Pub Date : 2021-12-31DOI: 10.12697/smp.2021.8.2.02
B. Orekhov
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.
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Pub Date : 2021-12-31DOI: 10.12697/smp.2021.8.2.05
Marina Salvador-Gimeno
In this article, two types of alliteration in Latin are analyzed: the one that occurs horizontally in the verse (Saepe Solet Scintilla Suos Se Spargere…, Lucr. 4.606) and the one that develops vertically in successive verses (Aurea … || Asper… || Arboris…, Lucr. 5.32–34 or … Annis || … hAbendo, || … ARatri || … ARuis, Lucr. 1.311–314). We propose a vertical variant that has not been studied to date and that we have called alliteration before or after caesura, insofar as it takes place between terms placed immediately before or after the caesura of two or more contiguous verses (…Manus |… ||… Memores |… ||… Musis |…, Claud. 26.5–7; or … | Palantia… || … | PRaeclara … || … | PRimum …, Lucr. 2.1029–1031); This article shows that both horizontal and vertical alliteration constitutes an element of delimitation and cohesion of contiguous hemistichs or verses.
在本文中，分析了拉丁语头韵的两种类型：在韵文中水平出现的头韵（Saepe Solet Scintilla Suos Se Spargere…，Lucr.4.606）和在连续韵文中垂直发展的头韵到目前为止，我们称头韵在凯撒之前或之后，只要它发生在两个或多个连续诗句的凯撒之前或后面的词之间（…马努斯|…||…记忆|…||..穆西斯|…，克劳德26.5-7；或…|Palantia…||…|PRaeclara…||…| PRimum…，勒克尔2.1029-1031）；这篇文章表明，水平头韵和垂直头韵都构成了相邻半体或诗句的划界和衔接元素。
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Pub Date : 2021-12-31DOI: 10.12697/smp.2021.8.2.06
Kiril Taranovsky, Lawrence E. Feinberg
Part I of Russian Binary Meters, the English translation of Kiril Taranovsky’s classic study Ruski dvodelni ritmovi (Taranovsky 1953), appeared in volume 7.2 (2020) of Studia Metrica et Poetica (pp. 110–176). Part I bears the title (inadvertently omitted from our translation) “Theoretical Bases for the Study of Russian Binary Meters”, and consists of the first four of the book’s nineteen sections. Following are the first two sections of Part II (“Historical Development of the Rhythmic Drive of Russian Binary Meters”), devoted, respectively, to the trochaic and iambic tetrameter. The reader should bear in mind that the numbering of sections and footnotes is continuous with the earlier installment, beginning here with Section 5 and footnote 71.
基里尔·塔拉诺夫斯基（Kiril Taranovsky）的经典研究《Ruski dvodelni ritmovi》（塔拉诺夫斯基，1953年）的英译本《俄罗斯二进制韵律》（Russian Binary Meters）的第一部分出现在《韵律与诗学研究》（Studia Metrica et Poeticia）第7.2卷（2020）中（第110–176页）。第一部分的标题（无意中从我们的翻译中省略）是“研究俄语二进制表的理论基础”，由该书十九节中的前四节组成。以下是第二部分的前两部分（“俄罗斯二元音程节奏驱动的历史发展”），分别致力于长片和抑扬格四聚体。读者应该记住，章节和脚注的编号与前一期是连续的，从第5节和脚注71开始。
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Pub Date : 2021-10-14DOI: 10.12697/smp.2021.8.1.01
Reuven Tsur
This article uses the term “psychological reality” in this sense: the extent to which the constructs of linguistic theory can be taken to have a basis in the human mind, i.e., to somehow be reflected in human cognitive structures. This article explores the human cognitive structures in which the constructs of phonetic theory may be reflected. The last section is a critique of the psychological reality of sound patterns in Baudelaire’s “Les Chats”, as discussed in three earlier articles. In physical terms, it defines “resonant” as “tending to reinforce or prolong sounds, especially by synchronous vibration”. In phonetic terms it defines “resonant” as “where intense precategorical auditory information lingers in short-term memory”. The effect of rhyme in poetry is carried by similar overtones vibrating in the rhyme fellows, resonating like similar overtones on the piano. In either case, we do not compare overtones item by item, just hear their synchronous vibration. I contrast this conception to three approaches: one that points out similar sounds of “internal rhymes”, irrespective of whether they may be contained within the span of short-term memory (i.e., whether they may have psychological relit); one that claims that syntactic complexity may cancel the psychological reality of “internal rhymes” (whereas I claim that it merely backgrounds rhyme); and one that found through an eye-tracking experiment that readers fixate longer on verse-final rhymes than on other words, assuming regressive eye-movement (I claim that rhyme is an acoustic not visual phenomenon; and that there is a tendency to indicate discontinuation by prolonging the last sounds in ordinary speech and blank verse too, as well as in music — where no rhyme is involved).
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Pub Date : 2021-10-14DOI: 10.12697/smp.2021.8.1.05
V. Polilova
This article discusses the most important results and materials presented at the Verse Studies section of Gasparov Lectures 2007–2019, an annual conference held in Moscow every April since 2007 in memory of the prominent Russian scholar Mikhail L. Gasparov (1935–2005). It aims to present the current state of affairs in Russian verse studies, to sum up some of their recent achievements, to identify the main controversies that act as their growth points, and to highlight the most promising areas of current research into versification.
本文讨论了自2007年以来每年4月在莫斯科举行的纪念俄罗斯著名学者米哈伊尔·l·加斯帕罗夫(Mikhail L. Gasparov, 1935-2005)的年度会议“加斯帕罗夫讲座2007 - 2019”诗歌研究部分提出的最重要的结果和材料。本文旨在介绍俄罗斯诗歌研究的现状，总结其最近取得的一些成就，确定作为其增长点的主要争议，并突出当前诗歌研究中最有前途的领域。
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Pub Date : 2021-10-01DOI: 10.12697/smp.2022.9.1.02
I. Sarkisov
The article analyzes and classifies the meters used in Thai and Burmese poetry. Though both poetic traditions have a rich literary heritage and an advanced repertoire of poetic meters, their structural properties have not received significant scholarly attention. Along with summarizing preexisting scholarly research on the subject, the article provides description of meters used in traditional Thai poetry and their typological classification. The analysis of meters in Burmese poetry is based on the 18th century long drama “Maniket” by Padethayaza as well as on a collection of short Burmese classical poems. The article describes and classifies the five meters of Thai classical poetry (klon, chan, khlong, kap and rai). Burmese traditional poetry used one or two syllabic meters as well as other meters, which have not yet been classified in the scholarly literature. The article concludes with a comparative analysis of rhyme in Thai and Burmese poetry.
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Pub Date : 2021-01-01DOI: 10.12697/smp.2021.8.1.04
Alejandro Augusto Prieto Mendoza
This paper studies the principal aspects of meter of three traditional Kakataibo chants (a Panoan group of Peruvian Amazonia). Regarding meter, Kakataibo chants exhibit patterns relevant for the cross-linguistic study of line and meter typology. I describe the Kakataibo system of versification as a quantitative meter that counts an exact number of moras and regulates the distribution of these by imposing grouping restrictions; also, it establishes weight differences between light, heavy and superheavy syllables, and vowel lengthening plays an important role for meter purposes. In addition, the average duration of lines tends to last less than three seconds and decreases progressively during performance.
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Pub Date : 2021-01-01DOI: 10.12697/smp.2021.8.1.03
A. Marina
The author explores various compositional levels of the Russian modernist author Mikhail Kuzmin’s long poem “The Trout Breaks the Ice”. The levels are: (1) the grammatical tenses vs. the astronomical time (non-finite verb forms (imperative) are also assumed to indicate time); (2) the meters of this polymetric poem; (3) realistic vs. symbolic and (4) static vs. dynamic narrative modes. The analysis is done by the chapter, and the data are summarized in five tables. It turned out that certain features regularly co-occur, thus supporting the complex composition of the poem. In particular, the present tense and time regularly mark the realistic and static chapters written in various meters, whereas the past tense and time are specific to the realistic and dynamic chapters written in iambic pentameter. The article sheds new light on the compositional structure of Kuzmin’s poem and the general principles of poetic composition.
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Pub Date : 2021-01-01DOI: 10.12697/smp.2021.8.1.02
J. Oras, Žanna Pärtlas, M. Sarv, Andreas Kalkun
The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm. The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.
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