Types of poems: free, white verse and others

White verse - this is the name of the foot poems, nothaving rhyme. The name has English roots. From the English poetics the definition of "blank verse" passed into the French one - "vers blanc". So, the white verses represented verses with the destroyed "erased" rhyme. The lack of rhyme was characteristic of ancient poets.

White verse is quite common in folk Russian poetry. In the works a structural role is assigned to a specific clause (ending). In the book poetry, on the contrary, the white verse is used less often.

The Syllabic Period in Russian Poetryis characterized by a special emphasis on rhyme. However, Trediakovsky saw as a basis not rhyme, but rhythm, meter. It was he who first wrote a white verse, without rhyme.

After Trediakovsky, Cantemir translated Letters from Horace Quintus Flaccus. This showed that poets-syllabists considered the rhyme as the main thing in the verse, but the stop size, the metric rhythm.

It should be said that in book poetics, antique dimensions, including the hexameter, were adopted without dispute. At the same time, the "white verse" of other sizes was not immediately accepted by the poets.

In the early nineteenth century, the most decisivein defense of the free-of-charge works Zhukovsky spoke. He was supported Koltsov, Pushkin, and partly Lermontov. Subsequently, the white verse becomes a pervasive phenomenon in poetry. The most accepted it is considered in dramatic works, as a rule, a five-legged iambic.

It should be noted that the absence of rhyme in the works does not deprive them of their literary merit. In white verse, as, indeed, in others, the figurativeness of the language, the clause, and the rhythm are preserved.

Despite the absolute absence of rhyme, consonancein the end of lines, stanzas are written in accordance with the requirements of the metric. In other words, products consist of the same number of stops, one size is maintained. Comparing the "white" and "free" verse, the first sounds more pleasant. The authors in the first case have more freedom in the use of expressive means, which makes the work very emotional.

Freestyle is considered iambic rhymed work, which is characterized by an unequal number (not more than six) of stops in the lines.

Free verse is used in Mikhalkov's fables,Poor, Krylov. By the beginning of the nineteenth century in this style, inscriptions, epitaphs, epigrams began to be published. In the free verse, the drama "Masquerade" (Lermontov) and "Woe from Wit" (comedy by Griboyedov) was created. In the first third of the nineteenth century, some elegy were written in a similar way, with a slight difference in the length of the string. With a big difference in the length of the line, lyrical works acquire a certain stylistic connotation, which is characteristic of fables.

Some poets who tried to write lyricworks, "freely", did not find support. "Dushenka" (Bogdanovich's poem) - the only poem performed in a free verse - remained isolated. Many literary critics represent this style in the historical perspective as the successor of the people's chapel. Both styles have a common system of unequal lines. Free verse does not differ rhythmic periodicity, in connection with this, it does not have that melody that is characteristic of the correct metrical verse. At the heart of the freestyle is a two-syllable foot that does not turn into a six-lap or four-lap and is very limited in modifications.

From the beginning of the twentieth century, from Western poeticscame the term "vers libre". This definition characterized a "free verse" - several peculiar verse formations. They differed from the syllabo-tonic equisyllabic and syllabic verse. First, the term "vers libre" was used to name the works of French poets-symbolists translated into Russian.