Content
Foot ( lat. Pes ← other Greek: πούς “foot, foot”) - the structural unit of the verse ; a group of syllables singled out and united by ict , rhythmic stress in the verse. A stop can be considered as a “ quantum " of a verse, the limit of its rhythmic division; such a “quantum” consists of a strong beat determined by the ikt and a weak beat adjacent to a strong beat and filling the temporal space as necessary. The term dates back to the period VIII - VII centuries. BC e. and points to the original unity of verse, music and dance.
Foot in Metric Versification
Strong and weak share
The strong share of the foot, which is determined by the ict, is called arsis ( ἄρσις ), the weak - tesis ( θέσις ). Until V - IV centuries. BC e. terms had opposite meanings; an upward movement was called an arsis (the leg rose), a downward movement was the tarsis (the foot hit the ground). In the metric versification in the foot, a strong proportion is formed, as a rule, by the first long syllable, or the first of long syllables, if there are several long syllables; e.g. dactyl — U UU, amphibrach U — U U, bakhi U — ́ -, ionic ascendant UU — ́ -.
Number of feet
One of the principles of metric versification - a fixed amount of time allocated to the established type of verse - determines the first characteristic of the foot, its duration, or quantity. The foot is divided into time periods by which its quantity is measured. Such an elementary time period is called mora ( lat. Mora , corresponds to other Greek. Χρόνος πρῶτος ). The amount of pestilence determines the prosodic time required to pronounce a syllable or foot. At the same time, it is believed that the long syllable occupies two pesticides, the short - one. The quantitative composition of the foot ranges from two to ten pests.
Foot Quality
The same principle, together with the main property of quantitative languages, the opposition of long vowels / syllables to short, defines the second characteristic of the foot - its syllabic composition, or quality. Stops of the same amount can have different quality, that is, taking the same prosodic time, consist of a different number of syllables. For example, tribrachium (UUU) and iambic (U—) occupying 3 morae, dactyl (—UU) and spondae (- -) occupying 4 morai are quantitatively equal. This property of the foot determines the presence of such phonetic phenomena as, for example, the hypostasis (changing the length of the foot according to syllables, but saving according to morae).
Foot Transformation
In some cases, such feet as sponday (- -), dactyl (—UU), anapaest (UU — ́), in their nominal duration equal to 4 morams, were reduced to the duration of iamba (U — ́) or trochea (—́U), that is, they were pronounced not in 4, but in 3 pestilences. In this case, probably, the long syllable was pronounced in 1½ pestilence, and the short one in ¾ (the so-called “irrational” feet). Acceleration of the tempo in this way seems quite natural with the musical and vocal performance of a metric verse, especially in choral lyrics. The poet resorted to such a transformation, as a rule, according to the requirements of rhythm (the so-called metri causa ), or for the purpose of a certain artistic effect.
Most common stops
Two- and three-syllable feet, going back to simple bipartite and three-part musical sizes (2/4 and 3/4) are considered simple, the rest are complex. Complicated 5-complex feet were used mainly in choral lyrics and later drama, often forming a dimension unique to the verse and composition.
| Simple | Difficult | |||
|---|---|---|---|---|
| 2-complex | 3-complex | 4-complex | 5-complex | |
| 2 morale | UU Dibrachium (pyrrhichia) | |||
| 3 pests | -U trohey (trochee) U- iambic | UUU tribracks | ||
| 4 pests | - sponday | UU amphibrachium UU - Anapaest -UU Dactyl | UUUU Prokelevsmatik (dipyrrichia) | |
| 5 pestilence | -U- amphimacre (cretica) --U antanapest (anti-bacchus) U-- tripodium (bakhiy) | -UUU peon 1st U-UU Peon 2nd UU-U Peon 3rd UUU - peon 4th | ||
| 6 pestilence | --- moloss (trimacr, extensipes) | U - U antispast (iamborea) U − U− Dichorea (Ditroheum) UU-- Ionic ascendant --UU ionic descending −U − U diamb -UU- horyyamb | -UUUU promacre U-UUU Parapeak UU-UU Mesomac UUU-U pyrrhothotheum UUUU- pyrrhiyamb | |
| 7 pestilence | U --- epitrite 1st -U-- epitrite 2nd --U- 3rd epitrite --- U epitrite 4th | UU — U antamebey UUU-- Dasy U-UU- Cyprus | ||
| 8 pestilence | --UU- amoebae U - U- dohmiy −U − U− hypodermis --- UU molossopyrrich UU-- pariambod | |||
| 9 pestilence | U ---- Probrachium --U-- Mesobrachies --- U- molossiyamb | |||
| 10 pestilence | ----- molossospondium | |||
Foot in the syllabic-tonic versification
The term “foot” (along with other concepts of the ancient metric ) was adapted in Russian versification. A stop was designated a rhythmic group of one stressed and one or two (rarely three) non-stressed syllables. In the Russian syllabic-tonic versification, five feet have spread:
- Chorea : —U → ÚU
- Yamb : U— → UÚ
- Dactyl : —UU → ÚUU
- Amphibrachium : U — U → UÚU
- Anapest : UU— → UUÚ
- Yamb : U— → UÚ
A special case is adapted spondae : —— → ÚÚ. When adapting a sponday, observing the principle of adaptation “long to percussion”, a foot with two stresses arises, which violates the definition of the foot as a group of syllables combined by one rhythmic stress. Nevertheless, theorists of the Russian syllabonic-tonic versification considered such a sponday on a par with other stops.
In Russian, the prevailing frequency are words in 3, 4 and 5 syllables; since within the word there is only one main stress, the representation of the Russian verse in adapted feet levels the function of the foot as a constructive rhythmic element of the verse.
For example, the nominal four-footed iambic UÚ | UÚ | UÚ | UÚ in the verse “I was a crocodile prince, magician, priest, chief” ( G. R. Derzhavin ) takes the form ÚU | UÚ | ÚÚ | ÚÚ; the iamb of the first foot is replaced by a trochee, the second and third - by a spondey, which leads to a rhythm disturbance; in Art. “Admiralty Needle” (UU | UÚ | UU | UÚ) iambic of the first and third - pyrrhic ; in Art. “My uncle, the most honest of rules, // when it was not a joke,” ( A. С .. Pushkin ) (UÚ | UÚ | UÚ | UÚ | U // UÚ | UÚ | UU | UÚ) iambic eighth - pyrrhic; and so on. Moreover, the secondary stresses of words that can occupy strong positions in the feet are dynamically incommensurable with the main ones and cannot be considered as an element of a rhythm-forming mechanism. (Attempts were made to interpret this phenomenon, adapting the concept of hypostasis, in particular by V. Ya. Bryusov . However, when applied to syllabotonic, the concept of hypostasis led to some unsolvable contradictions; see Hypostasis .)
In all such cases, the verse formally ceases to be iambic; it can receive various stop representation, for example. “When you are seriously ill” it can be represented both in the form UÚ | UÚ | UUUÚ (iamb + iamb + peon 4th), so in the form UÚ | UÚU | UUÚ (iamb + amphibrach + anapaest), so in the form UÚ | UÚUU | UÚ (iambic + peon 2nd + iambic), etc. In this case, it is more correct to state that the verse is [adapted] logaed . The Logaeda, being a specific syllabic-metric phenomenon, in antiquity was considered not as a fixed group of certain feet, but as an independent structural unit, for a similar reason. Hence, in the modern theory of Russian versification, there is a tendency to abandon the concept of the foot and consider the verse itself as the main rhythmic unit.
Literature
- Bryusov V. Ya. Short course in the science of poetry, part 1. - M., 1919 (2nd edition, supplemented, - M .: GIZ, 1924).
- Gornfeld A.G. Stop, versification // Encyclopedic Dictionary of Brockhaus and Efron : 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
- Tomashevsky B.V. Russian versification. - M .: Academia, 1923.
- Sobolevsky S.I. Ancient Greek language. - M. , 1948.
- Gasparov M.L. Essay on the history of the European verse. - M. , 2003.
- Tsisyk A.Z., Shkurdyuk I.A. Antique metric. - Mn. , 2004.