Three-syllable verse size. Two-syllable and three-syllable dimensions of the verse

Poems - this is the best gift received by living generations from distant ancestors. During the centuries-old history of mankind, real masterpieces were created: epics and ballads, poems and novels. In the opinion of individual researchers, any literature begins with poetry, for the verse is the first that has risen from everyday speech.

Two kinds of artistic speech

Poetry from prose differs not by any one sign - the peculiarities of rhythm, sound or graphic appearance ... It is a special system for the organization of letters and words. Researchers put before themselves a lot of questions: what speech originated earlier - poetic or prosaic? Which is more correct and perfect? Why do mankind need poetry? These problems are always topical , and one can not give unambiguous answers to them. Starting his poetic career, not all young geniuses know what a disyllabic and three-syllable verse size is, how to put stress and sustain pauses. But as soon as, not without the aid of the muse, lines begin to appear, they can be noticed a pronounced rhythm, and later the favorite way of organizing speech can be traced throughout the creative path of the writer.

History of Russian versification

The origin of any term is usually associated with antiquity, because in fact for all subjects and phenomena in the distant past given certain names. In Greek, the word "verse" means "row". Poetic speech inherent special organization, thanks to which the work is easy to remember. The poetic text is interesting because in it speech is divided into certain parts, which are confirmed by graphics. Within the poetic line we find repetition of shock and unstressed syllables, which form a foot. In literary studies there are disyllabic and three-syllable dimensions of the verse: iamb and trochee, amphibrachia, anapeste and dactyl.

In antiquity, there were about 30 kinds of feet. Russian versification developed from tonic through syllabic to syllabo-tonic. The basis of the second system is a special principle - in each line, the stress should fall on the penultimate syllable. The discrepancy between the phonetics of the Russian language and others led to the emergence of a new mode of addition, and reforms in this direction were carried out by V. Tretyakovsky, M. Lomonosov and A. Vostokov. At the heart of the syllabo-tonic is the repetition of identical feet.

Two-syllable size of a verse

The average length of the Russian word is about 3 syllables. In disyllabic verse sizes, unstressed disyllabic feet appear in the rhythmic pattern. The rhythmic organization of a work depends on the length of the line. In chorea the stress falls on the second syllable, in the iambic - on the first. Depending on the number of syllables, they are two-, three-, four-, five-, six-foot or free. In the work of Russian writers, all sizes of the verse are found.

Examples of chorea can be found in A. Pushkin in the "Winter Evening": "... BURY / MISCELLANEOUS / NEOBO / KROOET ...". To write a famous novel in the poems "Eugene Onegin", the poet chose the four-legged iambic: "... my uncle / sama / honest / pravil ...". Often, for the adjustment of the rhythm, the stress is skipped or, conversely, occurs at the junction of words.

Three-syllable verse size

In addition to iambic and chorea, the syllabo-tonic includes dactyl, anapest and amphibrachia. Poems written in this way are more approximate to colloquial speech. As a rule, the accent in them is skipped rarely, much more often it is possible to find repetition of stressed syllables. According to K. Vishnevsky, it can be shown that amphibrachias and anapaestas only spread in the middle of the nineteenth century, during the heyday of M. Lermontov's creative work.

Dactyl is a three-syllable dimension of the verse in which the stress falls on the first syllable. Russian poet N. Nekrasov often chose such a rhythm that his works turned out intonationally flexible: "Slava / Autumn! Zdo / rovyy, I / other / in the Air y / stalye / sily bo / drit ».

Amphibrachis was often used to write their masterpieces of poetic symbolists, such as A. Blok, V. Bryusov, Z. Gippius. K. Balmont wrote that without trisyllabic dimensions, life would be monotonous, and even devoted a poem to this problem: "Chorus / and Yamba /, with their sound / korokkim /, I listened to / in the stream / stream."

In the anapaest, the stress falls on the last syllable. Among Russian poets, this three-syllable verse size was first used by A. Sumarokov in his dress "Against the villains": "On the sea / shore / I sit /, not in a straightforward mood". Soon he became fond of many other masters of the pen, and increasingly appeared works written by anapaest.

Determine the verse size correctly

Iamb, trochee or amphibrach ... It would seem that it is not difficult to find out the difference between them. It is enough to calculate the number of syllables and correctly place the stress, and the size will immediately become known. Today, the analysis of the poetic work is made by students and students of the Faculty of Philology. This type of parsing is very common, and it is important to make it without errors, so that the teacher appreciates the work. Sometimes it is very difficult to determine the size of a verse, so every beginning philologist should always have a compact table with foot numbers corresponding to the iambic, dactyl or amphibrachic features.

The first and main point of analysis is the placement of stress. It should be borne in mind that to adjust the rhythm, the author uses the technique when instead of the usual vowel, another syllable is singled out. For example: start / in the shower / in the depth / bin / get / and go / go / it. In his famous poem Silentium! F. Tyutchev chose not only the original way of accentuation in the word "go in", but also the pirrihic feet, when the stress is skipped.

The second point is to calculate which vowel sounds are allocated by the power of the voice. Figures with an impact syllable will correspond to the following poetic dimensions:

With the correct placement of stress, you can immediately identify which vowels are in a strong position. According to the table, it will be easy to determine whether the work is written by anapaest, dactyl or solemn iambic.

Traditions of Russian writers: the size of the poems of Pushkin, Lermontov, Blok

Often great poets try to use all methods in their work, but it's hard not to notice that each of them prefers a certain rhythm. Almost all the early poems of A. Pushkin, including his first great poem "Ruslan and Lyudmila," are written in a disyllabic iambic. The three-syllable size of the verse sounds less energetic and solemn, but he also found sympathy among many great poets. Examples of dactyl can be found in M. Lermontov. The tradition of writing in three-syllable sizes develops at the turn of the 19th-20th centuries, and the Symbolist writers continue it. Sometimes A. Block, Z. Gippius, A. Akhmatova and others retreated from the syllabo-tonics and wrote their works with so-called "folk" rhythms, in the organization of which lies the principle of commensurability of stressed syllables in lines. Two-syllable and trisyllabic sizes are adapted for the Russian language, so this way of adding poems is now most in demand, and eventually will not lose its relevance.