STROPHIC
It is impossible to talk about the semantic structure of rhyme by speaking only in isolation about a few similar-sounding words. Rhyme draws into the movement of thought first the entire line, and then the entire work, forcing you to listen carefully and peer at how it is all constructed. The sought meaning is the result of the interaction of all levels of the artistic and speech structure of a poetic work. That is why many poets, extracting the maximum artistic effect from rhyme, treat it as one of the essential components of poetic thinking in general.
Stanza is a section of poetry: the study of the compatibility of verses.
Stanza- this is a combination of verses united by a common rhyme and representing a rhythmic-syntactic whole, sharply separated from adjacent poems by a long pause, the completion of a rhyme series and other signs.
The stanza appeared in antiquity, its forms were distinguished by the orderly alternation of verses of different meters. Alcaic consists of two eleven-syllables, a nine-syllable and a ten-syllable. Sapphic stanza consists of three eleven-syllables and adonium.
In French poetry of the 18th and 19th centuries there were stanzas combining twelve-syllables and eight-syllables; in Russian poetry there is a similar stanza of even six-foot verses and odd four-foot verses (A.S. Pushkin “On the Hills of Georgia”). But since equal complexity and equal footing almost completely prevailed, the main distinguishing feature of a stanza, in addition to the number of verses, in modern European poetry was the rhyme scheme.
Historically possible connections between certain types stanzas and poetic size.
The intonation-syntactic flow of the stanza powerfully dictates both the boundary of the sentence and the placement of its parts. Almost never does a sentence move from one stanza to another; against this background, cases of interstrophic transfer serve as a strong means of expression.
The length of a stanza is usually quite short: it should be directly perceptible: from 2 to 16 verses, rarely more.
Couplet- the simplest stanza, consisting of two verses connected by an adjacent rhyme. The couplet may appear as component into larger stanzas, for example, quatrains of adjacent rhymes aabb, etc. In the past, canonical forms of couplets were known, associated with a certain genre, poetic size (elegiac distich, Alexandrian verse), etc.
Tercet- a poetic stanza of three verses. The following types of tercets are possible: 1) tercet- a tercet, in which all three verses rhyme - aaa, or a tercet, in which one of the verses remains unrhymed - aab, etc.; 2) terza rima- a tercet in which the verse of the next stanza rhymes with a verse that did not receive a rhyme-response in the same stanza - aba - bvb - vgv - etc. Terzin was canonized by Dante in " Divine Comedy". In Russia they were used by A.S. Pushkin, A.K. Tolstoy, V. Khlebnikov, Vyach. Ivanov, V.Ya. Bryusov. But tercets can also be unrhymed.
Quatrain- a stanza of four lines. The term used to denote quatrains is quatrain. The following basic rhyme schemes are possible in a quatrain: adjacent - aabb, cross - abab, encircling - abba. Various alternations of clauses are possible - masculine, feminine, dactylic. Much less common are quatrains, where not all lines rhyme, but only some, while the rest (one or two) remain single, that is, not rhymed. Quatrains are peculiar, where one verse (most often the third) is left blank, and the remaining three rhyme with each other. The structure of the quatrain allows one to achieve enormous rhythmic, syntactic, and intonation diversity. Starting with A.S. Pushkin, this stanza became the dominant strophic form of Russian poetry. A quatrain can be part of larger stanzas. As an independent poem it is used for inscriptions, epitaphs, epigrams, sayings.
Five verses, as a rule, in its intonation resembles a quatrain “extended” by one line. The most commonly used forms of rhyme in them are abaab or ababa.
Sixth lines- a poetic stanza of six verses. Very common. The six-line poem has a well-developed variety of rhyme schemes and its syntactic structure. The most common form of rhyme is aabvvb, which unites the stanza together more closely than others and does not allow it to fall apart into separate parts. There are also frequent poems where a quatrain with cross rhyme seems to close with a couplet. Much less common are six-line lines written not in three, but in two rhymes.
Sometimes a six-line line with a variety of rhyming methods is called the term sextina. A sextine is also a poem consisting of six stanzas of six verses, usually unrhymed. Sextina was introduced into Italian poetry by Dante and Petrarch, from there it passed into other literature of the Renaissance, but did not become widespread. In Russia, sextins were written by L.A. Mei (“Again, again they sound in my sad soul”), V.Ya. Bryusov, M.A. Kuzmin. It is more convenient to call such a poetic form “great sextine”.
Seventh line- a stanza consisting of seven lines. M.Yu. Lermontov used this stanza in the poem "Borodino". This stanza is based on the usual six-line rhyme aabvvb, in the second period of which one verse is doubled (AAbVVVb). The seventh line has not become widespread in Russian poetry. This stanza conceals many unused possibilities. Great opportunities open up for poets here.
Octave- a stanza of eight lines with a solid rhyme scheme - abababvv, with the obligatory alternation of masculine and feminine endings. It is believed that the octave developed from Siciliana (abababab), reached its peak in Italian poetry of the Renaissance (Boccaccio, later Ariosto, Tasso, etc.). In the nineteenth century I.V. Goethe used the octave in the dedication to Faust, J. Byron - in Don Juan. The octave was intensively developed in Russia, and disputes about this stanza had serious significance for Russian poetry. The first sign was the translation by V.A. Zhukovsky Goethe's poem "Dream". The eight lines were rhymed together as follows: AbAbAbVV. All four stanzas of the poem follow this form. P.A. Katenin translated several octaves of Tasso's poem "Jerusalem Liberated" into Russian. He wrote that “with great authors, form is not an arbitrary thing (...). The most famous of the new epics, Ariost, Camões, Tass, wrote in octaves (...). Our language is flexible and rich: why not try it in a new kind of (...)?" However, the poet further notes that it is too difficult to “constantly search for three rhymes.” Therefore, he slightly changes the strophic form of the octave, using the following rhyme - AbAbVVgg. P.A. Katenin drew attention to the fact that V.A. In his translation, Zhukovsky violated the rule of alternation: poems with male and female rhymes had to alternate, and if a stanza ended with a male stanza, then the next one had to begin with a female one and vice versa. A dispute arose regarding the development of the octave in the Russian language between P.A. Katenin, O.M. Somov, N.I. Buckwheat. In the reality of Russian poetry A.S. Pushkin proved that three rhymes in the Russian language can be easily selected and it is possible to observe the rule of alternation: each new octave can be built in the reverse order of the previous one. It should also be noted that octaves were written in five octaves (V.A. Zhukovsky, P.A. Katenin, A.S. Pushkin “House in Kolomna”) or iambic hexameter (A.S. Pushkin “Autumn”). There are two lines in the development of the Russian octave: lyrical, coming from V.A. Zhukovsky, and lyrical-satirical: A.S. Pushkin "House in Kolomna", A.K. Tolstoy "The Dream of State Councilor Popov" and others.
Odic stanza- a ten-line with a rhyme system: ababvvgddg, written exclusively in iambic tetrameter. For the first time on Russian soil in the 18th century, this stanza was used by A.P. Sumarokov (“Facing the Changes of the World,” 1740), then M.V. Lomonosov ("Ode on the Birth of John 111", 1741). Both poets used this stanza very often - more than 50 times, which confirmed its popularity. Starting with M.V. Lomonosov in Russian poetry the alternation of female and men's rhymes(alternance rule). A pair of adjacent female rhymes should be followed by a pair of male rhymes, etc. (AA bb BB yy); with cross rhyme, the schemes AbAb or aBaB were allowed, with encircling rhyme - AbAb and aBBa. The odic decimal line was an invention of high poetry, but its constant use (and not only in Russia, but throughout Europe) forced the stanza to become automated, and poets to look for new means of poetic influence. Already at M.V. Lomonosov's solemn odes include inverted stanzas aaBvvBgDDg ("The first trophies of His Majesty John III..."), AAbVVbGdGd ("Ode on the wedding day... of Pyotr Fedorovich and... Ekaterina Alekseevna").
Ten lines of this model were not always used in ceremonial odes; there were other genres: G.R. Derzhavin "Stanzas to Clarice", M.I. Popov "In hours of separation" ( love lyrics), V.V. Kapnist “In memory of Plenirina’s death” (elegy), A.P. Sumarokov “Frog” (parable) and others. The ten-verse odic stanza became a kind of symbol of Russian poetry of the 18th century. By the beginning of the 19th century, it gradually ceased its natural existence. Poets began to turn to this stanza in cases where they intended to reproduce the style of the ode for one reason or another. This is what A.S. did. Pushkin, parodying in “Ode to His Excellency Count Dmitry Ivanovich Khvostov” odographers, both those belonging to the previous 18th century and new ones; This is what Yu.N. did in the 20th century. Tynyanov in comic odes written by him on various occasions of scientific and literary life 20s. The odic stanza also appears in the works of V. Nabokov, a poet of the 20th century.
Onegin stanza- a stanza of fourteen verses of iambic tetrameter with the rhyme AbAbVVggDeeJJ, created by A.S. Pushkin for the novel “Eugene Onegin”. This stanza is very diverse in sound, because it presents all three main modes of rhyme, which eliminates monotony, although the stanza is invariably repeated throughout the novel. Usually the first quatrain gives the theme of the stanza, the second - the development, the third - the climax, and the couplet - the ending. This structure makes Onegin’s stanza especially expressive - the best in volume, very flexible and at the same time integral, maintaining the harmony of the huge work. A.S. Pushkin never used this stanza again.
The uniqueness and otherness of this stanza was felt very clearly. However, quite soon various poets (the first, probably the anonymous author of the novel "Eugene Volsky" in 1828-1829), mainly imitated A.S. Pushkin or those who sought to paraphrase him, like Lermontov in “Tambov Treasury,” made the stanza almost universally used. This stanza was used by poets in both the 19th and 20th centuries.
Patterns of strophic development
The strophic division of verse has been known since ancient times. In ancient and medieval poetry, the forms of the stanza were the “property” of the person who created them. Later they became common property. Almost all stanza models by volume were known by the 18th century. Only extra-long ones were added.
In any period of the development of poetry, there simultaneously exists a large number of stanzas of various models. However, each new generation of poets develops its own new forms, and only a few borrow them. Often only small forms are borrowed, where changes are easily recorded. Odd-numbered models are updated more than even-numbered ones.
The stanza is a way of formalizing the author's intention and in itself is part of this author's intention. A stanza is an individual artistic and expressive means. Once found and used by the poet, it can be discarded because it has already exhausted itself in this particular plan (for example, the Onegin stanza).
Poets can use ready-made, well-known stanzas. This makes the stanza a stereotype. However, we note that the stanza is not strictly attached to either the genre or the topic. Sometimes such a commonality can be traced, and it is connected with tradition, with intentional or unconscious imitation, with the roll call of poets, with the goals of parody; in translations - with the desire to get closer to the form of the original. A small number of strophic models become stereotypes, but do not turn into a genre or thematic stereotype.
Stanza as a source of verse diversity
Genuine diversity of poetic form is provided by stanza. Each specific stanza in the work, although it contains a number of common generic elements of structure (the number of lines, their mutual arrangement, metric composition, etc.), is always individual, since it has its own intonation-syntactic structure, depending on the content, its own location of intra-verse pauses and stresses, its own lexical and phonetic features.
There are very few types of stanzas in terms of volume, starting with the couplet, but the different configurations of rhyming endings are truly innumerable. For illustration, let’s consider possible quatrain patterns. There are three main methods of rhyming: adjacent, cross and encircling. But there may be the same options with blank verses, quatrains with one rhyme or with one rhyme, but with the inclusion of blank verses, as well as combinations of non-rhyming verses with various kinds endings, etc. For quatrains, 876 stanza models are possible.
The larger the stanza in volume, the greater the possibility of rearranging rhyming and non-rhyming lines. Already a quintet provides several times more options than a quatrain, and in larger stanzas - eighths, tenths, etc. - the number of combinations is truly innumerable. The larger the stanza, the weaker the organization of the strophic structure is felt; the novelty effect is not so noticeable. The most productive were the quatrains.
Stanzas with an even number of lines are more common than odd ones. The even-numbered stanzas are organized more strictly, more compactly, and stronger than the odd-numbered stanzas. They are mostly held together by symmetrically located rhyme or homogeneous endings - both of them appear in pairs. As is known, pairing and symmetry are of particular importance in natural processes in general. Their role is also great in the organization of poetic speech.
The stanza is characteristic only of poetic creativity. It represents metrorhythmic periods within one poem. The entire poem consists of stanzas classic look However, recently there has been a tendency to abandon the stanza (this applies to blank verse without a certain stanzaization and free verse). Stanzas, however, should not be confused with paragraphs in prose, because often one stanza is not enough to express a certain feeling, so some stanzas seem to flow into one another:
I’ll take that bouquet to the autumn grave,
Where are the leaves from under the snow in the spring minute
Looks at us sadly, like a cruel answer [!]
For a minute of separation, desired, strange,
For a minute of doubt, unclear and foggy,
And for a boundless eternity, full of dreams. /“I’m running after you from the nets...”/
The stanzas are:
1. Simple:
a) double:
From that moment I suddenly lost my peace. I'm in love with your hands, and legs, eyes,
The beauty of these crystals, the depth - endlessly... /“I remember that music...”/
I’m unaccustomed to affectionate confessions, I’m unaccustomed to tender feelings,
The cry of desires, the furious tongue of passion, has become close to me,
All the words that torment sore lips,
At the hour when shamelessness is taught - darkness and nakedness! /“First meetings” V.Bryusov/
b) quarter notes:
I wander around, warming my hands in my coat pockets.
People and crows flash before me,
Then the window of the “Chateau” will light up
Every now and then with passers-by, dirty ones, ambulances -
I meet and immediately run away from them.
Yellow leaves, falling, write patterns
Bindings of hopes and my new books.
Suddenly a person overtaking me touches me,
The light of the car will fly by the wind of the rush of the roads,
And after the rains, purified and aching
My gaze follows him to the flickering “Chateau”. /“Chateau”/
There is no strength to say, there is no strength to hear,
The ear is powerless, the tongue is dead.
Only time knows how to calm down
An insanely blatant scream.
Tear off your last clothes
And lean your whole chest on your chest, -
The impulse is powerless! no hope!
And in the passion itself we are alone!
There is no unity, no merging, -
There is only vague greed,
Yes, consistency of desire,
Yes, the indifference of a slave. /“Loneliness” V.Bryusov/
2. Complex. They have the structure of five-line verses (quintina):
I fell into the languor of the topical
And immediately fell asleep.
But choo! – all types of everyday
The usual life of frank
Suddenly out of my mind. /"Dream"/
six-line (for example, sextins):
The flowers decayed in due time,
In centuries long past, -
But the color that once arose is alive,
In connected worlds.
And the moon's face illuminates
Crazy and in love. /“The Legend of the Moon” by V. Bryusov/
His lips, frozen in a smile,
Now forever goldfish
They will carry you to a distant shore like a fairy tale.
What about SHE? Is SHE already suffering?
That the slave, in love with her, dies? –
Lowered eyelids will destroy everything!.. /“Caravel”/
seven-line (septines):
The story is over: You interrupted him.
With your silence you called me
To be your friend under the shell of grievances.
Oh!.. How did you decide with this revelation?
Disarm, starting the persecution again
My soul from you? Are you happy with this view?<>The story ended on purpose, you interrupted it... /“Sketch on canvas”/
Then inadvertently into the void
He looks with an unseeing eye,
Then he looks around screaming,
Then suddenly she bursts into tears,
There is something missing in the wild fury,
Cries and then laughs. /“Romance” A. Mickiewicz/
eight-line (octaves, etc.):
The gathering of evil is his element;
Rushing between dark clouds,
He loves fatal storms,
And the foam of the rivers, and the noise of the oak trees;
He loves cloudy nights
Fogs, pale moon,
Bitter smiles and eyes
Unknown to tears and sleep. /“My Demon” M. Lermontov/
and etc.
Various types of meters, rhymes and rhymes are used at the base of the stanzas.
It should be remembered that the length of the rhymed lines must be either equal or shorter, but each stanza (if the verse is written strophically) must completely match the length of the lines with all subsequent stanzas. The length of the lines is determined by the number of syllables (vowels). If the stanza is in quarter, then the following stanza forms are accepted when the rhyming lines with a feminine rhyme are longer than the lines with a masculine rhyme by one syllable (about rhyme, see above):
I understood that the night is just a point (9)
At the end of unwritten verses.(8)
I knew the night was just a kidney (9)
On the stem of dried flowers. (8)
I understood...but I didn't believe it. (9)
Who would have believed at that moment, (8)
When words broke down doors (9)
Giving birth to a languid cry in the soul: (8)
“I feel good with you, Oksana!” (9)
“I feel so good with you! (8)
I, a sinner, wished for a wound, (9)
Merging into one with you... (8) /“Summer Night”/
But there are other forms of strict stanzas that the author uses depending on what the verse should reflect.
Very often the author creates his own forms of stanzas to convey certain shades of feeling (but not to simplify the search for rhyming!!!), for example, two-line stanzas, although they imply the same length of rhymed lines, are not obligated to this:
Sad dusk, sad wind, rustling in the oaks. (13)
Recalls the evening about distant dreams. (eleven)
The wind whispers, sadly whispers someone's name to me. (13)
The stars are homeless in the black silence. (11)/“Sad evening” V. Bryusov/
|
Tatyana will sigh, then gasp; She doesn't notice the dawn |
Rhyming depends on the meter of the poems and the type of stanzas. The main types of strict rhyming are: 1. Line by line when the rhyme comes to the ends of lines: in quarter stanzas (quatrains) the following types of rhyming are used: a) ring: b) sequential: the first two lines and the second two rhyme (1-1-2-2). The mermaid swam along the blue river, (1) c) through incomplete: the second and fourth lines rhyme (1–2–3–2). We didn't hide affection behind the sheets, (1) d) through complete: the first and third lines, the second and the fourth (1–2–1–2) rhyme. Along the white marble steps (1) Different stanzas have a huge number of types of rhyme. For example, septins can have the following structure: 1–1–2–3–3–2–1, 1–2–1–2–1–2–1, 1–2–3–1–2–3– 1, etc. Classic sextins can have the following structures: (whereby the words put into rhyme are repeated in the following sextins + the fact that there are six stanzas!), 1-1-2-2-3-3, etc. An example of a classic sextine: I once sang of hopelessness, (1) The shadow falls at the foreshadowed hour; (1) To convey the mood in poetry, various types of rhyming are used, simultaneously with various types stanzas and types of rhymes, the result is an extract of elementary verse, not devoid of beauty. For example, to convey tender feelings, poets often use iambic and quarter stanzas: Declarations of love are silent speeches, To convey particularly lyrical (melodic) moments, three-syllable meters are usually used, with variable rhyme (selecting it and composing it depending on the logic of feeling or internal melody): Why are you struggling at sea, caravel? (A) Some classical styles of poetry require a strict form of rhyme and stanza formation. An Italian sonnet is a verse with the following structure: ABBA ABBA VGV GGV, ABBA ABBA VGV GVG or ABBA ABBA VVG VVG using classical meters (most often iambic).
But only luring with a mirage in the desert (2)
And lights in the unsteady mud, (2)
To strangle you like a mermaid at the bottom (1) /“And I wanted not to love you...”/
Illuminated full moon; (1)
And she tried to splash to the moon (2)
Silvery foam waves. (2) /“Rusalka” M. Lermontov/
We gave bodies openly. (2)
You and I were despised out of stupidity. (3)
Or maybe it was envy? (2) /“Measured rustle of grass”/
The princess goes into a quiet garden - (2)
Soothe your chest with autumn fire, (1)
Pamper your eyes with through foliage. (2) /“Traveler” V.Bryusov/
I sang the dream of love last time. (2)
Again the soul is seized with torment, (1)
The light of joy in my soul went out again. (2)
What should I praise in anticipation of sunset, (1)
In the evening, the foreshadowed hour? (2)
Blood flows down the slopes where once upon a time (2)
The azure shone. In the glow of sunset (1)
Rebellious soul, like so many times, (2)
Burns with a fire that has not gone out (1)
Under the ashes of years, and embraced by trepidation. (2), etc. / “Sextina” V. Bryusov /
There are no sounds in them, they contain the smells of spring,
Innocent shoulders shake in them,
When all fairy-tale dreams are eclipsed. / “Declarations of love...”/.
Or didn’t you have time to avoid the danger? (A)
Wave, wave, another wave! (B)
Go to the bottom from the destructive howl, (B)
Find peace in the midst of eternal peace, (B)
You are the past, she decided. (B) /“Caravel”/
In addition to these types of rhymes, there are also author’s ones, which are invented by the authors themselves to convey subtle feelings and impose a certain impression created by the author in his soul on the reader through the melody of his poem. These types of rhyming, together with the forms of stanzas invented by the author, are popular because they convey the originality of the author. 2. Portioned
rhyme type: a) the rhyme is selected in the middle of different lines: Where are you, measured breath anh e, exciting hearing? It is quite possible to turn these couplets into quatrains with complete continuous rhyming, but this type of rhyming is necessary to convey the length of a certain feeling. In addition, portion rhymes can often be confused with associative repetitions (see below), but it is the author’s right to determine the type of rhyme and stylistic device. b) the rhyme is matched to the words of one line: Kn igi, cr iki sk uki our... Chet il odd, see nothing. /Author's examples/
With your sweet forehead anyem you make dreams come true at night, like fluff./“Where are you, measured breathing...”/
Material from Wikipedia - the free encyclopedia
World poetry has accumulated a huge number of solid strophic forms. The richest source of strophic forms, which were later constantly developed in the lyrics of European peoples, is ancient poetry. Hence, the names of stanzas of ancient poetry are widely known, associated with the names of the poets who first used them (for example, Alcaeus stanza, Sapphic stanza, Asclepiadic stanza), or by the names of the verses of which the stanza consists (for example, Ionic stanza, Iambelegic stanza).
Strophic forms in Western European poetry
Strophic forms include the monostic, Dante's terzas, Verlaine's quatrains (Fêtes galantes), Petrarch's sextins, the bar-form of the Meistersinger and Lutheran chorales, as well as many other stable and variable (medieval Latin hymns and sequences, ancient French chanson, Italian madrigal of the 16th century, sonnet, etc.) forms of European poetry. For a list of selected strophic forms (ancient and modern European), see the German Wikipedia.
Stanza in Russian versification
The ancient stanza was repeatedly reproduced in Russian versification (due to fundamental difference ancient quantitative versification from Russian syllabic-tonic, often inaccurate). Eastern poetry played a lesser role in Russian poetry, from which in relatively recent times attempts have been made to borrow some forms (for example, Persian quatrains, the so-called ghazal). From the rich strophic heritage of the Romanesque peoples, the Russian reader is more familiar with such solid forms as terzina, triolet, sextine, octave, sonnet, rondo, etc.
- Among the stanzas adopted by Russian versification, first of all it should be noted the so-called. Alexandrian verse: borrowed from the French couplet, which in Russian poetry of the 18th century. became a mandatory form of classical tragedy and heroic poem. Other types of couplets were used most often in the romance genre, as well as in epigrams, inscriptions, etc.
- Tercet the simplest form (with one rhyme running through all three verses) are rare in Russian versification. Terzina turned out to be much more popular, which is due to numerous translations from Dante's Divine Comedy.
- Quatrain- in Russian versification the most common of all stanzas. In the texts of most Russian poets, this stanza almost numerically prevails over all others. In addition to quatrains constructed according to basic rhyme schemes, quatrains with idle (unrhymed) odd verses and rhymed even ones have become widespread. It should be noted the so-called. “ballad” stanza, which has become popular since the time of Zhukovsky.
- Five verses in Russian versification it usually occurs in the form of a limerick.
- The six-verse stanza, in addition to the sextine, has several popular schemes representing various combinations three rhymes. Among them - simplest form six lines with paired rhyme (for example, “Three Palms” by Lermontov) and hex lines of the AAB CCB type (for example, “Mustache” by Pushkin).
- Seventh line, as well as most other stanzas consisting of an odd number of verses, is rarely used in Russian versification. A sample of type AAB CCCB, used by M. Yu. Lermontov in the poem “Borodino”.
- Octave occurs frequently in Russian versification. Usually it represents one or another combination of two quatrains. To the so-called “Solid forms” of Italian origin belong to the Sicilian and the widely spread octave, which was used to write such works as “Jerusalem Liberated” by Tasso, “The Lusiads” by Camoes, and “Don Juan” by Byron. In Russian versification, the use of the octave was greatly promoted by Stepan Shevyrev, and the stanza received general recognition after A. S. Pushkin’s poem “The House in Kolomna” appeared.
- One of the variations nine lines is the so-called "Spenserian stanza", introduced by the English poet Edmund Spenser. It consists of eight verses of iambic pentameter and one iambic hexameter with three rhymes arranged according to the ABAB BCBCC scheme. Spencer's stanza, like other forms of nine-line stanzas, did not have a significant spread.
- Among the stanzas consisting of ten verses, the popular one in the 18th century deserves mention. tenth classical ode. It was written in iambic tetrameter with a rhyme scheme ABAB CCD CCD (examples are found in the odes of Mikhail Lomonosov).
- Stanzas exceeding ten verses are rare in Russian versification. Special meaning in Russian poetry, a stanza of 14 verses was used, used by Pushkin in the poetic novel “Eugene Onegin” and called the “Onegin stanza”: it is built according to the scheme AbAb CCdd EffE gg (feminine rhymes are indicated in capital letters).
Larger stanzas are rarely used and, as a rule, are not carried out consistently through the entire work. Therefore, it is more expedient to consider them outside the principle of repetition that underlies the stanza, as free structural units, approaching in their meaning the role of chapters or songs in the composition of large poetic forms.
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Notes
see also
Literature
- Gornfeld A.G.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
Excerpt characterizing the stanza
“I need it... now, this very minute, I need it,” said Natasha, her eyes sparkling and not smiling. – The Countess raised her head and looked intently at her daughter.- Don't look at me. Mom, don't look, I'm going to cry now.
“Sit down, sit with me,” said the countess.
- Mom, I need it. Why am I disappearing like this, mom?...” Her voice broke off, tears flowed from her eyes, and in order to hide them, she quickly turned and left the room. She went into the sofa room, stood there, thought, and went to the girls’ room. There, the old maid was grumbling at a young girl who had come running out of breath from the cold from the yard.
“He will play something,” said the old woman. - For all the time.
“Let her in, Kondratievna,” said Natasha. - Go, Mavrusha, go.
And letting go of Mavrusha, Natasha went through the hall to the hallway. An old man and two young footmen were playing cards. They interrupted the game and stood up as the young lady entered. “What should I do with them?” thought Natasha. - Yes, Nikita, please go... where should I send him? - Yes, go to the yard and please bring the rooster; yes, and you, Misha, bring some oats.
- Would you like some oats? – Misha said cheerfully and willingly.
“Go, go quickly,” the old man confirmed.
- Fyodor, get me some chalk.
Passing by the buffet, she ordered the samovar to be served, although it was not the right time.
The barman Fok was the most angry person in the whole house. Natasha loved to try her power over him. He didn't believe her and went to ask if it was true?
- This young lady! - said Foka, feigning a frown at Natasha.
No one in the house sent away as many people and gave them as much work as Natasha. She could not see people indifferently, so as not to send them somewhere. She seemed to be trying to see if one of them would get angry or pout with her, but people didn’t like to carry out anyone’s orders as much as Natasha’s. “What should I do? Where should I go? Natasha thought, walking slowly down the corridor.
- Nastasya Ivanovna, what will be born from me? - she asked the jester, who was walking towards her in his short coat.
“You give rise to fleas, dragonflies, and blacksmiths,” answered the jester.
- My God, my God, it’s all the same. Oh, where should I go? What should I do with myself? - And she quickly, knocking her feet, ran up the stairs to Vogel, who lived with his wife in top floor. Vogel had two governesses sitting at his place, and there were plates of raisins, walnuts and almonds on the table. The governesses were talking about where it was cheaper to live, in Moscow or Odessa. Natasha sat down, listened to their conversation with a serious, thoughtful face, and stood up. “The island of Madagascar,” she said. “Ma da gas kar,” she repeated each syllable clearly and, without answering m me Schoss’s questions about what she was saying, left the room. Petya, her brother, was also upstairs: he and his uncle were arranging fireworks, which they intended to set off at night. - Peter! Petka! - she shouted to him, - take me down. s - Petya ran up to her and offered her his back. She jumped on him, clasping his neck with her arms, and he jumped and ran with her. “No, no, it’s the island of Madagascar,” she said and, jumping off, went down.
As if having walked around her kingdom, tested her power and made sure that everyone was submissive, but that it was still boring, Natasha went into the hall, took the guitar, sat down in a dark corner behind the cabinet and began plucking the strings in the bass, making a phrase that she remembered from one opera heard in St. Petersburg together with Prince Andrei. For outside listeners, something came out of her guitar that had no meaning, but in her imagination, because of these sounds, a whole series of memories were resurrected. She sat behind the cupboard, her eyes fixed on the strip of light falling from the pantry door, listened to herself and remembered. She was in a state of memory.
Sonya walked across the hall to the buffet with a glass. Natasha looked at her, at the crack in the pantry door, and it seemed to her that she remembered that light was falling through the crack from the pantry door and that Sonya walked through with a glass. “Yes, and it was exactly the same,” thought Natasha. - Sonya, what is this? – Natasha shouted, fingering the thick string.
- Oh, you’re here! - Sonya said, shuddering, and came up and listened. - Don't know. Storm? – she said timidly, afraid of making a mistake.
“Well, in exactly the same way she shuddered, in the same way she came up and smiled timidly then, when it was already happening,” Natasha thought, “and in the same way... I thought that something was missing in her.”
- No, this is the choir from the Water-bearer, do you hear! – And Natasha finished singing the choir’s tune to make it clear to Sonya.
-Where did you go? – Natasha asked.
- Change the water in the glass. I'll finish the pattern now.
“You’re always busy, but I can’t do it,” said Natasha. -Where is Nikolai?
- He seems to be sleeping.
“Sonya, go wake him up,” said Natasha. - Tell him that I call him to sing. “She sat and thought about what it meant, that it all happened, and, without resolving this question and not at all regretting it, again in her imagination she was transported to the time when she was with him, and he looked with loving eyes looked at her.
“Oh, I wish he would come soon. I'm so afraid that this won't happen! And most importantly: I'm getting old, that's what! What is now in me will no longer exist. Or maybe he’ll come today, he’ll come now. Maybe he came and is sitting there in the living room. Maybe he arrived yesterday and I forgot.” She stood up, put down the guitar and went into the living room. All the household, teachers, governesses and guests were already sitting at the tea table. People stood around the table, but Prince Andrei was not there, and life was still the same.
“Oh, here she is,” said Ilya Andreich, seeing Natasha enter. - Well, sit down with me. “But Natasha stopped next to her mother, looking around, as if she was looking for something.
- Mother! - she said. “Give it to me, give it to me, mom, quickly, quickly,” and again she could hardly hold back her sobs.
She sat down at the table and listened to the conversations of the elders and Nikolai, who also came to the table. “My God, my God, the same faces, the same conversations, dad holding the cup in the same way and blowing in the same way!” thought Natasha, feeling with horror the disgust rising in her against everyone at home because they were still the same.
After tea, Nikolai, Sonya and Natasha went to the sofa, to their favorite corner, where their most intimate conversations always began.
“It happens to you,” Natasha said to her brother when they sat down in the sofa, “it happens to you that it seems to you that nothing will happen - nothing; what was all that was good? And not just boring, but sad?
- And how! - he said. “It happened to me that everything was fine, everyone was cheerful, but it would come to my mind that I was already tired of all this and that everyone needed to die.” Once I didn’t go to the regiment for a walk, but there was music playing there... and so I suddenly became bored...
- Oh, I know that. I know, I know,” Natasha picked up. – I was still little, this happened to me. Do you remember, once I was punished for plums and you all danced, and I sat in the classroom and sobbed, I will never forget: I was sad and I felt sorry for everyone, and for myself, and I felt sorry for everyone. And, most importantly, it wasn’t my fault,” Natasha said, “do you remember?
“I remember,” said Nikolai. “I remember that I came to you later and I wanted to console you and, you know, I was ashamed. We were terribly funny. I had a bobblehead toy then and I wanted to give it to you. Do you remember?
“Do you remember,” Natasha said with a thoughtful smile, how long ago, long ago, we were still very little, an uncle called us into the office, back in the old house, and it was dark - we came and suddenly there was standing there...
“Arap,” Nikolai finished with a joyful smile, “how can I not remember?” Even now I don’t know that it was a blackamoor, or we saw it in a dream, or we were told.
- He was gray, remember, and had white teeth - he stood and looked at us...
– Do you remember, Sonya? - Nikolai asked...
“Yes, yes, I remember something too,” Sonya answered timidly...
“I asked my father and mother about this blackamoor,” said Natasha. - They say that there was no blackamoor. But you remember!
- Oh, how I remember his teeth now.
- How strange it is, it was like a dream. I like it.
“Do you remember how we were rolling eggs in the hall and suddenly two old women began to spin around on the carpet?” Was it or not? Do you remember how good it was?
- Yes. Do you remember how dad in a blue fur coat fired a gun on the porch? “They turned over, smiling with pleasure, memories, not sad old ones, but poetic youthful memories, those impressions from the most distant past, where dreams merge with reality, and laughed quietly, rejoicing at something.
Sonya, as always, lagged behind them, although their memories were common.
Sonya did not remember much of what they remembered, and what she did remember did not arouse in her the poetic feeling that they experienced. She only enjoyed their joy, trying to imitate it.
She took part only when they remembered Sonya's first visit. Sonya told how she was afraid of Nikolai, because he had strings on his jacket, and the nanny told her that they would sew her into strings too.
“And I remember: they told me that you were born under cabbage,” said Natasha, “and I remember that I didn’t dare not believe it then, but I knew that it wasn’t true, and I was so embarrassed.”
During this conversation, the maid's head poked out of the back door of the sofa room. “Miss, they brought the rooster,” the girl said in a whisper.
“No need, Polya, tell me to carry it,” said Natasha.
A stanza (from the ancient Greek stropho - whirling, turning) is a combination of several poetic lines (verses) that make up a rhythmic, syntactic and semantic whole. A stanza can contain from 2 to 14 poetic lines.
The simplest stanza is the couplet (distich). This type of stanza is relatively rarely used in Russian poetry. Here are a few couplets from the poem by M. Yu. Lermontov “ Sea princess»:
The prince bathes his horse in the sea;
He hears: “Tsarevich! Look at me!
The horse snorts and curls his ears,
It splashes and splashes and floats away.
A stanza consisting of three verses is called a tercet. The terzetto is used in a fairly small number of poems by Russian poets. Much more often this type of stanza is included in large stanzas. A poem by A.A. was written in tercets. Block "Song of Hell":
The day has burned out on the sphere of that earth,
Where I looked for ways and shorter days.
There a purple twilight fell.
I'm not there. The path of the underground night
I slide down the ledge of slippery rocks.
The familiar Hell looks into empty eyes.
(What a nightmare! Brrrrrrr!)
Most popular view stanzas among Russian poets are quatrains. The combination of four poetic lines allows you to achieve an incredible variety of rhythm and intonation. The quatrain is distinguished by its flexible syntax and can, in turn, be part of larger stanzas (for example, a sonnet or Onegin stanza). In quatrains, all rhyming methods are used, but cross rhymes are the most common.
A special type of stanza, consisting of four lines, is a stanza. In Russian poetry, a stanza is a stanza of four verses of iambic tetrameter, which uses cross rhyme. In addition to these formal features, each stanza is distinguished by its semantic completeness. The most striking poems written in stanzas: “In the depths Siberian ores...”, “Stanzas”, “Am I wandering along the noisy streets...” (A. S. Pushkin)
Among other types of stanzas that were relatively rarely used in Russian poetry, noteworthy are the octave, sonnet and a special type of stanza created by Pushkin - the so-called. Onegin stanza.
An octave is a stanza of eight verses that rhyme according to the abababcc scheme with the obligatory alternation of male and female clauses. The most famous work of Russian poetry that uses the octave is Pushkin’s poem “The Little House in Kolomna.”
The sonnet is most often considered as one of the lyrical genres. But from a formal point of view, it is a stanza consisting of 14 lines. The sonnet consists of two parts: the first part includes two quatrains (quatrains), the second – two tercets (tercets). The poetic meter of sonnets is iambic pentameter (less commonly, hexameter). The rhyme scheme even in a strict, classical sonnet can vary depending on mandatory condition: in quatrains two identical rhymes should be used, and in terzettos - two (less often - three) rhymes that differ from the rhyme in quatrains.
The Onegin stanza was created by Pushkin specifically for the novel “Eugene Onegin”. Structural scheme Onegin's stanza looks like this: AbAbCCddEffEgg (capital letters indicate female clauses, lowercase letters indicate male clauses). This structure is maintained throughout the entire text of the novel, with the exception of the letters of Tatiana (chapter 3), Onegin (chapter 8) and “Songs of Girls” in chapter 3. Moreover, each stanza represents a separate completed work. Thus, the entire work looks exactly as described
STROPHIC
Couplet - simplest form stanzas, while the adjacent lines rhyme:
I look like crazy at the black shawl,
And the cold soul is tormented by sadness.
(A.S. Pushkin)
Tercet (tercet) - a stanza of three verses. There are three types: 1) all three verses with one rhyme; 2) two verses are rhymed, the third is not; 3) two verses rhyme, the third has a rhyme in the adjacent stanza. Terzetto example:
At the beginning of my life I remember school;
There were a lot of us, careless children;
An uneven and playful family.
Humble, poorly dressed,
But the appearance of a majestic wife
She kept strict supervision over the school.
Surrounded by our crowd,
She talks to the babies.
(A.S. Pushkin)
Quatrain (quatrain) is the most common form of stanza with rhymes aabb abab abba aaba (in Eastern poetry). Quatrain example:
We can't predict
How will our word respond?
And we are given sympathy,
How grace is given to us.
(F.I. Tyutchev)
A quintet is a quatrain with one double rhyme (aabba abaab ababa ababb). Sample quintet:
There are doors like this in Khorossan,
Where the threshold is strewn with roses.
A pensive peri lives there.
There are doors like this in Khorossan,
But I couldn't open those doors.
(S.A. Yesenin)
Sextine (six-line stanza) is a poem of six stanzas, consisting of a quatrain and a couplet, with a different rhyme system. Sextine example:
Again, again a familiar voice sounds in my sad soul, and the virgin shadow Again, before me with irresistible power, rises from the darkness of the past like a clear day;
But in vain you are evoked by memory, dear ghost!
I am outdated: I am too lazy to live and feel.
The seventh line is a form often formed from the six line aabccb with the addition of one rhyme - aabccb. Sample septet:
Tell me, uncle, it’s not for nothing that Moscow, burned by fire,
Given to the Frenchman?
After all, there were battles,
Yes, they say, even more!
It’s not for nothing that all of Russia remembers Borodin’s Day.
(M.Yu. Lermontov)
An octave (octave) is a stanza of eight verses. Most common forms rhymes: abababcc or abab+cdcd; abab+cddc. Octave example:
October has already arrived - the grove is already shaking off Latest sheets from its naked branches;
The autumn chill has blown in - the road is freezing.
The stream still runs babbling behind the mill,
But the pond was already frozen; my neighbor hurries to the departing fields with his desire,
And the winter ones suffer from mad fun,
And the barking of dogs wakes up the sleeping oak forests.
(A.S. Pushkin)
Nine lines (nona) is a form that is very little represented in Russian poetry. Sample nine-line:
Open the prison for me,
Give me the shine of the day
The black-eyed girl
Black-maned horse.
Let me ride across the blue field once on that horse;
Give me once for life and freedom,
As if for a fate alien to me,
Take a closer look for me.
(M.Yu. Lermontov)
Decimal (decima, odic stanza) - the most common form of it is quatrain + hexaverse (ababccdeed):
Bring it on, Felitsa! instruction:
How to live magnificently and truthfully,
How to tame the excitement of passions and be happy in the world?
Your son is accompanying me;
But I am weak to follow them.
Disturbed by the vanity of life,
Today I control myself
And tomorrow I am a slave to whims.
(G.R. Derzhavin)
Sonnet (fourteen lines) - consists of 14 verses (usually two quatrains + two tercets):
There are creatures that look directly at the sun without closing their eyes;