Yamb is one of the sizes of the Russian syllabo-tonic versification. Its scientific definition is a meter in which strong places (ikts) fall on even syllables (see Versification).
Illustration by A. Benois for A. S. Pushkin's poem "The Bronze Horseman".
In practice, the iambic is easiest to define as follows: this is the size in which stress falls on even syllables, but not necessarily on all. "It's time, it's time, the horns are blowing!" (A. S. Pushkin), “Admiralty Needle” (A. S. Pushkin), “The Precursor of the Golden Day” (G. R. Derzhavin), “Under the Railway Bridge” (B. L. Pasternak) - these verses are different the number of stresses (4, 2, 3, 2), they fall on different syllables (2, 4, 6, 8; 4, 8; 2, 6, 8; 6, 8), but these syllables will always be even.
Depending on the “length” of the line, iambic differs in footness, i.e., in the maximum possible number of stresses in a verse - from 1-foot to 6-foot. Pure 1-foot iambic is uncommon due to the small volume of the verse, only experimental verses are known. 2-foot is not used often, but still occurs (“Play, Adele, / Do not know sadness; / Harita, Lel / You were crowned / And your cradle / Rocked yours” - A. S. Pushkin; there are samples of A. I. Polezhaev , N. M. Yazykov, E. A. Baratynsky, M. Yu. Lermontov and others). 3-foot iambic, which was in the XVIII century. the size of songs and anacreontic lyrics, after the appearance of the message of K. N. Batyushkov (1811–1812) became very popular for about 10 years, then its use began to decline.
The most common of all sizes of Russian verse is iambic 4-foot, which entered Russian poetry from M. V. Lomonosov's "Ode ... to the Capture of Khotin". In modern poetry, the 4-foot is used in all the richness of its variations, depending on the individual preferences of the poet.
In Russian poetry of the 20th century, almost half of all poetic works are written in iambic. An example of iambic 4-foot:
So, beat do not know rest, Let the vein of life be deep: The diamond burns from afar - Fraction my angry iambic, stones! (A. A. Blok. Retribution. Prologue).
The iambic 5-foot was in the 17th century. unused, but since the beginning of the XIX century. it is included in the metrical repertoire of Russian poetry, first caesured (see Caesura), then uncensored.
For an 18th century verse one of the main sizes was iambic 6-foot, which, following French poetry, in the form of Alexandrian verse (see Strophic) was used in tragedies, heroic poems, messages - in most high genres of poetry. A mandatory requirement for the classical iambic 6-foot is a caesura after the 6th syllable, dividing the verse into two equal parts, and diversity was added to the verses by alternating male and dactylic caesura.
I am not attached to brilliant pranks, as before, I could follow your rules; But do you order me to leave a peaceful style And, saturating the lines with caustic bile, Satire to rise up against stupidity and vices? (E. A. Baratynsky)
By the beginning of the XX century. The 6-foot recedes, and in modern poetry it is of little use.
Longer iambics (7-, 8-foot) are usually divided into parts by strong and regular caesuras, actually turning into a combination of 3- and 4-foot (7-foot), two 4-foot (8-foot), etc. d. Uncausal multi-foot iambics are experimental in nature and very rare.
A special case is a free iambic - a size in which verses of various feet are combined, and the alternation is irregular. Regular alternation does not pose a particular problem (for example, a combination of 4- and 2-foot iambs: “Shallow, chalk all over the earth / To all limits. / The candle burned on the table, / The candle burned.” - Pasternak), while in free iambs the alternation of lines of different "length" creates the effect of surprise, the reader seems to constantly stray from the usual regularity. This is especially sharply felt in fables and poetic comedies (starting with "Woe from Wit"), where the number of stops varies from 1 to 6:
Here, in splendor and in all glory, Phoebus radiant from the seas Has risen. It seemed that with him he brought life to everything, And at the meeting with him, the chorus of loud nightingales resounded in the dense forests. (I. A. Krylov)
It is important to note one more property of the iambic: the ability to include the so-called side, non-metric stresses:
Having stocked up on bread, the peasant eats good cabbage soup and drinks beer. (G. R. Derzhavin)
To begin with, let's take a short digression into the history of Russian poetry.
Reform of Russian versification
The process of forming the size of poems (one of which is iambic tetrameter) in Russian literature took a long time and was not uniform. At the beginning of the 18th century, rhyme was cumbersome, heavy and perceived very difficult. But after a few decades, poetry was subjected to a large-scale reformation, which is associated primarily with the names of Trediakovsky and Lomonosov. The latter generalized all the knowledge about versification, recognizing the equality of all sizes allocated by Trediakovsky, but he himself gave preference to iambic. Needless to say, he is not alone. Yamb is firmly established in the work of many great Russian poets such as Derzhavin, Zhukovsky, Pushkin and Lermontov.
The most common size was iambic tetrameter. A foot is a group of syllables in a poem that are united by a common rhythm, in other words, stress. The number four in the title indicates that the stress must be placed on every even (second in a row) syllable. From these simple studies, the iambic itself is formed. Let's look at illustrative examples.
How to identify iambic?
It is not so difficult to define iambic tetrameter, examples of it exist in very large numbers. If demonstrate given size in the form of random syllables and for greater clarity, highlight in capital letters those syllables that will be stressed, you get something like:
tada tada tada PUBOOM
You are MY beloved, LIGHT BEAM,
With you, the hosts of clouds are not TERRIBLE!
Those syllables that follow the stressed ones are called "clauses". And the stresses in each line are iktami. When reading aloud, some stresses can be skipped to make the line more melodic, flying, weightless. This technique is called "pyrrhic". But in order to understand the iambic tetrameter is in front of you, you need to rewrite one line of the poem and highlight all the stresses for yourself, and then calculate how many stressed syllables are in the work. It is important not to forget that the stress should fall on the even syllable!
What is an iambic?
Do not think that only iambic tetrameter exists. The number of stops depends only on the author of the poetic work. Therefore, you can even find its one-foot modification, for example:
If the lines are odd - in front of you is a two-foot iambic, if even - a three-foot one.
kaRA, kaRA
taRA, tiRA, vara
There are an infinite number of such examples. The variety of iambic depends only on the poet. But iambic tetrameter is by far the most popular of all. Increased attention arose due to the simplicity, weightlessness of this poetic rhythm. It is easy and pleasant to write, and even easier to read. Actively use iambic to this day. By learning to identify it once, you may be able to compose good poetry yourself. There would be a rhyme, but you can deal with the melody. We sincerely wish you good luck in any endeavors!
Yamb(other Greek, presumably from the name of a musical instrument):
1) in ancient metrics, simple foot, disyllabic, three-dimensional, short syllable + long syllable (U-); in syllabo-tonic versification (for example, Russian) - unstressed syllable + stressed syllable;
2) the same as a verse consisting of iambic meters.
Yamb - the most common meter of Russian poetry, extremely diverse and many-sided.
Very short (one-two-foot) iambic sizes are possible, as well as extra-long sizes.
N-r, dimeter iambic:
"Play, Adele,
Do not know sadness;
Charity, Lel
You've been married..."
A. Pushkin
But most often there are four main sizes, occupying middle part"spectrum" - from iambic three-foot to six-foot iambic.
iambic trimeter relatively short and enough simple by sound. Its fast pace is well suited to 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. »
There are few words in these short lines. The ultimate simplicity of speech, its conciseness, simplicity and clarity of rhymes.
iambic tetrameter- medium in length, unusually varied and rich. This is the beloved and famous iambic size.
An incredible number of poems were written in iambic tetrameter. This is Onegin, and Poltava, and the Bronze Horseman, and Mtsyri. Most incredible combinations gives this size– from the comic to the heroic and tragic; from the broadest epic to penetrating lyricism.
This is the richest rhythmically time signature. Bryusov, who in general was very fond of “believing harmony with algebra” in a good way, counted the number of possible rhythmic variations of iambic tetrameter. There were about 100,000 of them. How are they obtained? Due to the hypostasis, that is, the replacement of iambic feet with pyrrhic, spondei and chorea. Great importance they also have line endings - they can end with a stressed syllable (male), unstressed (female), two unstressed (dactylic), three or more unstressed (hyperdactylic). In the sum of all these combinations, the amazing figure of 100,000 is obtained ... It is clear that with such a richness of rhythm, iambic tetrameter is applicable for a poem or poem of any topic, for the implementation of any idea.
iambic tetrameter:
The twentieth century. Even more homeless
Even worse than life is the haze...
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 size was often used with a caesura (rhythmic pause) after the second foot:
“The path is growing, // knocking with a ringing hoof
O stones, horse, // waking up in a deaf forest ... "
(M. Kuzmin)
This caesura (denoted as //) was inherited from the French syllabic ten-syllable, on the basis of which the iambic pentameter of Russian poetry arose. In the twentieth century, this feature was almost lost.
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 six-foot- the last of the common iambic sizes. This is already a long meter, so it is usually used with a caesura dividing it into two half-lines, reducing to an iambic trimeter. This explains the lesser rhythmic diversity of this measure compared to the previous two. The caesura in iambic six-foot is also borrowed from French versification - namely, from the syllabic dodecyllabic. Caesuras in iambic six-foot can be masculine (ending in a stressed syllable):
“I drink the bitterness of tuberose, // the bitterness of autumn skies
And in them your betrayals // a burning stream.
I drink the bitterness of evenings, // nights and crowded gatherings,
Sobbing stanzas // I drink raw bitterness ”(Pasternak),
but can also be female:
"A secluded island, // barely visible in the sea,
I have steadily chosen, // - a golden shelter ... ”(Bryusov)
These were all equal sizes, where each line had the same number of stops. But in Russian poetry, variegated iambs are also widespread, in which long lines naturally alternate with short ones. Pasternak has excellent examples of combining iambic tetrameter with two-foot iambic:
"Achieved triumph
Game and flour -
Strung string
Hard bow. »
There is also a characteristic size of Russian poetry - a free iambic, where long lines irregularly alternate with short ones. This is the size of Russian fables:
“A crow climbed onto a spruce,
I’m quite ready to have breakfast ”(Krylov)
CHOREI- a foot consisting of two syllables, with the first stressed syllable, as, for example, "storm". Compared to iambic, the trochee is poorer in terms of hypostasis (hypostasis is the replacement of one foot with another), and therefore its rhythms are not as rich as iambic ones (Valery Bryusov "The Science of Verse"). In connection with a certain limitation of the hypostasis, small caesuras (interverbal breaks) become very significant for the rhythmization of the chorea.
As hypostases in the chorea are observed: 1) pyrrhic, 2) spondeus and 3) iambic ("The Science of Verse" by Bryusov). An example of the pyrrhic hypostasis, undoubtedly the most common, can be the following Tyutchev verse:
“The evening is hazy and rainy” (the hypostasis of pyrrhic in the foot - “and not”).
Of great interest are the replacements for chorea by spondee and iambic, which usually serve to bring forward the thematic aspect of the incarnated foot. This is especially striking when replacing chorea with iambic, which represents the foot as a reverse chorea, which is why this hypostasis is rare. See the example cited by Bryusov: “Proletarians of all countries, unite” (Minsky) (the word “all” is highlighted in iambic hypostasis).
We meet an example of the spondaic hypostasis of chorea in the following
Tyutchev's verse: "He shook my whole soul."
Thanks to the hypostasis, the thematically important word “all” is highlighted here.
Two-footed polecat: /_ /_
Silent night
light in the window.
I can not sleep -
snow sparkle...
- Sleep with me -
cat whispers...
Three-footed trochee: /_/_/_
The heart beats wildly
the snow is swirling.
Winds do not let -
fears are thrown into the sweat.
trochee: /_/_/_/_
Horses are galloping into the distance!
Rush wild gait.
Their insignia is right-handed
Instantly melted into a gloomy morning.
polecat pentameter: /_/_/_/_/_
Where did you sleep tonight South wind?
Wings where, yours, caressed the grass?
The wind did not answer me -
He just stroked his hair slyly ...
six-footed polecat: /_/_/_/_/_/_
Carefully sorting out the words, in a whisper,
As if playing with murmuring jets,
As before, with a six-foot meter,
Light-winged poets compose...
Seven-footed polecat: /_/_/_/_/_/_/_
There is no peace of conscience, in its ringing Truth...
Time cannot heal the scars of a sinful life...
Manuscripts do not burn - do not wash away the bloody deeds -
Everyone needs a Savior from worlds not of this world...
When the foundations of syllabo-tonic metrics were still being formed in the 18th century, a discussion arose between Trediakovsky and Lomonosov about what meters are possible in Russian versification, and which are the most acceptable. Trediakovsky believed that Russian poetry, first of all, should be written in trochee, that this meter is best suited for the Russian language. Lomonosov did not object to the chorea as such, but he defended the virtues of the iambic. Trediakovsky, on the other hand, considered the iambic to be inapplicable in Russian poetry.
Enough time has passed since then to boldly talk about the applicability of both meters. But here's the detail - iambic is much more often used than trochee. He wrote most of the 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 into this issue, we are in for a lot of unexpected things.
In fact, the trochee, along with paeon III and accent verse, has an ancient history in Russian poetry. Many epics were written in trochee. It is also found in ancient Russian spiritual verses. Moreover, folk poetry, after the formation of Russian book poetry, continued to give preference to the chorea. 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, the strong places of which fall on odd syllables, starting from the first. As in iambic, in addition to the choreic feet proper, the composition of the verse can (and should) contain other two-syllable feet - pyrrhic, spondei, iambic.
Chorea sizes are very variable. Here trimeter trochee:
"Mountain peaks
Sleeping in the darkness of night
quiet valleys
Full of fresh haze ”(Lermontov, free translation of Goethe)
Or like this:
"Blossomed at will
Turquoise field.
Don't look into your soul
Lovely eyes "(Bunin)
Bunin's poem, from which this passage is taken, is called "Song". Chorey is very suitable for the song genre, and he wrote many Russian songs, including the well-known one: “Oh, the viburnum is blooming / In the field by the stream.” By the way, also a three-foot trochee.
trochee- size Russian ditty. How many of these ditties have been composed, only God knows about that, but we cannot count. But, in addition to ditties, many textbook poems are written in this size:
"The clouds are rushing, the clouds are winding,
Invisible moon
Illuminates the flying snow,
The sky is cloudy, the night is muddy "(Pushkin)
The four-foot and five-foot trochee are widespread in Russian poetry, occurring most often in folk verses, less often - in literary verses, book. These meters are not simple because they were very often used in folk poetry and therefore gravitate very strongly to its themes and rhythms. Here, Pushkin’s mastery of the chorea is amazing, who could equally well give his “bookish”, both in “Demons”, and his folk, as in “The Tale of Tsar Saltan”, variation, without a single falsehood.
In a six-foot chorea(as in iambic six-foot) a caesura in the middle of the verse is common:
“At the steward Vlas // grandmother Nenila” (Nekrasov).
However, there is also an uncensored six-foot trochee - in folk songs:
"Sweet vodka, yes liqueur ..."
Is there some more seven-foot trochee. It has become widespread during the Silver Age, and two of them are known. varieties- with caesura after the fourth foot, and without caesura. An example of an uncausal seven-foot book is from Bryusov (“Bled the Horse”):
“The street was like a storm. The crowds passed
As if they were pursued by inevitable fate,
Omnibuses, cabs and cars raced,
There was an inexhaustible furious human flow.
Finally, again by analogy with iambic, there are unequal types of chorea, and freestyle trochee. The latter was often used by Mayakovsky in his polymetric compositions:
"Come to your eyes, separation slurry,
Break my heart with sentimentality!
I would like to live and die in Paris
If there was no such land - Moscow"
Or:
“Comrade Theodore turned around and entered
Nette.
The forms of poetic rhythm are varied. Russian versification is based on syllabic-tonic (syllable-stressed) system versification.
Syllabo-tonic versification is a way of organizing a poem in which stressed and unstressed syllables alternate in a certain order, unchanged for all lines of the poem. The rules of syllabo-tonic versification were developed by Vasily Kirillovich Trediakovsky (“A New and Brief Method for Composing Russian Poetry”, 1735) and (“Letter on the Rules of Russian Poetry”, 1739). By the middle of the 18th century, this way of organizing a poem became dominant in Russian poetry.
Under poetic size understand the rules for alternating unstressed and stressed syllables in a verse, in other words, the alternation of feet.
Foot - this is a sequence of one or more unstressed (weak) and one stressed (strong) syllable, alternating in a certain order. For classical sizes, the foot consists either of two syllables (trochaic and iambic - two-syllable poetic meters), or of three (dactyl, amphibrach and anapaest - three-syllable poetic meters). The foot is the smallest structural unit of a verse. The number of feet in one poetic line is taken into account when determining the poetic size. The number of stops corresponds to the number of rhythmic stresses in one line.
In Russian versification, they distinguish five verses : trochee, iambic, dactyl, amphibrach and anapaest.
Chorey, or trochee(from Greek horeios - dance) - two-syllable size, where rhythmic stresses fall on odd syllables. Chorea foot schematically looks like this: | – (the sign “|” denotes the stressed syllable, and the sign “–“ is the unstressed one).
A storm covers the sky with mist,
Whirlwinds of snow twisting…
(A.S. Pushkin)
| – | – | – | –
| – | – | – |
In this case, we have an example of a 4-foot chorea. (It should be borne in mind that rhythmic stresses do not always coincide with ordinary verbal stress, and sometimes there can be two rhythmic stresses in a word - in the example given, the word “snowy” has two rhythmic stresses. An “extra” rhythmic stress is called pyrrhic).
Yamb(from the name of the ancient Greek musical instrument) - two-syllable size, where rhythmic stresses fall oneven syllables.
The iambic foot schematically looks like this: – |
My uncle has the most honest rules.
When I seriously fell ill ...
(A.S. Pushkin)
– | – | – | – | –
– | – | – | – |
In this case, we have an example of iambic 4-foot.
One of the heroes of the novel by Ilf and Petrov "The Golden Calf" - Vasisualy Lokhankin - communicated with those around him exclusively in iambic pentameter:
I have come to live with you forever.
Fire, fire brought me here.
(I. Ilf, E. Petrov)
– | – | – | – | – | –
– | – | – | – | – |
This is an example of iambic 5-foot.
Comedy "Woe from Wit" written diversified iambic, because the text of the work uses a different number of stops in iambic lines:
Be silent!
Terrible age! Don't know what to start!
All managed beyond their years.
And more than daughters, but good-natured people themselves.
We were given these languages!
(A.S. Griboyedov)
– |
– | – | – | – | – |
– | – | – | – | –
– | – | – | – | – | – |
– | – | – | – |
That's an example iambic polypod. In each of the lines from one to six stops.
Dactyl(from the Greek daktilos - finger) - a three-syllable poetic size, where rhythmic stresses fall on 1st, 4th, 7th, etc. syllables.
The dactyl foot schematically looks like this: | – –
Glorious autumn! Healthy, vigorous
The air invigorates tired forces ...
(N.A. Nekrasov)
| – – | – – | – – | –
| – – | – – | – – |
That's an example 4-foot dactyl.
Amphibrachius(from the Greek amfibrahus - short on both sides) - a three-syllable poetic size, where rhythmic stresses fall on 2nd, 5th, 8th, etc. syllables.
The foot of amphibrach looks like this: – | -
To the father, all trembling, the little one clung.
Having embraced, the old man holds and warms him.
(V.A. Zhukovsky)
– | – – | – – | – – |
– | – – | – – | – – |
That's an example 4-foot amphibrach.
On the blue waves of the ocean
Only the stars will shine in the sky...
(M.Yu. Lermontov)
– | – – | – – | –
– | – – | – – |
That's an example 3-foot amphibrach.
Anapaest(from the Greek anapestos - reflected back, i.e. reverse to dactyl) - a three-syllable poetic size, where rhythmic stresses fall on 3rd, 6th, 9th, etc. syllables.
The foot of the anapaest looks like this: - - |
Name me a place like this
I didn't get that angle...
(N.A. Nekrasov)
– – | – – | – – | –
– – | – – | – – |
That's an example 3-foot anapaest.
Here they are - the whales of poetry .... :) Although many writers believe that they are far from being the main ones. Whatever it was - definitely very important for the poet!
RHYTHM - the sound structure of a particular poetic line; the general ordering of the sound structure of poetic speech. Meter is a special case of rhythm.
METER (Greek metron - measure, size) - an ordered alternation of stressed and unstressed syllables in a verse, general scheme sound rhythm. See also antique meters
SIZE - a way of sound organization of the verse; a special case of the meter. So, the iambic meter can include sizes from 1-foot to 12-foot (and 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 syllabo-tonic - by the meter and the number of feet. The length of the size is determined by the number of feet: two-foot, three-foot, four-foot, five-foot, etc. The shortest sizes are the most common. Examples:
Bipedal iambic
Play, / Adele,
Do not know sadness;
Charity, Lel
You were married...
(A.S. Pushkin)
iambic tetrameter
Oh pa / mint heart / dtsa! You / stronger /
Reason of sad memory
And often with its sweetness
You captivate me in a distant country.
(K.N. Batyushkov
Two-footed polecat
Aty-/baty,
The soldiers were walking
Aty-baty
To the market..
(folk)
trochee
Storm / mist / sky / covers,
Whirlwinds of snow twisting;
Like a beast, she will howl
He will cry like a child...
(A.S. Pushkin)
Bipedal amphibrach
Let the pines / and firs
All winter stick out
In the snow and blizzard
They sleep wrapped up.
(F.I. Tyutchev)
Trimeter amphibrach
In the midst of a noisy / ball / randomly,
In the turmoil of the world,
I saw you, but the mystery
Your features are covered.
(A.K. Tolstoy)
Three-foot anapaest
What are you staring / at the bottom / on the road / gu
Away / from fun / lyh girlfriends?
To know, the heart beat alarm -
Your whole face suddenly lit up.
(N.A. Nekrasov)
Four-foot dactyl
Morning that / semolina, / this morning / before,
Fields are sad, / covered with snow,
Reluctantly remember the time of the past,
Remember faces long forgotten.
(I.S. Turgenev)
One-foot iambic
Spring
goes.
She
sings,
murmurs,
Buzzing
circling,
Attracts.
Bipedal iambic
Spring is coming.
She sings,
Buzzing, buzzing,
Spinning, pulling.
iambic trimeter
Spring is coming. She
Sings, murmurs, buzzes,
Spinning, pulling. Spring...
iambic tetrameter
Spring is coming. She sings,
Murmurs, buzzes, circles, attracts.
iambic pentameter
Spring is coming. She sings, murmurs,
Buzzing, circling, attracting. Spring is coming.
An example of an extra long size (12-foot iambic):
Near the honey / casting / Nile / where / the lake / ro Me / rida, / in the kingdom / fiery / RA,
You loved me for a long time, like Osiris Isis, friend, queen and sister!
(V.Ya. Bryusov)
ICT (Latin ictus - impact) - a stressed syllable in a verse. The second name is arsis. The inter-ict interval (the second name is the thesis) is an unstressed syllable in a verse.
FOOT - unit of length of a verse; 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 trochaic (two-syllable).
Trisyllabic feet: dactyl, amphibrach, anapaest (trisyllabic).
Four-syllable feet: peon (four-syllables).
About ancient feet
YaMB - two-syllable poetic foot with stress on the second syllable. The most common stop of Russian verse.
Scheme "È -". Basic sizes: 4-foot (lyric, epic), 6-foot (poems and dramas of the 18th century), 5-foot (lyrics and dramas of the 19th-20th centuries), free multi-foot (fable of the 18th-19th centuries, comedy of the 19th V.).
My uncle of the most honest rules,
When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.
(A.S. Pushkin)
CHOREIUS (Greek choreios - dancing) or TROCHEI (Greek trochaios - running) - a two-syllable poetic foot with an emphasis on the first syllable. Scheme "- È".
Clouds roll, clouds roll
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
(A.S. Pushkin)
DACTYLE (Greek daktylos - finger) - a three-syllable poetic foot with an emphasis on the first syllable.
Scheme "- ÈÈ".
Saved in slavery
The heart of the people
Gold, gold
The heart of the people!
(N.A. Nekrasov)
AMPHIBRACHY (Greek amphibrachys - short on both sides) - a three-syllable poetic foot with an emphasis on the second syllable. Scheme "È - È".
Stands alone in the wild north
On the bare top of a pine
And dozing, swaying, and loose snow
She is dressed like a robe.
(M.Yu. Lermontov)
ANAPEST (Greek anapaistos - reflected, i.e. reverse to dactyl) - a three-syllable poetic foot with an emphasis on the last syllable. Scheme "ÈÈ -".
Is in the melodies of your innermost
Fatal news of death.
There is a curse of sacred covenants,
There is a desecration of happiness.
(A. Blok)
PEON - 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 syllable of the foot (È ÈÈ -). Peony is often a special case of iambic and trochaic.
Sleep half-dead wilted flowers
And who did not recognize the flowering of beauty,
Near the hackneyed paths raised by the creator,
Crumpled by the unseen heavy wheel
(K.D. Balmont)
Don't think too much about seconds.
There will come a time, you will understand, probably -
They whistle like bullets at the temple,
Moments, moments, moments.
(R. Rozhdestvensky)
PENTON (five-syllable) - a poetic size of five syllables with an emphasis on 3 syllables. Penton designed by A.V. Koltsov and is used only in folk songs. Rhyme is usually absent. Scheme "ÈÈ - ÈÈ"
Do not make noise, rye,
Ripe ear!
Don't sing, mower
About the wide steppe!
(A.V. Koltsov)
PIRRICHIUS - 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
Dropped in late at night...
(A.S. Pushkin)
TRIBRACHIUS - omission of stress in a three-syllable size on the first syllable ("Unique grace of days ...").
ANAKRUZA (Greek anakrusis - repulsion) is a metrically weak spot at the beginning of a verse before the first ikt (stressed syllable), usually of constant volume. Anacrusis is often overscheme stressed. Anakruza is also called unstressed syllables at the beginning of a verse.
The mermaid floated on the blue river,
Illuminated by the full moon;
And she tried to splash to the moon
Silvery foam waves.
(M.Yu. Lermontov)
SUPER-SCHEME ACCENT - emphasis on weak spot poetic meter (“The spirit of denial, the spirit of doubt” - M. Yu. Lermontov).
When I wait for her arrival at night,
Life seems to hang by a thread.
What honors, what youth, what freedom
In front of a nice guest with a pipe in her hand.
(A. Akhmatova)
SPONDEUS - an iambic or chorea foot with a superscheme accent. As a result, the foot can have two strokes in a row.
Swede, Russian - stabs, cuts, cuts.
Drum beat, clicks, rattle,
The thunder of cannons, the clatter, the neighing, the groan,
And death, and hell from all sides.
(A.S. Pushkin)
TRUNCATION - an incomplete foot at the end of a verse or half-line. Truncation is typically present in interleaving
in verses of rhymes from words with stress on different syllables from the end (for example, feminine and masculine rhymes).
Mountain peaks
Sleep in the darkness of the night;
quiet valleys
Full of fresh haze...ü
(M.Yu. Lermontov)
ALEXANDRIAN VERSE (from the old French poem about Alexander the Great) - French 12-complex or Russian 6-foot iambic with a caesura after the 6th syllable and paired rhyming; the main size of large genres in the literature of classicism.
An arrogant temporary worker, and vile and treacherous,
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) - the meter of ancient epic poetry: six-foot dactyl,
in which the first four feet can be replaced by spondei (in syllabic-tonic imitations - by chorea). Hexameter - the most popular and prestigious ancient size, the invention of which was attributed to Apollo himself - the god who patronizes poetry. Among the Hellenes, this size was associated with the noise of a wave running ashore. 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 with hexameter. Up to 32 rhythmic variations of the hexameter are possible. Scheme examples:
-ÈÈ-ÈÈ-//ÈÈ-ÈÈ-ÈÈ-È ; -ÈÈ-ÈÈ-È//È-ÈÈ-ÈÈ-È ("È" - unstressed part, "-" - stressed part, "//" - inflection)
Hexameter was introduced into Russian poetry by V.K. Trediakovsky, and fixed N. I. Gnedich (translation of the Iliad), V. A. Zhukovsky (translation of the Odyssey), A. Delvig.
Anger, goddess, sing to Achilles, the son of Peleus,
Terrible, who did thousands of disasters to the Achaeans:
Many mighty souls of glorious heroes cast down
In gloomy Hades and spread them themselves for the benefit of carnivorous
To the surrounding birds and dogs (Zeus's will was performed), -
From that day on, as those who raised a dispute, flared up with enmity
The shepherd of the peoples Atrids and the noble hero Achilles.
(Homer "Iliad". Per. N. Gnedich)
PENTAMETER - an auxiliary meter of ancient versification; component elegiac distich, in which the first verse is a hexameter, the second is a pentameter. In fact, the pentameter is a hexameter with truncations in the middle and at the end of the verse.
Scheme: -ÈÈ-ÈÈ-//-ÈÈ-ÈÈ-. In its pure form, the pentameter was not used.
LOGAED (Greek logaoidikos - prosaic-poetic) - a poetic meter formed by a combination of unequal stops (for example, anapaests and choreas), 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. Often, logaedic meters were named after their creators and propagandists: alcaeus verse, sapphic verse, phelecius, adonius, etc.
We will live and love, my friend,
Grumble of the old men fierce
We will put in broken pennies with you ...
(Gaius Catullus)
Many Russian poets also wrote in Logaeds. As an example, a logaed with alternating 3-foot dactyl and 2-foot iambic.
Lips can / and approach / press
To your / lips,
The mysteries are happening again
And the world is like a temple.
(V.Ya. Bryusov)
BRAHIKOLON - a genre of experimental poetry; monosyllabic size (one-syllable), in which all syllables are stressed.
Bay
those,
whose
laughter,
vey,
ray
this
snow!
(N.N. Aseev)
Dol
Sed
walked
Grandfather.
Track
led -
brel
Following.
All of a sudden
Onion
Skyward:
Fuck!
Lynx
To dust.
(I.L. Selvinsky)
