This paper is focused on the “semantic halo of meter” («семантический ореол метра»), one of the most recognizable, popular, and widely used concepts in Russian verse studies. After the publication of Kiril Taranovsky’s article “On the Relationships between Verse Rhythm and Theme” (1963), in which the author addresses the issue by looking at the Russian trochaic pentameter and deals with one particular rhythmic variation of the specific meter, most scholars who have adopted Taranovsky’s perspective have overlooked this emphasis therefore effectively shifting focus from rhythm to meter. Mikhail L. Gasparov pointed out that “five semantic shades” are observed around trochaic pentameter. “These are (in the reverse order of relevance): Night, Landscape, Love, Death (triumphant or defied), and Road”. From this perspective, the author analyzes Osip Mandelshtam’s poem “Skilful Lady of Guilty Glances…” (1934; «Мастерица виноватых взоров…»). This poem has attracted a significant number of monographic studies; however, scholars have never examined the poem’s meter and its connection with the semantic halo of trochaic pentameter.

中文翻译：

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走向语义光晕的概念

本文的重点是“米的语义光环”（«семантическийореолметра»），这是俄罗斯诗歌研究中最可识别，最受欢迎和广泛使用的概念之一。在基里尔·塔拉诺夫斯基（Kiril Taranovsky）的文章“关于韵律与主题之间的关系”（1963年）发表之后，作者通过查看俄罗斯的五分仪解决了这个问题，并讨论了特定米的一种特殊的节奏变化，大多数学者采纳了塔拉诺夫斯基的观点而忽略了这种强调，因此有效地将重点从节奏转移到了测光。米哈伊尔·L·加斯帕罗夫（Mikhail L. Gasparov）指出，在trochaic五角表周围观察到“五个语义阴影”。“这些是（按照相反的顺序）：夜，风景，爱，死亡（胜利或反抗）和道路”。从这个角度来看，作者分析了奥西普·曼德什坦（Osip Mandelshtam）的诗“罪恶一览无余的可恶女士”（1934；«Мастерицавиноватыхвзоров…»）。这首诗吸引了许多专题研究。然而，学者们从来没有研究过诗的计量器及其与四旋五度计的语义光环的联系。