Anapaest size examples. How to determine the meter. Poetic size "Sponday"

Any poetic work can be distinguished by the size in which it is written. The dactyl examples of which are given in this article are just one of them. There are also amphibrachs, anapaest, trochaic and iambic. It is worth noting that these are only the main poetic meters, in reality there are even more of them, some of them are on this moment already outdated. Individual poets in their works adhere to only one pre-selected poetic size, it can be dactyl, amphibrach, anapaest. You can find examples in this article. Others use different techniques and styles when writing their poetry.

Poetic dimensions

Examples of dactyl will allow you to visualize what kind of poetic size it is. In Russian versification, the length of the line of a poetic work most often varies. Thus, each poetic size is divided into several components. So, an iambic can be, for example, one-foot, two-foot or three-foot.

A distinctive characteristic of almost any poetic meter is the presence or absence of caesura (this is a rhythmic pause) and catalectics (cutting and shortening of the foot).

What are the meter sizes?

All poetic meters, which are widely used in Russian versification, can be conditionally divided into only three groups.

The first includes monosyllabic dimensions. A classic example of this size is the brachycolon. This is a monolithic meter, when each foot contains a word consisting of strictly one syllable. At the same time, there can be several stops in one line of the work, this is quite allowed by the rules of versification.

The second group includes two-syllable sizes. These are perhaps the most common sizes in Russian poetry, which include iambic and trochee. We will talk about them in more detail.

In poems written in trochee, the stress always falls on the first syllable in the foot. In works created with iambic, the stress necessarily falls on the last syllable in the foot.

And finally the third group is called logaed. His fundamental difference is that if all the previously given examples of poetic meters were based on a sequence of any number of feet of the same type, then logaed is a size at which several feet can alternate in one line at once.

Yamb

Examples of iambic, chorea, dactyl will help you easily distinguish one poetic size from another. In Russian versification, iambic is a poetic meter in which an unstressed syllable constantly alternates with a stressed one.

It is still not possible to establish the exact etymology of this term. It is only known that the so-called iambic chants were well known during the ancient holidays in honor of the goddess of fertility Demeter. That is why many now associate the birth of this term with the name of the servant of King Keley, whose name was Yamba. If you recall the myth, only she managed to cheer up Demeter, who remained inconsolable for a long time due to the fact that she could not find her daughter Persephone. It is noteworthy that Yamba managed to do this with the help of obscene poems.

According to another version, the name Yamba is an echo ancient word, which has a slang meaning. It turns out that one way or another, the term is rooted in profanity. True, there is another version according to which the word came from a consonant musical instrument, which accompanied the performance of iambic songs.

Examples of using iambic

Yamb has been well known since ancient poetry. The main difference between iambic and other poetic meters is its lightness, similarity to ordinary speech. Therefore, it was most often used by poets who wrote dramatic or lyrical works. For example, tragicomedies or fables. But iambic was not suitable for epic genres.

Yamb was actively used and is used in Russian poetry. For example, it was often used by Alexander Pushkin. Yamb wrote the beginning of his famous "Eugene Onegin" ("My uncle has the most honest rules ..."). By the way, this is an example of iambic tetrameter.

In Russian poetry, iambic four-foot was used in epic and lyric poetry, five-foot iambic was used in lyrics and dramas of the 19th-20th centuries, and six-foot in dramas and poems of the 18th century. There is also a free-sized iambic, which was loved by the author of fables of the 18th-19th centuries and comedies of the 19th century.

Chorey

Examples of dactyl and chorea will help you distinguish one meter from another. So, a trochee is a two-syllable poetic size. In this case, the foot contains first a long and then a short syllable, a stressed syllable followed by an unstressed one. Like iambic, it is widely used in Russian versification.

Most often, poets used a four-foot or six-foot trochee. From the middle of the 19th century, the pentameter polecat became popular and received significant development.

Khorei was often used by the main Russian poet of the 19th century Alexander Pushkin, alternating it with iambic. That's why good example chorea is best cited from his work. For a sample, you can take the poem "Winter Evening", which begins with the line "A storm covers the sky with darkness ...".

We will find an example of a pentameter trochaic in Mikhail Lermontov's poem "I go out alone on the road ...". This line, which is also the title of the work, clearly demonstrates the features of the pentameter trochaic.

Dactyl

Dactyl examples will allow you to remember this meter once and for all, so that you no longer confuse it with any other.

This is a tripartite size, which originates in ancient metrics. In Russian versification, this meter corresponds to a foot consisting of one stressed syllable and two unstressed syllables following it.

Examples of dactyl in poems can be found in Mikhail Lermontov - "Heavenly clouds, eternal wanderers ...". Interestingly, there is even a mnemonic rule for remembering the features of a dactyl. Not to be confused with other sizes, the phrase "Dug a deep hole with a dactyl" helps.

In Russian versification, examples of dactyl are most often found in the four-foot version. Two-foot was popular in the 18th century, and three-foot in the 19th century.

The name of this meter comes from Greek word"finger". The point is that the finger consists of three phalanges, while one of them is longer than the others. So the dactyl foot consists of three syllables, one of which is stressed, and the rest are unstressed.

Interestingly, in the 1920s there was a theory of the origin of rhythm in poetry, which compared examples of poetry with dactyls with metrical hammer blows.

Amphibrachius

The five main poetic sizes of Russian poetry are trochaic, iambic, dactyl, amphibrach, anapaest. Examples of poems written with their help help you quickly figure out how to distinguish one size from another, without getting confused.

Amphibrachium is a special size that is formed by three-syllable feet. Moreover, a strong place, that is, a stressed syllable, is the second in this case. Thus, the following alternation is formed: unstressed syllable - stressed syllable - unstressed syllable.

At the beginning of the 19th century, the four-foot amphibrach was very popular, and from the middle of the 19th century, the three-foot amphibrach came into fashion.

Examples of such poems can be found, in particular, in Nikolai Nekrasov. In the poem "Frost the Governor" there are such lines: "It is not the wind that rages over the forest, \ Not from the mountains did streams run, \ Frost the Governor patrols his possessions."

Anapaest

Anapaest is also a three-syllable meter. It is often compared to the dactyl in that it is its opposite.

In ancient tradition, this was a poetic meter, consisting of two short syllables and one long syllable.

In Russian versification, an anapaest is such a meter when the foot consists of two unstressed syllables and one stressed one.

This poetic size became popular in the 20th century. Therefore, we can find examples in Alexander Blok - "Oh, spring without end and without edge! \ Endless and without edge is a dream."

Hexameter

There are poetic meters that were actively used in ancient poetry, and now they are practically not used. This also applies to the hexameter. This was the most common meter in ancient poetry.

This is a rather complicated meter, since in a broad sense it is any verse consisting of six meters. If you go into details, then a verse of five dactyls or spondees, as well as one spondee or trochaic present in the last foot, was called a hexameter.

Hexameter was used by Homer when writing the Iliad and the Odyssey. There is also the concept of "modern hexameter", which was common in European poetry of the XIV-XVIII centuries.

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

Let's stop at such a size as anapaest. We can find an example of anapaest 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 an anapaest is in literature. And examples of famous poets will be in this case educational material. The meaning of a word can be closely examined when an understanding of its origins comes. The very word "anapaest" comes from Greek and means "reverse". That is, in this case, the opposite of anapaest to dactyl is meant. A three-syllable dactyl is distinguished by an accent on 1 syllable, respectively, its rhythm has a “fall” intonation. This intonation is perfectly heard in poetry, and even for people who are not involved in the analysis of poetic stanzas, distinguishing between dactyl and anapaest will not be a difficult task. Between the rhythm of the falling and growing syllables there is a middle - the third dimension of the three-syllable "world" in poetry - amphibrachs, in which the stress falls, as is already clear to many, on the 2nd syllable.

Three-syllable poetic size anapaest. What is the feature?

Emphasis is used to strengthen the logical construction, to indicate the basic concepts of the poetic message. And also to keep the "melody" of what was said. Its significance in literature is immeasurable. Anapaest as a size has an unforgettable rhythm. A three-syllable poetic size can have up to 5 syllables in a stanza, as A. Fet wrote. The reader's voice grows from 1 syllable to the last in a progression. This gives what has been said a special importance, grandeur and seriousness to the texts. Anapaest is a three-syllable beautiful size, with a growing rhythm of the syllable. To see it and feel the syllable, we will definitely give an example of an anapaest.

How to determine size?

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

If you cannot at first understand the size exactly, try to understand: this is a two-syllable or three-syllable poetic size. 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 the verses of famous poets

The anapaest became fashionable 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, we give an example of an anapaest in a poem by the master of his time - Alexander Blok.

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

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

Alexander Blok often used this size. His verse captures the soul and reads melodicly, although we recall that it is difficult to write with an anapaest. Here is another small example of an anapaest in a famous poem:

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

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

Dimensions in verses by A.S. Pushkin

Radiant poet - A.S. Pushkin - did not like anapaest too much. There are, of course, examples of Pushkin's poems, and we will cite them. But mostly he used iambic six-foot and experimented with trochaic. At that time, the anapaest was a novelty, and only when the poet, at a later age, was already trying to diversify the meter and sonority of the verse, did he sometimes begin to use a three-syllable poetic meter.

We can find an anapaest in the poem "Gypsies". In this work, with the help of an anapaest, a monologue of the heroine Zemfira is written:

Hate you,

I despise you;

I love another

I'm dying in love.

Even later, he wrote in anapaest the work "Budrys and his sons", which is studied in schools.

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

How to find your meter?

Everyone is a poet at heart, who has feelings. It is not necessary to look up to the greats when you write for yourself, just to express emotions. Literary works are not written under the ruler, as it is a living and many-sided organism. If a person has enough imagination and knows literary techniques, why not try to find your own style in poetry? You have already seen an example of an anapaest, and remembering that others differ only in stress, it is easy to analyze other sizes.

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

You can experiment with different sizes, try to express your thoughts outside the box. But still, you need to know the basics of versification. When the rhythm is observed, then the poem will be pleasant to read. It does not "cut the ears" of others, but, on the contrary, cherishes a tender ear.

Instruction

First of all, in order to determine the size, you need to read the poem rhythmically, making power, not paying attention to the meaning of the words, as if beating out a drum roll.

Now count how many unstressed syllables are between stressed ones. In our example, there is one unstressed syllable per stressed syllable, which means that this is a two-syllable size - iambic or trochee. Remember: in chorea, the stress is on the first of the two syllables, in iambic - on the second. So, the example we have taken from "Eugene Onegin" is iambic.

Chorea example:
my cheerful sonorous ball

Where did you rush off

With a little practice, you will learn to determine the size of the verse in your mind, without marking stressed and unstressed syllables on paper.

In the same way, three-syllable poetic meters are distinguished. The only difference is that in this case there will be one stressed and two unstressed syllables in one foot. If the stress falls on the very first syllable - this size is called dactyl, if on the second - amphibrach, on the third - anapaest.
Dactyl example:

clouds of heaven, eternal wanderers
Amphibrach example:

will stop a galloping horse,

will enter the burning hut
Anapaest example:

I love you life

which in itself is not new

To determine the number of feet (a foot is a group of syllables, one of which is stressed), that is, to find out whether it is a three-foot trochee or, for example, an iambic pentameter, you need to count the number of stressed syllables. In the example from "Eugene Onegin" we see that this is iambic tetrameter. S. Marshak's poem about the ball is a four-foot trochee.

Remember that stressed syllables in rhythmic reading may not correspond to the usual stress in words! For example, in the word "zanemOg" from our first example, the actual stress is one (on "O"), but in rhythmic reading we also hear a second one, on "A".

To the question of literature, two-syllable and three-syllable sizes of verses. Examples. iambic. trochee. amphibrachs. anapaest. dactyl. given by the author Caucasian the best answer is

When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.

Clouds roll, clouds roll
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.

Stands alone in the wild north
On the bare top of a pine

She is dressed like a robe.


Fatal news of death.

There is a desecration of happiness.

Saved in slavery
Free heart -
Gold, gold
The heart of the people!
In principle, it is quite simple to distinguish them, you just need to listen to the rhythm of each

Answer from 22 answers[guru]

Hello! Here is a selection of topics with answers to your question: literature, two-syllable and three-syllable verses. Examples. iambic. trochee. amphibrachs. anapaest. dactyl.

Answer from capable[guru]

Chorey

Leaves are falling in the garden...
In this old garden, it used to be
I will leave early in the morning

Yamb


Let the vein of life be deep:
Diamond burns from afar -

Dactyl


I pointed by candlelight;

The mirrors are amazing. (A. Fet)
Amphibrachius


I raised the shining sword


Anapaest


You are sad in a flowery meadow.
Dodder among the fields of gold

Answer from Albert gilmanov[newbie]
thank you very much saved me

Answer from undersized[newbie]
THX

Answer from Inga Sofia[newbie]
Thank you very much

Answer from Ludmila Bartkiv[newbie]
help determine what size the poem is written I erected a monument to myself .. and After the thunder after the storm After the hard, gloomy days

Answer from Amriko Tamriko[newbie]
Thank you all

Answer from Ivan Pereverzev[newbie]
Thank you fry much

Answer from Player Roller[newbie]
THX

Answer from Olga Shelpyakova[active]
Ludmila Bartkiv:
I erected a monument to myself not made by hands,
The folk trail will not grow to it,
He ascended higher as the head of the rebellious
Pillar of Alexandria. (With)
This is iambic even-footed. Two-syllable foot with stress on the second syllable.
Cross rhyme.

Answer from Yergey Sushkov[newbie]
Iambic - two-syllable size, stress on the second syllable. Example:
My uncle of the most honest rules,
When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.
Chorey is also two-syllable, but the stress is on the first syllable:
Clouds roll, clouds roll
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
Amphibrach - a three-syllable poetic foot with an emphasis on the second syllable:
Stands alone in the wild north
On the bare top of a pine
And dozing, swaying, and loose snow
She is dressed like a robe.
Anapaest - stress on the third syllable:
Is in the melodies of your innermost
Fatal news of death.
There is a curse of sacred covenants,
There is a desecration of happiness.
Well, dactyl is a three-syllable foot with an accent on the first syllable:
Saved in slavery
Free heart -
Gold, gold
The heart of the people!
In principle, it is quite simple to distinguish them, you just need to listen to the rhythm of each
64 Like Complain

Answer from Kirill Kuznetsov[newbie]
There are quite a few types of versification size, it is customary to distinguish five main sizes - trochee, iambic, dactyl, amphibrach, anapaest.
Chorey
Simple two-syllable meter versification. The stresses in it fall on odd syllables (1, 3, 7, etc.):
Leaves are falling in the garden...
In this old garden, it used to be
I will leave early in the morning
And wander anywhere. (I. Bunin)
Yamb
Two-syllable meter of versification, stresses fall on even syllables (2, 4, 6). The most common are 4-, 5-, and 6-foot iambic. For example, "Eugene Onegin" is written in iambic tetrameter.
So beat, do not know rest,
Let the vein of life be deep:
Diamond burns from afar -
Fractions, my angry iambic, stones! (A. Blok)
Dactyl
Trisyllabic meter. Stress falls mainly on 1,4,7, etc. syllables, that is, a tripartite foot on three syllables with word stress on the first syllable. The two-foot and four-foot dactyls are the most common.
Mirror to mirror, with a quivering babble,
I pointed by candlelight;
Two rows of light - and a mysterious thrill
The mirrors are amazing. (A. Fet)
Amphibrachius
Trisyllabic meter. Stress falls mainly on 2, 5, 8, 11, etc. syllables. The most common four-foot amphibrach:
I could no longer listen to the madman,
I raised the shining sword
I gave the singer a bloody flower
As a reward for a bold speech. (N. Gumilyov)
Anapaest
Trisyllabic meter. Stress falls mainly on 3, 6, 9, 12, etc. syllables. The most common is the three-foot anapaest.
My beloved, my prince, my fiance,
You are sad in a flowery meadow.
Dodder among the fields of gold
I curled up on that shore. (A. Blok)

Here they are - the whales of poetry.) Although many writers believe that they are far from being the main ones. Whatever it was - definitely very important for the poet!

RHYTHM - the sound structure of a particular poetic line; the general ordering of the sound structure of poetic speech. Meter is a special case of rhythm.

METER (Greek metron - measure, size) - an ordered alternation of stressed and unstressed syllables in a verse, general scheme sound rhythm. See also antique meters

SIZE - a way of sound organization of the verse; special case meters. So, the iambic meter can include sizes from 1-foot to 12-foot (and more) iambic, as well as free iambic. In syllabic versification, meter is determined by the number of syllables; in tonic - by the number of stresses; in metric and syllabo-tonic - by the meter and the number of feet. The length of the size is determined by the number of feet: two-foot, three-foot, four-foot, five-foot, etc. The shortest sizes are the most common. Examples:

Play, / Adele,
Do not know sadness;
Charity, Lel
You were married.
(A.S. Pushkin)

Oh pa / mint heart / dtsa! You / stronger /
Reason of sad memory
And often with its sweetness
You captivate me in a distant country.
(K.N. Batyushkov

Storm / mist / sky / covers,
Whirlwinds of snow twisting;
Like a beast, she will howl
It will cry like a child.
(A.S. Pushkin)

Let the pines / and firs
All winter stick out
In the snow and blizzard
They sleep wrapped up.
(F.I. Tyutchev)

In the midst of a noisy / ball / randomly,
In the turmoil of the world,
I saw you, but the mystery
Your features are covered.
(A.K. Tolstoy)

What are you staring / at the bottom / on the road / gu
Away / from fun / lyh girlfriends?
To know, the heart beat alarm -
Your whole face suddenly lit up.
(N.A. Nekrasov)

Morning that / semolina, / this morning / before,
Fields are sad, / covered with snow,
Reluctantly remember the time of the past,
Remember faces long forgotten.
(I.S. Turgenev)

Spring is coming.
She sings,
Buzzing, buzzing,
Spinning, pulling.

Spring is coming. She
Sings, murmurs, buzzes,
Spinning, pulling. Spring.

iambic tetrameter

Spring is coming. She sings,
Murmurs, buzzes, circles, attracts.

Spring is coming. She sings, murmurs,
Buzzing, circling, attracting. Spring is coming.

An example of an extra long size (12-foot iambic):

Near the honey / casting / Nile / where / the lake / ro Me / rida, / in the kingdom / fiery / RA,
You loved me for a long time, like Osiris Isis, friend, queen and sister!
(V.Ya. Bryusov)

ICT (Latin ictus - strike) - a stressed syllable in a verse. The second name is arsis. The inter-ict interval (the second name is the thesis) is an unstressed syllable in a verse.

STOP - unit of length of a verse; repeated combination of stressed and unstressed syllables. Graphically, the foot is depicted using a diagram, where “-” is a stressed syllable, and “È” is an unstressed one.
Two-syllable feet: iambic and trochaic (two-syllable).
Trisyllabic feet: dactyl, amphibrach, anapaest (trisyllabic).
Four-syllable feet: peon (four-syllables).
About ancient feet

YaMB - two-syllable poetic foot with stress on the second syllable. The most common stop of Russian verse.
Scheme "È -". Basic sizes: 4-foot (lyric, epic), 6-foot (poems and dramas of the 18th century), 5-foot (lyrics and dramas of the 19th-20th centuries), free multi-footed (fable of the 18th-19th centuries, comedy of the 19th century .).

My uncle of the most honest rules,
When I fell ill in earnest,
He forced himself to respect
And I couldn't think of a better one.
(A.S. Pushkin)

CHOREIUS (Greek choreios - dancing) or TROCHEI (Greek trochaios - running) - a two-syllable poetic foot with an emphasis on the first syllable. Scheme "- È".

Clouds roll, clouds roll
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
(A.S. Pushkin)

DACTYLE (Greek daktylos - finger) - a three-syllable poetic foot with an emphasis on the first syllable.
Scheme "- ÈÈ".

Saved in slavery
The heart of the people
Gold, gold
The heart of the people!
(N.A. Nekrasov)

AMPHIBRACHY (Greek amphibrachys - short on both sides) - a three-syllable poetic foot with an emphasis on the second syllable. Scheme "È - È".

Stands alone in the wild north
On the bare top of a pine
And dozing, swaying, and loose snow
Dressed like a robe. she.
(M.Yu. Lermontov)

ANAPEST (Greek anapaistos - reflected, i.e. reverse to dactyl) - a three-syllable poetic foot with an emphasis on the last syllable. Scheme "ÈÈ -".

Is in the melodies of your innermost
Fatal news of death.
There is a curse of sacred covenants,
There is a desecration of happiness.
(A. Blok)

PEON is a four-syllable poetic foot with 1 stressed and 3 unstressed syllables. Depending on which syllable of the foot is stressed, peons are distinguished on the 1st (- È ÈÈ), 2nd (È- ÈÈ), 3rd (ÈÈ-È) and 4th syllable of the foot (È ÈÈ -). Peony is often a special case of iambic and trochaic.

Sleep half-dead wilted flowers
And who did not recognize the flowering of beauty,
Near the hackneyed paths raised by the creator,
Crumpled by the unseen heavy wheel
(K.D. Balmont)

Don't think too much about seconds.
There will come a time, you will understand, probably -
They whistle like bullets at the temple,
Moments, moments, moments.
(R. Rozhdestvensky)

PENTON (five-syllable) - a poetic size of five syllables with an emphasis on 3 syllables. Penton designed by A.V. Koltsov and is used only in folk songs. Rhyme is usually absent. Scheme "ÈÈ - ÈÈ"

Do not make noise, rye,
Ripe ear!
Don't sing, mower
About the wide steppe!
(A.V. Koltsov)

PIRRICHIUS - a foot of two short (in ancient versification) or two unstressed (in syllabic-tonic) syllables. Pyrrhic is conventionally called the omission of stress on a rhythmically strong place in trochee and iambic.

Three maidens by the window
Dropped in late at night...
(A.S. Pushkin)

TRIBRACHIUS - the omission of stress in a three-syllable size on the first syllable (“Unique grace of days ...”).

ANAKRUZA (Greek anakrusis - repulsion) is a metrically weak spot at the beginning of a verse before the first ikt (stressed syllable), usually of constant volume. Anacrusis is often overscheme stressed. Anakruza is also called unstressed syllables at the beginning of a verse.

The mermaid floated on the blue river,
Illuminated full moon;
And she tried to splash to the moon
Silvery foam waves.
(M.Yu. Lermontov)

SUPER-SCHEME ACCENT - emphasis on weak point poetic meter (“The spirit of denial, the spirit of doubt” - M. Yu. Lermontov).

When I wait for her arrival at night,
Life seems to hang by a thread.
What honors, what youth, what freedom
In front of a nice guest with a pipe in her hand.
(A. Akhmatova)

SPONDEUS - an iambic or chorea foot with a superscheme accent. As a result, the foot can have two strokes in a row.

Swede, Russian - stabs, cuts, cuts.
Drum beat, clicks, rattle,
The thunder of cannons, the clatter, the neighing, the groan,
And death, and hell from all sides.
(A.S. Pushkin)

TRUNCATION - an incomplete foot at the end of a verse or half-line. Truncation is typically present in interleaving
in verses of rhymes from words with stress on different syllables from the end (for example, feminine and masculine rhymes).

Mountain peaks
Sleep in the darkness of the night;
quiet valleys
Full of fresh haze. u
(M.Yu. Lermontov)

ALEXANDRIAN VERSE (from the old French poem about Alexander the Great) - French 12-complex or Russian 6-foot iambic with a caesura after the 6th syllable and paired rhyming; the main size of large genres in the literature of classicism.

An arrogant temporary worker, and vile and treacherous,
The monarch is a cunning flatterer and an ungrateful friend,
Furious tyrant of his native country,
A villain elevated to an important rank by slyness!
(K.F. Ryleev)

HEXAMETER (Greek hexametros - six-dimensional) - the meter of ancient epic poetry: six-foot dactyl,
in which the first four feet can be replaced by spondei (in syllabic-tonic imitations - by chorea). Hexameter - the most popular and prestigious ancient size, the invention of which was attributed to Apollo himself - the god who patronizes poetry. Among the Hellenes, this size was associated with the noise of a wave running ashore. The greatest poems of Homer "Iliad" and "Odyssey" (7th century BC), Virgil's "Aeneid", as well as hymns, poems, idylls and satires of many ancient poets were written with hexameter. Up to 32 rhythmic variations of the hexameter are possible. Scheme examples:
-ÈÈ-ÈÈ-//ÈÈ-ÈÈ-ÈÈ-È ; -ÈÈ-ÈÈ-È//È-ÈÈ-ÈÈ-È ("È" - unstressed part, "-" - stressed part, "//" - inflection)
Hexameter was introduced into Russian poetry by V.K. Trediakovsky, and fixed N. I. Gnedich (translation of the Iliad), V. A. Zhukovsky (translation of the Odyssey), A. Delvig.

Anger, goddess, sing to Achilles, the son of Peleus,
Terrible, who did thousands of disasters to the Achaeans:
Many mighty souls of glorious heroes cast down
In gloomy Hades and spread them themselves for the benefit of carnivorous
To the surrounding birds and dogs (Zeus's will was performed), -
From that day on, as those who raised a dispute, flared up with enmity
The shepherd of the peoples Atrids and the noble hero Achilles.
(Homer "Iliad". Per. N. Gnedich)

PENTAMETER - an auxiliary meter of ancient versification; component elegiac distich, in which the first verse is a hexameter, the second is a pentameter. In fact, the pentameter is a hexameter with truncations in the middle and at the end of the verse.
Scheme: -ÈÈ-ÈÈ-//-ÈÈ-ÈÈ-. In its pure form, the pentameter was not used.

LOGAED (Greek logaoidikos - prosaic-poetic) - a poetic meter formed by a combination of unequal stops (for example, anapaests and choreas), the sequence of which is correctly repeated from stanza to stanza. Logaeds are the main form of ancient song lyrics, as well as choral parts in tragedies. Often, logaedic meters were named after their creators and propagandists: alcaeus verse, sapphic verse, phelecius, adonius, etc.

We will live and love, my friend,
Grumble of the old men fierce
We will put in broken pennies with you ...
(Gaius Catullus)

Many Russian poets also wrote in Logaeds. As an example, a logaed with alternating 3-foot dactyl and 2-foot iambic.

Lips can / and approach / press
To your / lips,
The mysteries are happening again
And the world is like a temple.
(V.Ya. Bryusov)

BRAHIKOLON - a genre of experimental poetry; monosyllabic size (one-syllable), in which all syllables are stressed.