Types of poems: free, white verse and others

White verse - this is the name of the stopping verses that do not have rhymes. The name has English roots. From the English poetics the definition of "blank verse" passed into the French one - "vers blanc". Thus, 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 certain clause (ending). In the book poetry, on the contrary, the white verse is used less often.

The syllabic period in Russian poetry is 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 main thing in the verse not rhyme, but the stop size, the metric rhythm.

It should be said that in book poetics, the ancient 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.

At the beginning of the nineteenth century, Zhukovsky was the most resolute in defending the free-form works. 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 merits. 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, consonance in the end of lines, stanzas are written in compliance 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 using 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 the fables of Mikhalkov, Bedny, 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 line. With a big difference in the length of the string, lyrical works acquire a certain stylistic connotation, which is characteristic of fables.

Some poets who tried to write lyrical works "freely" did not find support. "Dushenka" (Bogdanovich's poem) - the only poem performed in free verse - remained isolated. Many literary critics represent this style in the historical perspective as the successor of the people's playmate. 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, the term "vers libre" came from Western poetics. 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 .