A verse is a line in a poem. A stanza (from Greek letters, turn) - in versification - a group of verses united by some formal feature, periodically repeating from stanza to stanza. The length of the stanza is usually small - from 2 to 16 verses, rarely more. The simplest stanzas are quatrains and couplets, which can also form a more complex stanza (for example, 3 quatrains and a couplet, as in Onegin's stanza). Rhyming Rhymes are masculine (when the stress falls on the last syllable in a line) and feminine (when the last syllable in a line is unstressed). There are several types of arrangement of rhyming lines in a stanza. 1. Paired rhyming - in couplets, when rhyming lines go one after another. Scheme - AA. 2. Cross-rhyming - in a quatrain, when the 1st line rhymes with the 3rd, and the 2nd with the 4th. Scheme - ABAB. 3. Ring - in quatrains, when the 1st line rhymes with the 4th, and the 2nd with the 3rd. ABBA scheme. A foot is a recurring combination of a metrically strong point and a metrically weak point in poetic speech. In the syllabic-tonic system of versification, a weak point corresponds to an unstressed syllable, and a strong one corresponds to a stressed syllable. The foot is the metric basis of the verse, it is used to determine the poetic size. Two-syllable meters In two-syllable meters, the foot consists of two syllables - one stressed and one unstressed. The size in which the stress falls on the first syllable is called a chorea. Eg. : “Clouds are rushing, clouds are winding ...” - Pushkin. Or “I go out alone on the road ...” - Lermontov. Iambic is a two-syllable meter with stress on the second syllable. Eg. "I'll; loved, still love, perhaps ... ”- Pushkin. Or “On the hills of Georgia lies the darkness of the night ...” - Pushkin. Pyrrhicium is a conventional name for the omission of scheme stress in choreic and iambic meters. Eg. "Three girls under the window" Pushkin. (three-foot trochaic with pyrrhic in place of the first foot). Or “And I couldn’t think of a better one” - Pushkin. (iambic tetrameter with pyrrhic in place of the third foot). Spondey is the conventional name for a supersystemic stress in the foot of a chorea or iambic. For example: “Swede, Russian, stabs, cuts, cuts” - Lermontov. Three-syllable poetic meters Consist of one stressed and two unstressed syllables. Dactyl (from the Greek letters, finger) is a three-syllable poetic meter with an accent on the first syllable. Eg. “The village suffering is in full swing ...” - Nekrasov. (four-foot dactyl) Amphibrach (from Greek letters, short on both sides) - a three-syllable meter with an accent on the second syllable. For example: “I look like a madman at a black shawl ...” - Pushkin. (four-foot amphibrach). Anapaest (from Greek - reverse dactyl, literally - reflected back) - a three-syllable meter with an emphasis on the third syllable. Eg. : “What are you greedily looking at the road ...” - Nekrasov. (three-foot anapaest) Alliteration is the repetition of consonants, mainly at the beginning of words. It is a powerful artistic medium. Eg. : “It's time, the feather asks for peace ...” - Pushkin. Onomatopoeic alliteration: in Sumarokov’s fable, the frogs say: “Oh, how, how, we should not speak to you, to you, gods? at least 2 or 3 words must begin with the same sound. Assonance is the repetition of vowel sounds, mainly percussion, in a line of poetry. It is also a figurative tool, it forms the basis of the so-called “inaccurate rhymes”, in which the stressed vowel coincides and the consonant does not coincide: hand - wall - blow - wave, etc. It was widely used in medieval Romanesque poetry (“Song of Roland”) .
A verse is a line in a poem.
(from Greek letters, turn) - in versification - a group of verses united by some formal feature, periodically repeating from stanza to stanza. The length of the stanza is usually small - from 2 to 16 verses, rarely more. The simplest stanzas are quatrains and couplets, which can also form a more complex stanza (for example, 3 quatrains and a couplet, as in Onegin's stanza).
rhyme
Rhymes are masculine (when the stress falls on the last syllable in a line) and feminine (when the last syllable in a line is unstressed).
There are several types of arrangement of rhyming lines in a stanza.
1. Paired rhyming - in couplets, when rhyming lines go one after another. Scheme - AA.
2. Cross-rhyming - in a quatrain, when the 1st line rhymes with the 3rd, and the 2nd with the 4th. Scheme - ABAB.
3. Ring - in quatrains, when the 1st line rhymes with the 4th, and the 2nd with the 3rd. ABBA scheme.
- a recurring combination of a metrically strong point and a metrically weak point of poetic speech. In the syllabic-tonic system of versification, a weak point corresponds to an unstressed syllable, and a strong one corresponds to a stressed syllable. The foot is the metric basis of the verse, it is used to determine the poetic size.
Disyllabic sizes
In two-syllable meters, the foot consists of two syllables - one stressed and one unstressed. The size in which the stress falls on the first syllable is called a chorea. For example: "The clouds are rushing, the clouds are winding ..." - Pushkin. Or “I go out alone on the road ...” - Lermontov.
Iambic is a two-syllable meter with stress on the second syllable. Eg. "I'll; loved, still love, perhaps ... "- Pushkin.
Or “On the hills of Georgia lies the darkness of the night ...” - Pushkin.
Pyrrhicium is a conventional name for the omission of scheme stress in choreic and iambic meters. Eg. "Three girls under the window" Pushkin.
(three-foot trochaic with pyrrhic in place of the first foot).
Or “And I couldn’t have thought of it better” - Pushkin.
(iambic tetrameter with pyrrhic in place of the third foot).
Spondey is the conventional name for a supersystemic stress in the foot of a chorea or iambic. For example: “Swede, Russian, stabs, cuts, cuts” - Lermontov.
Trisyllabic meter
They consist of one stressed and two unstressed syllables.
Dactyl (from the Greek letters, finger) is a three-syllable meter with the accent on the first syllable. Eg. “The village suffering is in full swing ...” - Nekrasov.
(four-foot dactyl)
Amphibrachium (from the Greek letters, short on both sides) is a three-syllable meter with an accent on the second syllable. For example: “I look like a madman at a black shawl ...” - Pushkin.
(four-foot amphibrach).
Anapaest (from Greek - reverse dactyl, literally - reflected back) - a three-syllable meter with an accent on the third syllable. For example: “Why are you looking greedily at the road ...” - Nekrasov.
(three-foot anapaest)
Alliteration is the repetition of consonants, mostly at the beginning of words. It is a powerful artistic medium. For example: "It's time, the feather asks for rest ..." - Pushkin. Onomatopoeic alliteration: in Sumarokov's fable, the frogs say: “Oh, how, how, we should not speak to you, to you, gods? ..”
In Old Norse and Old Germanic poetry, the so-called "alliterative verse" became widespread, where at least 2 or 3 words in each line had to begin with one sound.
Assonance is the repetition of vowel sounds, mostly percussive, in a line of poetry. It is also a figurative tool, it forms the basis of the so-called “inaccurate rhymes”, in which the stressed vowel coincides and the consonant does not coincide: hand - wall - blow - wave, etc.
It was widely used in medieval Romanesque poetry ("The Song of Roland").
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Peculiarities
poetic speech. The rhythm of the verse is cyclic
repetition of different elements in
the same positions so that
equate the unequal and reveal
similarity in difference, or
repetition of the same in order to reveal the imaginary nature of this
similarity, distinguish between
similar.
Rhythm in verse is
meaningful element,
moreover, entering the rhythmic structure, the semantic
those acquire character
language elements that
it is not in common use.
Something else is also important: the verse structure
reveals not just new shades of meanings of words - it reveals
the dialectic of concepts, that inner
inconsistency in the phenomena of life and
language, for which
ordinary language has no special
funds. Of all the researchers involved in poetry,
perhaps it was Andrei Bely
first felt clearly
the dialectical nature of rhythm.
The artistic function of rhyme in
in many ways close to the function of rhythmic units. This
no wonder: complex relationship
repeatability and non-repeatability
belongs to her as well as
rhythmic structures. Basics
modern theory of rhyme were laid by V. M. Zhirmunsky,
which in 1923 in the book "Rhyme, her
history and theory, as opposed to
schools of phonetic study
verse, saw in rhyme not just
the coincidence of sounds, but the phenomenon of rhythm. V. M. Zhirmunsky wrote: "It should
to attribute to the concept of rhyme any
sound repeat, carrier
organizing function in
metric composition
poems". Zhirmunsky's formulation lay down in
basis for all subsequent
rhyme definitions. Necessary,
however, note that this
definition means the most
widespread and, undoubtedly, the most significant, but by no means
the only possible case
rhyme in verse. Russian history
rhyme indicates that the connection of her
with poetic speech is not
the only possibility. Old Russian poetry - psalms,
folk lyrics, epic - not only
did not know the rhyme, but also excluded it.
The poetry of that time was associated with
in a chant, but between a chant and a rhyme
there was, apparently, a relation of complementarity: rhyme
found only in spoken
genres and could not connect with
singing. The rhyme in this system was
a sign of prose
ornamental prose, which was structurally separated from both poetry and
from all kinds of non-artistic
speech: both from business and colloquial,
lower than art on the scale
cultural property
Middle Ages, and from the cult, sacral, state,
historical, standing above him.
This ornamental "funny" prose
included proverbs,
fairground jokes (under his
influence, as D.S. Likhachev showed, the style of "Daniel's Prayer" was created
sharpener"), on the one hand, and
"winding of words", on the other. Here, in
In particular, that closure appeared
fair and baroque cultures, about
which we have already happened to write. "Rhyme combined with poetry and
took over the organizing
metric function only with
the emergence of the spoken
declamatory poetry. However, one
she retained the essential side of prose - the focus on
content. Rhythmic repeat -
position repeat. At the same time, the phoneme
as a unit of a certain
language level is included in
differentiating group of traits. So the element
to be activated
belongs to the plan of expression.
Definition of poetry
sizes A. DOUBLE DIMENSIONS 1. CHOREI Let's remember the WIND, the wind, you are mighty
YOU are chasing flocks of clouds _/_ _/_ _/ _ _/ _/_ _/_ _/ _ _/ Oh-oh-oh! Seems like it's raining now
will go. Need to build a roof
(X - CHOREI) CHOREI - (Greek choreios, lit. dancing), trochey (Greek trochaios,
letters. running), poetic meter with
strong (shock) places on
odd syllables of the verse. To make it easier to remember the chorea rhythm,
we propose to put in
any rhythmic line
two-syllable word with an accent on
the first syllable, for example, water (After all
Clouds bring rain and water. We are with the guys from the school poetic
club "Green Lamp" came up with
little poems,
helping to restore and
remember
Tonic versification - (from the Greek tonos - stress), versification based on the commensurability of lines by the number of stresses, i.e., by the number of full-fledged words (the so-called ¦isotokism), while the number of unstressed syllables between stressed can be arbitrary. Along with syllabic versification, it is one of the simplest forms of verse organization of speech. Syllabic versification prevails in song and recitative verse, tonic - in spoken verse of different peoples.
Since tonic verse is more difficult to distinguish from prose than syllabic verse (a number of segments of text, uniformly consisting, for example, of 4 words, may be more likely to be random than a series of segments consisting of 8 syllables), it often uses consonances to highlight lines - alliteration and rhyme. A non-rhyming tonic verse strictly respects the rhythmicity of the lines, while a rhyming verse sometimes allows significant deviations from it. If the fluctuation in the number of unstressed syllables between stressed syllables is ordered, then forms arise that are intermediate between tonic and syllabo-tonic versification: a feeling of meter (i.e., poetic meter) appears. In Russian versification, several varieties of this transition are distinguished (for example, the so-called "dolnik", "tactician", "accent verse", etc.).
In Europe, the tonic is common in ancient Germanic (Scandinavian, English, German) poetry in the form of an alliterative verse.
Since the 17th century in Russia, the tonic has been supplanted by the syllabo-tonic and exists only in individual manifestations (for example, A. S. Pushkin “The Tale of the Priest and his Worker Balda”). In the 20th century, the tonic is gaining popularity again (dolnik, taktovik, accent verse are reborn), at present the tonic and syllabo-tonic coexist.
The mentioned song, recitative and spoken verse, together constitute the so-called "folk verse". At the same time, spoken verse exists mainly in proverbs, sayings, riddles, jokes and is characterized by the fact that, despite the rhyming, it has practically no internal organization (for example, “Doseleva Makar dug gardens, and now Makar got into governors”); recitative verse is typical for epics (the so-called "epic verse"), historical songs, ballads, spiritual poems, lamentations. Recitative verse is more often non-rhyming, with female (unstressed) line endings (for example, “How it was in the glorious city in Kyiv”); song verse is characteristic of lyrical songs, its organization is closely related to the melody, song verse can be both strict and with significant variations. For example, ditties, dance songs.
Syllabic versification- (from the Greek syllabe - syllable), versification based on the commensurability of lines by the number of syllables (the so-called "isosyllabism"). Poems can be 4-syllable, 5-syllable, 6-syllable, etc. In verses over 8-syllable, there is usually a caesura dividing the verse into shorter half-lines. It is typical for languages where vowels are contrasted according to the long / short principle, and not according to the stressed / unstressed principle.
In languages in which vowels are contrasted according to the stressed/unstressed principle, the end of a verse or half-line is often reinforced with an ordered arrangement of stresses to reinforce the rhythm (for example, A.D. Kantemir). Gradually spreading over the entire verse, it can lead to a transition to syllabic-tonic versification.
The most ancient versification of the eastern groups of the Indo-European languages was syllabic, on Russian soil it turned into tonic folk versification (see "folk verse"). Again it came to Russian versification in the 17th century from Polish and held on until the syllabo-tonic reform of V.K. Trediakovsky - M.V. Lomonosov (1735-1743).
Syllabo-tonic versification- (from the Greek syllabe - syllable and tonos - stress), a kind of tonic versification based on an ordered alternation of stressed and unstressed syllables in a verse.
The names of meters (dactyl, anapaest, etc.) in Russian versification are borrowed from ancient versification.
In European versification, the syllabic-tonic system is formed as a result of the interaction of the syllabic verse of the Romance languages with the decaying tonic alliterative verse of the Germanic languages. In the 15th century, syllabo-tonic versification was established in England (after J. Chaucer), and from the beginning of the 17th century - in Germany (the reform of M. Opitz).
In Russia in 1735-1743. V. K. Trediakovsky (“A new and brief way to compose Russian poetry”, 1735) and M. V. Lomonosov (“Letter on the rules of Russian poetry”, 1739) introduced the syllabic-tonic system of versification. At the same time, Lomonosov, largely relying on the work of Trediakovsky, as well as the experience of ancient and modern European literature, created a coherent system of Russian versification (in particular, by setting meters).
In the 19th century, under Russian and German influence, the syllabo-tonic system of versification spread to Polish, Czech, Serbo-Croatian, Ukrainian, and Bulgarian poetry.
In the 19th century, syllabo-tonic versification dominated, excluding only a few experiments with imitations of ancient and folk poetic meters (for example, hexameter in the translations of the Iliad and Odyssey by N. Gnedich, the verse of A. S. Pushkin’s “Songs of the Western Slavs” and etc.).
As a reaction to this domination, at the turn of the 19th-20th centuries, an opposite trend arose - to weaken and loosen the poetic organization (tonic).
Verse- A line in a poem.
Stanza(from the Greek strophe - letters, turn) - in versification - a group of verses united by some formal feature, periodically repeating from stanza to stanza. The length of the stanza is usually small - from 2 to 16 verses, rarely more. The simplest stanzas are quatrains and couplets, which can also form a more complex stanza (for example, 3 quatrains and a couplet, as in the Onegin stanza).
rhyme- consonant, phonetically similar ending of lines within the same stanza.
Rhymes are masculine (when the stress falls on the last syllable in a line) and feminine, when the last syllable in a line is unstressed).
How Prophetic Oleg is assembled now
Take revenge on the unreasonable Khazars,
Their villages and fields for a violent raid
He doomed swords and fires.
In lines 1 and 3, the stress falls on the last syllable, respectively, this is a masculine rhyme, in lines 2 and 4, the stress falls on the penultimate syllable, respectively, the rhyme in these lines is feminine.
There are several types of arrangement of rhyming lines in a stanza.
- Pair rhyming- in couplets, when rhyming lines go one after another. Scheme - AA.
Three maidens by the window
Were spinning late in the evening. - cross rhyming- in a quatrain, when line 1 rhymes with 3, and line 2 rhymes with 4. The scheme is ABAB.
I loved you, love still, perhaps
In my soul, it has not completely faded away,
But don't let her worry you anymore
I don't want to sadden you with anything. - Ring- in quatrains, when line 1 rhymes with 4, and line 2 with 3. ABBA scheme.
No, I'm not Byron, I'm different
Still unknown chosen one,
Like him, a wanderer persecuted by the world,
But only with a Russian soul.
Foot- a recurring combination of a metrically strong point and a metrically weak point of poetic speech. In the syllabic-tonic system of versification, a weak point corresponds to an unstressed syllable, and a strong one corresponds to a stressed syllable. The foot is the metric basis of the verse, it is used to determine the poetic size.
