Ministry of higher education, science and innovation of the republic of uzbekistan national university of uzbekistan

The days of our youth are the days of our glory. 
Anapaest 
(ᴗᴗ–)
: Do you ask what the birds say? The sparrow, the dove. 
These basic measures of English verse do not always appear in their pure 
form. Moreover, the "resistance" of the linguistic material, that is, the like stress 
and, in some cases, the phrasal stress, on the one hand, and, on the other hand, the 
usually unstressed position of auxiliary and auxiliary particles, interact all the time 
with the metric grid of a given size. This interaction sometimes results in the fact 
that an unstressed syllable or particle, falling into the position of the stressed 
syllable of the grid, either removes the metric stress or significantly weakens its 
strength.
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All over the world, English poetry is popular for its sonnets. The English 
sonnet became very widespread in English literature after the Shakespearean 
period. With minor variations in composition and form, Shakespeare's sonnet lives 
on to this day. Brilliant examples of this form of poetic works were created by the 
novelists Shelley, Keats, Byron, Wordsworth, and others.
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Studying the history of English versification, one can trace the gradual 
changes in its character. These changes have certain regularities, which can be 
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https://xn--d1aux.xn--p1ai/osobennosti-anglijskogo-stihoslozheniya-na-primere-poezii-romantizma/
  
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Гончаренко С. Стиховые структуры лирического текста и поэтический перевод. – М.: Радуга, 
1988. C. 100. 

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schematically depicted as follows: from Old English alliterated, accented verse, 
characteristic of folk poetic creativity, to syllabic-tonic verse. 
In addition, speaking about the features of English versification of the period 
of English romanticism, we cannot miss the features of free versification. Free 
verse became especially widespread in the late 19th and early 20th centuries. 
Some definitions of free verse are so broad that they make it possible to 
include under this type of versification all types of verse in which deviations from 
classical norms appear. By free verse, we mean a verse in which the leading 
principle of classical metrication is preserved, i.e., the verse remains syllabic-tonic. 
But free verse allows a combination of two meters, for example: iambic with 
anapaest or trochaic with dactyl, that is, two-syllable and three-syllable meters. 
Such combinations become regular, that is, in free verse another meter 
appears not as a rhythm modulator of the main meter, but as a regularly alternating 
rhythmic unit. The length of strings is a variable value; in free verse, alternations 
of long and short lines are observed, and, unlike a ballad, short lines can be either 
two-foot or three-foot. 
The next deviation from the classical form of verse is the absence of a 
strictly established stanza. One stanza may consist of one number of lines, another 
stanza of more or less lines.
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So, free verse is characterized by a deviation from classical verse in terms of 
size (the nature of the meter), equilinearity (equal lines) and stanza. 
And, nevertheless, all these deviations do not go beyond the limits of regular 
alternations, that is, in the very violation of the classical meter there is a certain 
organization. 
An example of free verse is the poem "The Cloud" by one of the younger 
Romantic poets, Percy Bysshe Shelley. Take for analysis three stanzas from this 
poem: 
I bring fresh showers for the thirsting flowers, 
From the seas and the streams;
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Бикертон Д. Введение в лингвистическую теорию метафоры. – М.: Прогресс, 1990. C. 284. 

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