Rhythm In Poetry Research Articles

Falling Movements in Free Verse: Turning Back in Poems by William Carlos Williams and Sylvia Plath

ABSTRACT Verse rhythm is formed in a process, where reading adjusts the individual sounds of the poem. It may be perceived as a play between directions and balances. The directions can be rising or falling. Here, the author investigates four kinds of falling rhythm, which are back-structuring (the phrase is perceived as a whole), equivalences (approximate repetition), falling phrases (the stress comes first), and extensions (from a focus). In William Carlos Williams’ poem “A Red Wheelbarrow,” the line pairs form closed back-structures that are completed with the gestalts of the closed equivalences out of repeated enjambments in the middle of every line pair. In Sylvia Plath’s poem “Words,” the heavy streaming extensions in the first part turn into irregular balances in the second part, which provides a picture of depressive tranquility.

Writing Qualitatively: Crossing Borders, Claiming the Margins

Our paper is an invitation for scholars to challenge the mainstream dominant western approaches to qualitative research and writing. Situated as emerging scholars on the margins, we discuss what it means for us to write qualitatively through the two foci of writing and research. Our methodologies are informed by listening to the stories and shared memories of our academic ancestors and writing through rhythms of poetry. First, we look at writing qualitatively as an invitation to think with others and writing itself as a practice of “claiming the margins.” Second, we look at qualitative research practices that directly relate to our communities, where research and writing become an imperative and a responsibility rather than a choice exercised from a place of privilege. Grounded in the wilderness of the margins, we embark on the ethico-political scholartistry of qualitative writing.

Free Verse and Prose Rhythm

AbstractFree verse and prose rhythms, by definition, do not have metrical organizing schemes, but does this mean that rhythm in free verse or prose poems is like speech or prose rhythm? Taking up these questions debated since the advent of modernist free verse more than one hundred years ago, this essay draws on recent critical literary and linguistic findings to formulate a new method for scanning and comparing rhythm in English-language free verse and prose genres. The comparison of six texts suggests that in poetic free verse or prose texts rhythm constructs information-rich, multilevel, context-specific semantic systems in a way that does not occur in the nonpoetic texts. These results contest persisting prosodic theories that free verse and prose poetry are largely written in prose, and suggest that rhythm is a more important generic marker of the poetic function than lineation is.

TO THE PROBLEM OF INTRA- AND INTERLINGUISTIC RHYTHMICAL INFLUENCE: PUSHKIN (THE SONGS FROM PIR VO VREMYA CHUMY) AND BLOK (V ETOJ ZHIZNI SLISHKOM TJOMNOJ…)

While literary scholars frequently discuss the issue of rhythmical influence, there is still a need to establish clear criteria for determining such influence. This article suggests examining the processes for developing hypotheses about rhythmical influence within and across languages to initiate a discussion on the methodological principles of comparative rhythmics. Examples are provided, such as songs from Pir vo vremya chumy by Aleksandr Pushkin, where the rhythmical inf luence of possible sources is highly hypothetical, and Aleksandr Blok’s equimetrical translations of Heine’s 4-stressed trochees, including V etoj zhizni slishkom tjomnoj… (1909), which is a clear case of rhythmical borrowing. With Pushkin’s works, the discussion focuses on hypotheses regarding the presence of rhythmical reminiscences from Zhukovsky and Baratynsky in the songs of Mary and Walsingham, as well as a possible influence of English verse rhythm. With Blok’s trochees, his translations of Heine are considered in comparison with the rhythm of the German source and the poet’s original trochees. To assert the fact of rhythmical influence is crucial not only to identify a complex of historical, semantic, and rhythmic factors that support the hypothesis of its presence in the text, but also establish a connection between these factors. It is imperative when dealing with small poetic fragments or fragments with strong rhythmic polarization. When making cross-linguistic comparisons, it is also necessary to consider that independent linguistic factors may fully explain the similarity of individual rhythmic tendencies.

ВАСИЛЬ ГОЛОБОРОДЬКО – МАЙСТЕР НЕКЛАСИЧНИХ ВІРШОВИХ ФОРМ: ВІРШОЗНАВЧИЙ АСПЕКТ

The article explores the creative work of Vasyl Holoborodko, particularly his book of poems "An Apple of Good News". This topic has not been extensively researched in Ukrainian literary studies, although Holoborodko's work has been studied in other aspects, such as folklore, in Yulia Shutenko's dissertation. This article specifically focuses on the analysis of non-classical verse forms in the author's poetry. According to one accepted classification, non-classical verse is divided into dactylic, taktovyk's, and accentual verse, depending on the change in the number of intrastressed syllable intervals. These forms have different productivity in Ukrainian poetry in general and in the work of Vasyl Holoborodko in particular. The polymetric superform of the non-classical verse is the vers libre, and Vasyl Holoborodko is the most productive author of this form among his contemporaries. This is related to the feature of his work as folklore trend. Among the examples of poetry presented in the article, there are samples that refer to the folklore sources of his poetry, spoken folk verse, which is the source for non-classical verse forms, and particularly vers libre. Additionally, there are interesting examples of dactylic, taktovyk's, and accentual verse, which are analyzed in detail in the article, including the poems "Spring", "Mother was cleaning potatoes", "Linen Birds", and "Hungry tongues tied in a knot...". The analysis of these pieces of poetry allows us to trace the tendencies of his creative work, such as a tendency toward irregularity, a slight predominance of taktovyk verses in non-vers libre verses, folklore as a leading principle both in vers libre and in the rest of the poems, and the alternation of expressive and meditative motifs in poetic creation, the reproduction of conversational speech and folk verse rhythms in the poetry, the transmission of unique features of the Ukrainian language and authentic imagery. The article is a part of an author's larger study of non-classical verse in Ukrainian poetry of the second half of the 20th century.

На обломках Бастилии рифм

Two texts by A. Rimbaud, published in 1886, but written earlier, and not poems by G. Kahn, J. Laforgue or J. Moréas, are considered the first vers libre in French. The paper shows two approaches to the analysis of free verse rhythm: the rules for reading and counting silent [Ə]; free verse is considered as a derivative of verse or prose, respectively (K. Scott and M. Murat), which proves the fundamental ambiguity of this poetic form and the importance of the reader’s perception in the process of reading as co-creation. The arguments of opponents and supporters of free verse, the so-called “free verse controversy” (“querelle du vers libre”) prove that in the imagination of writers there exists the connection between the poetic system and the social order. The paper considers the opposition proposed by the French researcher M. Murat — that of the national French vers libre and the international free verse that goes back to the American, that is to say Whitman’s model of Whitman through Valerie Larbeau’s poetry. The creative act of Larbeau, who created a heteronym — the English-language poet Barnabooth, raises the question of erasing national prosody and switching the linguistic code.

The Greek Tragic Trimeter as a Prosodic Milieu

The iambic trimeter has been studied extensively, but mostly from a descriptive point of view. This article places the discussion of the tragic trimeter in relation to the functionalist tradition of the study of rhythm and syntax in verse. It presents new data on the interdependence of rhythm and word boundary placement in the tragic trimeter (based on the work of Attic tragic playwrights and the Byzantine Christus Patiens), focusing on the remarkable stability of word placement patterns and the salience of the underlying binary structure of the iambic rhythm toward the end of the line. In this light, the restrictions on word boundaries in the last metron, most importantly Porson’s bridge, are argued to have a rhythmical explanation. Furthermore, based on a juxtaposition of a number of prosodic criteria, including the repertories of word shapes (rhythmic words) in various genres and authors, the study argues that the tragic iambic trimeter represents a distinctive prosodic milieu, different from both prose (and, very likely, spoken speech) and melic poetry.

О происхождении и природе украинских ямбов в сравнении с русским стихом

This article studies the emergence and development of the iambic tetrameter in Ukrainian poetry. Its genesis and evolution are examined against the background of Russian metrical verse. The evolution of the Ukrainian iamb’s features is traced from 1761 to Taras Shevchenko. The main hypothesis of this study is that, despite a certain dependence on Russian models, the rhythm of Ukrainian verse develops independently: while the early forms of the Ukrainian tetrameter are closely connected with the poetic work of Mikhail Lomonosov and Alexander Sumarokov, afterward the originality of the Ukrainian iamb intensifies. The Ukrainian tetrameter represents a new evolutionary stage of European metrical versification, which is drifting further away from the continental prosodic canons.

Rhythm in verse

Abstract This paper on rhythm is an adaptation of the semiotic research on rhythm in versified language presented as one of the seven types of poetic iconicity in Chapter 5 of The Communicative Mind: A Linguistic Exploration of Conceptual Integration and Meaning Construction (L. Brandt 2013) entitled “Effects of poetic enunciation: Seven types of iconicity”. Defined by the linebreak, poetic language use engenders distinctive interpretive affordances, some of which manifest themselves as emphatically iconic sign relations contributing to the expressive whole of a text. In “Effects of poetic enunciation”, I explore syntactic, semantic, phonetic, rhythmic and rhetorical aspects of the phenomenon of semiotic iconicity, and its counterpart aniconicity, in language characterized by an intentionally (line)broken syntax and contribute a systematic account of the different types of semiotic iconicity relations, understood as figural or diagrammatic similarity relations – or, conversely, potent dissimilarity relations, i.e. aniconicity – between expressive means and semantic content. Rhythmic iconicity is the fifth type of iconicity in this typology.

Vana ja uus kvantitatiivne formalism: kõrvutused ja väljavaated (Moskva Lingvistiline Ring ning Stanfordi Kirjanduslabor) / “Old” and “New” Quantitative Formalism: Comparisons and Perspectives (The Moscow Linguistic Circle and the Stanford Literary Lab)

Kümme aastat tagasi leidsid Franco Moretti ja tema kolleegid oma uurimismeetodile mahuka määratluse – kvantitatiivne formalism, vastandades seda vene formalismile, mis nende arvates oli kvalitatiivne. Formalistliku teadusprogrammi tuumaks on kunstilise teksti struktuurilis-funktsionaalne analüüs, mida formalistid ise nimetasid morfoloogiliseks, ja seda võib pidada kvalitatiivseks. Kuid väide kvantitatiivse formalismi uudsuse kohta vastab tõele vaid osaliselt. Selle tõestamiseks keskendub autor kahe Moskva Lingvistilise Ringi liikme – Boriss Tomaševski ja Boriss Jarho – kvantitatiivse poeetika käsitlustele ning pöörab erilist tähelepanu Jarho leiutisele, mida hiljem nimetati kauglugemiseks. Kahe kvantitatiivse formalismi võrdlusel pole mitte ainult ajaloolis-teaduslik tähtsus, vaid ka metodoloogiline väärtus, kuna see tutvustab palju lähenemisviise, mis osutuvad tänapäeva digihumanitaariale kasulikuks.
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 Ten years ago, Franco Moretti and his co-authors described their research method as “quantitative formalism”, in contrast to Russian Formalism of the 1910s and 1920s. The structural and functional analysis of poetic texts is the nucleus of the formalist agenda, and it can indeed be considered “qualitative”. However, quantitative formalism’s novelty depends upon narrowly construing “formalism” as it was understood by the Petrograd association Obshchestvo izucheniya poeticheskogo yazyka (Society for the Study of Poetic Language) or Opoyaz. Other formalist groups had previously approached the question of quantitative formalism, but this fact is not known to many scholars for whom the canon is limited to the Opoyaz variant of formalism presented in Tzvetan Todorov’s anthology (1965) and the later collections of formalist essays, from the “standard” published by Ladislav Matejka and Krystyna Pomorska in English in 1971 to the recent collection of Russian Formalists in Estonian translations edited by Märt Väljataga in 2014.
 To demonstrate the historical development of quantitative analysis within Russian formalism, this essay focuses on the approaches to quantitative poetics developed by Boris Tomashevsky (1890–1957) and Boris Yarkho (1889–1942). Both Tomashevsky and Yarkho were members of the Moscow Linguistic Circle (MLC), co-founded by Roman Jakobson in 1915; the two scholars were recommended for membership in the MLC by Jakobson himself and elected unanimously at the same meeting on 21 June 1919. In 1960, Jakobson called Tomashevsky’s approach to verse “an example of the longest and, until recently, perhaps the most spectacular ties between linguistics, in particular the study of poetic language, on the one hand, and the mathematical analysis of stochastic processes on the other”. This approach “gave surprising clues for descriptive, historical, comparative, and general metrics on a scientific basis”. For example, Tomashevsky pioneered a statistical method of -his own invention that compares empirical indicators of verse rhythm with a theoretical model. James Bailey aptly called this approach “the Russian linguistic-statistical method for studying poetic rhythm” (1979).
 His colleagues in the MLC recognized the importance of Tomashevsky’s quantitative verse studies at MLC meetings in 1919–1921. A collection of his essays was published with the title On Verse (O stikhe, 1929). However, later anthologies have included only those sections of his essays that do not contain statistics, charts, diagrams, or tables. There are no book-length monograph studies devoted to Tomashevsky in any language, and his name is less frequently mentioned than other formalists’. To a certain extent, Tomashevsky remains “le formaliste oublié”, as Catherine Depretto has recently put it (2018).
 In his groundbreaking article on Yarkho published in Tartu in 1969, Mikhail Gasparov pointed out how Yarkho applied statistical methods with broader applicability than the study of versification alone. He used statistics for researching almost all aspects of the language of poetry and belles-lettres, motivated by a total quantification of poetics. In the paper, special attention is given to Yarkho’s then-novel approach of comparing many texts using a limited number of indicators. Specifically, he conducted a diachronic analysis of 153 five-act tragedies from 23 authors, using only four formal features: the number of scenes in the play as the measure of mobility of its action, the total number of characters in the play, the number of scenes with a particular number of speaking characters, and the standard deviation from the mean number of speaking characters in a scene. This is nothing else but an early example of “distant reading”, a term coined by Moretti many decades later.
 The birth of new quantitative formalism outside Russia invites us to re-evaluate the history of Russian Formalism in toto. Yarkho, Tomashevsky, and their followers offered a plethora of ideas for quantifying literary evolution and individual literary works, defining specific aspects of literature that justify this approach, as well as meaningful conclusions which can be drawn from the resulting calculations. On the one hand, this re-evaluation is critical for understanding the historical development of Russian Formalism. On the other hand, a comparison of the historical and modern versions of quantitative formalism offers methodological insights that are relevant for researchers in contemporary digital humanities.

‘Bidding and forbidding’: Morality, Prosody, and The Wreck of the Deutschland

Abstract This essay considers the unsettling prosody of The Wreck of the Deutschland (composed 1875–6), Gerard Manley Hopkins’s long poem in sprung rhythm, through the lens of his implicit and explicit claims about the moral and theological operations of poetic form. Connecting Hopkins’s account of poetry’s forceful ‘bidding’ to his later assertions about God’s ‘bidding and forbidding’, the essay’s first section argues that the affective texture of Hopkins’s verse undertakes a kind of moral and theological self-examination, registering the implicit violence and volatility of The Wreck’s theodicy. Taking stock of Hopkins’s reading of William Wordsworth, moreover—and developing this, in its second section, through some of Hopkins’s philosophical writings as a young man—it goes on to explore how the sounds and rhythms of poetry might intimate the complexities of moral and religious belief. The essay is committed, indeed, to understanding the sensate qualities of verse form as a medium for serious thinking, implicated as they can be with the proper intensities and uncertainties of our spiritual lives. At stake in The Wreck’s prosody, it claims, is less a kind of sure-footed belief than what Hopkins described as the ‘shock’ or ‘tremble’ of reading Wordsworth’s ‘Ode: Intimations of Immortality’ (1807): the undecidable sense of ‘having seen something, whatever that really was’.

TỪ TIẾNG THÁI TRONG THƠ CẦM BIÊU

Research on ethnic minority languages in general and poetic languages of ethnic minorities, in particular, is a matter of interest to many researchers. Based on the study of some literary materials (Cam Bieu poetries), the article investigates the number of Thai words indicating local places, objects, and phenomena featured in Cam Bieu's poetries. At the same time, the author analyzes the form value (including the ability to create the rhyming syllables of Thai words, the ability to create repeating structures in the verse rhythm) and the ability to express the meanings of Thai words in Cam Bieu’s poetries (including the meaning of describing the living environment, customs and habits typical of the Thai ethnic group, and the ability to combine with Thai folk songs and idioms to express the intuitive and emotional thinking of the Thai ethnic group).

Celebrant's Flame: Daniel Berrigan in Memory and Reflection by Bill Wylie-Kellermann

Reviewed by: Celebrant's Flame: Daniel Berrigan in Memory and Reflection by Bill Wylie-Kellermann Ryan Di Corpo Celebrant's Flame: Daniel Berrigan in Memory and Reflection. By Bill Wylie-Kellermann. Eugene, OR: Cascade Books, 2021. 212 pp. $23.00. The radical life of the late Jesuit priest and poet Daniel Berrigan, at once revered and ridiculed for his provocative acts of nonviolent resistance against the death march of war and imperialism, is welldocumented in numerous books, essays, and documentary films. Berrigan, most remembered as one of nine Catholic activists who, in 1968, illegally burned 378 draft records in a Catonsville, Maryland parking lot, was himself a prolific author. At the time of his death in 2016, Berrigan had published more than 50 works—some collections of poetry, some musings on the Old Testament prophets, some chronicles of the anti-war protests that made him an unlikely icon. (Full disclosure: I personally befriended Berrigan during the final months of his life.) It is despite numerous detailed studies on Berrigan's legacy that Detroit-born activist and retired Methodist pastor Bill Wylie-Kellermann, who first met Berrigan in the early 1970s, has delivered to us a truly unique commentary in Celebrant's Flame. Pulsating with the rhythms of poetry and protest, Kellermann's book presents a kind of spiritual symphony, a collage of personal reflections, friends' recollections, and essays by contemporary peacemakers. The book, moving freely between topics ranging from Scriptural exegesis to French absurdist Albert Camus, is best read slowly, [End Page 61] savoring its prose interspersed with Berrigan's hallmark poetic flourishes. This is a book for contemplation, to be read with the temperament of monks and the righteous fever of prophets. Calling us to lives of "radical discipleship," as Mr. Kellermann terms it, Berrigan ruffled feathers—and bruised egos—in the hallowed halls of American political power and the institutional church through a stubborn, stalwart rejection of violence under all circumstances (4). Kellerman, who was studying at New York's Union Theological Seminary when he came to know Berrigan, describes Bible studies with the Jesuit as striking the soul with paralyzing force. "Never had I met anyone who took The Book with such life and death seriousness," writes Kellermann. "I got knocked off my horse. A tidy worldview crumbled. I do not exaggerate: I was struck nearly dumb and wandered the seminary for a time more than a little lost" (79). Kellermann regards Berrigan both a spiritual mentor and a confessor, a prophet who outright refused such an august title. (Berrigan once chided an "idiot headline" in The Baltimore Sun which asked if he and Phil were modern-day prophets) (82). A major strength of this volume is that it offers a generous helping of Berrigan's poetic works. His verses—sarcastic then sincere, challenging then comforting—reveal an innate Christian sensibility, a worldview imbued by the spirit of peace. In his five-part poem "Vietnamese Letter," his meditations on a nation scarred by war highlight a distinctly Eucharistic flavor. "[T]he sweet earth, punished by ruffians' fists / heals like a rising loaf, a bread of heroes," he writes (73). In "Homily," he extends the metaphor of our world as the Body of Christ: "Said; a cleric worth his saltwill salt his bread with tears, sometimes.will break breadwhich is the world's flesh, with the world's poor,count this his privilege and more—" (37) Celebrant's Flame is also aided by four essays by Berrigan's friends, who provide valuable insight into his personal character. John Bach, once an inmate with Berrigan at Danbury federal prison in Connecticut, recalls a weekly class on great novels. "[I]n that prison classroom I marveled at Dan's insights, eloquence, spot-on analysis, and the implications for what passed for politics," writes Bach (17). "In the evening […] Dan would brew concoctions of coffee, hot chocolate, with melted Snickers bars that were shared amid all the laughter" (18). Catholics familiar with Berrigan will find Celebrant's Flame replete with fascinating, little-known details about his life (Did you know he [End Page 62] wrote unproduced television screenplays?) and timely reflections on his legacy today. Catholics unfamiliar with Berrigan...

Trochaic tetrameter in Russian folk spiritual verses of late tradition: Some issues of metrics and rhythmics

The article represents the first experience in analyzing the metrical and rhythmical organization of Russian folk spiritual verses written in trochaic tetrameter in the 19th–20th centuries. These verses existed not only orally, but in writing as well. The criteria for the selection of folklore material and its preparation for research are substantiated. The sample consists of 4447 lines, 93 texts were analyzed. The analysis is based on the principles of the “Russian method”. The purpose of the article is to test the hypothesis about different rhythmical structure of lines with feminine and masculine endings. According to this hypothesis, accentual dissimilation is progressive in feminine lines and regressive in masculine lines, which is also confirmed by some literary and folklore materials. The array of lines was differentiated by feminine and masculine rhymes; rhythmical tendencies were identifi ed on the basis of a separated analysis. The metrical repertoire of the bearers of the folklore tradition was revealed; the nomenclature of rhythmical forms was identified; accentual profi les were created; the data are presented in 25 tables. The research has shown that in lines of diff erent types the principle of regressive accentual dissimilation is observed, but in masculine lines dissimilation is more intense than in feminine lines. An important feature of the rhythm of spiritual poetry is the abundance of misplaced accents (emphatic syncopations). Taking into account the mobility of stress in folklore, I propose three models of rhythmical analysis. The fi rst model is based on the hypothesis of regular syncopations; the second one proposes the correction and exclusion of some cases of syncopations; the third one takes into account the regular shifts of stress to a metrically strong position, with elimination of all misplaced accents. As far as I could discover, an adequate characteristic of the rhythm of folklore verse does not require constant “fine tuning”. It is quite possible to use the basic model with checking the accentual variants by dictionaries.

«По ту сторону дольника»: безударные икты и сверхсхемные ударения в русском акцентном стихе

Many features usually ascribed to Russian accentual verse as opposed to dolnik are, in fact, equally typical of both meters. These features include but are not restricted to the factors of verse rhythm – skipping schematic stresses, adding extra-schematic stresses, and varying the syllabic length of inter-ictic intervals. Therefore, the widely accepted definition of Russian accentual verse as a pure tonic meter based exclusively on verbal rhythm contradicts the cultural-historical facts. The article offers a new metrical and rhythmical interpretation of Russian accentual verse.

Bashkir Verse from the Turkic Perspective

The article discusses the statistically identified properties of Bashkir versification in comparison with the existing descriptions of other Turkic versification systems. The focus is on imparisyllabic forms, predominant meters, and peculiarities of rhyme. The study allows concluding that Bashkir Uzun-Kyuy (a regular alteration of 10- and 9-syllable lines) is unique and its equivalents are not found in other Turkic poetic traditions except the Tartar tradition, with which Bashkir verse has common roots. The frequency of Bashkir 9-syllable verse is also unusual as compared with poetry in other Turkic languages. Octosyllabic lines, which are often used together with 7-syllable verse, are common for various Turkic systems and can also be found in Bashkir poetry, most prominently in Kyska-Kyuy (a regular alteration of 8- and 7-syllable lines). More data is needed to judge to what extent the rhythm of Bashkir verse is comparable with the verse rhythm in other Turkic poetic traditions.

Вишивання на канві: версифікаційна майстерність Лесі Українки у віршах циклу „Ритми”

The article under studies deals with the form of Lesya Ukrainka’s poetic works that comprised the verse cycle “Rhythms”. The meaningful unity of the cycle proems has been emphasized by a specifically defined syllable-tonic meter – pentameter iamb, which, however, does not cause the feeling of monotony of the verse form. The purpose of the article is to determine the means, used by the poetess, in order to diversify the structure. The structure of each verse of the cycle is considered separately. The curriculum verse-dialogue “De podilysia vy, holosniyi slova…”, which opens the cycle and develops the theme in the following poems, is extensively analyzed and statistically examined in the aspect of conveying emotions through the verse rhythm. It has been ascertained that the final verses of the cycle (seventh and eighth) differ in the type of the rhythm (“alternated” – “transitive”), the nature of the caesura, the hierarchy of the forms used, the presence or absence of the lines with a different meter, the number of enjambments, and the strophic structure. Thus, despite the fact that the six poems and the second parts of the two polymetric constructions of the cycle “Rhythm” have been written in pentameter iamb, they are far from being similar. Most often, the distinction is in terms of rhythm and syntax. Among the rhythmic means, there prevail the type of the caesura and the forms of the rhythm; then – the percentage of the lines with a different meter, the verses with out-of-scheme stresses and the type of the rhythm; next – the percentage of the stressed feet and the verses with masculine endings. The syntactic means are represented, above all, through enjambments and “sentences-stanzas”, more rarely – through the division into “periods” and anaphors.

تركيب البيت الشعري في شعر أسرة آل وهب

The purpose of this research is to find out the compositional aspects of the poetic verse in the poetry of the family of the Wahb family, who are the class of writers in the Abbasid era. Their literature had a great position, and They performed a prominent role in the fields of literary life. A combination such as the composition of the poetic verse and the composition of the literary text as well as the technical image in simile, metaphor, and metonymy, and their literature also included the phonological level such as rhythm in poetry, poetic weight, rhyme, and internal music, and we preferred to devise and study the compositional aspects of the verses of the poetry of the Al-Wahb family, and composed the research from an introduction and five demands which are: (news, presentation and delay, deletion, interrogation, call) in which I studied the structural level.

EXPRESSIVE POTENTIAL OF VERBAL FORMS IN BORIS SLUTSKII POEMS

Theoretical basis of the research is the works of such scientists as V. Grigorev, I. Kovtunova, O. Skorobogatova and others, who assert that the specific features of poetic text organization give the opportunities to form its immanent characteristics. They are figurativeness, functioning of the law of unity and tightness of the poetry line, verse rhythm and compositionality. It is traditionally believed that for the adequate analysis of an artwork it is necessary to take into consideration the elements of all language levels. In our research the units of morphological level were examined. Verbal forms were studied from the aspect of their expressive potential and their ability to form poetic senses in Boris Slutskii’s lyrical works. The purpose of the article is to trace whether the poet uses expressive possibilities of verb forms and to learn if the methods of actualization of morphological forms and meanings (juxtaposition, selection and attraction) are frequently used. The material for the study was Boris Slutskii lyrics written in different years. A number of excerpts of his poems were analyzed. Thus, we can conclude that the poet widely uses all the general means of actualization.

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.