Studia Metrica et Poetica <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> University of Tartu Press en-US Studia Metrica et Poetica 2346-6901 Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries) <p>The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.</p> Marina Tarlinskaja ##submission.copyrightStatement## 2019-08-29 2019-08-29 6 1 7 19 10.12697/smp.2019.6.1.01 The Finnic Tetrameter – A Creolization of Poetic Form? <p>This article presents a new theory on the origins of the common Finnic tetrameter as a poetic form (also called the Kalevala-meter, regilaul meter, etc.). It argues that this verse form emerged as a creolization of the North Germanic alliterative verse form during a period of intensive language contacts, and that the Finnic ethnopoetic ecology made it isosyllabic. Previous theories have focused on the trochaic, tetrametric structure and viewed other features of poetic form as secondary or incidental. This is the first theory to offer a metrically driven explanation for the distinctive features of the poetic form: the systematic placement of lexically stressed short syllables in metrically unstressed positions and systematic yet unmetricalized use of verse-internal alliteration. The emergence of the poetic form may be viewed simply in terms of hybridization, but its formation as a central mode for epic and ritual poetry demands consideration of social factors. Creolization is considered a social process of hybridization at the level of sign systems that is characterized by a salient asymmetrical relation of power, authority or other value in the cultural sign systems being reconfigured from the perspective of the society or groups involved. An argument is presented that North Germanic contacts also produced systematic verse-internal alliteration in Finnic languages. Discussion then turns to the distinction between the origin and spread of the poetic form. The poetic form’s uniformity across Finnic language areas in spite of its ‘foreign’ metrical features along with the range of genres with which it was used are considered indicators of the poetic form’s spread with language, forming an argument that the tetrameter emerged within an environment that also produced Late Proto-Finnic, and then spread with Late Proto-Finnic language and culture through areas where other Finnic language forms were spoken.</p> - Frog ##submission.copyrightStatement## 2019-08-29 2019-08-29 6 1 20 78 10.12697/smp.2019.6.1.02 On the Poetic of the Double Point and Circle in Dante’s Paradiso 30 and in Desmond Hogan’s Short Story “The Last Time” <p>This essay discusses the interaction of the divine point of light and Beatrice as the unattainable point of revelation for Dante in <em>Paradiso</em> 30. The two points with their respective circles of understanding and expression form a powerful figure which calls for conceptualisation both in the context of Canto 30 but also the whole of the <em>Divina Commedia</em>. Despite the different epochs, ideologies and contexts, a striking similarity as to the poetic of the double point and circle may be found also in Hogan’s text.</p> Ülar Ploom ##submission.copyrightStatement## 2019-08-29 2019-08-29 6 1 79 93 10.12697/smp.2019.6.1.03 Graphic Translation of Experimental Verse as a Strategy of Poetic Text’s Transcreation <p>The article examines the problem of translating experimental poetic texts into other languages. The focus is on the transfer of verse’s <em>spatial design</em> between the source and the target languages. We analyze some cases of unconventional poetry translation with particular attention to verbal/visual properties of avant-garde poems. Stéphane Mallarmé’s, Guillaume Apollinaire’s, Augusto de Campos’ and Dmitry A. Prigov’s visual poetry provides examples of <em>autographic</em> (hand-written or hand-drawn) and <em>allographic</em> (typewritten or typeset) texts. The former, as we argue, are problematic for translation, just like pictures in painting, whereas the latter may be rendered in another language. The analysis of E. E. Cummings’ allographic experimental verse allows to propose a special strategy for translating this kind of texts. By analogy with ‘phonetic translation’, this strategy can be called ‘<em>graphic translation</em>’. This type of translation preserves the visual and metagraphemic forms of the original text, rearranging its lexical elements in translation. It specifically applies to visually-oriented avant-garde and experimental texts. Graphic translation ‘<em>transcreates</em>’ the text to a certain degree and this contributes to preserve and reinforce the experimental nature of avant-garde verse in languages other than its own.</p> Vladimir Feshchenko ##submission.copyrightStatement## 2019-08-29 2019-08-29 6 1 94 115 10.12697/smp.2019.6.1.04 Peter Grzybek (22.11.1957 – 29.05.2019) <p>Peter Grzybek (22.11.1957 – 29.05.2019)</p> Mihhail Lotman Igor Pilshchikov Maria-Kristiina Lotman ##submission.copyrightStatement## 2019-08-29 2019-08-29 6 1 119 122 10.12697/smp.2019.6.1.05