Versification. The meaning of the word anapaest in the dictionary of literary terms Poetic size "Spondey"
ANAPHORA - repetition of the same words, consonances or groups of words at the beginning of several poetic lines, prose phrases, monophony.
Example stylistic anaphora:
We are free birds; it's time, brother, it's time!
There, where the mountain turns white behind the cloud,
There, where the sea edges turn blue,
There, where we walk only the wind ... yes, I!
(A.S. Pushkin. "Prisoner")
Example phonetic anaphora:
"Punch and midnight. Punch - and Pushkin,
Punch and meerschaum pipe
Puffy. Punch and babble
Ballroom shoes on husky
Floorboards…”
(M. Tsvetaeva. "Psyche", the use of anaphora and sound writing).
ASSONANIC RHYME- incomplete or inaccurate rhyme in which stressed vowel sounds or stressed syllables coincide, the ends of rhyming words are either dissonant or approximately consonant.
In Mayakovsky, the beginning of the poem "Vladimir Ilyich Lenin": the story is longing, more - pain, whirlwind - the living, a puddle - a weapon.
For some other poets: enormity - I will come to my senses (B. Pasternak), sunset - a musician, "Shipra" - very much, bowels - an enemy, a raincoat - a shoulder, measure - bold, according to the platform - a cigarette (B. Akhmadulina) excess - beaten, generous - carduelis (R. Kazakova), etc.
Widely applies A.R. E. Yevtushenko. Here are examples from some of his poems:
Son - strong, untidy - unprofitable, crunching - Christ, the battle - the Beatles, the crossroads - debauchery, Prague - the truth (Tanks go through Prague / in the sunset blood of the dawn / Tanks go in truth / which is not a newspaper), trampled - in Prague, motives - Manilov, crypts - paper clips, sobs - crushed, nicknamed - a request, wheezing - imported, by zones - shameful, fed up - expected, writing - stuffing, galaxy - gallantly, courage - pettiness, wrongly - pleasant, cinemas - short, ideological - and the girls, through the forest - belts, blue - carry me, spread - melted, say - well done, scatter - royal, east - delight, littered - cargo, twitter - cracks, awkward - New York, London - on a broken line, hoarse - strew - cider - sieve, etc. ad infinitum.
AMPHIBRACHY - three-syllable size, where the stresses fall mainly on 2,5,8,11, etc. syllables. The most common form is tetrameter amphibrachs. Example:
Heroes, wanderers of the seas, albatrosses,
Table guests of thunderous feasts,
Eagle tribe, sailors, sailors,
You song of fire ruby words.
(V. Kirillov).
Once upon a time in the cold winter time
I came out of the forest; there was severe frost.
I look, it rises slowly uphill
Horse carrying firewood.
(N. Nekrasov).
As well as trimeter:
Noisy midnight blizzard
In the forest and deaf side ...
(A. Fet).
Under the roar of midnight shells,
In the midnight air raid
In the iron nights of Leningrad
Kirov is walking through the city.
(N. Tikhonov).
pentameter amphibrachs:
A bashful snowdrop over the prelude of spring thawed patches,
Swollen buds ready to splatter with leaves.
There is a battalion along the smoking black ruins,
The blue Zadneprovsky expanse of the wind is ringing.
(A. Surkov).
Sometimes poets break the four-foot amphibrach into two half-lines on the basis of internal rhyme or constant caesura word division:
dense nettle
Noisy under the window.
green willow
She hung like a tent.
(A. Fet).
We were walking
We raced in battles
And "Apple" - a song
They held it in their teeth.
(M. Svetlov).
ANAPAEST- three-syllable size, where the stress falls mainly on 3, 6, 9, 12, etc. syllables. The most popular form is the three-foot anapaest. Much less common is the four-foot, and occasionally the two-foot. And, as an exception, the pentameter.
Examples:
tripartite anapaest:
I won't tell you anything
I won't disturb you at all
And what I silently say
I dare not hint at anything.
(A. Fet).
I was killed near Rzhev
In the nameless swamp
In the fifth company, on the left,
During a hard flight.
(A. Tvardovsky).
four-foot anapaest:
Nightingales, nightingales, don't disturb the soldiers...
(A. Fatyanov).
People have something in the house - cleanliness, beauty,
And in our house - cramped, stuffy ...
(N. Nekrasov).
pentameter anapaest:
Shaggy pine branches frayed from the storm,
The autumn night burst into icy tears ...
(A. Fet).
How good is river water,
If you drink it at noon in large sips from a helmet.
Fatigue flies away. Warm living soul
As recently warm from the girl's caress.
(A. Surkov).
BLANK VERSE- more precisely - without rhyme, the most common in Russian folk poetry. In Trediakovsky, seeing the basis of the verse not in rhyme, but in rhythm, meter, foot size, he dismissively called rhyme "a child's nozzle." He was the first to write hexameters in blank verse, without rhyme.
White verse is the most accepted in dramatic works, usually iambic pentameter.
Example tetrameter iambic:
Lampada in a Jewish hut
In one corner it burns pale,
An old man in front of the lamp
Reads the bible. gray-haired
Hair falling 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 is clear, like a simple gamma.
I was born with a love for art...
(A. Pushkin)
Example tetrameter chorea:
It is difficult for the bird-catcher:
Learn bird habits
Remember flight times
Whistle with different whistles
(E. Bagritsky)
Example tetrameter amphibrach:
Silent sea, azure sea,
I stand enchanted over your abyss.
You are alive; you breathe; confused love,
You are filled with anxiety.
(V. Zhukovsky)
V. Lugovskoy wrote a book of poems "The Middle of the Century" in blank verse (iambic pentameter).
DACTIL - three-syllable size, where stress falls mainly on 1, 4, 7, 10, etc. syllables.
In the 18th century, it is found in 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 two-footed foot was the most productive:
Golden bee!
What are you buzzing about?
(G, Derzhavin. Bee).
Then it was supplanted by the tetrameter, and also by the form of a mixed tetrameter and trimeter dactyl:
Mirror to mirror, with a quivering babble,
I pointed by candlelight;
Two rows of light - and a mysterious thrill
The mirrors are amazing.
(A. Fet).
DISSONANCE- one of the types of inexact rhyme, in which only post-stress sounds coincide, while stressed vowels do not coincide.
They are also known in ancient Russian poetry, for example, in the Tale of Igor's Campaign:
Saddle, brother, your brothers komoni,
And prepare mine saddle…
In folk poetry:
You succeed, succeed, my linen.
you succeed, my white,
fell in love with a friend cute.
Krut bourgeois brutalized temper.
torn apart by thiers, 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 under a hail of fanfare
Now in purple, then in porcelain.
(S. Kirsanov)
DOLNIK- a type of Russian and German versification, which is a kind of intermediate form between syllabic-tonic (mainly three-syllable) verse and purely tonic. Its lines, coinciding in the number of stresses, relatively freely arrange unstressed syllables. Combinations of drums and without stressed syllables Therefore, they no longer form "feet", but "shares", where the number of unstressed ones varies from one to three or four:
I don't know what it means
That I am embarrassed by grief,
For a long time does not give peace
I'm a fairy tale of the old days.
(G. Heine. Lorelei)
A verse of this type has been widespread in Russian poetry since the beginning of the 20th century by Blok and other poets.
It is also called "pauznik", and one of its species was called "tactician".
INVERSION- from the Latin "permutation", a stylistic figure consisting in a violation of the generally accepted grammatical sequence of speech; the rearrangement of the parts of the phrase gives it a peculiar expressive shade: "He flew past the doorman like an arrow along the marble steps."
METAPHOR - kind of trail, a figurative meaning of a word based on likening one object or phenomenon to another by similarity or contrast. The likening of a living being is called personification("streams ran from the mountains" - N. Nekrasov), the subject - reification("Nails would be made of these people: there would be no stronger nails in the world") - N. Tikhonov). There is also a metaphor abstract(the root of evil, the finger of fate, a sharp mind, etc.).
In everyday speech, the metaphor occurs quite often: “life has passed”, “the sun has risen”, “it is raining”, etc. But here it does not have an independent meaning. Moreover, the frequency of use, as it were, erases the feeling of allegoricalness. Does not imply the presence of M. business and scientific speech.
METONYMY- a type of trail in which a phenomenon or object is indicated using other words and concepts. At the same time, signs or connections that bring these phenomena together remain. So, when V. Mayakovsky speaks of "a steel speaker dozing in a holster", the reader can easily guess in this image the metonymic image of a revolver. Or Pushkin: “All flags will visit us” instead of “Ships 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 what enhances the poetic expressiveness of speech.
There are several types of metonymy; the most common are the following:
1. Mentioning the name of the author instead of his works:
I read Apuleius willingly (instead of the book of Apuleius "The Golden Ass")
Didn't read Cicero.
(A. Pushkin)
2. Mention of a work or biographical details by which the given author is guessed:
You will soon find out at school
Like an Arkhangelsk peasant (i.e. Lomonosov)
By your own and God's will
He became smart and great.
(N. Nekrasov)
3. An indication of the signs of a person or object instead of mentioning the person or object itself:
Only heard - on the street somewhere
The accordion wanders alone.
(M. Isakovsky)
4. Transferring the properties or actions of an object to another object, with the help of which these properties or actions are detected:
The hiss of foamy glasses (instead of "foaming wine in glasses")
(A. Pushkin)
A. Blok has a rare example of complex metonymy:
The carriages were moving along the usual line,
They trembled and creaked;
were silent yellow and blue;
AT green wept and sang.
"Yellow and blue" - these are cars of 1 and 2 classes. And the "green" cars are 3rd class. In two lines, the poet conveyed the road mood of passengers - rich and poor.
Another example of the same kind:
The station was buzzing, and was at first
He is colorful in hearing and colorful in appearance:
There proud fur coats were silent,
And quilted 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 contrasting words that create a new concept or idea: “dry wine”, “honest thief”, “free slaves”, etc. The names of some works of literature are built on oxymorons - "Living Relics" by I. Turgenev, "The Living Corpse" by L. Tolstoy, "Optimistic Tragedy" by V. Vishnevsky.
Poetry examples:
Oh, how painfully happy I am with you!
(A. Pushkin)
But their ugly beauty
I soon comprehended the mystery
(M. Lermontov)
We love everything - and the heat of cold numbers ...
(A. Blok)
Mother! Your son is very sick!
(V. Mayakovsky)
OCTAVE- a stanza of eight lines with a solid rhyme scheme a b a b a b c(mandatory alternation of male and female endings). Triple rhymes give sonority and enhance expressiveness, and the final couplet, interrupting their series, is good for an aphorism or an ironic twist. The octave originated in Italian Renaissance poetry, was associated with a light narrative, 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. Maikov, "Portrait" by A. Tolstoy, octaves by V. Bryusov.
PERIPHRASE - 1) a descriptive turn of speech used to replace a word or group of words in order to avoid repetition, to give the narrative more expressiveness, to point out characteristics what has been replaced. For example, the place "athletics" - "queen of sports";
2) the use by the writer of the form of a well-known literary work, in which, however, a sharply opposite content is given, most often satirical, with parallel observance of the syntactic structure and the number of stanzas of the original, and sometimes with the preservation of individual lexical constructions. In this case, the paraphrase is an imitative form.
An example of a parody paraphrase:
Whisper, timid breath,
Nightingale's trill.
Silver and flutter
Sleepy stream.
Night light, night shadows, -
Shadows without end.
A series of magical changes
Sweet face.
In smoky clouds purple roses,
Reflection of January.
And kisses, and tears,
And dawn, dawn!..
D. Minaev:
Cold. Dirty villages.
Puddles and fog.
castle destruction,
The speech of the villagers.
There is no bow from the courtyards,
sideways hats,
And worker Semyon
Cunning and laziness.
Other people's geese in the fields
The insolence of the caterpillars, -
Shame, the death of Russia,
And debauchery, debauchery.
An example of a paraphrase in Mayakovsky. At the end of his poem "To Sergei Yesenin", a couplet from Yesenin's dying poem is paraphrased:
Yesenin:
In this life, dying is not new,
But to live, of course, is not newer.
Mayakovsky:
It's not hard to die in this life
Make life much more difficult.
Pyrrhic - in ancient verse - a foot of two short syllables. In syllabo-tonic versification, a combination of two consecutive unstressed syllables among the feet of iambic or chorea began to be called pyrrhic.
For example, in iambic:
Rich / and famous / vein Co./ Chubey,
His/meadows/ neo/ look / we.
(A. Pushkin)
Or in chorea:
On the in/ airy / oke/but not
Without RU la and without ve tril.
(M. Lermontov)
SIZE POETRY- a way of organizing the sound composition of a separate poetic work or its passage (in the case of polymetry). In syllabic versification, it is determined by the number of syllables; in the tonic number of stresses; in metric and syllabo-tonic meter and the number of feet, and here the concepts are usually distinguished meter(e.g. " iambic "), poetic size(e.g. "4-foot iambic") and a variety of poetic size (for example, "4-foot iambic with solid masculine endings").
Rhyme - repetition of sounds linking the endings of two or more lines. The rhyme marks the clauses (verse endings) with a sound repetition, emphasizing the pause between the lines, and thus the rhythm of the verse.
Rhyme plays an important 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 stresses in rhyming words, rhymes are:
-men's- with stress on the last syllable;
-female- 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.
According to their location in the lines, rhymes are divided into paired, or adjacent, linking adjacent rows; cross in which the first and third, second and fourth lines are consonant; embracing, 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 repeated sounds are the same (gor-spore, he is a dream), and imprecise with mismatched sounds (story - longing, crucified - passport).
Varieties of inexact rhyme are assonance(beautiful - inextinguishable), uneven rhyme(touched - to the front), truncated rhymes (barracks - eyes). When the stressed vowels do not match, but with the same consonants, dissonance, or consonance(balls - machine gunners).
Distinguish between simple and composite, including two or three words in consonance (a hundred grow - old age, Bolsheviks - more than centuries).
SIMPLOCA- a figure of syntactic parallelism in adjacent verses, which: a) have the same beginning and end with a different middle and b) vice versa - different beginning and end with the same middle. Samples of the first type are more common in folk poetry.
Examples:
There was a birch tree in the field,
Curly stood in the field.
(Folk song)
We have a road for young people everywhere,
Old people everywhere we honor
(V. Lebedev-Kumach)
I hate all kinds of dead things!
I love all life!
(V. Mayakovsky)
SYMPHORA- the highest form of metaphorical expression, in which the link of comparison is omitted and features characteristic of the object are given, as a result of which the image of the 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 in terms of the similarity of distant features), in comparison this coincidence is partial, and sometimes accidental. In the symphora, as it were, metaphoricality is 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 from the roads is not picked up ...
(B. Pasternak. "After the rain")
One hundred blinding photographs
At night I took away the memory of thunder.
(B. Pasternak)
This rain charged for a long time.
All in pins gray Volga.
(L. Ozerov)
SYNECDOCHE - one of the tropes, a kind of metonymy, in which the whole is called or revealed through its part. This is the transfer of the meaning of one word to another based on the replacement of quantitative relations: part instead of the whole (“The lonely sail turns white” by M. Lermontov - instead of the boat - the sail), the singular instead of the plural (“And the slave blessed the fate” - “Eugene Onegin” A. Pushkin), “And it was heard before dawn how the Frenchman rejoiced” (“Borodino” by M. Lermontov), the whole is taken instead of the part:
He was buried in the globe of the earth,
And he was just a soldier.
(S, Orlov)
N. Gogol's story "The Nose" can be interpreted as a synecdoche realized in the plot.
STROPHA - a combination of verses, forming a unity, united by a common thought.
From Greek: whirl, turn. AT 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 part of the text, sung in chorus from one turn to another, was considered a stanza.
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 completion 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 arrangements are possible: abab(cross), abba(belted), aabb(adjacent).
Some forms of the stanza received special names: tertsy, octave, Onegin stanza, etc.
FOOT - a conventional unit by which the 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 Russian, a combination of stressed and unstressed (or more) syllables is considered to be a foot.
In a poetic line, two-syllable feet can be distinguished - trochee and iambic - and three-syllable - dactyl, amphibrach and anapaest.
The division of the verse into feet is conditional, since the boundaries of the foot, as a rule, do not coincide with the boundaries of the word:
Half a day is already close, the heat is burning ...
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 the word in a figurative (and not in the direct, main) sense. Along with the main word, it implies a number of secondary semantic shades that appear when it is combined with other words (dog tail, queue tail, comet 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 ratio of part and whole (synecdoche), similarity (metaphor), change of sign (hyperbole, litote ), or opposites (irony).
The same image can have different interpretations. For example, the image "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 sea of life - a sail).
chiasm- cross-arrangement of parallel members in two adjacent sentences (or phrases) of the same syntactic form. Examples:
Can't I be more unhappy
And there is nothing more guilty than him.
(M. Lermontov)
Reason contrary, contrary to 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 the dead are mourned.
(G. Nikolaeva)
CHOREI - two-syllable size, where the stresses fall on odd syllables - 1, 3, 7, etc., although there are very often omissions of stresses in the right place - pyrrhic .
Example tripartite chorea:
In the haze of invisibility
The spring month has sailed,
color garden breathes
Apple, cherry.
(A. Fet).
Example tetrameter chorea:
Through the wavy mists
The moon is creeping
To sad glades
She pours a sad light.
(A. Pushkin).
Examples pentameter chorea:
I go out alone on the road…
(M. Lermontov)
Finish flying minute
Youth is light and hot -
Power inflated, as inflated
Football camera.
(B. Kornilov).
Example six-foot chorea:
For a long time, Lyubushka's neighbor did not give up.
Finally she whispered: "There is a gazebo in the garden,
As it gets darker - do you understand? .. "
I waited, suffered, the nights were dark.
(N. Nekrasov).
Example seven-foot chorea:
The street was like a storm. The crowds passed
As if they were pursued by inevitable fate.
raced about minibuses, cabs and cars,
There was an inexhaustible furious human flow.
(V. Bryusov).
An example of an eight-foot chorea:
The guy was chosen by height among hundreds of lowbrows,
They locked me in the barracks for a year, the dreams were checked in the brain.
Exactly a year he missed and waited with different bastards side by side,
Wrote postcards home, and from there no gu-gu.
(P. Antokolsky).
CAESURA- an intra-verse pause that divides a poetic line into two half-lines - equal or unequal (less often - into three parts). A caesura can exist only in metrical verse, which has at least four feet; it is impossible in three-foot verse. In a six-foot 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 the intonation and gives the 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.
YaMB - disyllabic size, where the stress falls on even syllables - 2, 4, 6, 8, etc., although very often there are omissions of stresses in the proper place - pyrrhic.
In the 18th century, the free iambic, six-foot and five-foot were the most common. In the 19th century, iambic tetrameter was advanced. He wrote two-thirds of all Russian poems.
There are no one-foot and two-foot iambs, the illusion of one-foot or two-foot is created by a shortened rhyming system. For example, V. Bryusov mistakenly considered his amphibrachic lines to be one-foot iambs:
And the nights are shorter, and the shadows are brighter,
Chirping, babbling spring stream ...
This happened, probably, because if you write down these verses in separate lines according to the signs of rhymes, then you will visually get:
And the nights
Briefly speaking,
And the shadows
Longer.
Twitter,
babbles
Spring
Stream.
Example tripartite iambic:
I know the city will
I know the garden is blooming
When such people
In the country of the Soviet there is.
(V. Mayakovsky).
Example tetrameter iambic:
So beat, do not 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 exhausted and cumbersome spruce,
That she grew up without crying for anyone,
I was fed crumb and nipple,
Steamy blue milk.
(B. Kornilov).
Example six-foot iambic:
Poet! Do not value the love of the people:
Enthusiastic praises will pass minute noise;
Hear the judgment of a fool and the laughter of the cold crowd,
But you remain firm, calm and gloomy.
(A. Pushkin).
“In the Russian four-foot iambic, the 1st, 2nd and 3rd feet never fully bear all the stresses that they must carry according to the iambic scheme, where the stresses are located through the syllable in even places. The only exceptions are the initial period of iambic development in the 18th century and individual attempts by some authors (Bryusov, Tsvetaeva).
This is basically due to linguistic reasons: in Russian, the number of unstressed syllables is more than 2 times higher than the number of stressed ones, and in fully stressed iambic it makes up a ratio of 1:1 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 4-foot: The feet included in these forms are:
1.Sitting with the sick day and night ... ˘ ˉ ˘ ˉ ˘ ˉ ˘ ˉ
And finally saw the light ... ˘˘˘ ˉ ˘ ˉ ˘ ˉ
Honorary citizen backstage ...
˘ ˉ ˘˘˘ ˉ ˘ ˉ
A pledge worthy of you... ˇ ˉ ˘ ˉ ˘˘˘ ˉ
And finally screwed up... ˇˇˇ ˉ ˇˇˇ ˉ
Didn't want to try... ˇ ˉ ˇˇˇˇˇ ˉ
And behind the car...(unused) ˇˇˇˇˇ ˉ ˇ ˉ
2.But not semi-distinguishable...(unused) ˇˇˇˇˇˇˇ ˉ
».
L. Timofeev. "Word in verse".
Poetics- Literary theory. Its parts are poetic vocabulary and syntax.
Poetic vocabulary- considers the issue of choice individual words that are part of artistic speech. She studies the dictionary of the work and the use of this dictionary by the author.
Poetic Syntax - considers the way of combining individual words into sentences, while taking into account the expressive meaning of turns of speech. Poetic vocabulary and syntax make up the departments that study the problems of poetic style. Doctrine about the selection of words of different lexical coloring was developed by M. V. Lomonosov, who divided the 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 on this occasion as follows: “The following aspects should be taken into account when combining words into sentences:
1.
agreement and subordination of words one to another, as well as one sentence to another (subordination subordinate clause main);
2.
the order in which the words follow one after the other;
3.
the usual meaning of the syntactic construction;
4.
the design of sentences in pronunciation, or intonation;
the psychological significance of the design.
Lexical groups: barbarisms, prosaisms, dialectisms, jargonisms, 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 at large;
Cut in the latest fashion;
How Dandy London dressed;
And finally saw the light.
A.S. Pushkin
Depending on which language the barbarisms are taken from, they are divided into gallicisms(from French), polonisms(from Polish) germanisms(from German) and others.
Dialectisms are words borrowed from dialects of the same language. They differ from barbarisms in that they are taken from folk dialects, non-literary speech. There are dialects of individual social groups and regional dialects. They are used to give local flavor when describing the life and customs of the area. In the text of the poem, dialectisms must be substantiated 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 wildlife with human properties. For example, "living water".
Provincialisms - very close in meaning to dialectisms, they differ in that words and speech turns penetrate into the speech of citizens, but are not generally 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. Also, provincialisms are distinguished by a reprimand - okan or akan. They are borrowed from the dialects of various social groups, for example, the dialect of the townspeople, the dialect of the workers, the dialect of the peasants of a particular region. The author can use provincialism in his work when it is justified by the storyline.
jargon - a variety of dialectisms, this is the use of the vocabulary of professional groups, dialects that penetrate into ordinary speech from a different environment, for example, medical. The use of jargon should be very strongly justified by the plot structure of the poem. A kind of jargon vulgarism. This is the vocabulary of the thieves' environment, the use of rude common words, street slang. This should be avoided unless the plot requires the use of such vocabulary.
Archaisms - obsolete words out of use. They are used when they want to describe a particular environment, style, for example, there are words - Slavonicisms or Biblicalisms (those that were used in ancient times in the Slavic environment or are described in the Bible). Such words lower the style of the author 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 patterns and wander from work to work by different authors, which impoverishes their writings.
Neologisms - newly formed words that did not previously exist in the language. Using the richness of our language, we can create new words that are understandable in meaning to other people. 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, wavefighter - water cutter ".
Prosaisms - these are words related to prose 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 unnecessary prosaism)
AUTONYM (Greek autos - himself, genuine and onima - name) - the real name of the author writing under a pseudonym.
AKROST And X (Greek akrostichis - extreme verse) - edge lines, edge lines, edge lines, beginning lines, imestishe;
a verse, the first letters of all lines of which form a word or phrase, most often the name of the author himself or the one to whom the verses are dedicated. The acrostic was invented in antiquity (5th century BC) by the Sicilian poet Epicharmus from Syracuse, who thus fixed the authorship of his texts; acrostics were also written by the poets of Ancient Greece; in the poetry of the Middle Ages, acrostics were interspersed in sacred texts as encrypted signatures, incantations or secret messages, and in Byzantine hymnography, church hymns - canons were written in the form of an acrostic; the traditions of the genre were continued into the Renaissance. The first analogue of the Slavic acrostic was the so-called. An alphabetic prayer (authorship attributed to Konstantin Preslavsky), in form reminiscent of a modern free verse and in which each saying began with a new line and a letter of the alphabet (the so-called abetsedary). As poetic fun, acrostics have been popular in Russia since the 17th century - they wrote all sorts of epistles, friendly and love messages. Later, in Russian poetry, the acrostic 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 become the "album genre" of the Silver Age - poets write (often to each other) dedication acrostics; acrostics by Kuzmin, Gumilyov, Yesenin and others are known. Acrostics were also written by symbolist poets. In modern Russian poetry, acrostics are rare; no serious and significant works in this genre were created. Despite the fact that the acrostic has always been perceived as a kind of literary trickery and play, 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 at the Museum of Rhyme Acrostics by Contemporary Authors Acrostics Competition From Acrostics to Acro-Construction
BUT Ngel lay down at the edge of the sky,
H bowing, marveling at the abysses.
H The new world was dark and starless.
BUT d was silent. Not a groan was heard...
(N. Gumilyov)
R dressed from the flame, I rise to heaven;
O I return to the earth with water!
FROM the earth attracts me the planets of all the prince to the stars;
BUT without me, longing is deadly for flowers.
(Gavriil Derzhavin)
P looking for something inspiring
O God! went into a rage again -
E kstaz of creation imperishable
W somehow found me again.
And whatever is around,
I all in the power of marvelous 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 the lines of famous poems and composing a word or phrase from the initial letters of the lines, reverse acrostic - the encrypted word is read from bottom to top . See also acroconstructions
ACCENT VERSE - cm .
Drummer
ALEXANDRIAN VERSE (from the old French poem about Alexander the Great) - French 12-syllabic or Russian 6-foot iambic with a caesura after the 6th syllable and paired rhyming (two monosyllabic rhymes + two two-syllable ones); 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 the popularity of the Alexandrian verse in Russia falls on the second half of the 18th - the first half of the 19th century.
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)
ALCAIC- a stanza of ancient versification from 4 logaeds.
ALLEG O RIA(Greek allegoria - allegory) - a figurative image of an abstract thought, idea or concept through a similar image (lion - strength, power; justice - a woman with scales). Unlike a metaphor, in an 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 BUT CIA(lat. ad - to, with and littera - letter) - a stylistic device; the repetition of homogeneous consonants, giving the verse a special intonational expressiveness. Many puns are built on alliteration, as well as Russian proverbs, sayings, and especially tongue twisters. Alliteration and assonance are the main methods of sound writing in literature.
"Karl stole corals from Clara, Clara stole the clarinet from Karl" (repetition of consonants k, l, r).
Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
Storm is near. Beats on the shore
Alien to the charms of the black shuttle ...
(K. Balmont)
Already stung by a snake,
I can't get along with the snake.
I already became from horror -
The snake will eat for dinner.
ALL YU ZIA(lat. allusio - a joke, a hint) - a stylistic figure; a hint through a similar-sounding word or mention of a well-known real fact, historical event, a literary work (“Glory to Hero-stratus”, “Elephant and Pug”).
ALPHABETIC VERSE- a poem in which each verse or stanza (more often a couplet) begins with a new letter and is all arranged together in alphabetical order.
BUT anti-Semite Entente mil.
BUT ntanta bunch of thugs.
B Olsheviks are looking for bourgeois.
B urzhui rush for a thousand miles.
AT ilson is more important than other birds.
AT to open the pen in the buttocks ...
(V. Mayakovsky)
Russian alphabetic verse originates from the Alphabet Prayer (10th century), which was widespread in medieval Russia and in form resembled modern free verse. In such a verse, each saying (maxim) began on a new line and
letters of the alphabet.
BUT with this word I pray to God
B Ozhe vyseya creatures and the builder
AT go and invisible!
G Lord of the Spirit send the living
D but breathe a word into my heart
E but everything will be successful ...
ALTERN BUT NS(French alternance - alternation) - the term of classical versification. Alternance rule: alternate alternation of verses with a different number of stops, 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, sextin, etc.
And you're like so down youte,
Like a withered leaf falling from a tree et!
And you're like so dead youte,
How did your last slave die et!..
(G.R. Derzhavin)
AMPLIFIC BUT CIA(lat. amplificatio - extension) - stylistic device; injection of homogeneous elements of speech - definitions, synonyms, comparisons, epithets, metaphors, contrasts, etc. It is used in literature and oratory to give the 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 misunderstood or misunderstood. "As soon as the milkmaid left the podium, the chairman immediately climbed on her."
AMPHIBR BUT KHIY (Greek amphibrachys - short on both sides) - a three-syllable poetic foot with an emphasis on the second syllable. Scheme " -
».
Us e faith d and whom one hundred and t one about to
On g about loy versch and not pine a.
And etc e fly, swing a ya, and sleep e gom syp at chim
od e the one like r and zoi, he a.
(M.Yu. Lermontov)
ANAGR BUT MMA- a word or text obtained as a result of rearranging the letters of another word or text: stubble - poverty,
"Karpov is a master, Kasparov is a master" (S. Gaidarov), "Melancholy - am I not rude?" (D. Avaliani). In Russian poetry, anagrams can be found in episodic inclusions. There are very few completely poetic anagrams.
What is spring to us or is it given to us?
One dream: know sleep and pour wine!
(V. Bryusov)
ANAKOL At F- syntactic inconsistency of the members of the sentence, admitted by the author through negligence, or conceived as a stylistic (often comic) device. "I am ashamed as an honest officer" (A.S. Griboedov),
"Not a single ounce of conscience."
ANACRE O NTIKA (anacreontic poetry) - lyrical poetry, glorifying earthly joys and sensual pleasures. It is 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 BUT CRUZ(Greek anakrusis - repulsion, anticipation) - unstressed syllables at the beginning of a verse before the first stressed syllable (ikt). In correctly metrically composed verses, the anacrusis is usually of constant length.
Zee m a!... Peasant triumphant,
On the others about vnyah updates the path;
E G about horse smelling snow
Ple t yo trotting somehow...
(A. S. Pushkin)
Zero anacrusis (i.e., its absence) occurs when the verse begins immediately with a strong beat ("B at haze about y n e bo cr about em..." A.S. Pushkin).
Anacrusis can also be shock if it falls over-scheme stress ("Shv e
d, r at ssky k about years, r at bit, r e maybe..."
A.S. Pushkin).
In music, anacruz corresponds to the beat. The term "anacrusis" itself was introduced into scientific circulation at the end of the 19th century.
If anakruza are unstressed syllables before the first stress in a verse, then epicruse- the final part of the verse, starting with the last stress. See Epicruse for more details.
AN BUT PEST(Greek anapaistos - reflected, i.e. reverse to dactyl) - a three-syllable poetic foot with an emphasis on the last syllable. Scheme " -
».
Is in nap e wah your and x treasure e data
Rokov a i o g and whites in e st.
There are procl I tie head e comrade priest e these,
porug a midrange a stia e st.
(A. Blok)
AN BUT FORA(Greek anaphora - rendering) - a stylistic figure; repetition of initial sounds (sound anaphora), words (lexical anaphora), phrases (syntactic anaphora) at the beginning of adjacent verses within a stanza. Also: the repetition of any syntactic constructions in adjacent stanzas (strophic anaphora).
Sound anaphora is based on alliterations and (or) assonances.
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 dungeon for me
Give me the shine of the day
Chernog climb girl,
Chernog crooked horse.
(M.V. Lermontov)
Etc yut love, it is always full
Etc coolness gloomy and damp ...
(A.S. Pushkin)
Lexical anaphora occurs when the same words are repeated in adjacent verses.
The black raven in the snowy twilight,
The black velvet on swarthy shoulders...
A languid voice with gentle singing
It sings to me about southern nights.
(A. Blok)
Strength folk,
Strength mighty -
conscience is calm
The truth is alive!
(N.A. Nekrasov)
Syntactic anaphora - repetition syntactic constructions or phrases at the beginning of verses within the same stanza.
I knew love, not gloomy melancholy,
Not a hopeless delusion
I knew love lovely dream,
Charm, delight.
(A.S. Pushkin)
No one was more intimate to me
So no one tormented me,
Even the one who betrayed to the torment
Even the one who caressed and forgot.
(Anna Akhmatova)
Strophic anaphora is based on the repetition of words or syntactic constructions in adjacent stanzas.
Take a look at the stars: many stars
In the silence of the night
It burns, shines around the moon
In the blue sky
Take a look at the stars: between them
The sweetest one of all!
For what? Getting up earlier
Does it burn brighter?
(E. Baratynsky)
The Russian name for anaphora is monogamy. The opposite of anaphora is epiphora.
ANAC And CL(Greek ana - forward, against and cyclos - circle, cycle) - a poem written in such a way that it can be read equally 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 the reverse poem, the order of presentation, rhymes and rhyme are preserved. Anacyclic verses are extremely rare even for experimental poetry. Example...
ANNOTATION(lat. annotatio - remark) - a brief description of the content of the work.
ANTIT E PER(Greek antithesis - opposition) - a stylistic figure; comparison or opposition 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 blush, like a poppy color,
I am like death, and thin and pale.
(A.S. Pushkin)
ANTIFR BUT W(antiphrasis) - a stylistic figure; the use of the word in the opposite sense, often with irony or mockery (“hero”, “eagle”, “wise man” ...).
...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 romance!
And thoughts behind the lines do not have time.
Like a light, like a water tower,
He knows what the country and people need:
Today the price is water and sleeping pills,
And he delivers this water!
Second.
Nugget.
Thought giant.
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, owning the greatest gift,
From different books he cuts salads
And greedily considers his fees ...
(V. Nevsky)
ANTIQUE POSTER- see Metric versification.
Apoc O PA(Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.
Suddenly I hear a cry and a horse top...
We drove up to the porch.
I'll hurry up the door clap
And hid behind the stove.
(A.S. Pushkin)
APOL O G- a short allegorical fable depicting animals or plants and moralizing overtones. Akin to a fable, but smaller in size. In the form of an apologist, A.S. Pushkin in collaboration with A. Wolf.
One candle lit the hut only faintly;
We lit another one, - well? the hut became brighter.
The words of the ancient saying are true:
Mind is good, but two is better.
(A.S. Pushkin)
APOF E GMA- a short moralizing and witty saying ("Beauty will save the world", F. Dostoevsky).
Apothegmas are old collections of apothegms.
APOSTR O FA - stylistic device; the author's appeal to himself, to an absent person or to something inanimate.
Farewell Baku! I won't see you.
Now there is sorrow in the soul, now there is fear in the soul.
And the heart at hand is now more painful and closer,
And I feel stronger than a simple word: friend.
(S. Yesenin)
ARHYTHM And I- Violation of rhythmic regularity in verse.
ARIPM And I- irregular rhyme; a combination of rhymed verses with white ones within the framework of one poetic work.
ARHA And ZM(from the Greek archaios - ancient) - an obsolete word or phrase that has fallen into disuse. Archaisms (in Russian - Slavicisms) are used to stylize antique speech (piit, kamelek, from here, today, cutting, verb, face ...).
Evening Do you remember the blizzard was angry
There was darkness in the cloudy sky...
(A.S. Pushkin)
ASINDET O H - see Bessoyuzie.
ASSON BUT NS(French assonance - consonance or respond) - consonance of stressed vowels with a complete or partial mismatch of consonants (buckets about- light about, in e s - m e st, beauty and out - unquenched and my, sk a zka - p a lka, in about ron - p about soh…). Assonance was widely used in Russian folklore, and is still used both in poetry and in songwriting. Assonance, together with alliteration, are the main methods of sound writing in literature.
Praise hay in a stack at, and the master in the coffin y.
Human rumor a that sea waves a.
Your rays by heavenly power
All my life is illuminated a.
Will I die, are you over the grave
Burn, burn my stars a!
(folk words)
Assonance also denotes repetition in a line, stanza or phrase of homogeneous stressed vowels.
About spring a without end a and without cr a yu - no end a and without cr a you dream a! (A. Blok)
The use of words in poetry with only one vowel can be classified as experimental poetry, such as the poem "Trick with" YU»".
"
Drink Brut.
I spit on the hook.
Yun, Lut.
I love the south!
I fight, I'm angry.
Yulia, I'm twisting ...
Blizzard blues.
Am I sleeping? Dreaming?
B. Greenberg
ASTROF And ZM- a poem in which there is no symmetrical division into stanzas, which expands its intonational-syntactic sound. Astrophism is used in fables, nursery rhymes, narrative poetry, etc.
Good Doctor Aibolit!
He sits under a tree.
Come to him for treatment.
Both the cow and the wolf
And a bug and a spider
And a bear!
Heal everyone, heal
Good Doctor Aibolit! (K. Chukovsky)
APHORISM- a saying that expresses a generalized and complete thought in a concise 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, it’s sickening to serve”, 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 - I dance) - a lyrical or lyric-epic poem of a special form on a historical or legendary theme.
BALLAD STRANGE
- a stanza in which, as a rule, even verses consist of more stop than odd.
Smile my beauty
To my ballad
It has great wonders.
Very little stock.
With your happy eyes
I do not want fame;
Glory - we were taught - smoke;
Light is a wicked judge.
Here are my ballads:
« Best friend us in this life
Faith in providence.
The blessing of the maker of the law:
Here misfortune is a false dream;
Happiness is an awakening.
(V.A. Zhukovsky) - a genre of satirical poetry; a short allegorical moralizing poem or story using personifications and generalizations. Actors - people, animals, birds, fish, plants, objects, phenomena, etc. The fable was created as a disguised criticism of existing vices and customs, orders and certain influential people; it usually has morality in it. The fable genre is characterized by sarcasm, irony, an abundance of funny images, idioms and simplicity of presentation. Often fables are built on dialogues. The most famous fabulists :
Aesop (Ancient Greece), Phaedrus (Ancient Rome), J. La Fontaine (France), G. E. Lessing (Germany), T. Moore (England) I. A. Krylov (Russia). The first Russian fables were written starting from the 17th century by the first Russian poets: S. Polotsky, V. Trediakovsky, A. Kantemir, A. Sumarokov, I. Khemnitser, I. Dmitriev and some others. The peak of the Russian fable fell on the work of the most famous Russian poet-fabulist I. Krylov, after which the genre fell into decline for some time. Of the poets of the subsequent period, the masters of the fable were D. Bedny and S. Mikhalkov. Fables of modern authors
WOLF AND SHEPHERDS
The wolf, closely bypassing the shepherd's yard
And seeing through the fence
That, having chosen the best ram in the herd,
Quietly Shepherds gutting lamb,
And the dogs lie quietly,
He himself said to himself, walking away in annoyance:
"What noise would you all raise here, friends,
When would I do it!"
(I. Krylov)
Once a shepherd was carrying milk somewhere,
But so terribly far away
That didn't come back.
Reader! he didn't get you?
(Kozma Prutkov)
"Where is our father?" - asked stubbornly
Son-Worm from Mother-Worm.
"He's on a fishing trip!" Mom replied...
How close is the Half-Truth to the Truth!
(S. Mikhalkov) (arab.) - a couplet in the poetry of the peoples of the Near and Middle East. Gazels, qasidas, mesnewis, rubais and works of other genres of classical oriental poetry are composed of beits. Poems can be rhymed (like AA, BA, CA) and non-rhymed. Bayts contain a complete thought and are often used as independent works.
Do not complain that the light has gone out, do not cry that the sound has died down:
They did not disappear at all, but their reflection.
(Rumi) (French belles lettres - fiction) - mass literary production of light content, opposite to high art. - verse without rhymes. A variety of white verses are folk verses and their imitations, among which there are masterpieces that surprise with their unique melodiousness and melody:
I sit at the table and think:
How in the world to live alone?
The young man has no young wife,
The young man has no true friend.
(A. Koltsov)
In what year - count
In what land - guess
On the pillar path
Seven men got 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 ...". And here is an example of an endless fable:
... Sat on a branch
Some stupid parrot.
And taking off very rarely,
He laughed from the bird flocks:
"There will be a blue haze,
More beautiful clouds
That's when I fly
Above all, for sure!
And he decided to go down,
Save more power.
It just needs to happen:
He hit the snare.
And now in a beautiful cage
Everything says: ...
ASYNDETON(asyndeton) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.
Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least a quarter of a century -
Everything will be like this. There is no exit.
(A. Blok) (English best - best, sell - sold) - the most sold book, published in large numbers.
BIBLIOPHILY(Greek biblion - book and ... philia - love) - collecting rare editions, studying their features. A bibliophile is a book lover.
BRAHICOLON- genre of experimental poetry; monosyllabic size (one-syllable), in which all syllables are stressed.
Bay
those,
whose
laugh,
vey,
ray
this
snow!
(N.N. Aseev)
Dol
Sed
walked
Grandfather.
Track
led -
brel
Following.
Suddenly
Onion
Skyward:
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 the same as the pastoral. The name comes from the title of Virgil's cycle of poems.
BURIME(from the French. boutsrimes - "rhymed ends") - the composition of poems on predetermined rhymes, as a rule, of a comic nature. The burime form originated in France in the first half of the 17th century. The history of the emergence 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, Dullot admitted that he did not write the poems themselves, but only prepared rhymes. After that, his colleagues in the pen wrote sonnets to blank rhymes, and a new poetic game became fashionable in the 17th and 18th centuries. was quite a popular salon entertainment. It is also known that A. Dumas in the 19th century was the organizer of the competition for the best burime and published a book of the best poems.
In our time, 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 in a matter of minutes (or even seconds) demonstrate your command of the word. For this reason, the genre of burime is especially popular among artists of the conversational genre and entertainer. Here case in point from Yuri Gorny, who was offered 4 pairs of rhymes, and who instantly (!) gave out a wonderful impromptu. Archive of competitions for the best burim...
given rhymes:
air - rest
game - ax
illness - leisure
land - ruble
Hut can not be built without a friend - ax,
And sometimes other work is just relaxation,
Work is a joy to me: cheerful the game,
When in the face - good luck fresh air.
I rejected the disease, I am unfamiliar ailment.
I don't spend on drugs ruble.
Dear under my feet creeps Earth:
Nature is my medicine and leisure.
BURLESCA(French burlesque - playful) - a genre of parody poetry of a comic nature.
BYLINA- Russian folk epic song; the legend of the heroes, as a reflection of the moral ideals of the people.
Exist., number of synonyms: 4 antidactyl 1 meter 13 size 43 feet 38 Dictionary of synonyms of the Russian language
Mnemonic phrase
Not bro dil with a cyst him i'm in the tree mu than le su,
i a on the pestle with co bo yu but forces.
Example:
There is in the tunes of your innermost The fatal news of death. There is a curse of the sacred covenants, There is desecration of happiness.
Other trisyllabic sizes
Links
- // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
Wikimedia Foundation. 2010 .
Synonyms:See what "Anapest" is in other dictionaries:
In ancient versification, a three-syllable foot lasting four moras, consisting of two short and one long syllable at the end, with rhythmic stress on a long one: "UU" In syllabo-tonic versification, a foot consisting of two unstressed and ... ... Literary Encyclopedia
- (Greek anapaistos, from ana again, and paiein to beat). A three-syllable meter of verse, consisting of two short syllables and the last long syllable, for example: Do not grumble, | man, What is not long | log your age. Dictionary of foreign words included in the Russian language. ... ... Dictionary of foreign words of the Russian language
Anapaest- ANAPEST is a three-syllable foot in which the last syllable is stressed, as, for example, “man”. Anapaest is, therefore, a foot completely opposite in character to a dactyl (see this word), in which the shock is ... ... Dictionary of literary terms
anapaest- and outdated anapaest ... Dictionary of pronunciation and stress difficulties in modern Russian
- (from the Greek. anapaistos reversed dactyl letters. reflected back), poetic meter, formed by 3 complex feet, with a strong place on the 3rd syllable (I AND scheme); on the initial syllable of the line there is often a super-scheme stress (there, in the howling cold of the night, ... ... Big Encyclopedic Dictionary
ANAPEST, anapesta, husband. (Greek anapaistos) (lit.). A three-syllable poetic foot with an accent on the last syllable, for example: “Poor | sing a song to him. Nekrasov. Explanatory Dictionary of Ushakov. D.N. Ushakov. 1935 1940 ... Explanatory Dictionary of Ushakov
ANAPEST, a, husband. (specialist.). Three-syllable poetic foot with stress on the last syllable. | adj. anapestic, oh, oh. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov
ANAPEST - in ancient versification, a three-syllable foot lasting four moras, consisting of two short and one long syllable at the end, with rhythmic stress on the long one: "UU-" syllable; e.g.: "Golden foliage swirled."
Literary encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction.Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
Anapaest
(Greek anapaistos - reflected back), 1) type feet in syllabometric versification. It consists of three syllables: the last one is long, the rest are short.
2) Type of syllabotonic meters. In the feet of this meter there are three syllables, the last of which is stressed. Russian images of an anapaest - “Do not wake her at dawn ...” A. A. Feta and “Reflections at the front door” by N. A. Nekrasov.Don't wake her up at dawn
At dawn she sleeps so sweetly;
Morning breathes on her chest
Brightly puffs on the pits of the cheeks.
(A.A. Fet, “At the Dawn…”)
Literature and language. Modern illustrated encyclopedia. - M.: Rosman.Under the editorship of prof. Gorkina A.P. 2006 .
Anapaest
ANAPAEST- a three-syllable foot in which the last syllable is stressed, as, for example, “man”. An anapaest is thus a foot completely opposite in character to a dactyl (see this word), in which the first syllable is stressed. In connection with the position of the strike, which gives the anapaest tension and swiftness, the anapaest is an ascending foot (this is how the feet are generally called in which unstressed syllables precede stressed ones). Despite its sharp difference from the dactyl, anapaest, however, in very rare cases, can replace the latter, as, for example, in Lermontov's verse, noted by Valery Bryusov: "Surround happiness with happiness worthy." In the first foot of this Lermontov four-foot dactylic line, the dactyl is replaced by an anapaest ("encircle", that is, the stress is on the last syllable, and not on the first, for example, in the subsequent word "happiness").
I. Z. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel,1925
Poetic dimensions - headache not only entrants of the philological faculty studying theory of literature, but even some writers. The poetic arsenal of Russian poets includes five actively used sizes: trochee, iambic, dactyl, amphibrach, anapaest. There are others, such as Spondey. What it is? And how do some differ from others?
Poetic size- a way of sound organization of a verse, a rhythmic form of a poem.
If we define plain language, then poetic size is the alternation of unstressed and stressed syllables in a verse. The easiest way to learn how to determine the poetic size is to remember the rhythmic pattern of each size.
Foot- a unit of measure for meter.
The foot consists of several syllables, only one of which is stressed, the rest are unstressed. The number of stressed syllables in a verse corresponds to the number of feet (with the exception of such a size as spondey, in which two stressed syllables can be adjacent).
Two-syllable feet: trochee and iambic are two-syllable sizes or, as literary critics call them familiarly, two-syllables.
Trisyllabic feet: dactyl, amphibrach, anapaest - these are trisyllabic sizes or, for short, trisyllabic.
Learning to place stress and determine the size of the verse
To learn how to determine the size of any poem, you need to count the number of stressed and unstressed syllables and draw up a rhythmic pattern of the verse.
Everyone knows that in one word - one stress. But in a line of poetry in one word there can be several rhythmic stresses. For example, in the quatrain "Mch a tsya t at chi, w Yu tsya t at chi/ Nevid and my moon a/Lighting a no sn e g years at chi/M at tno n e bo, n about whose m at tna" stressed vowels are in bold. This is the so-called verbal stress, that is, the “native”, habitual stress of the word. But if you read this text like a rhyme, highlighting each syllable intonation, it turns out that there are several rhythmic stresses here:
"Mch a tsya t at chi, w Yu tsya t at chi" - here the word stress corresponds to its rhythmic stress.
"Invisible moons a" - but here it’s more interesting, because in the word “invisible and mkoyu" to the native verbal stress on the second "and" in the syllable "dim" is added rhythmic stress on "e" in the syllable "not" and the final "yu". In the word "moon" verbal and rhythmic stress are the same.
"O light a no sn e g years at whose” – here, too, one can observe the occurrence of rhythmic stress in an unexpected place: the first syllable “o” in the word “illuminates” when reading a line in the manner of a rhyme is acoustically highlighted.
"M at tno n e bo, n about whose m at tna" - in this line the verbal and rhythmic stress correspond to each other.
To draw up a rhythmic pattern (scheme) of a verse, you need:
1) place word stresses in each line, that is, native stresses in all words (with the exception of prepositions).
2) place rhythmic stresses, that is, highlight those vowels that stand out acoustically when read and also sound like percussion. When arranging rhythmic stress, prepositions are also taken into account.
3) make a diagram. The scheme of our quatrain "Clouds are rushing, clouds are winding ..." will look like this: _U|_U|_U|_ U, since the stressed syllable is indicated by an underscore _, and an unstressed syllable by a quote U. Separate the feet from each other with a straight vertical line |.
Non-literary method to determine the size of a poem
1) Number all the syllables in the line.
2) Highlight, that is, underline or indicate in any other way all detected stressed syllables: both with verbal stress and with rhythmic stress.
3) Write out the numbers of stressed syllables in a row.
4) You should get one of the schemes that will correspond to one of the poetic sizes:
- 1-3-5-7-9 - trochee
- 2-4-6-8-10 etc. - iambic
- 1-4-7-10 etc. - dactyl
- 2-5-8-11 - amphibrach
- 3-6-9-12 - anapaest
Table " Two-syllable meter»
That is, a poetic foot of this size will consist of two syllables
|
Titles |
||
|---|---|---|
|
Definition |
disyllabic meter with stress on the first syllable. That is, the first syllable is stressed, the second is unstressed (this is one foot). Further (2 stops begin) the pattern is repeated: the third syllable is stressed, the fourth is unstressed (this is the second foot). And again: the fifth (if any) is percussion, the sixth is unstressed (third foot), etc. |
disyllabic meter with stress on the second syllable. That is, in iambic, on the contrary, the first syllable is unstressed, and the second is stressed. Further (second foot) the third syllable is again unstressed, and the fourth is stressed, etc. |
|
Number of stressed syllables |
1-3-5-7-9 etc. |
2-4-6-8-10 etc. |
|
Rhythmic pattern |
‑ U |‑ U |‑ U |‑ U | |
U - | U - | U - | U - | |
|
A storm covers the sky with darkness, |
My uncle is the most fair rules, |
Table " Trisyllabic meter»
That is, a poetic foot of this size will consist of three syllables.
|
Titles |
Amphibrachius |
Anapaest |
|
|---|---|---|---|
|
Definition |
First syllable. |
Trisyllabic meter with accent on second syllable, the first and third syllables in the foot are unstressed. |
Trisyllabic meter with accent on last, third syllable, |
|
Number of stressed syllables |
1-4-7-10 etc. |
2-5-8-11 etc. |
3-6-9-12 etc. |
|
Rhythmic pattern |
‑ UU | ‑ UU | |
-U- | ‑ U ‑ | |
‑ UU | -UU| |
|
In r a bve saved yo noe |
Us e faith d and whom one hundred and t one about to |
Is in nap e wah your and x treasure e data |
Poetic size "Sponday"
Sponday - iambic foot or chorea with superscheme stress. As a rule, in such verses the rhythm is somewhat knocked down, the rhythmic pattern of the verse is disturbed. As a result, the foot can have two stresses in a row, that is, two stressed syllables can be next to each other.
Example:
Shv e d, r at ssky - stabs, cuts, cuts - here percussion "Shv e d" is adjacent to "r at ssky", the first syllable of which is also under stress.
Drum beat, clicks, rattle,
Gr about m p at shek, stomp, neigh, moan, -
And death, and hell from all sides.
(A.S. Pushkin)
A classic example is the beginning of "Eugene Onegin" by A. Pushkin:
"M about th d I from a my h e pr a fork…”
Here, in the first iambic foot, the first syllable also seems stressed, as in the chorea. That is, the shock "M" is adjacent about y" and "d I ya." This neighborhood of two stressed syllables is sponde.
If, when determining the size of a poem, that is, placing verbal and rhythmic stresses, you encounter a sponde, but the rest of the scheme says that the text is written in iambic (as, for example, in the case of "Eugene Onegin"), then iambic is the size of this fragment.
