Rhythm and meaning in lyric verse

Bohumil Nuska points out the predominant limited conception of rhythm, which is usually linked only with acoustically symbolized and aurally perceived rhythms, while the rhythms that are optically symbolized and visually perceived are utterly ignored. In lyric verse, the double, parallel mental construction, which stems from the opposition of syllable and morpheme as constituents of a higher construct of the word, creates parallel lines of mixed mental spaces of linear and non-linear rhythms (the rhythm of verse, the rhythm of the situation; the atmosphere of the verse, and the atmosphere of the situation). Shared abstract structures in generic spaces within individual mixed spaces of lyric rhythm are shared axiological structures, represented at the highest level of abstraction by tension and relaxation (detension). The dynamic nature of these structures stems from the asymmetric distribution of tension and relaxation with regard to the dualistic symmetrical model of the axiological system. And thus deviations from its axial scheme emerge, creating these four parallel rhythmicized lyric structures (in terms of form). Similarity amongst the individual mixed mental spaces is only possible in a fractal dimension. In this theory, presented as a working hypothesis, it is assumed that the forms of the rhythm of the verse, the rhythm of the situation, the atmosphere of the verse, and the atmosphere of the situation, will be similar to each other, and their fractal mutual similarity emerges from the text.