This article offers a theoretically nuanced and empirically grounded investigation into the paradoxical afterlife of classical versification within the poetic practices of the Russian and Soviet avant-garde. Challenging the persistent historiographic narrative that equates avant-garde poetics with an unequivocal rupture from tradition, the study demonstrates that canonical metrical forms—most notably iambic tetrameter—continued to operate as structurally productive, albeit critically reconfigured, elements within experimental verse. Drawing on a broad corpus encompassing poetic manifestos, verse texts, and prose writings by Vladimir Maiakovskii, Ilia Sel’vinskii, Semen Kirsanov, and Nikolai Aseev, the authors combine close formal analysis with quantitative prosodic modeling, including linguistic and speech models derived from Kolmogorov–Taranovsky verse theory. The article argues that avant-garde poets did not simply negate inherited metrics but subjected them to a process of internal recomposition, shifting attention from meter as a fixed scheme to rhythm as a dynamic, semantically charged construct. While rhythmic innovation is shown to be consciously engineered in verse, the analysis of verse-like fragments in prose reveals persistent, unconscious attachments to “classical” rhythmic patterns, particularly the Pushkinian alternating rhythm. This tension between declarative rejection and latent continuity illuminates the avant-garde’s distinctive mode of negotiating tradition: not abolishing it, but instrumentalizing it within a broader project of total artistic reorganization. The study thus reframes avant-garde prosody as a site where innovation and inheritance coexist in a state of productive contradiction, reshaping our understanding of modernist poetic technique.
Kazartsev et al. (Sat,) studied this question.