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Scansion Scansion Latin poetry is formed upon its quantity – not of verses, but of syllables. Latin poetry is formed upon its quantity – not of verses, but of syllables. Syllables are defined as: a vowel / diphthong Syllables are defined as: a vowel / diphthong *consonants are auxiliary *consonants are auxiliary Scanning a Line Scanning a Line To scan a line means to break it up by syllables into feet to create meter. To scan a line means to break it up by syllables into feet to create meter. Rule #1: Every syllable MUST have one vowel or diphthong! Rule #1: Every syllable MUST have one vowel or diphthong! Rule #2: The consonant goes with the vowel that follows it! Rule #2: The consonant goes with the vowel that follows it! Once you have determined the syllables, mark all syllables as long or short: Once you have determined the syllables, mark all syllables as long or short: -a syllable is long if : a. it is long by nature -a syllable is long if : a. it is long by nature -ie. Diphthongs -ie. Diphthongs b. it is long by position c. it is long by position -all syllables ending in a consonant -all syllables ending in a consonant are long are long Long and short syllables combine to make Feet: Long and short syllables combine to make Feet: - iamb: ˘ ¯ - iamb: ˘ ¯ - trochee: ¯ ˘ - trochee: ¯ ˘ - dactyl: ¯ ˘ ˘ - dactyl: ¯ ˘ ˘ - spondee: ¯¯ - spondee: ¯¯ Feet combine to form a Meter: Feet combine to form a Meter: -ie. Trimeter has 3 feet -ie. Trimeter has 3 feet Pentameter has 5 feet Pentameter has 5 feet Hexameter has 6 feet Hexameter has 6 feet One common Latin meter is dactylic hexameter: One common Latin meter is dactylic hexameter: -6 feet to a line -6 feet to a line -the feet are a combination of dactyls and spondees -the feet are a combination of dactyls and spondees -the 5th foot MUST be a dactyl! -the 5th foot MUST be a dactyl! -ie. Virgil’s Aeneid -ie. Virgil’s Aeneid .

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Editor's Introduction
Editor’s Introduction: Scansion DAVID NOWELL SMITH _______________________ I would like to start from an intuition.1 This might seem an abuse of editorial privilege, and indeed might strike one as more generally tendentious: is an issue on ‘scansion’ the place for discussing one’s intuitions at all? For a start, it contravenes quite brazenly the strict separation between description and performance, lain down most powerfully by John Hollander well over half a century ago. For Hollander, a ‘descriptive’ system of scansion would aim at presenting schematically the whole ‘musical’ structure of a poem, whether this consists, in any particular case, of the prosodic features of the language in which it is written, the arrangement of elements completely foreign to that language (syllable counting in English verse for example), or even the arrangement of type on a page. A performative system of scansion, on the other hand, would present a series of rules governing a locutionary reading of a particular poem, before a real or implied audience. It would end up by describing not the poem itself, but the unstated canons of taste behind the rules. Performative systems of scansion, disguised as descriptive ones, have composed all but a few of the metrical studies of the past. Their subjectivity is far more treacherous than even that of reading poems into oscilloscopes and claiming that the image produced describes, or even is, the true poem.2 1 My great thanks to Ewan Jones on his comments on an earlier draft of this introduction. 2 John Hollander, ‘The Music of Poetry’, The Journal of Aesthetics and Art Criticism vol.
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Introduction to Meter
Introduction to Meter A stress or accent is the greater amount of force given to one syllable than another. English is a language in which all syllables are stressed or unstressed, and traditional poetry in English has used stress patterns as a fundamental structuring device. Meter is simply the rhythmic pattern of stresses in verse. To scan a poem means to read it for meter, an operation whose noun form is scansion. This can be tricky, for although we register and reproduce stresses in our everyday language, we are usually not aware of what we’re going. Learning to scan means making a more or less unconscious operation conscious. There are four types of meter in English: iambic, trochaic, anapestic, and dactylic. Each is named for a basic foot (usually two or three syllables with one strong stress). Iambs are feet with an unstressed syllable, followed by a stressed syllable. Only in nursery rhymes to do we tend to find totally regular meter, which has a singsong effect, Chidiock Tichborne’s poem being a notable exception. Here is a single line from Emily Dickinson that is totally regular iambic: _ / │ _ / │ _ / │ _ / My life had stood – a loaded Gun – This line serves to notify readers that the basic form of the poem will be iambic tetrameter, or four feet of iambs. The lines that follow are not so regular. Trochees are feet with a stressed syllable, followed by an unstressed syllable. Trochaic meter is associated with chants and magic spells in English: / _ │ / _ │ / _ │ / _ Double, double, toil and trouble, / _ │ / _ │ / _ │ / _ Fire burn and cauldron bubble.
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ASSESSING POETRY MARKUP with NUSCHOLAR by MEGHA JYOTI
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Let's Think About This Reasonably: the Conflict of Passion and Reason
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Latin: Figures of Speech & Rhetorical Devices
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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.
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Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
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Dactylic Hexameter Is Properly Scanned When Divided Into Six Feet, with Each Foot Labelled a Dactyl Or a Spondee
Latin Meter: an introduction Dactyllic Hexameter English Poetry: Poe’s “The Raven”—Trochaic Octameter / x / x / x / x / x / x / x / x Once up- on a mid- night drear- y, while I pon- dered weak and wear- y / x / x x / x / x x / x / x / x / O- ver man- y a quaint and cur- i- ous vol- ume of for- got- ten lore, / x / x / x / x / x / x / x / x While I nod- ded, near- ly nap- ping, sud- den- ly there came a tap- ping, / x / x / x / x / x / x / x / As of some- one gent- ly rap- ping, rap- ping at my cham- ber door. / x / x / x / x / x / x / x / “’Tis some vis- i- tor,” I mut- tered, “tap- ping at my cham- ber door; / x / x / x / On- ly this, and noth- ing more.” Scansion n Scansion: from the Latin scandere, “to move upward by steps.” Scansion is the science of scanning, of dividing a line of poetry into its constituent parts. n To scan a line of poetry is to follow the rules of scansion by dividing the line into the appropriate number of feet, and indicating the quantity of the syllables within each foot. n A line of dactylic hexameter is properly scanned when divided into six feet, with each foot labelled a dactyl or a spondee. Metrical Symbols: long: – short: u syllaba anceps: u (may be long or short) Basic Feet: dactyl: – u u spondee: – – Dactylic Hexameter: Each line has six feet, of which the first five may be either dactyls or spondees, though the fifth is nearly always a dactyl (– u u), and the sixth must be either a spondee (– –) or a trochee (– u), but we will treat it as a spondee.
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Basic Guide to Latin Meter and Scansion
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The Dunciad and the City: Pope and Heterotopia
Georgia State University ScholarWorks @ Georgia State University English Department Publication - Studies in the English Department Publications Literary Imagination 1-1-2009 Studies in the Literary Imagination, Volume XXXVIII, Number 1, Spring 2005 Flavio Gregori Thomas Woodman Claudia Thomas Kairoff Francesca Orestano Peter Davidson See next page for additional authors Follow this and additional works at: http://scholarworks.gsu.edu/english_deptpub_li Part of the English Language and Literature Commons Recommended Citation Gregori, Flavio; Woodman, Thomas; Kairoff, Claudia Thomas; Orestano, Francesca; Davidson, Peter; Nicholson, Colin; Bastos da Silva, Jorge; Noggle, James; Deutsch, Helen; Spencer, Jane; Broich, Ulrich; Tosi, Laura; and Hammond, Brean S., "Studies in the Literary Imagination, Volume XXXVIII, Number 1, Spring 2005" (2009). English Department Publication - Studies in the Literary Imagination. Paper 13. http://scholarworks.gsu.edu/english_deptpub_li/13 This Article is brought to you for free and open access by the English Department Publications at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Department Publication - Studies in the Literary Imagination by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Authors Flavio Gregori, Thomas Woodman, Claudia Thomas Kairoff, Francesca Orestano, Peter Davidson, Colin Nicholson, Jorge Bastos da Silva, James Noggle, Helen Deutsch, Jane Spencer, Ulrich Broich, Laura Tosi, and Brean S. Hammond This article is available at ScholarWorks @ Georgia State University: http://scholarworks.gsu.edu/english_deptpub_li/13 Brean S. Hammond THE DUNCIAD AND THE CITY: POPE AND HETEROTOPIA I Writing on James Joyce, the critic Jeri Johnson points to the Irish writer’s aspiration “to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth, it could be reconstructed out of my book” (Johnson 60).
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Reading the Aeneid with Intermediate Latin Students: the New Focus Commentaries (Books 1-4 and 6) and Cambridge Reading Virgil (Books I and II)
Teaching Classical Languages Fall 2012 Syson 52 Reading the Aeneid with intermediate Latin students: the new Focus commentaries (Books 1-4 and 6) and Cambridge Reading Virgil (Books I and II) Antonia Syson Purdue University ABSTRACT This review article examines the five Focus Aeneid commentaries available at the time of writing. When choosing post-beginner level teaching commentaries, my central goal is to assess whether editions help teachers and students integrate the development of broader skills in critical enquiry into their explanations of grammar, vocabulary, and style, instead of artificially separating “liter- ary” and “historical” analytic strategies from “language” skills. After briefly explaining why the well-known Vergil editions by Pharr (revised by Boyd) and Williams do not suit these priorities, I summarize the strengths of the contributions to the new Focus series by Ganiban, Perkell, O’Hara, and Johnston, with particular emphasis on O’Hara’s edition of Book 4, and compare the series with Jones’ new textbook Reading Virgil: Aeneid I and II. KEY WORDS Aeneid, AP Latin, graduate survey, Latin poetry, pedagogy, Vergil, Latin commentary, intermediate Latin. TEXTS REVIEWED Ganiban, Randall T., ed. Vergil Aeneid 1. Newburyport, MA: Focus Publishing/R. Pullins Com- pany, 2009. ISBN: 978-1-58510-225-9 ———. Vergil Aeneid 2. Newburyport, MA: Focus Publishing/R. Pullins Company, 2008. ISBN: 978-1-58510-226-6 Perkell, Christine, ed. Vergil Aeneid 3. Newburyport, MA: Focus Publishing/R. Pullins Company, 2010. ISBN: 978-1-58510-227-3 O’Hara, James, ed. Vergil Aeneid 4. Newburyport, MA: Focus Publishing/R. Pullins Company, 2011. ISBN: 978-1-58510-228-0 Johnston, Patricia A., ed.
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Generalized Anacrusis in the Meter of Beowulf*
Generalized Anacrusis in the Meter of Beowulf* Chang Yong Sohn This paper proposes a modified version of anacrusis which applies to a verse- initial element in order to make the verse more manageable by a finite set of verse types. The type- dependent application of the restricted anacrusis originally proposed by Sievers (1885) and adherently employed by Bliss (1958), Cable (1974), Russom (1987) and Hutcheson (1995) not only is unwarranted but also yields a statistical anomaly in some identifiable pairs of verse types. It is demonstrated that there is no obvious reason for such limitation on its application and that the correlation between relative complexity and actual frequency of lift- initial verse types exhibits a pattern incompatible with that of dip- initial verse types. To account for such problems. it is argued that the application of anacrusis be extended to all verse types in such a way that both lift- initial and dip-initial verse types are legitimate candidates for its application. Such extension is further justified by the frequency pattern in light verses. 1. I ntroducti on Anacrusis or auttakt refers to the addition of one or two extra syllables at the beginning of a line. The syllables are "extrametrical" in that they do not count as legible elements for scansion. In other words, they are invisible as far as scansion or metrical analysis is concerned. The primary motivation for positing the initial extrametrical element is that without it aberrant and isolated metrical patterns can be dispensed with. Consider the following verse in Beavulp,2 • This material is based on work supported by Seoul National University under Grant No.
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