On the Crregularities in the Versification Of

Total Page:16

File Type:pdf, Size:1020Kb

On the Crregularities in the Versification Of ON IRXEGULARITIES IN THE VERSIFICATION OF HOMER. 119 XI.-ON THE CRREGULARITIES IN THE VERSIFICA- TION OF HOMER. By JANESYATES, Esq., M.A., F.R.S. [Read April the 25th.l [Mr. JmES YATEScommunicated to the Society “ An Essay on the Irregularities in Homer’s Versification.” Mr. Yates stated that his Essay had been written many years ago, and had been originally communicated to a private Society bearing 1 he same name as our own. As the essay ex- tended to a considerable length, Mr. Yates read only parts of it, omitting, besides other portions of it, very many lines cited from Homix in proof of his positions. Professor Malden has kindly prepared the MS. for the press, retaining in general Mr. Yates’s words, and adding notes of his own, with the consent of the author.] In the poems attributed to Homer we perpetually find combinations of letters, which contradict the established rules of prosody. Among the ancients these irregularities seem to have excited littlle attention; but by modern critics they have been placed among the most curious subjects of classical investigation. 3 t will he the object of the following essay to explain the circumstances in which they occur, and the causes to which they are to be ascribed. Respecting thesc irregularities, it may be remarked as a universal principle, that they consist not in the excess, but in the deficiency of letters. For in every instance, the prosody may be made regular by the insertion of one or two additional letters. It will be proved, that, in many cases, such letters were originally in the text; but that, in others, the time which would have been occupied in their enunciation, was filled up in a direrent manner. As it would tic impossible to ascertain in what instances letters have been omitted out of the original text, until we have determined what latitude was taken in deviating from the general rules of prosody, it appears proper to attcnd, first, to those cases in which the time was completed without the use of letters sul)sequently expunged. I.’ In the first place, the time was often occupied by u K 120 ON IRREGULARITIES IN THE VERSIFICATION OP HOXEH, pause depending upon the sense. Any one who recites poetry uses the liberty of making such pauses longer or shorter, and more or less distinct, according to his own taste and choicc. Examples of this license atyeeting the versification preseiit themselves with a variety of eircmnstances. A short vowel at the end of a word is not cut off, and a diphthong or long vowel retains its timc, although tlic word following bcgins with another vowel; and where a consonant interveucs, a syllable naturally short is used as long. Thus in- 11. Vi. v. 46. Zhypc~,'ArpCoq &. - viii. v. 120. Ti& imep8;pov @~@alov,'Hv~o~fa. - ib. v. 105. 'AXX' 6y' +Gv 6xCwv 2~~/3ljm0,;+pa i8qaL. - ib. v. 158. Ah72v' lo~6v'61~182 TpG& ~e tcal"Eic.rwp. The license occurs, whether the syllable be the first, second, or third of a foot" ; and whether there bc, or be not, a cfesura. The principle here statcd is an obvious one, arising from the nature of sound, which ncccssarily occupies time, and of Zan- guage, which requires that the time, usually given to sound, be occupied at intervals by pauses. The cffcct of the pause has bcen recognized by some of the most distinguished writers upon this subject+. 6 11. Besides the pause, the time necessary to complete the metre was, in many cases, filled up by lengthening the sound of syllables naturally short, or retaining short vowels, which * In the 3n-t syllable of a foot more especially, the principle to be mentioned next comes into play likewise.-ED. t Eandem, nisi majorem, efficaciam habet interpunctio, quze brevem syllabam excipit. Cujus gencris longe plurima Ilias et Odyssea exempla snppeditant, ct tempus, sivc moram, quEe syllabae deerat, paus2 explent, ut etiamnum musici nostri facere consueverunt. ..... .Neque autem hanc numero ipsi insitam vim vcteres prorsus effugisse statueiidum est. Jam Eustathius ad 11. 5. 265, 1). 645, vulgatam scripturam, pIufos, &.K$s re hd8opct1, eo nomine defendit, scribens : ri) 6; p.dufon t)Krfhci pcrpipL"&sZuraCOa mju Xijyouuau 8th r<u ~piP;uKOlluUv'Apurdp~y rehcc'au urtyp$v, Kalri) & a&$ oih ~pou;[ovKal urhuipov r+ $wujIs X6yv Koiuijs uuXhapijs. Profecto autem in apriro cst, eam ob rem nonnunquam syllabas brevissimas produci, qiiibus alio modo jus illud vix concederidam essct ; idque, quo giavior, qua: a tergo quasi instat, iuterpmictio est, eo lubentius odmitti posse.- Spitzner, De Versu Grzecorum IIeroico, p. 20. according to the usual practice would be cut OR. This prin- ciple may be dduced, almost as obviously as the last, from thc nature of spccch and of verse. Since metre consists in the succession of long and short sounds arranged in a certain orclcr, any one who recites verses, will, through the force of habit, become disposed to enunciate long and short syllables in their proper metrical places according to the prescribed arrangement, although their times are not represented by the letters bcfore his eyes. Yielding to this propensity, he will supply the deficiencies of the metre by dwelling upon those syllables, the shortening or elision of which would interrupt its regularity. This prolongation, or retention, of short syllables in accom- modation to the metre may take place, whether those syl- lables are the $nu1 or initial, or, in some cases, even medial syllables of a word. Hence this mode of supplying metrical deficiencies is far more frequent than that already described, which can be employed only in final syllables : and although the admission of this license is restricted by a regard to the necessity of determining the metre by a succession of syllables which are of the proper length in their own nature, yet the instances of its adoption are much more numerous than the cases in which the metre is completcd by the intervention of a pause. The following passages selected from the 8th book of the Iliad are examples :- v. 13. "H ~LV.&X;v $$lo & I Tdprapov. v. 25. m(plplov I O;X&.rro~o. v. 66. &&o I kpdv $pap. v. 229. nij @av. v. 248. r+coq e?udJ+o~oraxelqq. V. 262. 6081pw ~~.ITLI~L~UQVOL &XI+. v. 267. udrceli' TeXalpwvLLGao. v. 290. 8610 h;ri+7rov?. VV. 300 & 309. cEl.rr6 vevlpij+~v ZaXXev. v. 324. Bijtce 6' 61~2 vevlplj. v. 359. +~L/LE'vo~ZV I Ta,ipL& yaly. V. 392. "Hpq 184 p&u\rLyL. v. 473. roX4pov &ro\ra;ueraL. v. 474. l~pZv Gpj6as. v. 517. ALJ~+LXor I dyyy.lfXX6vrwv. The cases referable to the principle here described, consist, jirst, of diphthongs or long vowels, which retain their time, instead of becoming short, before anothcr vowcl ; secondly, of short vowels (a, e, L, o), which in thc samc situations do not suffcr elision ; and, tliirclly, of short rowels, foUo.l\ccrl by a h 2 122 ON IRREGULARITIES IN THE VERSIFICATION OF HORIEH, single consonant either at the end of the same word or at the beginning of the next, which supply the place of long syl- lables. In most, if not in all cases of this third class, the syllable was made long by dwelling, not upon the vowel, but upon the consonant. This may be inferred from the analogy of those syllables, which are not final, but in which the same prolongation occurs. In these the consonant is usually written double, as in 'Ax~Xxf&,'OBUCTCTE~F, &mq, &TL. In the few cases where it is not so doubled, such as i;pp~poc. "Apq,~,we may infer from analogy, that it was pronounced, though not written, double"; and by extending the analogy to the final syllables, which were lengthened upon the same principle, we may conclude, that in them also the consonant is to be pronounced twice, though written only once. A circumstance which confirms this doctrine is, that the pro- longation of short syllables, whether at the end of words, or not at the end, commonly took place before the consonants, which were most readily dwelt upon, or doubled, in pronun- ciation, namely, the four liquids, X, p, v, p, and the letter CT. This tends to prove that the prolongation depended upon the consonant rather than upon the vowel. According to this view the instances of short vowels used. as long, cited from the 8th Iliad, ought to be pronounced as follows :-mplp ploy O~X~~TOLO,T&OP CTEX&$OLO raXEIq9, BoCprv VCTGCL~&OL Ctx~+jv, drdv veupfj+~v,&2v veuplj, +Bt!pevw UEY ra.rpt!& yaG, "Hpq Gp ~ACTT~L,rpiv vi+h; and perhaps o&ceLr TeXapo- v&ao -f. It has been usual with the authors, who have treated of these irregularities, to say that they were occasioned by the cemra. A long section in Spitzner's Treatise is entitled De * That the consonant was not always doubled appears from instances in which a short vowel was changed into a diphthong or a corresponding long vowel, as in 06k6pevos for rh$~evos,OhX6p7roio from*OAvpros, and the adjectives jvepdeis, $p6'6eis, from the nouns dvepos, Jpa8oS. There is no reason why a vowel should not be lengthened before aconsonant, as well as before another vowel, as in e'lapos from the nominative Zap, and the fami- liar forms X~~~LOS,,yaheios.-ED. ?. Hardly At;$ $~XOL, since the aspirate consonants are never doubled. Here, more probably, the final vowel was lengthened, Ati @Ao~.--ED. BY JAMES YATES, ESQ.
Recommended publications
  • Meter of Classical Arabic Poetry
    Pegs, Cords, and Ghuls: Meter of Classical Arabic Poetry Hazel Scott Haverford College Department of Linguistics, Swarthmore College Fall 2009 There are many reasons to read poetry, filled with heroics and folly, sweeping metaphors and engaging rhymes. It can reveal much about a shared cultural history and the depths of the human soul; for linguists, it also provides insights into the nature of language itself. As a particular subset of a language, poetry is one case study for understanding the use of a language and the underlying rules that govern it. This paper explores the metrical system of classical Arabic poetry and its theoretical representations. The prevailing classification is from the 8th century C.E., based on the work of the scholar al-Khaliil, and I evaluate modern attempts to situate the meters within a more universal theory. I analyze the meter of two early Arabic poems, and observe the descriptive accuracy of al-Khaliil’s system, and then provide an analysis of the major alternative accounts. By incorporating linguistic concepts such as binarity and prosodic constraints, the newer models improve on the general accessibility of their theories with greater explanatory potential. The use of this analysis to identify and account for the four most commonly used meters, for example, highlights the significance of these models over al-Khaliil’s basic enumerations. The study is situated within a discussion of cultural history and the modern application of these meters, and a reflection on the oral nature of these poems. The opportunities created for easier cross-linguistic comparisons are crucial for a broader understanding of poetry, enhanced by Arabic’s complex levels of metrical patterns, and with conclusions that can inform wider linguistic study.* Introduction Classical Arabic poetry is traditionally characterized by its use of one of the sixteen * I would like to thank my advisor, Professor K.
    [Show full text]
  • The Rhythm of the Gods' Voice. the Suggestion of Divine Presence
    T he Rhythm of the Gods’ Voice. The Suggestion of Divine Presence through Prosody* E l ritmo de la voz de los dioses. La sugerencia de la presencia divina a través de la prosodia Ronald Blankenborg Radboud University Nijmegen [email protected] Abstract Resumen I n this article, I draw attention to the E ste estudio se centra en la meticulosidad gods’ pickiness in the audible flow of de los dioses en el flujo audible de sus expre- their utterances, a prosodic characteris- siones, una característica prosódica del habla tic of speech that evokes the presence of que evoca la presencia divina. La poesía hexa- the divine. Hexametric poetry itself is the métrica es en sí misma el lenguaje de la per- * I want to thank the anonymous reviewers and the editors of ARYS for their suggestions and com- ments. https://doi.org/10.20318/arys.2020.5310 - Arys, 18, 2020 [123-154] issn 1575-166x 124 Ronald Blankenborg language of permanency, as evidenced by manencia, como pone de manifiesto la litera- wisdom literature, funereal and dedicatory tura sapiencial y las inscripciones funerarias inscriptions: epic poetry is the embedded y dedicatorias: la poesía épica es el lenguaje direct speech of a goddess. Outside hex- directo integrado de una diosa. Más allá de ametric poetry, the gods’ special speech la poesía hexamétrica, el habla especial de los is primarily expressed through prosodic dioses es principalmente expresado mediante means, notably through a shift in rhythmic recursos prosódicos, especialmente a través profile. Such a shift deliberately captures, de un cambio en el perfil rítmico.
    [Show full text]
  • 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.
    [Show full text]
  • The Medea of Euripides and Seneca: a Comparison
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip­ ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae.
    [Show full text]
  • 1 Mary R. Bachvarova Assistant Professor Classical Studies
    1 Mary R. Bachvarova Assistant Professor Classical Studies Program Willamette University 900 State St. Salem OR 97301 [email protected] Education 2002 (August): Ph.D. with Honors, From Hittite to Homer: The Role of Anatolians in the Transmission of Epic and Prayer Motifs from the Near East to the Greeks, committee Shadi Bartsch (head); Harry A. Hoffner, Jr.; Calvert Watkins (Harvard University); Christopher Faraone 1997: M.A., The Treatment of hakara in the Classificatory Systems of Sanskrit Grammarians 1993-2002: Graduate Student in the Committee on the History of Culture, University of Chicago 1990-92: University of Chicago, Graduate Student-at-Large 1984-90: Harvard University/ Radcliffe College, A.B. in Classics, Magna cum Laude 1980-84: Trinity School, New York City Teaching Aug. 2003-fall 07: Assistant Professor, Classical Studies Program, Willamette University Classics 496: Senior Seminar (spring 05, fall 05, fall 06, fall 07, spring 08) Classics/Religion 351: Greek and Near Eastern Religion (spring 05) Greek 390: Advanced Readings in Greek Literature: Survey of Greek Literature (fall 07) Greek 351: Readings in Greek Religion: Aeschylus' Eumenides (spring 05, concurrent with Classics 351, one extra hour of translation per week) Greek 350: Greeks, Romans and Barbarians: Readings in Greek (spring 08, concurrent with Classics 250, one extra hour of translation per week) Latin 391-03: Introduction to Roman Philosophy: Advanced Readings in Lucretius and Cicero (fall 06) Latin 391-02: Archaic Latin Literature (fall 05,1st 1/2 Bachvarova:
    [Show full text]
  • Verb-Initial Clauses in Ancient Greek Prose
    Verb-Initial Clauses in Ancient Greek Prose: A Discourse-Pragmatic Study by Tom Recht A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Andrew J. Garrett, Chair Professor Gary B. Holland Professor Donald J. Mastronarde Spring 2015 Abstract Verb-Initial Clauses in Ancient Greek Prose: A Discourse-Pragmatic Study by Tom Recht Doctor of Philosophy in Linguistics University of California, Berkeley Professor Andrew Garrett, Chair Word order in Ancient Greek, a ‘free word order’ or discourse-configurational language, depends largely on pragmatic and information-structural factors, but the precise nature of these factors is still a matter of some controversy (Dik 1995, Matić 2003). In this dissertation, I examine the set of constructions in which a verb appears in first position in its clause, and consider the conditions under which such constructions appear and the roles they play in structuring Greek discourse. I distinguish between topical and focal initial verbs, and show that the former class (which are the main concern of the study) in fact occur as part of larger units definable in terms of both prosody and pragmatics. The function of such units, I argue, is to mark specific kinds of transitions between the implicit questions that structure discourse (Questions Under Discussion [QUDs], Roberts 1996). I describe and categorize the types of QUD transitions marked by verb-initial units in a corpus of five fifth-and fourth-century Greek prose authors, and relate these to transitions marked by other classes of constructions, including a newly identified contrastive-topic construction.
    [Show full text]
  • Read Or Download an Electronic Version of The
    BY AESCHYLUS The Barbara and Lawrence Fleischman Theater at the Getty Villa Thursdays–Saturdays, September 4–27, 2014 View of the Barbara and Lawrence Fleischman Theater and the entrance of the J. Paul Getty Museum at the Getty Villa. The performance is approximately ninety minutes long. There is no intermission. As a courtesy to our neighbors, we ask that you keep noise to a minimum while enjoying the production. Please refrain from unnecessarily loud or prolonged applause, shouting, whistling, or any other intrusive conduct during the performance. While exiting the theater and the Getty Villa following the performance, please do so quietly. This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association. Director Anne Bogart is a member of SDC, the Society of Stage Directors and Choreographers, an independent national labor union. This version of Persians, by Aeschylus, was translated, with an introduction and notes, by Aaron Poochigian from Persians, Seven against Thebes, and Suppliants, pp. 1–41. © 2011 Johns Hopkins University Press. This production was arranged with the permission of Johns Hopkins University Press. T The Designers at this Theatre S CENIC A S A IA D R T are Represented by E I E T S I I T N S • U L • United Scenic Artists• Local USA 829 O 9 C 82 AL USA of the International Alliance of Theatrical Stage Employes By Aeschylus Directed by Anne Bogart Created and Performed by SITI Company Translated by Aaron Poochigian THE ACTORS Akiko Aizawa* Leon Ingulsrud* J. Ed Araiza*
    [Show full text]
  • Nordmetrik 2018 Abstracts
    NordMetrik 2018 Abstracts Thursday 13 September Location: University Campus Plenary session Room B4 Södra huset (Main Building) 12:45–13:45 Furuseth, Sissel University of Oslo "The hammer blows in the mountain came": Tomas Tranströmer interpreting Edvard Grieg Music is one of the key topics in the works of the Nobel Prize winner Tomas Tranströmer. Many of his poems have titles associated with music, and some are biographical commentaries on composers such as Schubert, Liszt, Wagner, and Grieg (cf. Bergqvist 2013). In “An Artist in the North” (Bells and Tracks, 1966) it is as if the poet is putting a mask on his face pretending to be Edvard Grieg. By doing so the poem explicitly points at a connection between poetry and music. The lecture will address the question of how this connection may be traced in the very structure of the poem. The observations will provide a basis for a theoretical discussion of how readers attribute meaning (or not) to sound patterns in versified text. 13:45–14:00 Break Session 1 Room D499 Södra huset (Main Building) 14:00–14:30 Skulacheva, Tatyana Russian Academy of Sciences (Moscow) Molina, Maria Russian Academy of Sciences (Moscow) 1 Rudik, Nadezhda Georg-August-Universität (Germany, Göttingen) Sideltsev, Andrey Russian Academy of Sciences (Moscow) How to study Rhyme and Rhythm in Sumerian and Hittite? Differentiation of systems of versification, Hittite verse, Sumerian verse, rhyme Irrespective of a considerable amount of works trying to reconstruct all-Indo-European or even all-world source of existing metrical systems the most important real oldest examples of verse (Sumerian, Akkadian, Hittite) remain, to our point of view, not fully studied.
    [Show full text]
  • Tennyson, A. Mary F. Robinson, and Classical Meter
    Polymetrical Dissonance: Tennyson, A. Mary F. Robinson, and Classical Meter Ben GlAseR hat did A. Mary F. Robinson learn from her work as a translator of WGreek, Greek meter, and from her study of classical prosody more generally? What expressive possibilities did she garner from the study of a language whose prosody bears little to no resemblance to english, and whose adoption threatens to become less boon than boondoggle? What she learns, I will argue, is the power of irregulari ty and dissonance, of an english prosody which diverges from english metrical tradition and yet somehow remains rhythmically forceful. But beyond the technical achievement of her metrical translations, Robinson finds in her complex new prosodic technique a means of interrogating both her aesthetic and personal relationship to the world. Robinson’s re-tuning of english meter, ordered in particular through Greek choral meters and latin hendecasyllabics, diverges sharply from then contemporary accounts of both meter’s form and its function. This essay will show how Robinson discovers the linguistic possibility of creating a form of metrical strain by importing classical schemes and bringing them into contact with traditional iambic meters; it shows, furthermore, how this strain is anticipated (sometimes nervously) by contemporary prosodists like Coventry Patmore and John Addington symonds. The possibility of this dis- sonant prosodic form, adapted from classical meters, emerges in Victorian poetry most forcefully perhaps with Tennyson’s experiments with quantita- tive verse; while Robinson follows his example, inviting the kind of metrical strain found in Tennyson’s satirical and self-referential adoption of classical meters, she ultimately expands the value of this strain beyond the genre of riposte.
    [Show full text]
  • SHAKESPEARE's SONNETS
    PROSODY: Rudiments Del Bello 2017 PROSODY: OED DEFINITION The science of versification; that part of the study of language which deals with the forms of metrical composition; OED v. prosody One way to approach English verse ACCENTUAL-SYLLABIC PROSODY from Classical Latin Some scholars (eg: Derek Attridge The Rhythms of English Poetry) feel that classical prosody applied to English is inadequate and should be replaced. IDEAS and METER • In the moment of composition, one of the central concerns of the poet is arrangement of metric pattern to achieve some kind of musicality. • Impulse toward order while allowing deviation WHY METER? WHO CARES ABOUT METER? 3 objectives: (1) increase your sensitivity to the formal properties of poetry (i.e. what sounds do) (2) heighten your pleasure and illumination in reading poetry (3) understand PROSODY (=features that have to do with how you read out verses) How does meter work? How does it mean/create meaning? • It is often a sort of ritualistic framing (metered language is different from ordinary language and thus “framed” as an artistic artifice) • It often presents variations. Departure from expected metrical norms can create an emotional effect or possibly estrangement. • It may create PROSODIC TENSION (between perfect or ideal metrical pattern and the actual rhythm) • It may have HISTORICAL MEMORY. Having been associated to a certain genre of poetry, a given meter may retain some of the meaning(s) associated to that poetry. What does meter do? • Focuses reader’s attention and refines awareness • Induces hypnosis (meter in most accentual poetry is slightly faster than the normal heart beat exhilarating effect) • Has physiological or possibly sexual overtones.
    [Show full text]
  • Notes on the Text of Pindar Douglas Young
    On the Alleged Three Mediaeval Metagrammatisms Young, Douglas Greek, Roman and Byzantine Studies; Spring 1966; 7, 1; ProQuest pg. 5 Notes on the Text of Pindar Douglas Young I On the Alleged Three Mediaeval Metagrammatisms N HIS Histoire du texte de Pindare (Paris 1952), J. Irigoin consecrates I a chapter (XI, pp. 123-134) to his theory that the text of the odes underwent in the Middle Ages three successive transliterations or metagrammatisms from uncials to minuscules. If true, this would be most unusual for a pagan author, for a pagan text normally was transmitted through a single metagrammatism. Irigoin writes (p. 125): "Les fautes graphiques causees par la confusion des lettres onciales ne sont jamais nombreuses. Pour la recension ambrosienne, dans Ie texte des Olympiens, une faute est certaine: 0 10.51 EACAC: EACAC: une autre faute se retrouve dans quelques manuscrits de la recension vaticane: 0 6.180 AE'Z': l::J.E'Z': c' est probablement, dans ces manuscrits, une correction independante de la recension ambro­ sienne; la priere de demande (Oloot) se termine par l'ofIrande de l'ode (€j1lvv 8' vJLvwv 8Eg' EVTEP7TES av8os)." (Note that Irigoin cites by cola: the Bowra line references are 0 10.43 and 06.105). Now the corruption of aEg' to 8'g' at 0 6.105 occurs not only in A, the leading manuscript of the so-called "Ambrosian" recension, but in L M Nand 0 post corr. Certainly the confusion of lambda and delta is a common uncial error; but it can also occur in a purely minuscule am­ bience, e.g.
    [Show full text]
  • Translating and Adapting Aeschylus' Seven Against Thebes in the United
    Giovanna Di Martino Translating and Adapting Aeschylus’ Seven Against Thebes in the United States Σ Skenè Studies II • 4 Table of contents Skenè Studies II • 4 Foreword Giovanna Di Martino1 1. Russian Formalism:Translating “The road which and turns backAdapting on 2 itself” 3 2.Aeschylus’ The Signifier as Pure Seven Form Against Thebes4 3. Seeing as: Wittgenstein’s Duck-rabbit 5 4. The Bakhtin Circle in the United States6 5. Discourse in Art and Life 7 5.1 Speech Genres and Language Games 8 5.2 The Construction of the Utterance 9 6. The Syntactical Relations of Reported Speech 11 7. The Objects of Dialogism: The Familiarity of the Novel 12 8. Dialogization of the Object 13 9. Chronotopes, or the Space/Time of Representation 14 Conclusion 15 Works Cited 16 Index Σ TableSKENÈ ofTheatre contents and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Francesco Lupi, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editors Bianca Del Villano, Savina Stevanato. Assistant Managing Valentina Adami, Emanuel Stelzer, Roberta Zanoni. ForewordEditors 1 Communication Chiara Battisti, Sidia Fiorato. Staff Giuseppe Capalbo, Francesco Dall’Olio, Marco Duranti, 1. Russian Formalism:Antonietta “The Provenza. road which turns back on 2 Advisoryitself” Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, 3 Richard Allen Cave, Rosy Colombo, Claudia Corti, 2. The SignifierMarco as Pure De Marinis, Form Tobias Döring, Pavel Drábek, 4 3. Seeing as: Wittgenstein’sPaul Edmondson, Duck-rabbit Keir Douglas Elam, Ewan Fernie, 5 Patrick Finglass, Enrico Giaccherini, Mark Griffith, 4. The Bakhtin DanielaCircle Guardamagna, Stephen Halliwell, 6 5.
    [Show full text]