The article discusses the problems of poetic rhythm in two aspects. The first concerns the possibility of awareness and conscious modelling of various aspects of poetic rhythm; the second is related to the manifestation of similar or even identical tendencies in the rhythmic structures of various authors who belong to different eras and literary trends and even writing in different languages. Works from bilingual authors such as Vladimir Nabokov and Jurgis Baltrušaitis are of the particular interest. The first half of the article focuses on how the concept of rhythm proposed in the book by Andrei Bely (1910) influenced the poetic practice. Before Bely, it had been implicit that the choice of stanzaic and metric forms was usually conscious for authors, while Bely demonstrated that poets and their audience can be aware of verse rhythm as well. After the publication of his results, Bely and other poets of a predominantly Symbolist approach began to pay attention to the rhythmic structure of the verse and made attempts to model it. Considered are the following problems: a) how do poetic meters relate to rhythmic forms; b) to what extent can the rhythmic momentum be recognized by the author, and to what extent can the author influence it; and c) how can the author compose verses in accordance with a pre-selected rhythmic model. In the second half of the article, the rhythm of iambic and trochaic tetrameters in Russian poetic heritage of Jurgis Baltrušaitis is analysed in comparison with the rhythm of his Lithuanian verses. As it turns out, despite the obvious differences in the prosody of the Lithuanian and Russian languages, the rhythmic structure of his poems obeys the same regularities. In the final part of the article, possible explanations of rhythmic patterns are proposed and an outline of the typology of the rhythm of the binary tetrameters is given.

中文翻译：

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韵律韵律和比较韵律的符号学：弗拉基米尔·纳博科夫（Vladimir Nabokov）和JurgisBaltrušaitis的二元四面体从类型学的角度

本文从两个方面论述了诗歌节奏的问题。第一个问题涉及诗歌节奏各个方面的意识和意识建模的可能性；第二个问题与不同时代和文学趋势甚至不同语言写作的不同作者的节奏结构中相似甚至相同的倾向的表现有关。弗拉基米尔·纳博科夫（Vladimir Nabokov）和JurgisBaltrušaitis等双语作家的作品特别受关注。本文的前半部分着重于安德烈·贝利（Andrei Bely，1910）在书中提出的节奏概念如何影响诗歌实践。在Bely之前，人们一直暗含着对节型和公制形式的选择通常是作者自觉的，而Bely则表明诗人及其听众也可以意识到诗歌的节奏。在他的研究成果发表后，贝利和其他主要采用象征主义方法的诗人开始关注诗歌的节奏结构，并尝试对其进行建模。考虑了以下问题：a）诗的计量如何与节奏形式联系起来；b）作者在多大程度上可以识别节奏动量，作者可以在多大程度上影响节奏动量；c）作者如何根据预先选择的节奏模型来创作诗歌。在文章的下半部分，与俄国立陶宛诗的节奏相比，分析了俄罗斯诗歌遗产贾尔吉斯·巴尔特鲁萨蒂斯（JurgisBaltrušaitis）中的歧义韵律和Trochaic四分音符的韵律。事实证明，尽管立陶宛语和俄语的韵律明显不同，但他诗歌的节奏结构却遵循相同的规律。