Russia is a country rich in poets.Creative people were born and written in it at all times, some of them received recognition in life, someone - only after death, someone and remained ignorant ... it's not so important. More importantly, they all worked in the name of beauty.
Probably, in the depths of the soul, every person - at leasta little, but a poet. Few people in their entire life did not rhyme at least a couple of lines. But how much do we all know about the poetics of our native language? Unfortunately no. Even people who write seriously, every day, rarely study the theory of poetry, confining themselves to knowledge of grammar and stylistics, and in vain - after all, the theory is very interesting.
So, in the poetics of the Russian language Lomonosov andTrediakovsky introduced a syllabo-tonic verse. If you disassemble its basics briefly, then we can say that the syllabic system of versification implies the presence of rhyme, and the tonic attaches great importance to the number and order of stresses in the line.
That is why in Russian poetry there are almost no white verses and there are poetic dimensions.
With three elementary verse sizes, allwe get acquainted even at school - iambic, trochee and amphibrachia are familiar to everyone who has graduated from nine classes. Of course, this is not all the existing verse sizes, but they are the most popular.
All such sizes are divided into groups depending on the order of alternation of unstressed and stressed syllables. So, there are two-syllable, three-syllable, four- and five-syllable verse sizes.
Isob and trochee are two-syllable.They are very simple. If in the verse line the stress falls on the first (or on each odd) syllable - that work is written in a poetic dimension called a trochee. Iamb is distinguished by an accent on the second or every even syllable.
Two-syllable dimensions are extremely commondue to its simplicity and rhythm. However, we must not forget that at about the same time three, and not two, sizes are studied-iambic, trochee and amphibrachium.
Amphibrachium belongs to a group of three-syllable sizes, including, in addition, two more - anapaest and dactyl. They are no less popular than the two-syllables, and they allow you to create more complex works.
As can be understood from the title, in trisyllabicThree syllables are singled out, of which only one is percussion. For amphibrachey this is the second syllable, for dactyl - the first, and for anapaste - the last, the third. It is clear that at the beginning of studying the dimensions it is difficult to remember them, but you can simplify your task by conducting a chain of associations. Amphibrachium - stress on the second syllable - is similar to iambic. Khorei is close to dactyl - under stress the first syllable. An anapeste is not like anything, that's why it's the last, like the stressed syllable in it.
In order to remember all these fivepoetic sizes - iambic, trochee, dactyl, amphibrachia and anapaest - would be more interesting, you can study the work of famous Russian poets who used them. And by reading the creations of these great people you can not only enjoy and improve your speech, but also learn how to write good poetry yourself.
So, amphibrachia and dactyl can be found in Lermontov's work. Particularly pronounced are these dimensions in his poems "Clouds" and "In the north, the wild is alone".
As lovers of Russian classics could notice, Pushkin has shorter and simpler lines of verse. The most commonly used sizes are iambic, trochee.
Anapeste is used by Alexander Blok. A striking example is his famous work "To the Muse".
Of course, we must not forget about the four- andfive-syllable verse sizes. The first are the peons - in them, the shock is only one syllable of four, depending on the location of which to the name of the size is added numerals (N1, 2, 3, 4).
To five-syllable sizes are five pentons (one stressed syllable for four unstressed ones), whose number is determined in the same way as in peonies.
