ANAPEST - in ancient versification, a three-syllable foot lasting four moras, consisting of two short and one long at the end of the syllable, with rhythmic stress on the long: “UU-” In syllabic-tonic versification - a foot consisting of two unstressed and one stressed at the end syllable; for example: “The golden foliage began to spin.”

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction.Edited by V. M. Fritsche, 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) Syllabonic type meters. The feet of this meter have three syllables, the last of which is stressed. Russian images of anapest - “At dawn, don’t wake her up...” A. A. Feta and “Reflections at the Main Entrance” by N. A. Nekrasov.

Don't wake her up at dawn

At dawn she sleeps so sweetly;

Morning breathes on her chest,

It shines brightly on the pits of the cheeks.

(A.A. Fet, “At Dawn...”)

Literature and language. Modern illustrated encyclopedia. - M.: Rosman.Edited by prof. Gorkina A.P. 2006 .

Anapaest

ANAPAEST- a three-syllable foot in which the last syllable is stressed, as, for example, “man”. Anapest is thus a foot completely opposite in nature to the dactyl (see this word), in which the first syllable is stressed. Due to the position of the beat, which gives the anapest tension and swiftness, the anapest is an ascending foot (this is generally the name given to feet in which unstressed syllables precede stressed syllables). Despite its sharp difference from the dactyl, the anapest, although in very rare cases, can replace the latter, as, for example, in Lermontov’s verse, noted by Valery Bryusov: “Surround someone worthy of happiness with happiness.” In the first foot of this Lermontov tetrameter dactylic line, the dactyl is replaced by an anapest (“surround”, that is, the emphasis is on the last syllable, and not on the first, so, for example, in the subsequent word “happiness”).

Ya 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

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

Example phonetic anaphors:

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

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

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

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

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

And trimeter:

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

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

Pentameter amphibrachium:

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

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

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

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

Examples:

Trimeter anapaest:

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

Quadruple anapaest:

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

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

Pentameter anapaest:

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

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

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

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

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

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

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

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

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

And the horses are tired steam
And sweat from dirty pores -
He clothed himself under a hail of fanfare
Sometimes in purple, sometimes in porcelain.
(S. Kirsanov)
DOLNIK- a type of Russian and German versification, which is a kind of intermediate form between syllabic-tonic (mainly trisyllabic) verse and purely tonic. Its lines, coinciding in the number of stresses, arrange unstressed syllables relatively freely. Combinations of drums and without stressed syllables Therefore, they no longer form “feet”, but “lobes”, where the number of unstressed ones ranges from one to three or four:
I don't know what this means
That I am embarrassed by grief,
Hasn't given me peace for a long time
A fairy tale from old times to me.
(G. Heine. Lorelei)

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

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

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

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

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

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

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

(V. Karpeko. Face to face).

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

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

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

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

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

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

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

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

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

D. Minaev:

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

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

Yesenin:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Example tetrameter chorea:

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

Examples pentameter chorea:

I go out alone on the road…

(M. Lermontov)

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

Example hexameter chorea:

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

Example seven-foot chorea:

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

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

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

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

In pentameter - after the second:

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

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

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

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

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

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

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

Example trimeter iambic:

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

Example tetrameter iambic:

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

Example pentameter iambic:

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

Example hexameter iambic:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fuck!
Lynx
To dust.

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

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

In the past, in times Silver Age literature, maintaining size was an absolute necessity. Now among modern poets there is a tendency to neglect size for the sake of the uniqueness of the image; many deliberately replace harmony in their works with dissonance of sounds to expose the negative aspects of reality. However, there are also modern lovers of poetry with pure meter.

Let's focus on the size of an anapest. An example of anapest can be found in such poets as Alexander Blok, Afanasy Fet, Alexander Tvardovsky, Alexander Pushkin, Ivan Bunin and others.

Etymology of the word "anapaest"

Let's try to find out what anapest is in literature. And examples of famous poets will be in this matter educational material. The meaning of the word can be closely examined when an understanding of its origins comes. The word “anapaest” itself comes from Greek and means “reverse.” That is, in this case we mean the opposite of anapest to dactyl. The three-syllable dactyl is distinguished by stress on 1 syllable, respectively, and its rhythm has a “falling” intonation. This intonation can be heard perfectly in poetry, and even for people who are not involved in the analysis of poetic stanzas, distinguishing dactyl and anapest will not be a difficult task. Between the rhythm of a falling and rising syllable there is a middle - the third size of the three-syllable “world” in poetry - amphibrachium, in which the stress falls, as many already understand, on the 2nd syllable.

Three-syllable poetic meter anapest. What's special?

Emphasis is used to strengthen the logical structure and indicate the basic concepts of the poetic message. And also preserve the “melody” of what was said. Its significance in literature is immeasurable. Anapest as a meter has an unforgettable rhythm. A three-syllable poetic meter can have up to 5 syllables per stanza, as A. Fet wrote. The reader's voice increases from 1 syllable to the last in progression. This gives what is said special importance, grandeur and seriousness to the texts. Anapest is a three-syllable nice size, with increasing rhythm of the syllable. To see it and feel the syllable, we will definitely give an example of anapest.

How to determine size?

To determine the size, the poem must be written in draft, observing the stanzas. Then read aloud, identifying stressed syllables with your voice. If the stress is repeated after 2 syllables, it is a two-syllable meter, and when after 3, it is a three-syllable meter.

If you cannot understand the meter accurately at first, try to understand whether it is a two-syllable or three-syllable poetic meter. Don't despair right away. It is worth saying that not all modern poets know absolutely all poetic meters, of which there are, of course, more than 5.

Examples in poems by famous poets

Anapest came into fashion among poets in the 20th century. It is very interesting to find out how the recognized geniuses of infinitely young, albeit old historical eras used anapaest in their poems. To do this, let us give an example of an anapest in a poem by a master of his time - Alexander Blok.

I accept you, failure,
And, good luck, my greetings to you. (A. Blok)

The accents are placed like this: --/--/---/--/-

Alexander Blok often used this size. His verse captures the soul and reads melodiously, although we remind you that it is difficult to write an anapest. Here's another one small example anapest in the famous poem:

And flowers, and bumblebees, and grass, and ears of corn...

The poem was written by Ivan Bunin, and anapest is also used here.

Dimensions in verses by A.S. Pushkin

Radiant poet - A.S. Pushkin was not too fond of anapest. Of course, there are examples of Pushkin’s poems, and we will give them. But mostly he used iambic hexameter and experimented with trochee. At that time, anapest was a novelty, and only when the poet, in later life, was already trying to diversify the metrics and sonority of the verse, did he sometimes begin to use a three-syllable poetic meter.

We can find anapest in the poem "Gypsies". In this work, the monologue of the heroine Zemfira is written using an anapest:

Hate you,

I despise you;

I love someone else

I'm dying in love.

Even later, he wrote the work “Budrys and His Sons” in an anapest, which is studied in schools.

Only in mature age the poet wrote freely in all classical meters, and all his works reflect his personal style. Moreover, this was already a style polished by long labor, in which all poetic meters coexisted freely. That is why Pushkin became a genius of all times.

How to find your poetic meter?

Everyone is a poet at heart who has feelings. You don’t have to look up to the greats when you write for yourself, just to express emotions. Literary works are not written under a ruler, since it is a living and multifaceted organism. If a person has enough imagination and knows literary techniques, why not try to find his own style in poetry? You have already seen an example of an anapest, and remembering that others differ only in emphasis, it is easy to analyze other sizes.

First, it will be useful to read a couple of collections of poets you like and try to analyze the meter in which they write. This is only for the development of technology, there is no need to copy anyone. It is important to maintain your individuality, like this young man:

You can experiment with different sizes and try to express your thoughts in a non-standard way. But you still need to know the basics of versification. When the rhythm is observed, then the poem will be pleasant to read. It does not “hurt the ears” of those around you, but, on the contrary, nurtures gentle hearing.

Anapast) - three-syllable poetic meter.

Mnemonic phrase

No bro dil with a cyst him I'm in the dumps mu than le su,
I'm a on pestle with co bo yu but strength.

Example:

There is in your innermost melodies the fatal news of death. There is a curse of sacred covenants, There is a desecration of happiness.

Other trisyllabic meters

Links

• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional ones). - 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 at the end of a syllable, with rhythmic stress on the long: “UU” In syllabic tonic versification, a foot consisting of two unstressed and ... ... Literary encyclopedia

- (Greek anapaistos, from ana again, and paiein to beat). Three-syllable verse size, consisting of two short syllables and the last long syllable, for example: Do not complain, | man, That your age is not long. Dictionary 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, like, for example, “man.” Anapest, therefore, represents a foot completely opposite in nature to the dactyl (see this word), in which the stress is ... ... Dictionary of literary terms

anapaest- and the obsolete anapaest... Dictionary of difficulties of pronunciation and stress in modern Russian language

- (from the Greek anapaistos, reverse dactyl, lit. reflected back), poetic meter formed by 3 compound feet, with strong point on the 3rd syllable (scheme I I); 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, anapest, husband. (Greek anapaistos) (lit.). A three-syllable poetic foot with stress on the last syllable, for example: “The poor | They sing a song to him.” Nekrasov. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 … Ushakov's Explanatory Dictionary

ANAPEST, huh, husband. (specialist.). A three-syllable poetic foot with stress on the last syllable. | adj. anapestic, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

Poetic dimensions - headache not only applicants to the philology department studying theory of literature, but even some writers. The poetic arsenal of Russian poets includes five actively used meters: trochee, iambic, dactyl, amphibrachium, anapest. There are others, for example, spondee. What it is? And how do some differ from others?

Poetic size- a method of sound organization of a verse, a rhythmic form of a poem.

If we define in simple language, then the poetic meter is the alternation of unstressed and stressed syllables in a verse. The easiest way to learn how to determine poetic meter is to remember the rhythmic pattern of each meter.
Foot– a unit of measurement of poetic size.
A 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 meter as spondee, in which two stressed syllables can coexist).
Two-syllable feet: trochee and iambic are two-syllable meters or, as literary scholars familiarly call them, two-syllables.
Trisyllabic feet: dactyl, amphibrachium, anapest - these are trisyllabic meters or abbreviated trisyllabics.

Learning to place accents and determine the size of a verse

To learn how to determine the size of any poem, you need to count the number of stressed and unstressed syllables and create a rhythmic pattern for the verse.
Everyone knows that one word has one accent. But in a poetic line there can be several rhythmic stresses in one word. For example, in the quatrain “Martyr A t at chi, vo Yu t at chi/Nevid And soaking the moons A/Lighting A et sn e g years at chiy/M at no e bo, n O whose m at tna" stressed vowels are highlighted 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 counting rhyme, highlighting each syllable intonationally, it turns out that there are several rhythmic stresses:
"Mr. A t at chi, vo Yu 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 "i" in the syllable "dim" is added the rhythmic stress on "e" in the syllable "not" and the final "yu". In the word "moon" the verbal and rhythmic stress are the same.
"ABOUT candle A et sn e g years at chiy" - here you can also observe the emergence of rhythmic stress in an unexpected place: the first syllable “o” in the word “illuminates” when reading the line in the manner of a counting rhyme, it stands out acoustically.
"M at no e bo, n O whose m at tna” – in this line the verbal and rhythmic stress correspond to each other.

To create a rhythmic pattern (scheme) of a verse, you need:

1) place verbal stress in each line, that is, native stress in all words (except for 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 diagram of our quadruple “Clouds are rushing, clouds are rolling…” will look like this: _U|_U|_U|_ U, since a stressed syllable is denoted by an underscore _, and an unstressed syllable by a quotation mark U. The feet are separated from each other by a straight vertical line |.

It is not a literary method to determine the size of a poem

1) Number all syllables in the line.

2) Highlight, that is, underline or indicate in any other way All detected stressed syllables: and with word stress, and with rhythmic.

3) Write down the numbers of stressed syllables in a row.

4) You should get one of the schemes that will correspond to one of the poetic meters:

• 1-3-5-7-9 - trochee
• 2-4-6-8-10, etc. - iambic
• 1-4-7-10, etc. - dactyl
• 2-5-8-11 - amphibrachium
• 3-6-9-12 - anapest

Table "​ Two-syllable poetic meters»

That is, a poetic foot of this size will consist of two syllables

Titles
Definition	two-syllable meter with stress on the first syllable. That is, the first syllable is stressed, the second is unstressed (this is one foot). Next (2nd foot begins) the pattern is repeated: the third syllable is stressed, the fourth is unstressed (this is the second foot). And again: the fifth (if there is one) is stressed, the sixth is unstressed (third foot), etc.	two-syllable meter with stress on the second syllable. That is, in iambic it is the other way around - 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‑ |
	The storm covers the sky with darkness, Whirling snow whirlwinds; Then, like a beast, she will howl, Then he will cry like a child... (A.S. Pushkin)	My uncle has the most honest rules, When I seriously fell ill, He forced himself to respect And I couldn't think of anything better. (A.S. Pushkin)

Table " Trisyllabic poetic meters»

That is, a poetic foot of this size will consist of three syllables.

Titles		Amphibrachium	Anapaest
Definition	First syllable. That is, in dactyl the first syllable is stressed, the second and third are unstressed; further (second foot) – stressed fourth, fifth and sixth syllables – unstressed.	Trisyllabic meter with emphasis on second syllable, the first and third syllables in the foot are unstressed. Next (second foot): fourth – unstressed, fifth – stressed, sixth – unstressed	Trisyllabic meter with emphasis on last, third syllable, and the first and second syllables are unstressed.
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 p A saved the life e new WITH e free heart O bottom - Z O lotto, z O lotto WITH e people's heart O bottom! (N.A. Nekrasov)	Us e faith d And com one hundred And t one O co On g O loy versh And not pine A And etc e mlet, quality A I am and I am e homo rash at chim Od e the same as p And zoy, he A. (M.Yu. Lermontov)	Available in nap e wow yours And x secrets e data Rokov A I'm about g And leucorrhoea in e there is. There is a proclus I thie head e tov sacred e data, Porug A tion of the account A stia e there is. (A. Blok)

Poetic meter "Sponday"

Spondee - iambic foot or trochee with super-scheme stress. As a rule, in such verses the rhythm is somewhat confused, the rhythmic pattern of the verse is disrupted. As a result, a foot may have two stresses in a row, that is, two stressed syllables may appear next to each other.

Example:
Shv e d, r at ssky - stabs, chops, cuts - here is the drum “Shv” e d" is adjacent to "r" at ssky", the first syllable of which is also stressed.
Drumming, clicks, grinding,
Gr O m p at sheck, stomp, neigh, groan, -
And death and hell on all sides.

(A.S. Pushkin)
A classic example is the beginning of “Eugene Onegin” by A. Pushkin:
"M O y d I dia s A our h e luscious A pitchfork..."
Here, in the first iambic foot, the first syllable also seems stressed, as in trochee. That is, the drum “M” is adjacent O th" and "d I"Dya." This juxtaposition of two stressed syllables is a spondee.

If, when determining the size of a poem, that is, arranging verbal and rhythmic stresses, you come across a spondee, but the rest of the scheme suggests that the text is written in iambic (as, for example, in the case of “Eugene Onegin”), then iambic is the size of this fragment.