The Quantitative Trochee in Latin*
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Syllabification and Accent in the Paradise Lost
SYLLA BI FI CA TI ON A ND A C C ENT I N THE PA RA DI SE LOST A D I S S ERTA T I O N P R E S E NT E D TO T H E B O A RD O F U N IV ER S I TY S TU D I E S O F T H E JOH N S HO P KI N S U N IV ER S I TY F O R T H E D E E E P I L S P Y G R O F D O C TOR O F H O O H . EOR E DOBB N BRO N G G I W . n m : B A L T I M O R E JOH N M U RP HY C O M P A NY 1 90 1 C O N T EN TS . INTRODUCTION. P A GE. M etrical views of 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Masson A b bo tt and Seeley Symonds — A R I SY A IFICA I N. P T . -
Some Problems in Prosody
1903·] Some Problems in Prosody. 33 ARTICLE III. SOME PROBLEMS IN PROSODY. BY PI10PlCSSOI1 R.aBUT W. KAGOUN, PR.D. IT has been shown repeatedly, in the scientific world, that theory must be supplemented by practice. In some cases, indeed, practice has succeeded in obtaining satisfac tory results after theory has failed. Deposits of Urate of Soda in the joints, caused by an excess of Uric acid in the blood, were long held to be practically insoluble, although Carbonate of Lithia was supposed to have a solvent effect upon them. The use of Tetra·Ethyl-Ammonium Hydrox ide as a medicine, to dissolve these deposits and remove the gout and rheumatism which they cause, is said to be due to some experiments made by Edison because a friend of his had the gout. Mter scientific men had decided that electric lighting could never be made sufficiently cheap to be practicable, he discovered the incandescent lamp, by continuing his experiments in spite of their ridicule.1 Two young men who "would not accept the dictum of the authorities that phosphorus ... cannot be expelled from iron ores at a high temperature, ... set to work ... to see whether the scientific world had not blundered.'" To drive the phosphorus out of low-grade ores and convert them into Bessemer steel, required a "pot-lining" capable of enduring 25000 F. The quest seemed extraordinary, to say the least; nevertheless the task was accomplished. This appears to justify the remark that "Thomas is our modem Moses";8 but, striking as the figure is, the young ICf. -
Robert Hayden (1913-1980)
ROBERT HAYDEN (1913-1980) “RUNAGATE RUNAGATE” (1962) √A highly moving—rhythmic—poetic evocation of the Underground Railroad: sights, sounds, fears, threats, the heroine Harriet Tubman, language from “WANTED” posters. Different VOICES. √ THE CONCISE OXFORD COMPANION TO AFRICAN AMERICAN LITERATURE: “One of Robert Hayden’s most successful historical poems, ‘Runagate Runagate’ (first published in 1962), employs a montage of voices to portray the tumultuous world of escaped slaves, and ultimately the fundamental human impulse toward freedom. ‘Runagate,’ a term for a runaway slave, refers specifically to Harriet Tubman and by extension to a series of symbols suggesting freedom and emancipation.” [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100433238] √ Cental Idea: Quest for Freedom, of slaves in the American South √ Poetic Meter: Utilizes a variety of meters: dactyl, iamb, amphibrach, cretic, anapest, spondee—yet is strongly grounded in the TROCHAIC. The poem’s opening line is in Trochaic Heptameter, with other major line-groupings of 6 trochees, 4 trochees, 3 trochees, pairs of trochees “bookending” another single meter; the “hoot-owl calling” quatrain near the poem’s conclusion has all 4 lines in Trochaic Tetrameter. The use of TROCHEE is, further, associated with moments of high drama. Three MOLOSSUS in highly emotionally charged moments. √ Historical, Evocative, Powerful, Personal √ Historical sources of some of the poetic language: spirituals, hymns, abolitionist songs, WANTED posters, voices of slaves, the voice of Harriet Tubman. √ Reiteration and Alliteration: “Catch them if you can….”; “she says”; “movering, movering”; “Mean (mean mean) to be free”; “brethren brethren”; “air”; “leaves”; “No more”; “Some go (some in)”; “for me”; “darkness”; “beckoning beckoning”; “and the hunters pursuing and the hounds pursuing”; “and the night cold and the night long”; “keep on going”; “when you try to catch them”; “Many thousands”; “If you see”; “woman of earth, whipscarred, a summoning, a shining”; “Tell me . -
The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t. -
Audible Punctuation Performative Pause In
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-25 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. -
I ' Pyrrhic Stress
" QUANTITATIVE IMPLICATIONS OF THE I ' PYRRHIC STRESS ESPECIALLY IN PLAUTUS AND_TERENCE I “’ BY . LINWOOD LEHMAN A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF VIRGINIA 1924 ._» '7ufu: U ‘x’; U. Va. Damn! Dissertan J a "I ‘33 43601.4 Contents page PART I 7-22 Introducrion - - - ~ - - - - - The Tripudic Theory - - - - - ~ - 11 Introductory Remarks - - - - - - - ll The Tripudic Accentuctl System - - - - 12 .— Further Remarks on the Tripudic Accentual System - 13 The Beginning of the Penultimate Law - - - 14 m.— The Tripudium - - - - - - - - IS The Pynhic Stress - - - - - - - 20 “.v. Necessary Alternation and Coincidence of Accent and lcrus 20 PART II 23-68 . Explanation of Division of Examples 25 Textual Restoration, etc. - - - - - - 28 Manifestations of the Pyrthic Stress - - - - 3O Amphicruo - ~ - - - - - - - 32 Aulula'ria - - - - - - - - - 33 Bacchides - - ' - - ~ - - - - 35 Captiuir - . - - - - - - - 37 Menaechmi - - - - - - - - - 39 Miles Gloriosus - - - - - - - 4-1 Mostellan'a - - - - - - - - Pseudolus - - - - - - - - Rudens - - - - - - - - - Trinummus - - - - - - - - 50 Adelphoe - - - - - - - - - 53 Andria - - - - - ~ - - Eunuchus - - - - - - - - 56 Heauton ‘I'imorumenos - - - - - 57 Hecyra - - ~ - - - - 59 Phrmio - - - — - - - - 61 Piautina Addenda - - - - ~ - 63 Miscellanea - - - - - . - ~67 PART III 69-75 The Iambic Law -- - . - - - 69 Synizesis - - - - - - - _ -70 Lengthening - - - - - . _ . 71 Shortening - - - - - - - 72 . - - _ Nempe, Ille, Quippe, etc. - . 74 Final 5 - - - - .. - - 75 A Mute plus L or R - - - -
Magis Rythmus Quam Metron: the Structure of Seneca's Anapaests
Magis rythmus quam metron: the structure of Seneca’s anapaests, and the oral/aural nature of Latin poetry Lieven Danckaert To cite this version: Lieven Danckaert. Magis rythmus quam metron: the structure of Seneca’s anapaests, and the oral/aural nature of Latin poetry. Symbolae Osloenses, Taylor & Francis (Routledge): SSH Titles, 2013, 87 (1), pp.148-217. 10.1080/00397679.2013.842310. halshs-01527668 HAL Id: halshs-01527668 https://halshs.archives-ouvertes.fr/halshs-01527668 Submitted on 24 May 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Magis rythmus quam metron : the structure of Seneca's anapaests, and the oral/aural nature of Latin poetry 1 Lieven Danckaert, Ghent University Abstract The aim of this contribution is twofold. The empirical focus is the metrical structure of Seneca's anapaestic odes. On the basis of a detailed formal analysis, in which special attention is paid to the delimitation and internal structure of metrical periods, I argue against the dimeter colometry traditionally assumed. This conclusion in turn is based on a second, more methodological claim, namely that in establishing the colometry of an ancient piece of poetry, the modern metrician is only allowed to set apart a given string of metrical elements as a separate metron, colon or period, if this postulated metrical entity could 'aurally' be distinguished as such by the hearer. -
Shakespeare's Verse
THE ART OF ACTING 3: SHAKESPEARE’S VERSE Daniel Foster As most of you know, performing Shakespeare often requires the speaking of verse, usually blank verse, with a rhyming couplet at the end of certain soliloquies. By verse we mean poetry, of course – words arranged in a line with particular attention to their sounds and rhythms, words arranged to evoke music, emotion, thought, vision, a world of wonder, mystery, and revelation. Blank verse is poetry that has a regular number of beats per line. Blank verse is rhythmic but does not rhyme. Free verse is poetry that does not have a regular number of beats each line. Its rhythm will vary. Some lines may have ten words, some may have two, and so on. When we read a line of verse to determine its rhythm scheme (its meter), we are scanning. As we work on our Shakespeare scenes and monologues, you will often be directed to scan a line. When we scan the line, we’re checking to see how many feet are in each line, and where the accent is in each foot. Each foot in a line of poetry consists of two beats – a long beat and a short beat (or a strong beat and a soft beat, or a stressed beat or an unstressed beat). The only poetic feet we need to know right now are the iamb and the trochee. The iamb is a foot that has its strong beat, or long beat, on the second beat. The accent or stress is on the second beat. -
Downloaded from Brill.Com09/30/2021 10:48:23AM Via Free Access 340 Psaroudakēs and Moschos
Greek and Roman Musical Studies 6 (2018) 339-358 brill.com/grms An Experimental Investigation of Rhythmic Irrationality Stelios Psaroudakēs Department of Music Studies, National & Kapodistrian University of Athens [email protected] Fotis Moschos Laboratory of Musical Acoustics, Department of Music Studies, National & Kapodistrian University of Athens [email protected] Abstract The present paper investigates ‘rhythmic irrationality’ in the medium of recited ‘word’, as this is defined by Aristoxenos and Dionysios Halikarnasseus in three rhythmic con- texts: that of the anapaest, of the dactyl, and of the trochee (choreios). For this purpose, computer experiments have been devised, one for each of the aforementioned irratio- nalities: against the background of a monitored metronome, a line in each rhythm is initially recited in the rational mode. The line is subsequently recited another seven times, with the podic duration which is to suffer diminution or augmentation, in steps of eighths of the time unit. The eight vocal renderings of each line are then assessed psychoacoustically, in order to locate: (a) the point at which our hearing detects the onset of irrationality, and (b) the point at which a shift from the original rhythm to another is sensed. Keywords rhythmic theory – rhythmic irrationality – cyclic anapaest – irrational dactyl – alogos choreios © koninklijke brill nv, leiden, 2018 | doi:10.1163/22129758-12341326Downloaded from Brill.com09/30/2021 10:48:23AM via free access 340 Psaroudakēs and Moschos 1 Rhythmic Rationality1 It has been established in the scholarship of ancient Hellenic music that a ‘simple rational foot’ (ῥητὸς ἀσύνθετος/ἁπλοῦς πούς) is defined as the temporal structure2 π = (Χl: Ẋ f) or (Ẋl: Xf), where3 π stands for simple rational foot; Xl stands for the ‘leading part of the foot’ (καθηγούμενος ποδικὸς χρόνος),4 hereafter the ‘leader’, which is a multiple of the ‘unit of time’ (πρῶτος χρόνος).5 Thus, Χl = kυ with k ϵ {1, 2, 3}, i.e. -
Esse Videtur: Occurrences of Heroic Clausulae in Cicero's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks Esse videtur: Occurrences of Heroic Clausulae in Cicero’s Orations By Elizabeth Dorothy Adams Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Anthony Corbeill ________________________________ Tara Welch ________________________________ Emma Scioli Date Defended: April 22, 2013 ii The Thesis Committee for Elizabeth Dorothy Adams certifies that this is the approved version of the following thesis: Esse videtur: Occurrences of Heroic Clausulae in Cicero’s Orations ________________________________ Chairperson Anthony Corbeill Date approved: April 22, 2013 iii Abstract: This thesis expands upon modern studies of Cicero’s prose rhythm to provide an interpretation of his purpose in using the heroic clausula (the concluding rhythm of a sentence consisting of a dactyl followed by a spondee). Cicero’s evaluation of heroic clausulae in his rhetorical treatises and his practice of using heroic clausulae in orations appear to be at odds with each other, making his use of this clausula a contentious point for scholars. After reviewing the basic principles of prose rhythm, I examine those that Cicero puts forth in his rhetorical treatises. I then examine previous arguments by modern scholars concerning Cicero’s use of the heroic clausula. Through analyses of instances of this clausula in his orations, I conclude that Cicero frequently takes advantage of the negative perception of this rhythm in prose speech to augment his tone of invective. -
Bulgarian Word Stress Analysis in the Frame of Prosody Morphology Interface
Bulgarian word stress analysis in the frame of prosody morphology interface 1. Previous analyses of Bulgarian stress 1.1. Early works 1.2. Basic works 1.3. Works of the last decades 2. Characteristics of Bulgarian lexical accent, accepted traditionally 2.1. Phonetic characteristics 2.2. Positional characteristics 2.3. Phonological features 3. Theoretical frame of the analysis 3.1. The lexical accent and the prosody morphology interface 3.2. Headedness 4. Metrical characteristics of Bulgarian lexical accent 4.1. Quantity sensitivity or Weight to Stress Principle (WSP) 4.2. Accent mobility and rhythmic organization 4.3. Unbounded stress system 4.4. Preferred, not preferred and missing positions of the word stress. Default accent. 4.4.1. Accentual patterns of masculine gender nouns 4.4.2. Accentual patterns of feminine gender nouns 4.4.3. Accentual patterns of neuter gender nouns with final vowel –e 5. Accentual specification of morphemes 5.1. Prefixes 5.2. Accentual specification of morphemes in non-derived words 5.2.1. Accentual specification of roots 5.2.1.1. Marked roots 5.2.1.1.1. Accented roots 5.2.1.1.2. Unaccentable or post-accented roots 5.2.1.1.3. Are there pre-accented roots? 5.2.1.2. Unmarked roots 5.2.2. Accent specification of inflectional suffixes in non-derived words: 5.2.2. 1. Unmarked inflectional suffixes 5.2.2. 2. Marked inflectional suffixes 5.2.2. 2.1.Accented inflectional suffixes 5.2.2. 2.2. Unaccentable inflectional suffixes 5.3. Accentual specification of morphemes in derivatives 5.3.1. -
Zeuscansion: a Tool for Scansion of English Poetry
ZeuScansion: A tool for scansion of English poetry Manex Agirrezabal1, Aitzol Astigarraga1, Bertol Arrieta1, and Mans Hulden2 1 University of the Basque Country (UPV/EHU), Department of Computer Science, 20018 Donostia, Spain 2 University of Colorado Boulder, Department of Linguistics, Boulder, Colorado (USA) abstract We present a finite-state technology (FST) based system capable of Keywords: performing metrical scansion of verse written in English. Scansion scansion, English, is the traditional task of analyzing the lines of a poem, marking the poetry, out-of-vocabulary stressed and non-stressed elements and dividing the line into metrical words feet. The system’s workflow is composed of several subtasks designed around finite-state machines that analyze verse by performing tok- enization, part-of-speech tagging, stress placement, and stress-pattern prediction for unknown words. The scanner also classifies poems ac- cording to the predominant type of metrical foot found. We present a brief evaluation of the system using a gold standard corpus of human- scanned verse, on which a per-syllable accuracy of 86.78% is achieved. The program uses open-source components and is released under the GNU GPL license.1 1 introduction Scansion is a well-established form of poetry analysis which involves marking the prosodic meter of lines of verse and possibly also dividing the lines into feet. The specific technique and scansion notation may 1 ZeuScansion code: https://github.com/manexagirrezabal/zeuscansion Stress guesser code: https://github.com/manexagirrezabal/athenarhythm Journal of Language Modelling Vol 4, No 1 (2016), pp. 3–28 M. Agirrezabal et al. differ from language to language because of phonological and prosodic differences, and also because of different traditions regarding meter and form.