonance leads to an obsessive and sometimes unnatural strengthening of the phonetic side of speech.

Word length. A very expressive stylistic function in poetic speech is sometimes performed by the contrast of short and long words. A bright stylistic effect is created in poetic speech by the use of short, monosyllabic words against the background of ordinary vocabulary and by modern authors.

Onomatopoeia: is the use of words that, by their sound, resemble the auditory impressions of the depicted phenomenon.

Onomatopoeia - (Greek word creation) convey the sound of the human voice (gasp, giggle); others - sounds made by animals (croak, meow); others imitate the "voices" of inanimate nature (rattle, creak). By their grammatical nature, onomatopoeias are nouns and verbs. Formed from interjections like bang, bang.

Sound words. The difference between onomatopoeic and sound-like words is that the former imitate the sounds characteristic of the phenomena and actions they call, while the latter are themselves expressive in sound and, thanks to this, contribute to the figurative transmission of movements, emotional states, physical and mental phenomena, etc. (whispering is an onomatopoeic word, and tricks, riff-raff, shshsh are sound-like).

1. creation of harmony, musical sounding of speech

2.expressive-pictorial

3.emotionally expressive

4. semantic (underlining important words)

5. compositional (similar sounding of semantic segments of phrases)

Sound writing is "the use of secondary sound signs of speech for expressing various emotions, additional meanings, etc. (Great Soviet Ents-I). In the poet's dictionary of A. P. Kvyatkovsky - sound writing is a conditional term for one of the types instrumentation of the verse, the cat having established the corresponding phonet of the composition of the phrase in the depicted picture. V. Kholshevnikov writes: "Apart from rhyme,
repeating regularly, sound repetitions within the verse now appear, then disappear, then they are barely caught, then they are heard very clearly. Therefore, when clearly audible repetitions occur after a series of "neutral" verses in relation to sound, the verse stands out noticeably.

Write with sounds.

Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
A storm is close, beats on the shore
Uncharmed black shuttle...
Alien to the pure charms of happiness,
Boat of languor, boat of worries
Threw the shore, beats with the storm,
The hall is looking for bright dreams ...
(K.Balmont)

Soundwriting is an artistic technique,
which consists in creating images by choosing words that
imitate sounds real world(wind whistle, engine roar, etc.).

Sound recording is being created in various ways:

1. Alliteration- repetition of identical or similar consonants. The poet's sense of proportion and the thin tact of the poet's choice, character and appropriateness of alliteration in verse; there are no rules for using it and cannot be. (“Pipes are blowing in Novegrad, banners are standing in Putivl ...- A word about Igor's regiment). Transfer of settings before the battle. Pushkin, Tyutchev, Derzhavin, Batyushkov.

2. Assonance- repetition of vowel sounds. For the expressiveness of speech.

(Lermontov: At our ears on the top of the head, a little morning lit up the cannons and forests of the blue tops ...) Repeat - to create the atmosphere of the morning.

3. pun rhyme- rhymes based on wordplay and sound similarity. To achieve a comical effect. Pushkin, Mayakovsky. Use of homonyms, polysemantic words.

Etc. - You puppies! Follow me!

Will you by kalach,

Look, don't talk

But not that I'll beat you.

(A. S. Pushkin)

He was twenty years old negligent,

single line without giving birth.

(D. D. Minaev)

4. Anaphora, epiphora

An epiphora is a repetition of the end of a verse. Anaphora - repetition of related sounds, words, synth repetition in the beginning of verses, stanzas.

A) Lexical anaphora - subsided,dejectedly blue sea,
subsided,depressed fast rivers,
subsided,depressed walking clouds,
The blessed queen reposed...
(Folk historical song "Death of Nastasya Romanovna")

It creates the effect of sadness, crying.

Syntax anaphora, (anaphoric parallelism) repetition syntax construct:

I am standing at high doors
I follow for your work.

(M. Svetlov)

strophic anaphora, repetition of words or syntax of constructions in adjacent stanzas: in the following example, the anaphoric word, although it is separated into a separate typographic line, but it forms the beginning of an iambic verse, which ends with the last line:

From snow moisture

She's still fresh.

She wanders by herself

And breathes like deja.

She runs, runs.

Epiphora - Noise whether, sparkle ali

and to d ali attracted whether,

and Mr ali oven ali,

and ne whether vd ali…

(K. Balmont)

5. Onopathomea- words, imitating their own meaning - snoring, crunching.

Frost-drenched puddles

They are crunchy and fragile, like crystal (Severyanin)

There are many other methods of sound writing: dissonance, joint, ring, etc. But the six named above are the most popular and more often used by Russian poets.

Sound repeats

They have a similar character to other repetitions (choruses, rhymes) and are directly related to our perception. The more you repeat, the greater the conviction.

In European verse, repetitions begin at the level alliterations (Celtic, German tradition) - the repetition of the same close-sounding times. Alliteration - the principle is based on the consonance of sounds, more often consonant, repeating from line to line, but not regularly, without a system. Etc. in the "Song of Hilldebrand" the names of the kings are consonant (Heldebrand, Herebrand, etc.).

The Nibelungenlied contains the beginnings of rhyme.

Gertrude Stein wrote: "and a rose is a rose, there is a rose, there is a rose", or other translation: "... I am a rose like anything."

But in these alliterations there is not enough order (they either appear or not in any place), we are waiting for some kind of response, and therefore a rhyme appeared.

phonics

- the doctrine of the sound organization of the text, which is defined as the compliance of the text with the norms of euphony in general (for example, the text is checked for facts confluence of vowels or consonant clusters ), and the use by its author of sound repetitions ( alliteration , consonance and assonance ), as well as the facts of their semantization.

sound recording

it is a set of methods of phonetic organization of the text. In everyday speech, sounds are used arbitrarily, since the native speaker does not specifically think about which of them should be used. Meanwhile, many authors of works of art, especially poets, carry out a careful selection of sounds, guided by aesthetic objectives. The repetition of the same sounds may be necessary for the author as an additional means of rhythmizing speech. Therefore, among phonetic devices, first of all, sound repetitions are distinguished. These include alliteration, consonance and assonance.

Sometimes repetitions of sounds or their combinations have an exclusively ornamental function, i.e. decorate the text with the fact that they give it overall harmony. But sometimes they are associated in the author's text with a certain semantic meaning - and it is then that the phenomenon of sound writing arises:

Comes out Pe tr. His eyes
Shine. His face is terrible.
Movement bys tr s. He etc ek R asen.
He is like God gr oz.
Goes. A horse is brought to him.
Zealous and humble faithful horse.
Feeling the fatal fire
dr revived Eyes askance
And rushes into etc ahh combat,
Proud of the mighty rider.

In the poem "Poltava" A.S. Pushkin, by careful selection of words, forms the connection of sound repetitions with the visual image of Peter's actions. So, combinations of consonants in words bys- tr-s, etc-e- kr-asen, gr-ose, others- alive, in etc-ahe convey the energy and determination of the Russian Tsar.

The connection between the sound composition of speech and meaning is even more clearly manifested in cases where writers turn to paronomasia.

Target: repetition of what was studied in grades 5-7 about sound writing, speech paths; use of knowledge in practice in the analysis of texts.

Lesson plan:

1. Teacher's word.
2. Checking homework.
3. Sound recording.
1. Alliteration.
2. Assonance.
4. Four seasons in sound writing.
5. Paths of speech.
1. Epithets.
2. Avatars.
3. Metaphors.
4. Comparisons.
6. Practical part. Checking the degree of assimilation of the material by students. Analysis of I. Bunin's poem "The Last Bumblebee".
7. Analysis of the prose text. N. Sokolova "Ryabinka".
8. Summing up the lesson.
9. Identification of the degree of participation in the lesson. Grading.
10. Homework.

DURING THE CLASSES

You can do wonders with the Russian language.
There is nothing that could not be conveyed in Russian.
The sound of music, ... the rumble of a thunderstorm, the whisper of children and the rustle of sea gravel.

K. Paustovsky

I. Organizing stage

The teacher's word about the topic of the lesson, goals, about the epigraph, which we will return to later.

II. What wise thoughts did you find and write down in your homework?

1. Language is inexhaustible in the combination of words. (K. Pushkin).

2. There are no such sounds, images and thoughts for which there would not be an exact expression in our language. (K. Paustovsky).

3. Russian speech is like music for me:
In it, the word sounds, sings ... (N. Brown).

4. Language is the key to all knowledge and all nature. (G. R. Derzhavin).

III. What is sound recording?
Sound writing is the repetition of the same or similar consonants, as well as vowels. It is used by the authors for the purpose of greater expressiveness and increasing the imagery of the text, as the auditory impressions of the depicted phenomenon are enhanced.
Let's return to the epigraph. What sounds are repeated? The rumble of a thunderstorm, the whisper and rustle of sea gravel. What is the name of this phenomenon? Alliteration and Assonance. What is alliteration? This is the repetition of the same or similar sounds. Assonance is the repetition of vowel sounds.

IV. The next stage of the lesson is the four seasons in sound writing. We will talk about what can be heard in spring, summer, autumn, winter; note the assonance and alliteration. So,

Snow is still whitening in the fields,
And the waters are noisy in spring.
They run and wake up the sleepy shore,
They run and shine, and they say ... (F. I. Tyutchev)

The continuous repetition of u, u resembles the rumble of a stream, bl, ch - spring bursts of murmuring, continuously running streams.

Brooks murmured and murmured,
Bumblebees buzzed over streams.
murmur, ruch, murmur - the murmur of water;
buzz, buzz, - buzz.

It seems that the ears whisper to each other:
We are bored listening to the autumn blizzard. (N. A. Nekrasov)

Deaf consonants convey a whisper, rustle, rustle; u - resembles the whistle of the wind.

The flooded stove crackles with a cheerful crack.
tre, tre, h, u - resembles the crackling of firewood in the oven.

But the sound writing is not always obvious, clearly visible. Therefore, we must be attentive, sensitive to sounds, listen to the sound, and then we will discover an extraordinary sound elegance of speech, completely invisible from the outside, but combining the beauty of sound with its expediency.
Take, for example, Krylov's fable "The Crow and the Fox".
What sounds are chosen for a clumsy, stupid crow?
“Having perched, have breakfast, become thoughtful” - heavy combinations of sounds.
And what - for the Fox? - "close, captivated." Insinuatingness, flattery of Lisitsyna's speech, with aspiration, false enthusiasm - "dear, good, king bird, light, sister, feathers."

v. The most important quality of a literary text is its expressiveness. Expressiveness, on the other hand, depends on the presence in the language of certain means that are capable of imparting this quality to speech, these are figurative and expressive means.

1. Remember what an epithet is?

An epithet is a word that defines an object or action and emphasizes some property or quality in it. This is a figurative definition of an object or action; words used in a figurative sense. An epithet is a poetic definition.

Through wavy mists the moon breaks through sad glades are pouring sadly she is the light. (A. S. Pushkin)
An epithet can refer to:

1) the size of the object (“endless fields, forests”);
2) time of day or year (“spring dreams”);
3) color (“ore-yellow sand”, “emerald grass)”;
4) smell ("bitter-scented wormwood");
5) sound (“noisy oak forests”);
6) speed of movement (“fast wind”);
7) the attitude of the writer (“my first friend, my priceless friend”).

2. Personification is a trope that consists in transferring the properties of a person to inanimate objects and abstract concepts. Personifications are used to describe the natural phenomena of things surrounding a person, which are endowed with the ability to feel, think, act.

dozed off golden stars,
The mirror of the backwater trembled,
Light shines on the river backwaters
And blushes the grid of the sky.
Sleepy birches smiled,
Tousled silk braids. (A. S. Pushkin)

Name the personifications, find the method of sound recording.

3. Metaphor - a word or expression that is used in a figurative sense based on the similarity in any respect of two objects or phenomena.

The golden grove dissuaded
Birch, cheerful language,
And the cranes, sadly flying,
No more regrets...
I do not regret the years wasted in vain,
Do not feel sorry for the soul of a lilac flower.
A fire burns in the garden rowan red,
But he cannot warm anyone.
Rowan brushes will not burn,
Grass will not disappear from yellowness.
Like a tree sheds its leaves,
So I drop sad words ... (S. A. Yesenin)

4. Comparison is a trope, consisting in likening one object to another on the basis of a common feature; open matching.

At the bottom, like a steel mirror, lakes turn blue. (F. I. Tyutchev)
A birch leaf fell off and, like a carpet sent the way. (A. Maykov)
The wind whistled like a woodpecker, around the corner of a darkened house. (N. Rubtsov)

VI. The world of insects is the most numerous world of living beings, colorless and colorful, incomprehensible and beautiful, intriguing and curious, gives many associations with the world of human life. Among the eternal lyrical plots, passing from one poetic book to another, these are moths, and bees, grasshoppers, ants, butterflies and bumblebees. Listen to Ivan Bunin's poem "The Last Bumblebee". (The text of the verse, reproduced on a photocopier, in front of the students)

Analysis of the poem.

the quiet creation is called "The Last Bumblebee". The word "last" is one of the favorites in Bunin's work. Find out the meaning of this word (the last bumblebee, last days). Connection with the theme of autumn and death, with sadness, sadness; autumn, the last days of joy, happiness, withering, the death of a bumblebee.
The poem consists of three stanzas, the word "bumblebee" is only in the first and third stanzas. The first stanza contains sound writing and color writing.
How many hissing sounds [ h ], [ w ] did you count? 10. How many whistlers? [s], [s] - 7. What is the name of this phenomenon? - alliteration. Is there an assonance? - [a], [y] - 15, 6. Such injection of whistling, hissing sounds, supported by assonance, contributes to the creation of an onomatopoeic effect - the buzzing sound of a bumblebee. Epithets - black, velvet, gold - help the image of a bumblebee. "Golden mantle" - majestic, velvet - one wants to stroke, black and gold - solemn colors. Black is the color of mourning, a premonition of death. The first line sounds festive, and the second destroys this atmosphere, preparing the theme of autumn, withering, sadness. "Bumblebee ... mournfully humming with a melodious string" is a metaphor.
The lyrical hero, as it were, conducts a dialogue with a bumblebee (you are with me). Poetic appeal in the form of an interrogative sentence.
Thus, the multi-colored world of nature (bumblebee), opposed to the colorless world of man (human habitation), is at the same time united with them by a common mood.
The second stanza is presented in short, fragmentary sentences. The prefix for - (fly, hoot) means a short time. The world of nature is also multicolored here (light, heat, serenity, heat). The world of man (sills are bright).
The mood of foreboding death intensifies. The beauty of nature is fleeting.
The name of the flower (on a dried tartar) is replaced by a colorful metaphor (on a red pillow). The withered flower is transformed into the beautiful deathbed of a bumblebee.
In the third stanza, the world of man and the world of nature are separated. A person thinks, realizes what is happening. The poem acquires a philosophical sound (the fields, the weeds are empty, the wind is gloomy - an epithet).
There is no tragedy in the death of a bumblebee. The bumblebee, both alive and dead, is characterized by one epithet: golden, that is, carrying the world of fragile, imperishable beauty.

VII. Man and nature, the ability to see and appreciate beauty, the responsibility of each of us for our actions are topics that are relevant for today. Before us is Sokolova's text about the mountain ash. Reading the text by the student (expressiveness, intonation).
The subject of the text?
- Rowan.
The basic idea?
– Each person is responsible for his actions, and we are all together responsible for what is happening on Earth; what will be left after us.
Style?
- Artistic combined with colloquial.
type of speech?
- Narrative and description with elements of reasoning. What artistic and linguistic means does the author use to describe the tree, the participants in the action?

(Students make notes in their notebooks, then read them out).

1. Rowan, tree - diminutive - petting suffixes, twig.
2. Personifications: a mountain ash settled down on the side of the road, reached for the light and rose, shaking its head; the grapes laughed; branches stretched out leaves.
3. Epithets: mountain ash is lanky, angular, sweet, curly, rich; thin branches; heavy lush rich clusters, brightly and festively colored; good long glued leaves. People: soulless people.
4. Comparison: the mountain ash is lanky, like a teenager; leaves glued together like fingers after a firm handshake.
5. Metaphors: the tree burned like a fire; each berry trembled in a drop of water; on the mountain ash one burned - the only bright brush.
6. The use of dialogue, the replicas of the characters characterize them. You can talk a lot on this topic, but for us this lesson is another step towards a complete analysis of a literary text, and in the future - to the Unified State Examination.

VIII. Summing up the lesson

- Guys, what language phenomena did we talk about today at the lesson?
Why is sound writing used in literary texts? Paths of speech?

IX. Identification of the degree of participation in the lesson. Grading

X. Homework

Make an analysis of any poem about the nature of the Russian poet.