Poetic dimensions allow the poet to create a rhythmic poetic work. Classical Russian poetry is represented mainly in the syllabo-tonic versification system (from the Greek syllabe - syllable, tonos - stress), that is, such a way of organizing the verse in which stressed and unstressed syllables alternate orderly in all lines.
In syllabo-tonic versification, two-syllable and three-syllable classical sizes are distinguished. The two-syllable sizes include iambic and trochee, the three-syllable ones - dactyl, amphibrachium and anapest, and if the former are more consonant with the dance-musical rhythm of the poem, then the latter are already closer to natural colloquial speech and intonationally more flexible. Between stressed syllables in three-syllable sizes there are two unstressed syllables. Themselves such sizes, both two-syllable and three-syllable, differ from each other only by anacruse, that is, the number of unstressed syllables preceding the first stressed in a line. It can be, in turn, zero, monosyllabic and two-syllable, creating in each case a certain rhythmic background of the verse. Dactyl (from the Greek daktylos - finger) is a three-syllable size in which the stress falls on the first syllable, that is, a size that has zero anacruse. He creates an exciting, disturbing, but at the same time measured and monotonous rhythm of the poem, reminiscent of the sounds of the surf, as if the waves are beating against the shore. An illustration of dactyl can be found in F. Tyutchev: Duma after thought, wave after wave - Two manifestations of one element: Whether in a cramped heart, in a vast sea, Here - in conclusion, there - in the open, The same eternal surf and lights out, That all the ghost is alarmingly empty. Amphibrachium has a monosyllabic anacruse (from the Greek amphi - on both sides, brachys - short), which literally means "short on both sides." Here the stress falls on the second syllable, and the first and third syllables in the foot are unstressed. As the amphibrachian Konstantin Balmont described in the article "Russian language", "there is a swinging of an ancient waltz and a sea wave in it." This flexible and plastic rhythm is especially close to colloquial speech and is therefore especially captivating. Amphibrachius wrote the following poem by A. Maikov, which can be considered as an example: Ah, wonderful sky, by God, over this classic Rome, Under such a sky you will involuntarily become an artist. Nature and people here seem to be different, as if pictures From the bright poems of the anthology of Ancient Hellas. The three-syllable size of anapest (from the Greek anapaistos - reflected back) is also called reverse dactyl, or antidactyl. It has a two-syllable anacruse, consisting of two syllables, and the stress falls on the third. According to K. Balmont's description, it is "a size full of gloomy expressiveness, a heavy and calculated blow." The poet sees in the dactyl a hand with a sword, which "slowly rises, swings and strikes." At the same time, the listener has a feeling of frank, agitated speech, as if he begins to feel the confused breathing of the narrator: “The sound is approaching. And, obedient to the aching sound …”(A. Blok).
