TROCHAIC FORMS IN UKRAINIAN AND RОMANIAN POETRY OF THE FIRST DECADES OF THE ХХ CENTURY
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 19, Issue 1
Abstract
The article compares the Ukrainian and Romanian versification at the beginning of the ХХ century, concerning the usage of trochaic forms. Observations show that the general outlines of trochee meters in Ukrainian and Romanian poetry mostly coincide. Yet, the inner lines of metric development of these forms in each literature differ. In the poetry of both peoples trochaic tetrameter dominates, whereas in Ukrainian poetry its number is much bigger. Ukrainian trochaic tetrameter is used with all imagery-semantic signs and rhythmic features of folk song, but literary correctly outlined. That is, simultaneous process of transition of folk song measures into syllabo-tonic and gradual affirming of new classic traditions is observed. Ukrainian trochaic tetrameter is characteristic of ideal traditional rhythm with absolute stressed of strong feet and balance of weak feet. Romanian trochaic tetramer is more unstable and prone to oscillations. In Romanian trochaic tetrameter the leading are the strong second and fourth feet. Poems are subjected to the law of accent dissimila- tion, but it is not always regressive, which creates archaic tendency of rhythm. Such variation of rhythm can be observed in the works of folk poets, who for the adding of folk coloring to their poems use the primary speech model of rhythm. Second in frequency among monorhythmic structures in Ukrainian poetry is trochaic pentameter with both of its basic rhythmic forms – traditional and archaic. In Romanian poetry it is trochaic octameter with caesura, which is character- ized by the predominance of archaic type of rhythm. At the beginning of the ХХ century different-length trochaic structures became widely used, in Ukrainian poetry – regulated constructions, in Romanian – regulated and free trochaic forms. Experimental are free trochaic forms, which are characterized by wavy graphical outlines with abrupt change of long and short lines, absence of rhyming as well as speaking intonation characteristic of everyday trust-intimate talk. The main device of creating innovations in the works is asyntactic lines with enjambments, which unpredictably break the rhythmic wave of a verse.
Authors and Affiliations
Kristiniia PALADIAN
Keywords
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