Metrical Typology: English, German, and Russian Dolnik Verse

Tarlinskaja, Marina

doi:10.2307/1771165

Cited by 44 publications

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“…a metrical foot consisting of a single syllable. This places it in the broader family of alternating binary-ternary meters such as dolnik (Tarlinskaja 1992(Tarlinskaja , 1997 and the meters of sundry English-language folk ballad and children's verse types (Hayes & MacEachern 1998), since it is defined primarily by stress peaks and is less strict as to the number of intervening unstressed syllables. The basic structure of a four-line stanza is shown in Figure 1 below, where '|' indicates foot boundaries and parentheses indicate optionality:…”

Section: Left-headed Templatementioning

confidence: 99%

Meter, prosody and performance: evidence from the Faroese ballads

Galbraith

2019

Nord J Linguist

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In this paper, I argue that the folk ballad tradition of the Faroe Islands, to date never examined in detail by metrists, offers substantial empirical support for the necessity of maintaining the classic metrical template, as well as the distinction between metrical and prosodic structure: meter is an abstraction which can neither be collapsed into phonology, nor fundamentally detached from it (Kiparsky 2006, Blumenfeld 2015, pace Hayes & MacEachern 1998, Fabb & Halle 2008). The ballad performances also reveal a unidirectional correspondence from strong metrical positions to strong dance steps and strong musical beats, indicating that metrical prominence plays a significant role in determining rhythm. The Faroese tradition thus provides a window into the relation between metrical structure and performance. In support of my conclusions I draw upon both the ballad texts and audio-visual recordings of sections of sample ballads I made on the Faroe Islands.

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Section: Left-headed Templatementioning

confidence: 99%

Meter, prosody and performance: evidence from the Faroese ballads

Galbraith

2019

Nord J Linguist

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“…Meine Schüler an der Nase herum 3. Knittelvers has to be distinguished not only from iamb, but also from the four-stressed meter which, in Russian verse theory, is called dolnik (Tarlinskaja 1992). If we proceed only from the surface structure, we are dealing with the same model, where anacrusis can vary from 0-2 syllables, that is, the beginning of verse can be dactylic, amphibrachic or even anapaestic, 1-2 syllables can be put between the strong positions, and the end of line can be masculine, feminine or even dactylic:…”

Section: XXX Xxmentioning

confidence: 99%

Breaking the Syllabic-accentual Monotony

Lotman

2015

SMP

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Ants Oras’s innovation was not confined to the sphere of language, he also has an important role in the enrichment of Estonian metrics and systems of versification. His sources were mainly the forms of different European poetic cultures, which he introduced in his translations. In the paper, two meters are studied, which Oras tried to create in his translation of Goethe’s Faust, in order to adequately convey the original’s rhythm. These verse meters are German national form, Knittelvers, and adoneus derived from ancient and medieval verse. One common characteristic for these meters is the breaking of syllabic-accentual monotony.

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“…Th is term is sometimes used in English-language scholarship and applied to Russian as well as English and German verse (Tarlinskaja 1992(Tarlinskaja , 1995(Tarlinskaja , 2002Duff el 2008;Plungian 2011;Attridge 2012Attridge , 2013. Historically, however, the Russian dolnik is characterised by an isosyllabic tendency that Gasparov noticed but whose value he did not fully appreciate (cf.…”

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confidence: 99%

“Ein Fichtenbaum steht einsam” and the typology of the Russian dolnik (following Osip Brik’s, Boris Jarcho’s and Andrei Fedorov’s remarks on the Russian translations from Heine)

Ляпин

Pilshchikov

2015

SMP

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This paper develops some of the ideas that were expressed at the meeting of the Translators’ Section of the Soviet Writers’ Union (28 December 1934) where Osip Brik’s talk on new Russian translations from Heinrich Heine was presented and discussed. Brik argued for equirhythmical translations of Heine’s dolniks and maintained that equimetrical translations are impossible due to the differences between the Russian and the German systems of verse. His opponents, on the contrary, argued for equimetrical translations and maintained that equirhythmical translations are impossible due to the differences between the accentual systems of the Russian and the German languages. Boris Jarcho, who presided the meeting, developed a theory, according to which every versification system is characterised by primary and secondary features. The primary features represent a determinist norm and should be reproduced in translation to the full extent, while the secondary features represent a statistical norm: they may be reproduced in a proportion that the language and the poetic tradition can afford and that is at the same time similar to the proportion found in the original text. The authors of the present paper discuss three Russian poetic translations of Heine’s celebrated “Ein Fichtenbaum steht einsam...” from the point of view of their equimetricity/equirhythmicity, and compare their metrical and rhythmical structures with various rhythmic types of the Russian dolnik.

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Metrical Typology: English, German, and Russian Dolnik Verse

Cited by 44 publications

References 0 publications

Meter, prosody and performance: evidence from the Faroese ballads

Meter, prosody and performance: evidence from the Faroese ballads

Breaking the Syllabic-accentual Monotony

“Ein Fichtenbaum steht einsam” and the typology of the Russian dolnik (following Osip Brik’s, Boris Jarcho’s and Andrei Fedorov’s remarks on the Russian translations from Heine)

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