Metric features of Boris Ryzhy’s book of poems And all that...

Despite the widespread popularity of Boris Ryzhy’s writings among scholars and readers of different generations, there has been a lack of focus on the technical aspects of his poetry, such as metrics, rhythms, strophics, and rhymes. While some preliminary remarks and initial classifications have been made in this area based on extensive textual analysis, further verification, clarification, and additions are necessary. This article highlights discrepancies found in two recent publications on Ryzhy’s metrics, raises questions regarding existing data, and presents the results of an analysis of the metric-rhythmic forms used in his first collection of poems, And All That... , which was published during the author’s lifetime in 2000. In addition to providing statistical and classificational insights, this study comments on some of the patterns identified in Boris Ryzhy’s utilization of verse forms. Of particular interest are the instances of polymetric composition found in his poetry, a topic that has not been previously explored. Moreover, attention is drawn to Ryzhy’s unique poetic strategies, which involve a combination of conservative metrics (such as iambic tetrameters) with various estrangement techniques, including polymetric forms, enjambements, and “imaginary prose”. It is noteworthy that Ryzhy consistently navigates between conformity and deviation from norms, conservatism and experimentation in their conventional sense, in a manner that strives to integrate these seemingly opposing forces into a dynamic yet balanced system, positioning himself as both a traditionalist and a trailblazer.