Dimensions in versification: iambic tetrameter
For starters, let's have a short digression into the history of Russian poetry.
The reform of Russian versification
The process of forming the size of the poems (one of which is iambic tetrameter) in Russian literature took a long time and was not homogeneous. At the beginning of the eighteenth century, the rhyme was cumbersome, heavy, and very difficult to perceive. But in a few decades poetry was subjected to a large-scale reformation, which is associated, first of all, with the names of Trediakovsky and Lomonosov. The latter summarized all knowledge of versification, recognizing the equality of all sizes, allotted by Trediakovsky, but he himself preferred the yamba. I must say, he is not alone. Iamb firmly established in the work of many great Russian poets, such as Derzhavin, Zhukovsky, Pushkin and Lermontov.
The most common size was the iambic tetrameter. A stop is a group of syllables in a poem that are united by a common rhythm, in other words, an accent. The figure four in the title says that the stress should be put on every even (second in the count) syllable. Of these simple studies, the iamb itself develops. Let's consider some illustrative examples.
How to determine iambic?
It is not so difficult to determine the iambic tetrameter, examples of it exist in a very large number. If you demonstrate this size in the form of random syllables and for greater clarity to highlight in large letters those syllables that will be stressed, it will look something like:
taada tada tada puBum
tAda puDum tada tada
And so on, examples can be given endlessly. Instead of the syllables taken from the head, it is easy to substitute words and thus get a couplet, the size of which is the iambic tetrameter:
You are my dear, Bright Ray,
With you are not terrible Sons of the TUCH!
Those syllables that follow the shock are usually called "clauses." And the stresses in each line are iktami. When reading aloud, some stresses can be skipped to make the line more melodic, flying, weightless. Such a reception is called "pyrrhic". But in order to understand the iambic tetrameter before you, it is necessary to rewrite one line of the poem and isolate all the stresses for yourself, and then count how much in the product of the stressed syllables. It is important not to forget that the stress should fall exactly on the even syllable!
What is the iamba?
Do not think that there is only a iambic tetrameter. The number of stops depends only on the author of the poem. Therefore, you can find even its one-legged modification, for example:
If the lines are odd - before you two-legged iambic, if even - three-legged.
tara, tira, vara
Such examples can be offered an infinite variety. The type of iamba depends only on the poet. But the iambic four-legged, undoubtedly, the most popular of all. Increased attention has arisen because of the simplicity, weightlessness of this poetic rhythm. It's easy and pleasant to write, but it's even easier to read. Actively use iambic to this day. Having learned to define it once, you, probably, can also make good verses yourself. There would be rhyme, but with melody you can figure it out. With all our heart we wish you good luck in all your endeavors!