Jezik in slovstvo

Kodni sistem
Slovenska knjizevnost
Avtorji
Urednistvo <-> bralci

Jezik in slovstvo
Povzetki

Jezik in slovstvo
Kazalo
Kazalo letnika

Aleksander Bjelcevic

Svobodni verz -- II. del
Free Verse

Slovenski sinopsis
English synopsis
English summary

Slovenski sinopsis

Verz je besedilo, ki je dvojno clenjeno: na besede, fraze, stavke itn. ter na posebne intonacijske enote --- verze, ki so ekvivalentni glede na neko lastnost --- v numericnem verzu glede na stevilo zlogov ali stevilo naglasenih zlogov, v SV pa glede na tip skladenjske meje na koncu verzov. Locimo tri tipe SV: sintagmatskega (meje verzov se pokrivajo z mejami sintagem), stavcnega (meje verzov se pokrivajo z mejami stavkov), antiskladenjskega (stavcne in verzne meje divergirajo).

English synopsis

Verse is a text with double parsing: into words, syntagms, sentences, etc., and into specific intonation units. According to the latter principle, verse lines are equivalent in terms of a given property. In numerical verse, equivalence is established in terms of the number of syllables or stressed syllables, and in free verse in terms of the syntactic border at the end of the verse. There are three types of free verse: syntagmatic (borders of lines coincide with borders of syntagms), sentential (borders of lines coincide with those of sentences), and antisyntactic (there is a divergence of sentence and line borders).

English summary

In its most widely accepted definition, free verse is described as verse without a metre (and rhyme). This is a negative definition, but we need a positive one. Why is free verse still a verse? There are two possible answers. A) Free verse is a verse because it contains traces of quantitative regularity which is characteristic of the classic, numerical verse, or because local rhytmic factors (anaphora, parallelism, etc.) are operative in it. However, modern free verse frequently lacks any rhythm of this kind. Rhythm is not a specific property of the whole verse; its specific feature is equivalence of lines. Thus, B) there exists some equivalence which in not local, but rather operative on the level of the entire poem. When definition (B) is selected over (A), the concept of rhythm as the supreme principle of organisation in verse has to be abandoned, also in free verse, and other properties have to be sought that distinguish free verse from numerical verse on the one hand and from prose on the other. To define free verse is to establish in terms of what its lines are equivalent. It is suggested that a possible criterion could be equivalence in terms of the correspondences between line and syntactic borders. This principle would yield three possible types of free verse: (a) sentential free verse with a convergence of sentence and line borders; (b) syntagmatic free verse with a convergence of lines and syntagms (and with this also sentences); (c) antisyntactic free verse with sentence and line borders diverging, so that line borders are in the middle of more or less tightly connected syntagmatic units. Rhythm remains a secondary principle: rhythm deriving from a regular, familiar repetition of stressed and unstressed syllables (echoing syllabotonic verse), sound patterns (rhyme, assonance, alliteration or consonance), repetition of a syntactic pattern (parallelism), repetition of words (anaphora, epiphora) operates within a limited scope, on a secondary or local level, appearing only in some poems or only in some parts of a poem.