The Fourth Foot of the Homeric Hexameter
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Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron. -
On Translating Homer's Iliad
On Translating Homer’s Iliad Caroline Alexander Abstract: This reflective essay explores the considerations facing a translator of Homer’s work; in par- ticular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which re- main the gold standard by which any Homeric translation is measured today. I attempt to walk the reader Downloaded from http://direct.mit.edu/daed/article-pdf/145/2/50/1830900/daed_a_00375.pdf by guest on 24 September 2021 through the process of rendering a modern translation in accordance with Arnold’s principles. “I t has more than once been suggested to me that I should translate Homer. That is a task for which I have neither the time nor the courage.”1 So begins Matthew Arnold’s classic essay “On Translating Ho- mer,” the North Star by which all subsequent trans- lators of Homer have steered, and the gold stan- dard by which all translations of Homer are judged. A reader will find Arnold’s principles referenced, directly or indirectly, in the introduction to most modern translations–Richmond Lattimore’s, Rob- ert Fagles’s, Robert Fitzgerald’s, and more recently Peter Green’s. Additionally, Arnold’s discussion of these principles serves as a primer of sorts for poets and writers of any stripe, not only those audacious enough to translate Homer. While the title of his essay implies that it is about translating the works of Homer, Arnold has little to CAROLINE ALEXANDER is the au- thor of The War That Killed Achil- say about the Odyssey, and he dedicates his attention les: The True Story of Homer’s Iliad to the Iliad. -
Definitions & Identify 1. Which of the Following Is A
Check for Understanding: Definitions & Identify 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. 1 long syllable followed by another long syllable d. 1 long syllable followed by a short syllable 2. Which of these words is an iamb? a. Employ b. Coffee c. Drinking d. Eat 3. Which of these words is not an iamb? a. Unfit b. Unwell c. Behold d. Freedom 4. What is the definition of a metrical foot? a. A syllable b. A group of 5 or more syllables c. A rhyme scheme in a poem d. A group of 2-3 syllables that form a rhythmic unit 5. All of these are types of metrical feet except – a. Iamb b. Trochee c. Spondee d. Taradactyl e. Dactyl 6. True or False: A metrical foot can only be one word. a. True b. False 7. True or False: An iamb must be more than one word. a. True b. False 8. True or False: Poems that rhyme have meter. a. True b. False 9. True or False: Poems that do not rhyme have meter. a. True b. False 10. True or False: A poem’s meter cannot change throughout a poem. a. True b. False Answer KEY 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. -
Thinking in Song
THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition. -
Basic Guide to Latin Meter and Scansion
APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg. -
Early Modern Verse, Rhetoric, and Text Analysis
Early Modern Verse, Rhetoric, and Text Analysis by Charlene V. Smith Artistic Director [email protected] 2016 Our Mission: Brave Spirits Theatre is dedicated to plays from the era of verse and violence which contrast the baseness of humanity with the elegance of poetry. By staging dark, visceral, intimate productions of Shakespeare and his contemporaries, we strive to tear down the perception of these plays as proper and intellectual and instead use them to explore the boundaries of acceptable human behavior. Table of contents I. Welcome ...........................................................................................................5 A. Our Mission .............................................................................................................................5 B. Our Values ................................................................................................................................5 1. Text ................................................................................................................................5 2. Actor ..............................................................................................................................5 3. Women ...........................................................................................................................5 4. Audience ........................................................................................................................5 C. Our History ............................................................................................................................ -
Notes on Prosody
Notes on Middle English Prosody Dr. A Mitchell Sound and Sense Middle English poets typically delight in the accidental harmonies and disharmonies of verbal sounds. Sometimes sound is deliberately made to echoe sense, but more often accoustic patterns do not serve a referential or mimetic function. Syncopated rhythm may just be pleasurable to hear in the voice; variation may aid expressiveness or enhance interest; or sounds may be affective or mnemonic. Sound patterns also function as a sign of the poet’s pedigree, affiliations, or tastes. But in any event critics can probably make only modest claims about the significance of acoustic effects in the vernacular – some measure of irregularity is just a natural consequence of writing in Middle English. Rhyme is the most familiar sound pattern, and it basically demands that the poetic composition be oriented around the music (not the other way around). As a result, the semantic may be subordinated to the sonic or phonetic: e.g., syntax is inverted or contorted so as to get the proper rhyme in place; rhyme words are chosen less for sense than for sound. But of course rhymes may also produce interesting semantic juxtapositions or recapitulations, and occasionally Chaucer among others uses rhyme deftly to produce harmony and discordance, parallelism and antithesis. The main types of rhyme are the following. • end rhyme (most common) • internal rhyme (within a line) • masculine (single-sllable, or when final stressed syllable rhymes as in cat/hat) • feminine (rhymed stressed syllable followed by unstressed as in butter/clutter) • exact rhyme and rime riche (on the same sounds) • near rhyme (not a failed rhyme, it has the salutary effect of avoiding monotony) You will recognize these additional sound effects: • onomatapoia • assonance • alliteration • consonance Metrics: Alliterative and Accentual-Syllabic Some Medieval English verse is alliterative (that of Langland and the so-called poems of the Alliterative Revival), but much is what we call accentual-syllabic. -
Trochees and Iambs2
CHAPTER III. Some Remarks on the Nature of Trochees and Iambs and their Relationship to Other Metres ‘The iambic is the characteristic rhythm of people as they talk […]. The trochaic rhythm, again, is too much akin to the comic dance, as may be seen in tetrameter verse, for the rhythm of tetrameters is light and tripping. (Aristotle, 1932: 3.8, 1408b). The present study assumes that poetic rhythm in the tonic-syllabic system current in English poetry can be best accounted for by three sets of patterns: First, an abstract matrix of expectations consisting of regularly alternating strong and weak positions. Secondly, the stress-pattern of spoken language. Some aspects of this stress pattern confirm the abstract schema (one could even say that it is from these that the reader abstracts the metric pattern); some aspects deviate from it, and produce tension. These deviations, far from being signs of imperfection, of “unmetricality”, are major prosodic and expressive assets. When the reader encounters some deviation from the abstract metric pattern, he makes adjustments in its performance, so as to preserve both his metrical set, that is, his feeling of regularly alternating strong and weak positions and, at the same time, the stress pattern of his spoken language. The adjustment frequently consists in overarticu- lation, overstressing, and additional grouping of stresses. This constitutes the third pattern, the pattern of performance. The greater the deviation, the greater the adjustment required and the tighter the additional grouping, One of the basic assumptions of the present study is, then, that the rhythm of a poem is accessible only through some kind of performance; an adequate account of a poem’s rhythm can be given only by considering the interplay of three patterns: those of metre, stresses and performance. -
Chapter 3 Stress and Prosody
Chapter 3 Stress and prosody 3.1 Stress Stress in Kokota is characterised by considerable variation. Some words with a particular segmental structure may be assigned stress on one pattern, while others with the same structure may be assigned stress on another pattern. A single lexeme may be assigned stress on one pattern by some speakers, and on another by others. This variation occurs even to the extent that a single lexeme may be assigned stress variably by a single speaker. In elicitation of citation forms a single speaker may give a lexeme three times, with two different stress patterns evident. There are, however, patterns to this variation. The variation results from three factors: irregular stress patterning on some lexemes resulting from the prosodic shadow of lost morphological complexity; the gradual regularisation of these irregularities; and an overall shift in the language's stress regime from moraic trochees to syllabic trochees. 3.1.1 Metrical stress and moraic theory The following discussion of stress is couched within the framework of metrical theory (see Hayes 1995:26- 31 for an introduction), which views stress as a rhythmic structure not as a feature, and moraic theory (Hayes 1995:48-54). This approach has been adopted as it appears to most adequately allow a description of stress assignment in Kokota. In syllabic stress syllables are assigned to feet of two syllables each. In moraic stress morae are parsed into feet of two morae each. Morae represent units of weight, in which each weight bearing element constitutes one mora. Onsets are not weight bearing units. -
Prosody Word Stress and Optimality Theory
CAS LX 500 Topics in Linguistics Language Universals Fall 2000 October 19, 2000 Paul Hagstrom Week 7b: Prosody Word stress and Optimality Theory Kager (1995). The metrical theory of word stress. In Goldsmith, J. (ed.), Handbook of phonological theory. Oxford: Blackwell Kager (1999). Optimality Theory. Cambridge: Cambridge University Press. (1) Alabama (Ala)(bama) * (2) x x x x x x x Alabama (3) word qp ws 33 swsw A la bam a Word stress—crosslinguistic preferences (4) Stressability: Words have to be big enough to carry a stress. Minimal word requirement. (5) a. íky4s /k-y4-s/ ‘I put it’ Mohawk b. íktats /k-tat-s/ ‘I offer it’ c. í:keks /k-ek-s/ ‘I eat’ d. íkya÷ks /k-ya÷k-s/ ‘I cut it’ (6) a. s÷aal/s÷al/ ‘ask (masc. sg.)’ Levantine Arabic b. idrus /drus/ ‘study’ Iraqi Arabic (7) Demarcation: Words should have stress near the edge. Crosslinguistically popular: Initial, Penultimate, Final. (Primary stress) (8) a. púli˜kalatju ‘we (sat) on the hill’ Pintupi b. yapurukitaneháse ‘verily to climb’ Warao c. ak¨netepál ‘times’ Weri (9) Rhythm: Bounded. Avoiding lapses and clashes (alternating stress) (10) tjiÆiri˜ulampatju Pintupi (tjí.Æi).(rì.˜u).(làm.pa).tju ‘the fire for our benefit flared up.’ (11) a. yapurukitanehase Warao (yà.pu).(rù.ki).(tà.ne).(há.se) ‘verily to climb’ b. enahoroahakutai e.(nà.ho).(rò.a).(hà.ku).(tá.i) ‘the one who caused him to eat’ Hungarian: main stress initial, secondary stress on odd-numbered syllables. (12) a. bóldog ‘happy’ b. bóldogsà:g ‘happiness’ c. -
Dactylic Hexameter Verse
Dactylic Hexameter Verse Ancient verse was composed in lines of long or short syllables in different combinations. Dactylic hexameter consists of lines made from six (hexa) feet, each foot containing either a long syllable followed by two short syllables (a dactyl: – ˇ ˇ) or two long syllables (a spondee: – –). The first four feet may either be dactyls or spondees. The fifth foot is normally (but not always) a dactyl. The sixth foot is an anceps, i.e., either a long-long (– –) or long-short (– ˇ). A line of dactylic hexameter will follow this pattern: I. Quantity Determined by Nature. Each foot of poetry thus consists of long and/or short syllables. If the syllable contains a short vowel or a long vowel, its quantity is said to be determined by its “nature” — it is short or long simply because it contains a short or long syllable. Thus: 1. A short syllable contains a short quantity vowel. 2. A long syllable contains a long quantity vowel 3. A long syllable may also contain a diphthong. Here are some general rules to assist in determining the nature of syllables: • A final -o, -i, or -u is usually long by nature. But: the final -i in tibi and mihi may be either short or long as the meter requires. (The first -i- in both words is always short.) • A final -as, -es, or -os is usually long by nature. • A final -a or -is is often short by nature. But: -a in the first declension ablative singular is always long, as is -is in the first and second declensions ablative / dative plural. -
On Translating Homer: Last Words
ON TRANSLATING HOMER: LAST WORDS. MATTHEW ARNOLD, 1862. E-Texts for Victorianists E-text Editor: Alfred J. Drake, Ph.D. Electronic Version 1.0 / Date 7-21-02 This Electronic Edition is in the Public Domain. DISCLAIMER OF DAMAGES [1] I DISCLAIM ALL LIABILITY TO YOU FOR DAMAGES, COSTS AND EXPENSES, INCLUDING LEGAL FEES. [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES. [3] THE E-TEXTS ON THIS SITE ARE PROVIDED TO YOU “AS-IS”. NO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS TO THE E-TEXTS OR ANY MEDIUM THEY MAY BE ON, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. [4] SOME STATES DO NOT ALLOW DISCLAIMERS OF IMPLIED WARRANTIES OR THE EXCLUSION OR LIMITATION OF CONSEQUENTIAL DAMAGES, SO THE ABOVE DISCLAIMERS AND EXCLUSIONS MAY NOT APPLY TO YOU, AND YOU MAY HAVE OTHER LEGAL RIGHTS. PRELIMINARY NOTES BY E-TEXT EDITOR: Reliability: Although I have done my best to ensure that the text you read is error-free in comparison with the edition chosen, it is not intended as a substitute for the printed original. The original publisher, if still extant, is in no way connected with or responsible for the contents of any material here provided. While a PDF document may approach facsimile status, it is not a facsimile—it requires the same careful proofreading and editing as documents in other electronic formats.