Prose and poetic speech Prose and poetic speech are two forms of literary and artistic language. Prose speech is an intonationally free presentation of the material. Poetic speech is rhythmically organized, ordered, emotional. Poetic speech is divided into lines, homogeneous elements are repeated in them - pauses, stops, rhymes, stanzas.

Rhythm A line is a rhythmic and semantic unit of a poetic work. Rhythm in poetic speech is based on an ordered alternation of linguistic elements. Percussion can alternate and not stressed syllables, vowels and consonants, pauses, rhymes, lines, stanzas. The syllabic-tonic system of versification is based on the correct alternation of stressed and unstressed syllables within a verse. The verse is divided into separate repeating parts - feet. Combinations of stressed and unstressed syllables are evenly repeated in the foot.

The rhythm of a syllabo-tonic verse The rhythm of a syllabo-tonic verse can include various combinations within the feet, such as pyrrhic, spondei, anacrusis, clause, free verse. Pyrrhic - missed accent. Sponday - additional stress. Anakruza is an unstressed syllable at the beginning of a line, before the first stressed one ("so", "let"). A clause is the last stressed syllable and the unstressed ones following it, no matter how many there are. For example, "venya", "ka", "menya".

Accent verse (pure tonic) Accent verse (ac) (pure tonic verse), the rhythm of which is based on a more or less equal number of stresses in a line with a variable number of unstressed syllables between stressed ones. K A. s. gravitated some Russian. nar. epics and historical songs. Example a. from. Mayakovsky's many verses can serve: Be gilded in the sun, flowers and herbs! Spring, life of all elements! I want to drink poison alone and drink poetry. (V. Mayakovsky, "Flute-spine").

Diverse sizes 1. Regulated diversified size - has lines of different sizes, but of the same measure. 2. Free verse - rhymed verse with a significant and unsettled difference in feet. It is characterized by an unequal, changing number of stops in different lines without a certain alternation. As a rule, free verse is understood as free iambic: Someone was chosen as a god: _____________ 3 feet He had a head, he had arms, legs _____ 6 feet And a camp; ____________________________1 stop Only there was no half-hearted mind, ______5 stop Free verse should not be confused with either free verse (with which it has nothing in common, except for the similarity of the name), or with accent verse (in particular, by Vladimir Mayakovsky), showing certain signs tonic regulation.

Diverse sizes 3. Free verse (ver libre) is a type of versification, which is characterized by a consistent rejection of rhyme, syllabic meter, equality of lines in the number of stresses and syllables and regular stanza: She came from the frost, Flushed, Filled the room with the Aroma of air and perfume, In a sonorous voice And completely disrespectful to the lessons Chatter.

Rhyme Consonance individual words or parts of them in the same places in poetic lines is called a rhyme. Rhyme is a sound phenomenon, not a graphic one. Rhyme performs a number of functions in verse - rhythm-forming, phonic, mnemonic, compositional, semantic functions.

Classification of rhymes A) By place in a line, rhymes are most often terminal (at the end of lines), but they can be initial and internal. The completion of a poetic line is also called a clause, so the consonance of clauses is sometimes called rhyme. B) According to the place of stress - masculine (with emphasis on the last syllable), feminine (on the penultimate), dactylic (on the third from the end), hyperdactylic (on the fourth and further). C) In terms of sound quality - to accurate (full) - (shaft - called, thunderstorms - frost, hail - fence), and inaccurate (approximate). Among the approximate ones, there are assonances (a belt is a train, the wind is bright, a seal is a shoulder), consonants (walling with a wall, supporting, root, truncated, multi-strike (unequal - papakha-smelling, sobriety-cutting), anagram.

D) According to what parts of speech the words rhyme - into grammatical and non-grammatical. E) By frequency of use - into banal (erased, worn out - (blood-love, roses-frosts, birch-tears) and rare (exquisite), as well as exotic - (waist-Australia, girlfriends-Cook, insidious God-Rimbaud, albatross-SOS). Rhyme classification

A stanza A stanza is a group of poetic lines united by one thought, intonation and rhyming order. The stanza is an additional means of organizing and rhythmizing poetic speech. Poems that do not form stanzas are called astrophic.

Conventionally, stanzas are divided into strict and free. Types of free stanzas: Couplet - aa bb vv - Three-line (tercet) - aaa bbb, aab vvb, abc abc - Quatrain (quatrain) - aabb, abab, abba - Five-line (quintile) - abaab - Six-line (sextet) - ababvv, ( sextina) - a BaBaB, (ronsard stanza) - AAb VVb - Seven lines (septima) - aabvvbv, AABBVVB - Borodino M, Lermontov. Eight lines (octet) - A. Pushkin's house in Kolomna. Nine lines (nona) - Ab AbbVbVV (Spencer stanza) Decima - abbavvggvv, Ab AbVVg DDe (odic stanza - Aeneid and Kotlyarevsky) - Rondel - thirteen lines connected by two through rhymes - ABbaab ABabbaA Onegin stanza - Ab AbVVgg DeeJzh Classification of stanzas

Types of strict, classical, solid forms of verse: Octave is an eight-line poem, which is most often written in five- or six-foot iambic, and rhymes according to the Ab Ab Abvv scheme. Rondo - a poem consisting of eight, thirteen or fifteen lines, connected by two through rhymes - Sonnet - a type of verse, consisting of fourteen lines of five-four- or six-foot iambic. Sonnet scheme - abba abba vvg ddg - French, Italian - abab abab vgv gvg (or vgd vgd), English (Shakespearean) - abab vgvg dede lzh. A triolet is an eight-line rhyme with Aba AaBAB, and the first verse is completely repeated in the 4th and 7th lines, and the 2nd - in the 8th. stanza classification

Phenomena of rhythm surround us everywhere in life: our heart beats rhythmically, day and night and seasons change rhythmically, a festive column marches rhythmically to the march of an orchestra...

Rhythm- this is the repetition of any unambiguous phenomena at regular intervals (for example, the alternation of stressed and unstressed syllables in a line).

A clear rhythm is inherent in poetic speech. Of course, there is rhythm in prose, but still, prose speech gives the impression of natural, "as in life" current speech. Poetic speech is special. It is distinguished by a clearer rhythm, and extraordinary conciseness, brevity. In addition, in poetic speech, as a rule, there is a rhyme.

Rhythm creates a certain mood, colors a poem or an excerpt from it with a single tone. Pay attention to the different rhythm in these poetic passages:

But the young princess

blooming silently,

Meanwhile, she grew, grew,

Rose and blossomed

White-faced, black-browed,

I like such a meek ...

And the queen laugh

And shrug your shoulders

And wink your eyes

And snap your fingers

And spin, akimbo,

Looking proudly in the mirror...

You can see that the rhythm of the second passage is faster, and this corresponds to its content.

Poetic speech implies organization, order, which is facilitated by rhythm, rhyme, and other features of such speech.

Free speech, that is, speech that moves freely from sentence to sentence, is called prosaic speech, and speech, subordinate to a certain order, rhythm, system, - poetic.

Questions and tasks

1. Using the text of prose tales from the section "Russian folk tales" and the text of Pushkin's "Tale of the Dead Princess ...", show what is the difference between prose speech and poetry.

2. What is rhythm? Give examples of different rhythms from "The Tale of the Dead Princess...".

EPITHET

Read the passage. Pay attention to adjectives. One of them ( high, deep, crystal, empty) are used in the direct meaning, others ( exuberant , quiet, sad) - figuratively.

... "Wait, -

The violent wind answers,

There, behind the quiet river

There is a high mountain

It has a deep hole;

In that hole, in the sad darkness,

The coffin is rocking crystal

On chains between poles.

Can't see any trace

Around that empty place;

In that coffin is your bride."

The figurative meaning gives the adjective, which in the sentence is a definition, a special artistic expressiveness. Before us is no longer just a definition, but a figurative definition.

Such figurative definitions are called epithets. The word "epithet" comes from the Greek word meaning "application, attached."

To distinguish a definition from an epithet, here is an example: dark night And gloomy night. Word dark only enhances the characterization of the night, the word gloomy includes an emotional assessment, reminds us of a gloomy, angry person. Therefore, the word dark is a simple definition, and gloomy- an epithet, that is, a figurative definition that is distinguished by artistic expressiveness.

Questions and tasks

1. Match to adjectives tall, deep, crystal, empty such nouns that they become artistic definitions, that is, epithets.

2. In Pushkin's fairy tale, find 3-4 examples with epithets. Name them, point out their special artistic expressiveness.

3. What epithets does Pushkin use to characterize the queen and princess? Explain them.

This division is based on the speech organization of the text: a prose text is jerky speech, the division of speech here is determined by the semantic and syntactic structure and automatically follows from it; a poetic text, or poetic, is periodic, rhythmically organized speech. Articulation in a poetic text is qualitatively different from articulation in a prose text, perceived as a continuous textual space.

For a poetic text, it is not syntactic units that are important, but rhythmically organized units; these are closed components, pulled together by cross rhymes. Articulation units are a line, a stanza, a quatrain (or a couplet). Verse lines do not necessarily coincide with the syntactic boundaries of sentences: a verse has a meter (size). This is an ordered alternation in the verse of strong places (ikts) and weak places filled in different ways. Strong and weak points are alternating syllabic positions in a verse, they form a meter in the form of a two- or three-syllable foot. The strong places of the meter are occupied by stressed syllables, the weak ones by unstressed ones. Prose is speech not bound by meter and rhyme.

Poetic speech and prose speech are not closed systems, their boundaries can be blurred, transitional phenomena are inevitable. There are "verses in prose" and metrized prose. At the same time, random rhyme in prose is a disadvantage no less than its dignity in poetry.

Rhythmically organized speech, to a greater extent than prose, uses figures - anaphora, epiphora, periods, retardations, verse transfers, joints, parallelisms.

The rhythmic material (language) in poetry is national in nature, it is literally untranslatable into other languages. You can "translate" the content, the meaning, but the features of versification cannot be translated. No wonder, for example, the translations of M.Yu. Lermontov, S.Ya. Marshak, F.I. Tyutcheva, V.A. Zhukovsky - these are rather original, own creations on a given topic.

Speech intonation in verse often loses its semantic and logical coloring, being subjected to melodious deformation; the stresses in words can shift, obeying the rhythm. For verse, it is important to convey an emotional state through the form. The rhythmic form of the verse is emotional intonations fixed in meter.

With obvious differences between the prose and poetic texts, it is impossible to draw a sharp boundary between them, since they have a strong single, unifying principle - artistry. Poems in the prose of I. Turgenev or "Song of the Petrel" by M. Gorky, although they do not have a rhyme, took its rhythmic form from poetic speech. The poetic form often accompanies ornamental prose.

Fiction prose is mainly (excluding transitional cases) represented by two types.

Classical prose is based on the culture of semantic-logical connections, on the observance of consistency in the presentation of thoughts. Classical prose is predominantly epic, intellectual; unlike poetry, its rhythm relies on an approximate correlation syntactic constructions; it is speech without division into commensurate segments.

Ornamental (from Latin ornamentum - decoration) prose is based on an associative-metaphorical type of connection. This is “decorated” prose, prose with a “rich imagery system”, with metaphorical prettiness (N.S. Leskov, A.M. Remizov, E.I. Zamyatin, A. Bely). Such prose often draws its pictorial resources from poetry.

What is the difference between verse and prose?

If we talk about the distinction between verse and prose, we can recall the play

J. B. Molière's "The Philistine in the Nobility", where the teacher naively explains to Mr. Jourdain how poetry differs from prose: "Everything that is not prose is poetry, and everything that is not poetry is prose." Moliere, of course, parodied the narrow-mindedness and low education of the characters. The apparent self-evidence of the answer (for example, "Yesenin - poetry, and Dostoevsky - prose") only proves that this difference exists, but does not give us a reliable criterion for distinguishing.

Prose, according to G.N. Pospelov, (from lat. prorsus - going straight ahead, not returning) - this is a speech that does not include proper rhythmic accents and pauses in its intonation, having only logical (as well as emphatic) pauses and accents (accents). Ed. G.N. Pospelov. Introduction to Literary Studies. M.: high school, 1988, p. 353

Verse in the dictionary of Usoltseva T.N. and Suslova N.V. - (from the Greek. stichos - row, line) - the minimum unit of poetic speech. The selection of individual verses in the composition of a poetic work is graphically specially emphasized by printing in separate lines and, as a rule, is accompanied by a rhyme. Suslova N.V., Usoltseva T.N. New literary dictionary- A guide for students and teachers. Moscow: White wind, 2003, p. 107

At the heart of poetic speech lies, first of all, a certain rhythmic principle. Therefore, the characteristic of a particular versification consists, first of all, in determining the principles of its rhythmic organization, that is, in establishing the principles that build poetic rhythm. The rhythm of speech in itself does not create verse, just as verse is not reduced to rhythm proper. If, on the one hand, a certain rhythm is generally inherent in speech due to physiological reasons (inhalations and exhalations, breaking speech into more or less uniform segments), then on the other hand, a clear rhythmic organization of speech arises, for example. in the labor process, in working songs that fix and enhance the rhythm of work.

One of the differences between poetry and prose is that in the bars of prose, meaningful words have the same word accents. In verse, when verbal accents are equal, a stronger rhythmic stress always appears on the last word of each verse, which is always unchanged, is the main, proportionately repeating "unit" of the rhythm of poetic speech, and is called "constant" (Latin constantus - established, constant) stress, or constant verse.

Another difference between verse and prose speech measures is that in prose the measures are separated only logical pauses(indicated by punctuation marks), the verses are separated from each other by rhythmic pauses, which show the end of each verse and set off its rhythmic constant stress.

In short, it should be added that verse, unlike prose, also has rhyme - coincidence, consonance of the endings of two or more verses, connecting them together, and there is a clause, the rhythm-forming final unit of verse.

In prose, all speech is divided into separate groups of words that are in some way proportionate. These groups of words are called measures, they are separated from each other by intonational pauses. The proportionality of such measures consists in an equal number of word stresses. But these accents are heard only relatively, since in reality no one counts the number of verbal accents. Non-artistic speech (scientific, journalistic, etc.) and, of course, artistic speech have rhythm, since it is perfect and has a finished form. The prose text is divided into paragraphs, sentences, phrases. When determining the rhythm of prose, one can single out the features of accentuation, which is called prosody, and is divided into 3 groups depending on the fall of stress: the first group includes words with an independent meaning, namely significant parts of speech, and they are always stressed; the second group includes words of service parts of speech, and they are always unstressed; and, finally, the third group of words is made up of words-exclusions from the first group, which, depending on the context, are either placed or not stressed.

There is an external, formal difference between poetry and prose, and there is an internal difference between them. Nikolaev A.I. Fundamentals of literary criticism. Ivanovo: LISTOS, 2011. p. 15 The first is that poetry is opposed to prose; the last is that prose, as thinking and rational presentation, is opposed to poetry, as thinking and figurative presentation, designed not so much for the mind and logic, but for feeling and imagination. From this it is clear that not all verses are poetry, and not all prose forms of speech are internal prose. We know "poems in prose" and, in general, such works written in prose that are the purest poetry: it is enough to name the names of Gogol, Turgenev, Tolstoy, Chekhov. If we formally turn any text into a verse, even the same sentence:

If formally

turn any

Text to verse...

one cannot but agree with what we see: the connections “along the vertical” are established in this text by chance, turning the information into something parodic.

It should be noted that one can speak of the freedom of prose speech only conditionally: in fact, prose also has its own laws and requirements. Even if, unlike poetry, artistic prose does not know rhyme and rhythmic regularity of feet, it must still be melodic. Both verse and prose are artistic speech, which, in turn, is rhythmic. And rhythm is a manifestation of organization, orderliness of movement. When prose blindly imitates poetry and becomes what is irreverently but rightly characterized as "chopped prose", then this, one might say, is unaesthetic; but some kind of special harmony and symmetry, a special sequence of words, is undoubtedly characteristic of prose, and a delicate ear senses this. Suffice it to recall such a short phrase from Gogol's poem " Dead Souls»: "What Russian does not like to drive fast?!". It sounds melodious, not just as a separate sentence of the text.

The word in verse, according to E. N. Dryzhakova, acquires greater semantic expressiveness. Dryzhakova E.N. In the magical world of poetry. M .: Enlightenment, 1978, p.23 Therefore, it is in poetic speech that we often meet metaphors (from the Greek. metaphora - transfer) - a type of path, a figurative meaning of a word based on likening one object or phenomenon to another by similarity or contrast. Suslova N.V., Usoltseva T.N. New literary dictionary - a reference book for students and teachers. Moscow: White wind, 2003, p. 56

Even Etkind in his book "Conversation about poetry" noted: "Poetry has a different dimension" Etkind E. Conversation about poetry. L., 1970. p. 14. It is very important to learn that poetry is more than a style: it is a world outlook; the same must be said of prose. If poetry is divided - approximately and generally - into epic, lyrics and drama, then in prose the following types and types are distinguished: narrative (chronicle, history, memoirs, geography, characterization, obituary), description (travel, for example), reasoning ( literary criticism, for example), oratory; Naturally, this classification cannot be strictly maintained, and the enumerated genera and species are intertwined in various ways. Of course, if the author consciously and intentionally retreats into the realm of prose in a poetic creation, then this is another matter, and there is no artistic error here: philosophical reasoning or historical digressions of Tolstoy's War and Peace cannot be blamed on the great writer for aesthetic guilt. And the purely literary fact of the interpenetration of prose and poetry has its deeper roots in the fact that it is impossible to divide reality itself into prose and poetry. One of two things: either everything in the world is prose, or everything in the world is poetry. And the best artists embrace the latter. For them, where there is life, there is poetry.

Why does the wind spin in the ravine,

Lifts up the leaf and carries the dust,

When the ship is in motionless moisture

Waiting for his breath?

Why from the mountains and past the towers

The eagle flies, heavy and terrible,

On a black stump? Ask him.

Why arapa

Young loves Desdemona

How does the moon love the dark nights?

Then what the wind and the eagle

And the heart of a virgin has no law.

Be proud: so are you, poet,

And there are no conditions for you.

Pushkin A.S.

If you convey poems in prose, then this is what happens: the ship needs the wind to sail, and the ship, in turn, does unnecessary work: spinning in a ravine, raising foliage and dust above the ground. The eagle, formidable and strange, the lord of birds, for some reason sits on a rotten stump. The charming Desdemona, instead of falling in love with a man of her circle from the nobility, frivolously falls in love with a gloomy and ugly "Arap". And the poet is the same: he creates his own art, which is not amenable to either logic or reason, singing what is happening in the soul. And this is something to be proud of. The prose version of this verse is very ugly, and is unlikely to be remembered. It is precisely that which is beyond the control of reason and logic that attaches the poet to the unreasonable natural elements, which makes him a poet with a capital letter.

Prose needs abstractions, schemes, formulas, and it moves along the channel of logic; Poetry, in turn, requires picturesqueness, and it transforms the content of the world into living colors, and words for it are carriers not of concepts, but of images. Prose talks, poetry draws. Prose is dry, poetry is agitated and excites. Prose analyzes, poetry synthesizes, that is, the former separates the phenomenon into its constituent elements, while the latter takes the phenomenon in its integrity and unity. In this regard, poetry personifies, inspires, gives life; prose is akin to a mechanistic worldview. Only a poet like Tyutchev could feel and say: “Not what you think, nature; not a cast, not a soulless face: it has a soul, it has freedom, it has love, it has a language.

“A verse is a snapshot of the soul,” and Brodsky was absolutely right.

Paul Valerin, French poet, essayist, philosopher, writes in a book on art that “ poetry there is a greater expression of feelings.” For him prose- this walking, but poetry this dance.

Topic: Poetic and prose speech. Rhythm, rhyme, stanza.

Target: know: definition of the concepts of rhythm, rhyme (cross, pair,

girdle), stanza;

understand: difference between prose and poetry

justify your answer with concrete examples from

studied works, explain the rhythmic and

the semantic role of rhyme in a poetic work;

be able to: using the text of a prose tale and a fairy tale by A.S.

Pushkin, to show the difference between prose and

poetic speech.

Equipment: multimedia projector (all texts, concepts and their definitions are on slides).

During the classes:

Checking d / z.

– Reading by heart an excerpt from a fairy tale.

– The answer to the question: "What is the superiority of the princess over the queen-stepmother?"

Teacher's word with conversation elements.

You listened to the presentations of two students.

– Tell me, is there a difference in the speech of one and the other? What is it?

(Complicated/uncomplicated)

– Look at the board and compare the sentences:

The princess walked around the house,

Removed everything...

The princess went around the house and cleaned everything in order.

(The words are the same, but they sound somehow different).

– What has changed in the second sentence?

(The word order has changed, the second sentence has become clumsy)

– And what do we usually call folding text?

(Poems)

What you have labeled as "incoherent text" is called prose.

– Why do you think we started our lesson with a conversation about poetry

and prose?

(The whole lesson will be devoted to this)

Try to formulate the objectives of the lesson.

(With the help of the teacher, students draw conclusions about the purpose of the lesson)

So, the purpose of our lesson is to analyze the features of poetic speech, to find out by what means words are converted into poetic lines, in other words, what are the laws of poetic speech.

Work with the textbook.

– Read the textbook article and highlight the key concepts.

Systematization of new information.

– What is the main difference between poetry and prose?

(There is rhythm in poetry)

– What is rhythm? Write down the definition. Give examples of the manifestation of rhythm in life.

(Rhythm is the repetition of something at regular intervals of time or place. Clock ticking, heartbeat)

– How does rhythm appear in poetry?

(Repeated sounds, repeated in the same place: at the end of the line; words add up to a melody)

– Write off the sentence from the board, break the words into syllables, put the stress. Count the number of syllables in a line, determine which syllables are stressed and which are unstressed.

(Ve-ter, ve-ter! You are mo-guch, 7 syllables

You go-ny-eat a hundred and clouds, 7 syllables

You w-well-eat si-not mo-re, 8 syllables

You eat everything in a simple way ... 8 syllables

Rhythm pattern: __□○__□○__□○__)

Not all verses have such a clear alternation of percussion and unstressed ones, but the rhythm is always heard, the verses sound smoothly.

- You probably noticed that the ends of the poetic lines sound similar (see the previous entry). What is the name of such a phenomenon? Write down the definition.

( Rhyme is the repetition of sounds, starting with a stressed vowel, at the end of poetic lines)

- What are the names of the lines connected together by a rhyme?

(Stanza)

What groups are stanzas divided into? On what basis?

(By the number of poetic lines: couplet, three-line, etc. There are non-strophic verses)

– Write down the stanzas given on the board, connect the lines that rhyme. Make a conclusion about the ways of rhyming.

1. Green oak by the seaside; 1/3 and 2/4 - cross

2. golden chain on oak tom:

3. Day and night the cat is a scientist

4. Everything goes around the chain ...

1. In the dungeon there the princess is grieving, 1/2 and 3/4 - steam room (adjacent)

And the brown wolf faithfully serves her;

There is a stupa with Baba Yaga

It goes, wanders by itself ...

1. And there I was, and I drank honey; 1/4 and 2/3 - encircling

(ring)

2. I saw a green oak by the sea;

3. He was sitting under him, and the cat was a scientist

4. He told me his tales ...

– Why is rhyme necessary?

(The answer is formulated with the help of the teacher, displayed on the projector screen and recorded in a notebook.

Rhyme:

Makes it sound beautiful.

Helps to feel the rhythm: says that the line is over.

Gives unity to verses, connects rhyming lines with each other.)

Practical work "Who is faster."

Teams (in rows) perform tasks for working out theoretical material. All groups receive the same cards, the time is strictly regulated. Verification is carried out immediately, you can supplement and correct errors.

Cards.

Fill in the blank spaces with the title of the stanza below.

Here is the north, catching up the clouds,

He breathed, howled - and here she is

The magical winter is coming.

(A.S. Pushkin) 

Through the wavy mists

The moon is creeping

To sad glades

She pours a sad light.

(A.S. Pushkin) 

Frost and sun; wonderful day!

You are still dozing, lovely friend, -

It's time, beauty, wake up:

Open eyes closed by bliss

Towards the northern Aurora,

Be the star of the north!

(A.S. Pushkin) 

A storm covers the sky with mist,

Whirlwinds of snow twisting;

Like a beast, she will howl

It will cry like a child

That on a dilapidated roof

Suddenly straw rustles,

Like a belated traveler

He will knock on our window.

(A.S. Pushkin) 

Read the lines of poetry, determine the way of rhyming.

a) before dawn

Brothers in a friendly crowd

Going out for a walk

Shoot gray ducks ...

b) The moon is like a pale spot,

Turned yellow through the gloomy clouds,

And you sat sad -

And now ... look out the window ...

c) Sing me a song like a tit

She lived quietly across the sea;

Sing me a song like a damsel

She followed the water in the morning.

Determine what can be attributed to poetic speech.

a) There is grass in the yard, firewood on the grass.

b) The brothers took damask swords, took knapsacks with bread and salt, sat on good horses and rode off.

c) The old woman says to the old man:

"Go back, bow to the fish."

Recognize one of the poetic passages from the rhythmic pattern.

○__□○__ □○__□○__□○

○__□○__□○○○__□

a) Seven heroes enter,

Seven ruddy mustaches.

b) The hut there on chicken legs

It stands without windows, without doors.

Consolidation of acquired knowledge.

Take a fragment of a prose tale and Pushkin's tale. Use a specific example to show the difference between prose and poetry.

Lesson results.

– How is poetry different from prose? (On the example of the previous task)

– Compose burime poems according to the given rhymes:

a) ___________ dens

Legs

Lake

Frozen.

b) ___________ is going

Forward

Road

At the threshold.

D / s.

Prepare message:

Rhyme. Rhyming methods.

Rhythm. Poetic and prose speech.

Illustrate your answers with examples from the studied works.