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

I bear light shade for the leaves when laid 
In their noonday dreams.
From my wings are shaken the dews that waken 
The sweet buds every one,
When rocked to rest on their mother’s breast, 
As she dances about the sun.
I wield the flail of the lashing hail, 
And whiten the green plains under,
And then again, I dissolve it in rain, 
And laugh as I pass in thunder. 
I sift the snow on the mountains below,
And their great pines groan aghast; 
And all the night ’tis my pillow white,
While I sleep in the arms of the blast. 
Sublime on the towers of my skiey bowers, 
Lightning my pilot sits;
In a cavern under is fettered the thunder, 
It struggles and howls at fits;
Over earth and ocean, with gentle motion, 
This pilot is guiding me, 
Lured by the love of the genii that move 
In the depths of the purple sea; 
Over the rills, and the crags, and the hills, 
Over the lakes and the plains, wherever he dreams, under mountain or stream, 
The Spirit he loves remains;
And I all the while bask in Heaven’s blue smile, 
Whilst he is dissolving in rains. 
The sanguine Sunrise, with his meteor eyes, 
And his burning plumes outspread,
Leaps on the back of my sailing rack, 

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22 
When the morning star shines dead;
As on the jag of a mountain crag, 
Which an earthquake rocks and swings,
An eagle alit one moment may sit 
In the light of its golden wings.
And when Sunset may breathe, from the lit sea beneath, 
Its ardours of rest and of love,
And the crimson pall of eve may fall 
From the depth of Heaven above,
With wings folded I rest, on my airy nest. 
As still as a brooding dove. 
(P. B. Shelley. The Cloud.) 
The first stanza has 12 lines, the second has 18 lines, and the third has 14 
lines. Other stanzas of this poem also differ in the number of lines. When 
analyzing the size of this poem, it turns out that we are dealing with a combination 
of iambic and anapaest. So, for example, in the first line, the anapaest appears in 
the third foot; the second line consists of two anapestic feet; the third line coincides 
in composition with the first: in it, the anapaest also appears in the third foot; all 
other feet are iambic; the fourth line is a combination of two feet: anapestic and 
iambic. Almost everywhere there is a combination of iambic and anapaest. Of 
course, as in classical verse, there are many rhythm modulators. 
Spondey (see the sixth line) and rhythmic inversion (see the sixth or eleventh 
line of the second stanza) and others appear here. Strings are not equilinear; so, for 
example, the first line of the 1st stanza consists of nine syllables, the second - of 
six syllables, the third - of nine syllables, the fourth - of five syllables, the fifth - of 
eleven syllables, the sixth - of six syllables, etc.
21
And yet, everywhere you can deduce certain patterns; in other words, in all 
deviations there is a certain system: a regular alternation of two sizes - iambic and 
21
Baldwin E. Poem Analysis. Retrieved from (2021, February 11) https://poemanalysis.com/literary-
device/synecdoche/ 

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anapaest. Each stanza is characterized by an alternation of long and short lines. 
This alternation usually manifests itself in the change of a four-foot line by a two-
foot or three-foot one. Each long line has an internal rhyme, short lines rhyme with 
each other.
22
The signs already listed are enough to say that, despite considerable freedom 
in the use of the metrical scheme of syllabic-tonic verse, certain boundaries of this 
freedom are also established here. As will be shown below, if there were no such 
restrictions on the use of syllabo-tonic verses, then we would not be dealing with 
free verse. 
Looking ahead, it should be noted that both Russian and English classical 
verse are syllabo-tonic. Initially syllabo-tonic verse arose among the Germanic 
peoples as a result of the influence of the ancient metric system, thanks to which 
the Renaissance replaces the old free poetic forms by an ordered alternation of 
strong and weak syllables. At the same time, the basic concepts of ancient metrics. 
It is possible to draw a parallel between the arrangement of drums and unstressed 
syllables in the syllabo-tonic foot and the arrangement of long and short syllables 
in the metric foot. So the terminology is preserved, while the syllables in the stops 
of the two systems are qualitatively are different
23
. The very term "syllabo-tonic 
verse" suggests a combination of the main features of the syllabic and tonic 
systems, which expressed in a clear distinction between stressed and unstressed 
syllables, as well as in the principle of equivalence. However, equisyllabism in 
Russian classical verse is a natural consequence of the recurring alternation of 
stressed and unstressed syllables, whereas in syllabic verse an equal number of 
syllables determines the constant stress before the caesura and in end of a line of 
poetry. Despite belonging to one system of versification, Russian and English 
verse have a number of their own features that will be discussed in the next section 
of the work.
22
Baker M. Routledge Encyclopedia of Translation Studies. – London: Routledge, 1998. P. 654. 
23
Baker M. Routledge Encyclopedia of Translation Studies. – London: Routledge, 1998. P. 654. 

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In addition, it is worth noting that for the English poetic tradition, alliteration 
is of particular importance, since the Anglo-Saxon verse was alliterative. Like 
rhyme in modern poetry, alliteration served not only as instrumentation, but was a 
method of metrical composition that organized the verse. It was distributed 
regularly. Each line had four stresses, the number of syllables between stresses was 
arbitrary. Alliteration in poetic works written at one time in Old English was 
combined with censorship. 
The compositional role of rhyme is in the sound organization of the verse, 
rhyme combines lines that form one thought into stanzas, makes the rhythm of the 
verse more tangible, and contributes to the memorability of a poetic work. The 
position of the rhyme in the verse and stanza is subject to one pattern or another. 
For the style of decoding, it is very important that rhyme is one of the main 
types of poetic linkage, i.e. the use of similar elements in the same positions, 
giving structural integrity to the entire work or a large segment of it. 
Approximate rhymes used in poetry are divided into assonances, in which 
the consonants are different when the vowels are the same (advice - compromise), 
consonances, in which, on the contrary, consonants coincide (wind - land, gray - 
grow), and dissonances, in which unstressed vowels and consonants, and the 
stresses do not match (devil - evil). 
In consonant rhyme (it is also called pararhyme and semi-rhyme), 
consonants that precede mismatched stressed vowels (star - stir) coincide. If the 
stressed vowels are followed by consonants, they also coincide (hall - hell). The 
large role of consonance in English verse is due to the relatively greater role of 
consonants in English than in other languages, as well as the fact that vowel 
dissonance and the response of consonants connect consonant rhyme with 
alliteration traditional for Anglo-Saxon poetry. 
The restrictions imposed on the purely phonetic side also bind the poem in 
rhythmic-syntactic terms. Rhythm is any uniform alternation, such as acceleration 
and deceleration, stressed and unstressed syllables, and even the repetition of 
images, thoughts, etc. The speech basis of rhythm, first of all, is syntax. Rhythm 

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has not only expressive, but also symbolic and pictorial functions and is far from 
being reduced to metrics. In the process of transforming life experience, 
relationships, feelings and ideas into the material of literature, he organizes them, 
gives them structure. 
Summarizing all of the above, we can surely say that the most important 
stylistic features of poetic texts include the use of rhythm, rhyme, repetition, tropes 
and special poetic vocabulary, due to which poetry has a special expressiveness, 
imagery and expressiveness.