Sign Systems Studies

The article introduces the results of a semantic analysis of Uku Masing’s (1909–1985) early poetry (1926–1943). The metres analyzed are syllabic-accentual trochaic tetrameter, trochaic pentameter, iambic pentameter and dactylic, logaoedic and polymetric hexameters. In each text the textual communicative perspective as well as motifs and tropes of each verse line were examined. The semantic differences and colourings of the metres are most evident in the way of expression, in the viewpoint.

Metre and meaning intertwine in manifold ways. The aim of this paper is to discuss the interplay between the metric and semantic structures in poetry in the light of the work of a Finnish poet, Ilpo Tiihonen. Throughout his career, which started in the 1970s, he has been one of the few Finnish contemporary poets to make constant use of metric structures and rhyme. The article also aims to shed some light on questions that arise when metrical poetry is translated from one language into another, in this case from Finnish into English.

Maximilian Voloshin turned to classical metres after he moved to Crimea that in his consciousness had associations with Hellas. Also, his friendship with Vyacheslav Ivanov became an important stimulus. Initially, Voloshin used the same metres that can be found in Ivanov’s collection of poems Кормчие звезды. However, their form shows that Voloshin was well familiar with classical poetry.

The article discusses the notion of metrical dualism as a phenomenon of the reader’s perception of verse. The author analyzes the prosody and metrics of Marina Tsvetayeva’s poems “Неподражаемо лжет жизнь” (“How perfectly deceitful life is ….”, 1922). However, the aim of this study is not to interpret the metre of Tsvetayeva’s verse, but rather to obtain a model of reading verse and thus show how the reader’s perception of metre changes. Thus, the author consciously has not considered the metric or the logaoedic interpretations of this poem, while approaching the text from the point of view of the reader’s perception which is always aimed at the revealing of symmetric structures. This approach makes it possible to take into account such aspects as the variety of metric interpretations, the dynamic development of verse metre, the internal and external metrical boundaries in text, etc. The analysis of Tsvetayeva’s verse reveals the interaction of two rhythmic patterns in the text, which is connected to the general meaning of the poem that tells the reader about the deceitfulness of life.

Summing up the ideas expressed in the most influential articles on the semantic halo of the Russian trochaic pentameter, scholars tend to avoid one particularly tricky question: how many units – and what kind of units – are needed to detect extra layers of meaning in a particular text? While the article of Kiril Taranovsky “О взаимоотношении стихотворного ритма и тематики” had implied that the source of these meanings (e.g. the dynamic theme of the journey) should be sought in a line starting from the 3- to 4-syllable structure, incorporating a verb of motion and an anapestic anacrusis (Выхожу [verb of motion, last syllable stressed] один я на дорогу), later research objected to this principle as an oversimplification. At the same time two later contributions on the subject (Kirill Vishnevsky’s “Экспрессивный ореол пятистопного хорея” and Mikhail Gasparov’s “The semantic halo of the Russian trochaic pentameter: Thirty years of the problem”) proposed the idea of operating with whole texts as potential sources of meanings, thus calling into question a micro-level approach to the origin of the phenomenon. In my article I propose an empirical model that makes it possible to evaluate some limitations of both practices: I concentrate on some quasi-trochaic pentameters culled from the prose text of Подвиг (Glory) by Vladimir Nabokov (Sirin), and examine these quasi-verse incidents in the framework of both approaches.