6 iambic foot examples. Extracurricular lesson - poetic meters. How to find your poetic meter

POETICS, FUNDAMENTALS OF POETRY.
ANAPHOR – repetition of identical words, consonances or groups of words at the beginning of several poetic lines, prose phrases, unity of beginning.
Example stylistic anaphors:
We are free birds; it's time, brother, it's time!
There, where the mountain turns white behind the clouds,
To where the sea edges turn blue,
Where we walk only the wind... and me!”
(A.S. Pushkin. “The Prisoner”)

Example phonetic anaphors:

“Punch and midnight. Punch - and Pushkin,
Punch – and meerschaum pipe
Puffy. Punch and babble
Ballroom shoes on the raucous
Floorboards..."
(M. Tsvetaeva. “Psyche”, use of anaphora and sound writing).

ASSONANCE RHYME- an incomplete or inaccurate rhyme in which stressed vowel sounds or stressed syllables coincide, but the ends of the rhymed words are either dissimilar or approximately consonant.
Mayakovsky’s poem “Vladimir Ilyich Lenin” begins: the story is melancholy, more is pain, a whirlwind is the living, a puddle is a weapon.
Some other poets have: hugeness - I’ll come to my senses (B. Pasternak), sunset - a musician, “Shipra” - hello, subsoil - an enemy, a cloak - a shoulder, measure - brave, on the platform - a cigarette (B. Akhmadulina) excess - beaten, generous – goldfinch (R. Kazakova), etc.
Widely uses A.R. E. Yevtushenko. Here are examples from some of his poems:
Son - strong, untidy - unprofitable, crunching - Christ, battle - the Beatles, crossroads - debauchery, Prague - truth (Tanks are walking in Prague / in the sunset blood of dawn / Tanks are walking in truth / which is not a newspaper), trampled - in Prague, motives - Manilov, to the crypts - paper clips, sobs - crushed, nicknamed - request, wheezing - imported, according to zones - disgraced, sated - expected, writing - stuffing, galaxy - gallantly, courage - petty, wrong - pleasant, cinemas - short, ideological - and girls, through the forest - belts, blue - carry me, spread - melted, say a word - well done, hang out - royal, east - delight, littered - cargo, twitter - cracks, awkwardly - New York, London-in broken, hoarse - rash - cider - sieve, etc. ad infinitum.

AMPHIBRACHIUS – trisyllabic meter, where stress falls mainly on 2,5,8,11, etc. syllables. The most common form is tetrameter amphibrachium. Example:

Heroes, sea wanderers, albatrosses,
Table guests of thunderous feasts,
Eagle tribe, sailors, sailors,
A fire song of ruby ​​words for you.
(V. Kirillov).

Once upon a time in the cold winter time
I came out of the forest; it was bitterly cold.
I see it's slowly going uphill
A horse carrying a cart of brushwood.
(N. Nekrasov).

And trimeter:

The midnight blizzard was noisy
In the forest and remote side...
(A. Fet).

Under the roar of midnight shells,
On a midnight air raid
In the iron nights of Leningrad
Kirov is walking through the city.
(N. Tikhonov).

Pentameter amphibrachium:

Shy snowdrop above the delight of spring thawed patches,
Swollen buds ready to burst into leaves.
The battalion is marching along the smoking black ruins,
The blue windy expanse of the Dnieper region rings.
(A. Surkov).

Sometimes poets break the amphibrach tetrameter into two hemistiches based on internal rhyme or constant caesura word division:

thick nettle
It makes noise under the window.
Green willow
Hanging over like a tent.
(A. Fet).
We walked at a pace
We raced in battles
And "Apple" - a song
They held it in their teeth.
(M. Svetlov).

ANAPAEST– trisyllabic meter, where stress falls mainly on 3, 6, 9, 12, etc. syllables. The most popular form is the trimeter anapest. The tetrameter is much less common, and the bimeter is rare. And, as an exception, pentameter.

Examples:

Trimeter anapaest:

I won't tell you anything
I won't alarm you at all
And what I silently repeat,
I don't dare hint at anything.
(A. Fet).
I was killed near Rzhev
In a nameless swamp
In the fifth company, on the left,
During a brutal attack.
(A. Tvardovsky).

Quadruple anapaest:

Nightingales, nightingales, do not disturb the soldiers...
(A. Fatyanov).

People's houses are clean, bright,
But in our house it’s cramped, stuffy...
(N. Nekrasov).

Pentameter anapaest:

The shaggy branches of the pine trees were frayed by the storm,
The autumn night burst into tears of icy tears...
(A. Fet).

How good is river water?
If you drink it at noon in large sips from a helmet.
Fatigue flies away. The living soul is warming,
How recently I felt warm from girlish affection.
(A. Surkov).

BLANK VERSE- more precisely - rhymeless, most common in Russian folk poetry. Trediakovsky, seeing the basis of the verse not in rhyme, but in rhythm, meter, foot time, disdainfully called the rhyme “a child’s nozzle.” He was the first to write hexameters in blank verse, without rhyme.
Blank verse is most commonly used in dramatic works, usually in iambic pentameter.
Example tetrameter iambic:
There is a lamp in the Jewish hut
In one corner the pale is burning,
An old man in front of a lamp
Reads the Bible. Gray haired
Hair falls on the book...
(A. Pushkin)
Example pentameter iambic:
Everyone says: there is no truth on earth.
But there is no higher truth. For me
So it's clear, like a simple scale.
I was born with a love for art...
(A. Pushkin)
Example tetrameter chorea:
The bird catcher's job is difficult:
Learn the habits of birds
Remember flight times
Whistle with different whistles
(E. Bagritsky)
Example tetrameter amphibrachium:
Silent sea, azure sea,
I stand enchanted over your abyss.
You are alive; you breathe; confused love,
You are filled with anxious thoughts.
(V. Zhukovsky)
V. Lugovskoy wrote a book of poems “Mid-Century” in blank verse (iamb pentameter).

DACTYL – three-syllable size, where stress falls mainly on 1, 4, 7, 10, etc. syllables.
In the 18th century it is found among A. Sumarokov, G. Derzhavin, A. Radishchev, N. Karamzin.
The poets of Pushkin's time preferred amphibrachs to him, but later A. Maikov, L. Mei, N. Nekrasov, A. Fet restored his popularity. Initially, the most productive was the two-footed foot:
Golden bee!
What are you buzzing about?
(G, Derzhavin. Bee).

Then it was replaced by tetrameter, as well as a form of mixed tetrameter and trimeter dactyl:
Mirror to mirror, with trembling babble,
I brought it by candlelight;
Two rows of light - and a mysterious thrill
The mirrors glow wonderfully.
(A. Fet).

DISSONANCE- one of the types of imprecise rhyme in which only the post-stress sounds match, but the stressed vowels do not match.
They are also known in ancient Russian poetry, for example, in “The Tale of Igor’s Campaign”:

Saddle up, brother, saddle up komoni,
And get mine ready, saddle...
In folk poetry:

You succeed, succeed, my flax.
You succeed, my white,
I fell in love with my friend cute.

Cruel bourgeoisie temperament
Tiers torn to pieces, howling and moaning,
Shadows of great-grandfathers - Parisian communards –
And now they are screaming Parisian wall.
(V. Mayakovsky)

And the horses are tired steam
And sweat from dirty pores -
He clothed himself under a hail of fanfare
Sometimes in purple, sometimes in porcelain.
(S. Kirsanov)
DOLNIK- a type of Russian and German versification, which is a kind of intermediate form between syllabic-tonic (mainly trisyllabic) verse and purely tonic. Its lines, coinciding in the number of stresses, arrange unstressed syllables relatively freely. Combinations of stressed and unstressed syllables therefore no longer form “feet”, but “beats”, where the number of unstressed syllables ranges from one to three or four:
I don't know what this means
That I am embarrassed by grief,
Hasn't given me peace for a long time
A fairy tale from old times to me.
(G. Heine. Lorelei)

A verse of this type has become widespread in Russian poetry since the beginning of the 20th century by Blok and other poets.
It is also called a “pauser”, and one of its types is called a “taktovika”.

INVERSION- from Latin “permutation”, a stylistic figure consisting of a violation of the generally accepted grammatical sequence of speech; the rearrangement of parts of the phrase gives it a peculiar expressive tone: “Past the doorman, he flew up the marble steps like an arrow.”

METAPHOR - type of trope, figurative meaning of a word, based on the likening of one object or phenomenon to another by similarity or contrast. Similarity to a living being is called personification(“streams ran from the mountains” - N. Nekrasov), subject - reification(“Nails should be made from these people: there would be no stronger nails in the world”) - N. Tikhonov). There is also a metaphor distracted(root of evil, finger of fate, sharp mind, etc.).
In everyday speech, metaphor occurs quite often: “life has passed”, “the sun has risen”, “it is raining”, etc. But here it has no independent meaning. Moreover, the frequency of use seems to erase the feeling of allegory. Business and scientific speech does not imply the presence of M.

METONYMY- a type of trope in which a phenomenon or object is denoted using other words and concepts. At the same time, the signs or connections that bring these phenomena together are preserved. Thus, when V. Mayakovsky speaks of a “steel orator dozing in a holster,” the reader easily recognizes in this image a metonymic image of a revolver. Or from Pushkin: “All flags will come to visit us” instead of “Ships from different countries with their national flags will come to us.” The idea of ​​a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech.
There are several types of metonymy; the most commonly used are the following:
1. Mention of the author’s name instead of his works:
Readily read Apuleius (instead of Apuleius’s book “The Golden Ass”)
But I haven’t read Cicero.
(A. Pushkin)
2. Mention of the work or biographical details by which the author is guessed:
You'll soon find out at school
Like an Arkhangelsk man (i.e. Lomonosov)
By my own and God's will
Became intelligent and great.
(N. Nekrasov)
3. Indication of the characteristics of a person or object instead of mentioning the person or object itself:
You can just hear it somewhere on the street
A lonely accordion wanders.
(M. Isakovsky)
4. Transferring the properties or actions of an object to another object, with the help of which these properties or actions are revealed:

The hissing of foamy glasses (instead of “foaming wine in glasses”)
(A. Pushkin)
A. Blok has a rare example of complex metonymy:

The carriages walked in the usual line,
They shook and creaked;
They were silent yellow and blue;
IN green they cried and sang.
“Yellow and blue” are 1st and 2nd class carriages. And the “green” ones are 3rd class carriages. In two lines, the poet conveyed the mood of the passengers on the road - rich and poor.
Another example of the same kind:

The station was buzzing and was at the beginning
He is colorful to hear and colorful to look at:
There the proud fur coats were silent,
And the padded jackets are sobbing.

(V. Karpeko. Face to face).

Metonymy differs from metaphor in that the latter is paraphrased into comparison using auxiliary words “as if,” “like,” “like,” etc.; This cannot be done with metonymy.

OXYMORON- a combination of words with contrasting meanings that create a new concept or idea: “dry wine”, “honest thief”, “free slaves”, etc. The titles of some works of literature are based on oxymorons - “Living Relics” by I. Turgenev, “Living Corpse” by L. Tolstoy, “Optimistic Tragedy” by V. Vishnevsky.
Examples from poetry:

Oh, how painfully happy I am with you!
(A. Pushkin)

But their beauty is ugly
I soon comprehended the mystery
(M. Lermontov)

We love everything – and the heat of cold numbers...
(A. Blok)

Mother! Your son is beautifully sick!
(V. Mayakovsky)

OCTAVE- an eight-line stanza with a solid rhyme scheme a b a b a b c c(alternation of male and female endings is required). Triple rhymes add sonority and enhance expressiveness, and the final couplet, interrupting their series, is good for an aphorism or an ironic turn. The octave originated in Italian poetry of the Renaissance, was associated with light storytelling, and later served to convey serious content. The octave is convenient both for a lyric poem of one stanza and for poems.
In Russian poetry, brilliant examples of the octave are “The House in Kolomna” by A. Pushkin, “Octave” by A. Maykov, “Portrait” by A. Tolstoy, octaves by V. Bryusov.

PERIPHRASE – 1) a descriptive figure of speech used to replace a word or group of words in order to avoid repetition, give the story greater expressiveness, and indicate the characteristic features of what has been replaced. For example, the place “athletics” is “queen of sports”;
2) the writer’s use of the form of a well-known literary work, in which, however, sharply opposite content is given, most often satirical, with parallel observance of the syntactic structure and number of stanzas of the original, and sometimes with the preservation of individual lexical structures. In this case, the periphrasis is an imitative form.
An example of a parody paraphrase:

Whispers, timid breathing,
Trill of a nightingale.
Silver and sway
Sleepy stream.
Night light, night shadows, -
Shadows without end.
A series of magical changes
Sweet face.
There are purple roses in the smoky clouds,
Glimpse of January.
And kisses and tears,
And dawn, dawn!..

D. Minaev:

Cold. Dirty villages.
Puddles and fog.
Fortress destruction,
The talk of the villagers.
There is no bow from the servants,
Hats on one side,
And the worker Semyon
Cheating and laziness.
There are strange geese in the fields,
The insolence of the goslings, -
Disgrace, the death of Rus',
And debauchery, debauchery.

An example of periphrasis in Mayakovsky. At the end of his poem “To Sergei Yesenin,” a couplet from Yesenin’s dying poem is paraphrased:

Yesenin:

Dying is nothing new in this life,
But life, of course, is not newer.

Mayakovsky:
It's not hard to die in this life,
Make life much more difficult.

PYRRICHIUM – in ancient verse - a foot of two short syllables. In syllabic-tonic versification, pyrrhic began to be called a combination of two consecutive unstressed syllables among iambic or trochaic feet.
For example, in iambic:
Rich / and famous / Ven Co/ chubey,
His/ meadows/ neo/ bozri/we.
(A. Pushkin)

Or in trochee:
On in/ airy / ok/but not
Without RU la and without ve tril.
(M. Lermontov)

SIZE POEM- a method of organizing the sound composition of a separate poetic work or its excerpt (in the case of polymetry). In syllabic versification it is determined by the number of syllables; in tonic number of stresses; in metric and syllabic-tonic by meter and number of feet, and here the concepts usually differ meter(eg " iambic "), poetic meter(e.g. "4-foot iambic") and a variety of poetic meter (for example, "4-foot iambic with solid male endings").

RHYME – repetition of sounds connecting the endings of two or more lines. Rhyme marks clauses (verse endings) with sound repetition, emphasizing the pause between lines, and thereby the rhythm of the verse.
Rhyme plays a big role in the organization of verse, since it is connected not only with rhythm, but also with the sound organization of the verse as a whole, with vocabulary, intonation, syntax and stanza.
Depending on the location of stress in rhyming words, rhymes are:
-men's– with emphasis on the last syllable;
-women's– with stress on the second syllable from the end of the line;
-dactylic– with stress on the third syllable from the end of the line;
-hyperdactylic- with stress on the fourth and subsequent syllables from the end.
Based on their location in the lines, rhymes are divided into doubles, or adjacent, connecting adjacent lines; cross, in which the first and third, second and fourth lines are consonant; enveloping, belted, in which the first and fourth, second and third lines rhyme.
Depending on the coincidence of sounds in rhyming words, rhyme is distinguished accurate, in which the repeating sounds are the same (gor-spor, he - sleep), and inaccurate with mismatched sounds (story - melancholy, crucified - passport).
Varieties of imprecise rhyme are assonance(beautiful - inextinguishable), irregular rhyme(touched - to the front), truncated rhymes (barracks - eyes). When stressed vowels do not coincide, but with identical consonants, it is formed dissonance, or consonance(balls are machine gunners).
There are simple rhymes and composite, including two or three words in consonance (a hundred grow - old age, Bolsheviks - more centuries).

SIMPLOCA- a figure of syntactic parallelism in adjacent verses, which: a) have the same beginning and end with a different middle and b) on the contrary, have different beginning and end with the same middle. Examples of the first type are more often found in folk poetry.
Examples:

There was a birch tree in the field,
There was a curly girl standing in the field.
(Folk song)

We have a place for young people everywhere,
Old people are respected everywhere
(V. Lebedev-Kumach)

I hate all kinds of dead things!
I love all kinds of life!
(V. Mayakovsky)

SIMFORA- the highest form of metaphorical expression, in which the link of comparison is omitted and characteristics characteristic of the object are given, as a result of which the image of an object not directly named is felt as a purely artistic representation that coincides with the concept of the object. In an ordinary metaphor, the coincidence of a figurative representation with the concept of an object is incomplete (convergence based on the similarity of distant features); in comparison, this coincidence is partial, and sometimes even accidental. In the symphora, the metaphorical nature is, as it were, removed and instead of signs of similarity, similarity is given.
Examples:

The moon threw coins into the ocean...
(V. Mayakovsky)

There is a crush outside the windows, foliage is crowding,
And the fallen sky was not picked up from the roads...
(B. Pasternak. “After the Rain”)

One hundred blinding photographs
At night I photographed the thunder as a souvenir.
(B. Pasternak)

This rain charged for a long time.
The gray Volga is all covered in pins.
(L. Ozerov)

SYNECDOCHE – one of the tropes, a type of metonymy in which the whole is named or revealed through its part. This is the transfer of the meaning of one word to another based on the replacement of quantitative relations: a part instead of the whole (“The lonely sail is white” by M. Lermontov - instead of a boat - a sail), the singular instead of the plural (“And the slave blessed the fate” - “Eugene Onegin” by A. Pushkin), “And it was heard until dawn how the Frenchman rejoiced” (“Borodino” by M. Lermontov), ​​the whole is taken instead of the part:
They buried him in the globe,
But he was only a soldier.
(S, Orlov)
N. Gogol's story “The Nose” can be interpreted as a synecdoche realized in the plot.

STROPHE – a combination of verses forming a unity, united by a common thought.
From Greek: whirling, turning. In Ancient Greece, it was a choral song in the theater, during the performance of which the choir moved around the stage, returning to its original place. That is, a stanza was considered a part of the text sung in chorus from one turn to another.
As a rule, verses united by rhyme in a stanza represent a rhythmic and syntactic whole. The stanza is separated from adjacent combinations of verses by a long pause, the end of a rhyme series, and other signs.
The smallest stanza is a couplet. In Russian poetry, a stanza of four verses predominates - quatrain, much less frequently of five or six verses.
In a stanza of 4 verses with two rhymes, three rhyme patterns are possible: abab(cross), Abba(belted), aabb(adjacent).
Some forms of stanza received special names: terza, octave, Onegin stanza, etc.

FOOT – a conventional unit by which poetic size is determined.
From Greek or Latin - leg, foot, foot, step. In ancient metrics, the foot was counted by raising and lowering the foot. A foot was considered a combination of long and short syllables.
Since there are no such syllables in the Russian language, a foot is considered to be a combination of stressed and unstressed (or more) syllables.
In a poetic line, one can distinguish two-syllable feet - trochee and iambic - and three-syllable ones - dactyl, amphibrachium and anapest.
The division of a verse into feet is arbitrary, since the boundaries of the foot, as a rule, do not coincide with the boundaries of the word:

It’s almost midday, the heat is blazing...
In addition, in Russian verse not all lines are fully stressed; in them, stressed syllables are often replaced by unstressed ones or, conversely, “extra” stresses appear.
The foot is a conditional concept, it does not coincide with the word and cannot be pronounced and heard; words are pronounced, separated by pauses (phonetic word).
L. Timofeev. "Word in verse."

TROPE- the use of a word in its figurative (and not in its literal, basic) meaning. Along with the main word, it implies a number of secondary semantic shades that appear when combined with other words (dog's tail, queue's tail, comet's tail). This is the transfer of traditional names to a different subject plane, which simultaneously realizes two meanings - literal and allegorical, related to each other according to the principle of contiguity (metonymy), the relationship between part and whole (synecdoche), similarity (metaphor), changes in attribute (hyperbole, litotes) ), or opposites (irony).
The same image can have different interpretations. For example, the image of a “sail” from the poem of the same name by M.Yu. Lermontov can be interpreted both as a metonymy (someone in a boat - a sail), and as a synecdoche (a sail - a boat), and as a metaphor (someone in the worldly sea - a sail).

CHIASM– cross arrangement of parallel members in two adjacent sentences (or phrases) of the same syntactic form. Examples:

Is there really no one more unhappy than me?
And there is no one more guilty than him.
(M. Lermontov)

Despite reason, despite the elements.
(A. Griboyedov)

Here Pushkin's exile began
And Lermontov's exile ended.
(A. Akhmatova)

Not all graves have been found yet
And not all of the dead are mourned.
(G. Nikolaeva)

HOREUS – two-syllable meter, where stress falls on odd syllables - 1, 3, 7, etc., although omissions of stress in the right place - pyrrhic - are very common .
Example trimeter chorea:

In the haze of invisibility
The spring month has floated out,
Garden color breathes
Apple tree, cherry tree.
(A. Fet).

Example tetrameter chorea:

Through the wavy mists
The moon creeps in
To the sad meadows
She sheds a sad light.
(A. Pushkin).

Examples pentameter chorea:

I go out alone on the road…

(M. Lermontov)

The finish line is a flying minute,
Youth is light and hot -
Inflated by force, as if inflated
Soccer ball camera.
(B. Kornilov).

Example hexameter chorea:

Lyubushka, the neighbor, did not give up for a long time.
Finally she whispered: “There is a gazebo in the garden,
How dark it gets - do you understand?..”
I waited, I suffered, for the dark night.
(N. Nekrasov).

Example seven-foot chorea:

The street was like a storm. The crowds passed by
It was as if they were being pursued by an inevitable fate.
We rushed O minibuses, cabs and cars,
The furious stream of people was inexhaustible.
(V. Bryusov).
Eight-foot example chorea:

The guy was chosen by height among hundreds of low-brows,
They locked me in a barracks for a year and checked my brain for dreams.
For exactly a year he was bored and waited with various bastards side by side,
I wrote postcards home, but nothing came from there.
(P. Antokolsky).

CAESURA- an intra-verse pause dividing a poetic line into two hemistiches - equal or unequal (less often - into three parts). A caesura can only be in metrical verse that has at least four feet; it is impossible in trimeter verse. In hexameter verse, a caesura is common after the third foot:

My ruddy critic, // fat-bellied mocker...
(A. Pushkin).

In pentameter - after the second:

I go out alone on the road…
(M. Lermontov)

The caesura emphasizes intonation and gives a long line a clearer rhythmic sound. If the poet does not observe a constant canonical caesura, and it does not occupy a certain place in the line, then such a caesura is called free.

JAMB – two-syllable meter, where the stress falls on even syllables - 2, 4, 6, 8, etc., although very often there are omissions of stress in the right place - pyrrhic.
In the 18th century, the most common were free iambic, hexameter and pentameter. In the 19th century, iambic tetrameter was promoted. He wrote two thirds of all Russian poems.

There are no one-foot or two-foot iambics; the illusion of one-foot or two-foot is created by a shortened rhyme system. For example, V. Bryusov mistakenly considered his amphibrachic lines to be iambic monometers:

And the nights are shorter, and the shadows are lighter,
The spring stream chirps and babbles...

This probably happened because if you write these verses in separate lines according to the characteristics of rhymes, you will visually get:

And the nights -
Briefly speaking,
And the shadows -
Longer.
Chirps,
Babbles
Spring
Creek.

Example trimeter iambic:

I know there will be a city
I know that the garden will bloom,
When such people
In the Soviet country there is.
(V. Mayakovsky).

Example tetrameter iambic:

So hit, don’t know rest,
Let the vein of life be deep:
Diamond burns from afar -
Fractions, my angry iambic, stones!
(A. Blok. Retribution).

Example pentameter iambic:

Under the fir tree, exhausted and cumbersome,
That I grew up without crying for anyone,
I was fed crumbs and pacifiers,
Steamed bluish milk.
(B. Kornilov).

Example hexameter iambic:

Poet! Do not value people's love:
There will be a momentary noise of enthusiastic praise;
You will hear the judgment of a fool and the laughter of a cold crowd,
But you remain firm, calm and gloomy.
(A. Pushkin).

“In Russian iambic tetrameter, the 1st, 2nd and 3rd feet never fully bear all the stresses that they should bear according to the iambic pattern, where the stresses are located through the syllable in even places. The only exceptions are the initial period of development of the iambic in the 18th century and individual individual attempts by some authors (Bryusov, Tsvetaeva).
This is mainly explained by linguistic reasons: in Russian the number of unstressed syllables is more than 2 times greater than the number of stressed syllables, and in fully stressed iambic it is a 1:1 ratio and does not cover polysyllabic words...
...Depending on the place of stress in the line, we can distinguish eight forms of iambic tetrameter, the interaction of which determines the variety of its degrees of freedom (two of which are uncommon, but possible):

Forms of iambic tetrameter: The feet included in these forms are:

1.To sit with the patient day and night... ˘ ˉ ˘ ˉ ˘ ˉ ˘ ˉ
And finally I saw the light... ˘˘˘ ˉ ˘ ˉ ˘ ˉ
Honorary citizen of the backstage... ˘ ˉ ˘˘˘ ˉ ˘ ˉ
The pledge is more worthy than you... ˇ ˉ ˘ ˉ ˘˘˘ ˉ
And finally squandered it... ˇˇˇ ˉ ˇˇˇ ˉ
I didn't want to try... ˇ ˉ ˇˇˇˇˇ ˉ
And behind the car...(unused) ˇˇˇˇˇ ˉ ˇ ˉ
2.But not semi-distinguishable either...(unused) ˇˇˇˇˇˇˇ ˉ ».
L. Timofeev. "Word in verse."

Poetics– theory of literature. Its parts are poetic vocabulary and syntax.

Poetic vocabulary- considers the issue of choosing individual words that make up artistic speech. She studies the vocabulary of the work and the author's use of this vocabulary.

Poetic syntax - considers the way of combining individual words into sentences, taking into account the expressive meaning of figures of speech. Poetic vocabulary and syntax constitute departments that study the problems of poetic stylistics. Teaching the selection of words of different lexical colors was developed by M.V. Lomonosov, who divided style into high, medium and low, depending on the use of words in literature and in everyday life. A specialist in this field, B. Tomashevsky, in his work “Theory of Literature. Poetics,” published back in 1928, wrote about this as follows: “The following aspects should be taken into account in combining words into sentences:
1. coordination and subordination of words to one another, as well as one sentence to another (subordination of a subordinate clause to the main one);
2. the order in which words appear one after another;
3. the usual meaning of a syntactic structure;
4. design of sentences in pronunciation, or intonation;
psychological meaning of the design."
Lexical groups: barbarisms, prosaisms, dialectisms, jargons, vulgarisms, etc.
Barbarisms – introduction of words of a foreign language into coherent speech. The simplest case is the introduction of a foreign word in an unchanged form. For example:
Here is my Onegin free;
Haircut in the latest fashion;
How Dandy London dressed;
And finally saw the light.
A.S. Pushkin
Depending on which language barbarisms are taken from, they are divided into Gallicisms(from French), Polonisms(from Polish), Germanisms(from German) and others.
Dialectisms- words borrowed from dialects of the same language. They differ from barbarisms in that they are taken from folk dialects and non-literary speech. There are dialects of individual social groups and regional dialects. They are used to add local flavor when describing the life and customs of the area. In the text of the poem, dialectisms must be justified by the plot. For example, when it comes from a person living in a certain territory where dialectisms are used in live speech.
Anthropomorphism– endowing living nature with human properties. For example, “living water”.
Provincialisms - very close in meaning to dialectisms, they differ in that words and speech patterns penetrate into the speech of citizens, but are not commonly used throughout the territory of a particular country. For example, the names of birds and animals may be different in different areas of the same country. Provincialisms are also distinguished by their pronunciation - okanye or akanye. They are borrowed from the dialects of various social groups, for example, the dialect of the bourgeoisie, the dialect of workers, the dialect of peasants in a particular region. The author can use provincialism in his work when it is justified by the plot line.
Jargon - a type of dialectism is the use of vocabulary of professional groups, dialects that penetrate into ordinary speech from different environments, for example, medical. The use of jargon should be very strongly justified by the plot structure of the poem. A type of jargon - vulgarism. This is the vocabulary of thieves, the use of rude common words, street argot. This should be avoided unless the plot requires the use of such language.
Archaisms – obsolete words that have fallen out of use. They are used when they want to describe a particular environment, style, for example, there are words - Slavicisms or biblicalisms (those that were used in ancient times in the Slavic environment or described in the Bible). Such words lower the author's style if they are not justified by the plot of the work. You should not mix styles in one work if this is not provided for by its storyline. Often such words become literary templates and wander from work to work by different authors, which impoverishes their works.
Neologisms – newly formed words that did not previously exist in the language. Using the richness of our language, we can create new words that other people understand in meaning. But it is important to use it in moderation. If it is possible to replace some neologism with another understandable word, then this must be done. Word creation must be strictly justified. Example: “He is the mighty ship, breakwater - water cutter".
Prosaisms – these are words related to prosaic vocabulary used in poetry. In poetry, the law of lexical tradition is very strong, when words live in poetry that have not been used in prose for a long time. For example, from Pushkin A.S.:
I am full of life again: this is my body
(Please forgive me the unnecessary prosaicism)

AUTONIM (Greek autos - oneself, genuine and onyma - name) is the true name of the author writing under a pseudonym.

ACROST AND X (Greek akrostichis - extreme verse) - edge, edge, edge, beginning, placeholder;
a poem in which the first letters of all lines form a word or phrase, most often the name of the author himself or the person to whom the poem is dedicated. The acrostic poem was invented in ancient times (5th century BC) by the Sicilian poet Epicharmus from Syracuse, who thus recorded the authorship of his texts; Poets of Ancient Greece also wrote acrostics; in the poetry of the Middle Ages, acrostics were interspersed into sacred texts as encrypted signatures, spells or secret messages, and in Byzantine hymnography, church chants - canons - were written in the form of acrostics; the traditions of the genre were continued during the Renaissance. The first analogue of the Slavic acrostic was the so-called. An ABC prayer (the authorship is attributed to Konstantin Preslavsky), whose form resembled a modern free verse and in which each saying began with a new line and a letter of the alphabet (the so-called abecedary). As a poetic form of entertainment, acrostics have been popular in Russia since the 17th century - all sorts of epistols, friendly and love messages were written with them. Later in Russian poetry, acrostics was in use in the 18th century: in addition to “serious” poetic experiments, it was one of the favorite salon entertainments - it was necessary to masterfully compose elegant poems for given words or names. At the beginning of the 20th century, acrostics became the “album genre” of the Silver Age - poets wrote (often to each other) acrostic dedications; acrostics by Kuzmin, Gumilyov, Yesenin and others are known. Symbolist poets also wrote acrostics. In modern Russian poetry, acrostics are rare; no serious and significant works were created in this genre. Despite the fact that acrostic has always been perceived as a kind of literary trickery and game, it will always attract poets who have unconventional thinking and are not indifferent to experiments - with its visuality, sophisticated writing technique and the possibility of subtle subtext. Acrostics in the Museum of Rhyme Acrostics by contemporary authors Acrostics competition From acrostic to acroconstruction
A the angel lay down at the edge of the sky,
N bowing, marveling at the abyss.
N The new world was dark and starless.
A D was silent. Not a single groan was heard...
(N. Gumilev)
R dressed in flames, I rise to heaven;
ABOUT there I return to earth by water!
WITH the earth, the prince of all planets, draws me to the stars;
A Without me, the melancholy of flowers is deadly.
(Gabriil Derzhavin)
P I'm searching for something with inspiration,
ABOUT God! went into a frenzy again -
E the ecstasy of creation is imperishable
Z somehow he found me again.
AND no matter what is around,
I completely in the grip of wondrous torments!
(A. Berdnikov)
There are also varieties of acrostic: telestic - an acrostic from the last letters of the lines, mesostich - an acrostic from the middle letters, acrocenton - a verse collected from lines of famous poems and composing a word or phrase from the initial letters of the lines, reverse acrostic - an encrypted word is read from bottom to top . See also acrostructures
ACCENT VERSE - cm . Drummer

ALEXANDRIAN VERSE (from the Old French poem about Alexander the Great) - French 12-syllable or Russian 6-foot iambic with a caesura after the 6th syllable and paired rhyme (two one-syllable rhymes + two two-syllable rhymes); the main size of large genres in the literature of classicism - heroic tragedies, epic poems, etc. Introduced into Russian poetry by V. Trediakovsky. The peak of popularity of Alexandrian verse in Russia occurred in the second half of the 18th - first half of the 19th century.
An arrogant temporary worker, and vile and insidious,
The monarch is a cunning flatterer and an ungrateful friend,
Furious tyrant of his native country,
A villain elevated to an important rank by slyness!
(K.F. Ryleev)
ALCAIC- a stanza of ancient versification from 4 logaedas.
ALLEG ABOUT RIA(Greek allegoria - allegory) - a figurative representation of an abstract thought, idea or concept through a similar image (lion - strength, power; justice - a woman with scales). Unlike metaphor, in allegory the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable). In literature, many allegorical images are taken from folklore and mythology.

ALLITER A TsIA(Latin ad - to, with and littera - letter) - stylistic device; repetition of homogeneous consonants, giving the verse a special intonational expressiveness. Many puns, as well as Russian proverbs, sayings and especially tongue twisters, are based on alliteration. Alliteration and assonance are the main techniques of sound writing in literature.
“Karl stole corals from Clara, Clara stole Karl’s clarinet” (repetition of consonant sounds k, l, r).
Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
A storm is coming. It hits the shore
A black boat alien to enchantment...
(K. Balmont)
The snake bit the snake,
I can't get along with the snake.
I've already become terrified -
The snake will eat it for dinner.
ALL YU ZIA(Latin allusio - joke, hint) - stylistic figure; a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work (“the glory of Herostratus,” “Elephant and Pug”).

ALPHABETIC VERSE- a poem in which each verse or stanza (usually a couplet) begins with a new letter and is all arranged together in alphabetical order.
A Ntisemitic Entente mil.
A Nanta bunch of thugs.

B The Olsheviks are looking for the bourgeoisie.
B Urzhui race for a thousand miles.
IN Wilson is more important than other birds.
IN I would like to open the feather into the buttocks...
(V. Mayakovsky)
Russian alphabetic verse originates from the ABC Prayer (10th century), widespread in medieval Rus' and in form reminiscent of modern free verse. In such a verse, each saying (sentiment) began on a new line and
letters of the alphabet.
A In this word I pray to God
B Auger of all creatures and creator
IN walked by them and invisible to them!
G Lord of the Spirit sent the living one
D and the word will breathe into my heart
E it will be a success for everyone...
ALTERN A NS(French alternance - alternation) is a term of classical versification. Alternance rule: alternating alternation of verses with different numbers of feet, male and female rhymes, rhymes with different endings. The rule of alternance was established in French poetry in the era of Ronsard (1565), passed into Russian poetry in the 18th century and was strictly observed especially in relation to solid forms: sonnets, octaves, sextins, etc.
And you fell like that here you go,
Like a withered leaf falling from an ancient tree yeah!
And you died like that here you go,
How your last slave died yeah!..
(G.R. Derzhavin)
AMPLIFIER A TsIA(lat. amplificatio - expansion) - stylistic device; forcing homogeneous elements of speech - definitions, synonyms, comparisons, epithets, metaphors, contrasts, etc. It is used in literature and oratory to give text (speech) an expressive and emotional coloring.

AMPHIBOLE AND I(Greek amfibolia - ambiguity) - ambiguity; a phrase or sentence that, due to incorrect construction, can be understood incorrectly or in two ways. “As soon as the milkmaid left the podium, the chairman immediately climbed onto her.”

AMFIBR A KHIY (Greek amphibrachys - short on both sides) - a three-syllable poetic foot with stress on the second syllable. Scheme "  -  ».
Us e faith d And com one hundred And t one O co
On g O loy versh And not pine A.
And etc e mlet, quality A I am and I am e homo rash at chim
Od e the same as p And zoy, he A.
(M.Yu. Lermontov)
ANAGR A MMA- a word or text obtained by rearranging the letters of another word or text: stubble - poverty,
“Karpov is a master, Kasparov is a meter” (S. Gaidarov), “Melancholy - am I rude?” (D. Avaliani). In Russian poetry, anagrams can be found in occasional inclusions. There are very few completely poetic anagrams.
What is spring given to us or what is given beyond it?
One dream: know the dream and pour the wine!
(V. Bryusov)
ANAKOL U F- syntactic inconsistency of sentence members, allowed by the author through negligence, or intended as a stylistic (often comic) device. “I am ashamed, like an honest officer” (A.S. Griboyedov),
"Not a single ounce of conscience."

ANACRE ABOUT NTIKA (anacreontic poetry) is lyrical poetry glorifying earthly joys and sensual pleasures. Named after the founder of the genre, the ancient Greek poet Anacreon (6-5 centuries BC), who had many followers and imitators. Many Russian poets of the 18th and 19th centuries wrote in the style of Anacreon, incl. and Pushkin.
AN A CRUZA(Greek anakrusis - repulsion, anticipation) - unstressed syllables at the beginning of the verse before the first stressed syllable (ict). In metrically correct verses, anacrusis is usually of constant volume.
Zee m A!... The peasant is triumphant,
On etc. O vnyah renews the path;
E G O the horse smells the snow,
Ple T e trotting somehow...
(A.S. Pushkin)
Zero anacrusis (i.e. its absence) occurs when the verse begins immediately with a strong beat (“B at dark haze O yu n e bo cr O no..." A.S. Pushkin).
Anacrusis can also be shock if it receives a super-scheme stress (“Shv” e d, r at Russian to O years, r at bit, p e well..."
A.S. Pushkin).
In music, anacrusis corresponds to the beat. The term “anacrusis” itself was introduced into scientific circulation at the end of the 19th century.
If anacrusis is unstressed syllables before the first stress in a verse, then epicrusa- the final part of the verse starting with the last stress. For more details, see epicrusa.
AN A PEST(Greek anapaistos - reflected, i.e. reverse dactyl) - a three-syllable poetic foot with stress on the last syllable. Scheme "  - ».
Available in nap e wow yours And x secrets e data
Rokov A I'm about g And leucorrhoea in e there is.
There is a proclus I thie head e tov sacred e data,
Porug A tion of the account A stia e there is.
(A. Blok)
AN A FORA(Greek anaphora - carrying out) - stylistic figure; repetition of initial sounds (sound anaphora), words (lexical anaphora), phrases (syntactic anaphora) at the beginning of adjacent verses within a stanza. Also: repetition of any syntactic constructions in adjacent stanzas (strophic anaphora).
Sound anaphora is based on alliteration and (or) assonance.
AND I bless my staff,
AND this poor sum
AND steppe from edge to edge,
AND the sun is light and the night is darkness.
(A. Tolstoy)
Open the prison for me,
Give me the shine of the day
Chernog climbing the girl
Chernog crooked horse
(M.V. Lermontov)
Etc there is love, it is always full
Etc cool, gloomy and damp...
(A.S. Pushkin)
Lexical anaphora occurs when identical words are repeated in adjacent verses.
Black raven in the snowy twilight,
Black velvet on dark shoulders...
A languid voice singing tenderly
Sings to me about southern nights.
(A. Blok)
Force folk,
Force mighty -
Conscience is clear
The truth is alive!
(N.A. Nekrasov)

Syntactic anaphora is the repetition of syntactic structures or phrases at the beginning of poems within one stanza.
I knew love, not gloomy melancholy,
Not a hopeless delusion,
I knew love a lovely dream,
With charm, with rapture.
(A.S. Pushkin)
No one was more intimate to me,
So no one tormented me,
Even the one who betrayed to torment,
Even the one who caressed and forgot.
(Anna Akhmatova)
Strophic anaphora is based on the repetition of words or syntactic structures in adjacent stanzas.
Look at the stars: many stars
In the silence of the night
Burns and shines around the moon
In the blue sky.
Look at the stars: between them
The cutest one of all!
For what? Gets up earlier
Does it burn brighter?
(E. Baratynsky)
The Russian name for anaphora is unity of command. The opposite of anaphora is epiphora.
ANAC AND KL(Greek ana - forward, against and cyclos - circle, cycle) - a poem written in such a way that it can be equally read both from top to bottom from left to right, and from bottom to top from right to left. The anacycle is read in both directions not by letters (as in a palindrome), but by words. Unlike a reverse poem, the order of presentation, rhymes, and rhyming are preserved. Anacyclic poems are an extremely rare phenomenon even for experimental poetry. Example...

ANNOTATION(Latin annotatio - remark) - a brief description of the content of the work.

ANTIT E BEHIND(Greek antithesis - opposition) - stylistic figure; comparison or contrast of contrasting concepts or images in artistic speech.
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blushing like poppies,
I am like death, skinny and pale.
(A.S. Pushkin)
ANTIFR A Z(antiphrasis) – stylistic figure; using a word in the opposite sense, often with irony or mockery (“hero”, “eagle”, “sage”...).
...Here's the first one.
Talent! He has everything according to plan.
He scribbles opuses around the clock.
He chose the motto: not a day without an affair!
And thoughts cannot keep up with the lines.
Like a torch, like a water tower,
He knows what the country and people need:
Today the price is water and sleeping pills,
And he serves this water!
Second.
Nugget. A giant of thoughts.
He is the author of everything: from novels to songs;
His head is like a huge sideboard
Stuffed with all sorts of verbal mold.
He replaced creativity with plagiarism
And, possessing the greatest gift,
Makes salads from different books
And he greedily counts his fees...
(V. Nevsky)
ANTIQUE POEM- see Metrical versification.

APOK ABOUT PA(Greek apokope - cutting off) - artificially shortening a word without losing its meaning.
Suddenly I hear a scream and a horse top...
We drove up to the porch.
I'll hurry out the door clap
And hid behind the stove.
(A.S. Pushkin)
APOL ABOUT G- a short allegorical fable with images of animals or plants and moralizing overtones. Similar to a fable, but smaller in size. “Moral quatrains” by A.S. are written in the form of an apologist. Pushkin in collaboration with A. Wulf.
One candle only dimly illuminated the hut;
They lit another one, so what? the hut became brighter.
The words of the ancient saying are true:
The mind is good, or better yet two.
(A.S. Pushkin)
APOF E GMA- a short moralizing and witty saying (“Beauty will save the world”, F. Dostoevsky).
Apophegmata are ancient collections of apothegmata.

APOSTR ABOUT FA - stylistic device; the author's appeal to himself, to an absent person or to something inanimate.
Goodbye Baku! I won't see you.
Now there is sadness in my soul, now there is fear in my soul.
And the heart at hand is now more painful and closer,
And I feel more strongly a simple word: friend.
(S. Yesenin)
ARITHM AND I- violation of rhythmic correctness in verse.

ARITHM AND I- irregular rhyme; a combination of rhymed verses with white ones within one poetic work.

ARHA AND ZM(from Greek archaios - ancient) - an obsolete word or phrase that has fallen out of use. Archaisms (in Russian - Slavicisms) are used to stylize speech as ancient (piit, kamelek, otsele, today, secha, verb, lik...).
Evening, do you remember, the blizzard was angry
There was darkness in the cloudy sky...
(A.S. Pushkin)
ASINDET ABOUT N - see Non-Union.
ASSON A NS(French assonance - consonance or response) - consonance of stressed vowel sounds with complete or partial mismatch of consonants (buckets O- light O, V e s – m e yes, beautiful And vyy - unfading And my, sk A sign - p A lk, in O ron - p O dry...). Assonance was widely used in Russian folklore, and is also still used today in both poetry and songwriting. Assonance together with alliteration are the main techniques of sound writing in literature.
Grab the hay at, and the master in the coffin u.
People's rumor A that sea waves A.
Your rays with heavenly power
My whole life is illuminated A.
Should I die, you are above the grave
Burn, burn my stars A!
(folk words)
Assonance also refers to the repetition of similar stressed vowel sounds in a line, stanza or phrase.
Oh spring A no end A and without cr A yu - No end A and without cr A yu dream A! (A. Blok)
The use of words with only one vowel in poetry can be classified as experimental poetry, such as the poem “Trick with “ YU»".
"
I drink Brut.
I spit on the hook.
Yun, Lute.
I love the south!
I'm fighting, I'm angry.
Julia, I’m curling...
Blizzard blues.
Am I sleeping? Am I dreaming?
B. Greenberg
ASTROPH AND ZM- a poem in which there is no symmetrical division into stanzas, which expands its intonation and syntactic sound. Astrophism is used in fables, children's poems, narrative poetry, etc.
Good Doctor Aibolit!
He is sitting under a tree.
Come to him for treatment
And the cow and the she-wolf,
Both the bug and the spider
And a bear!
He will heal everyone, he will heal everyone
Good Doctor Aibolit! (K. Chukovsky)
APHORISM- a saying that expresses a generalized and complete thought in a laconic form. Aphorisms are characterized by originality, expressiveness and surprise. “If you want to be happy, be happy!”, Kozma Prutkov. “I would be glad to serve, but it’s sickening to be served,” A. S. Griboedov. Aphorisms can also be in verse:
Inspiration is not for sale
But you can sell the manuscript.
(A.S. Pushkin)

B
BALLAD(late Latin ballo - dancing) - a lyrical or lyric-epic poem of a special form on a historical or legendary theme.

BALLAD STROPHE - a stanza in which, as a rule, even verses consist of more feet than odd ones.
Smile, my beauty,
To my ballad;
There are great miracles in it,
Very little stock.
With your happy gaze,
I don’t want fame either;
Glory - we were taught - smoke;
The world is an evil judge.
Here are my sense of ballads:
“Our best friend in this life
Faith in Providence.
The good of the creator is the law:
Here misfortune is a false dream;
Happiness is awakening."
(V.A. Zhukovsky) - the genre of satirical poetry; a short allegorical moralizing poem or story using personifications and generalizations. Characters - people, animals, birds, fish, plants, objects, phenomena, etc. The fable was created as a disguised criticism of existing vices and morals, orders and individual influential persons; it usually contains morality. The fable genre is characterized by sarcasm, irony, an abundance of funny images, idioms and simplicity of presentation. Often fables are based on dialogues. The most famous fabulists : Aesop (Ancient Greece), Phaedrus (Ancient Rome), J. Lafontaine (France), G. E. Lessing (Germany), T. Moore (England) I. A. Krylov (Russia). The first Russian fables were written by the first Russian poets starting from the 17th century: S. Polotsky, V. Trediakovsky, A. Kantemir, A. Sumarokov, I. Khemnitser, I. Dmitriev and some others. The peak of the Russian fable came with the work of the most famous Russian poet and fabulist I. Krylov, after which the genre went into decline for some time. Among the poets of the subsequent period, the masters of fables were D. Bedny and S. Mikhalkov. Fables by modern authors
THE WOLF AND THE SHEPHERDS
Wolf walking close to the shepherd's yard
And seeing through the fence,
That, having chosen the best ram in the herd,
Calmly, the shepherds are gutting the lamb,
And the dogs lie quietly,
He said to himself as he walked away in frustration:
"What a fuss you all make here, friends,
I wish I could do this!"
(I. Krylov)
One day a shepherd was carrying milk somewhere,
But it's so terribly far away
Why didn't he go back?
Reader! didn't you come across him?
(Kozma Prutkov)

"Where is our father?" - asked stubbornly
Son-Worm from Mom-Worm.
"He's fishing!" - Mom answered...
How close is the Half-Truth to the Truth!
(S. Mikhalkov) (Arabic) - a couplet in the poetry of the peoples of the Near and Middle East. The beits are used to compose ghazals, qasidas, mesnevi, rubai and works of other genres of classical oriental poetry. Poems can be rhymed (type AA, BA, CA) or unrhymed. Beits contain a complete thought and are often used as independent works.
Don't complain that the light has gone out, don't cry that the sound has died down:
It was not they who disappeared, but their reflection.
(Rumi) (French belles lettres - fiction) - mass literary production of light content, opposite to high art. - verse without rhyme. A variety of blank verses are folk poems and their imitations, among which there are masterpieces that surprise with their unique melodiousness and melody:
I’ll sit at the table and think:
How can a lonely person live in the world?
The young man doesn't have a young wife,
The young man has no true friend.
(A. Koltsov)
In what year - calculate
In what land - guess
On the sidewalk
Seven men came together...
(N.A. Nekrasov) – poems with a ring structure, where the end goes to the beginning. Everyone knows the verse: “The priest had a dog...”. Here's an example of an endless fable:
...Sat on a branch
Kind of a stupid parrot.
And taking off very rarely,
He laughed from the flocks of birds:
“There will be a blue haze,
More beautiful than the clouds
Then I'll fly
Above everyone else, for sure!”
And he decided to go down,
Save more effort.
It just needs to happen like this:
He fell into the snare.
And now in a beautiful cage
Everyone keeps saying:...
ASYNDETON(asyndeton) - a sentence with the absence of conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.
Night, street, lantern, pharmacy,
Pointless and dim light.
Live for at least another quarter of a century -
Everything will be like this. There is no outcome.
(A. Blok) (English best - the best, sell - to be sold) - the most sold-out book, published in large editions.
BIBLIOPHILY(Greek biblion - book and...philia - love) - collecting rare publications, studying their features. Bibliophile - book lover.
BRACHYCOLON- genre of experimental poetry; monosyllabic meter (monosyllabic), in which all syllables are stressed.
Bay
those,
whose
laughter,
wey,
ray
this
snow!
(N.N. Aseev)
Dol
Sed
Walked
Grandfather.
Track
Vel -
Breul
Following
All of a sudden
Onion
Up:

Fuck!
Lynx
To dust.

(I.L. Selvinsky) (Greek bukolikos - shepherd) - the general name of the genres of ancient literature (eclogues, idylls); in modern European poetry it is the same as pastoral. The name comes from the title of a cycle of poems by Virgil.
BURIME(from the French boutsrimes - “rhymed ends”) – composing poems based on predetermined rhymes, usually of a comic nature. The form of burime originated in France in the first half of the 17th century. The history of the origin of burime is due to the French poet Dulot, who stated that he wrote 300 sonnets, but lost the manuscript. After massive public doubts about such a large number of written poems, Dullo admitted that he did not write the poems themselves, but only prepared rhymes. After this, his colleagues wrote sonnets based on rhymes, and the new poetic game came into fashion in the 17th and 18th centuries. was quite a popular salon entertainment. It is also known that A. Dumas in the 19th century organized a competition for the best burim and published a book of the best poems.
Nowadays, Burime continues to be a popular game among all lovers of the poetic genre. Burime allows you to show your creative abilities, show off your wit and originality, and demonstrate your mastery of words in a matter of minutes (or even seconds). For this reason, the burime genre is especially popular among spoken word and entertainer artists. Here is an illustrative example from Yuri Gorny, who was offered 4 pairs of rhymes, and who instantly (!) gave a wonderful impromptu. Archive of competitions for the best burim...
given rhymes:
air - rest
game - ax
illness - leisure
land - ruble
You can’t build a hut without a friend - ax,
And sometimes the work is simply rest,
Work is my joy: cheerful a game,
When in the face - good luck fresh air.

I rejected illnesses, I am unfamiliar illness.
I don’t spend anything on medicine ruble.
The road is creeping under my feet Earth:
Nature for me is medicine and leisure.
BURLESQUE(French burlesque - humorous) - a genre of parody poetry of a comic nature.
EPICAL– Russian folk epic song; a legend about heroes, as a reflection of the moral ideals of the people.

SIZE is a way of sound organization of a verse. We can say that the size of a verse is the order of alternation of stressed (long) and unstressed (short) syllables in a line. Based on the number of syllables in a foot, the poetic meter is divided into two-syllable and three-syllable. In syllabic verse, the meter is determined by the number of syllables; in tonic - by the number of stresses; in metric and syllabic - tonic - by meter and number of feet. The length of the size is determined by the number of feet: two-foot, three-foot, four-foot, pentameter, etc.

Trochee. The very first, simplest two-syllable meter. The stress in it falls on odd syllables (1, 3, 7, etc.).
Classic trochee:

Leaves are falling in the garden...
It used to be in this old garden
I'll leave early in the morning
And I wander anywhere. (I. Bunin)

However, pure trochee is quite difficult to obtain. In pure trochee, words cannot be more than three syllables. If we place stress in the above quatrain of Bunin, we can notice that the “extra” stress falls on the syllable “yut” in the word “fall”. There are no more shock rhythm disturbances, but what to do with this? So here it is. The main thing is that the “correct” stress is present, falling in the word where it should be. If, in size, there is another word that is “extra” for a given word, it is simply recited “unstressed,” softly, carefully. This omission of stress is called pyrrhic.
Here is another trochee (also from Bunin):

Apple trees and blue paths,
Emerald-bright grass,
There are gray catkins on birch trees
And branches of weeping lace.

In this passage, pyrrhichi can be found on the syllable “ni” in the word “apple trees,” on the letter “e” in the word “gray,” and so on.
That is, it is not necessary to use 4 stresses per line in tetrameter trochee. But it is important that there are enough stress to hear the rhythm of the verse, that is, the repeatability of a given placement of stress.
In general, trochee is easy to use, the syllable is simple, most often a tetrameter or pentameter trochee is used, although even a two-foot trochee can be found (very rarely).

Iambic. An equally common meter in Russian poetry is two-syllable, with stress falling on even syllables (2, 4, 6). The most common are iambic 4-, 5-, and 6-foot. For example, “Eugene Onegin” is written in iambic tetrameter. Iambic is even easier to use (may the Russian language forgive me!) than trochee.

So hit, don’t know rest,
Let the vein of life be deep:
Diamond burns from afar -
Fractions, my angry iambic, stones!
(A. Blok)

This was an example of iambic tetrameter. Pyrrhichia is no less common in iambic than in trochee. Again, this is due to the fact that the meter is “short”, two-syllable.
Using Blok as an example, I will introduce the concept of anacrusis.
And here is an example of mixed iambic (lines 1-3 - iambic pentameter, lines 2-4 - bimeter):

What heights are there above this island,
What fog!
And the Apocalypse was written here,
And Pan died. (N. Gumilyov)

Dactyl is a three-syllable meter, where the accents fall mainly on 1,4,7, etc. syllables, that is, a three-lobed foot about three syllables with verbal stress on the first syllable. The most common are two-foot and four-foot dactyls. But the most common and effective is a mixed dactyl, for example, the first line is tetrameter, the second line is trimeter.

Mirror to mirror, with trembling babble,
I brought it by candlelight;
In two rows of light - and a mysterious thrill
The mirrors glow wonderfully. (A. Fet)

Actually, all three-syllable meters look beautiful when combining lines with different numbers of feet.

The cardiogram bursts and dances and rages,
In it, unsystematic, crazy things happen.
She rushes right, then left, then straight,
It beats and, like the aspen of Judas, trembles.

(an example of dactyl pentameter.).

And here is an example of a very peculiar six-foot dactyl with two caesuras:

In a yellow living room, made of gray maple, with silk upholstery,
Your Lordship loves languid zhurfi on Tuesdays
In a yellow wenge of a comical color, brown-white,
You offer the subtle society iris cake,
Gently inhaling the cigar of the Erzge "Rzog abris fia" lkovy.
(I. Severyanin)

Amphibrachium is a three-syllable meter, where the stress falls mainly on 2, 5, 8, 11, etc. syllables. In other words, this is a three-part stanza with a monopartite anacrusis: | | | . The most common amphibrach tetrameter is:

I couldn't listen to the madman any longer,
I raised the shining sword
I gave the singer a bloody flower,
As a reward for a daring speech.
(N. Gumilev)

Here is an example of a rare phenomenon: amphibrachic hexameter alternating with pentameter:

Ah, wonderful sky, by God, above this classical Rome,
Under such a sky you will involuntarily become an artist.
Nature and people here seem different, like paintings
From the bright poems of the anthology of ancient Hellas. (A. Maikov)

Anapest is a three-syllable meter in which the stress falls predominantly on 3, 6, 9, 12, etc. syllables. In other words, it is a tricotyledon with a dicotyledonous anacrusis | | | . The most common is the trimeter anapaest.

My beloved, my prince, my groom,
You are sad in a flowery meadow.
Dodder among golden fields
I curled up on the other side. (A. Blok)

There is a 2,4,5-foot anapest. For example, two-footed:

No country, no graveyard
I don't want to choose.
To Vasilyevsky Island
I'm coming to die.
(I. Brodsky)

This classic poem "Stanzas" has a characteristic monosyllabic clause in lines 1-3, which gives it charm and some originality of the syllable.

So, we looked at the five main poetic meters. Be sure to use them! Of course, you can’t get hung up on them, but history shows that these meters are most suitable for versification in Russian, and they cannot be categorically ignored in the search for new forms. Only after learning to use classical poetic meters to perfection can you move on to poetic experimentation. Although... Pushkin and Lermontov 200 years ago, when the formation of poetry was just beginning and there was no talk of using outlandish mixtures of meters in poetry, they were already looking for new forms, trying to diversify the classical Russian poetry set by Derzhavin. That's why they are great.

There are nine main sizes in Russian. In the absence of one or more vowels in a line of any of the nine sizes, the tenth size is formed, which is called dolnik (the term was introduced by V. Bryusov from the word “share”, “part”).

Graphic representation of the ten verse sizes:

1. Trochee - Emphasis on the 1st syllable
2. Iambic - from the second
3. Dactyl accent from the first
4. Amphibrachium accent from the second
5. Anapest - emphasis on the third
6. Peon first - emphasis on the first
7. Peon second accent from second
8. Peon third accent from third
9. Peon the fourth. Accent on the fourth
10. Dolnik - trochee, one vowel is omitted

EXAMPLES of ten verse sizes:

1. Clouds are rushing, clouds are swirling...
2. It's time, it's time, the horns are blowing...
3. Heavenly clouds, eternal wanderers...
4. The last cloud of the scattered storm...
5. Here is the front entrance. On special days...
6. Do not approach the midday heat from the sky...
7. Flashlights, flashlights, tell me...
8. On the ocean of air, without a rudder and without wind...
9. Under blue skies...
10. Something has happened to my memory...

The size of a folk verse is determined not by the length of all its syllables (as in ancient versification), but by the number of stresses in a line.

There was a birch tree in the field,
There was a curly haired girl standing in the field...

Depending on the task set by the author, the size of the verse may vary.

ALEXANDRIAN VERSE (from the Old French poem about Alexander the Great), French 12-syllable or Russian 6-foot iambic with a caesura after the 6th syllable and paired rhyme.

An arrogant temporary worker, and vile and insidious,
The monarch is a cunning flatterer and an ungrateful friend,
Furious tyrant of his native country,
A villain elevated to an important rank by slyness!
K.F. Ryleev

AMFIBRACHIUS is a three-syllable poetic line with stress on the second syllable.
It's lonely in the wild north
There's a pine tree on the bare top,
And dozes, rocking, and snow falling
She is dressed like a robe.
M.Yu.Lermontov

ANACRUSE - weak (unstressed) syllables preceding the first metrical stress. In syllabo-tonic verses, anacrusis is constant: in trochee and dactylus it is zero, in iambic and amphibrach it is monosyllabic, in anapest it is disyllabic.

HEXAMETER (from the Greek "six-dimensional"). Verse size of ancient epic poetry. V.K. was introduced into Russian poetry. Trediakovsky.

Wrath, goddess, sing to Achilles, son of Peleus,
Terrible, who caused thousands of disasters to the Achaeans:
He cast down many souls of glorious heroes...
Homer "Iliad"

ICT is a stressed syllable in verse (arsis). An interictal interval (thesis) is an unstressed syllable in a verse.

LOGAED - a poetic meter formed by a combination of unequal feet, the sequence of which is correctly repeated from stanza to stanza. The main form of ancient song lyrics.

My lips are getting closer
To your lips,
The sacraments are performed again,
And the world is like a temple.
V.Ya. Bryusov

MONOSYLLABLE - exotic monosyllable meter. All syllables are stressed.
It is used extremely rarely.
Dol
Sed
Shel
Grandfather.
Vel -
Breul
Following
All of a sudden
Onion
Up:
Fuck!
Lynx
To dust.
I.L. Selvinsky.

PENTON - (five-syllable) - a poetic meter of five syllables with stress on the third syllable. Developed by A.V. Koltsov and used in folk songs. Rhyme is usually absent.

Don't make noise, rye,
Ripe ear!
Don't sing, mower,
About the wide steppe!

PYRRICHIUM is one of the types of feet of ancient versification. Pyrrhichs are disyllabic feet that do not have stressed syllables. They help to maintain the size of the verse when it skips the necessary stress. The possibility of using pyrrhichs contributes to a more complete use of all means of language due to the wide variety of rhythmic variations of each size.

Three maidens by the window
Spinning late in the evening...
A.S. Pushkin

SUPERSCHEME STRESS - stress on the weak point of the poetic meter.

Spirit of denial, spirit of doubt...
M.Yu.Lermontov

SPONDEUS - iambic foot or trochee with super-scheme stress. As a result, there may be two strokes in a row in the foot.

Swede, Russian - stabs, chops, cuts
Drumming, clicks, grinding,
Thunder of guns, stomping, neighing, groaning
And death and hell on all sides.
A.S. Pushkin

TRIBRACHIUS - omission of stress in a three-syllable measure on the first syllable.

"Unique days of grace..."

TRUNCUTION - an incomplete foot at the end of a verse or hemistich.

Mountain peaks
They sleep in the darkness of the night,
Quiet Valleys
Full of fresh darkness.
M.Yu.Lermontov

PENTAMETER is an auxiliary meter of ancient versification. In fact, it is a hexameter with truncation in the middle and at the end of the verse. The pentameter is not used in its pure form.

LESSON 22

STANZA. ITS TYPES

Poems are often combined into combinations that are repeated several times in the poem. A combination of verses representing a rhythmic-syntactic whole and united by a common rhyme is called STROPHES, i.e. a stanza is a group of verses with a certain arrangement of rhymes. The main feature of a stanza is the repetition of its elements: stops, sizes, rhymes, number of verses, etc.

It is very difficult to leave the past,
How close we once were
And today we saw each other again -
And in the eyes there is neither love nor longing.
G. Uzhegov

COUPLET - the simplest type of stanza consisting of two verses: in ancient poetry - DISTICH, in syllabic poetry - VERSHI.

The boy Leva cried bitterly
Because there's no cool

What happened to you? - asked at home,
Scared more than thunder,

He answered without a smile:
The fish aren't biting today.
N.Rubtsov

Tercet (terzetto) - a simple stanza of three verses.

In carefree joys, in living charm,
Oh, the days of my spring, you are soon gone.
Flow more slowly in my memory.
A. S. Pushkin

The most common types of stanzas in classical poetry were

Quatrains (quatrains), octaves, terzas. Many great poets
used them when creating their works.

Are you still alive, my old lady?
I'm alive too. Hello, hello!
Let it flow over your hut
That evening unspeakable light.
S. Yesenin

PENTATHS - quintet.

And the world is ruled by lies and rage,
The crying does not stop for a moment.
And everything was mixed up in my heart:
He also has a holy pity for people,
And anger at them, and shame for them.
N. Zinoviev

SEXTAISTS - sextine. A stanza of six verses.

Frost and sun; wonderful day!
You are still dozing, dear friend, -
It's time, beauty, wake up:
Open your closed eyes
Towards northern Aurora,
Be the star of the north.
A.S. Pushkin

SEVENTIMAS - centima. A complex stanza of seven verses.

Yes! There were people in our time
Not like the current tribe:
The heroes are not you!
They got a bad lot:
Not many returned from the field...
If it were not the Lord's will,
They wouldn't give up Moscow!
M.Yu. Lermontov

octave (octave) - an eight-line line in which the first verse rhymes with the third and fifth, the second with the fourth and sixth, the seventh with the eighth. The octave is based on triple repetition (refrain).

It's a sad time! Ouch charm!
I like your sad beauty -
I love the lush decay of nature,
Forests dressed in scarlet and gold,
In their canopy there is noise and fresh breath,
And the skies are covered with wavy darkness,
And a rare ray of sunshine, and the first frosts,
And distant gray winter threats.
A.S. Pushkin

Octave diagram: ABABABBBV.

NINETEAS - nona. A complex rhyme consisting of nine verses.

Give me a high palace
And there is a green garden all around,
So that in its wide shadow
The amber grapes were ripe;
So that the fountain never stops
There was a murmur in the marble hall
And I would be in the dreams of paradise,
Sprinkled with cold dust,
Put me to sleep and woke me up...
M.Yu.Lermontov

TEN - decima. Often found in the works of M. Lomonosov, Derzhavin. Currently almost never used. Scheme ABABVVGDDG. A type of ten line is the ODIC STROPHE, in which solemn odes and congratulations are written.

ONEGIN RHYME is the form of stanza in which the novel “Eugene Onegin” by A. S. Pushkin is written. The stanza consists of 14 lines
Four with a cross rhyme, two pairs with adjacent rhymes, four with a ring and the final two lines are again adjacent rhymes. A stanza always begins with a line with a feminine ending, and ends with a masculine ending.

He settled in that peace,
Where the village guard
For about forty years he was quarreling with the housekeeper,
I looked out the window and squashed flies.
Everything was simple: the floor was oak,
Two wardrobes, a table, a down sofa,
Not a speck of ink anywhere.
Onegin opened the cabinets:
In one I found an expense notebook,
In another there is a whole line of liqueurs,
Jugs of apple water,
And the eighth year calendar;
An old man with a lot to do,
I didn’t look at other books.

Scheme ABABVVGGDEEJJ.

BALLAD stanza - a stanza in which the even-numbered verses consist of more feet than the odd-numbered ones.

Once on Epiphany evening
The girls wondered:
A shoe behind the gate,
They took it off their feet and threw it;
The snow was cleared; under the window
Listened; fed
Counted chicken grains;
They burned hot wax...
V. Zhukovsky

SONNET. A certain number of verses and the arrangement of rhymes is characteristic not only of stanzas, but also of certain types of verses. The most common is the SONNET. The sonnets of Shakespeare, Dante, and Petrarch gained worldwide fame. A sonnet is a poem consisting of fourteen verses, usually divided into four stanzas: two quatrains and two tercets. In quatrains, either a ring or cross rhyme is used, and it is the same for both quatrains. The alternation of rhyme in tercets is different.

Poet! Do not value people's love
Enthusiastic praise will pass a moment's noise.
You will hear the judgment of a fool and the laughter of a cold crowd,
But you remain proud, calm and gloomy.
You are the king: live alone. On the road to freedom
Go where your free mind takes you.
Zealous for the fruits of free thoughts,
Without demanding rewards for a noble feat,
They are in you. You are your own highest court;
You know how to evaluate your work more strictly than anyone else.
Are you satisfied with it, discerning artist?
Satisfied? So let the crowd scold him,
And spits on the altar where your fire burns,
And your tripod shakes in childish playfulness.
A.S. Pushkin

The sonnet scheme is ABABABABVVGDDG, but some variations in the arrangement of rhymes are also possible.

TERZINS - three-line stanzas with an original method of rhyming. In them, the first verse of the first stanza rhymes with the third, the second verse of the first stanza with the first and third of the second stanza, the second verse of the second stanza with the first and third of the third stanza, etc.

I loved the bright waters and the noise of the leaves,
And white idols in the shade of trees,
And in their faces is the stamp of motionless thoughts.
Everything is marble compasses and lyres,
Swords and scrolls in marble hands,
On the heads of laurels, on the shoulders of porphyry -
Everything inspired some sweet fear
On my heart; and tears of inspiration
At the sight of them they were born before our eyes.
A.S. Pushkin

Dante's Divine Comedy was written in terzas. But in Russian poetry they are rarely used.
Terza scheme: ABA, BVB, VGV, GDG, DED...KLKL.

TRIOLET - found in our time. In this type of rhyme, verses A and B are repeated as refrains.

Even in spring the garden smells fragrant,
The soul is still cheerful and believes,
That terrible losses can be corrected, -
The garden still smells fragrant in spring...
Oh, tender sister and dear brother!
My house is not sleeping, its doors are open for you...
Even in spring the garden smells fragrant,
The soul is still cheerful and believes.
I. Severyanin (Loparev)

Triolet diagram: ABAAAABAB.

RONDO - a poem containing 15 lines with the rhyme AABBA, AVVS, AABBAS (C - non-rhyming refrain, repetition of a line).
Rondo, as a style of versification, was popular in French poetry of the 18th and 19th centuries.
Of the other (now almost never used) types of stanzas, the following are worth mentioning:

SICILIAN - an eight-line verse with the cross rhyme ABABABAB.
SAPPHIRE STROPHE. It was invented in Ancient Greece in the 6th-7th centuries. before the new era.

ROYAL STROPHE - a seven-line verse with the rhyme system ABBAABV.

ASTROPHYSMS - a poem in which there is no division into stanzas, which gives the poet more compositional freedom. It is still used today in children's poems, fables and in poems rich in colloquial speech.

Good Doctor Aibolit
He is sitting under a tree.
Come to him for treatment
And the cow and the she-wolf,
Both the bug and the spider
And a bear!
He will heal everyone, he will heal everyone
Good Doctor Aibolit.
K. Chukovsky

In Russian poetics, the syllabic-tonic system of versification, introduced with the light hand of Lomonosov and Trediakovsky, has been adopted. In short: in the tonic system, the number of stresses in a line is important, and the syllabic system requires the presence of rhyme.

Before we learn how to determine poetic meter, let’s refresh our memory on the meaning of some terms. The size depends on the order of alternation of stressed and unstressed syllables. Groups of syllables repeated in one line are feet. They determine the size of the verse. But the number of feet in one verse (line) will indicate whether the size is one-foot, two-foot, three-foot, etc.

Let's look at the most popular sizes. The size of a foot depends on how many syllables make it up. For example, if there is one syllable, then the foot is also monosyllabic, and if there are five, then it is correspondingly five-syllable. Most often in literature (poetry) you can find two-syllable (trochee and iambic) and three-syllable (dactyl, amphibrach, anapest) feet.

Two syllables. There are two syllables and two meters.

Trochee– foot with stress on the first syllable. The synonym that is sometimes used to call this type of foot is the word troche. IN iambic stress on the second syllable. If the word is long, then it also implies a secondary stress.

The origin of the term is interesting. According to one version, on behalf of the servant of the goddess Demeter, Yambi, who sang cheerful songs built on iambic meter. In ancient Greece, only satirical poems were originally composed in iambic.

How to distinguish iambic from trochee? Difficulties can be easily avoided if you arrange the terms alphabetically. The “trochee” comes first, and accordingly, its stress is on the first syllable.

In the picture on the right you see a schematic representation of dimensions using numbers and signs, and under this text you can read examples of poems with such dimensions from fiction. The trochaic meter is well demonstrated to us by the poem by A.S. Pushkin’s “Demons”, and we can find iambic feet at the very beginning of the famous novel in verse “Eugene Onegin”.

Trisyllabic poetic meters. There are three syllables in the foot, and the same number of sizes.

Dactyl– a foot in which the first syllable is stressed, then two unstressed. The name comes from the Greek word dáktylos, which means “finger”. The dactylic foot has three syllables and the toe has three phalanges. The invention of dactyl is attributed to the god Dionysus.

Amphibrachium(Greek amphibrachys - short on both sides) - a foot of three syllables, where the stress is placed in the middle. Anapaest(Greek anapaistos, i.e. reflected back) – foot with stress on the last syllable. Scheme: 001/001

The features of three-syllable meters are easy to remember from the sentence: “The LADY locks the gate in the evening.” The abbreviation DAMA encodes the names of the sizes in order: DActyl, AMFIBRACHY, Anapest. And the words “in the evening he locks the gate” illustrate patterns of alternation of syllables.

For examples from fiction for three-syllable meters, see the picture that you see under this text. Dactyl and amphibrachium illustrate the works of M.Yu. Lermontov “Clouds” and “It Stands Lonely in the Wild North”. The anapestic foot can be found in A. Blok’s poem “To the Muse”:

Polysyllabic meters are formed by merging two or three simple meters (just like in music). Of the variety of complex foot types, the most popular are peon and penton.

Peon consists of a single stressed and three unstressed syllables. Depending on the count of the stressed syllable, peons I, II, III and IV are distinguished. In Russian versification, the history of the peon is associated with the symbolists, who proposed it as a four-syllable meter.

Penton- a foot of five syllables. There are five types of them: “Penton No.. (according to the order of the stressed syllable). The famous pentadolniki A.V. Koltsov, and “Penton No. 3” is called “Koltsovsky”. As an example of a “peon” we can cite R. Rozhdestvensky’s poem “Moments”, and we illustrate the “pentone” with the poems of A. Koltsov “Don’t make noise, rye”:

Knowing what poetic meters are is necessary not only for school analyzes of literature, but for choosing them correctly when composing your own poems. The melodiousness of the narrative depends on the size. There is only one rule here: the more unstressed syllables in a foot, the smoother the verse sounds. It’s not good to paint a fast-paced battle, for example, with a penton: the picture will look like it’s in slow motion.

I suggest you get some rest. Watch the video with beautiful music and write in the comments what you can call the unusual musical instrument that you see there?

Here they are - the whales of poetry.... :) Although many writers believe that they are far from the main ones. Be that as it may - definitely very important for the poet!

RHYTHM - the sound structure of a specific poetic line; general orderliness of the sound structure of poetic speech. A special case of rhythm is meter.

METER (Greek metron - measure, size) - an orderly alternation of stressed and unstressed syllables in a verse, a general scheme of sound rhythm. See also ancient meters

SIZE - the method of sound organization of the verse; a special case of the meter. Thus, the iambic meter can include dimensions from 1-foot to 12-foot (or more) iambic, as well as free iambic. In syllabic versification, meter is determined by the number of syllables; in tonic - by the number of stresses; in metric and syllabic-tonic - by meter and number of feet. The length of the size is determined by the number of feet: two-foot, three-foot, four-foot, pentameter, etc. The most common sizes are short. Examples:

Iambic bimeter

Play / Adele
Know no sorrow;
Harity, Lel
You were married...
(A.S. Pushkin)

Iambic tetrameter

Oh my heart! You are /stronger/
The mind of the sad memory
And often with its sweetness
You captivate me in a distant country.
(K. N. Batyushkov

Two-foot trochee

Aty-/baty,
The soldiers were walking
Aty-baty
To the market...
(folk)

Trochee tetrameter

The storm/haze/covers the sky,
Whirling snow whirlwinds;
Then, like a beast, she will howl,
Then she will cry like a child...
(A.S. Pushkin)

Bimeter amphibrachium

Let the pines/and fir
They hang around all winter,
In snow and blizzards
They sleep wrapped up.
(F.I. Tyutchev)

Trimeter amphibrachium

In the middle of a noisy ball / by chance,
In the anxiety of worldly vanity,
I saw you, but it’s a mystery
Your features are covered.
(A.K. Tolstoy)

Trimeter anapaest

Why are you looking /at the road?
Away /from fun/loving friends?
You know, my heart sounded alarmed -
Your whole face suddenly flushed.
(N.A. Nekrasov)

Dactyl tetrameter

This morning, this morning,
The fields are sad, covered with snow,
Reluctantly you remember the past time,
You will also remember faces long forgotten.
(I.S. Turgenev)

Iambic monometer

Spring
coming.
She
sings
Murmurs,
Buzzing,
Spinning,
Attracts.

Iambic bimeter

Spring is coming.
She sings,
Murmurs, hums,
It swirls and drags.

Iambic trimeter

Spring is coming. She
Sings, murmurs, buzzes,
It swirls and drags. Spring...

Iambic tetrameter

Spring is coming. She sings,
Murmurs, buzzes, circles, attracts.

Iambic pentameter

Spring is coming. She sings, murmurs,
It buzzes, circles, attracts. Spring is coming.

Example of extra-long time signature (iambic 12-meter):

Near the honey/cast/Nile, /where/ the lake/po of Me/rida,/ in the kingdom/ of the fiery/RA,
You have loved me for a long time, like Osiris Isis, friend, queen and sister!
(V.Ya. Bryusov)

ICT (lat. ictus - blow) is a stressed syllable in a verse. The second name is arsis. The interictal interval (the second name is thesis) is an unstressed syllable in a verse.

STOP - unit of verse length; a repeated combination of stressed and unstressed syllables. Graphically, the foot is depicted using a diagram, where “-” is a stressed syllable, and “È” is an unstressed one.
Two-syllable feet: iambic and trochee (two-syllables).
Trisyllabic feet: dactyl, amphibrachium, anapest (trisyllabic feet).
Four-syllable feet: peon (four-syllable feet).
About ancient feet

YAMB is a two-syllable poetic foot with stress on the second syllable. The most common foot in Russian verse.
Scheme "È -". Main sizes: 4-foot (lyrics, epic), 6-foot (poems and dramas of the 18th century), 5-foot (lyrics and dramas of the 19-20th centuries), free multi-foot (fable of the 18th-19th centuries, comedy of the 19th) V.).

My uncle has the most honest rules,
When I seriously fell ill,
He forced himself to respect
And I couldn't think of anything better.
(A.S. Pushkin)

HOREUS (Greek choreios - dancing) or TROCHEA (Greek trochaios - running) - a two-syllable poetic foot with stress on the first syllable. Scheme “-È”.

The clouds are rushing, the clouds are swirling
Invisible moon
The flying snow illuminates;
The sky is cloudy, the night is cloudy.
(A.S. Pushkin)

DACTYL (Greek daktylos - finger) - a three-syllable poetic foot with stress on the first syllable.
Scheme "- ÈÈ".

Saved in slavery
People's heart -
Gold, gold
People's heart!
(N.A. Nekrasov)

AMPHIBRACHY (Greek amphibrachys - short on both sides) - a three-syllable poetic foot with stress on the second syllable. Scheme "È - È".

It's lonely in the wild north
There's a pine tree on the bare top
And dozes, swaying, and snow falls
She is dressed like a robe.
(M.Yu. Lermontov)

ANAPEST (Greek anapaistos - reflected, i.e. reverse dactyl) - a three-syllable poetic foot with stress on the last syllable. Scheme "ÈÈ -".

Is in your innermost melodies
Fatal news of death.
There is a curse of sacred covenants,
There is a desecration of happiness.
(A. Blok)

PEON is a four-syllable poetic foot with 1 stressed and 3 unstressed syllables. Depending on which syllable of the foot is stressed, peons are distinguished on the 1st (- È ÈÈ), 2nd (È- ÈÈ), 3rd (ÈÈ-È) and 4th syllables of the foot (È ÈÈ -). Paeony is often a special case of iambic and trochee.

Sleep half-dead withered flowers,
Never having recognized the flowering of beauty,
Near the beaten paths, nurtured by the creator,
Crushed by an unseen heavy wheel
(K.D. Balmont)

Don't think down on seconds.
The time will come, you yourself will probably understand -
They whistle like bullets at your temple,
Moments, moments, moments.
(R. Rozhdestvensky)

PENTON (five-syllable) - a poetic meter of five syllables with the accent on the 3rd syllable. Penton was developed by A.V. Koltsov and is used only in folk songs. Rhyme is usually absent. Scheme "ÈÈ - ÈÈ"

Don't make noise, rye,
Ripe ear!
Don't sing, mower,
About the wide steppe!
(A.V. Koltsov)

PYRRICHIUM - a foot of two short (in ancient versification) or two unstressed (in syllabic-tonic) syllables. Pyrrhic is conventionally called the omission of stress on a rhythmically strong place in trochee and iambic.

Three maidens by the window
Spinning late in the evening...
(A.S. Pushkin)

TRIBRACHIUS - omission of stress in a three-syllable size on the first syllable (“Unrepeatable days of grace...”).

ANACRUS (Greek anakrusis - repulsion) - a metrically weak point at the beginning of a verse before the first ictus (stressed syllable), usually of constant volume. Anacrusis often receives super-schema stress. Anacrusis is also called unstressed syllables at the beginning of a verse.

ü The mermaid swam along the blue river,
Illuminated by the full moon;
And she tried to splash to the moon
Silvery foam waves.
(M.Yu. Lermontov)

SUPERSCHEME STRESS - emphasis on a weak point of poetic meter (“Spirit of denial, spirit of doubt” - M. Yu. Lermontov).

When I wait for her to come at night,
Life seems to hang by a thread.
What honors, what youth, what freedom
In front of a lovely guest with a pipe in her hand.
(A. Akhmatova)

SPONDEUS - iambic foot or trochee with super-scheme stress. As a result, there may be two strokes in a row in the foot.

Swede, Russian - stabs, chops, cuts.
Drumming, clicks, grinding,
The thunder of guns, stomping, neighing, groaning,
And death and hell on all sides.
(A.S. Pushkin)

TRUNCUTION - an incomplete foot at the end of a verse or hemistich. Truncation is typically present in interleaving
in poetry rhymes from words with stress on different syllables from the end (for example, feminine and masculine rhymes).

Mountain peaks
They sleep in the darkness of the night;ü
Quiet Valleys
Full of fresh darkness...ü
(M.Yu. Lermontov)

ALEXANDRIAN VERSE (from the Old French poem about Alexander the Great) - French 12-syllable or Russian 6-foot iambic with a caesura after the 6th syllable and paired rhyme; the main size of large genres in the literature of classicism.

An arrogant temporary worker, and vile and insidious,
The monarch is a cunning flatterer and an ungrateful friend,
Furious tyrant of his native country,
A villain elevated to an important rank by slyness!
(K.F. Ryleev)

HEXAMETER (Greek hexametros - six-dimensional) - poetic meter of ancient epic poetry: six-foot dactyl,
in which the first four feet can be replaced by spondees (in syllabic-tonic imitations - trochees). The hexameter is the most popular and prestigious ancient size, the invention of which was attributed to Apollo himself, the god who patronized poetry. The Hellenes associated this size with the noise of a wave running onto the shore. The greatest poems of Homer “Iliad” and “Odyssey” (7th century BC), Virgil’s “Aeneid”, as well as hymns, poems, idylls and satires of many ancient poets were written in hexameter. Up to 32 rhythmic variations of the hexameter are possible. Examples of schemes:
-ÈÈ-ÈÈ-//ÈÈ-ÈÈ-ÈÈ-È; -ÈÈ-ÈÈ-È//È-ÈÈ-ÈÈ-È ("È" - unstressed part, "-" - stressed part, "//" - word division)
The hexameter was introduced into Russian poetry by V.K. Trediakovsky, and consolidated by N. I. Gnedich (translation of the Iliad), V. A. Zhukovsky (translation of the Odyssey), A. Delvig.

Wrath, goddess, sing to Achilles, son of Peleus,
Terrible, who caused thousands of disasters to the Achaeans:
Many mighty souls of glorious heroes cast down
In gloomy Hades and spread them out for the benefit of carnivores
To the surrounding birds and dogs (Zeus’s will was done) -
From that day on, those who raised a dispute were inflamed with enmity
Shepherd of the peoples Atrid and hero Achilles the noble.
(Homer “Iliad”. Translated by N. Gnedich)

PENTAMETER - auxiliary meter of ancient versification; a component of an elegiac distich, in which the first verse is a hexameter and the second is a pentameter. In fact, pentameter is a hexameter with truncations in the middle and at the end of the verse.
Scheme: -ÈÈ-ÈÈ-//-ÈÈ-ÈÈ-. The pentameter was not used in its pure form.

LOGAED (Greek logaoidikos - prosaic-poetic) - a poetic meter formed by a combination of unequal feet (for example, anapests and trochees), the sequence of which is correctly repeated from stanza to stanza. Logaeds are the main form of ancient song lyrics, as well as choral parts in tragedies. Logaedic meters were often named after their creators and propagandists: alcaean verse, sapphic verse, phalekios, adonii, etc.

Let's live and love, my friend,
The grumbling of bitter old men
We’ll bet pennies on you...
(Gaius Catullus)

Many Russian poets also wrote in Logaeds. As an example, logaed with alternating 3-foot dactyl and 2-foot iambic.

My lips are moving closer
To your / lips,
The sacraments are performed again,
And the world is like a temple.
(V.Ya. Bryusov)

BRACHICOLON - a genre of experimental poetry; monosyllabic meter (monosyllabic), in which all syllables are stressed.

Bay
those,
whose
laughter,
wey,
ray
this
snow!
(N.N. Aseev)

Dol
Sed
Walked
Grandfather.
Track
Vel -
Breul
Following
All of a sudden
Onion
Up:
Fuck!
Lynx
To dust.

(I.L. Selvinsky)

Iambic(ancient Greek, presumably from the name of a musical instrument):

1) in ancient metrics, simple foot, two-syllable, three-dimensional, short syllable + long syllable (U-); in syllabic-tonic versification (for example, Russian) - unstressed syllable + stressed syllable;

2) the same as verse consisting of iambic meters.

Iambic is the most common meter of Russian poetry; it is extremely diverse and multifaceted.

Very short (one-two-foot) iambic sizes and extra-long sizes are possible.

Nr, iambic bimeter:

"Play, Adele,

Know no sorrow;

Harity, Lel

You were married..."

A. Pushkin

But the most common are four main meters, occupying the middle part of the “spectrum” - from iambic trimeter to iambic hexameter.

Iambic trimeter relatively short and enough simple by sound. Its fast pace is good for comic, humorous, satirical and even aphoristic poems. The finest example is the satirical “History of the Russian State from Gostomysl to Timashev” (A.K. Tolstoy):
"Listen guys,
What will your grandfather tell you:
Our land is rich
There is just no order. »
Few words fit in these short lines. Extreme simplicity of speech, its conciseness, simplicity and clarity of rhymes.

Iambic tetrameter– medium in length, extremely varied and rich. This is the beloved and celebrated iambic meter.
An incredible number of poems are written in iambic tetrameter. These are “Onegin”, and “Poltava”, and “The Bronze Horseman”, and “Mtsyri”. The most incredible combinations this size gives– from comic to heroic and tragic; from the broadest epic to soulful lyricism.

This is the richest rhythmic meter. Bryusov, who generally loved to “verify harmony with algebra” in a good sense, counted the number of possible rhythmic variations of iambic tetrameter. There were about 100,000 of them. How are they obtained? Due to hypostasis, that is, the replacement of iambic feet with pyrrhic, spondee and trochee. Line endings are also of great importance - they can end with a stressed syllable (masculine), unstressed (feminine), two unstressed (dactylic), three or more unstressed (hyperdactylic). The sum of all these combinations results in the amazing figure 100,000... It is clear that with such a rich rhythm, iambic tetrameter is applicable for a poem or poem of any theme, for the implementation of any plan.

Iambic tetrameter:

The twentieth century. Even more homeless

Even worse than life is darkness...

Iambic pentameter, according to the same Bryusov, is almost as rich. In Russian poetry it is very frequent and occurs in a wide variety of forms. In Russian poetry, this meter was often used with a caesura (rhythmic pause) after the second foot:

“The path is growing, // its ringing hoof is knocking
O stones horse, // waking up in the deep forest...”

(M. Kuzmin)
This caesura (designated as //) was inherited from the French syllabic decasyllabic, on the basis of which the iambic pentameter of Russian poetry arose. In the twentieth century, this feature was practically lost.
A Russian sonnet is usually written in iambic pentameter.

Iambic pentameter:

You are a wolf! I despise you!

You are leaving me for Ptiburdukov!

(Ilf and Petrov, "The Golden Calf")

Iambic hexameter- the last of the common iambic meters. This is already a long meter, so it is usually used with a caesura dividing it into two hemistiches, reducing to iambic trimeter. This explains the smaller rhythmic variety of this size compared to the previous two. The caesura in iambic hexameter is also borrowed from French versification - namely, from the syllabic decadate. Caesuras in iambic hexameter can be masculine (ending on a stressed syllable):
“I drink the bitterness of tuberoses, // the bitterness of autumn skies
And in them your betrayals // a burning stream.
I drink the bitterness of evenings, // nights and crowded gatherings,
Sobbing stanza // I drink raw bitterness" (Pasternak),
but there may also be female ones:
“A secluded island, // barely noticeable in the sea,
I steadily chose // - a golden shelter ... "(Bryusov)

These were all equal-foot sizes, with the same number of feet in each line. But in Russian poetry, iambic heterometers are also widespread, in which long lines naturally alternate with short ones. Pasternak has excellent examples of combining iambic tetrameter with bimeter:
"Achieved triumph
Game and torment -
Bowstring taut
Tight bow. »

There is also a characteristic meter of Russian poetry - free iambic, where long lines irregularly alternate with short ones. This is the size of Russian fables:
“A crow climbed up a spruce tree,
I’m just about ready to have breakfast” (Krylov)

HOREUS- a foot consisting of two syllables, with the first stressed syllable, such as “storm”. Compared to iambic, trochee is poorer in terms of hypostasis (hypostasis is the replacement of one foot with another), and its rhythms are therefore not as rich as iambic ones (Valery Bryusov “The Science of Verse”). Due to some limited nature of the hypostasis, small cesuras (interword breaks) acquire a very significant significance for the rhythmization of trochee.

As hypostases in trochee are observed: 1) pyrrhic, 2) spondee and 3) iambic (“Science of Verse” by Bryusov). An example of the hypostasis of pyrrhichium, undoubtedly the most widespread, is the following Tyutchevsky verse:

“Hazy and stormy evening” (hypostasis of pyrrhic in the foot - “and not”).

Very interesting are the replacements of trochee with spondee and iambic, which usually serve to highlight the thematic side of the hypostasized foot. This is especially striking when replacing the trochee with an iambic, which represents the foot as the reverse trochee, which is why this hypostasis is rare. See the example given by Bryusov: “Proletarians of all countries, unite” (Minsky) (the word “all” is highlighted in iambic hypostasis).

We find an example of the spondaic hypostasis of the trochee in the following

Tyutchev’s verse: “He shook my whole soul.”

Thanks to hypostasis, the thematically important word “all” is highlighted here.

Two-foot trochee: /_ /_

Quiet night
light in the window.
I can not sleep -
the snow sparkles...
- Sleep with me, -
the cat whispers...

Trochee trimeter: /_/_/_

The heart beats wildly,
the snow is swirling.
The winds don't let in -
fears make me sweat.

Trochee tetrameter: /_/_/_/_

Horses gallop into the distance!
Wild gaits rush.
Their mantle is right-sided
Instantly melted into the gloomy morning.

Trochee pentameter: /_/_/_/_/_

Where did you sleep today South Wind?
Where are your wings, caressing the grass?
The wind didn't answer me -
He just stroked his hair slyly...

Hexameter trochee: /_/_/_/_/_/_

Carefully sorting out the words in a whisper,
Like playing with murmuring streams,
As before, in six-foot meter,
Light-winged poets compose...

Heptopean trochee: /_/_/_/_/_/_/_

There is no peace of conscience in its ringing Truth...
Time cannot heal the scars of a sinful life...
Manuscripts do not burn - we cannot wash away bloody deeds -
Everyone needs a Savior from Worlds not here...

When the foundations of syllabic-tonic metrics were just being formed in the 18th century, a discussion arose between Trediakovsky and Lomonosov about which meters were possible in Russian versification, and which ones were most acceptable. Trediakovsky believed that Russian poetry, first of all, should be written in trochee, and that this meter is best suited for the Russian language. Lomonosov did not object to the trochee as such, but defended the merits of the iambic. Trediakovsky considered iambic inapplicable in Russian poetry.

Enough time has passed since then to safely speak about the applicability of both meters. But here’s a detail: iambic is used much more often than trochee. He wrote the majority of Russian poems in the 19th century, and even now - this meter is in the lead. It is clear that Trediakovsky was wrong. But to what extent? If we delve deeper into this issue, we are faced with many unexpected things.

In fact, trochee, along with peon III and accent verse, has the oldest history in Russian poetry. Many epics were written in trochee. It is also found in ancient Russian spiritual poems. Moreover, folk poetry, after the formation of Russian book poetry, continued to give preference to trochee. What is a trochee?

This is a two-syllable, the main foot of which begins with a stressed syllable and ends with an unstressed one. This is a meter whose strong points fall on odd syllables, starting with the first. As in iambic, in addition to the actual trochaic feet, the verse can (and should have) other two-syllable feet - pyrrhic, spondee, iambic.

The sizes of the chorea are very varied. Here trochaic trimeter:
"Mountain peaks
They sleep in the darkness of the night,
Quiet Valleys
Full of fresh darkness" (Lermontov, free translation of Goethe)

Or like this:
“Bloomed in the wild
Turquoise in the field.
Don't look into your soul
Dear eyes" (Bunin)

Bunin's poem, from which this excerpt is taken, is called "Song". Trochee is very suitable for the song genre, and he wrote many Russian songs, including the well-known: “Oh, the viburnum is blooming / In the field by the stream.” By the way, it is also a trochaic trimeter.

Trochee tetrameter- size Russian ditty. How many of these ditties have been composed, only God knows, but we can’t count them. But, besides ditties, many textbook poems are written in this meter:
“The clouds are rushing, the clouds are curling,
Invisible moon
The flying snow illuminates,
The sky is cloudy, the night is cloudy" (Pushkin)

Tetrameter and pentameter trochee are widespread in Russian poetry, occurring most often in folk poetry, less often in literary and book poetry. These meters are difficult due to the fact that they were very often used in folk poetry and therefore gravitate very strongly towards its themes and rhythms. What is surprising here is the mastery of Pushkin’s trochee, who could equally well give his “book” variation, as in “The Possessed,” and his folk variation, as in “The Tale of Tsar Saltan,” without a single falsehood.

In hexameter trochee(as in iambic hexameter) a caesura in the middle of the verse is common:
“At Burmist Vlas’s // grandmother Nenila” (Nekrasov).

However, uncaesured hexameter trochee is also found in folk songs:
“Sweet vodka and some liqueur...”

Is there some more trochaic heptameter. It has become widespread during the Silver Age, and two of them are known varieties- with a caesura after the fourth foot, and without a caesura. An example of a non-caesur hetameter is found in Bryusov (“The Horse of Bled”):
“The street was like a storm. The crowds passed by
As if they were pursued by an inevitable fate,
Omnibuses, cabs and cars raced,
The furious stream of people was inexhaustible.”

Finally, again by analogy with iambic, there are unequal types of chorea, and free trochee. The latter was often used by Mayakovsky in his polymetric compositions:
“Come to your eyes, separation is slime,
Break my heart with sentimentality!
I would like to live and die in Paris,
If there were no such land - Moscow"
Or:
“Comrade “Theodor” turned around and entered
Nette."