Russia is a country rich in poets. Creative people were born and wrote in it at all times, some of them received recognition during their lifetime, some only after death, some remained unknown ... this is not so important. More importantly, they all worked in the name of beauty.
Probably, deep down, every person - at least a little, but a poet. Few in their entire lives have not rhymed at least a couple of lines. But how much do we all know about the poetics of our native language? Unfortunately not. Even people who write seriously, every day, rarely study the theory of poetry, limiting themselves to knowledge of grammar and style, but in vain - after all, the theory is very interesting.
So, the syllabonic-tonic versification was introduced into the poetics of the Russian language by Lomonosov and Trediakovsky. If we analyze its basics briefly, we can say that the syllabic system of versification implies the presence of a rhyme, and the tonic one attaches great importance to the number and order of stresses in a string.
That is why white poetry is almost never found in Russian poetry and poetic proportions take place.
We all get acquainted with the three simplest poetic sizes back in school - iambic, trochee and amphibrachius are familiar to everyone who graduated from nine classes. Of course, this is far from all the existing poetic dimensions, but they are the most popular.
All such sizes are divided into groups depending on the order of alternation of unstressed and stressed syllables. So, there are two-syllable, three-syllable, four- and five-syllable poetic sizes.
Two-component are iambic and trochee. They differ very simply. If in the poetic line the emphasis falls on the first (or on each odd) syllable, then the work is written in a poetic size called trochae. Yamb is distinguished by emphasis on the second or every even syllable.
Two-syllable sizes are extremely common due to their simplicity and rhythm. However, we must not forget that at about the same time three, and not two, sizes are studied - iambic, trochee and amphibrach.
Amphibrachium belongs to the group of three complex sizes, including, in addition to it, two more - anapest and dactyl. They are no less popular than two-syllable, and allow you to create more complex works.
As the name implies, three syllables are distinguished in three-syllable dimensions, of which only one is stressed. For amphibrachia, this is the second syllable, for dactyl - the first, and for anapest - the last, third. It is clear that at the beginning of the study of sizes it is difficult to remember them, but you can simplify your task by drawing a chain of associations. Amphibrachium - emphasis on the second syllable - similar to iambic. The trochee is close to dactyl - the first syllable is stressed. And the anapaest is not like anything, therefore it is the last, like the stressed syllable in it.
In order to memorize all these five poetic sizes - iambic, trochee, dactyl, amphibrach and anapaest - it would be more interesting, you can study the work of famous Russian poets who used them. And reading the creations of these great people, you can not only have fun and improve your speech, but also learn to write good poems yourself.
So, amphibrach and dactyl can be found in the works of Lermontov. These dimensions are especially pronounced in his poems "Clouds" and "In the North, stands alone lonely."
As lovers of Russian classics could notice, Pushkin is characterized by shorter and simpler poetic lines. The most commonly used sizes are iamb, trochee.
Anapest is used by Alexander Blok. A striking example is his famous work "To the Muse."
Of course, we must not forget about the four- and five-complex verse sizes. The first include peons - in them only one syllable in four is stressed, depending on the location of which a numeral is added to the size name (No. 1, 2, 3, 4).
Five pentons belong to five-complex sizes (one stressed syllable for four unstressed ones), the number of which is determined in the same way as for peons.