What is repetition in literature definition. Repeating one word in a sentence: what is the term called?
repetition linguistic literature fiction
A repetition or recapitulation is a figure of speech that consists of repeating sounds, words, morphemes, synonyms or syntactic constructions in conditions of a sufficiently tight series, i.e. close enough to each other to be seen. 11 Arnold I.V. Stylistics of modern English. - M.: Enlightenment. - 1992. - p.182
Just like other figures of speech that enhance the expressiveness of an utterance, repetitions can be considered in terms of the discrepancy between the traditionally denoting and the situational denoting as some purposeful deviation from the neutral syntactic norm, for which a single use of the word is sufficient.
The functions of repetition and the additional information it carries can be very diverse.
The most common repeat function is the boost function. In this function, repetition as a stylistic device comes closest to repetition as a norm of lively excited speech.
Those evening bells! Those evening bells.
Repetitions that serve as reinforcers are usually very simple in composition: repeated words stand next to each other. Other functions of repetition are not so directly related to the emotional meaning that these repetitions have in live spoken language. The function of other repetitions is usually revealed in the context of the utterance itself. So in the following passage from Dickens's novel Our Mutual Friend, repetition has the function of sequence. It appears even without the final then, which clarifies this function.
“Sloppy...laughed loud and long. At this time the two innocents, with their brains at that apparent danger, laughed, and Mrs. Hidgen laughed and the orphan laughed and then the visitors laughed.”
The repetition of the word laughed, reinforced by polyunion, serves the purpose of figurative reproduction of the described scene.
Sometimes repetition takes on the function of modality.
“What has my life been? Tag and grind, lag and grind turn the wheel, turn the wheel"
Repetition is used here to convey the monotony and monotony of actions. This function is realized mainly by rhythm, which is formed due to the repetition of words and phrases. Various repetitions in “The song of the shirt” by Thomas Hood have the same function of modality.
Work - work - work!
Till the brain begins to swim!
Work - work - work!
Till the eyes are heavy and dim!
Seam, and gusset, and band,
Band and gusset, and seam, -
Till over the buttons I fall asleep,
And sew them on in a dream!
The tedious monotony and monotony of actions is expressed in different ways. The most important thing, of course, is the very meaning of revolutions. Till the brain begins to swim! and Till the eyes are heavy and dim! But lexically conveyed fatigue caused by work does not yet indicate the uniformity, monotony of the work itself. This is conveyed by repetitions of the words work and seam, and gusset, and band.
Another function that is implemented quite often by repetition is the ramp function.
The repetition of words contributes to greater power of expression and greater tension in the narrative. This function is related to the first function above.
In some cases, repetition serves to express the repetition or duration of an action. In this function, repetition is a typification of folklore repetitions. Fledgeby knocked and rang, and Fledgeby rang and knocked, but no one came.
In the function of multiple actions, adverbs separated by the conjunction and are especially often repeated.
He played the unhappy tune over and over again.
Often the repetition of an action or the duration of an action is supported by the meaning of explanatory words and phrases.
I sat working and working in a desperate manner, and I talked and talked morning noon and night. Here duration is expressed by the form of the verb, repetition and the phrase noon and night.
Sometimes repetition acquires the function of softening the sharpness of the transition from one level of utterance to another. For example, in the following stanza from Byron’s poem “Don Juan,” the repetition of the words and then serves the purpose of softening the transition:
For then their eloguence grows quite profuse:
And when at length they"re out of breath, they sign,
And cast their languid eyes down, and let loose
A tear or two, and then we make if up:
And then - and then - and then - sit down and sup.
There are cases when repetition acts in a function that contradicts the very purpose of repetition, as a means of highlighting individual parts of a statement. Repeated units, words and phrases serve only as a background against which other, non-repeating units of utterance stand out sharply. So in the following examples, repeated words are not the element of the statement that should be highlighted:
“I am attached to you. But I can"t consent and I won"t consent and I never did consent and I never will consent to be lost in you"
It is especially important to note a function that is secondary, but which in most cases accompanies the other above-mentioned repeat functions. This is a rhythmic function. The repetition of the same units (words, phrases and whole sentences) contributes to a clearer rhythmic organization of the sentence, often bringing the rhythmic organization closer to the poetic meter. Here is a sentence in which the repetition of and upon his creates a certain rhythm:
“The glow of the fire was upon the landlord's bold head, and upon his twinkling eye, and upon his watering mouth, and upon his pimpled face, and upon his round fat figure”
I.V. Arnold identifies other functions of repetition. Repetition can, for example, highlight the main idea or theme of a text.
Beauty is truth, truth beauty, - that is all
You know on larch, and all you need to know.
Repetition emphasizes the unity, and even identity, of beauty and truth. Linguistically, this is expressed by the fact that the subject and predicate connected by the verb be change places, and this is only possible if there is identity between the concepts they denote.
Repeat can perform several functions simultaneously.
In “The Song of Hiawatha” by G. Longfellow, repetition creates a folkloric flavor, song rhythm, consolidates and emphasizes the interconnection of individual images, merging them into a single picture.
With the scents of the forest,
With the dew and damp of meadows,
With the curling smoke of wigwams,
With the rushing of great rivers.
Repetition gives the tale a rhythmic, song-like character and combines into one whole the enumeration of the elements of the nature of the region.
Various types of repetition can serve as an important means of communication within a text.
Communication using prepositions is more specific than a conjunction. In the example given, the connection is made by the anaphoric repetition of the prepositions with, from and in with parallel constructions and some other repetitions. The variety of functions of repetition is especially strongly represented in poetry, since versification is based on the repetition of constructive elements, and repetition plays a significant role in prose. In prose, repetition is used for speech characteristics of characters, expressiveness, and emotionality; often acquiring a satirical orientation.
The first group includes figures constructed to varying degrees based on repetition. The scope of repetition is not limited to the sentence, but extends to a complex syntactic whole and the entire text.
Repetition is the ordered repetition of a word, phrase, or even a larger syntactic unit (a sentence or part thereof). Orderliness is expressed in the fact that repeating units are in a certain position, that is, in a certain place in a sentence, its part, a complex syntactic whole, or text.
1. Words, phrases, sentences that appear at the beginning of syntactic or text units form a repetition called anaphora (single beginning). For example:
Because I lived in the world ineptly,
For the fact that I did not serve you falsely,
For having an immortal body,
I am involved in your wondrous fate.
(A. Tarkovsky)
Anaphora is also found in prose, for example: Institution... Someone established it; since then it has been there; and before that time it was - at one time, the bottom. So the “Archive” tells us. An institution... Someone established it, before him there was darkness; someone was rushing over the darkness; there was darkness and there was light - the circular is number one... (A. Bely).
2. Repetition, in which the end of one syntactic construction can be doubled due to its repetition at the beginning of an adjacent construction, is called anadiplosis (pickup, junction). For example:
He died proudly alone.
One... A tear of regret
Nobody honored the poet...
(Nadson)
Anadiplosis is often used in proverbs like “I am not with the word, but the word is with me.” In prose speech it becomes a way of developing thought. See Blok: What is harmony? Harmony is the agreement of world forces, the order of world life. Order is space, as opposed to disorder - chaos. From chaos the cosmos, the world, is born, the ancients taught.
3. The repetition of the beginning and end of a syntactic structure is called a ring (frame, frame). For example: In these cheerful truths of common sense, before which we are so sinful, you can swear by the cheerful name of Pushkin (Blok).
4. Repetition in which the ends of adjacent or related units are repeated is called epiphora; This type of repetition is much less common: Our memory keeps from childhood a cheerful name: Pushkin. This name, this sound fills many days of our lives. The names of emperors, generals, inventors of murder weapons, torturers and martyrs of life are gloomy. And next to them is this easy name - Pushkin (A. Blok) (the ends of the beginning and ending of a complex syntactic whole are repeated).
The position occupied by a repeated word, phrase, etc. can be the position of an absolute beginning or end (see the example of anadiplosis from Nadson) and relative (see the example of a ring from Blok).
Repetitions may be complete or incomplete and may vary. For example: The Russian language itself is not to blame for the fact that, according to the laws of historical inevitability, it has become the common language of the peoples of our country. It was not the Russian language and not bilingualism that led to doublethink and double-mindedness. It is not the Russian language that is to blame for the fact that it was more convenient and calm for the authorities in the center and in the localities for everyone to speak the same way without the risk of dissent when translating into different languages (From newspapers).
When combined, repetitions mutually complicate each other: What outrages you? That they were given too much work and too much income, too much air, light, sun, too long a life? Does this outrage you? (translation from Chez d'Est Ange).
Repetition from a stylistic device can develop into a structural and compositional one, forming a prosaic stanza or even large sections of text. In poetry, repetition sometimes organizes the entire text:
A star dances before the stars,
The water is dancing like a bell,
The bumblebee dances and blows the pipe,
David dances in front of the tabernacle.
A bird cries for one wing,
The fire victim is crying in the ashes,
The mother is crying over the empty cradle,
A strong stone is crying under your heel.
(A. Tarkovsky)
Types of syntactic repetition
1. Based on repetition, parallelism is formed - repetition of adjacent syntactic structures: sentences or parts thereof. For example, the parallel organization of sentences in Heredia's speech at the opening of the monument to Leconte de Lisle: He showed the royal tiger of the jungle, the dreams of a jaguar, the wavy back of a black Javanese panther disappearing into the grass. He knew how the Caribbean serpent coils itself. He followed the steppe eagle, the herd of thoughtfully wandering elephants, and the lingering howl of his wild dogs, lost in the desert expanses, always fills our soul with endless melancholy (translated by N. Golubentsev). See also the complete syntactic repetition of the first part of the sentence (up to the semicolon) in the second part, complicated by anaphora: And then the orchestra struck - and your soul anticipates in its sounds the impressions that are preparing to hit it; and now the curtain has risen - and before your eyes an endless world of human passions and destinies unfolds! (Belinsky). In poetry there are more complex types of parallelism, for example, chiasmus:
Beautiful as a heavenly angel
Like a demon, insidious and evil.
(Lermontov)
This air is so loud.
Deception is so tempting.
(Block)
Parallelism, as a rule, is accompanied by lexical repetition, which creates the background for comparing statements: Objects of science are phenomena or conditions of phenomena. Objects of art are essences (Bryusov).
2. On the basis of parallelism, an antithesis is formed - the opposition of two statements. For example: But alas! all this is poetry, not prose, a dream, not reality! (Belinsky). Antithesis is very common in poetry:
Yesterday I looked into your eyes,
And now everything is looking sideways!
Yesterday I was sitting before the birds,
All larks these days are crows.
(Tsvetaeva)
I am the lonely son of the earth,
You are a radiant vision.
(Block)
The opposition of a statement in antithesis is created with the help of lexical (linguistic and contextual antonyms) and grammatical means (different types of predicate, verb tenses, personal pronouns, etc.), and the adversative parts themselves can be connected both with the help of appropriate conjunctions and in a non-union way .
Sometimes the antithesis is not adversarial, but concessive in nature:
Don't tell me: "he died." He lives!
Even though the altar is broken, the fire still burns,
Even if the rose is plucked, it still blooms,
Even if the harp is broken, the chord is still crying...
(Nadson)
3. A period is built on the basis of syntactic parallelism and lexical repetition. Most often, it is formalized as a complex sentence, the first part of which contains similar subordinate clauses with parallel construction and anaphora, and the second part contains the main part of the statement. The first part is usually larger in size than the second and is pronounced with a rising intonation, enhancing the moment of anticipation for the second part. At the junction of the two parts there is a change in intonation and a pause is observed.
The period is used when necessary:
1) to give a broad scope of the picture of the world, to reflect the result of deep philosophical reflections, for example: No matter how hard people tried, having gathered several hundred thousand in one small place, to disfigure the land on which they huddled, no matter how hard they stoned the ground so that nothing would grow on it no matter how they cleared away all the growing grass, no matter how much they smoked coal and oil, no matter how they trimmed the trees and drove out all the animals and birds, spring was spring even in the city (L. Tolstoy);
2) convey the complex lyrical state of the hero, for example:
When my green turf hides my ashes,
When, saying goodbye to a short existence,
I'll be the only sound in your mouth,
Only a shadow in your imagination;
When young friends are at feasts,
They won’t remember me with wine, -
Then take a simple harp,
She was my friend and dream friend.
(Lermontov);
3) emphasize the ironic attitude with the help of incommensurable semantic content of the first and second parts, as well as elements within the first part, for example: In the 1800s, at a time when there were no railways, no highways, no gas, no stearin light, no springy low sofas, no furniture without varnish, no disappointed young men with glass, no liberal female philosophers, no lovely camellia ladies, of which there are so many in our time - in those naive times when leaving Moscow, leaving to St. Petersburg in a cart or carriage, took with them a whole home-cooked kitchen, traveled for eight days along a soft, dusty or dirty road and believed in Pozharsky cutlets, Valdai bells and bagels - when tallow candles burned on long autumn evenings, illuminating family circles of twenty and thirty people, at balls wax and spermaceti candles were inserted into candelabra, when furniture was placed symmetrically, when our fathers were young not only because of the absence of wrinkles and gray hair, but they shot for women and from the other corner of the room rushed to pick up accidentally and not accidentally dropped headscarves, our mothers wore short waists and huge sleeves and solved family matters by taking out tickets when the lovely camellia ladies were hiding from the daylight - in the naive times of the Masonic lodges, Martinists, Tugenbund, in the times of the Miloradovichs, Davydovs, Pushkins - in the provincial city K. there was a congress of landowners and the noble elections were ending (L. Tolstoy).
Another organization of the period is also possible, cf., for example, in F. Koni: A hospitable patron of the arts, a fastidious theatergoer and an assistant in need, an assessor of a court court, who gave his salary to poor officials and to improve food for prisoners, by that time had turned into a self-contained, an unsociable and suspicious miser. The syntactic structure, the semantic content of the parts, and the size of the parts themselves, which ranges from the obvious superiority of the first part to the harmony of the parts, as, for example, in Fet’s:
If the sun makes you happy,
If you believe in a magnificent omen,
At least for a while, for a moment falling in love,
Give this joy to the poet.
Types of transfer
Based on repetition and parallelism, a group of figures is built under the general name of enumeration. Enumeration is a syntactic equalization carried out with the help of homogeneous members of a sentence, the degree of uniformity of which depends on what parts of speech, word forms the homogeneous members are expressed, etc. The syntactic equality of the listed units contributes to their semantic equalization. Enumerations are undesirable in informative texts. They tire the recipient, who usually perceives only the beginning and end of the series. In literary texts, the impact depends on the length of the listed series, the meanings of its components and their syntactic function. For example: Sometimes Vasily Mikhailovich imagined that he would live out this life and begin a new one, in a different guise. He meticulously chose his age, era, appearance; either he wanted to be born as a fiery southern youth, or as a medieval alchemist, or as the daughter of a millionaire, or as a widow’s beloved cat, or as a Persian king. Vasily Mikhailovich wondered, chose, was capricious, set conditions, was overwhelmed by ambition, rejected all the proposed options, demanded guarantees, sulked, got tired, lost his train of thought and, leaning back in his chair, looked for a long time in the mirror at himself - the only one.
Nothing happened. Neither the six-winged seraph nor any other feathered creature appeared to Vasily Mikhailovich offering services, nothing opened up, no voice was heard from heaven, no one tempted, lifted up, or spread out. The three-dimensionality of existence, the end of which was approaching, suffocated Vasily Mikhailovich, he tried to get off the rails, make a hole in the sky, go through the painted door (T. Tolstaya).
Semantic characteristics of enumeration
1. If the enumerated units are in synonymous relationships (linguistic or contextual synonyms) and are arranged in order of increasing or weakening of any attribute, the enumeration takes the form of gradation, for example, in Belinsky: ... here this thirst will flare up in you with a new, indomitable by force, here this image will appear to you again, and you will see his eyes fixed on you with longing and love, you will revel in his charming breath, you will shudder from the fiery touch of his hand. In ironic texts, such gradation can develop into hyperbole.
Often, gradation (and enumeration in general) is based on the principle of stringing synonyms: ... his well-shaven cheeks always glowed with a blush of embarrassment, bashfulness, shyness and embarrassment (I. Ilf and E. Petrov), as well as lexical repetition with the expansion of the composition of syntactic units and deepening the semantics:
An irritated soul and a sick chest
Tears and groans are understandable.
Sing about the willow, about the green willow,
About Desdemona's sister's willow tree.
(Fet)
2. Based on the enumeration, an imposition is also built - a connection of the obviously incompatible. The generality of the series thus acquires an imaginary character, since the members of the series, although they correlate with the same common main word, but this word in some meanings enters into a semantic relationship with one part of the series, and in others - with another, for example: he broke your head and ribs; Agafya Fedoseevna wore a cap on her head, three warts on her nose and a coffee bonnet with yellow flowers (Gogol). The overlap creates the conditions for puns.
Syntactic characteristics of enumeration
The connection between the listed units can be union, non-union and mixed, and the units themselves can be given in one stream or combined into two- and three-members with relations of both synonymy and antonymy.
1. If the entire series is connected by a non-union connection, we are dealing with a figure called asindeton (non-union), which contributes to the semantic equalization of the enumerative series. For example: And in fact, aren’t all the charms, all the seductions of the fine arts concentrated in it [the theater] (Belinsky); And again there is darkness, cold, fatigue in the world... (Bunin).
2. If the members of a series are connected by repeating unions, we have a polysyndeton (multi-union), which autonomises each of the components of this series.
And now I'm dreaming
There is a white hospital under the apple trees,
And a white sheet under the throat,
And the white doctor is looking at me, And the white sister is standing at my feet
And he moves his wings.
(A. Tarkovsky)
These methods of connection are especially expressive when they occur in one complex syntactic whole, as in the above example from T. Tolstoy, where, on the one hand, a series with a repeating conjunction this...that, and on the other - a non-conjunction - he figured out, chose , was capricious...
All figures in this group are based on repetition and thereby contribute to the overall coherence of the text, its smoothness and rhythm.
Expressive syntax - this is the ability of syntactic units to act as expressive-stylistic means, that is, associated with achieving the expressive effect of a statement.
Stylistic figure – a figure of speech, a syntactic construction of a relatively formalized nature, that is, having an elementary syntactic scheme, model.
Question 27. Alliteration and assonance in artistic and journalistic discourses.
Alliteration- one of the types of sound writing, which consists in repeating the same or homogeneous consonant sounds to give the text sound and intonation expressiveness. Most often used in poetry. " H blackh AndT yesThu ets , / T oph atts I am an idle people... - MerT you lie downT singts / And we celebrate SundayT "(M. I. Tsvetaeva).
Assonance- one of the types of sound writing, which consists in repeating the same or homogeneous vowel sounds. " Roman classAnd CzechAnd y, oldAnd ny, / excellent forAnd nal, dlAnd nal, dlAnd moral, / moralizingAnd telnyAnd hAnd ny, / without romanticAnd creative ideas"(A.S. Pushkin. “Count Nulin”)
Alliteration and assonance create a rhythmic pattern of the text and give it musicality. These figures can be used as onomatopoeia, highlight significant sections of text, and increase the expression of the text.
Question 28. Lexical repetition. Derivational repeat. Anadiplos(z)is (joint (pickup). Chain repetition. Ring (frame, rondo, coverage, framing). Definition of concepts. Basic stylistic functions.
Lexical repetition - a stylistic figure consisting of the deliberate repetition of the same word or speech structure in a visible area of the text. Lexical repetitions of various types are widely used to add expressiveness to a literary text, among them the following types are distinguished:
Anadiplosis - the last word or phrase of the first part of a speech segment is repeated at the beginning of the next part:
...where will my help come from?
My help comes from the Lord...
Anaphora - repetition of the initial parts of two or more relatively independent segments of speech (hemistiches, verses, stanzas or prose passages):
It was not in vain that the winds blew,
It was not in vain that the storm came. - Yesenin S. A.
Anaphora can be classified as figures, the use of which can actively influence the mind and feelings of the addressee. Anaphora can also serve to express the author’s feelings and emotions and enhance the figurativeness of the text.
Epiphora - a single ending, a figure in the construction of which each subsequent stanza, line or sentence ends in the same way as the previous one.
“I bless the radiance of your eyes.
In my delirium it shone for me,
I bless the smile of your lips!
She intoxicated me like wine."
(V. Ya. Bryusov);
Epiphora is used with the same stylistic tasks as anaphora.
Simploca - a combination of anaphora and epiphora, that is, lexical repetition at the beginning and end of segments of speech:
August - asters,
August - stars
August - grapes
Grapes and rowan
Rusty - August! - M. Tsvetaeva, August
Derivational repeat – a type of repetition in which not the entire word is repeated, but only some part of it (root, prefix, suffix). " Tenderer than tender your face / Whiter than white your hand” (O. Mandelstam).
Anadiplosis (joint (pickup)) - a syntactic figure in which the final words of a verse or phrase are repeated at the beginning of the next verse or phrase. "Oh, spring without end and without edge - Without end and without edge dream!" (A. Blok).
Chain repeat - a figure representing a series of hooks (joints) that follow each other. “The more you study, the more you know. The more you know, the more you forget. The more you forget, the less you know. The less you know, the less you forget. The less you forget, the more you know. This means that the less you study, the more you know” (Student joke).
Ring (frame, rondo, coverage, framing) - a figure, during the construction of which the initial word or phrase is repeated at the end of a phrase, verse, stanza or the entire poem.
“I don’t have flowers,
I am momentarily deceived by their beauty,
They will stand for a day, another, and wither,
I don't have flowers"
Let's look at such a stylistic device as lexical repetition, which can be used when writing various texts.
What is lexical repetition in Russian
Lexical repetition is a stylistic technique that involves the deliberate repetition of words or phrases.
Its function in a poetic text is usually to impart expressiveness, coherence, and visibility to the reader. This technique emphasizes the author's main idea. It can mean monotony and monotony of an action, or it can be used to give rhythm to the text.
But in a student’s essay, for example, lexical repetition may be considered a mistake by the teacher. This may happen if:
Repetition does not serve as a connecting link in the text and does not serve as an emphatic function.
There are usually four types of lexical repetition:
- Lexical anaphora: repetition of the initial parts of two or more stanzas, verses or hemistiches;
“The winds did not blow in vain,
It wasn’t in vain that the storm came.” - Epiphora: repetition of identical words at the end of adjacent segments of speech;
“- The sigh is not the same!
- The move is wrong!
- Laughter is not the same!
“The light is not the same!” - Anadiplosis: the phrase of the first part of a segment of speech or the last word is duplicated at the beginning of the next part;
“...where will my help come from?
My help comes from the Lord..." - Simploc: combines epiphora and anaphora: the beginning and end of the text are repeated.
"August - asters,
August - stars
August - grapes
Grapes and rowan
Rusty August!
Many people wonder what is the difference between lexical repetition and and other figures. Of course, they are all similar. But, for example, anaphora differs in that it is a narrower concept, implying, as was written above, unity of command in the text. Lexical repetition is a broader concept that includes many types of figures; it can be called any repetition of words. The same applies to other types of lexical repetition.
Examples from fiction
In the classics, examples of lexical repetition occur quite often. Let's list just a few of them.
“I swear by the first day of creation,
I swear on his last day,
I swear by the shame of crime
And triumph of eternal truth.”
()
“The winds did not blow in vain,
It was not in vain that the storm came.”
()
“You hear: the drum is rumbling.
Soldier, say goodbye to her, say goodbye to her.
The platoon leaves into the fog, fog, fog
And the past is clearer, clearer, clearer”...
()
"Don't worry,
Don't cry
Don't bother
Don’t torment your hearts when your strength is exhausted.
You're alive
You are in me
You're in my chest
Like a support
As a friend and as an occasion."
()
“I’m driving, driving in an open field;
Bell ding-ding-ding.
Scary, scary involuntarily
Among the unknown plains!
()
“Don’t be shy for your dear fatherland...
The Russian people have endured enough
He also took out this railway -
He will endure whatever the Lord sends!”
()
"But the infantry is coming
Past the pines, pines,
There are endless pines."
(V. Lugovoi)
"And on the left on the move, on the move
The bayonets arrived in time
They were pushed into the water, into the water.
And flow the water for yourself”...
()
“Here it is, my joy is dancing,
And it rings and rings and disappears in the bushes.
And far, far away it waves invitingly
Your patterned, your colored sleeve.”
()
“Wait for me and I will return.
Just wait a lot
Wait when they make you sad
Yellow rains...
()
“Dear friend, and in this quiet house
The fever hits me.
I can't find a place in a quiet house
Near the peaceful fire!
()
"Calls me
Your moan is calling.
He calls and brings you closer to the coffin.”
()
Repetition is a whole series of speech figures that are based on the repeated use of some (for example, words, syntactic structures, morphemes or sounds) within one sentence or semantic segment of text. They are used to make the statement more expressive.
Depending on the criteria underlying the division, several types of repeats are distinguished. For example, the type of units that occur more than once may be taken into account. Then, sound, morphemic, syntactic and lexical repetition are distinguished.
The next criterion is the location of those units that occur several times. Depending on this, repetitions are:
- distant (when other elements of the text stand between identical words, morphemes, etc.);
- contact (when units that are repeated come one after another).
It is also important how accurately the original word, sound or construction is reproduced. Depending on this, repetitions can be partial or complete.
Their classification is also influenced by the syntactic position in a specific segment of speech (stanza, paragraph, sentence, line) of identical units that occur many times. So in the case of ordered repetitions, it is the same for everyone. When unordered, the syntactic position does not unite these units.
In most cases, lexical repetition is used. This is the deliberate repeated use of units of speech to give the text expressiveness or to focus the attention of the reader or listener on a certain point. The closer they are to each other, the more likely the recipient will notice them.
The very term “lexical repetition” already makes it clear that in this case, identical units that occur many times in a row are words. It is used only when the speaker only wants to generally note the use of the same lexemes. When they touch upon the construction of repetition and its organization, they use terms that give a more precise description. These are, for example, joint, epiphora, ring, anaphora and many others.
Both in a literary text and in lexical repetition it plays a huge role and performs several functions.
- Conveying the monotony of actions, their monotony.
- Giving the statement clarity, so that the presentation ceases to be vague and incomprehensible.
- Lexical repetition contributes to the fact that the utterance acquires greater emotional power, it grows and the narrative becomes more intense.
- Underlining, highlighting in speech that group of words that carries a special semantic load.
- The duration and repetition of the action also helps to express lexical repetition. Examples of its use for this purpose can easily be found in folklore.
- Softening the transition from one topic of speech to another.
- The repetition of identical units makes the sentence more rhythmic, thereby bringing it closer to a poem.
- Linking syntactic structures in the text. This occurs due to a special rhythm formed when phrases or words are repeated.
- Slowing down the narrative. This technique is typical for oral folk poetry. It not only slows down speech, but also helps give the story a songlike character.
Lexical repetition in the works of classics is a means of helping to make a statement expressive, to link phrases together (in a chain), to sharpen the meaning, and a way to draw the reader’s attention to the subtext. But in a student’s essay, it is most often mistaken by the teacher for But is such a decision always motivated? The use of lexical repetition in speech cannot be considered justified only in two cases:
- when it does not serve to connect phrases in the text;
- when it does not perform an emphatic function.
Only on this basis can the use of lexical repetition be taken as an error, which indicates that the student’s vocabulary is very limited and he is not able to find a suitable replacement for the word.
