Pub Date : 2020-12-31DOI: 10.12697/SMP.2020.7.2.01
S. Liapin
To characterize the rhythm of stresses in a line of Russian iambic tetrameter, a frequency profile is often used, i. e., a diagram of the occurrence of real stresses on all feet (ictuses) of the verse line. This article discusses in detail one of the mechanisms that enables the speech factor to influence the formation of the stress profile. It is shown that in Russian iambic tetrameter of the nineteenth and twentieth centuries, the high frequency of stresses of the second ictus is explained by the fact that the beginning of the line more often than not coincides with the beginning of a sentence or clause, and the Russian syntagma is more frequently stressed in the middle. And vice versa, wherever the frequency of enjambments increases, the second ictus is less frequently stressed, because the beginning of the syntagma moves to the middle of the line. Considering the above, the author attempts to characterize the peculiarity of the rhythmic structure of Russian iambic tetrameter in synchronic and diachronic aspects and reveal some major large-scale trends such as the growth of the rhythmic diversity of poetic texts.
{"title":"Russian Iambic Tetrameter: The Evolution of Its Rhythmic Structure","authors":"S. Liapin","doi":"10.12697/SMP.2020.7.2.01","DOIUrl":"https://doi.org/10.12697/SMP.2020.7.2.01","url":null,"abstract":"To characterize the rhythm of stresses in a line of Russian iambic tetrameter, a frequency profile is often used, i. e., a diagram of the occurrence of real stresses on all feet (ictuses) of the verse line. This article discusses in detail one of the mechanisms that enables the speech factor to influence the formation of the stress profile. It is shown that in Russian iambic tetrameter of the nineteenth and twentieth centuries, the high frequency of stresses of the second ictus is explained by the fact that the beginning of the line more often than not coincides with the beginning of a sentence or clause, and the Russian syntagma is more frequently stressed in the middle. And vice versa, wherever the frequency of enjambments increases, the second ictus is less frequently stressed, because the beginning of the syntagma moves to the middle of the line. Considering the above, the author attempts to characterize the peculiarity of the rhythmic structure of Russian iambic tetrameter in synchronic and diachronic aspects and reveal some major large-scale trends such as the growth of the rhythmic diversity of poetic texts.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45299211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.12697/SMP.2020.7.2.07
Kiril Taranovsky, Lawrence E. Feinberg
Russian Binary Meters. Part One
俄罗斯二进制仪表。第一部分
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Pub Date : 2020-12-31DOI: 10.12697/SMP.2020.7.2.08
Satu Grünthal
Annika Mikkel, Rütmilised lauselõpud 14. sajandi ladinakeelsetes ning itaalia rahvakeelsetes proosateostes (Rhythmic clausulae in the 14th-century Latin and Italian vernacular prose texts)
安妮卡·米克尔，《节奏终结》14。14世纪拉丁和意大利白话文中的韵律从句
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Pub Date : 2020-10-13DOI: 10.12697/smp.2020.7.1.06
Anastasia Belousova, Igor Pilshchikov, Vera Polilova
Sergei Kormilov (06.06.1951–20.06.2020)
Sergei Kormilov（1951年6月6日至2020年6月20日）
{"title":"Sergei Kormilov (06.06.1951–20.06.2020)","authors":"Anastasia Belousova, Igor Pilshchikov, Vera Polilova","doi":"10.12697/smp.2020.7.1.06","DOIUrl":"https://doi.org/10.12697/smp.2020.7.1.06","url":null,"abstract":"Sergei Kormilov (06.06.1951–20.06.2020)","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43644128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.12697/smp.2020.7.1.01
M. Tarlinskaja
The essay deals with Fletcher’s versification compared to his contemporaries and co-authors. Fletcher had the most feminine endings compared to other playwrights, more compound feminine endings, and more heavy (stressed) feminine endings. He had few run-on lines: run-on lines and compound feminine endings are in reverse proportion. The main features outlined in the paper are the distribution of stressing and strong syntactic breaks in the line, types of line endings, and the syntactic and semantic function of enclitic micro-phrases. Fletcher’s verse had undergone an evolution, from Bonduca and Valentinian (1610–13) to The Island Princess (1621–23), e. g. the changed place of strong syntactic breaks. Analysis of Massinger’s verse confirmed Oras’s impression that it was prose-like: Massinger often squeezed two syllables into the same metrical slot; he had little hemistich segmentation; and he often divided his lines syntactically; the second part of the divided line ran-over onto the next line, thus effacing the division of his verse into lines. Unlike Shakespeare’s enjambments, which are composed with masculine endings and with an unstressed monosyllabic grammatical word placed on position 10, Massinger’s syntactic breaks in midline and run-on lines occur with compound light feminine endings.
{"title":"Fletcher’s Versification","authors":"M. Tarlinskaja","doi":"10.12697/smp.2020.7.1.01","DOIUrl":"https://doi.org/10.12697/smp.2020.7.1.01","url":null,"abstract":"The essay deals with Fletcher’s versification compared to his contemporaries and co-authors. Fletcher had the most feminine endings compared to other playwrights, more compound feminine endings, and more heavy (stressed) feminine endings. He had few run-on lines: run-on lines and compound feminine endings are in reverse proportion. The main features outlined in the paper are the distribution of stressing and strong syntactic breaks in the line, types of line endings, and the syntactic and semantic function of enclitic micro-phrases. Fletcher’s verse had undergone an evolution, from Bonduca and Valentinian (1610–13) to The Island Princess (1621–23), e. g. the changed place of strong syntactic breaks. Analysis of Massinger’s verse confirmed Oras’s impression that it was prose-like: Massinger often squeezed two syllables into the same metrical slot; he had little hemistich segmentation; and he often divided his lines syntactically; the second part of the divided line ran-over onto the next line, thus effacing the division of his verse into lines. Unlike Shakespeare’s enjambments, which are composed with masculine endings and with an unstressed monosyllabic grammatical word placed on position 10, Massinger’s syntactic breaks in midline and run-on lines occur with compound light feminine endings.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44581152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.12697/smp.2020.7.1.04
Anni Arukask
The works of Sappho and Alcaeus, 7th–6th century BC lyric poets from the island of Lesbos, represent the Aeolic tradition of ancient Greek poetry. In this paper, two metrical structures of this tradition, that both have two quantity-free positions (anceps, brevis in longo), are analysed and compared with regard to the quantitative tendencies of these positions. The first metrical structure, the Sapphic hendecasyllable, was used by both poets; the other, aiolikon, is not attested in Alcaeus’s work. The analysed corpus consists of all the survived lines in these meters. Due to the fragmentary nature of the material, the statistical analysis is presented in two sets to add and include the data of the Sapphic and Alcaic lines about which there is a suspicion that they may be in these meters, and also to differentiate dubious data from the undubious. In addition, the statistical data of the quantitative tendencies of the undubious lines is also expressed with generative models. In general, all the free positions, except the ancipites of Sappho’s aiolikon, display a preference for heavy syllables and the preference is more pronounced in the brevis in longo position, especially when it comes to aiolikon. Comparing the hendecasyllables, Alcaeus tends to have more heavy syllables than Sappho. Aiolikon’s free positions exhibit the biggest quantitative contrast.
{"title":"The Metrical Structure of the Sapphic Hendecasyllable and Sappho’s Aiolikon in Lesbian Poetry","authors":"Anni Arukask","doi":"10.12697/smp.2020.7.1.04","DOIUrl":"https://doi.org/10.12697/smp.2020.7.1.04","url":null,"abstract":"The works of Sappho and Alcaeus, 7th–6th century BC lyric poets from the island of Lesbos, represent the Aeolic tradition of ancient Greek poetry. In this paper, two metrical structures of this tradition, that both have two quantity-free positions (anceps, brevis in longo), are analysed and compared with regard to the quantitative tendencies of these positions. The first metrical structure, the Sapphic hendecasyllable, was used by both poets; the other, aiolikon, is not attested in Alcaeus’s work. The analysed corpus consists of all the survived lines in these meters. Due to the fragmentary nature of the material, the statistical analysis is presented in two sets to add and include the data of the Sapphic and Alcaic lines about which there is a suspicion that they may be in these meters, and also to differentiate dubious data from the undubious. In addition, the statistical data of the quantitative tendencies of the undubious lines is also expressed with generative models. In general, all the free positions, except the ancipites of Sappho’s aiolikon, display a preference for heavy syllables and the preference is more pronounced in the brevis in longo position, especially when it comes to aiolikon. Comparing the hendecasyllables, Alcaeus tends to have more heavy syllables than Sappho. Aiolikon’s free positions exhibit the biggest quantitative contrast.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48324526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.12697/smp.2020.7.1.03
Jesús M. Saavedra Carballido
The metre used by the Spanish writer Juan de Mena in his long allegorical work Laberinto de fortuna has been puzzling metrists for over five centuries. Usually identified as a variety of the verse called arte mayor, this metre has been analysed, among other things, as a divided line – one systematically allowing internal extrametricality – and as an amphibrachic line. Here it will be argued that the arte mayor exemplified by Mena’s Laberinto does not allow internal extrametricality and that it is a dolnik, a syllable-stress form not usually discussed in connection with the Spanish language. At the same time as it introduces the main problems encountered by traditional approaches, this article analyses the constant and necessary characteristics of the metre used in Mena’s composition, advocating the reliance on the notion of the metrical maximum. Next come some comments on other phenomena that are constant in Laberinto but not necessary in other kinds of arte mayor, and on several characteristics displayed by those other kinds but absent from Mena’s work. The Conclusion offers a series of suggestions for further research into the limits of this metre.
西班牙作家胡安·德·梅纳(Juan de Mena)在他的长篇寓言作品《命运之歌》(Laberinto de fortuna)中使用的格律在五个多世纪以来一直困扰着韵律学家。通常被认为是一种叫做arte mayor的诗歌，这种格律被分析为一种分割的线条——一种系统地允许内部外部的线条——和一种两栖线条。在这里，我们将论证以Mena的Laberinto为例的arte mayor不允许内部的外在性，它是dolnik，一种音节重音形式，通常不会与西班牙语联系起来讨论。在介绍传统方法所遇到的主要问题的同时，本文分析了梅纳创作中使用的节拍的恒定和必要特征，主张依赖于韵律最大值的概念。接下来是对其他现象的一些评论，这些现象在Laberinto中经常出现，但在其他类型的艺术市长中却没有必要，以及其他类型的艺术市长所表现出的一些特征，但在Mena的作品中却没有。结论部分为进一步研究这一尺度的极限提供了一系列建议。
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Pub Date : 2020-10-13DOI: 10.12697/smp.2020.7.1.02
A. Behrmann
The paper examines the epigrams included in Michael Hamburger’s translations of Hölderlin’s work, focusing on the observance of metrical rules and offering alternatives where they have not been complied with, taking care to change as little as possible.
{"title":"A Note on some of Hölderlin’s Epigrams in English Translation","authors":"A. Behrmann","doi":"10.12697/smp.2020.7.1.02","DOIUrl":"https://doi.org/10.12697/smp.2020.7.1.02","url":null,"abstract":"The paper examines the epigrams included in Michael Hamburger’s translations of Hölderlin’s work, focusing on the observance of metrical rules and offering alternatives where they have not been complied with, taking care to change as little as possible.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42879412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-10DOI: 10.12697/smp.2019.6.2.04
M. Sarv
The article focuses on the relationship of language and metre in case of oral poetry, more exactly, to what extent and through which processes the changes in language have induced the changes in metre in case of Estonian runosong, a branch of common Finnic poetic-musical tradition. The Estonian language has gone through a series of notable phonological changes during approximately last 500 to 700 years that have systematically shortened the word forms; the extent of these changes varies across dialects. At the same time the language of runosongs has partly resisted these changes, and partly adopted; the archaic and new word forms are in concurrent use, and vary geographically. The metre of Estonian runosongs appears to be a transitional form from quantitative runosong metre (Kalevala metre) to the accentual runosong metre (both of them syllabic metres). The current study shows that the transition depends directly on the average syllabic length of the words in runosongs (the longer the words, the more quantitative the metre, and vice versa), which in turn is induced by the shortening of words in dialectal language. The closer look at the points of tensions between the metre and language, i.e. the geographical distribution of the morphological forms that are critical for building the verses in quantitative metre and have been systematically retained in runosongs (but shortened in language) shows that in two metrically innovative areas runosongs have given up preserving the archaic word forms, while in big central area between a linguistically and metrically conservative centre in the North-East of Estonia and two innovation centres in Western and Southeastern Estonia the archaic and newer word forms are used concurrently. The slight difference between the metre of western and southeastern runosongs follows the prosodic patterns of dialectal language. The side topic of the article discusses the questions of the evolution of runosong in the light of newer theories of emergence of Finnic languages (in the first millennium BC) and poetic system of runosongs, but apparently the metrical variation of runosong is entirely explicable by the impact of much later language changes (approximately 500 to 700 years ago) and seems not to be able to answer the questions related to the emergence of the poetic tradition.
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