Tools of artistic expressiveness: examples in the literature. Test "Tools of Artistic Expressiveness

The means of artistic expressiveness are so numerous and diverse that without dry mathematical calculations could not do.

Wandering on the catches of the megapolis theory of literature, no wonder to get lost and not to reach the most important and interesting. So, remember the figure 2. Two sections need to be explored: the first trails, and the second - stylistic figures. In turn, each of them branches himself into a lot of alleys, and in all of us now there is no opportunity to pass. The trail is derived from the Greek word "turn", denotes the words or phrases in which another, "allegorical" meaning is invested. And thirteen trop-lane (most basic). Rather, almost fourteen, for and here art bypassed mathematics.

First section: Trails

1. Metaphor. Find similarities and transfer the name of one item to another. For example: cherry Tram, Trolleybus Beetle. Metaphors are most often negotiated.

2. Metonimia. Also transfer the name, but on the principle of adjacency, for example: i read Pushkin (Instead of the name "Book", we feature the "author", although the poet's body, too, have read many young ladies).

2a. Synecdoche. Suddenly - 2a. This is a kind of metonymy. Replacing on the concepts. And by multiple number. " Take care of a penny"(Gogol) and" Sit down, Lumina"(Mayakovsky) is according to the concepts, instead of money and the sun." We retrain in the manager"(Ilf and Petrov) is in numbers when the only number is replaced by multiple (and vice versa).

3. Epitheet. Fashion definition of the subject or phenomenon. Examples of the car (already an example - instead of "a lot"). It is expressed almost any part of speech or phrase: leisurely spring, beauty-spring, smiled in spring etc. The means of artistic expressiveness of many writers are completely exhausted by this trail - diverse, Canaly.

4. Comparison. Always twisted: the subject of comparison is the image of similarity. Most often alliances are used, "like", "exactly", as well as prepositions and other lexical means. Screaming Like lightning; silent like fish.

5. Protecting. When inanimate items are endowed with a soul when violins - Sing, trees - whisper; Moreover, completely distracted concepts can also come to life: lying, longing; Talk at least you with me, seven-terrain guitar.

6. Hyperbole. Exaggeration. Forty thousand brothers.

7. Lithot. Understatement. A drop in the sea.

8. Allegory. Through specifics - in abstraction. The train left - So the past is not to return. Sometimes there are very long-long texts with one unfolded allegory.

9. Perphrase. You walk around and about, you describe the noticeable word. " Our all", for example, or" Sun of Russian poetry". And just pronounce - Pushkin, this with this success is not every will.

10. Irony. Thin mockery when words with converse .

11. Antiteza. Contrast, opposition. Rich and poor. Winter and summer.

12. Oxymoron. Combination of incompatibleness: live corpse, hot snow, silver curtain.

13. Antonasa. Looks like a metonymy. Only here necessarily appears the name of the own instead of the nine. Croesus - Instead of "rich".

Second section: Stylistic figures, or speech turns that enhance the expressiveness of the statement

Here we remember 12 branches from the main prospectus:

1. Graduation. The location of the words is consistent - by significance, by increasing or decreasing. Kreferedo or Diminuendo. Remember how to smile at each other Koreiko and Bender.

2. Inversion. The phrase in which the usual order of words is broken. Especially often adjacent to irony. " Where, smart, you wander your head"(Wings) - there is also irony.

3. Ellipsis. From the inherent expressivity "swallows" some words. For example: " I am going home"Instead of" I go home. "

4. Parallelism. The same construction of two or more offers. For example: " Then I go and sing, then I stand on the edge".

5. Anaphor. Unity. That is, every new construction begins with the same words. Recall Pushkin "At Lukomorya Oak Green", there is a lot of this good.

6. Epiphara. The repetition of the same words at the end of each construct, and not at the beginning. " Go to the left - you will die, go right - you will die, and you will go directly - you will definitely die, but there is no road."

7. Nezuzuzie or Asintendon. Swede, Russian, it goes without saying that she rubs, rolling, cuts.

8. Multi-eyed or polysindone. Yes, too, it is clear: and bored, you understand, and sad, and no one.

9. Rhetorical question. The question that is not a waiting response, on the contrary, implies it. Have you heard?

10. Rtoric exclamation. Very much enhances the emotional heat of even writing speech. The poet died!

11. Rtoric appeal. The conversation is not only with inanimate objects, but also with abstract concepts: " What you stand, swinging ...", "Hello, joy!"

12. PARS. Also very expressive syntax: That's all. I finished, yes! This article.

Now about the topic

The theme of the artwork, as the basis of the subject of knowledge, lives on the means of artistic expressiveness, since the subjects of creativity can be anything.

Telescope intuition

The main thing - the artist should consider thoroughly, looking at the intuition telescope, what he is going to tell the reader. The image is also amenable to all the phenomena of the human life and the life of nature, animal and vegetable world, as well as material culture. Fantasy is also an excellent subject for research, from there on the page of the text, the gnomes, elves and hobbits are flying away. But the main topic is still the characteristic of the peculiarities of human life in its social essence, whatever terminators and other monsters on the expanses of the work are nourished. And no matter how the artist escapes from current public interests, he will not work with his time. The idea, for example, "pure art" - also the idea, right? All fractures over the life of society are necessarily reflected in the subject of works. The rest depends on the fighters and dexterity of the author - what means of artistic expressiveness it will choose for the most complete disclosure of the chosen theme.

The concept of a large style and custom style

Style is primarily a system that absorbs creative handwriting, the characteristics of the verbal system plus the subject image and composition (plotting).

Large style

The combination and unity of all visual and figurative means, the unity of content and form - the formula of the style. Eclecticism does not convince to the end. A big style is the norm, expediency, tradition, this is the hitting of the author's feeling for a long time. Such as Middle Ages, Renaissance, Classicism.

By hegel: three kinds of big style

1. Strict - from harsh - with the highest functionality.

2. Ideal - from harmony - filled with equilibrium.

3. Pleasant - from domestic - light and flirty. Hegel, by the way, four fat volumes wrote only about style. In a nutshell, it is simply impossible to designate such a topic.

Individual style

Purchase individual style is much easier. This is a literary rate, and deviations from it. The style of artistic literature is particularly visible to detail, where all the components are poured into the image system, and there is poetic synthesis (again, the silver curtain on Pavel Petrovich Kirsanova).

According to Aristotle: Three steps to gain style

1. Imitation of nature (apprenticeship).

2. The manner (we sacrifice the truthfulness for the artisticity).

3. Style (loyalty of reality with the preservation of all individual qualities). The perfection and completeness of the style are distinguished by works with historical truthfulness, ideological orientation, depth and clarity of problems. To create a perfect form, appropriate content, the writer needs talent, ingenuity, skill. It should rely on the achievements of predecessors, choose forms that meet the originality of his artistic designs, and for this it is also needed by a literary, and a communal horizon. A classic criterion and spiritual context is the best way and the main problem in gaining the style of current Russian literature.

Russian language is one of the richest, beautiful and complex. Not least this makes it presence of a large amount of verbal expressiveness.

In this article we will analyze what language tool and which species it happens. Consider examples of consuming from fiction and everyday speech.

Language funds in Russian - What is it?

Description of the most ordinary subject can be made excellent and unusual, using Language

Words and expressions that give text expressive are conditionally divided into three groups: phonetic, lexical (they are trails) and stylistic figures.

To answer the question that such a language agent, get to know them closer.

Lexical means of expressiveness

Trails - Language funds in Russian, which are used by the author in a portable, allegorical meaning. Widely used in artistic works.

Trails serve to create visual, auditory, olfactory images. Help create a specific atmosphere, make the desired effect on the reader.

The basis of lexical means of expressiveness is a hidden or explicit comparison. It can be based on the external similarity, personal associations of the author or desire to describe the object in a certain way.

Basic Language Means: Trails

We are confronted with the trails since school bench. Recall the most common of them:

1. Epitheet is the most famous and common trail. Often found in poetic works. Epithe is a colorful, expressive definition, which is based on a hidden comparison. He emphasizes the features of the described object, its most expressive features. Examples: "Ruddy Zarya", "Easy Character", "Golden Hands", "Silver Voice".
2. Comparison - a word or expression, which is based on a comparison of one subject with another. It is most often drawn up in the form of a comparative turnover. You can find on the use of unions that are characteristic of this: as if, as if, as if, as, exactly, that. Consider examples: "Transparent, like dew", "white, like snow", "straight, like a co-cane."
3. The metaphor is a means of expressive, which is based on a hidden comparison. But, unlike it is not issued by alliances. The metaphor is built, relying on the similarity of two speech items. For example: "Bulbs churches", "whisper of grass", "Tears of the sky".
4. Synonyms - the words are close by meaning, but differing in writing. In addition to classical synonyms, there are contextual. They take a certain value within a specific text. We will get acquainted with examples: "Jump - ride", "Watch - see."
5. Antonyms - words that have the value opposite to each other. Like synonyms, there are contextual. Example: "White - black", "screaming - whisper", "calm - excitement."
6. Elimination is the transfer of signs of characteristic features of animate in an inanimate object. For example: "Iva drank branches," "Sun smiled brightly", "the rain pounded along the roofs", "in the kitchen Twitter the radio.

Are there other trails?

The means of lexical expressiveness in Russian is very much. In addition to a group of familiar to everyone, there are both those who are unknown to many, but also widely used:

1. Metonimia - replacement of one word to another, having a similar or same meaning. We will get acquainted with examples: "Hey, a blue jacket (appeal to a man in a blue jacket)", "the whole class opposed (meaning all class students)".
2. Synekdoka - the transfer of comparison from the part to the whole, and vice versa. Example: "It was heard how the Frenchman was shown (the author speaks of the French army)", "insect fled", "there was a hundred goals in the herd."
3. Allegoria is an expressive comparison of ideas or concepts using an artistic image. Most often found in fairy tales, bass and parables. For example, Lisa symbolizes the trick, the hare is cowardly, the wolf is anger.
4. The hyperbole is intentional exaggeration. It serves to give the text greater expressiveness. It focuses on a certain quality of the subject, man or phenomenon. We will get acquainted with examples: "Words are hidden", "His deed is a higher evil," he became more beautiful forty-time. "
5. Lithota is a special accuracy of real facts. For example: "He was thinner than the co-cane", "he was not above the thimble."
6. Periprase is a change in words, expressions by a synonymic combination. Used in order to avoid lexical repetitions in one or neighboring offers. Example: "Fox is a tricky jacket", "Text - the author's brainchild".

Stylistic figures

Stylistic figures - language products in Russian, which give speeches a certain imagery, expressiveness. Change the emotional color of its values.

Widely used in poetry and prose since the time of antique poets. However, modern and outdated interpretation of the term differ.

In ancient Greece, it was believed that stylistic figures are language tools of the language, which in their form significantly differ from everyday speech. Now it is believed that the figures of speech are an integral part of the spoken language.

What are the stylistic figures?

Stylistics offers a lot of mineral resources:

1. Lexical repeats (anaphor, epiphara, composite joint) - expressive language products that include repeat some part of the proposal at the beginning, late or on the junction with the following. For example: "It was a wonderful sound. It was the best voice that I heard in recent years. "
2. Antiteza is one or more sentences built on the basis of opposition. For example, consider the phrase: "I wish in dust - and in heaven Vitai."
3. Graduation - use in the proposal of synonyms located according to the degree of increment or extrusion of the feature. Example: "Sparks on the New Year Christmas tree shone, burned, shine."
4. The oxymoron is the inclusion of words into the phrase that contradict each other in meaning cannot be used in one composition. The brightest and well-known example of this stylistic figure - "Dead Souls".
5. Inversion - a change in the classic order of the word location in the sentence. For example, he did not "fled," and "he ran."
6. Parcellation - separation of a single sentence for several parts. For example: "opposite Nikolai. Looks not blinking. "
7. Multi-alluization - use of unions to communicate homogeneous membership members. It is used for greater speech expressiveness. Example: "It was a strange and amazing, and beautiful, and mysterious day."
8. Nezvuzie - the relationship of homogeneous members in the proposal is carried out without unions. For example: "He rushed, shouted, cried, moaning."

Phonetic means of expressiveness

Phonetic means of expressiveness are the smallest group. They include repeated sounds in order to create picturesque artistic images.

Most often, this technique is used in poetry. The authors use repeat sounds when they want to pass the sound of grommets, rustling of leaves or other natural phenomena.

Also, phonetic means help to give poetry a certain nature. By using some combinations of sounds, the text can be done tougher, or vice versa - soft.

What phonetic means exist?

1. Alliteration is repeatedly in the text of the same consonants that create the necessary author image. For example: "I was a dream of catching the outgoing shadows, the outstanding shadows of the outstanding day."
2. Assonance is the repetition of certain vowels in order to create a bright artistic image. For example: "Whether I go along the streets of noisy, I go into a crowded temple."
3. Sound resistance - the use of phonetic combinations, which transmit a certain hopot hoofs, noise of waves, foliage rustling.

Eating speech means of expressiveness

Language funds in Russian were widely used and continued to be applied in literary works, whether it is a prose or poetry.

Great possession of stylistic figures demonstrate the Writers of the Golden Age. Due to the workshop of using means of expressiveness, their works are colorful, shaped, pleasant for hearing. No wonder they consider them to be the national domain of Russia.

We are faced with language means not only in fiction, but also in everyday life. Almost every person uses in its speech comparison, metaphors, epithets. Do not realize yourself, we make our tongue beautiful and rich.

Trails and stylistic figures.

Trails(Greek. Tropos - turn, turnover of speech) - words or speech turns in a portable, allegorical value. Trails are an important element of artistic thinking. Types of trails: metaphor, metonymium, synefocol, hyperbole, litt, etc.

Stylistic figures - speech turnover used to enhance expressiveness (expressiveness) of statements: anaphor, epiphara, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek. HyperBole - exaggeration) - a variety of a trail based on exaggeration ("blood rivers", "Sea of \u200b\u200blaughter"). Means of hyperboles The author enhances the desired impression or emphasizes that he glorifies, and what rises. The hyperbole is already found in the ancient epic among different nations, in particular in Russian epic.
In Russian liter, N. Gogol, Saltykov-Shchedrin and especially those who were resorted to the hyperbole.

V. Mayakovsky ("I", "Napoleon", "150 000 000"). In the poetic speech of the hyperbole often intertwinedwith other artistic means (metaphors, personification, comparisons, etc.). Opportunity -litotes.

Lithot (greek. Litotes - Easy) - a trail opposite to hyperbola; A figurative expression, the turnover, which contains an artistic dimension of the magnitude, strength, the values \u200b\u200bof the image of OP phenomenon. The littows are in folk fairy tales: "Boy with finger", "Hut on the bitter legs", "peasant with marigolds."
The second name of Litness is MEYOSIS. The opposite of lithote -hyperbola.

N. Gogol often appealed to lithote:
"Such a small mouth that more two pieces cannot miss" N. Gogol

METAPHOR(Greek. Metaphora - transfer) - a trail, a hidden figurative comparison, the transfer of the properties of one subject or phenomenon to another on the basis of general features ("work boils", "forest forest", "Dark Person", "Stone Heart" ...). In metaphor, unlike

the comparisons, the words "how", "as if", "as if" are omitted, but imply.

Century nineteenth, iron,

Truly the cruel eyelids!

To you in the darkness of the night, a relaxed

Broken man!

A. Blok.

Metaphors are formed according to the principle of personification ("water running"), separation ("steel nerves"), distraction ("field of activity"), etc. In the role of metaphors, various parts of speech can act: verb, noun, adjective. The metaphor gives speech exceptional expressiveness:

In every carnation fragrant lilac,
Sweat, crawling bee ...
You ascended under the arch blue
Above the stray crowd of clouds ...

A. Fet.

The metaphor is an unintended comparison in which both members are easily seen:

With sheaf hair of their oatmeal
You sent me forever ...
Rolled dog's eyes
Golden stars in the snow ...

S. Yesenin

In addition to verbal metaphor, metaphorical images or deployed metaphors are largely distributed in artistic creativity:

Ah, won my head of my bush,
I sucked a song captive,
Convicted at the cautious feelings
Relieve mills of poems.

S. Yesenin

Sometimes the entire product is entirely a wide, deployed metaphorical image.

METONYMY(Greek. Metonymia - renaming) - trail; replacement of one word or expression to others based on the proximity of the values; The use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "Forest is noise" - the trees are implied; etc.).

Theater is full, the lodges shine;

Parter and chairs, everything boils ...

A.S. Pushkin

In the metonymy phenomenon or item is indicated by other words and concepts. At the same time, signs or communication signs are preserved; So, when V. Mayakovsky speaks about the "steel speaker, dormant in a holster", the reader easily guesses the metonymy image of the revolver in this image. This is the difference between metamia from metaphor. The idea of \u200b\u200bthe concept in metonimia is given with the help of indirect signs or secondary values, but it is precisely this and strengthens the poetic expressiveness of speech:

You led swords on the feast abundant;

All fell with noise before you;
Europe europe; Sleep grave
Over her head ...

A. Pushkin

When the shore of hell
Foreel I will take me
When forever sleeps
Feather, my player ...

A. Pushkin

Perifraza (Greek. Periphrasis is an occasional turnover, allegory) - one of the paths in which the name of the subject, a person, the phenomena is replaced by an indication of its signs, as a rule, the most characteristic, reinforcing patterns of speech. ("King of Birds" instead of "Eagle", "King of Beasts" - instead of "lion")

Elimination(Exoprose, Personification) - View of metaphor; The transfer of the properties of animated objects into inanimate (sow singing, the river plays ...).

My bells,

Floweries steppe!

What to look at me

Dark blue?

And what do you keep

On the day of fun May,

Impairment of certain grass

Head shaking?

A.K. Tough

SYNECDOCHE (Greek Synekdoche - Calculation)- One of the paths, the type of metonymy, consisting in the transfer of the value from one subject to another on the basis of the quantitative relationship between them. Synekdoka - an expressive means of typing. The most common types of synefoi:
1) part of the phenomenon is called a whole value:

And in the door -
bustlands,
sinels,
tulup ...

V. Mayakovsky

2) In the meaning of part - Vasily Terkin in a fisting match with a fascist says:

Oh, you won like! Fight
Well, not a dirty password!

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

There is a man from slavery and chains ...

M. Lermontov

And proud grandson of Slavs, and Finn ...

A. Pushkin

4) Number replacement:

Milongs you. We are darkness, and darkness, and darkness.

A. Blok.

5) Replacing the generic concept of species:

Being a penny. Very good!

V. Mayakovsky

6) Replacing the species concept of generic:

"Well, sit down, shine!"

V. Mayakovsky

COMPARISON - A word or an expression that contains the likelihood of one object to another one, the other situation. ("Strong, as a lion," "said, as cut off," ...). Buru Millet Heaven Croot

Whirlwind snow twist;

How the beast she will win

Then pay, like a child ...

A.S. Pushkin

"As the steppe scorched by Palaals, the life of Grigory became black" (M. Sholokhov). The idea of \u200b\u200bthe blackness and gloomy of the steppe and causes the reader to the smarter feeling that corresponds to the state of Gregory. There is a transfer of one of the meaning of the concept - the "scorched steppe" to another - the internal state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to deployed comparisons:

Safler Steppe View, where without a prep,
Wave only Silver Kickl
Flying Akvilon wanders
And there is a free dust freely;
And where is the circle, how do you like to see,
Meets Birch View Two Il Three
Which are under a blue mol
Dali in the evening in the evening.
So life is boring when there are no struggle,
Last penetrating, distinguish
There are few things in it, in color of years
She's soul will not merge.
I need to act, I am every day
Immortal would want to want as a shadow
Great hero and understand
I can not, what does it mean to relax.

M. Lermontov

Here, with the help of the deployed S. Lermontov transmits a whole range of lyrical experiences and reflections.
Comparisons are usually connected by the unions "as", "as if", "like", "accurately", etc. Possible non-union comparisons:
"I have a whitewower Kudri - Chesna Len" N. Nekrasov. Here the union is omitted. But sometimes he is not supposed:
"Sorrow execution, the usual feast of the people" A. Pushkin.
Some comparison forms are descended and therefore are not connected by alliances:

And she is
At the door Il by the window
Early asterisk lighter,
Roses Morning Fresh.

A. Pushkin

She is Mila - I will say between us -
Courtic Vitya Thunderstorm,
And you can with southern stars
Compare, especially verses,
Her Circassian eyes.

A. Pushkin

Special type of comparison are the so-called negative:

Does not shine on the NEB, the sun is red,
Do not admire the puffy blue:
Then behind the meal sits in the crown of the crown
The Terrible Tsar is sitting Ivan Vasilyevich.

M. Lermontov

In this parallel image of two phenomena, the form of denying is simultaneously and method of comparison and method of transferring values.
A special case is used in comparison of the form of a cooling case:

It's time, beautiful, wake up!
Open the unfortunate eyes closed
Towards North Aurora
Star of the North.

A. Pushkin

I am not a par - I sit with an eagle.

A. Pushkin

Often there are comparisons in the form of a vinitive case with a pretext "under":
"Sergey Platonovich ... sitting with athathin in the dining room, saved expensive, under oak, wallpaper ..."

M. Sholokhov.

Image - Generalized artistic reflection of reality, clothed in the form of a particular individual phenomenon. Poets think images.

Not the wind rages over Born,

Not from the mountains ran the streams,

Frost - Voivode Writh

Own owners.

ON THE. Nekrasov

ALLEGORY(Greek. Allegoria - allegory) - a specific image of the subject or phenomenon of reality, replacing an abstract concept or thought. The green branch in the hands of a man has long been an allegorical image of the world, the hammer was an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coat of arms, emblems and acquire a steady nature.
Many allegorical images go back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in the hands - the goddess of the femids - the allegory of justice, the image of the snake and bowls - the allegory of medicine.
Allegory as a means of strengthening poetic expressiveness is widely used in artistic literature. It is based on rapprochement of phenomena on the correlation of their essential parties, qualities or functions and belongs to the group of metaphorical trails.

Unlike the metaphor, in the allegory of figurative importance expressed by the phrase, a whole thought or even a small work (fable, parable).

GROTESQUE (Franz. Grotesque is a quaint, comical) - the image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Announced at a meeting I break avalanche,

Wild curses expensive expring.

And I see: people sit down half.

About Devil! Where is half another?

V. Mayakovsky

IRONY (Greek. Eironeia is a pretense) - the expression of ridicule or debris by allegory. The word or statement acquires the meaning in the context of speech opposite to the literal sense or denying it, questioning.

Servant of influential Lords

With what courage noble

Throws speech you free

All those who closed their mouths.

F.I. Tyutchev

SARCASM (Greek. Sarkazo, letters. - Rive meat) - contemptuous, stinging mock; The highest degree of irony.

ASSONANCE (Franz. Assonance - consonance or respond) - repetition in line, stroke or phrase of homogeneous vowels.

About spring without end and without edge -

Without end and without the edge of a dream!

A. Blok.

Alliteration (sounding) (Lat. AD - K, and Littera - Letter) - the repetition of homogeneous consonants, which gives verse special intonation expressiveness.

Evening. Seaside. Sighs wind.

Music exclamation of waves.

Close storm. To the shore beats

Alien Charam Black Chelny ...

K. Balmont.

Allyusia (from Lat. Allusio - a joke, hint) - a stylistic figure, a hint through a similarity of the word or mention of a well-known real fact, a historical event, literary work ("Glory Herostrat").

ANAPHORA(Greek. Anaphora - Execution) - Repetition of initial words, strings, stains or phrases.

You and wretched,

You and abundant,

You and scored,

You and alliness,

Mother-Rus! ...

ON THE. Nekrasov

ANTITHESIS (Greek Antithesis - contradiction, opposition) - a sharply pronounced opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose, I am a poet;

You are broken, like poppies color,

I, like death, and skin and pale.

A.S. Pushkin

You and wretched,
You and abundant,
You and Mighty,
You and powerless ...

N. Nekrasov

So little passed roads, so much mistakes made ...

S. Jenin.

The antithesis strengthens the emotional color of speech and emphasizes the thought expressed with its help. Sometimes the principle of antithesis built all the work

APOCOPE(Greek.APOKOPE - cutting off) - artificial shorting of the word without losing its meaning.

... how suddenly the fuck shares

At them, the bear snapped the mouth ...

A.N. Wings

Lai, laughter, singing, whistle and clas,

Human sulfur and horse top!

A.S. Pushkin

ASYNDETON (Asindandon) - proposal with the lack of unions between homogeneous words or parts of the whole. Figure giving speech dynamism and saturation.

Night, street, lantern, pharmacy,

Meaningless and dull light.

Live even though a quarter of a century -

Everything will be so. There is no outcome.

A. Blok.

Multi-allu (Polysindone) - excessive repetition of unions, creating an additional intonation color. The opposite figure -nezuzuzie.

Slowing speech with forced pauses, multi-eyed emphasizes individual words, enhances its expressiveness:

And the waves are crowded and rushing back
And again come, and the shore beat ...

M. Lermontov

And boring and sad, and some hand feed ...

M.Yu. Lermontov

Gradation- from lat. Gradatio is a gradentality) - a stylistic figure in which the definitions are grouped in a certain order - the increase or weakening of their emotionally meaningful significance. Graduation enhances the emotional verse sound:

I do not regret, do not call, do not cry,
Everything will pass as with white apple trees smoke.

S. Yesenin

INVERSION(Lat. Inversio - permutation) - a stylistic figure, consisting in a violation of the generally accepted grammatical sequence of speech; The permutation of the phrase parts gives it a kind of expressive shade.

Lady of vintage deep

A.S. Pushkin

Dowger past he arrow

Flew around marble steps

A. Pushkin

OXYMORON (Greek. Oxymoron is witty-stupid) - a combination of contrasting opposite to the meaning of words (living corpse, giant dwarf, heat of cold numbers).

PARALLELISM(from Greek. Parallelos - going next to) - a identical or similar arrangement of speech elements in the adjacent parts of the text, creating a single poetic image.

In the blue sea, the wave is splashing.

In the blue sky, the stars shine.

A. S. Pushkin

Your mind is deep that the sea.

Your spirit is high that the mountains.

V. Bryusov

Parallelism is especially characteristic of the works of oral folk creativity (epic, songs, chastushk, proverbs) and close to them in their artistic peculiarities of literary works ("Song about the merchant Kalashnikov" M. Yu. Lermontov, "Who in Russia live well" N. A . Nekrasova, "Vasily Terkin" A. T, Tvardovsky).

Parallelism can have a broader thematic character in content, for example, in the poem of M. Yu. Lermontov "Tuchka Heaven - Eternal Wanderers."

Parallelism can be both verbal-shaped and rhythmic, composite.

Parcelation - Expressive syntactic reception of intonation division of sentences for independent segments, graphically dedicated as independent proposals. ("And again. Gulliver. It costs. Lock" P. G. Anticolish. "How cares! Good! Mila!" Griboedov. "Mitrofanov grinned, prevented coffee. Squeezed."

N. Ilina. "He's quarreled with the girl soon. And because of what. " G. Uspensky.)

Transfer (Franz. Enjambement - Sampling) - Missing the syntactic member of speech and membership on poems. When transferring the syntax pause inside the verse or semi-edge is stronger than at its end.

Leaves Peter. His eyes

Shine. His face is terrible.

Movement Fast. He is beautiful,

He is all like God's thunderstorm.

A. S. Pushkin

RHYME (Greek. Rhythmos - Slimming, proportionality) - varietyepifors ; The consonance of the ends of the poetic lines, creating the feeling of their unity and kinship. Rhyme emphasizes the border between verses and connects poems in stains.

ELLIPSIS (Greek. Elleipsis - dropping, omission) - the figure of poetic syntax, based on the passing of one of the members of the sentence, is easily restored in meaning (most often a fag). This achieves the dynamism and compression of speech, a strenuous change is transmitted. Ellipsis is one of the default types. In the artistic speech, the excitedness of the speaker or tension of the action is transmitted:

We sat down - in ashes, hail - in the dust,
In swords - sickles and plows.

Tools of speech expressiveness - This is one of the most important factors, thanks to which the Russian language is famous for its wealth and beauty, which has repeatedly been singing in verses and the immortal works of Russian classics writers. To this day, the Russian language is one of the most difficult to explore. This contributes to a huge amount of means of expressiveness, which are present in our language, make it rich and multifaceted. To date, there is no clear classification of means of expressiveness, but you can still select two conditional types: stylistic figures and trails.

Stylistic figures - These are speech turnover that the author uses to achieve maximum expressiveness, which means it is better to convey to the reader or the listener the necessary information or meaning, and also give the text emotional and artistic color. Stylistic figures include such means of expressiveness as antithesis, parallelism, anaphor, gradation, inversion, epiphara and others.

Trails - These are speech turnover or words that are used by the author in an indirect, allegorical meaning. These tools of artistic expressiveness - An integral part of any artistic work. The paths include metaphors, hyperbolas, lithotons, synengo, metonimia, etc.

The most common means of expressiveness.

As we have said, there are a very large number of lexical expressiveness in Russian, so in this article we consider those of them that most often can be found not only in literary works, but also in everyday life of each of us.

1. Hyperbola (Greek. HyperBole is an exaggeration) - this is a look of a path, the basis of which is an exaggeration. Thanks to the use of hyperboles, the value is enhanced and the desired impression is performed on the listener, the interlocutor or the reader. For example: sea Sears; ocean Love.
2. Metaphor (Greek. Metaphora - Transfer) is one of the most important means of speech expressiveness. This trail is characterized by the transfer of the characteristics of one item, creature or phenomenon to another. This trail is like a comparison, but the words "as if", "as if", "how" are descended, but everyone understands that they are meant: scattered reputation; glowing eyes; bulk emotions.
3. Epithet (Greek. Epitheton is an application) - this is a definition that gives the most ordinary things, objects and phenomena Artistic color. Examples of epithets: summer golden; flowing hair; Wavy fog.

   IMPORTANT. Not every adjective is epithet. If the adjective indicates the clear characteristics of the nouns and does not carry any artistic load, it is not an epithet: green grass; wet asphalt; bright sun.

4. Antithesis (Greek. Antithesis is opposed, contradiction) - another means of expressiveness, which is used to enhance drama and is characterized by a sharp oppression of phenomena or concepts. Very often, the antithesis can be found in verses: "You are rich, I am very poor; You are a prose, I am a poet ... "(A.S. Pushkin).
5. Comparison - Stylistic figure, whose name speaks for itself: When compared, one subject is associated with another. There are several ways to make a comparison:

   - noun ("... storm malloy The sky is crumbling ... ").

   Speech turnover in which there are "as if there are", "like", "like", "like" (the skin of her hands was rude, like sole of booga).

   - Putting proposal (night fell on the city and in a matter of seconds everything was amended, as if there was no live rest on the squares and streets just an hour ago).

6. Phraseologist - a means of lexical expressiveness of speech, which, unlike others, cannot be used by the author individually, as it is, above all, a steady phrase or turnover, which is typical of Russian only ( neither fish nor fowl; fool swear; like a cat with a drink).
7. Elimination - This is a trail that is typical of the human properties of inanimate objects and phenomena (and the forest came to life - trees spoke, save the wind in the tops of the fir).

In addition to the above, there are the following means of expressiveness that we will consider in the following article:

• Allegory
• Anaphora
• Gradation
• Inversion
• Alliteration
• Assonance
• Lexical repeat
• Irony
• Metonymy
• Oxymoron
• Multi-allu
• Litotes
• Sarcasm
• Ellipsis
• Epiphara et al.

Agency for the management of government agencies of the Perm Territory

KGAOU SPO "Perm Trade - Technology College"

Expressive tongue

Textbook on discipline

"Russian language and culture of speech"

Perm-2014.

Considered

at a meeting of PCC OD

Approved scientific - methodical

council Kgau PTTK

Chairman of PCC OD

Deputy. Director for NMR

Vedernikova N.A.

Efremova E.A.

The study manual "Expressive Means of Speech" is intended for students studying in the specialties "Commerce", "Management" and "Catering Technology". The manual presents theoretical material provided for by the program on the discipline "Russian language and culture of speech" (section "Communicative qualities of speech").

Compiler:Vedernikova N.A. Top category teacher

discipline "Russian language and culture

Explanatory note

Introduction

1. Paths

2. Syntactic figures

3 . Phonetic figures

Bibliography

application

Explanatory note

The textbook was developed in accordance with the State Standard for secondary special institutions, intended for students who study in the specialty "Commerce", "Management" and "Catering Technology" and is the theoretical material provided for by the program on the "Russian language and a culture of speech" . The manual considers the communicative aspect of the culture of speech.

The purpose of the manual to help students take advantage of expressive means of language that are necessary to improve the quality of speech, as well as when preparing for the Internet - Exam.

The expressive instruments of the language are absorbed both in practical speech activities and in special, targeted education and self-education. This tutorial is an additional educational material both with independent study of the "expressive language of the language" and in preparing for a practical session on this topic. The purpose of the manual was reflected in its structure and content. Theoretical material is given according to the following plan: determining the expressive means, its types and functions in speech. In the introduction, the concept of expressiveness of speech and the classification of finely expressive means is given. The first chapter is given a characteristic of the paths, in the second - syntactic figures, in the third-of-sound means, expressiveness is combined with the didactic material (tasks, exercises): after each chapter there are questions for self-test, and in the fourth chapter, materials for practical classes and independent Work on this topic. The manual is accompanied by presentations made by students of the group 1m9-3 as independent work on this topic.

Introduction

From the point of view of speech exposure, not only the selection of arguments, but also their linguistic expression. This very well understood the ancient riters, creating theories about the qualities of speech, about the words of words, as well as on rhetorical trails and figures. The key concepts for language expression today recognize the concepts of fineness and expressiveness. The pictusivity is called such a quality of speech, which makes it clear, that is, it uses not only conceptual, but also fornded information (visual, auditory). The visual speech is perceived faster, finds a deeper emotional response, is more closely related to the evaluation (which is good, which is bad) and is better stored in memory. Expressive is called such quality of speech, thanks to which the attention of the listener is easily attracted to it and thanks to which it is fixed on it (poorly distracted from it). Expressive speech is able to "stay afloat" in the flow of information. In addition, expressive components inside the message are capable of allocating in it the main thing and the easier perception of the entire message.

Language has special reinforcement tools and expressiveness. These are verbal figures and figures of thought, which in turn are divided into trails and syntactic figures

Trails (from Greek. tropos.) - It is the transfer of names, the use of words, their combinations and proposals for the name of another subject in this speech situation in order to achieve greater artistic expressiveness. The trails give speech emotionality, clarity, attractiveness, make it non-standard. Main types of trails: metaphor, methonymy, synengo, epithet, comparison, hyperbole, litt, personification, periphrase, allegory, irony.

Syntactic figures of speech are formed by specially stylisticly significant building phrases, suggestions or group of proposals in the text. In the syntactic figures of speech, the main role plays a syntactic form, although the character of the stylistic effect largely depends on the semantic filling. Used to revitalize speech and enhance its impact on the addressee.

Three groups of figures are allocated:

1) Figures based on the ratio of words (antithesis, gradation, inversion, ellipsis, oxymoron);

2) Figures based on the repetition of the same elements (anaphor, epiphara, parallelism, junction, nonsense, multi-joint, parcel);

3) Figures based on the expression of rhetorical addresses to the reader or listener (rhetorical appeal, rhetorical question).
According to the quantitative composition of the syntax structures, the figures of the derivation and the form of the addition differ.

trails

METAPHOR - view of the trail, the use of the word in a figurative value; The word or phrase, characterizing this phenomenon by transferring signs inherent in another phenomenon to it (by virtue of the similarity of convergence of phenomena), which as an image replaces it. The originality of the metaphor as a view of the path in the fact that it is a comparison, whose members merged so much that the first term (what was compared) is ousted and fully replaced by the second (then something compared),

For example, in the sentence: You have come to accept myspring high dreamed dream;the word spring is metaphorically used in the meaning of "Youth".

Types of metaphor

I author's or individually-stylistic metaphors are usually fresh, original metaphors. They are not in the dictionaries. They are created by poets, writers. In such art metaphors, the most remote concepts often come closer, which makes the metaphor of unexpected, bright, memorable.

Examples: 1 - sleepy vobla imagination. (V.Makovsky);

2 - glass dragonfly again on the cheeks. (B. Pasternak);

3 - riding and thread hands. (O. Mandelstam);

4 - krasnaya Ryabina fire (S.Senin);

5 - hair Golden Lake. (S.Senin).

II. Stir metaphors arenames that are no longer perceived as portable values. These are petrified, dead, dry metaphors. Although they were formed on the basis of the transfer of values, now these are direct names of things, phenomena, actions.Examples:

- chair leg;

- paper;

- railway branch;

- clock arrow;

- eyeball.

III Metaphor formula - This is a metaphor whose figurative character is clearly felt. These are portable values, and not direct, not official. They do not differ in particular freshness, originality. This is the common heritage of all speakers in Russian, a figurative language fund. In fact, these metaphors have become a constant affiliation of the respective words and are described in sensible dictionaries, as their portable values.

From the point of view, what will be compared, the transfer of values \u200b\u200bis different:

The easiest case is the transfer of name from one item to another.

Examples:

Porridge is always a semi-winged mass. And this sign is transferred to what the porridge resembles. Therefore, you can say: Snow porridge, concrete porridge.

Corto is remotely similar to the ship, the boat, so they say (about the bad shirt): Thinking on this trough.

Another type of transfer is to use the name of the animal to characterize the person. This type of transfer is widespread and usually contains a negative characteristic.

Examples:

Baran is usually called a stupid man;

Puppy - a young, inexperienced person;

Ishak - stubborn.

The third type of transfer is to use a sign of an inanimate subject to evaluate a person, his mental and moral qualities.

Examples:

Calancha is a high observation tower over the building of the fire team. She was the highest building in old Russian cities . And has long been in Russia very high person called calary.

Doll is empty, soulless woman.

Flint - man of strong will, solid character.

The next type of transfer is to convey signs from one phenomenon to another.

Examples:

Dawn. Direct value - "Bright illumination of the horizon before sunrise or after sunset." The figurative value is "the beginning, the birth of something joyful": at the dawn of foggy youth, the lifestyle, dawn of freedom.

Sea. Direct meaning - "Part of the ocean is a large water space with bitter and salt water." Portable meaning - "A large number of anything, someone": sea of \u200b\u200bpeople, sea flowers, sea of \u200b\u200bbreads.

IV Deployed metaphors - These are metaphors that are consistently carried out throughout the large fragment of the message or the entire message as a whole.

Examples:

1 - Book hunger does not pass: products from a book market are increasingly turning out to be nonstable - they have to throw them away, without even trying.

2 - That covers the wind of the flocks of waves with a loud and throws them from a swing in a wild malice on cliffs, smashing in dust and splashes emerald romance.

V. Implemented metaphors are metaphors, Inappropriate to operate with a metaphorical expression without taking into account its figurative nature, that is, as if the metaphor had a direct value. The result of the implementation of metaphors is often comic.

Example: I went out of myself and entered the bus .

Metaphors' functions

Metaphors give speech expressiveness, helps to convey to the listeners not just dry facts, but also feelings, emotions.

When we use words of direct value, there are such situations that we miss the meaning of words and the words themselves past their consciousness.

Metaphors attract our attention, and we "hear" words.

In the end, we need metaphors for the soul, to protect our spirituality from the ride and garbage of harsh reality.

Metonymy

Metonymy - (Greek. "Renaming"), this is a trail consisting in the fact that instead of the name of one object, the name of another is given, also means the use of words in the secondary value associated with the primary principle of adjacency. In this case, the concept of adjacency is understood not just as a compound, but as closely related objects or phenomenon. Communication can be:

between the subject and material from which the subject is made: "Yantar in his mouth smokes" (A. Pushkin)

between content and containing:

« Well, they are still a plate, my dear " (N. Krylov)

between the action and the instrument of this action: "Feather his presence breathes" (A. Tolstoy)

"From my hands of my old Dante falls" (A. Pushkin)

5. Between the place and people at this place:
"Theater is full, the lodges shine" (A. Pushkin)

"And in the door - bushlates, sinels, Tulup" (V.Makovsky) - In this example, the social affiliation of people is indicated by the names of clothing typical of different social groups.

Example of metonimia is the use of words audience, class, school housefor the designation of people: " The audience was silent»

Quite often, geographical names are used in the metonimic meaning. For example, the names of the capitals is used in value "Government of the country" - "Paris is worried"

Types of metonymy

1. Looking for an external expression internal state (" sit in one's hands".;

2. MemoMimia, use of what is placed somewhere with what holds it ("The audience behaves well").

Functions of metonimia

Used to select different sides or object functions, as well as identifying an object through an indication of the item characteristic of it, a distinctive feature.

Promotes speech savings, reduce language expression.

It is one of the ways to form new words in the language.

Serves as a source of imagery.

Metonimical epithets act as a psychological characteristic. ( Ile's gaze is sad will not find familiar face on the stage boring)

Synecdoche

Synecdoche (Greek. Synekdoche literally compensation, correlating) - a trail based on the transfer of the name on the principle of adjacency with a smaller (parts for an integer, the type of genus, the element on the set) and vice versa.

Examples:

« All flags will visit us"(A.S. Pushkin). Word flags (Part) Indicates here "State" (whole)

"Music is tired of rumbling" - meaning tired musicians."Poet, pensive dreamer, killed by a friend! ",

«... frighten i decided to rely on the feet of the maiden of the captive mustache, humility and love. "

Sine-like species

On the dominant direction of transfer, two are allocated main varieties Synengoi: generalizing and specifying (narrowing).

1. Summarizing synecko - The indicated phenomenon appears as a totality of homogeneous components. There is a "expansion" of the word value that gives the speech as a whole is more abstract, generalized. As an expressive technique, such synengo is widely used not only in fiction, but also in journalism and colloquial speech. Wed: "... they (workers) liked hope for durable and abundant car bread, they are tired of hunger with a capricious nervous man " (Platonov); The main thing in the team became a worker; Well, the student went:

Called the only number insteadmultiple:

And it was heard before dawn,

How the Frenchman shook.

(M. Lermontov)

A certain large number is used instead.
indefinite set:

Dreams! A hundred times you need to repeat? Accept it, call, ask, say that at home!

(A. Griboedov)

2. Specifying (narrowing) Related to semantic concretization, which accompanies replacement - less instead of more: "All flags to visit us * (in the meaning of "ships"; Pushkin); * Cuts a sickle grave ears, how under the throat cut swans " (Yesenin):

Mention of part instead of a whole:

Tell me: Soon we are Warsaw (i.e. Poland) will make a proud law?

(A.S. Pushkin)

- the whole instead of part is called:

No need to timing to

That the whole earth from the Hodged cold

That all fires crowned in smoke,

When his body cooled.

(N. Aseev)

The designation of the whole is carried out through the name of the part, which, so. put forward on the fore.

In colloquial speech, synengos, which received a general language character ( smart person calledhead, Talented Masters -skillful fingers etc.).

Singochoi functions

Contributes to saving speech expression.

Serves as a means of expressiveness.

Special status acquires Synekdoha in proverbs and sayings, acting at the same time as the fact of the language and the reception of people's literature: cheerful head lives after sleeves; Fused to teach deafand etc..

Synekdha underlies some sustainable revolutions: hungry mouths, roof over head, golden hands, officials, bad head.

In the book styles, especially in journalistic, syncdoches are often found: 302 million dollars "drowned" In the Pacific Ocean, when the hot fragments of the Mars-96 interplanetary station were in vast velocity, did not touch, fortunately, who was expected to be unpleasant surprises Australia. Ashamed: our old people are starving, not receiving pensions for 2-3 months, and here suchestimation sent to the bottom of the sea ...

(V. Golovanov. In which "Space Ambitions" costs // AIF. - 1996.).

Epithet

Epithet - This is a figurative, artistic definition of a word that determines the object or action and emphasizing in them any characteristic property, quality.

For example: blind love, dense ignorance, chilling politeness.

Types of epithets

1. Community-based epithets that are constantly used in the literary language has sustainable ties with a certain word, have lost imagery:cracker frost, quiet evening, quick running.

2. Immediate epithets are a characteristic phenomenon of oral folk poetry, folklore. They are like a frozen characteristic, a property of a particular item. For example: red maiden, clean field, violent head.

3. Individual copyright (created by authors, differ in originality, imagery, the surprise of compaled semantic plans: marmalade Mood (A.hekhov), Chubannanney (D.Pisarev), Curious thoughtful tenderness (N.Gumilev)

Functions of epithets

This is a strong and vivid expressive agent. In contrast to the usual definition, the epithet is figuratively, which brings it closer to the metaphor.

The epithet allows economically and expressively, to vividly characterize the object, emphasize its property.

Epteat enriches content statement.

Comparison

Comparison - view a trail in which one phenomenon or concept is clarified by comparing it with another phenomenon. A comparison can be assigned to the primary species of the path, since when the value from one phenomenon is transferred to the other, these phenomena do not form a new concept, and are stored as independent.

For example: "As the steppe scorched by Palaals, Black Opal Life Grigory" (M. Sholokhov). The idea of \u200b\u200bthe blackness and gloomy of the steppe and causes the reader to the smarter feeling that corresponds to the state of Gregory. There is a transfer of one of the meaning of the concept -"Scorched steppe" to another - the internal state of the character.

Frowny, with a novel, sky,

In me, like scenery, at home,

Asphalt and air smells of wet snow, and itifies wet cold winter. (N.Rovtsov)

In any comparison, it is possible to allocate comparison, an image of comparison and a sign of similarity. For example, in Pushkin Description " Under blue skiesmagnificent carpets, shiny in the sun, the snow liesthe object of comparison is snow cover, an image of comparison - a carpet, a sign of similarity - closes the land. On these three elements, a comparison is built: snow carpet lying on the ground.

And at the same time, the comparison is the simplest form of a figurative speech. Almost every shaped expression can be reduced to comparison. For example: gold leaves (metaphor) - yellow yellowlike gold; kamysh Skysh (personification) - Reason Realas as if he is sleeping, etc.

Types of comparison

1. Could be different in their structure. Most often they act in the form of comparative turnover and join with the help of alliances as, exactly, as if, as if.For example, at V. Mayakovsky: ...Beret,like a bomb beret,like a hedgehog like a razor double-up...

2. This is the same subordinate unions can also attach comparative proposals: The back of it was abandoned cool,like pershivo junny pillow (K. Fedin).

3. The form of a comparison form, expressed by nouns in the articulated case: I would be a wolf by bureaucracy(V.Makovsky). Another example: snake rushing on the ground white gym(S. Marshak).

These comparisons are close and those that act in the form of a comparative degree of adjectives, the shortcomings: From the darkness of the bush crawling,mokhnatya Medvezhnka (V. Lugovskaya).

4. There are comparisons that are entered by words looks like: Reminds: Maple leafreminds us Yantar (N. Zabolotsky); ...Ifell asleep in the mountains ... In the huge stood garden,similar to virgin forest (K. POUST).

5. The formation can act even in the form of a questionnaire. For example, A. S. Pushkin in the poem "Copper Horseman" addresses Peter I: About Powerful Lord of Fate! Are you noting over the most abyss at the height, raised by the Jespal Iron Rose on the pillas?

6. Negative comparisons are known in which one item is opposed to another: Not windraging over the boron, the streams ran from the mountains, Frost of the Voivode Watch Own Booking His(N. A. Nekrasov).

7. An indefinite comparison in which the highest evaluation of the described, not receiving, however, is given of a specific figurative expression. That's when they write: neither in a fairy tale, no pen describe ...For example, A. Tvardovsky: You will not tell, do not describe, what kind of life, when in battle for someone else's fire, hear your artillery.

8. Comparisons for comparison of items based on the similarities of their destination functions: The plan is necessary, but it should not be over the work as a drawing not subject to change.

However, unlike other paths, the comparison is always twisted: it is called both compared subjects or phenomena, quality, actions. But how interesting is the comparison of K. Paustovsky in the story of the Golden Rose:

Comparison sometimes makes amazing clarity in the most difficult things. Jeans astronomer asked once, what are the age of our land.

"We assign yourself," Gina replied, "the Giant Mountain, at least Elbrus in the Caucasus." And imagine the only little sparrow, which carelessly jumps and pecks this mountain. So, this sparrow to shove to the foundation of Elbrus, it will take about the same amount as the earth is there.

Comparison functions

Comparisons are considered one of the strongest images of the image.

Many comparisons are included in our consciousness from early childhood. Remember Moydodyra K. I. Chukovsky, where pillow, like a frog, rowdid you dirty? Or "Fedorino Mount"? There as a black iron leg, boiled, rowed a kocherga. Whatvisuality give these trails!

Comparisons are often performed in speech an explanatory function, which significantly expands the framework of their application.

Comparison contributes to the form of a variety of items, their signs, qualities, actions.

Very often comparisons clarify color, for example: Eyes like sky, blue; The leaves are yellow, like golden; At the dawn, the fog Cudlay, confuting the smoke and hams in the shores somewhere as the river over the river (A.Tvardovsky)

This trail can be used in various speech styles:

a) not only artists of the Word are addressed to comparisons, but also scientists. Here, for example, as using a comparison, a crystal device is described in one of the scientific and popular books: "How is the crystal? Ideally streamline as a fence, like bee honeycombs, like brickwork ... Crystal is a symbol of perfect order. Just like gas - a chaos symbol. "

b) The widespread use is made of comparison in the fiction, where it acts as a strong form of speech.

A comparison can help a shaped image of a wide variety of items, qualities, actions: Very often, the comparison gives a very precise description of the color, for example: thicklike Xinka, sea;smell: the smell of brine, sharp,like ammonia; Forms: highlands, filled with silver lambs - Gothy to the touch and warm,similar on chicks of tiny bird. --- comprehension can specify the nature of the action: Soft fungal rain Sleepily raves from low clouds ... He does not ring, and something whispers his own, aspiring, and slightly markedly in the bushes,as if touches soft lard then one sheet, then another.All these comparisons created a large master of the artistic word K. Powesty, hotly loved Russian nature.

The artistic power of comparison as a expressive physician of speech is directly dependent on their surprise, novelty. So our imagination will not amaze a comparison of a brush with a rose, eye with a blue sky, gray hair with snow. But the bright image is created by such, for example, comparisons: He was red, likefrom Ruga Ruga, redheadlike oranges in the snow ... Hair steelmortal white (R. christmas). In such comparisons, the perception of reality inherent in only the author is particularly clearly reflected, therefore comparisons largely determine the characteristics of the writer's syllable.

Hyperbola

Hyperbola (from Greek. hyperBole. - Exaggeration) - Reception of expressiveness, either over-exaggerationproperties of the subject of speech (sizes, capabilities, values, intensitymanifestations) in order to produce a strong emotional impression.

Examples: " In one hundred forty suns sunset gruel"(V. Mayakovsky)

Murderous news, to die with laughter, a thousand apologies, gifts - a car and a small trolley, strangle in the arms,the abyss of cases, wait for the whole eternity, a thousand times told you, frightened todeath, in the house a nightmarish confusion, the stack of above clouds, winerumped by the river, the whole world, like on the palm, dance to fall, wide, assea, highway, repeated twenty times.

Hyperbolcharacter for folk art: fairy tales, mysteries, proverbs. It is widely used in speech, in artwork and journalism.

Types of hyperbole

Distinguished general-language and individually copyright: hyperbole - semantic phenomenon, the actual uniform design, it does not have and therefore can lay on other trails, forming a path with a hyperbolic value. The deployed hyperbole is expressed by the extensive statement and covers the entire text.

but ) "From the Urals to the Danube, / to a large river, /

Strip, walked shelves "M. Lermontov

b) "His good horse and bogatyr

From the mountain to the mountain began to jump,

From the hills on the hill to jarve.

Chalks River, Ozerka Heaven with Put:

The epics "Ilya Muromets and the nightingale-robber"

in) "A rare bird will take up to the middle of the Dnieper" N. Gogol
2. Overlapping hyperbole:

a) murderous news;

b) to die with laughter;

c) strangle in the arms;

d) the abyss of cases;

e) wait for a whole eternity.

Features hyperbole

The phenomenon of reality appears due to hyperboles ambitious, exceptional, often incredible.

It is hyperbalked by the necessary artistic technique in the genre of ODA, used in a laudatory speeches ... Tosts.

Litotes

Litotes (litotes. - Simplicity, thin) - intentional, artistic understatement of those or other properties of the item depicted.

For example:

1. In large boots, in a sheepskin coat,
In large mittens ... and myself with marigolds!

2. Pooh neither pen; The cat is revealed; hand to file; Do not see further your own nose.

Features Hyperboles and Litters

Emotional impact on the reader.

Give the speech of expressiveness.

Strengthening artistic impression.

Creating any bright unusual, fantastic images.

Source humor, ridicule.

Elimination

Elimination - This is a trail consisting in transferring the properties of a person to inanimate objects and distracted concepts. The embodiment of any natural strength, the phenomena of nature in the image of a living being. The embodiment of the idea, concepts, character, properties in the human person. And also under the personification understand the process of action on the meaning of the verb: to personifit about, personify.

Examples:

Image of Greeks and Romans of happiness in the form of a capricious goddess

fortune.

« Put the bird - my longing,

Sits on the branch and will sing "

(A.Akhmatova)

Functions of personification

Creating emotional and expressive images.

Elimination (or personification) gives an idea of \u200b\u200bany concept or phenomenon by image it in the form of a live person endowed with the properties of this concept.

Elimination allows you to look brighter and reliefly to outlines.

Proud silent mountains, worried or calm seas, thoughtful forests are not nature in itself, but nature, perceived by man.

Very often, the personification is used in the image of nature, which is endowed with those or other human features, "revived": "Sea laughed" (bitter)

Flood description in the "Copper Horseman" Pushkin: "... Nheva rushed over the sea against the storms all night, did not defeat their violent dori ... and it was not easy to argue to him ... The weather was swept away, Nheva swollen and roared ... And suddenly, as a beast, it was fading, rushed to the city .. . Siege! Attack! Evil waves, like thieves, climb into the windows ", etc.

Perifraz

Perifraz (From the Greek Peri - "around", the phrase is "I say") - a substantive expression used instead of a particular word.

Examples:

People in white coats - about doctors,

black gold miners - about miners,

conquerors of mountain vertices- about climbers

advanced workers - about sellers.

Types of periphraza

1. Fine-speaking periprases are usually sustained . For example, the city on the Neva, the country of blue lakes, green friend, etc.

3. It is important to delimit the stylistic terms:

a) shaped periprases, that is, those based on the use of words in a figurative meaning:Sad time! Ocho charming! Prying to me your farewell beauty - i love I am a magnificent nature fading ...

(A.S. Pushkin). Here periprase replacement wordfall, thrust characterize this time of year.

b) unkinds, which are renamed items, qualities, actions. "Sun of Russian Poetry" (about Pushkin)

Periphraz functions

Fashionable periprases are performed in speech aesthetic function, they are distinguished by bright emotional and expressive painting.

For example, Sad time! Ocho charming! It's nice to me your farewell beauty - I love the magnificent nature of fading ... (A.S. Pushkin)

Fashionable periprase can give speech various stylistic shades, speaking:

a) As a means of high patter.

For example: in ODO "WILLY" A.S. Pushkin: Run, faltering from eyes, Cyters Weak Queen! Where are you, where are you, the thunderstorm of the kings, freedom is proud singer?

b) as a means of a relaxed sound of speech.

Language, often unkindly, periprases are performed in speech not aesthetic, but a semantic function, helping the author to more precisely express thought, to emphasize those or other features of the described object.

For example, drawing a literary portrait of A.S. Pushkin, he can be called a great student of Zhukovsky, the author of Evgenia Onegin, the creator of the Russian literary language. "

Allegory

Allegory -(from the Greek Allecori - "allegory") one of the isomething trails, when one phenomenon is depicted and characterized through another, this is an expression of an abstract concept or idea in a specific artistic image.

Allegory is most characteristic of medieval art, the art of revival, baroque, classicism.

Views of Allegoria

1. Allegory is used in the names of artworks, so the name of the Roman Goncharova "Open" is a symbol of the spiritual "cliff", the mental drama of the Heroine of the novel. The "Penguin Island" A.France is a philosophical allegorical romance, in which the writer traces the main epithets of the development of civilization. The characters of the novel - Penguins - the personification of human nerazumiya.

2. In contrast to the symbol (with its infinite values \u200b\u200bin novels of a certain circle of representations), allegory in the allegory is definitely, the connection in the allegory between the meaning is established in similarity. It should be a clear and unequivocal parallel of the image with a really existing concept, ideas, at worst - the subject, animal or man, fully comprehensive the content of this image.

For example:

a) the goddess of the Femid, which Greek and Roman sculptors depicted with blindfolded eyes and weights in her hand, remained forever the personification of justice;

b) Snake and Bowl - Allegory of Healing, Medicine. Biblical saying: "

in) "Cut the swords on the oral" - Allegoric appeal to the world, by the end of the wars.

d) Allegory is used in bass, parables. Examples: scales - Justice, Cross - Vera, Anchor - Hope, Heart-Love

Functions of the allegory

Allegory is capable of personifying the concept of humanity about justice, good, evil, various moral qualities.

Allegory allegory is used when not very appropriate or it is possible to call things with their own names, directly, to talk about something, then resort to hints, we have been missing - Esopov language

Allegory as an artistic reception is one of the strongest means of influencing the consciousness and imagination of the viewer or reader.

Irony

Irony (from Greek "eironeia."- pretense) - one of the paths:

consumption of words or statements with a semantic shift, which creates

comic effect, raises a mockery.

In the style - a thin mockery, covered by external courtesy.

Irony is always the result of a negative setting of the speaker, but

this installation is implemented on the basis of the launch principle, and the shades of the Commission

different: There is light, sad, good-natured, evil. And, as a rule,

the semantic shift occurs in the field of ratings: an estimated word or

the statement in the text acquires the opposite value:

"That's what you are all wise men!" (A. Griboedov)

However, the real estimate may not have a linguistic support, being motivated by the whole text: "Did you sing everything? This business. So go,

bunch! " (I. Wings)

Irony does not have a special and syntactic expression, it

recognized on the basis of contrast between the content of verbal series and its

specific intonation, as well as with a wide contrast and

common experience of people. If irony is based on the transfer of lexical

values, it is one of the trails.

Irony is distributed in satirical and humorous works, and

also in colloquial speech (for example, in response to an unacceptable offer

says: " Well, we have a smart job! "; man who gave an obvious

the oversight, deliberately approve: "Well done! Keep it up!"

On the irony, the poem of N. Nekrasov "Calistrath" was built

full bitter smile:

Mother poured me,

Cradle My Kachaiuchi:

"You will be happy, Calistestushka!

You will live Nadvyuchi! "

Types of irony

1.Ironia-trail consisting of words in the sense of the opposite literal. If you proceed from the direct meaning of words, a person seems to be praised, give him an emphasized positive characteristic, and in fact they mean the opposite. So about the weak, chill man ironically can be said:

- Look, what Samson.

As you know, Samson is a biblical hero, characterized by non-light power .

- Where, smart, you wander, head?

The ear head is to appeal to the donkey and implies it is naturally not the mind, but opposite qualities - donkey stupidity and stubbornness.

2. Inactivity is characteristic, for example, Socratic Irony, expressed by the philosophical principle of doubt and at the same time a way to detect the truth.

In aesthetics, irony - a kind of comic, ideological-emotional assessment, an elementary model, or a prototype of which serves the structural and expressive principle of speech, stylistic irony. Ironic significance implies superiority or condescension, skepticism or mock, deliberately related, but determining the style: an artistic or journalistic work.

The meaning of irony as aesthetic category in different epochs was significantly modified.

Functions of irony

Giving speech special acute and expressiveness.
- achieving the emotionality of speech.

Test for self-test: trails

1. Add examples containing a metaphor as a speech

expressiveness.

I have a single gray hair in my soul (V. Mayakovsky).

She hid underwear gray hair under a handkerchief.

They stood under the wing of the plane, hiding from the rain.

The storm waves with snow wings, falling asleep all the roads

The chick directed the wings and flew

2. Add examples containing metonymium as a means of speech expressiveness.

1. bronze statuette

   this is an old bronze

   porcelain and bronze on the table

   capture in bronze

   bronze and silverware

3. Add examples containing epithet as speech

expressiveness.

{!LANG-bd201209a8c9105f68ad5d7be2ad65c4!}

{!LANG-50844d37962e293c62eb9184a63e49c3!}

{!LANG-38ea386db3442d86433494b062178dc0!}

{!LANG-74ebcd9f5cad201267c01786bd6ef7c5!}

{!LANG-e6a3164155156f8219f3cc67a6b19dfa!}

{!LANG-5bfa4f9c9a64e71e693ee97f38a82d3c!}

expressiveness.

{!LANG-5bd8c83b62446d637e085ad06a64d1f4!}

{!LANG-92ffd36551d64b3d86d60f94ae3c774b!}

{!LANG-6258792581461159bcef67bb9fba837c!}

{!LANG-241c3bba75afcef4b28d08bf2e65e14a!}

{!LANG-77abcc68ecdc39cf70615f70b09cc705!}

{!LANG-332fa55131073f33acb315ddc6c077ec!}

{!LANG-7c7ac90da231fb27474d7f81f8deb907!}

{!LANG-1284f49a8d62e0840e1bd42e6f23488c!}

{!LANG-f43c167d3bab2552972173f358115662!}

{!LANG-95612b3917ce6e06a90e753d68356eff!}

{!LANG-f27290fe8e6d31792128c9ec4b10628b!}

{!LANG-f51f2654e799f8670993f0a297cdd98d!}

{!LANG-8d3edc4b647a01816283d4139e0ce7ad!}

{!LANG-7c7ac90da231fb27474d7f81f8deb907!}

{!LANG-838f457d094718f76581af7cb9864ad0!}

{!LANG-062e1b1dd92f24df964cc351f5b713be!}

{!LANG-d8ab62e15ec6cadc4cdeb8dd4c0cd3a5!}

{!LANG-47853cf876c6e8710470e7947052a40d!}

{!LANG-4be9d6762d443fb2289a2ef7087174ce!}

{!LANG-e49200ab80648b78ac52df43be6d14d5!}

expressiveness.

{!LANG-7454fcf9b3a663da399bc288f0bb55fc!}

{!LANG-04f6acc53fc971445ba4411e6caf3667!}

{!LANG-eba70aebfbb661a535f1366daf878572!}

{!LANG-3ad7d8f55b920a07e4c5795e19bee03c!}

{!LANG-cea966d3823816ceb4eac5d2678bbe22!}

{!LANG-7eed578c717725a673f9e3607609194f!}

{!LANG-7c7ac90da231fb27474d7f81f8deb907!}

{!LANG-efbc7ad5b2820b6eddc9e46c2dc86a97!}

{!LANG-aa68a54c82eb4e4dc84c2169e91cbc72!}

…{!LANG-6b39ec3bd009f50a3c52ee67f554d7b1!}

{!LANG-ec87fc7f21e02faadc402ed1f90a1f14!}

{!LANG-b00ab048a0b152b42d08f3dcd7a0ad5f!}

{!LANG-c9d79e321a11daf12ad4bedcf75fabf6!}

{!LANG-78c4e040fe71c3fa91dbb41f94f58d23!}

{!LANG-b76467d1bbefbe04f6e926ab1ecc7669!}

{!LANG-1d65a9160c1627cd02c35d6b03900bea!}

{!LANG-086d4d3d1d760083e31d5432506b5611!}

{!LANG-1b20a67cff27a74695b71b8db67c3144!}

{!LANG-d09d12bf6bc80b57841cf0c9316b54f4!}

{!LANG-06f7052d13bd95f8bd93fdd35ae39416!}

{!LANG-728229e0ee77a0f5e292c5c001af44ae!}

{!LANG-342c0f677e4e3af82a4b15bca737cd41!}

{!LANG-9ae16ee444de7af81c5349bb255be2cb!}

{!LANG-58a70196b7e255e9d101aa7fbaa7db23!}

{!LANG-d7ce3ac77a7be1b34acb562eb435dcad!}

{!LANG-01798251f80df9481f51fe86c1252d23!}

{!LANG-e1064fee7dffda1cb8d69133e8daa932!}

{!LANG-4a66f3610a0468460ba82fc043927a3e!}

{!LANG-ac862e69c9bd8f9787f4fff278c3ae48!}

{!LANG-f80b80c01fe91380a68a0b62e17354f2!}

{!LANG-1bf21ae5b0d7815689207849e0a819a5!}

{!LANG-e554c000f975bd8d0a3d8077455691ec!}

{!LANG-659efec64ecd736358a22c66fa6586de!}

{!LANG-739fc5abc12b7f280af386376cac6782!}

{!LANG-dc14468f00e92ec8edd9a5d84cc062b3!}

{!LANG-e80245a856310ca14a3e8f9e46a08eed!}

Antithesis

{!LANG-f184b14955e255cc4547010ab38598bc!}{!LANG-084ae519e697e6e8cfe2d107811e3b29!}{!LANG-ca9eb6ee8979baf03b035ba231589fb9!}{!LANG-d62066f65c0a5e7287927c196320af04!} {!LANG-0c57d05240dc045ce937017ff5e35ea9!}

A. Blok.

{!LANG-a6db95ec822b34cff236a97a713a1f3a!}

{!LANG-9198a2ed877fd2890a4f57907822954a!}

{!LANG-f4e60060724aba74bd4f0143782d7b1d!}

{!LANG-93458837ab19713abc4e71c33769cbc4!}{!LANG-419650e0fa2873d879943b16e82f5597!}

{!LANG-e64fd166b87cf0ea5f69f7fecf0906c8!}

{!LANG-51eaa0bc92fddbfab6001e46fdaf4290!}{!LANG-2aa7921192ecf6568130faaa81b05304!}

{!LANG-3588292a98b23f97c8a1768f4c51707d!}

{!LANG-86a623a4e9b3797e99e770683b6b0348!}

{!LANG-47ae5f691d6200681eeb525b09620aea!}

{!LANG-26c1c141a1e54c1a21f400976809e573!}

{!LANG-eb485ead44082dc2f8993c600ec62dfb!}

{!LANG-b7b240ad4ac10f98a6d5b5bf83a865ae!}

{!LANG-b4b99eb2c63ef5912175557ecf94cc97!}

{!LANG-f2c017ff3ed6599defbf2fe4d7af23ba!}

{!LANG-398d308834188d8d6747855cf4043ac3!}.

{!LANG-3a8af58d6d6e5393f533fa3c050464ed!}

{!LANG-86219bacafa59f5539a9cd45fe663e9f!}

{!LANG-c4977833706cd1ae44af0e6d48b8e280!}

{!LANG-77b55563b6ca3ace0548b499a2954709!}

{!LANG-8d07bfd87a1d1986d5b9292e818c2eab!}

{!LANG-769b1914a28396ba23f5b6bffa16ac52!}

{!LANG-203b26c35f56627b20b816cd6bf5b053!}

{!LANG-bb34826b614becd427a575a3274953a8!}

{!LANG-92c75ddc738a1de1cd0b860e894844aa!}

{!LANG-921a4829ca946184619c3e349fa7122e!} {!LANG-ac7fa17c2f4bf959a30aaac25a374269!}

{!LANG-5300332b76f2e8b91b8ba2bf57ff5e08!} {!LANG-165da849d0cb610c65c63d7e0e6f971e!}

{!LANG-dde570ed10ea9e4b3b8280cd638ef23d!}

{!LANG-aefbccc3b50bfa48d03f76a2abde74b0!} {!LANG-f02c7c7331cd838ab53f3efb6c91cc2e!}{!LANG-195264b070705e9ef06544e69555f809!} {!LANG-928f90cbba7efe63c52c5d190a5ee038!}{!LANG-09291d20545c459812013eb835c7ab3c!}

{!LANG-05d47bd126fb1d5f2153f44d940104e7!} {!LANG-c4c0a3794b3814ad4cd79c5465118744!} {!LANG-285f7a4824d63e31dc64d925a51fdaf6!}

{!LANG-cdb320b2129a109a0c8d6d16044d8730!} {!LANG-e3b4e1a4ad7fba4b5c1269ee8ddad9c9!}{!LANG-9041746efd41bad5d8c5b7baca1813bd!} {!LANG-9ee2b91807e1adcde5051cc0aee5609a!}{!LANG-6f0f3b71ed56c540ae80b2a79c742943!} {!LANG-d15cb33f64dab382ca5afaeed6ddf675!}{!LANG-4b54ee23ff7d95ffe059319a8ca6fd36!}

. {!LANG-a7da1de4244d0364bb5f9fd146a6ca8f!}

{!LANG-e2c8382471efa62740f1b18df0cd0557!}{!LANG-914b53dd33a007ffa7ec565dbdad8f99!} , {!LANG-ea940a5a62038bcc1191777ec3a9fa38!} , {!LANG-2059ef6c0650c67de7057756a3c01fce!} {!LANG-7c1ed35d1131578e5de32375e30992e3!}.

{!LANG-1bf658d25f7990bba11394b4ca23973d!}

{!LANG-6937f41dabba0ef03cf7dd894d15ff0f!}

- Giving speech special acute and expressiveness.
{!LANG-dc81b461707dc4a623ae9890bf811398!}
{!LANG-6435bd125d1ae2664c681e0655cb371f!}
{!LANG-e9869f4420f94e1d6f1b13471a4314ed!}
{!LANG-0b27765edde0cf5c59c534812ef84041!}

{!LANG-6bbff5d1c8878a8d403956314e2f650a!}

{!LANG-6bbff5d1c8878a8d403956314e2f650a!} {!LANG-e316d708369d1f2aeb6e6420d7e3c5a6!}{!LANG-0188655ad2724354a84212021ea4b849!}{!LANG-83fe2f83dc2a6a572ffb246bbcb6f849!}{!LANG-8949f7832fd19b70acfde4f6276663a3!}{!LANG-d29fad2c8d687742665378cf1a66f402!}{!LANG-5caf31980fca26ac0eff995539a24921!}{!LANG-b5b3457b1a0df7f433f1bc4b38e5c24e!}{!LANG-1e42c85158dd4e734acab32deb0c2901!} {!LANG-c1cdd3c8792d561e5e39cdbda2bd362f!}{!LANG-a7a3f7aa3efed98180865bd8fae13a22!} {!LANG-2d3bd07a2df07949aa7792b59a1ccbfc!} {!LANG-05903c314c9faa253c39c9da53402590!}{!LANG-411d0fe437ace21fc69675c44dec6555!} {!LANG-fa4fe5109b5e5a397f436b1d4ebb208c!}

{!LANG-23650a9aa714768218097de7e0bf3a9a!}

{!LANG-fbd5249c793133be1cd15f7334065b1f!} {!LANG-acd412dfc1f343cf1a50e576ed924a87!}{!LANG-7ca3f57437f6e55a70cda80a54bce4b0!} {!LANG-9821fa0d1ca3b3d0a3fd81f471e486e8!}{!LANG-1652067a29af7f0e3c0fb1de43586c3b!}

{!LANG-e0c6013eeaa6adfaeecf17de895c8923!} {!LANG-aa605ed63e0516e74a0c17586508abc1!}{!LANG-1c5d42692adc3e6469e62f6086609c13!}

{!LANG-00d8d00f8789e8d16f07bc63745a2cdc!} {!LANG-f71118d2df0b9b36d1dc0f2f4c041a04!}{!LANG-440eb7ca51ac648760c0d7c7e70679a1!}{!LANG-edcea41a08d65a426f08df12a6f303d1!}

{!LANG-8f09540a0222db177f2a1eabcf8ad36d!}

{!LANG-8ef5415ca26e206ba6f203cc4de4eaf8!}

{!LANG-1a787b38b9de404e00c2269ca9322d5f!}

{!LANG-0017cc31da5013ecfb1d448fcc58577f!}

« {!LANG-de8696af8371c5ca5ee2cf63d32ae56f!}

{!LANG-5d133c45acb0a10564046594e0b4c17b!}

{!LANG-ea24309c809558cb7eaf5d99bd02c8b0!}

{!LANG-9ab189bcfad1d4690bf3d36a8d80496a!}

{!LANG-d1c4562cce6fda68e8dc1c8413dcf437!}

{!LANG-2a93e1f274cdda96ff76dc109d3b17d6!}

{!LANG-2a93e1f274cdda96ff76dc109d3b17d6!} {!LANG-f35eab3e56875177eefd6882be8f4544!} {!LANG-6f2970400b796d9500996985d4e77339!}{!LANG-a7caf6253260862cd749fd013803b6fe!}

For example:

{!LANG-563225e0a8e88d0f496d98e7eba3c715!} {!LANG-72123353d4bad3412bac0ecb47abe66c!}

{!LANG-9feea162cb4b01574048d17ab6206aef!}

{!LANG-ffb5d36a24a382a9525582bff9ddb817!}
{!LANG-712a4677bad8abe02881154c2689a9ef!}

{!LANG-d22d81ccf0ab064e560c3a29c8e5a704!}

1. {!LANG-3eb79120cdee5e078f64d2ee29fbccc5!}

{!LANG-2cf4a0e7511b8e3ab6ae3f4a450ef586!}

{!LANG-d10e717e985e1a69ae5e95675d75cb52!}

{!LANG-4e5104a7b1a1f27b13fb27f9265c2fbf!}

{!LANG-df6da4e4f6bca0f8acc61acca7afa11e!}

{!LANG-fe2de62cc7a2a99198ad34e34a0c3bf6!}

{!LANG-ecec963977dca51d9ea1140102457a57!}

{!LANG-d4d3533fb15c108659a46b22ad3d076d!} {!LANG-dfefeae623c6f336767a713d47fec026!}{!LANG-e540ab02d97da542fc886bca1ba7db52!}

{!LANG-3bcf7afd0ed367c7259e5530bc57c82e!}

{!LANG-d578d899fb362e2b3c97a912b45041dd!}

{!LANG-bd8e9cad83f2939d8f41e614ac3db1cd!}

{!LANG-ed111e3feb45d1cdff3dd160787a72b5!}

{!LANG-10d4ef55f0cac7971311a1bf3e34201d!}

{!LANG-bd6cd9d813ccaf548c2037c746254b49!}

{!LANG-87272254df6ffc70c35cb2df48137c5e!}

{!LANG-88855684ac2f037ddc648171fcdd60e6!}

{!LANG-5d4af6f617c8940163bfeaf859d5a2af!}

{!LANG-150158c7c26efe1167e35341080d8be8!}

{!LANG-84bb2d104bf64c0fd00ce79e444fdfc9!}

{!LANG-c2f33a61eceaa28a8ba2cb99f8c9d3d6!}

{!LANG-13e3b18f0f3e3e8584c3f25f211fa49b!}

- {!LANG-9a7f58bd590ebd2955436b7f50d8ce31!}{!LANG-baccd4b446293ac93c08a04854274821!}
{!LANG-5f888a244eab1ab552761455dc559a8a!}

{!LANG-e86288c20f9bc3cf90d155cb44dff8d0!}

{!LANG-e86288c20f9bc3cf90d155cb44dff8d0!}{!LANG-4f04d498ecc3913763a40570c9c5e573!} {!LANG-b932da2ba69a6745e6bbc331795334d5!}{!LANG-330dc4ecfa3b16e4948faec8f05bfc4f!}{!LANG-c57b7cde5158c36f9b4087e1c6b8bfda!}{!LANG-fe3c9e6fa1646bbb96b2ea1ae7131b41!}

{!LANG-80666403b80b7ff09e9de71c6035585b!} : {!LANG-4919b0a41be1b9246a508f69a28ba2e1!}

{!LANG-a6a9f91738162ed633856024a09af428!}

{!LANG-9056945d89d4baad95f1af2f3a2eca58!}

{!LANG-f0373db8f51d527cf75ab53d8b25da0e!}

{!LANG-9dd343f7e00c4a748a55bc60ea638ca4!}

{!LANG-afbba112b057baa8a80ad56581add7ca!}

{!LANG-4cab28712fa8ec795934efd5c80d1ace!}

{!LANG-7d3a11be3cd9a2bd9d7fcb4ac42742ff!}

{!LANG-f043eb405f3bf4c9ab4c4e897cb7f93d!}

{!LANG-0bc39628510555828aa47bdab6cc6f44!}

{!LANG-0bc39628510555828aa47bdab6cc6f44!} {!LANG-5864262e2e0ceb8e551d93406cc42816!}

For example:

{!LANG-878e6f43215295271479895c7d3691dc!}

{!LANG-004aef3460eb71dca5c418bea0dd671a!}

{!LANG-84644c36207ee832f6f62d0f85293164!}

{!LANG-a226e0e9aefe0c2066b0e0b297aea225!}

{!LANG-5ba7219f02bef8f4202f29d701e9bcb1!}

{!LANG-265d51a57eb958d368cfbaf6b793abe4!}

{!LANG-23e97ac52aae4269539a3b281bae399e!}

{!LANG-4cb41b11600fa6c628e20c656185d259!}

{!LANG-b26f7ab2524f11f657dcad58284f3ac6!}

{!LANG-ca5eb0ceff4d3268f9e0d6773407e90a!}

{!LANG-368f5d648b3a5dfa904a2f1ebe2c8922!}

{!LANG-0904e0bd2c858791c1e2fcf8b05dd0c3!}

{!LANG-644609687cded34fb57aba1bd4c441ae!}

{!LANG-8a23ac44bfeb9cb72e8d5d19ff9b13be!}

{!LANG-fc53dabb9a3398a688f104b5025dd47e!}

{!LANG-478af0cd70a0427261c43082cdb13ada!}

{!LANG-40e311aedca951669365532e52d26efa!}

{!LANG-4026c2226a8e0111c779772c5b4572a0!}

{!LANG-bc4b8e847b42a120fc1994f7a92be3f4!}

{!LANG-bc4b8e847b42a120fc1994f7a92be3f4!} {!LANG-c4496eb702cd4f5f3863c72a826d6a47!}

For example:

« {!LANG-87c38ea7f6c02052523bcecb1d5797d4!}

{!LANG-3c91d16b37ceed65f1e7f3f6122f9491!} epifors

{!LANG-368f5d648b3a5dfa904a2f1ebe2c8922!}

{!LANG-e6f59d00158c1a72e650e85ca80dc277!}

{!LANG-22d7e797029b097ccada6083a45d5ff9!}

{!LANG-ba160f211951dfd44c89bcd801bd99d4!}

{!LANG-ba160f211951dfd44c89bcd801bd99d4!} - {!LANG-eea7e944528a887b3f9991ad3a27d1be!}{!LANG-00040f9ad4f85a2b198d917a5c6c4efa!}

{!LANG-9e280ea082a875e6fd368ad308544ba9!}

{!LANG-e892f866e31f20dbfdc500ab2e9be654!}

{!LANG-a4f29ac3499f51076722665b303a5bbb!} :

{!LANG-7acafcd56d6669ed091bd2edf68f62ac!}{!LANG-84a0a0af4e5b5bc46b4e8b8561f69a2e!}{!LANG-84e0a56e4841e2f62a96e85bf7b7f42d!}

{!LANG-dff1557c91d47e34812fc97f1a2a4e1a!}

{!LANG-3a53ec7ec22f7ad59c0cffd075f1e715!}

{!LANG-3d153fb0068c22267759ccac30fa35c9!} {!LANG-1f71df69d8f3d6aa9c97177610f1a8a2!}

{!LANG-6056dcfb937e121ee288d4791e9e4593!}

{!LANG-7ecd5e16a2b0c033a773def06856c198!}

{!LANG-dd846ba2b473d6e983786bf087eed213!}{!LANG-4710b9df3e2d6cd9fe9d64f6e636590a!}

{!LANG-77ddb0e50ea5c71a5b8325f03082433b!}

{!LANG-406bfdbede362b7492c0668fdaa5f830!} {!LANG-4aec67fd73f47551cec5bf4d905c1843!}

{!LANG-d7bcab4c308d2403743a8b5af29c27bb!} :

{!LANG-5fa243c3192c6c47b6fe016dcf09eb3d!}

Without end and without the edge of a dream!

{!LANG-d11ee4b1178b78f61c0712b927cbabc3!}

{!LANG-1c595ade4812ddbe56b38edcf180ea5a!}

{!LANG-364dee965024cd05e6ef47cf13fa6264!}

{!LANG-df395eafc0cd15220cffcb04d8a83fcc!}

{!LANG-e11f8ca6cb3504471c9a89f91db648d0!}

{!LANG-bfaa722dda430dcb2e7410569a3aeb98!}

{!LANG-4778f9c3e4c0cfa14b2293fbace76f66!}

{!LANG-eb82d3307d311438d17a24f9e02430f9!}

{!LANG-8eb88837f45cf1637d5fae089983ed3a!}

{!LANG-ee63a9ba746d4c1b31ba39fc75c0b8b6!}

{!LANG-580179b087eb7a5a28b3426b24b9879b!}

{!LANG-90f55904f9ea5b6354c4e180591c96af!}

{!LANG-e37f12b3111b9af351e219080a89a422!}

{!LANG-c5a1331a83e2fed988842f3727e28e39!}

{!LANG-b799ad90952b6a2549cd67361549e798!}

{!LANG-62610ef1fa83bc8db526db38e2ad0bb4!}

{!LANG-e3a4cf49ebee49b1d40a425533c3ca88!}

{!LANG-a4919bfdc60eac29dea65a046749e55a!}

{!LANG-a4919bfdc60eac29dea65a046749e55a!} - {!LANG-057803d4ea6f23148d5425a32b7a7aab!}

{!LANG-e064f1028c0d3691f2e359fd5f0ca8fe!}

« {!LANG-e578f642c920d2b9692610c69b2bd893!}« {!LANG-663c7d765298a6e4839c2457c840a5e1!}

{!LANG-75e668e85c526acb4934f1e8415faa23!}

{!LANG-5fdf923e31e35504f47605cd318bae6a!}

{!LANG-3b09530c3651976c90ea84d881c9fe7b!}

{!LANG-d7bcab4c308d2403743a8b5af29c27bb!} :

{!LANG-3565d85157ab98582c51177f6582e89f!}

{!LANG-06e2e79ef25196989231d6c781d6612b!}

{!LANG-a5568b74c0f4cf9c9a95ec72bd1b87c9!}

{!LANG-c1be7be1a160bb85c07769a68d25e80b!}

{!LANG-5e148f213f8bd15f3a3b2ca7138b6a2b!}

{!LANG-9fc645a261adbe4c7173658b6a2c8b73!}

{!LANG-d6a4488733f181540fc79d64e516e457!}

{!LANG-1b509e202f749a7fe257d46484058b44!}

{!LANG-95c2b63d6429e46babe8dcafc865746f!}

{!LANG-b731fbd1f55407a834cb10cea4bc39c0!}

{!LANG-e22e9bc53de1a62b4642d27efaec530f!}

{!LANG-e22e9bc53de1a62b4642d27efaec530f!} {!LANG-8f14e9b72d16a3adf5e6e758ac96780b!}{!LANG-34571659c02a3c93d9093aab7cdc925b!}ý {!LANG-0a483365ec785c6cd423cb63d24218b4!}{!LANG-a2815832dff889e8902b0f5318145a1b!}

Examples:

« {!LANG-b869698bfd1f945c824bcafd4a6895f0!} » {!LANG-22f9c5c5b66e96618da07c859df33d1b!}


{!LANG-e81d02f5748e66c648c2e9ca7b5b8ac8!}
{!LANG-ca36153895f5173181c2b50a71d49210!}

{!LANG-a2e5bc2ba67ade6381a8b0c327674667!}.
{!LANG-8666268690b8344e2e75e19841ae854d!}

{!LANG-4a51dabe5758849291516da22a6c4afb!}{!LANG-3118543ce8e9f5417f3ace90d6508473!}

{!LANG-45e3e92938c02220ac1a3822d5dbaa19!}

{!LANG-963a8c634956c6e79ce2f43a28e8de8c!}

{!LANG-6af310ca1f0a0025120a5fc83323120a!}
{!LANG-46680f5b64c587165ecbf82415fd75ed!}
{!LANG-af140f73366675b825b1a7b328f284bf!}
{!LANG-dc13d1d9bc7e42a070f9bb0909f8d364!}
{!LANG-0706dda87d6258b1357998f0d34d77e4!}
{!LANG-39a055488a403dd7900fc5afed758f74!}
{!LANG-1d194b465f25b75c1fb5e7ff95afea21!}
{!LANG-ef9650015375a6fb66bd785f2c292a1c!}{!LANG-bbf3f108589d334a2f7f65825d17678b!}

{!LANG-1761bc103e51fc6d54cff4606e0eb916!}{!LANG-4c4a19bb94789e2b56b084ce83509bb4!}

{!LANG-c5785c690ab785c7fcca805a909f8061!} {!LANG-cf2c5c6ca530be087842a9b58e380aee!}{!LANG-6dff4d34e3547f573e79268b18679235!}

{!LANG-05a36404ce8fdb0f1c2262923a5f2767!}

{!LANG-4635b40e7478c2da6fb933a8f0967627!}

{!LANG-a79a47017b470e52b9d37c75aefc679f!}

{!LANG-1717c54b6cb6ac39cf0896e8f44b7ee2!}

{!LANG-f16beb8d72bd8a3b3350e74fb14fb043!}

{!LANG-f04493c30b90a676abd5fe4f964a0ad5!}

{!LANG-b69867494ec50f8fe46a7d9a09d8b71b!}

{!LANG-0f0bf65610d095834d32081e7f2ddef6!}

{!LANG-764b1933dfe9aa3e6ef509e6be7eb015!}

{!LANG-994c4d1fda0c0cbb8e553cd54fe03ee4!}
{!LANG-6510cdb5458b2676f005751f945a2b0c!}
{!LANG-a0e993ac5211b37ec6f3260142f5a641!}
{!LANG-e84a954931c29b018ab44c0951d67ca4!} {!LANG-3dc04ce0d07a0018bd98950351317168!}

{!LANG-ea3864263607a24248bee1b13d2f7324!}

{!LANG-ea3864263607a24248bee1b13d2f7324!} {!LANG-b5fc0a7b9c645d0110adb86f8965a532!}{!LANG-c88f421c456673dc474a69e9e0fc9b29!}{!LANG-09ca2aec5f703cd158932479cc6e59ae!}

For example:

{!LANG-097f5a0b62416c996cae7c8c41313925!}{!LANG-5d13429e3c886a0b05a99935135bc8f0!}

{!LANG-6bd722c71ce5ef636222009afc6af422!}{!LANG-3dbd5dd3a2c602e31a2c1020c8219794!}

{!LANG-a4de64330dcf3876d5be4f5bcd123dbb!}

{!LANG-ed38df9475143e74b4bd726f672a8671!}

{!LANG-33f58dea04b184853fc6e8d8b6101baa!}{!LANG-4c6f1114afb0e988fa3c64ea0ba521bf!}

{!LANG-dd0e5c34238a90e9caa4f30b73bf1f92!}

{!LANG-d635d0fa7a7835ac0e2a6181e96331f3!}

{!LANG-1b0ede01d07e4cade5b9c4cbaeccd886!}{!LANG-691310a3fad2efb19ae6d8812d51484e!}

{!LANG-3cc6033f63f4fe1b16815c7ea457d225!}

{!LANG-da4a2bb87db6c019c383c61a5f5d1c8a!}{!LANG-8c56d00d857f37259a3c4a006055ac27!}

{!LANG-6c227c9a09308092c4f01fec1b5db5b0!}{!LANG-8049a409d62fb2fff04d649c23436af8!}

{!LANG-decb6f159b9263772068bb7a85f64f3c!}{!LANG-b0c3e7ed5384eab9dae37818f1cb9b70!}

{!LANG-22b30079bcc40547d6f0bce1e7d24e14!}{!LANG-fb7eff1bcd9b25869e9804f00e53441d!}

{!LANG-35b6378898ee716500dadde28e4764af!}{!LANG-653f052d676cb24e458a8992e1477ce3!}

{!LANG-858cc59772a4533bbbe929ff335d40cf!}

{!LANG-967ef240cc6b5f120b23660fbff25a4c!}{!LANG-8d3dff48fa615d8650460e3fc4a8dd14!}

{!LANG-2ced587de5ed8ac0013d59bf16ed2c5c!} {!LANG-645210a8c5b368ffaa861c2447af2b11!}

{!LANG-a4e8a8fb5eaa5ed86413e29557140fde!}

{!LANG-a4e8a8fb5eaa5ed86413e29557140fde!} {!LANG-0640d60a235870b52fbea19ef094e92e!}

{!LANG-c3a194587cb476e2173a6e44ef73e348!}

{!LANG-8ec6b9f271bff03dc299669ab05a252f!}

{!LANG-2d5def1c99560c100dd7e0976644da56!}

{!LANG-3cd3d3b45de0d13dc28353c50f4f4b84!}

{!LANG-9672ad548eedc6544fe5787f43ffcabe!}

{!LANG-d1c9168cd79d23cf911aa0ff657bc2e2!} {!LANG-077dcaa1dc14806205dd69d931ca8db7!}{!LANG-cb9d8fb7958cf8d5dc323cc01ff61c4c!}

{!LANG-efd00d7e23c2bc34f63d2bc3bbbc267d!}

{!LANG-3a76615ac1e43550e6f606d6b6bcb3cc!}

{!LANG-47571666bf380d1a8c627c51f34e8766!}

{!LANG-d7bcab4c308d2403743a8b5af29c27bb!} :

1. {!LANG-8fb53c8127f59910d5c97e83a16fbff9!}

2. « {!LANG-2f7a98ff900bb69b78c7e6e12ca356c4!} {!LANG-a0cda35da333c15ec6b355c1d1a1a0ae!} {!LANG-f286a6f9cb1d3109ee8d496704be1465!} {!LANG-ce63f2742ab547d316c6cf01b778ad5e!} .

3 . {!LANG-9be0939f40a462e0d657de20b0dd00f2!} ! {!LANG-7b3429a73afc1f3dc9a6fc884faf1bc0!}

{!LANG-aba6b38026e99545fe77dc9ddd489507!} {!LANG-84661b4e4f5b9b1ef2df2c79b2f7e588!}{!LANG-c1daee8be085623a0823a98f2b3a6a64!}

{!LANG-f539b18be154efaf3a5cebe751457a78!} {!LANG-f752953c1690dd8b19a27c2a87222ef8!}{!LANG-c1daee8be085623a0823a98f2b3a6a64!}

6. {!LANG-ec6ed577646880051e5ef8d202722842!}{!LANG-c925be60d4bee1002f14eb70f6eec5f1!}

{!LANG-087c05b763a9ede764ddbc40f5a8a41a!} {!LANG-4bde35a8882642f309b9ddbac74fb2f0!}{!LANG-cb7326d552e2548ecefae900c45d6f28!}

{!LANG-36e443c266145c6f39f3091b13c9e05a!}

{!LANG-111ca4e4e29b724fec76339fc7f1ee9d!} {!LANG-21fb6df1602fc95883813aad9d071df8!}

{!LANG-cbb0baab4f80b37322de132886ba5e82!}{!LANG-8eff1315667c16492cbfd7f671e00dda!} {!LANG-825aa0ca1f2d15b90b31f39929054026!}

{!LANG-e7e1ba6218b7706f187efab4eb9d7248!}{!LANG-4d4366b563242cfe553e7896b3c3f1df!}

{!LANG-7a5ddbdf29881ae7536c5cce34ab117d!}

{!LANG-69b28d51c31df8bd0fc82a6546b48a72!}

{!LANG-916b02e7f0907bf27fba45a1692d47c4!}

Examples:

{!LANG-5828aa313b52bbe97352e762fbf670c6!}

{!LANG-54e1b4d5496bbfeeb4ceeb0ca1c31b3c!}

{!LANG-c2ad4faeb10aa6b3d50f2b4d14c33b57!}

{!LANG-4decda25a8c8648119f96c0aed68eb21!}{!LANG-fd23107041823a9003bac735761c81d2!}

{!LANG-83375fb763bb6cdb687441f97826dacc!}{!LANG-4a5d1a46b113c7d78904e24c80317751!}

{!LANG-edd6456baea0fb00cb9be79fcfb65ffd!}

{!LANG-b00d9884bd67202e4ef340db9bf270ce!}

{!LANG-90da16beff0468fff2fb3fb92a73ead1!}

{!LANG-3bb7ca0d7c05fb1e723c5687a1b9d95b!}

{!LANG-fcef06bb68b5d9982cd743d1c74195ce!}

{!LANG-94655cc22c3503a2c9f1b123fe8fa754!}

{!LANG-f1ae5eb7b4e0da5c524644fd92c9dcf4!}{!LANG-45db725b6125fe24eb5baa151247533e!}

{!LANG-88a53cccd605253e6dc20844d2ea78ee!}

1. {!LANG-e22a5d76631eeb11d170ba730f32c0e8!}

   1. {!LANG-014c997eee49b5050507ddc1b2ad6566!}

      {!LANG-465571e70f1077a5c333b7a8ce27934b!}

      {!LANG-bc6df0b58f88b70b6c90c13333ac4d32!}

      {!LANG-711c7ea5d45afbb702c2419be9aaeeed!}

      {!LANG-43f6b730a76f1783bae82cdae9495324!}

   {!LANG-ea5dc2aeed6067780b691edc8de2316e!}

{!LANG-9ccedae6b74afae73f7136b6319bf90c!}

{!LANG-c6ac4ebc8d82b2443126bc314a7db7c0!}

1. {!LANG-9d28fc92727b5b267e7381895883f3bd!}

{!LANG-10708db2b20f2aa9907861e16c6d46e5!}

{!LANG-51da80d6ddb18bb9e24ef9c684389616!}

{!LANG-b62b010f4a1ff95cfdae6f03580b58fe!}

{!LANG-346fbe002e7e8b6dabf86354bbfd27a2!}

1. {!LANG-4b57ebb91feca3d834376d467888fd35!}

{!LANG-5e702fec25218c36ec369dca8b47c917!}

{!LANG-2f8868c8fadb5f8fa97fc1e2d57a5f32!}

{!LANG-b57356e9818ae5ca49bdedeaf1905530!}

{!LANG-bf5adc7a54cee9b81c3a34718aa27f5c!}

{!LANG-7dc776e164b88aa64e98305083f8b747!}

{!LANG-3199f970f929a6ee4f1a3bc4977c5c4d!}

1. {!LANG-1bbbef4a43308f9570c3a4f5cf84e823!}

{!LANG-e0c451a532398d0097275a9db9304f6a!}

{!LANG-5b46acbb582520c5b10e3cb5dc754ee5!}

{!LANG-d44ea2c7a23d548d3e7bb616418211d8!}

{!LANG-750f9bba9f750ce74328f27d39de30c8!}

{!LANG-13db3297053ecb458aaafba8b9e31344!}

{!LANG-d45da1c6cddb181071e505aa0fe9b38b!}

1. {!LANG-597538c70f430adb544e22c8ac11f195!}

{!LANG-fe092f984249b5069a338fb870a723dc!}

{!LANG-f8251af5cd036f280f72ae63bd6764cf!}

{!LANG-4d1fb9ac89514f8dab14ae5213657e83!}

{!LANG-b425eef192b5db0abd4437b13ccdb2ac!}

{!LANG-0e0996a59bfb5c505d8c288ccd78ab37!}

1. {!LANG-44a3113dcce1b46dc555e3091906a2a2!}

{!LANG-a2fa74cf1dee35d9c634f26c6f3614f0!}

{!LANG-de81043f872e0f67f35d8b40593cb057!}

{!LANG-330738bda0f5fa81f4d277fdbadc8c3c!}

{!LANG-a6493caa76651dd67ca59e7601b76de1!}

{!LANG-d414a72c00931af4d574f185f71981c7!}

1. {!LANG-93330f23acd90cc115bbae03f137497d!}

{!LANG-09300baa1b3d12a0d27741f35f076578!}

{!LANG-7c478060674fea3c60188b0aa6815a7a!}

{!LANG-11620816c1bba3f934b28dfc56b9685a!}

{!LANG-23344ef4479ca4c15eed13eaac3310a7!}{!LANG-2f6c126dae310113f6e8b97c8e4f384f!}

{!LANG-c287165b6141338f78ae7048fa58cfd1!}

{!LANG-20037badb057f9c8d478891079172dec!}

{!LANG-fab280a2d4c7f5c6eb5fc17983075907!}

1. {!LANG-9566eee60605ba1ed8dc20b120c49383!}

{!LANG-6794e5edc3a0ceb6ae587c5771b4acfc!}

{!LANG-428535a76987dc7cc25e688005e46773!}

{!LANG-36d721e42ebbbefa2cb011d9ce26a82f!}

{!LANG-d72bd6f675e8b33637fe06c654965936!}

{!LANG-98184b857ce02b9a5f4b42f7e517f731!}

{!LANG-82a22718a98cee79a64064206735b6b0!}

{!LANG-4539647d421b2e803ad48c0cf53c0899!}

{!LANG-b3a4d98863bbc1631159472e9fc01b39!}

{!LANG-4d09f6a2be96a63b647ad846d0752f84!}

{!LANG-7edbcd8f6248da25ee1f62fdda86837b!}

{!LANG-cccf43c2d096cdd99afd081f21700255!}

{!LANG-cccf43c2d096cdd99afd081f21700255!} {!LANG-b0c7d1a46a27e42370fadaa2b9f42be3!}{!LANG-8dc182d6fe0531e747026a105589e6b4!}{!LANG-e2b28fd43f7613e4be7882b055118f94!}{!LANG-b785906c51ae5e1e85cb53589287b4ef!}{!LANG-4a3adb924ab4ed2d9fd04874b0cd9f50!}

{!LANG-0e62c39b8fc42504f97a0cb5c1c77cd6!}

« {!LANG-5c714f0ab9d351d1caf25a3ae9bab55b!}

{!LANG-561f3d4de54e55991cb31471da5d3816!}

{!LANG-fd439daad011084e2537f715d90284da!}

{!LANG-57652a4566e8c1f473e19b28ba533651!}

{!LANG-3575a7d4ae43728c2097f237d8ae4aee!}

{!LANG-a246157cfd1bbf8e5c1b7972cd90bafc!}

{!LANG-27f5f4a01efdfddf6634f7f8d7f6e57e!}

{!LANG-4e32661e2134418bf559883bbdad31e1!}

{!LANG-0de17ef7aa8595abc6e39dc1d94a5f29!}

Examples:

{!LANG-c9722d0dd7defe302bed779cc78d792d!}

{!LANG-364dee965024cd05e6ef47cf13fa6264!}

{!LANG-79e9e2ff5b7b6cd310f1ec9764928a30!} {!LANG-5b7b4af5076901917ad16c8d4a286be3!}

{!LANG-beb6c9abc6992d82f4b703bc248d5ef2!}

{!LANG-a023a1e41abdee2faa5adae419e5a9cd!}

{!LANG-481b9d2cc9b397cec7762dd4fd1d0032!}

{!LANG-8531862d27b16f2bac7ab4d9d5be5b1e!}

{!LANG-2a21427d2355c06b54043cb3c5b56dcb!}

{!LANG-faf96f9fdebbda0c51f67f20420a11e8!}{!LANG-3c601a8c3e2c607094bef0002c06e170!}

{!LANG-cb71f4f3424209c5bb297568abef467d!} {!LANG-bc47b8eab95b70b413d79bb3b57c289f!}

{!LANG-ea1b596574af0e221eeee91bd42e90d0!}

{!LANG-ea1b596574af0e221eeee91bd42e90d0!} {!LANG-a245748519cce30e0c3f6cb8da883c83!}{!LANG-6dd61d162da3f73bd40b2c9371e0d25c!}{!LANG-0d6d9b12747b105119f00d38d0f429fe!}{!LANG-ec512d49c03325391e516b122de2cc20!}{!LANG-a91dfbbda17f149560492081c809a60b!}

{!LANG-cb65b94d5740a69674e6817af39a56ec!}

{!LANG-2d9ca1763f73de81793d00cb7dac38f3!}

{!LANG-7239a37838ead42f634cef14582a1610!}

{!LANG-53d80ad4dd0826f905458924eded4577!}

{!LANG-3112ba85745edae4101da811325e9512!} {!LANG-c6f1bca6054489fce4aad02df0c81cba!}{!LANG-048a88d189e84e1d65845a22ee391ab0!}{!LANG-5ec9d0b02b2372b70b13f3e44e64c12b!} {!LANG-35befbae00bfea19bdf19b311da8bc87!}{!LANG-9a42e80d4f3ddf330fc968992370c133!}.

{!LANG-f0cfa33d3670798ddca455bcddf6a63e!}

{!LANG-17b7fdde5cb0519da4faceba8cfa3879!}

{!LANG-8d867f066724c6a510711a627872a649!}

{!LANG-a713ef7815d901147281e1e42dd4d6ce!}.

{!LANG-7accb724897cb805e8a3da31d96a64f7!}

{!LANG-7accb724897cb805e8a3da31d96a64f7!} {!LANG-3305063391ff114e6660fb55be5bd967!}

Examples:

{!LANG-6f592899a84619c30db9bba4c8ca2ff1!}

2. {!LANG-f589cc6a262784fdc6d18b58e4f0585c!}.

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application 1

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Trails

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