The poem differs from prose in the composition of the words of a certain pattern, not only semantic, but also sound. Adding a certain mosaic from them, the poet is able to convey the most profound experiences and vivid scenes. To create the rhythm and harmony of the work, certain versification rules are used: observing the alternation in a certain order of strong and weak syllables (stressed and unstressed), called the foot; vigil on the poetic size or the constant number of repetitions of the feet in each line.
Two-compound foot
In order to understand what iambic is, you need to carefully understand the feet in general. If we are talking about a two-syllable foot, to which iambic and trochee belong, then in this case unstressed syllables alternate with stressed ones, one through one. The stress falling on the first of the two syllables suggests that the foot belongs to the chorea:
HERE is quiet tut and tam,
Crawling along the waves ...
Whereas the stress falling on the second syllable suggests that it is iambic. examples:
When the winter rages south
And the HEART is praying for another,
How to protect ...
Or more:
Then, and I will take the arrows
And the burning malice is NOT THAT
FINGERS OF TETEU WILL BE RELEASED ...
Pyrrhic
These are two striking examples that can create an idea of ​​what iambic is. Faced with serious classic poetic works, it can be more difficult to determine the size of the foot. This is due to the distribution of stresses in them, which do not always coincide with the above scheme. What to do in this case:
Dawn brightened the demand
The Murmur of the Sand River
And there, navzgorye, foal
He listened to the breeze.
The foot is difficult to determine due to the uneven distribution of stresses in words. What is it? Is it yamb? Trochee?
For such cases, there is a popular way of determining the size of the foot, which consists in “stamping out” the verse like a first grader on a ruler, not paying attention either to the meaning of the words or to the correct arrangement of stresses in them. With a similar recitation of the verse, you can notice the following pattern:
For-ya-ya-ya-ya-ni-las-ask-me,
Jour-cha-la-rech-ka-po-dog-ku,
A-tAm-na-vzgO-rye-zh-re-be-nok
When-slu-shi-val-sya-kwe-ter-kU.
When reading a verse in this way, a number of additional stresses not found in words are found. One should pay attention to the sixth syllable in the first and third lines, the fourth and sixth in the last, clearly demonstrating this poetic phenomenon. In literary criticism, it is called pyrrhic and is applicable for all sizes of the syllable.
In such a simple way, in the cited verse every second syllable is stressed, a typical iamb is exposed. Along with the chorea, he was a popular style among the works of poets of the 19th century. Iambic poems were preferred by: A. S. Pushkin, M. Yu. Lermontov, A. S. Griboedov and many other classics.
Trisyllabic foot
Three-compound feet include dactyl, amphibrach, and anapest. These foot sizes are characterized by one stressed and two unstressed syllables accompanying it. The difference lies in how the syllable accents: the dactyl has the first syllable, the amphibrachium the second, and the anapaest the third. It is possible to consider this with examples:
Dactyl:
BETTER YOURS,
RONAYA IN WATER
She drinks the sky
EARLY TIME ...
Amphibrachium:
WHEN ONE WORLD, WHICH IN ME
Falling resty, in the spring ...
Anapaest:
Love you! Do not skimp on the insanity of feelings
There is nothing to save the heart of fire!
Leave me, as if in a vessel that has been exhausted and emptied ...
Verse size
The number of repeated stops in one line of the poem creates a certain poetic size. In the last of these examples, we are talking about the repetition of four three-compound feet. Literally, this is called the four-foot anapaest.
The most frequently encountered poetic sizes characteristic of the Russian classics are four-foot, three-foot and two-foot.
For example:
Goddess that the sky is beautified
Throws in my dreams my eyes ...
This example outlines the fourfold use of amphibrachia in one line and has the corresponding name: four-foot amphibrachium.
And the above passage, characterizing the foot of a dactyl, is two-step.
What is iambic three-foot or four-foot, it is easy to understand on the following
examples:
Sometimes delirium, and without knowing it yourself
Where am I going. And is it important to know ...
This verse is written in four feet iamba. He is also recognized in the immortal "Eugene Onegin", A. S. Pushkin.
The following verse refers to the three-footed iamba, and A. S. Griboedov resorts to it in his “Woe from Wit”:
NO SCREAMING PRAYERS
PRAYERS AND SILENT ...
Now that it’s clear what is trochaic and what is dactyl, iambic or amphibrach, you can start writing your ghosts. What is an iambic for a poet? Perhaps the most convenient size. It should begin with him.