Poetic comparison 8. Examples of comparison in literature - in prose and poems
One can talk endlessly about the beauty and richness of the Russian language. These arguments are just another reason to get involved in such a conversation. So, comparisons.
What is a comparison
In fact, this term is ambiguous. This fact is confirmed by the endless examples of comparison that we observe in everyday life. In colloquial speech, it is rather an assimilation of different objects, a statement that they are equal or similar.
In mathematics, the term "comparison" is intertwined with the similar concept of "relationship". Comparing numbers for equality or inequality, we find the difference between them.
Comparison is also called the process of comparing the similarities and differences, disadvantages and advantages of several objects. As examples show, comparisons in such sciences as philosophy, psychology, sociology are a kind of cognitive operations that underlie reasoning about the similarities and differences between the objects under study. With the help of comparisons, various characteristics of these objects or phenomena are revealed.
Comparison in the literature: definition and examples
Stylistic and literary comparisons have a slightly different meaning. These are figures of speech in which some phenomena or objects are likened to others according to some common feature. can be simple, then certain words are usually present in the turnover. Among them are: “like”, “as if”, “as if”, “exactly”. But there is also an indirect comparison method: in this case, the comparison is made using the noun в without a preposition. Example: “Onegin lived as an anchorite” (“Eugene Onegin” by A. S. Pushkin).
Comparisons and metaphors
Comparisons are inextricably linked with another literary concept, a metaphor - an expression used in a figurative sense. Actually, the metaphor is based on a comparison that is not directly expressed. For example, A. Blok's line "The streams of my poems run" is a typical metaphor (the word "streams" is used in a figurative sense). But this same line is also a comparison: the verses run like streams.
It is interesting to use metaphorical devices in the case of the so-called negative comparison. Examples of comparison can be easily found in epics. “Not two clouds converged in the sky, two daring knights converged” - in this sample of the old Russian epic, the similarity of formidable warriors with dark terrible clouds is simultaneously emphasized, and their identity is denied, and an absolutely amazing overall picture is drawn.
Negative comparisons, more characteristic of folk art and their folklore stylizations, play a special role in the perception of the artistic image. Here is a line from the work of A. Nekrasov: “It’s not the kennel who trumpets the oak forest, the ripped head cackles - after crying, a young widow chops and cuts firewood.” The second part of the expression (Crying ...) is self-sufficient in itself, it fully conveys the required meaning. But only the combination of both parts of the sentence allows you to feel all the bitterness, all the tragedy of what happened.
Expressive language
Comparisons help explain concepts or phenomena by comparing them with other objects - sweet like honey, sour like vinegar. But the main goal is by no means to emphasize the characteristic properties of the object. The main thing is the figurative, most accurate expression of the author's thought, because one of the most powerful means of expressiveness is comparison. Examples from the literature brilliantly illustrate its role in shaping the image that the author needs. Here is a line of creation from M.Yu. Lermontov: "Garun ran faster than a fallow deer, faster than a hare from an eagle." One could simply say: "Harun ran very fast" or "Harun ran at great speed." But, being absolutely true in their essence, such phrases would not achieve even to a small extent the effect that is inherent in Lermontov's lines.
Peculiarities
Paying tribute to comparisons as powerful exponents of the peculiarities of Russian speech, many researchers were amazed at the rationality of these comparisons. It would seem, where does rationality? After all, no one requires special accuracy, literalness from comparisons! But here are dissimilar examples of comparison, strings belonging to different people. “There were fire-faced cannes here, like glasses of bloody wine” (N. Zabolotsky) and “Fate, you look like a market butcher, whose knife is bloodied from tip to handle” (Khakani). Despite the dissimilarity of these expressions, they are distinguished by a common feature. Both phrases tell about completely ordinary things (about red flowers, about a difficult human fate) and, written in a slightly different form, could easily be lost in any text. But the use of comparisons (“glasses of bloody wine”, “butcher's knife”) turned out to be exactly the touch that deliberately added special expressiveness and emotionality to simple words. This is probably why in songs and romantic poems, where the emotional mood is already strong, comparisons are even less common than in a realistic narrative.
Examples of comparisons in Russian
The Russian language is considered one of the most difficult. And at the same time, the creations of Russian classics in the world are recognized as the most striking, original, talented. It seems that there is an inextricable link between these facts. The difficulty of learning a language lies in the considerable number of features, possibilities, and rules present in it. But this also opens up huge scope for a talented writer who has managed to master cunning tricks. The Russian language is indeed very rich: it has truly limitless possibilities that allow you to turn an ordinary word into a vivid visual image, make it sound in a new way, so that it remains in your memory forever. Poetic works are especially conducive to this. “Our life in old age is a worn out robe: it is both ashamed to wear it, and it is a pity to leave it.” This line is an excellent example of the use of simile in literary creation.
About the work of A.S. Pushkin
The great poet was a recognized genius for mastering the most complex. The comparisons used in his poems and poems are striking in their surprise and at the same time accuracy and accuracy.
“His beaver collar is silvered with frosty dust” is a line from the poem “Eugene Onegin”. Only a few words, but a capital boulevard, covered with snow, and a young dandy going to the ball emerge before my eyes. And then there is the episode at the ball: “He came in: and the cork hit the ceiling, the fault of the comet splashed current.” If Pushkin had written that the lackey had uncorked a bottle of champagne, he would not have deviated from the truth. But would this picture of unusual, festive, sparkling fun then have surfaced so clearly?
And this is already from the poem "The Bronze Horseman": "And before the younger capital, old Moscow faded, like a porphyry-bearing widow before the new queen." Is it possible to convey more precisely that atmosphere of a certain patriarchy and even abandonment that reigned in Moscow after the city of Petra was named the capital of Russia? “Let the Finnish waves forget their enmity and captivity!” - this is about how the waters of the Neva were chained in granite. Yes, probably, this could have been stated without comparisons, but would the pictures drawn by the author appear so clearly before your eyes?
And more about Russian poetic creativity
There are plenty of wonderful examples of the use of comparative images in the work of other Russian poets. Amazing comparisons in Bunin's poem "Childhood" accurately convey the atmosphere of a hot summer day, the feeling of a child who enjoys the sun and the aromas of the forest. The author's sand is silk, the tree trunk is a giant, and the sun-drenched summer forest itself is solar chambers.
No less remarkable, although completely different examples are found in the works of other Russian masters of the word. Comparisons in Yesenin's poem "Good morning!" open the summer dawn to the reader. Golden stars are dozing, instead of river water there is a mirror of the backwater, there are green earrings on the birch trees, silver dews are burning, and nettles are dressed in bright mother-of-pearl. In fact, the whole poem is one big comparison. And how beautiful!
One can talk about comparisons in the work of S. Yesenin for a long time - before that they are all bright, imaginative and at the same time dissimilar. If in the work "Good morning" the atmosphere is light, joyful, pleasant, then when reading the poem "The Black Man" there is a feeling of heaviness, even catastrophe (it is not for nothing that it is considered a kind of author's requiem). And this atmosphere of hopelessness is also formed thanks to unusually accurate comparisons!
"The Black Man" is a tragically original poem. A certain black man who arose either in a dream or in the author's feverish delirium. Yesenin is trying to understand what kind of vision this is. And then a whole series of brilliant comparisons: “Just like a grove in September, alcohol showers brains”, “My head flaps its ears like a bird’s wings, it can no longer loom its legs on its neck”, “In December in that country the snow is pure to the devil, and blizzards start merry spinning wheels. You read these lines and see everything: a bright frosty winter, and great human despair.
Conclusion
You can express your thoughts in different ways. But for some, these are faded and dull phrases, or even completely incoherent babble, while for others, luxurious flowery pictures. Comparisons and others make it possible to achieve figurativeness of speech, both written and oral. And do not neglect this wealth.
Literature (real) is the true art of creating texts, the creation of a new object through words. As in any complex craft, literature has its own special techniques. One of them is "comparison". With its help, for greater expressiveness or ironic contrast, certain objects, their qualities, people, and traits of their character are compared.
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The kettle, with its upturned trunk, puffed on the stove like a young elephant rushing to a watering place..
─ Ironic assimilation of a small inanimate object to a large animal by comparing the long spout of a teapot and an elephant's trunk.
Comparison: definition
There are at least three definitions of comparison in the literature.
For a literary text, the first definition will be more correct. But the most talented authors of fiction successfully work with the second and third definitions, the role of comparison in the text is so great. Examples of comparisons in literature and folklore of the last two types:
He is stupid as an oak, but cunning as a fox.
Unlike Afanasy Petrovich, Igor Dmitrievich was thin in physique, like a mop handle, just as straight and elongated.
In growth, the pygmies of the Congo Delta are like children, their skin is not black like that of Negroes, but yellowish, like fallen leaves.
In the latter case, along with the use of "negative comparison" ("not"), direct similitude ("as if") is combined.
The Russian language is so rich that the authors of works of art use a huge number of types of comparisons. Philologists can only roughly classify them. Modern philology distinguishes the following two main types of comparison and four more comparisons in fiction.
- Direct. In this case, comparative turns (conjunctions) “as if”, “like”, “exactly”, “as if” are used. He bared his soul in front of him, as a nudist exposes his body on the beach.
- Indirect. With this assimilation, prepositions are not used. The hurricane swept all the garbage from the streets with a giant janitor.
In the second sentence, the compared noun (“hurricane”) is used in the nominative case, and the compared (“janitor”) is used in the instrumental. Other types:
As far back as the 19th century, the philologist and Slavist M. Petrovsky singled out “Homeric” or “epic” assimilation from detailed comparisons in literature. In this case, the author of the literary text, not caring about brevity, expands the comparison, digressing from the main storyline, from the compared subject as far as his imagination allows. Examples are easy to find in the Iliad or postmodernists.
Ajax rushed at the enemies, like a starving lion at the frightened huddled, lost shepherd sheep, which were left unguarded defenseless, like children without supervision, and are only able to timidly moan and back away in fear of the lion's thirst for blood and murder, which seizes the predator like madness, intensifying when he senses the horror of the doomed...
It is better not to resort to the epic type of comparisons for a novice writer of literary texts. The young writer must wait until his literary prowess and sense of artistic harmony have grown. Otherwise, an inexperienced beginner himself will not notice how, winding one on top of the other, like threads from different balls, such “free associations” will carry him away from the plot of his main narrative, creating semantic confusion. So comparisons in a literary text can not only simplify the understanding of the described subject (a tiger is a huge predatory cat), but also confuse the narration.
Comparison in verse
The role of literary comparison in poetry is especially important. The poet uses the richness of the language to create a unique and aesthetically valuable work of art, or rather to convey his idea to the reader.
We are often hard and bad
From the tricks of a tricky fate,
But we, with the obedience of camels
We carry our humps.
With these lines, the poet explains to the reader his own idea that most of the troubles that happen in life are natural, like camels’ humps, that sometimes you just can’t get rid of them, but you just need to “carry” them for some time.
Without you, no work, no rest:
are you a woman or a bird?
After all, you are like a creature of air,
"Vozdushnitsa" - darling!
In most poems, the authors use comparisons to create a bright, beautiful, easy-to-remember image. Most of these colorful comparisons in the texts of N. Gumilyov, Mayakovsky. But I. Brodsky remains an unsurpassed master of the use of detailed comparisons in artistic literary versification.
Comparisons are also used in spoken language. When writing any text, even a school essay, one cannot do without comparisons. So you need to firmly remember a few rules of punctuation of the literary Russian language. Commas are placed before comparative phrases with the words:
- as if
- as if
- as if,
- like,
- exactly
So when you write:
- He was taller than the teenager she remembered.
- The day flared up quickly and hot, like a fire into which gasoline was suddenly splashed.
─ in these situations, do not hesitate, commas are necessary. Much more problems await you with the "how" union. The fact is that, even if the “how” particle is part of a comparative turnover, a comma before it is not needed if:
It can be replaced with a dash. Steppe like a sea of grass.
This union is part of a stable phraseological unit. Faithful like a dog.
The particle is included in the predicate. For me the past is like a dream.
The conjunction, within the meaning of the sentence, is replaced by an adverb or a noun. He looked like a wolf possible substitutions: looked like a wolf , looked like a wolf .
Where else do you need commas
According to the rules of punctuation, commas are not needed before “how” and when it is preceded by adverbs or particles in a sentence:
It's time to end, midnight seems to have struck.
Not separated by commas "as" if it is preceded by a negative particle.
He looked at the new gate not like a ram.
So when you use similes to spruce up or make your text clearer, remember the tricky "how" particle and punctuation rules, and you'll be fine!
COMPARISON- a figurative expression built on a comparison of two objects, concepts or states that have a common feature, due to which the artistic significance of the first object is enhanced. The poetics of S. is complex and has not yet been theoretically developed. In the system of various poetic means of expression, S. is the initial stage, from which, in the order of gradation and branching, almost all other tropes flow - parallelism, metaphor, metonymy, synecdoche, hyperbole, litotes, etc. In S. - the origins of the poetic image. The simplest form of S. is usually expressed through auxiliary words - as, exactly, as if, as if, like, as if, as if, like, like that etc.:
Anchar, like a formidable sentry, Like a huge dung beetle Long days are short Into the eyes of a cautious cat It looked like a clear evening: Then I saw a black swarm of demons, The maple leaf reminds us of amber. |
Form C. through instrumental, very common:
Frost dust silver And autumn is a quiet widow Wet sparrow The stallion under him sparkles There are crosses after the battle Suicide in the gorge Yellow fluffy bumblebees |
Form C. using genitive(actually develops into a metaphor):
Comparison-image, in which both members are compared not on a separate basis, but on a general basis, merging into a micro-picture:
The midnight carts roar, - The rain poured through the sun, and under the mossy spruce Sweet hands - a pair of swans - The mountains are leaving A locomotive runs along the dying rails, Winter was so young |
Indefinite S., expressing a superlative state:
Comparison is a figurative allegory in which the similarity between two phenomena of life is established. It always contains TWO COMPATIBLE IMAGES: the main one, which contains the main meaning of the statement (syntactically, this is the first term of the comparison), and the auxiliary (the second term of the comparison), attached to the main conjunctions “like”, “as if”, “as if”: “my life is like a raging sea", "a heart groans like an autumn leaf trembles", "it will howl like a beast, then it will cry like a child", "and he is killed - and taken by the grave, / like that singer, unknown, but cute...".
Comparison is a technique widely used in artistic speech. It reveals the similarities, correspondences, parallels between natural phenomena and people's lives, between people - it fixes the various associations that arise in the author of the work.
Comparisons often create a single associative array necessary for the emergence of an image. For example, in A.S. Pushkin’s poem “To the Sea”, the poet evokes a number of associations with the poet in general and with the “geniuses” - Napoleon and Byron. These associations are fixed in comparisons. The noise of the sea, with which the poet says goodbye, is compared with the "mournful murmur" of a friend, his "call... at the farewell hour": me for the last time!" In Byron’s personality, the poet sees the same qualities as those of the “free element”: power, depth, gloom, indomitability: “Your image was marked on it, / He was created by your spirit: / Like you, powerful, deep and gloomy, / Like you, we won’t tame anything.” In the first comparison, Pushkin emphasizes the similarity between the sea and man, friend, in the second, Byron's similarity with the sea element. The main meaning of the statement changes (in the first case - the sea, in the second - Byron), but as a result, it seems that both the sea and Byron are, as it were, creatures of the same nature: proud, freedom-loving, strong-willed, spontaneous and unstoppable.
In folk poetry, the so-called stable comparisons are widely used, that is, comparisons based on tradition, used in the same situations. Like constant epithets, such comparisons are not individual, but are taken from the stock that a folk storyteller or singer has. This is a figurative model, easily reproduced in the right situation. Of course, poets relying on folklore also use stable comparisons, for example, M.Yu. Lermontov in “The Song about the Merchant Kalashnikov”: “Here the king frowned his black eyebrows, / And pointed his keen eyes at him, / LIKE A HAWK looked from the height of heaven / ON A YOUNG DOVE gray-winged.
So, comparison is one of the ways of understanding reality, one of the forms of artistic thinking. No language can do without comparisons, and they are especially bright, expressive and emotionally manifested in the language of poetry.
It is interesting to consider how individual poets use comparison tropes, for example, M. Tsvetaeva - all quotes below are taken from her works.
What is the subject of comparison in M. Tsvetaeva?
1. The subject of comparison is abstract concepts
A) time:
"...with time, LIKE THE OCEAN
Sneak without disturbing the waters..."
B) life and, in contrast to it, death:
"All life is LIKE A BOOK for me";
"This is my life sang - howled -
Buzzed - LIKE THE AUTUMN SURF -
And she wept over herself."
"Life fell out - A PENNY RUST..."
"Life is like a ship:
A little Spanish castle - past!
All that is impossible
I'll do it myself."
"Death is a WORMHOLE".
"Death in every crevice. In every recess of the floor - a pit."
C) stages of human life: childhood, youth, old age:
"You gave me childhood - BETTER TALES"
"HOW A SNAKE LOOKES AT THE OLD SKIN -
I outgrew my youth
D) times of the day: day, night, morning, evening and time unit - hour:
"My days are like LITTLE WAVES,
At which I look from the bridge"
"Black, AS A PUPILE,
Like a pupil sucking
Light - I love you, vigilant night."
Tsvetaeva often compares abstract concepts with concrete tangible objects. Moreover, M. Tsvetaeva speaks about the days, looking at them from the side, puts a certain boundary between her days and herself “I look from the bridge”). And the night, on the contrary, is spoken of as something that belongs to a person, as a part of his inner world. M. Tsvetaeva feels the night as if inside herself. Night for the lyrical heroine is an internal state, a certain mood of the soul:
"... LIKE BLOOD
The night has fallen!"
But the poet often associates the “hour” with a voice or a story. He seems to be controlled by a person, consistent with him:
"The word is strange - old woman:
The meaning is unclear, the sound is gloomy,
HOW TO ROSE EAR
DARK SINK NOISE."
Here the sound is compared with another sound, but still unexpectedly: the sound of the word is compared with the noise of a sea shell. Moreover, a sign of comparison is not only the sound, but also the meaning of the word. But the comparison, where the object and the image are completely identical to each other, they are compared on the basis of purely quantitative differences:
"At a thin wire over a wave of oats
Today the voice is LIKE A THOUSAND VOICES.
Such a quantitative comparison emphasizes not only and not so much the power of the voice, but also its importance, the significance of what it tells about.
In almost all cases, the sounds of M. Tsvetaeva are compared with something specific, material:
"Two words, ROUND LIKE SPUR.
TWO BIRDS IN BATTLE THUNDER".
""No" - AS LIKE THE ICE CRACKED.
"Words are heavy, LIKE DROPS."
E) expression of various emotions and feelings:
"Love is even older:
Old as a horsetail, old as a snake,
Starey LIVONSKY AMBER,
All PRIVIDENSKY SHIPS
Old - STONES, old - SEAS "
"And my laughter is the jealousy of all hearts! -
LIKE A LEPER BELL -
Rattles you"
"Alive and well!
Louder than thunders -
LIKE AN AX -
Joy"
In the same group, it is advisable to include comparisons that focus on describing the soul and heart of a person. They are sometimes associated with different rooms.
"Souls in us are like HALLS FOR RARE GUESTS".
"In this sad soul you wandered, AS IN AN UNLOCKED HOUSE"
G) verses:
"Poems grow LIKE STARS AND LIKE ROSES,
Like BEAUTY - UNNECESSARY IN THE FAMILY "
"I don't need your verse -
LIKE A GRANDMA'S DREAM.
- Your verse is boring -
LIKE A GRANDFATHER'S SIGH ".
"My poems - AS VOLUNTEERS -
They flocked to you under the tent."
"To my poems, LIKE PRECIOUS WINES,
Your turn will come."
2. The subject of comparison is the portrait characteristics of a person
"The whole child is AS IF A STATUE
Long years."
"...free and slippery
Stan LIKE A SILK SCALED WHIP"
"Wrapped in a cloak - beautiful, LIKE A DREAM -
I see a young man
"There is not a blood in the whole girl ...
All, LIKE A kerchief, is white ".
3. The subject of comparison is parts of the human body
"Hand LIKE A SCROLL fell out,
flabby and weak..."
"Hand in the sun - LIKE A DEAD MAN SWADDED"
M. Tsvetaeva's portrait comparisons are of two types: those that give purely portrait characteristics and those that describe the inner world of a person through appearance. Compare:
"The mouth is LIKE BLOOD, and the eyes are green" and
"Mouth LIKE HONEY, in the eyes of trust
"And whose eyes, LIKE DIAMONDS,
They left a mark on my heart."
"My eyes, moving like a FLAME"
Tsvetaeva's comparisons are almost completely not based on the external properties of the eyes, but convey on a more expressive level their ability to express a person's character, his mood.
"And now - between the faces - the face
Hook-nosed and HAIR LIKE WINGS".
4. The subject of comparison - various household items
"My writing desk!
Thank you for walking
With me in all ways
Guarded me - LIKE A SCAR
. . . all the way
I was overtaken LIKE SHAH -
Runaway. "Back on the chair!"
"From under furrowed brows
House - IF YOUTH IS MY
DAY, AS IF YOUTH IS MY
He meets me: - Hello, me!
Here, the house is no longer simply compared with an animal, but, as it were, reincarnates into the heroine herself, and then - in time, her own, that is, it is abstracted and loses its material, objective meaning.
"Under the dome - LIKE THE KING IN THE HOUSE -
The British flag is flaunting.
"Cloak, whimsical AS Fleece"
Shawl - AS A SHIELD"
"Dress - SILK BLACK SHELL"
"Cloak - A CROW OVER A PACK OF MULTIPLE
high society moths"
-
Tsvetaeva's comparisons are very interesting, in which the subject reflects the state of the lyrical hero. They can be read both from the beginning and from the end, for example: "A garden, lonely as herself."
5. The subject of comparison is the landscape
"In the sky, LIKE A GLOW, spring dawn.
Waves of Easter chimes
"... a frozen lilac bush, like a GUARD POST."
Nature in the image of M. Tsvetaeva, just like the whole world around her, is very often likened to a person with his emotions and feelings:
"Trees throw themselves at the windows -
AS BROTHERS - POETS - INTO THE RIVER"
"Two trees walk towards each other...
The one that pulls the hand less
AS A WOMAN FROM THE LAST
Stretched out... "
This comparison is surprising in that here the trees not only take on a human form, but also live a human life: they “walk”, “pull their hands”, that is, the object and the image in comparison are not arranged sequentially, but seem to be superimposed on each other, and the image completely replaces the subject.
Perceiving the surrounding world, the lyrical heroine of M. Tsvetaeva not only sees it visually, but also hears, feels, feels. Comparisons are also used to create a mood, to enhance the emotionality of images:
"Blue as the sky, the waters
AND SILVER TWO HANDS.
Few years - and four years:
You and I - by the Moscow River"
Both laconically and colorfully: in just one sentence, both the sky and the river are given so brightly and expressively. Or: "Moss - what a green fur!" - the transition from purely sound similarity to morphological and semantic similarity: the amazing perceptibility of the softness and fluffiness of the moss is emphasized.
The landscape of M. Tsvetaeva is always emotional and very personal:
"LIKE A WARM TEAR -
A drop fell into my eyes.
There, in the sky
Someone is crying for me"
Here rain is not a natural phenomenon that applies to everyone, but a very subjective image that concerns only the lyrical hero. In comparison, there is no word "rain" at all, it is not rain, but crying, and LG knows the reason for crying - about it.
6. The subject of comparison is actions and states (leaving, coming, waiting, etc.).
"To leave, AS A SIGH."
"Disappearing LIKE SMOKE IN THE SKY,
They left, they left."
"Move like LIKE A LONG SCREAM"
"Not a stalking broken beast, -
No, a STONE
I'll go out the door
From life"
The last comparison is the antithesis. In it, two images that are opposite in meaning create a description of one action. Here not only the concepts themselves are opposed ("beast" - "block"), but also epithets ("crouching" - "stone"). This striking contrast enhances the immobility and static nature of the action. And there are, on the contrary, comparisons with the feeling of a rush, even a flight in motion:
Ah, if only - the doors wide open -
LIKE THE WIND to enter you!"
"The cat crept onto the porch"
"Oster, LIKE MY YEARS,
My step, young and clear"
7. The subject of comparison is the internal state of the characters
"Two camps are not a fighter, but - if the guest is random -
That guest is LIKE A BONE IN THE THROAT, the guest is LIKE A NAIL IN THE SOLE.
"LIKE THE RIGHT AND LEFT HAND -
Your soul is close to my soul.
We are built, blissfully and warmly,
AS RIGHT AND LEFT WING"
"Not for a thousand destinies -
We will be born for one.
CLOSER THAN WITH THE PALM OF BREAD -
So we agree with you.
..CLOSER THAN WITH A PALM FOREHEAD
Sleepless hours."
8. The subject of comparison is the personality traits of the hero
"You, LIKE ALL NATIVE INGOLS,
So involuntarily, so proudly humble,"
"If you are kind and affectionate, LIKE CHILDREN,
If both the ray and the bush are dear to you ... "
"I'll throw the keys and drive the dogs off the porch,
Because in the earthly night I'm RIGHTER than a dog"
"Sleep or mortal sin -
To be LIKE SILK, LIKE DOWN, LIKE FUR... "
9. Comparison animal or plant
The phenomena of the animal and plant world almost never become, with rare exceptions, the object of her attention. Animals in her lyrical comparisons are more often interesting in terms of their movement or color:
"Your horse, as before, rides like a whirlwind"
"And doves on them - WHAT INCENSE - gray"
"Today I took a tulip -
LIKE A CHILD FOR THE CHIN"
Here, not only the tulip is compared with the child, but also how it was taken, that is, the action, and at the same time the attitude towards it (to the tulip, as to a child).
Comparisons in the work of M. Tsvetaeva are unexpected, diverse in images, ambiguous and very emotional. They are never used by her for the sake of adding beauty to the language or for the sake of filling a line with a suitable rhyme - they form an important part of the meaning, the content of the poems - concisely and expressively create an image of what the poem is about.
Most of M. Tsvetaeva's comparisons are characterized by abstract concepts: time, emotions, sounds, poetry, etc. A feature of this group of comparisons is that in lyrics they are often compared with specific, real objects. M. Tsvetaeva wrote: “You can’t talk about weightlessness weightlessly. My goal is to affirm, to give weight to things. And in order for my “weightlessness” (soul, for example) to weigh, you need something from the local dictionary and everyday life, a certain measure of weight, to the world already known and approved in it ... To enslave the visible to serve the invisible - that's the life of a poet."
M. Tsvetaeva does not describe or tell, but tries, as it were, to “reincarnate” into the object that she depicts, to enter into its form. Comparisons that characterize the soul or heart of a person are aimed primarily at describing the inner world, feelings and experiences of the lyrical heroine or other heroes, expressing the attitude of the lyrical heroine towards them.
Comparisons that give the portrait characteristics of the hero describe him from different angles. Many of them are distinguished by stylistic expressiveness and emotionally colored vocabulary. Through appearance, the inner world of the hero is often described.
Comparisons used to describe the properties of the hero's personality characterize both certain character traits and the very attitude of the heroes, their perception of life. Human properties are compared with the images of animals. The sign is not indicated in them, it is replaced by the image - concrete, clear and expressive.
Comparisons used in landscape sketches are few, fragmentary and are transferred from the general to the subjective, personal plan. Natural phenomena are related to specific people. Perceiving the surrounding world, the lyrical heroine not only sees it visually, but also hears, feels, senses, as a result of which several signs appear in comparisons at once, on the basis of which objects or phenomena are compared: color, sound, smell, etc.
Comparisons, the subject of which are animals and plants, are presented in the poems of M. Tsvetaeva least of all, they rarely become the object of her poetic attention, which prefers the world of feelings and emotions, the inner experiences of the lyrical heroine, rather than the world around her.
In normal conversation, we use comparisons of one thing with another from time to time. For example, we say "he is strong as a bull" or "she is beautiful, like a first love." These expressions help us illustrate our words with a spectacular example. So our speech becomes brighter and more interesting.
It would be strange if poets and writers did not use this method of decorating speech. Indeed, artistic comparison is fairly common in the literature. Researchers refer comparisons to, i.e., to such revolutions that are based on a change in the meaning of words and expressions. This term is defined as a comparison of objects or phenomena according to some common feature. In the structure of comparison, the object of comparison (i.e., the object itself in question), the means of comparison (the object with which the object is compared) and a common feature are distinguished. In our example, the object will be "he" - a certain man, the means - a bull, and the sign - the power inherent in both a man and an animal.
In speech, the comparison is made using the unions “as if (would)”, “as if (would)”, “exactly”, “like”, prepositions “like”, “like”, adjectives “similar (th, -th, -th )" and other structures. Based on the construction used, several types of comparisons are distinguished:
- comparisons in the form of a comparative turnover, expressed using a preposition or union:
Chernobrova, stately, like white sugar!..
It became terrible, I didn’t finish my song.
And she - nothing, stood, passed,
Looked behind her how crazy i looked."Gardener", N. A. Nekrasov;
- comparisons formed by using a noun in the instrumental case
And bright gold and pure silver
Snaked transparent clouds outlines…“On the Dnieper in the flood”, A. A. Fet;
- non-union comparisons formulated as a sentence with a compound nominal predicate:
Giant monsters -
The heavy sleep of centuries ..."In the realm of ice", K. D. Balmont;
- denying comparisons (“Trying is not torture”).
Comparisons have been used to enrich speech for a long time. In Aristotle's Rhetoric, we find reflections on the fact that Socrates already used comparisons to illustrate his theses and thus make them more understandable to listeners. A whole chapter (Chapter IV, Volume III) of this work is devoted to comparisons and how they should be used correctly in speech. The philosopher emphasizes that this technique is more appropriate in poetic speech: “Comparison is also useful in prose, but in a few cases, since it [in general] belongs to the field of poetry,” since it makes speech more elegant and successful.
It must be said that this idea of Aristotle is confirmed by numerous examples of excellent similes taken from lyrical works, which really give beauty and expressiveness to the lines. Here are some passages from the writings of Aristotle's contemporaries that contain comparisons:
It was the sea is full of corpses, like the sky is full of stars:
Blinded
breathless,
They tickled the waves, burdened the shores ..."Persians", Timothy of Miletus, translated by M. L. Gasparov.
Up from the black earth in a rush of swift spun,
The son of Peleev took off easily, like a hawk takes off, -
The ever-flowing spring churned under his feet.Antimachus of Kolofont, translated by O. Tsybenko.
We find comparisons in the works of medieval authors:
Turning into an ermine-squirrel,
Rushed to the reeds Prince IgorAnd swam like a gogol, along the wave,
Flew like the wind, on a horse.The horse fell and prince off the horse
Rides like a gray wolf he is home.Like a falcon, winds into the clouds
Seeing Donets from afar."The Tale of Igor's Campaign", translated by N. A. Zabolotsky.
And then the sword dipped in the blood of the vicious, blade like ice in hand began to melt- that was a miracle: iron melted like ice floes, when the chains of winter on the sea are broken by the Creator."Beowulf", translated by V. Tikhomirov.
Joseph was without food, like wolves in the steppe, but for crumbs
From this table stingy lions rush like cats.“On Old Age”, Nizami Ganjavi, translated by K. Lipskerov and S. Shervinsky.
It is impossible not to recall in this connection the work of the figures of the Golden Age of Russian poetry. In many works, original and pictorial comparisons are found:
And all like a dream, your age has passed.
Like a dream, like a sweet dream
Gone is my youth;
Beauty is not very undead,
Not so much delights joy ...
"On the death of Prince Meshchersky", G. R. Derzhavin.
Now, with a barely awakened soul,
Before the mother, as if before Fate,
Carelessly he plays in the cradle
And the joys of the young arrived ...“To the Empress Grand Duchess Alexandra Feodorovna for the birth of V. kN. Alexander Nikolaevich. Message”, V. A. Zhukovsky.
What's in a name?
It will die like a sad noise
Waves splashing on the distant shore,
Like the sound of the night in the deaf forest.“What is in my name to you ...”, A. S. Pushkin.
Here the king frowned black eyebrows
And turned his eyes on him vigilant,
Looked like a hawk from heaven
On a young gray-winged dove, -
Yes, the young fighter did not raise his eyes.“A song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov”, M. Yu. Lermontov.
Silver Age poets also often resorted to similes to give their lines imagery and depth:
On a spring day, the boy is angry
I pierced the bark of a birch with a knife, -
And drops of juice, like tears,
Tekli transparent stream.“On a spring day, an evil boy ...”, F.K. Sologub.
Or you, oh woman, in a new guise,
Modest, like a shadow, and, like a day, naked,
You beckon me to the horrors ready -
In the "Underground Dwelling" or in the meadows? ...“What else to dream about?”, V. Ya. Bryusov.
There are also comparisons among Soviet poets.
The wind sings and rings over the river,
Near the cliff crackling reeds,
Pine green waving handkerchiefs,
The sky puffed up like a tight sail.
"Summer hike", E. A. Asadov.
And I now
I enter the city, the wind is cleaner ...
I sniff the air like a beast
On human ashes.
"Scout", O. F. Bergholz.
We find comparisons in the works of modern Russian poets:
opened road view
tangled like mushrooms,
I achieved change
how much it could change."Earthquake in Tse Bay", A. M. Parshchikov.
And light-winged, long-legged,
and weightless, like a spirit,
fearless like demigods
and thin as a singing ear…"Prayer", T. Yu. Kibirov.
We venture to suggest that comparison, with some diligence, can be found in the works of all poets. This is not surprising, because the comparison helps to isolate an important feature or property of some object, to focus attention on it, and finally, to give the lines detail and versatility, resurrecting additional images in the mind of the reader. Therefore, comparisons remain a popular trope for most authors.
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