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The younger poets preferred the iambic pentameter (49%). 31In thisrespect as well Prismanova fits in with this group: more than half of herentire poetical work (53%) is composed in iambic pentameters. The collectionBliznecy is in the lead with 67%.Prismanova arranges her verse into quatrains mainly and very consistentlyadopts an abab rhyme scheme, alternating masculine and femininerhyme. Although she mostly uses full rhyme, there are some occurrencesof truncated and broken rhyme. In the poem "Zelenyj dvorik"(8) she uses truncated feminine rhyme in several quatrains: navoze /vozit—osennij/kisejnom—uzin / luzi—ogoroda / gorodnyj. In the poem"Osnova" (130) we find an instance of truncated masculine rhyme:(Необходима вязь густая —)связь букв, о коей хлопочу.(Нужна порой и запятая)для выраженья сложных чувств.Broken rhyme too occurs regularly in all volumes, such as in "Neoscuscuja sobstvennogo gruza" (13) from Ten' i telo:Ax, нелегко домину бытия(построить на лесах стихотворений.)И полное лишь в сказке, знаю я,(ждет замарашку удовлетворенье.)Or in "Kosf" (120):Не танцовала никогда я(на ученическом балу)я с внутренним огнем, худая,(сидела, в мае, на молу.)In the last two collections Sol' and Vera Prismanova departs more andmore frequently from this strict regime of stanza structure and metre.In Sol' the quatrain is at times exchanged for an octave, a sextet or eventhe odd quintet, while in Vera the amount of trochaic verse is reducedto 26% (the use of the iamb goes down to a record low of 71%). Ten'i telo has the highest percentage of trisyllabic feet (8.5%). The anapesticmarching rhythm is very adequately employed in: "Nastojascij voitePjavljaetsja pusecnym mjasom" (4).Alliteration was much loved and abundantly used by Prismanova,both in poetry and prose. In "Fleurs et Couronnes", one of her Frenchshort stories. The letter С puts Prismanova on the track of the words:cercueil, corbillard, char, convoi, cancer, cloches, cierges, catafalque.