The East is burning with a new dawn. Why world-class ballet stars have disappeared in Russia

Maxim KALASHNIKOV

THE EAST IS BURNING AT THE NEW DAWN
New prospects for the global crisis. Is the revolution in the Russian Federation and the war with Iran beneficial to the West?

Somehow, against the backdrop of the political crisis in the Russian Federation, we forgot that a crisis of capitalism is developing in the world. Global crisis of turmoil. And it is impossible to consider the political crisis in our country without taking into account the prospects of a global crisis of unrest; it is unreasonable. It's time to remember the glorious Stalinist tradition, when the discussion at the party congress began with an analysis of the international situation. For it is foolish to think that we live on an isolated island.
Brief conclusion: the West will have to destroy the Western state of universal social security - through the mechanism of accelerated inflation of the dollar and euro. But it is most convenient to do this against the backdrop of global chaos and under its pretext. In addition to blood and strife in the Arab East, this could be a protracted war with Iran and the collapse of the Russian Federation. The best way to do this is by starting a new “democratic revolution” in the Russian Federation.

THERE IS NO OTHER EXIT
Both Americans and Europeans now have no choice but to destroy the universal state social security. We need to relieve the huge social burden on our economies - reduce the costs of labor. That is, to reduce the incomes of ordinary Westerners, ideally by doing away with expensive pension and social insurance. So that industry would begin to return from China to the West, so that “America would become the new India.” Figuratively speaking, the Western populace must be returned to the nineteenth century. This will reduce business taxes and stop the increase in public debt.
How to achieve this? It is impossible to directly take away the social gains of the 20th century from the Western peoples: they will give a ride to any politician or party who promises this in the elections. Or they might even rebel and take to the streets. That is, you cannot directly dismantle the welfare state. Attempts to do this in Italy, Greece and Spain (mark our words!) will run into the threat of civil war.
This means that there remains another way: devaluation. Strong inflation, which will devalue government debts and reduce real wages employees, will turn their social guarantees and pension payments into nothing. It is impossible to devalue the euro (or dollar) separately: trade between the EU and the US is 80% oriented towards each other. Therefore, both world currencies will have to depreciate, at the same time causing a revaluation of the yuan and an increase in production costs in China. (My friend, economist Alexander Velichenkov talks about this). For the sake of this, it is possible to cause a sharp increase in world prices for hydrocarbons, and to let the printing press, flooding their economies with issued money. At the same time, you can give printed euros (dollars) to European and American banks so that they can buy government debt securities of Western countries. And they would put them under the carpet, without then demanding interest or repayment of debts at all.
But how can devaluation be stopped? How to inflate oil prices and at the same time run the printing press (in America and the EU at once) at full capacity?
Again we need cover, justification and a smoke screen all rolled into one. Iran and Russian Federation. And at the same time.

WAR AND REVOLUTION
To achieve the effect, it is not enough to peddle Egypt, destroy Syria and cause disintegration and civil war in Libya. What is missing is the chaos of the former Iraq and the Arab-Israeli conflict. No - we need more.
I say again: in this situation, it is extremely beneficial for the ruling circles of the United States and the EU, presenting Iran as an aggressor, to start the longest possible war against Iran. In the form of an air campaign to destroy Iran’s infrastructure and long operations to capture the oil-bearing province of Khuzestan (or to destroy the Iranian oil and gas complex there). So that, under the cover of a long campaign, the price of oil would go beyond the clouds, and military hysteria would allow the West to carry out Operation Devaluation at home. Therefore, it is not in vain that the situation around Iran is heating up just at the moment when it is clear that the EU has reached a complete economic and debt impasse, and the United States has fallen into a dangerous economic decline. When the complete inability of Western elites to solve the problem of exiting the Great Depression-2 is clear. The war with Iran becomes a huge distraction here.
But I think there is a backup (or complementary) option. This is a new “democratic revolution” in the Russian Federation with its subsequent collapse. This will also occupy the Western public for a long time, at the same time inflating oil prices and requiring large-scale NATO military operations. Of course, a soft option is also possible: confederalization of the Russian Federation - turning it into a collection of practically independent regions (the ideal of some “Russian” national democrats and pro-Western liberals). Next, each region receives the right to manage its subsoil; they directly (without Moscow) invite Western mining companies to join them on PSA terms. The West is securing its energy base against the backdrop of nominally rising world prices for hydrocarbons.
If I were Western strategists, I would also develop a version of the neoliberal revolution in the Russian Federation (the new years 1917/1991), moreover, with planning for a quick landing of NATO troops in Siberia. So, to give China only Primorye and part of Transbaikalia, but not to allow the Chinese to have access to oil and gas Eastern Siberia(script from The Bear and the Dragon by Tom Clancy). To develop such an operation is no fantasy.
Apparently, this is why Americans are now carefully fueling the revolution in the Russian Federation, supporting the liberals and helping them to saddle mass protest. And the reason here is simple: revolution and chaos among the Russians are better than civil wars with the USA and Europe. And if combined with the Iranian war, it’s absolutely great. Under the cover of such a global super-crisis, it is possible to carry out such shocking changes in the West as have never been dreamed of today. Only one collapse of the Russian Federation will lead to a crisis of a global nature. At the same time, the Russian Federation is extremely vulnerable: Putin’s power, which has been completely screwed up, is causing mass protests by dissatisfied people. Why not turn the current Russian Federation into something like Tsarist Russia the beginning of 1917, and Putin - in the neo-Nicholas II? Moreover, we're talking about not about fair elections (this is just a pretext), but about the unfolding coup d’etat of a “bloodless” type, when power should go to liberals, hated by 95% of the population of the Russian Federation. Which liberals will create a complete analogue of the Provisional Government and in a matter of months will bring the country to a complete standstill.
Is there no new Hitler to help the West cover up the bankruptcy of its “elites” and help it get out of the crisis through another “battle of democracy with Satan”? No problem. New world war It is quite possible to hide in two planetary emergencies - Iranian and Russian.
It seems to me that the logic of what is happening today is exactly this.

The East is burning with a new dawn (Metaphor)

Don't these words seem strange to you? Why does A. S. Pushkin depict the sunrise as a fire? Word lit paints the bright colors of the sky, illuminated by the rays of the rising sun. This image is based on the similarity between the colors of dawn and fire; the sky is the color of a flame. Such a transfer of name from one object to another based on their similarity is called metaphor (from the Greek word metaphor- “transfer”) In A. S. Pushkin’s poem “Poltava” this metaphor receives a special symbolic meaning: the red dawn is perceived as an omen of a bloody battle.

Artists of words love to use metaphors; their use gives special expressiveness and emotionality to speech.

Metaphorization can be based on the similarity of the most various signs objects: their color, shape, volume, purpose, etc. Metaphors based on the similarity of objects in color are especially often used when describing Nature: forests clad in scarlet and gold(A.S. Pushkin); In the smoky clouds the purple of a rose, the reflection of amber(A. A. Fet). The similarity of the shape of objects served as the basis for such metaphors: S. Yesenin called the branches of a birch silk braids, and admiring the winter dress of the tree, he wrote: On the fluffy branches, white fringed brushes blossomed like a snowy border.

Often a metaphor combines proximity in color and shape of compared objects. So, A. S. Pushkin sang poetic tears And silver dust fountain of the Bakhchisarai Palace, F. I. Tyutchev - ^ rain pearls after spring thunderstorm. The similarity in the purpose of the compared objects is reflected in this image from “ Bronze Horseman»: Nature here destined us to cut a window into Europe(A.S. Pushkin).

Common features in the nature of the action and state create great opportunities for metaphorizing verbs. For example: The storm covers the sky with darkness, spinning snow whirlwinds; like a beastshe will howl Thatwill cry like a child (A.S. Pushkin).

The similarity in the temporal sequence of phenomena opens the way to such metaphorization: Now I have become more stingy in my desires, my life, or did I dream about you? As if I were a booming early springrode on a pink horse. Or also from S. Yesenin: A candle made of flesh wax will burn out with a golden flame, and a wooden clock of the moon will burn out.they will wheeze my twelfth hour.

It is not always possible to clearly determine what the similarity underlying the metaphor is. This is explained by the fact that objects, phenomena, and actions can come together not only on the basis of external similarity, but also by the commonality of the impression they make. This is, for example, the metaphorical use of the verb in an excerpt from “The Golden Rose” by K. Paustovsky: A writer is often surprised when some long and completely forgotten incident or some detail suddenlyblossom in his memory exactly when they are needed for work. Flowers bloom, delighting people with their beauty; the same joy is brought to the artist by a detail that comes to mind in time and is necessary for creativity.

Aristotle also noted that “to create good metaphors means to notice similarities.” The observant eye of a word artist finds common features in the most various subjects. The unexpectedness of such comparisons gives the metaphor special expressiveness. So the artistic power of metaphors, one might say, is directly dependent on their freshness and novelty.

Some metaphors are often repeated in speech: Night quietly descended to the earth; Winter has wrapped everything in a white blanket etc. Having become widespread, such metaphors fade, their figurative meaning is erased. Not all metaphors are stylistically equivalent; not every metaphor plays an artistic role in speech.

When did a person come up with a name for a curved pipe - knee, he also used a metaphor. But the new meaning of the word that arose did not receive an aesthetic function; the purpose of transferring the name here is purely practical: to name the object. To do this, metaphors are used in which there is no artistic image. There are a lot of such (“dry”) metaphors in the language: parsley tail, grape mustache, ship bow, eyeball, needles coniferous tree, table legs. New meanings of words developed as a result of such metaphorization are fixed in the language and given explanatory dictionaries. However, “dry” metaphors do not attract the attention of word artists, acting as ordinary names of objects, features, and phenomena.

Extended metaphors are of particular interest. They arise when one metaphor entails new ones that are related to it in meaning. For example: The golden grove dissuaded me with its cheerful birch tongue. Metaphor dissuaded“pulls” metaphors golden And birch tongue; the leaves first turn yellow and become gold, and then they fall and die; and since the bearer of action is the grove, then language her birch, cheerful.

Extended metaphors are a particularly vivid means of expressive speech. They were loved by S. Yesenin, V. Mayakovsky, A. Blok and other poets. Here are some examples of such metaphorization: A red rowan fire is burning in the garden, but it can’t warm anyone(S. Yesenin); Having deployed my troops in parade, I walk along the line front; The poems stand leaden-heavy, ready for both death and immortal glory; The poems froze, pressing the muzzle of aimed gaping titles to the muzzle(V. Mayakovsky). Sometimes poets expand metaphors into a whole poem. Such are, for example, the poems “Three Keys” by A. S. Pushkin, “The Cup of Life” by M. Yu. Lermontov and others.

Beginning writers often abuse metaphorization, and then the accumulation of tropes becomes the cause of stylistic imperfection of speech. When editing the manuscripts of young authors, M. Gorky very often drew attention to their unsuccessful artistic images: “A cluster of stars, dazzling and burning, like hundreds of suns";“After the day's heat, the earth was as hot as pot, just now kiln fired a skilled potter. But here in the heavenly oven The last logs have burned out. The sky froze and the burnt rang clay pot– Earth". Gorky remarks: “This is a bad show of words.” Among the editorial comments of M. Gorky, made in the margins of the manuscripts of novice writers, the following are interesting: against the phrase: “Our commander often jumps forward, shoots his eyes looking around and peering for a long time at the crumpled map” Alexey Maksimovich wrote: “This is what young ladies do, not commanders”; emphasizing the image “The sky trembles with teary eyes,” he asks: “Is it possible to imagine this? Wouldn’t it be better to just say something about the stars?”

The use of metaphors as a “decorating” or “ornamental” means usually indicates the writer’s inexperience and helplessness. Entering a period of creative maturity, writers very often critically evaluate their past passions for pretentious images. K. Paustovsky, for example, wrote about his early gymnasium poems.

The poems were bad - lush, elegant and, as it seemed to me then, quite beautiful. Now I have forgotten these verses. I remember only certain stanzas. For example, these:

Oh, pluck the flowers from the drooping stems!

Rain falls quietly on the fields.

And to the lands where the smoky scarlet autumn sunset burns,

And sadness for a loved one glitters like opals

Saadi On the pages of slow days...

Why sadness “glitters with opals” - I cannot explain this either then or now. I was simply fascinated by the very sound of words. I didn't think about the meaning.

The best Russian writers saw the highest dignity artistic speech in noble simplicity, sincerity and truthfulness of descriptions. A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol, N. A. Nekrasov, V. G. Korolenko, A. P. Chekhov, and others considered it necessary to avoid false pathos and mannerisms. “Simplicity,” wrote V. G. Belinsky, “is a necessary condition for a work of art, which in its essence denies any external decoration, any sophistication.”

However, the vicious desire to “speak beautifully” sometimes in our time prevents some authors from simply and clearly expressing their thoughts. It is enough to analyze the style of student works on literature to be convinced of the justice of such a reproach. The young man writes: “There is no corner of the earth where the name of Pushkin is not known, which will be carried from generation to generation." In another essay we read: “His works breathe reality which is revealed so completely that, while reading, he himself you plunge into that period.” Trying to express himself figuratively, one author states: “Life goes on flow in its own way" and another “even more expressively” remarks: “I got on the train and I went down the hard road of life.”

The inept use of metaphors makes the statement ambiguous and gives the speech an inappropriate comedy. So, they write: “Although Kabanikha couldn't digest it Katerina, this fragile flower that grew in the “dark kingdom” of evil, but she ate it day and night"; "Turgenev kills his hero at the end of the novel, giving him an infection in his wound on the finger"; “On the path of Maydannikov’s entry into the collective farm there were bulls." Such “metaphorical” use of words causes irreparable damage to the style, because the romantic image is debunked, the serious and sometimes tragic sound of speech is replaced by a comic one. So let the metaphors in your speech be only the source of its vivid imagery, emotionality and never become a reason for lowering the grade for the style of your essays!

All flags will visit us (Metonymy)

In one of the stories of A. N. Tolstoy you can read: The last visitors to the palace museum walked by in single file.– short fur coats, tunics, cotton jackets . Another reader will think: “What happens: short fur coats and padded jackets have grown legs and are they walking? What writers can’t come up with!” And indeed, in fiction you can also find something different: "It's true that it's expensive"– sigh the red trousers (A.P. Chekhov); Mostscandalizes a faded coat with a dog collar: “She got in there herself, but doesn’t let others in”(A. Gladilin).

If we understood such phrases literally, we would have to imagine a strange picture: clothes come to life and not only walk, but also sigh, and even make scandals... However, we are not talking about short fur coats and coats, but about their owners, and the use of clothing names to denote people dressed appropriately is a special stylistic device that authors use to enhance the expressiveness of speech. This transfer of names is based on contiguity associations.

The transfer of a name from one object to another based on contiguity is called metonymy (from the Greek word metonymy, meaning "renaming").

Metonymy allows, for example, to construct a phrase like this: “How stupid are you, brother?”– said the telephone receiver reproachfully (V. Kozlov). We understand that the replica belongs to a person talking on the phone, although the feuilletonist said the telephone receiver.

Metonymic substitutions make it possible to formulate a thought more briefly. For example, omitting the verb get sick, often asked: What happened to your throat?(A.P. Chekhov); Has the head gone?(M, Gorky). Or they say this: Raisa's heart went away(A.N. Tolstoy). Etc.

When denoting time, metonymic replacements also allow you to express your thoughts extremely briefly: They haven't seenMoscow (I. S. Turgenev); Motherafter tea continued knitting(I. Bunin). If in such cases the author did not use metonymy, he would have to write: after a meeting in Moscow, after drinking tea.

Metonymy serves as a source of imagery. Let's remember Pushkin's lines: All flags will be visiting us. Through the mouth of Peter I, the poet predicted that the port city, built on the shores of the Gulf of Finland, would receive ships with flags of all countries of the world. And here is another well-known example of metonymy by A. S. Pushkin: Amber on the pipes of Constantinople,porcelain and bronze on the table, and, the joy of pampered feelings, perfumein cut crystal... Here the poet uses the name of materials to refer to objects made from them when describing the luxury that surrounded Onegin.

Of course, these textbook lines are far from exhausting the cases of metonymy in A.S. Pushkin. This trope underlies many of his great images. For example, A. S. Pushkin resorted to metonymy when depicting the “magical land” of theatrical life: The theater is already full;the boxes shine; stalls and chairs – everything is boiling; creating pictures of Russian life: ...And it’s a pity for the old woman’s winter, and,After seeing her off with pancakes and wine, we celebrate her wake with ice cream and ice . Pushkin has many similar examples of truly artistic use of the trope.

As a stylistic device, metonymy should be distinguished from metaphor. To transfer a name in a metaphor, the compared objects must be similar, but with metonymy there is no such similarity; the artist of the word relies only on the contiguity of objects. Another difference: a metaphor can easily be converted into a simile using words like, like, similar. For example, fringe of frost– frost like fringe, the pines whisper– The pines make noise as if they are whispering. Metonymy does not allow such a transformation.

With metonymy, objects and phenomena that receive the same name are connected by a variety of contiguity associations. The name of a place is used to designate the people who are there: The exuberant one rejoicesRome (M. Yu. Lermontov). The name of the vessel is used to mean the contents: Iate three plates (I. A. Krylov). The author's name replaces the title of his work: MourningChopin thundered at sunset(M. Svetlov). Titles distinctive features people or objects are used instead of their usual names: Black tailcoats rushed apart and in heaps here and there(N.V. Gogol).

Of particular interest is the metonymy of adjectives. For example, A.S. Pushkin called one of the secular dandies: overstarched impudent. Of course, in terms of meaning, the definition can only be attributed to nouns that name some details of the toilet of a fashionable dandy, but in figurative speech such a transfer of the name is possible. There are many examples of such metonymy of adjectives in fiction: The white scent of daffodilshappy, white, spring smell (L.N. Tolstoy); Then a short old man camein amazed glasses (I. Bunin).

Metonymy can be found not only in works of art, but also in our everyday speech. We are speaking: The class is listening, there is no copper, I love Yesenin, I listened to Onegin. Don’t you sometimes have to answer “truncated” questions: Have you been to Ermolova?(meaning the Ermolova Theater); Is he studying in Frunze?(that is, at the Frunze School); Is the cashier working? And here are the same “truncated” messages: We met on potatoes; The whole ship came running; The Waltz Fantasy is performed by the House of Culture. Such metonymic transfers are possible only in oral speech. However, in essays, unsuccessful metonymic transfers of names give rise to annoying speech errors: “At this time, the writer created his “Mother”; "The hero decided to fly on crutches." Such “laconicism” in the expression of thoughts leads to inappropriate puns, and the reader cannot help but smile where the text requires a completely different reaction...

Some other paths are also very close to metonymy. A unique variety of it is represented by synecdoche, which consists of replacing the plural with a singular, using the name of a part instead of the whole, a particular instead of a general, and vice versa. For example, the expressiveness of an excerpt from A. T. Tvardovsky’s poem “Vasily Terkin” is built on the use of synecdoche:

To the east, through the smoke and soot,

From one prison deaf

Going home Europe.

The fluff of the feather beds is like a blizzard over her.

And on Russian soldier

French brother, British brother.

Polish brother and everything in a row

With friendship as if guilty,

But they look from the heart...

Here is a generic name Europe used instead of the names of the peoples inhabiting European countries; singular noun Russian soldier, French brother and others replaces them plural. Synecdoche enhances the expression of speech and gives it a deep generalizing meaning.

However, this trope can also cause speech errors. How to understand, for example, the following statement: “In our circle, a serious search is underway: the guys create interesting models. But we don’t have enough workers: we only have seven of them so far”?

Star speaks to star (Personification)

Under the pen of writers, the objects around us come to life: the sea breathes full breasts; the waves run and caress towards the shore; the forest is warily silent; the grass whispers with the wind; lakes look into endless distances... And in one song they even sing about pointed spruce eyelashes above blue eyes lakes! In that magical world poetic images, in the words of F.I. Tyutchev, “there is a smile on everything, life in everything”! And we are ready to believe the poet that at that hour when the earth sleeps in a blue glow(as M. Yu. Lermontov wrote), the stars acquire the gift of speech...

All these transformations in works of art are due to a remarkable stylistic device - personification. Personification is the endowment of inanimate objects with various feelings, thoughts, actions, and speech. Here is how, for example, A. Gaidar uses this trope in the story “The Blue Cup”: Came running clouds everywhere.Surrounded They,caught Andclosed Sun. Butit stubbornlyburst out first into one hole, then into another. Finally,burst out and sparkled over the vast earth even hotter and brighter.

When personified, the described object can be externally likened to a person: Green hairstyle, girlish breasts, oh thin birch tree that looked into the pond?(S. Yesenin). Even more often, actions that are available only to humans are attributed to inanimate objects: Was torn autumnnight icy tears(A. A. Fet); Homethe cloud is stretching, just socry above her(A. A. Fet); And the flowering clusters of bird cherry trees were washed with leavestransom frames (B. Pasternak).

Writers especially often turn to personification when describing pictures of nature. S. Yesenin masterfully used this trope. The poet addressed the maple as a good old friend: Are you my fallen maple, icy maple, why are you standing bent over under the white snowstorm? Or what did you see? Or what did you hear? It’s as if you went out for a walk outside the village... In his poetry Dawn calls out to another; The willows are crying, the poplars are whispering; The bird cherry sleeps in a white cape; The wind groans, long and dull; Flowers say goodbye to me, bowing their heads lower; The linden trees beckon to us in vain, plunging our feet into the snowdrifts; The flood licked the mud with smoke. The month dropped the yellow reins; They knit lace over the forest in the yellow foam of the cloud. In a quiet slumber under the canopy I hear the whisper of the pine forest. In love with his native Russian nature, the poet wrote about birches with particular tenderness:

Green hairstyle,

Girlish breasts,

O thin birch tree,

Why did you look into the pond?

What does the wind whisper to you?

What is the sand ringing about?

Or do you want to braid branches

Are you a moon comb?

It is personification that creates the charm of many of S. Yesenin’s poetic images, by which we unmistakably recognize his style.

V. Mayakovsky’s personifications are very original. How not to remember his “meeting” and “conversation” with the sun: What have I done? I'm dead! The sun itself, spreading its ray-steps, walks towards me of its own free will into the field! In the works of V. Mayakovsky, this stylistic device was a means of emotionally intense and often dramatic sound poetic speech: And on gray eyelashes– Yes!– on the eyelashes of frosty icicles there are tears from the eyes– Yes!– from the downcast eyes of drainpipes; The telegraph was hoarse from the mournful hum. Tears of snow from reddened eyelids. Personification also appears as a strong visual means in literary prose. For example, from K. Paustovsky:

I thought of it [the old village garden] as a living thing. He was silent and patiently waited for the time when I would go to the well late in the evening to get water for the kettle. Perhaps it was easier for him to endure this endless night when he heard the clanking of a bucket and the steps of a man.

Personification is widely used not only in literary texts. It is worth opening any issue of the newspaper, and you will see funny headlines based on personification: “The sun lights up the beacons”, “The ice track awaits”, “The match brought records”, “Reinforced concrete fell into the mines”... Publicists often turn to him to create emotionally expressive images. So, during the years of the Great Patriotic War A. N. Tolstoy wrote in the article “Moscow is threatened by an enemy,” addressing Russia: My homeland, you have had a difficult test, but you will come out of it with victory, because you are strong, you are young, you are kind, you carry goodness and beauty in your heart. You are all hopeful for a bright future, you are building it with your own big hands, your best sons die for him. The technique of personification helped the writer create a majestic image of Russia, which bore on its shoulders all the hardships of the war and opened the path to peace and happiness for the people.

The sunset glowed at one hundred and forty suns (Hyperbole)

Of course, no one takes these words of V. Mayakovsky seriously, realizing that this is an exaggeration, but this image helps us imagine a sky of extraordinary brightness, illuminated by the setting sun.

A figurative expression that exaggerates the size, strength, or beauty of what is being described is called hyperbole. Hyperbolization is V. Mayakovsky’s favorite stylistic device. Let us recall, for example, these lines of his: Some houses are as long as a star, others– moon-length; baobabs to the sky; Whiter than the clouds of the herd, the most majestic of the sugar kings; Willie has gained a lot in his life– there's a whole forest of dust particles... Mayakovsky builds the imagery of his satirical works “Coward”, “Pillar”, “Suck-up”, “Bird of God” on hyperbole. The poet found a source of humor in hyperbolism, for example, here is one of his jokes: A yawn tears wider than the Gulf of Mexico...

The “king of hyperbole” in Russian prose was N.V. Gogol. Remember his description of the Dnieper? Rare bird will fly to the middle of the Dnieper; Wonderful air...moving an ocean of fragrances. And how much comedy there is in Gogol’s everyday hyperboles! U Ivan Nikiforovich... trousers in such high folds that if they were inflated, the entire yard with barns and buildings could be placed in them... ,

Russian writers loved to resort to hyperbolization as a means of ridicule. For example, F. M. Dostoevsky, parodying excited speech, lines up hyperboles: On the mere supposition of such a case, you would have touproot the hair from your head and let out streams ...what am I saying!rivers, lakes, seas, oceans of tears !

One cannot help but mention the stylistic device that is the opposite of hyperbole.

A figurative expression that understates the size, strength and significance of what is being described is called litta. For example: Tom Thumb. Litotes is also called an inverse hyperbola.

Hyperbole and litotes have common ground– deviation in one direction or another from an objective quantitative assessment of an object, phenomenon, quality. Therefore, these two paths can be combined and intertwined in speech. For example, the content of the comic Russian song “Dunya the Slender Weaver” is built on these paths, in which it is sung that Dunya spun the tow for three hours, spun three threads, and these threads were thinner than a log, thicker than a knee...

Like other tropes, hyperbole and litotes can be general linguistic and individually authored. There are quite a few common linguistic hyperboles that we use in everyday speech: to wait for an eternity, on the edge of the earth, to dream all your life, high to the sky, to be scared to death, to be smothered in your arms, to love madly. Common linguistic litotes are also known: not a drop, the sea is knee-deep, a drop in the sea, just a stone's throw away, a sip of water, the cat cried etc. These hyperboles and litotes belong to the emotionally expressive means of language and are used in artistic speech. travel: Journey V country Logicians. Traveler's Reminder: 1. Study the map...

In chapter Schools The question requires an excerpt from Pushkin’s poem “Poltava”, the moment of the beginning Battle of Poltava given by the author Yoerega Kireev the best answer is and; Cold bayonets hung down. Beloved sons of victory, The Swedes are rushing through the fire of the trenches; Worried, the cavalry flies; The infantry moves behind her and with its heavy firmness strengthens her desire. And the fatal battlefield thunders and burns here and there; But clearly the happiness of combat is already beginning to serve us. The squads repulsed by gunfire, getting in the way, fall to dust. Rosen leaves through the gorges; The ardent Schliepenbach surrenders. We are pressing the Swedes, army after army; The glory of their banners darkens, And the God of War, with the grace of Our every step, is sealed. Then, inspired from above, the sonorous voice of Peter was heard: “Get to work, with God! “Peter comes out of the tent, surrounded by a crowd of favorites. His eyes are shining. His face is terrible. The movements are fast. He is beautiful, He is all like God's thunderstorm. It's coming. They bring him a horse. A faithful horse is zealous and humble. Sensing the fatal fire, Trembling. He looks askance with his eyes And rushes in the dust of battle, Proud of his mighty rider. It's almost noon. The heat is blazing. Like a plowman, the battle rests. Cossacks are prancing here and there. Leveling up, shelves are built. The battle music is silent. On the hills the guns, hushed, interrupted their hungry roar. And so, echoing the plain, cheers rang out in the distance: The regiments saw Peter. And he rushed in front of the shelves, Powerful and joyful, like battle. He devoured the field with his eyes. Behind him, these chicks of Petrov's nest rushed in a crowd - In the changes of earthly lot, In the labors of power and war, His comrades, sons: And the noble Sheremetev, And Bruce, and Bour, and Repnin, And, the rootless darling of happiness, The semi-sovereign ruler. And before the blue ranks of His warlike squads, Carried by faithful servants, In a rocking chair, pale, motionless, Suffering from a wound, Charles appeared. The hero's leaders followed him. He quietly sank into thought. The embarrassed gaze depicted extraordinary excitement. It seemed that Karl was perplexed by the Desired Fight... Suddenly, with a weak wave of his hand, he moved his regiments towards the Russians. And with them the royal squads converged in the smoke in the middle of the plain: And the battle broke out, the Battle of Poltava! In the fire, under the red-hot hail, reflected by a living wall, Above the fallen formation, a fresh formation closes bayonets. Like a heavy cloud, detachments of flying cavalry, Reins, sounding sabers, Colliding, cutting from the shoulder. Throwing piles of bodies onto piles, cast-iron balls are jumping everywhere between them, striking, digging up dust and hissing in the blood. Swede, Russian - stabs, chops, cuts. Drumming, clicks, grinding, The thunder of guns, stomping, neighing, groaning, And death and hell on all sides. But the moment of victory is close, close. Hooray! we break; The Swedes are bending. O glorious hour! oh glorious view! Another pressure - and the enemy flees: And then the cavalry set off, Swords become dull with murder, And the whole steppe is covered with the fallen, Like a swarm of black locusts. Peter is feasting. And proud and clear, And his gaze is full of glory. And his royal feast is wonderful. At the shouts of his army, in his tent he treats his leaders, the leaders of strangers, and caresses the glorious captives, and raises a healthy cup for his teachers.

The east is burning with a new dawn. Already on the plain, guns are thundering across the hills. Crimson smoke rises in circles to the heavens towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. The cannonballs are rolling, the pool is whistling

The east is burning with a new dawn. Already on the plain, guns are thundering across the hills. Crimson smoke rises in circles to the heavens towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. The cannonballs are rolling, the pool is whistling

The east is burning with a new dawn. Already on the plain, guns are thundering across the hills. Crimson smoke rises in circles to the heavens towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. Kate