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In 2015, as in 2014, there were two panels on verse theory at the annual convention of the Association for Slavic, East European and Eurasian Studies (ASEEES), which was held in Philadelphia. The following remarks are devoted to those two sessions. It should also be noted, however, that during the several days of the conference several hundred panels were held and more than 1000 individual papers were read, dealing with all fields related to the study of Central Europe, Russia, and Eurasia. Among those panels were several individual papers that touched on aspects of verse theory, particularly at a session dealing with the poetics of translation. On the whole, then, there was a greater level of interest paid to poetics in 2015 than at most other ASEEES conferences over the past decade. The first of the panels that focused on verse theory, “Russian Poetry: Forms and Functions”, began with a paper by Michael Wachtel, of Princeton University, on “The Problem with Hypermetrical Stress.” He noted at the outset that scholars have for the most part not accounted for hypermetrical stress in their statistical analysis of verse, even though they recognize that it can have a significant impact on the rhythm. He then provided several examples of poems in which hypermetrical stress either creates variation in the rhythm or complicates the perception of meter, citing instances in works by Khodasevich, Tsvetaeva (who, as many have observed, makes extensive use of hypermetrical stress) and Gippius. For instance, in the case of Tsvetaeva’s «Читатели газет» hypermetrical stress plays an important role in imparting variety to the poem’s otherwise insistent iambic trimeter rhythm. Special attention was paid to «Что есть грех?» by Gippius. The iambic rhythm that characterizes the poem as a whole does not become clear until the third stanza; indeed, thanks to omission of stress on the second, sixth and eighth syllables along with the presence of hypermetrical stress on the first syllable, the first line (“Грех – маломыслие и малодеянье”) is more readily perceived as dactylic tetrameter with omitted stress on the third ictus. Line 5 has exactly the same stressing as line 1, while the remaining six lines in the first two stanzas are stressed only on the

Versification at the 2015 ASEEES Convention (November 2015, Philadelphia, USA)