Representation, Scansion and Evaluation
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A Hell of a City: Dante's Inferno on the Road to Rome ([email protected]) DANTE's WORKS Rime (Rhymes): D.'S Lyrical Poems, Cons
A Hell of a City: Dante’s Inferno on the Road to Rome ([email protected]) DANTE’S WORKS Rime (Rhymes): D.'s lyrical poems, consisting of sonnets, canzoni, ballate, and sestine, written between 1283 [?] and 1308 [?]. A large proportion of these belong to the Vita Nuova, and a few to the Convivio; the rest appear to be independent pieces, though the rime petrose (or “stony poems,” Rime c-ciii), so called from the frequent recurrence in them of the word pietra, form a special group, as does the six sonnet tenzone with Forese Donati: http://etcweb.princeton.edu/dante/pdp/rime.html (Testo critico della Societa' Dantesca Italiana; Florence: Societa' Dantesca Italiana, 1960. Edited by Michele Barbi. Translated by K. Foster and P. Boyde.) Vita nova (The New Life): Thirty-one of Dante's lyrics surrounded by an unprecedented self-commentary forming a narrative of his love for Beatrice (1293?). D.'s New Life, i.e. according to some his 'young life', but more probably his 'life made new' by his love for Beatrice. The work is written in Italian, partly in prose partly in verse (prosimetron), the prose text being a vehicle for the introduction, the narrative of his love story, and the interpretation of the poems. The work features 25 sonnets (of which 2 are irregular), 5 canzoni (2 of which are imperfect), and 1 ballata: http://etcweb.princeton.edu/dante/pdp/vnuova.html (Testo critico della Società Dantesca Italiana; Florence: Società Dantesca Italiana, 1960. Edited by Michele Barbi. Translated by Mark Musa.) In the Vita Nuova, which is addressed to his 'first friend', Guido Cavalcanti, D. -
Lydgate's Metrical Inventiveness and His Debt to Chaucer
/\GJDWH V0HWULFDO,QYHQWLYHQHVVDQGKLV'HEWWR&KDXFHU 0DUWLQ-'XIIHOO Parergon, Volume 18, Number 1, July 2000, pp. 227-249 (Article) 3XEOLVKHGE\$XVWUDOLDQDQG1HZ=HDODQG$VVRFLDWLRQRI0HGLHYDO DQG(DUO\0RGHUQ6WXGLHV ,QF DOI: 10.1353/pgn.2000.0038 For additional information about this article http://muse.jhu.edu/journals/pgn/summary/v018/18.1.duffell.html Access provided by Boston College (25 Aug 2015 19:59 GMT) Lydgate's Metrical Inventiveness and his Debt to Chaucer Martin J. Duffell Most modem critics and editors of John Lydgate's work feel it necessary to address the problem of his reputation as a versifier: why did his contemporaries rate him so highly when twentieth-century writers regard him, at best, as idiosyncratic and, at worst, as incompetent? Thus, for example, Saintsbury dismissed him as 'a doggerel poet with an insensitive ear' and Hammond demonstrated that Lydgate's roughness was due, not to ignorant copyists, but to an ignorant poet; 'The study of Lydgate's mentality,' she concluded, 'may not be worth the student's candle.' In the last sixty years a number of writers, from Pyle to Hascall, have made important contributions to our understanding of Lydgate's metrics, but have not succeeded in making us admire his versification. Yet he was the most prolific and admired versifier in England during his own lifetime and for a century after his death. 1 George Saintsbury, A History of English Prosody from the Twelfth Century to the Present Day, Y.From the Origins to Spenser (London and New York: Macmillan, 1906), p. 223; Eleanor Prescott Hammond, English Verse between Chaucer and Surrey (Durham, NC: Duke University Press, 1927), p.l 52. -
Meter in Catullan Invective: Expectations and Innovation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boston University Institutional Repository (OpenBU) Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2015 Meter in Catullan invective: expectations and innovation https://hdl.handle.net/2144/15640 Boston University BOSTON UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Dissertation METER IN CATULLAN INVECTIVE: EXPECTATIONS AND INNOVATION by MICHAEL IAN HULIN WHEELER B.A., University of Florida, 2004 M.A., University of Florida, 2005 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 © Copyright by MICHAEL IAN HULIN WHEELER 2015 Approved by First Reader ______________________________________________________ Patricia Johnson, Ph.D. Associate Professor of Classical Studies Second Reader ______________________________________________________ James Uden, Ph.D. Assistant Professor of Classical Studies Third Reader ______________________________________________________ Jeffrey Henderson, Ph.D. William Goodwin Aurelio Professor of Greek Language and Literature Acknowledgements Above all others, I would like to thank my family for their support along the journey towards the completion of my dissertation. I owe the greatest gratitude to my wife, Lis, whose (long-suffering) patience, love, and willingness to keep me on track has been indispensable; to my parents and grandmother, who have been nothing but supportive and encouraging along the way; to my late grandfather and great-uncle, who showed me that getting a doctorate was a possibility (though admittedly the two-years-to- degree record was impossible to match); and finally to Caesar Augustus, the most classically educated dachshund I’ve ever known, and to his loving successor Livia, both of whom are sorely missed. -
Syllabification of the Divine Comedy • 3 Accent and the Synalephe Propensity of the Word with Adjacent Ones
Syllabification of the Divine Comedy ANDREA ASPERTI, University of Bologna, Department of Informatics: Science and Engineering (DISI), Italy STEFANO DAL BIANCO, University of Siena, Department of philology and literary criticism, Italy We provide a syllabification algorithm for the Divine Comedy using techniques from probabilistic and constraint program- ming. We particularly focus on the synalephe, addressed in terms of the “propensity” of a word to take part in a synalephe with adjacent words. We jointly provide an online vocabulary containing, for each word, information about its syllabification, the location of the tonic accent, and the aforementioned synalephe propensity, on the left and right sides. The algorithm is intrinsically nondeterministic, producing different possible syllabifications for each verse, with different likelihoods; metric constraints relative to accents on the 10th, 4th and 6th syllables are used to further reduce the solution space. The most likely syllabification is hence returned as output. We believe that this work could be a major milestone for a lot of different inves- tigations. From the point of view of digital humanities it opens new perspectives on computer assisted analysis of digital sources, comprising automated detection of anomalous and problematic cases, metric clustering of verses and their catego- rization, or more foundational investigations addressing e.g. the phonetic roles of consonants and vowels. From the point of view of text processing and deep learning, information about syllabification and the location of accents opens a wide range of exciting perspectives, from the possibility of automatic learning syllabification of words and verses, to the improvement of generative models, aware of metric issues, and more respectful of the expected musicality. -
The Anatomy and Acoustic Contour of the Latin Alcaic
Rhythm in a Sinuous Stanza: The Anatomy and Acoustic Contour of the Latin Alcaic Andrew S. Becker American Journal of Philology, Volume 133, Number 1 (Whole Number 529), Spring 2012, pp. 117-152 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/ajp.2012.0004 For additional information about this article http://muse.jhu.edu/journals/ajp/summary/v133/133.1.becker.html Access provided by Virginia Polytechnic Inst. __ACCESS_STATEMENT__ St.University __ACCESS_STATEMENT__ (Viva) (7 Feb 2014 09:36 GMT) RHYTHM IN A SINUOUS STANZA: THE ANATOMY AND ACOUSTIC CONTOUR OF THE LATIN ALCAIC ANDREW S. BECKER u Abstract. This essay explores the metrical as well as rhythmical aspects of the acoustic contour of the Latin Alcaic, focusing on patterns of natural, audible, performed word accents in coincidence and syncopation with the fixed pattern of the meter, in both the ancient and modern scansions of the stanza. The meter was measured in antiquity with a learned, latent expectation or undercurrent of regular verse beats to scan aloud, to measure for the ear, the pattern of long and short syllables. Within the fixed framework of the meter, variable patterns of accent provide a rhythm, and that rhythm is the focus of this essay. Very little attention falls on sound and sense: the coda argues that sound need not be sub- ordinate to meaning, need not be sound effect, nor explicitly rhetorical, to be worth our attention. By accentuating weight and pause, Horace points up a principal beauty of the Alcaic, its shifts in rhythm in midcourse, its calculated imbalance as the iambic and choriambic first two lines yield to iambs in the third and resolve in racy dactyls in the fourth. -
The Metrical Structure of the Sapphic Hendecasyllable and Sappho's
Studia Metrica et Poetica 7.1, 2020, 97–113 The Metrical Structure of the Sapphic Hendecasyllable and Sappho’s Aiolikon in Lesbian Poetry Anni Arukask* Abstract: The works of Sappho and Alcaeus, 7th–6th century BC lyric poets from the island of Lesbos, represent the Aeolic tradition of ancient Greek poetry. In this paper, two metrical structures of this tradition, that both have two quantity-free positions (anceps, brevis in longo), are analysed and compared with regard to the quantitative tendencies of these positions. The first metrical structure, the Sapphic hendecasyllable, was used by both poets; the other, aiolikon, is not attested in Alcaeus’s work. The ana- lysed corpus consists of all the survived lines in these meters. Due to the fragmentary nature of the material, the statistical analysis is presented in two sets to add and include the data of the Sapphic and Alcaic lines about which there is a suspicion that they may be in these meters, and also to differentiate dubious data from the undubious. In addition, the statistical data of the quantitative tendencies of the undubious lines is also expressed with generative models. In general, all the free positions, except the ancipites of Sappho’s aiolikon, display a preference for heavy syllables and the prefer- ence is more pronounced in the brevis in longo position, especially when it comes to aiolikon. Comparing the hendecasyllables, Alcaeus tends to have more heavy syllables than Sappho. Aiolikon’s free positions exhibit the biggest quantitative contrast. Keywords: Sapphic hendecasyllable, -
How Sir Thomas Wyatt Introduced Modern English Poetics
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2010 Creativity with Purest Energy: How Sir Thomas Wyatt Introduced Modern English Poetics Jeffery R. Moser University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the European History Commons, and the Literature in English, Anglophone outside British Isles and North America Commons Recommended Citation Moser, Jeffery R., "Creativity with Purest Energy: How Sir Thomas Wyatt Introduced Modern English Poetics" (2010). Electronic Theses and Dissertations. 454. https://digitalcommons.du.edu/etd/454 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. CREATIVITY WITH PUREST ENERGY—HOW SIR THOMAS WYATT INTRODUCED MODERN ENGLISH POETICS __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master of Arts __________ by Jeffery R. Moser June 2010 Advisor: Dr. Linda Bensel-Meyers © Copyright by Jeffery R. Moser 2010 All Rights Reserved Author: Jeffery Moser Title: CREATIVITY WITH PUREST ENERGY—HOW SIR THOMAS WYATT INTRODUCED MODERN ENGLISH POETICS Advisor: Prof. Linda Bensel-Meyers Degree Date: June 2010 Abstract The court poetry of Sir Thomas Wyatt (1503-42) asserts a special confidence and boldness of the individual and his poetics that stand at the forefront of an ambitious, sure and powerful England which eventually came into place during his life and afterwards. -
Two Unnoticed Portuguese Villancicos in a Sixteenth-Century Italian Songbook
nova série | new series 6/1 (2019), pp. 157-182 ISSN 2183-8410 http://rpm-ns.pt Two Unnoticed Portuguese Villancicos in a Sixteenth-Century Italian Songbook Nuno de Mendonça Raimundo CESEM Faculdade de Ciências Sociais e Humanas Universidade NOVA de Lisboa [email protected] Resumo A música profana do século XVI em língua portuguesa, que já raramente se encontra presente nos cancioneiros portugueses, é ainda mais escassa em fontes não portuguesas. Contudo, preservam-se dois vilancicos portugueses num conjunto de livros de partes de origem italiana que parecem ter permanecido despercebidos até ao momento. Estes manuscritos encontram-se actualmente na British Library (GB-Lbl Royal Appendix 59-62, também designados de Livros de Partes de Fitzalan) são, até onde se conhece, a única fonte não ibérica de canções portuguesas do século XVI. Apesar da aparente natureza despretensiosa da música, estas duas canções revelam-se testemunhos importantes da circulação de repertório e de transmissão transcultural a diversos níveis. Neste artigo pretende-se, pela primeira vez, apresentar estes vilancicos à comunidade musicológica através da descrição e análise dos seus conteúdos poéticos e musicais e, numa tentativa de reconstruir o percurso histórico destas canções desde Portugal até Itália, através do estabelecimento de afinidades e concordâncias com outras fontes ibéricas e italianas. Palavras-chave Fitzalan Partbooks; Vilancicos portugueses; Música profana do século XVI; Circulação de repertório. Abstract Sixteenth-century secular music in the Portuguese language, which is already a rarity in Portuguese cancioneiros, is very infrequently found in non-Portuguese sources. There are, however, two Portuguese villancicos preserved in a set of partbooks of Italian origin that seem to have been unnoticed until now. -
The Metrical Structure of Free Verse
The Metrical Structure of Free Verse PhD Thesis Hansjörg Bittner School of Modern Languages and European Studies University of East Anglia May 1997 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. Acknowledgements: First, I would like to thank my supervisor, Professor Clive Scott. In numberless discussions, his critical remarks have helped me to refine my concept of free verse metrics and to consolidate its theoretical foundations. This thesis would not have been written but for financial support from The British Academy and, above all, from my parents. 2 Abstract The irregular undulations of the lexical stress patterns in English and German free verse seem to elude any attempts at controlling their structural variety. This elusiveness calls for metrical confinement through a theory that illuminates the rhythmic effects of variable accentual structures. Metre represents the abstract image of poetic rhythm. Its binary stress patterns utilize accentual isochrony and accentual diversity in order to produce temporal and, if possible, structural regularity. Thus, a stress-based theory of free verse metre becomes possible. The metrical structure of free verse depends on the simultaneous co-operation of all metrically relevant factors. None of these factors is invariable; but their variability is restricted by their need to negotiate mutually the various possibilities of producing, in a concerted effort, the rhythmically best stress pattern. There are three different kinds of metrically relevant factors: while syntax is generally responsible for the delimitation of a metrical unit, lexical stress furnishes the accentual raw material, whose shape is, then, refined under the influence of metro-rhythmic idealization. -
Poetry 1 Poetry
Poetry 1 Poetry Literature Major forms • Novel • Poem • Drama • Short story • Novella Genres • Comedy • Drama • Epic • Erotic • Nonsense • Lyric • Mythopoeia • Romance • Satire • Tragedy • Tragicomedy Media • Performance (play) • Book Techniques • Prose • Verse History and lists • Outline of literature • Glossary of terms • History (modern) • Books • Writers • Literary / Poetry awards Discussion • Criticism • Theory • Sociology • Magazines Literature portal Poetry (from the Greek poiesis — ποίησις — with a broad meaning of a "making", seen also in such terms as "hemopoiesis"; more narrowly, the making of poetry) is a form of literary art which uses aesthetic and rhythmic[1][2][3] qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. Poetry 2 Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively-informative, prosaic forms of writing. From the mid-20th century, poetry has sometimes been more generally regarded as a fundamental creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. -
The Music in Garcilaso De La Vega's Poetry and His Poetry in Music: A
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-09-25 The Music in Garcilaso de la Vega’s Poetry and his Poetry in Music: A Musico-Poetic Interchange Between Sixteenth-Century Spain and Italy Oss-Cech Chiacchia, Maria Carolina Oss-Cech Chiacchia, M. C. (2014). The Music in Garcilaso de la Vega’s Poetry and his Poetry in Music: A Musico-Poetic Interchange Between Sixteenth-Century Spain and Italy (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28252 http://hdl.handle.net/11023/1819 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Music in Garcilaso de la Vega’s Poetry and his Poetry in Music: A Musico-Poetic Interchange Between Sixteenth-Century Spain and Italy by Maria Carolina Oss-Cech Chiacchia A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY INTERDISCIPLINARY GRADUATE PROGRAM CALGARY, ALBERTA September, 2014 © Maria Carolina Oss-Cech Chiacchia 2014 ABSTRACT This dissertation, about the music of Garcilaso de la Vega’s poetry and his poetry in music, draws from the fields of philology, linguistics, and musicology to provide an interdisciplinary perspective of the topic embedded in two interrelated contexts: Hispanic/Neapolitan Renaissance poetry and music. -
The Christianisation of Latin Metre a Study of Bede’S De Arte Metrica
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Seppo Heikkinen The Christianisation of Latin Metre A Study of Bede’s De arte metrica Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium M1, on the 21st of March, 2012, at 12 o’clock. ISBN 978-952-10-7808-8 (paperback) ISBN 978-952-10-7807-1 (PDF) Unigrafia Helsinki 2012 Contents 1. Introduction 1 1.1. General observations 1 1.2. Grammar and metre in Anglo-Saxon England 2 1.3. The dating of Bede’s De arte metrica 5 1.4. The role of metrics in Bede’s curriculum 9 1.5. The structure and aims of De arte metrica 11 1.6. Bede’s Christian agenda and its implementation in his discussion of metrics 13 2. Hexameter verse and general prosody 17 2.1. The dactylic hexameter in Anglo-Saxon England 17 2.2. Classical and post-classical prosody: common syllables 24 2.2.1. Plosives with liquids 26 2.2.2. S groups 29 2.2.3. Productio ob caesuram and consonantal h 34 2.2.4. Hiatus and correption 40 2.2.5. Hic and hoc 44 2.2.6. Summary 47 2.3. Other observations on prosody 49 2.4. The structure of the dactylic metres 58 2.4.1. The dactylic hexameter 58 2.4.2. The elegiac couplet 72 2.5. The aesthetics of verse 75 2.5.1.