Studia Metrica et Poetica http://ojs.utlib.ee/index.php/smp <p><em>Studia Metrica et Poetica</em><em> is</em> a biannual peer-reviewed journal of prosody and poetics. The main aim of the journal is to publish papers devoted to the comparative-historical and typological issues, but various questions of verbal art and descriptions of the individual creation of different authors are addressed as well.</p> <p>One volume in two fascicles is published each year.</p> <p><em>Studia Metrica et Poetica</em> is indexed in Web of Science Core Collection (Clarivate Analytics).</p> <p>&nbsp;</p> <p>&nbsp;</p> University of Tartu Press en-US Studia Metrica et Poetica 2346-6901 Shakespeare’s Macbeth and Shelley’s The Cenci: Versification http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.01 <p>The article describes the development of English iambic pentameter during 260 years, 1561–1821. The evolution of the versification went in waves: strict (Renaissance) – loose (Baroque) – strict (Classicism) – loose (Romanticism); the periods developed “over the head” of adjacent periods. The similarity of the Renaissance and Classicism vs. Baroque and Romanticism was probably rhythmical homonymy rather than imitation. The article reveals the versification similarity of Shakespeare’s <em>Macbeth</em> and Shelley’s <em>The Cenci</em>. The similarity of versification added to the noticed earlier similarity of motifs, phraseology and vocabulary.</p> Marina Tarlinskaja Copyright (c) 2021-12-31 2021-12-31 8 2 7 31 10.12697/smp.2021.8.2.01 Bashkir Verse from the Turkic Perspective http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.02 <p>The article discusses the statistically identified properties of Bashkir versification in comparison with the existing descriptions of other Turkic versification systems. The focus is on imparisyllabic forms, predominant meters, and peculiarities of rhyme. The study allows concluding that Bashkir <em>Uzun-Kyuy</em> (a regular alteration of 10- and 9-syllable lines) is unique and its equivalents are not found in other Turkic poetic traditions except the Tartar tradition, with which Bashkir verse has common roots. The frequency of Bashkir 9-syllable verse is also unusual as compared with poetry in other Turkic languages. Octosyllabic lines, which are often used together with 7-syllable verse, are common for various Turkic systems and can also be found in Bashkir poetry, most prominently in <em>Kyska-Kyuy</em> (a regular alteration of 8- and 7-syllable lines). More data is needed to judge to what extent the rhythm of Bashkir verse is comparable with the verse rhythm in other Turkic poetic traditions.</p> Boris Orekhov Copyright (c) 2021-12-31 2021-12-31 8 2 32 44 10.12697/smp.2021.8.2.02 On the Character of Georgian Verse http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.03 <p>Research on the character of Georgian verse started in 1731. Since that time, some researchers have described Georgian verse as syllabic, while others have said that it is syllabotonic. The dispute about the character of Georgian verse became particularly acute in the 20th century. The main text the participants in the dispute analysed was a prominent piece of Georgian poetry of the 12th century – <em>The Knight in the Panther’s Skin</em> by Shota Rustaveli. It consists of 16-syllable monorhymical quatrains that have a special name in Georgian – <em>shairi</em>. There are two varieties of <em>shairi</em> – the so-called high <em>shairi</em> (4 4 4 4) and low <em>shairi</em> (5 3 5 3). The high <em>shairi</em> was the main issue of the dispute. The researchers who regarded Georgian verse as belonging to the syllabotonic system divided high <em>shairi</em> into trochaic feet, while the supporters of the syllabic theory denied the presence of metric trochaic stress in high <em>shairi</em>, believing that the penultimate syllables can be stressed only in two-syllable words but not in words with multiple syllables (due to the dactylic accentuation typical in the modern Georgian language).</p> <p>Since natural dactylic stress (found in low <em>shairi</em>) reflects the accentuation norms of the language of the later period (including those of modern Georgian), we assume that metric stress in high <em>shairi</em>, which is no longer found in modern Georgian speech, could be a reflection of the natural accentuation of the comparatively earlier period in the development of the Georgian language. Checking this hypothesis by relying on relevant linguistic literature, we reconstructed the archaic movable and phonologically relevant stress in the rhymed words in <em>The Knight in the Panther’s Skin</em>. We found that metric stresses of both high and low <em>shairi</em> in this epic poem are actually archaic linguistic stresses. This conclusion differs from the views expressed in concepts developed earlier. It enables us to take a fresh look at the metrics and rhymes of <em>The Knight in the Panther’s Skin</em> as well as the main principles and specific features of Georgian verse in general.</p> Tamar Lomidze Copyright (c) 2021-12-31 2021-12-31 8 2 45 57 10.12697/smp.2021.8.2.03 The Semiotics of New Era Poetry: Estonian Instagram and Rap Poetry http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.04 <p>Mikhail Gasparov concludes his monograph “A History of European Versification” with the recognition that in the development of particular verse forms in each tradition of poetry, there is a permanent interaction between two types of poetry: those of oral popular and bookish culture. The forms engendered by popular culture are assimilated by bookish culture, while those engendered by literary culture descend into popular culture (Gasparov 1996: 295). Here, folk poetry represents oral popular poetry, and literary poetry represents poetry published in books. Over the last decade, and especially during the last five years, the importance of lyrical poetry as an art form in Western culture has grown precisely due to the widespread distribution of both types of poetry – oral and written. Yet oral poetry is no longer marked by folklore, and the primary medium of the written poetry is no longer books – we can see that rap poetry and digital poetry, especially Instapoetry (Instagram poetry), are increasingly occupying a central position. However, bookish poetry is also rising, thanks to the latter. The growing popularity of both subgenres of poetry is associated with the emergence of new media: the platform of the first is audio and visual media (SoundCloud, Spotify, YouTube) and of the second is textual and visual media (at first Tumblr, now primarily Twitter, Instagram, and Facebook).</p> <p>This article examines attitudes and issues related to the emergence of this new era poetry and outlines its poetics from a semiotic perspective. The analysis focuses on Estonian Instagram poetry and rap, studying how these subtypes of poetry, which originate from English-speaking cultures, have emerged after a time gap in smaller literature and have changed the audience, the authors, and the meaning-making of poetry.</p> Rebekka Lotman Copyright (c) 2021-12-31 2021-12-31 8 2 58 79 10.12697/smp.2021.8.2.04 Alliteration as a Rhythmic Device in Latin Literature: General Clarifications and Proposal for a New Vertical Variant, Alliteration Before or After the Caesura http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.05 <p>In this article, two types of alliteration in Latin are analyzed: the one that occurs horizontally in the verse (<em>Saepe Solet Scintilla Suos Se Spargere</em>…, Lucr. 4.606) and the one that develops vertically in successive verses (<em>Aurea</em> … || <em>Asper</em>… || <em>Arboris</em>…, Lucr. 5.32–34 or … <em>Annis</em> || … <em>hAbendo</em>, || … <em>ARatri</em> || … <em>ARuis</em>, Lucr. 1.311–314). We propose a vertical variant that has not been studied to date and that we have called alliteration before or after caesura, insofar as it takes place between terms placed immediately before or after the caesura of two or more contiguous verses (…<em>Manus</em> |… ||… <em>Memores</em> |… ||… <em>Musis</em> |…, Claud. 26.5–7; or … | <em>Palantia</em>… || … | <em>PRaeclara</em> … || … | <em>PRimum</em> …, Lucr. 2.1029–1031); This article shows that both horizontal and vertical alliteration constitutes an element of delimitation and cohesion of contiguous hemistichs or verses.</p> Marina Salvador-Gimeno Copyright (c) 2021-12-31 2021-12-31 8 2 80 107 10.12697/smp.2021.8.2.05 Russian Binary Meters. Part Two. Chapters 5–6 http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.06 <p>Part I of <em>Russian Binary Meters</em>, the English translation of Kiril Taranovsky’s classic study <em>Ruski dvodelni ritmovi</em> (Taranovsky 1953), appeared in volume 7.2 (2020) of <em>Studia Metrica et Poetica</em> (<a href="https://doi.org/10.12697/smp.2020.7.2.07" target="_blank" rel="noopener">pp. 110–176</a>). Part I bears the title (inadvertently omitted from our translation) “Theoretical Bases for the Study of Russian Binary Meters”, and consists of the first four of the book’s nineteen sections. Following are the first two sections of Part II (“Historical Development of the Rhythmic Drive of Russian Binary Meters”), devoted, respectively, to the trochaic and iambic tetrameter. The reader should bear in mind that the numbering of sections and footnotes is continuous with the earlier installment, beginning here with Section 5 and footnote 71.</p> Kiril Taranovsky Lawrence E. Feinberg Copyright (c) 2021-12-31 2021-12-31 8 2 110 199 10.12697/smp.2021.8.2.06 Reuven Tsur (1932–2021) http://ojs.utlib.ee/index.php/smp/article/view/smp.2021.8.2.07 <p>Reuven Tsur (1932–2021)</p> Eva Lilja Copyright (c) 2021-12-31 2021-12-31 8 2 202 205 10.12697/smp.2021.8.2.07