Poetic Line Research Articles

Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia

The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
 However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
 Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
 The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
 The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
 A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
 Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
 Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
 Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
 Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
 In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
 The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.

A Family of Sensibilities: Toward a Relational Design Practice Grounded in Materiality and Embodiment

Beyond the industrial design origins of human-centered design, the empathic frame of design thinking, or the democratic convivial tools of co-design, there are nuanced practice considerations for the inter-relational, social practice of designers working with people. This paper specifically considers the affordances of materiality and the reflexive sense-making of embodiment within the sensorial, performative practice of design. This shared theme is explored through auto-ethnographic writing and a poetic line of inquiry that models a novel method for examining this social practice. Taking a reflective stance, the researchers resist the impulse to tidily package insights from six creative practice vignettes into a toolkit or diagram. Instead, the small moments enacted in the practice snapshots reveal a Family of Sensibilities. The collective set of attributes intentionally present a complicated, messy, interpretation of the familial elements that shape a designer’s material, embodied moves when in conversation with people and place.

Optimal Use of the Sixth Sense in Devkota’s Poem “The Lunatic”

“The Lunatic” is one of Devkota’s widely read and intensely discussed poems by critics, teachers and university level students in Nepal. It has already been studied from structural, thematic and contextual perspectives by other writers, but this article writer attempts to pinpoint the poet’s optimal use of the sixth sense to perceive the people and society mentioned in the poem. The article writer underscores some poetic lines that reflect the utilization of the sixth sense which implies an extra-sensory perception beyond ordinary senses of seeing, hearing, touching, smelling and tasting. These five natural senses are not sufficient to grasp the meanings and messages of the poem. This poem will be better understood if readers are capable of examining the poet’s sixth sense with which he perceives the persons and their deeds in society.

Atlantics

Mati Diop’s 2019 feature film Atlantics won the Grand Prix at Cannes that year. It is a polyphonic tale of migration, love, loss, and fantasy that takes place in Dakar, Senegal. Using fantasy and mystery to create opacity, as defined by the writer and theorist of postcolonialism Édouard Glissant, Diop seeks to give dignity to the victims of migration and to invite viewers to establish a relationship with the film. The combination of diverse poetic lines gives the film striking richness and resonance, as well as the ability to comment on ociopolitical issues without being limited to one interpretation. Despite the immobility of the problems she brings to the screen, Diop transmits hope for other mobilities, which she herself brings to life and embodies.

The Theological Importance of Prof. Uwe’s Christian Poems

Prof. Heinz-Uwe Haus is an internationally renowned director and is considered one of the world’s leading authorities on Bertolt Brecht. Besides his theatrical achievements, he proves to have a profound knowledge of Christian doctrines, which is significantly well portrayed in his Christian poems. His poetic lines unveil the essential spirit of the New Testament. In this paper, a few poems are chosen to illustrate his theological thoughts, which are intricately connected with the core value of the New Testament, including Jesus’ crucifixion, salvation, man’s real nature, fundamental faith, and so on.

Enjambement in the Mounted Lyrical Poetry: the Untranslatable Translated?

The article is aimed at studying some features of translation strategies used to convey the expressive potential of a poetic text with elements of mounting techniques, viewed through the prism of the rhythmic-syntactic level of organisation of the poetic text. The subject of analysis is enjambement, or verse (poetic) transference, which is a “dissonance” between the rhythmic division of poetic speech into poetic lines and the syntactic division of verbal material into syntagmas in verse, thereby affecting the rhythmic structure of the text. The poem by H.M. Enzensberger (born in 1929), “verteidigung der wölfe gegen die lämmer”, as well as the translation of the specified poem into Russian (“Protection of wolves from sheep”) made by Lev Ginzburg (1921-1980), are used as the factual material. The original poem is written in free rhythms and includes elements of mounting techniques. To achieve this goal, a complex methodology has been applied, which, in addition to structural-descriptive and comparative analyses, also involves elements of linguopoetic and linguo-stylistic approaches. The relevance of the presented work is primarily due to the translation perspective of the study, which required the involvement of the main provisions of the theory of dynamic equivalence by E. Nida, secondly, – to the fact that translation strategies are considered in terms of intercultural interaction, i.e. taking into account the culturally specific characteristics of the bearers of the source and target languages. Based on the results of the analysis, a conclusion has been made about the special role of verse transferences in the mounted lyrical poetry of H.M. Enzensberger, which are engaged in the creation of the “defamiliarisation” effect at the appropriate micro-level of the lyrical work. A comparative analysis of the texts in the source language and the target language indicates that the application of the main provisions of the theory of dynamic equivalence, as well as the relevant linguistic aspects of intercultural communication when translating poetic works, contributes to a most accurate preservation of the aesthetic effect and of the expressive potential inherent in the original poetic text with elements of mounting techniques.

A. Blok in the Poetic World of V. Shalamov

Shalamov repeatedly noted the significant role of A. Blok in the formation of his own poetic system. The work of the outstanding artist of the Silver Age is discussed in Shalamov’s essays (in more than twenty works), as well as in “Kolyma Tales” and unpublished notes about Blok (The Russian State Archive of Literature and Arts). Shalamov emphasizes that Blok is a great poet, at the same time very little studied. It is precisely taken poetic lines of Blok that serve as the epigraph for “Kolyma notebooks”. The article analyzes parallels in the worldview of the two poets (a feeling of the closest relationship of personal fate with the turning points in Russian history); in the imagery (in particular, various levels of interpretation of the snowstorm motif, which has special significance in the work of both poets, are discussed in detail. Shalamov’s succession in relation to Blok in comprehension of this image is shown, as well as cardinal differences in its explication in the lyrics of the two poets). The unanimity in understanding the challenges of art is analyzed (Blok’s idea of combining “beauty and benefit” in artistic work is close to Shalamov’s thinking); in verse technique (special significance of phonetic component). Not only published texts are involved in the study, but also materials stored in Shalamov’s archive at the Russian State Archive of Literature and Arts.

Literary Philosophy and the Use of Uselessness

We build this work from the memory of the time we stumbled into tulips at city hall. As guard sirens fled off into the night, we wondered, “Maybe we can borrow some.” We ripped handfuls from the ground and ran. “Don’t worry,” we said, “they are too busy to catch us stealing tulips.” Likewise, we get away with this useless project because others are busy doing useful work: exigent, coherent, important work. We support much of that busyness, and at the same time wonder what is lost with all that attention towards usefulness. What we offer here, through a hybrid of reflective, poetic, essayistic and scholarly forms, may be an attempted escape from the obligations of scholarship. It may be indulgent. It may tell the reader nothing, or only what the reader already knows. Yet it is oriented towards an enduring promise. This is the promise of a literary experience, understood as a kind of resonance, ineffable primarily, but nevertheless one that matters. Such a promise is found in the power and possibility of story, through poetic lines that must be broken and conceptual tethers left incommensurable. We enter this space of breaking and unfurling through an inquiry into use. The question of use and uselessness is one way of holding human contradictions in both hands. By this we mean that we make and leave space for literary and philosophical inquiries considered useless—in that they do not resolve anything—but nevertheless matterful. We suggest that readers meander these curated pages as they \ meander through an art exhibition or a museum. Within a literary exhibition one can wander through pages, spaces, and ideas. Pause. Dwell. Think. We curate a literary home beyond the demands of making something of use and we invite the reader to sit with us. As with an exhibition, possibility cannot be controlled for and so we exist in potentiality acknowledging both its positive and negative potential. Through our use, misuse, and abuse of literature and philosophy, we make ourselves a home in a possibility that can only be offered, not demanded. We manifest this literary home through fragments of philosophy evoked through a series of microfictions. As scholars, learners, teachers, and writers we are often asked to defend what our writing does. And it is implicitly suggested that knowledge creation is the result. What is the use of a work that cannot promise new knowledge? Literary knowledge may only be one gorgeous possible ordering. It is a practice which produces a kind of knowledge which is no knowledge, which is useless. If we must answer what it is that our writing does we suppose that—if anything—it offers up fictions for philosophizing. We explore a home for this work in scholarly contexts which too often find it useless, which is to say we position uselessness as a concept of value for our work as scholars, writers, and teachers. In the end we name no new uses but fiction; we steal tulips.

Shalkiiz is a poet who enriched the verses of ancient Kazakh poetry

The article presents a brief biography of one of the founders of the steppe epic, who left an indelible mark in the history of our literature, Shalkiiz zhyrau, and tells how he traveled throughout the territory of Deshti-Kipchak throughout his long life, how he became famous and was recognized as the number one poet of his era, as he spent his whole life in the struggle, not pleasing to those in power of that time, he was a truthful akyn. The article says that the works of zhyrau are distinguished by their peculiar showiness, sharpness, conciseness, capacity, high artistic quality, elegance and energy. It also describes the history of collecting, publishing and researching the texts of a poetic legend, popularized among the Kazakh, Nogai and Kumyk population. It tells about the assistance Shalkiiz rendered to akyns and zhyrau who lived in subsequent periods. Zhyrau Shalkiiz, in turn, used and improved many genre samples of oral folk literature, just as most akyns of subsequent eras took as an example his heritage, his artistic methods, it is indicated that the phrases and poetic lines he used, artistic methods and some ideas are found in subsequent akyns both in the same form and in a transformed form, thereby demonstrating the traditional relationship between them. Such exchanges originate from time immemorial and continue to this day. It is proved that this is a process that makes the creativity of akyns and zhyrau richer and richer. Similar patterns of repetition are found in the works of such akyns of a later period as Bukhar, Makhambet, Abyl, Sherniyaz.               Key words: zhyrau, poetic legends, text, manuscript, original, tradition

Discerning Sensuousness in Keats’s Poetry

Keats is not only a great romantic poet, but also a prominent mystic of English poetry saturated with sensuousness. Sensuousness as a striking quality in poetry affects the senses of hearing, seeing, touching, smelling and tasting. Sensuous poetry confers more delight to the senses of the readers rather than presenting ideas and philosophical thoughts. This article aims at discerning sensuousness in Keats’s poetry. Some poetic lines from his poems are elicited as qualitative data which hint at the five senses of the readers. It is significant not only to the teachers, but also to the students of English literature.

آراء سیبویه فی کتاب شواهد التوضیح والتصحیح لمشکلات الجامع الصحیح لابن مالک وموقف ابن مالک منها

آراء سیبویه فی کتاب شواهد التوضیح والتصحیح لمشکلات الجامع الصحیح لابن مالک وموقف ابن مالک منها

On the Translation of Poetic Line Drawing from the Perspective of Transitivity

Poetic line drawing is a great challenge in translation since its simplicity and realism not only use the simplest words to concisely depict the fact but also enable readers to understand in numerous ways. Taking Tianjingsha·Qiusi as an example, this paper discusses the translation strategies of line drawing in poetry from the perspective of transitivity. By the comparison of three translations, it is found that line drawing can trigger multiple processes in the mental cognition of readers, and in most cases, different translators tend to maintain a certain process type and abandon others, which might lead to some loss of the poem’s original charm and the translation turns out to be inaccurate. However, our study shows that such loss can be remedied through form equivalence strategy, for neither of the process types can be representative of all but only form equivalence can generate the same effect of the original poem.

ARTISTIC SYNTHESIS IN CHESS SONNET

The article focuses on one of the visual types of syncretic poetry — chess poems. Years ago Anatolii Moisiіenko initiated the chess poetry genre in Ukrainian literature; in a number of critical papers, he presented the specifics of construction and functioning of such artistic structures, which are basically characterized by the symbiosis of proper poetry and chess composition. In this article, the author uses Viktor Kapusta’s books of poems “The Checkered Continent” and “Unguaranteed Migrations” to analyze the chess sonnets of the poet who added a new page to the history of Ukrainian visual literary art by proposing a peer-to-peer combination of a strictly structured literary form and a chess problem. The aim is to conceptualize the figurative and compositional relations within the sonnet structure itself, which relies on the artistic palette of the chess game, with its diversity of geometric abstractions, local mise-en-scénes of unpredictable theatrical performances played out on the chess-board by wooden pieces — or on the chessboard of readers’ imagination. Attention is drawn to the transformational peculiarities of the sonnet line, read in a palindromic and pantorhymic way. The pantorhyme is the versificational and compositional basis for the chess sonnet sequence “Castling. A Herbarium of Stars”, which is analyzed here with regard to the transposition of some characteristics to the realm of chess composition. A diagrammed chess problem becomes a specific chess component of a sonnet sequence, where, for example, the variants of the solution (Black’s defensive moves and White’s attacking responses) correspond to the poetic lines making up the fourteen sonnets whereas the problem’s threat, like a principal poem, concentrates all the mentioned chess movements in a single variant.

Poetry in Action: From the Gift Economy to Corporate Philanthropists

The role of patronage has been widely examined in studies in different disciplines, from the arts to sociology. This paper adopts a novel interdisciplinary approach to investigate the relationship between patronage, corporate philanthropy, and the economic (and non-economic) returns for donors. In an ancient Latin literature perspective, the case study analyzes the literary works of Horace, master poet and noteworthy exemplum of cursus honorum and Latin patronage. Highlighting some pivotal poetic lines (from a managerial standpoint), the study proposes a patronage and gift economy framework as the building blocks for corporate philanthropy and corporate social responsibility actions. While patronage fosters the development of economic relationships, even if in a non-linear and multi-faceted way, corporate philanthropy promotes relationships aimed at achieving positive returns for the donor, be they economic or meta-economic, instantaneous or delayed. Although more difficult to capture through the usual cash inflow and outflow measurements, corporate philanthropy and corporate social responsibility express an elusive but valuable economic relationship. Therefore, this study offers some managerial insights for non-profit corporations and those industries – for example, sports – where the economic returns may not be a central element of the investment. Finally, it is noteworthy that Horace is, among other things, an author of great modernity for his tension, articulated and complex, towards the active events of his time. His rediscovery, not only in literary studies, has allowed to add to other disciplines the analysis of an intellectual, divided between art and current life. Keywords: Latin literature, patronage, corporate philanthropy, gift economy, non-financial performance

Symphonic Volume in the Symphony-Requiem by Bohdana Frolyak “Pravednaya Dushe”

Relevance of the study. The article is relevant as it studies the works of Bogdana Frolyak, who is a popular contemporary Ukrainian composer. Her music attracts the attention of performers and researchers and reflects the current trends of contemporary art such as musical language, new forms of choral sound, synthesis of genres. The Requiem Symphony “Righteous Ssoul” (lyrics by T. Shevchenko) is an example of a complex multidimensional nature genre renewal. Therefore, lack of research devoted to this work outlines a scientific novelty of this article. The objective of the study is to identify the features of symphony in the symphonyrequiem “Righteous Soul” by B. Frolyak. The research methodology is based on the interpretation analysis method proposed by V. Moskalenko. The concept of A. Adamyan is used to study symphonic principles. Results. Analysing the requiem symphony “Righteous Soul”, it was determined that the leading role is devoted to chorus, which serves as a main mean of expression. The choir is regarded as a symbol of collegiality and stands in as an active participant in the formation of musical thought and sounds through almost the entire opus (except for two vocal episodes). T. Shevchenko’s poetic lines are entrusted to mixed chorus and embody a main idea of the work. Choral fragments serve various functions starting from the creation of a harmonic background to being a main storyteller. At the same time, B. Frolyak’s composition realizes symphonic principles, which display themselves at different levels of organization of musical material. Symphonic patterns are expressed in timbre-textured and thematic connections, cross-cutting development, national instrumentation color and intonation transformations of themes. The composer’s principle of artistic thinking reveals parallels with the symphonic concept developed by A. Adamyan. Conclusion. A special genre multidimensionality is expressed in the symphony-requiem “Pravednaya Dushe”. B. Frolyak enriches the semantic layer of the work due to the features of the requiem. Composer takes an advantage of the cathedral’s choral sonority rich possibilities and uses the symphonic intonation and dramatic basis. At the intonation level, she unites all these features with the help of solospiv (solosining) — a musical symbol of Ukrainian nation. Finally, unique synthesis of supersubstantial spiritual and philosophic ideas with universal (symphony, requiem) and national characteristic (solospiv) genres makes B. Frolyak’s work one of the most original in the series of Ukrainian choral symphonies.

Vocal Symphony of Boris Tishchenko

The subject of this research is the monumental vocal-symphonic piece of the prominent Russian composer of the second half of the XX century Boris Tishchenko. His Symphony No.6 s based on the poems by A. Naiman, A. Akhmatova, O. Mandelstam, M. Tsvetaeva and V. Levinzon, completed in 1989, and tribute to Yevgeny Alexandrovich Mravinsky, who passed away a year before. Poetic lines that form the backbone of the symphony contain multiple images resembling death, which imparts a profound meaning, a moment of personal experience in dedication to the prominent conductor. Special attention is given to the symphonic dramaturgy of the Symphony No.6, the problem of interrelation between music and poetry, realization of the complex literary texts in the ultimately modern symphonism of Boris Tishchenko. The conclusion is made that Tishchenko is absolutely seamless in this vocal-symphonic opus and reveres his coauthors. The translates everything into the music, without missing a tiny thing that can reveal its meaning and beauty. At the same time, the circle of poetic images, semantics of the verse were transformed in accordance with his worldview. The novelty is defined by the fact that this article is first in Russian musicology, to comprehensively analyze the Symphony No.6  by Boris Tishchenko, reveal its semantics, and performance difficulties. The author attributes this symphonic composition of Boris Tishchenko to most remarkable in the history of Russian music.

What Symmetry Can Do That Parallelism Can’t: Line Perception and Poetic Effects in the Song of Deborah (Judges 5:2–31)

Abstract The concept of parallelism has framed discussions of biblical poetry for more than two centuries, but there is still no consensus on what exactly parallelism is. This study contends that consensus does not exist because the side-by-side correspondence approach of parallelism is not suited to the part-whole free-rhythm nature of biblical poetic lines. Instead, perceptual symmetry better accounts for certain aspects of poetic lines that have been understood as parallelism. Unlike parallelism, symmetry is able to account for how lines emerge in aural, free-rhythm biblical poetry, as well as how the emergence of lines is intertwined with poetic effects, as demonstrated in the Song of Deborah (Judg 5:2–31). The cognitive poetics framework of this paper shifts scholarly focus from line patterns to the perception of these stimulus patterns, taking seriously the features of the text as well as the mental processing of the active listener.

தொல்காப்பிய கூறுகளும் மு.மேத்தாவின் இழுத்த எழுத்துகளும்

The first book found in Tamil is the grammar book Tholkappiyam. In Sangam literature many researches are being carried out on the basis of Thollkappiyam. In recent days, there is a custom of researching each and every element of Thollkappiam with novel perspectives. Similarly,an attempt has been made in this study to infuse fifteen literary elements, among the thirty four quoted in Thollkappiam, such as say (Kootru, Listener (Ketpor), Field (Kalan), Period (Kalam), Prelude (Munnam), Motive (Nokku), Maattu, Remnants (Echam), subject (Porul), Legacy (Marabu), (Consequent/use) Payan, Gesture (Meippadu), satire (Angatham), Implicit (Ullurai), Thinai (Division) with the poem drawn letters (izhutha ezhukkal) of Mu. Metha. This essay defines each element, matches with the poetic lines and explains. The research reveals the matching of all the elements mentioned above except satire.

The Poetic and the Political in Valery Podoroga’s Analytical Anthropology

The article is devoted to an analysis of the creative work of the Russian philosopher Valery Podoroga. It focuses on the special discipline he created, namely, “analytical anthropology”, and the book “Anthropograms”, in which Valery Podoroga sets out the basic principles and analytical tools of his philosophical work. Examining the books of the philosopher that preceded the creation of analytical anthropology and those that were written later, it is possible to single out two important lines of his research. First, the philosophy of literature and second, research in the field of the political. Podoroga’s understanding of literature is broader than that of a cultural practice or a social institution. For him, it is the space of the corporal experience of contact with the world, in which the affective aspect of thinking is realized. This line of analysis points to the “poetic” dimension of the experience of thinking, since the emphasis here is on what Jakobson called the “poetic function of language”, its orientation toward itself. It is precisely the literary aspect that becomes important when analyzing the texts of philosophers (Kierkegaard, Nietzsche, Heidegger); however, what is even more important is that in the very experience of fiction Podoroga is trying to find new means for philosophy. His “poetic line” is closely connected with the poetics of space (Bachelard) and the phenomenology of the body (Merleau-Ponty, Henry). It is the combination of poetics and phenomenology that allows Podoroga to overcome both the orientation of poetics exclusively toward language and the categorical apparatus of philosophy. The main result of Valery Podoroga’s work is the creation of an “anthropogram”, a special kind of scheme in which the action of the Work (a literary work, but not only) is immanent to the dynamics of the world. Is it possible to create such anthropograms outside the field of literature? Podoroga does not specify. The article attempts to show how Podoroga’s ways of working with literary texts correlate with his works dealing with the technologies of power and violence, transforming separate political and ethical terms into anthropograms, that is, forms of thought immanent to life itself.

РИТМІКА ДРУГОЇ ЧАСТИНИ КНИГИ ВАСИЛЯ БАРКИ «ОКЕАН» (РІЗНОСТОПОВИЙ ХОРЕЙ)

The article is dedicated the verse rhythm in the second part of the book “Ocean” by the Ukrainian poet Vasyl Barka (1979). The rhythm of the first part (iambic) was investigated in our previous article. The meter of the second part of the book is a mixed trochee, the scheme of which is 5454. The stresses in the poetic lines were counted and the rhythm profiles of the trochaic tetrameter and the trochaic pentameter were plotted. The rhythm diagram method developed by Taranovsky, Gasparov (for Russian verse) was used to compare Barka’s verses with Ukrainian and Russian verses. To illustrate the trends in Ukrainian verse, our calculations of the verse of Stus and Andrukhovich were also used. The results of the research showed that the character of Barka’s rhythm is unique; it has no correspondence either in Ukrainian or in Russian verses. In the rhythm of Barka’s poem, ‘the law of regressive dissimilation’, discovered by Taranovsky and extrapolated to the Ukrainian verse by Kostenko, does not work. That is, there is no alternation of strong and weak foot. Barka in trochee avoids full-accented lines, which are commonly used by Ukrainian and Russian poets. The set of rhythmic forms of verse differs from other poets. The drawing of the diagrams is also different. For a trochaic pentameter, this is a “bucket”, with strong 2nd and 5th feet and weak 3rd and 4th feet. And for a trochaic tetrameter, this is an almost equal strength of the first three feet and a strong last foot. A rhythm, approximately similar to that of Barka, was revealed only in Goethe’s verse for a trochaic pentameter and in Schiller’s verse for a trochaic tetrameter (according to Taranovsky). Given the unique nature of the iambic rhythm and rhyme in Barka’s verse, we consider it promising to search for the factors that determined Barka’s poetics.