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Journal articles on the topic 'Elegiac distich'

Author: Grafiati

Published: 7 July 2024

Last updated: 31 July 2025

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1

Wesołowska, Elżbieta. "Jak powiedzieć, żeby nie powiedzieć (lub odwrotnie), czyli kłopoty z przekładem elegii wygnańczej Owidiusza „Ex P.” IV 12." Symbolae Philologorum Posnaniensium Graecae et Latinae 32, no. 2 (2022): 77–86. http://dx.doi.org/10.14746/sppgl.2022.xxxii.2.5.

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Aside from its wealth of meaning and contexts, Ovid’s poetry seems to be sometimes difficult to translate into Polish. This paper shows such an extreme situation using the example of Ex P IV 12, where the translator is virtually helpless in the face of the poet’s subtle sense of humor and sophisticated play with a reader on the grounds of the nature of Roman elegiac distich.

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2

Keyer, Denis. "Inscription on a Roman Stylus from London." Hyperboreus 25, no. 2 (2019): 340–50. https://doi.org/10.36950/wuki8455.

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I interpret the metric inscription on the stylus from the Bloomberg excavations in London (Tomlin 2018a, 5–6) as a polymetron that consists of two iambic senarii and an elegiac distich. In acul[eat]um, if this restoration is correct, -ea- must be scanned monosyllabically with synizesis. In lines 2–3 I punctuate before ut and after rogo, so that the ut clause depends on rogo. In line 4 I restore ut[i], which provides a hexameter: si fortuna daret quo possem largius uti! (si introduces a wish, like utinam). In the word that follows via the third letter must be identiﬁed as N (not as V); I sugges

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3

Witczak, Krzysztof. "Rzymski elegik Serwiusz Sulpicjusz - znany czy nieznany?" Collectanea Philologica 1 (January 1, 1995): 113–18. http://dx.doi.org/10.18778/1733-0319.01.14.

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Libro quarto Corporis Tibulliani continentur ignoti poetae longa elegia, quae Panegyricus Messallae vulgo appeIlatur (IV, I), quinque elegiae auctoris, quem "Sulpiciae laudatorem" voco (IV, 2--6), sex brevia elegidia sub Sulpiciae nomine servata (IV, 7-12) et postremo duae elegiae TibuIlo adiudicatae (IV, 13-14). Multi viri docti iam diu disputant, qui fuerit "Sulpiciae laudator". Qui poeta talem distichi elegiaci structuram adhibere solebat, qualis ante Ovidium exculta est. Constat autem auctorem elegiarum IV, 2--6, quae de amore Sulpiciae erga Cerinthum narrant atque a muItis viris doctis Ti

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4

Rankin, Susan. "The earliest sources of Notker's sequences: St Gallen, Vadiana 317, and Paris, Bibliothèque Nationale lat. 10587." Early Music History 10 (October 1991): 201–33. http://dx.doi.org/10.1017/s0261127900001133.

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‘This little book has verses of composed modulamen, so that he who wishes to be retentive may hold on to his breath.’ With this elegiac distich Notker Balbulus concluded the preface dedicating his Liber ymnorum to Liutward, Bishop of Vercelli, abbot of Bobbio, archchaplain and chancellor to the then emperor, Charles the Fat. The collection of sequences must have been sent to Liutward during 884, since by December of that year Notker had broken off work on his Metrum de vita sancti Galli, mentioned in the preface to the Liber ymnorum as in the process of preparation. The genesis of the book of

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5

Wasyl, Anna Maria. "‘Etsi peccaui, sum tamen ipse tuus’. O elegii pokutnej Drakoncjusza (i słówko o pojęciu: barokowa ‘elegia’ pokutna)." Symbolae Philologorum Posnaniensium Graecae et Latinae 33, no. 1 (2023): 417–49. http://dx.doi.org/10.14746/sppgl.2023.xxxiii.1.30.

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Dracontius’s Satisfactio, though undoubtedly a prime example of a very complex literary work, is not really a work that cannot be properly described in generic terms. Upon consideration, the label ‘penitential elegy’ appears to be the most appropriate one, as it clearly indicates the major theme of the poem (the contrition of the sinner who acknowledges his sin above all before the God and, in the second place, before the Vandal king Gunthamund, to whom he pleads guilty to some not fully specified misdeed) as well as its metrical form. As for the latter, what is of particular relevance is not

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6

Virolainen, Maria N. "Pushkin anthological epigram: Poetics of self-referentiality." Vestnik of Saint Petersburg University. Language and Literature 21, no. 2 (2024): 320–31. http://dx.doi.org/10.21638/spbu09.2024.203.

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“Beauty in front of the mirror”, “Statue in Tsarskoye Selo”, “Who grew the tender roses of Theocritus in the snow?” by Pushkin, as well as some anthological epigrams of his contemporaries). The ancient Greek epigram, distinguished by clear formal features and a wide variety of content, recorded, as a rule, only something static or instantaneous. This quality ensured, in the eyes of Pushkin’s contemporaries, the authenticity of the transmission and perception of the object depicted in the epigram. In anthological epigrams of the first third of the 19th century, deviations from such primordial f

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7

Kazansky, Nikolai N. "Two Latin Epigrams by Daniel Gotlieb Messerschmidt Dedicated to Iohannes Philipp Breyn (1680–1764)." Philologia Classica 15, no. 2 (2020): 230–45. http://dx.doi.org/10.21638/spbu20.2020.204.

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The article presents a publication of two epigrams written by D. G. Messeschmidt and dedicated to I. Ph. Breyn; both are preserved in the latter’s archive. The first epigram is an inscription in verse to Breyn’s portrait and was probably sent to him from Saint Petersburg following Messerschmidt’s return from Siberia, i.e. between 1727 and 1735 (and not 1701–1800 as indicated on the site of Dresden Fotothek). It is very likely that the inscription was meant to accompany the engraving a copy of which is preserved at Staatliche Kunstsammlungen Dresden (SKD, Kupferstich-Kabinett, Signatur/Inventar

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8

Prikhodko, Elena V. "The Tradition of Quoting Homer as a Way of Identification in the Inscriptions of Southern Asia Minor." Вестник Пермского университета. Российская и зарубежная филология 16, no. 3 (2024): 81–90. http://dx.doi.org/10.17072/2073-6681-2024-3-81-90.

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After the conquests of Alexander the Great, many Greeks migrated to the southern regions of Asia Minor, including Lycia, Pisidia, Pamphylia, and Cilicia. They brought along their cultural traditions, which gradually merged over several centuries with the most enduring aspects of the indigenous culture. The ancient Greek language completely supplanted the Lycian, Pisidian, and other Anatolian languages. Education followed the established Greek canons, with Homer’s poems serving as primary texts. But, while the ruins of cities that have survived to this day provide an opportunity to gain an idea

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9

Grošelj, Nada. "Angleška elegija in njene antične korenine." Keria: Studia Latina et Graeca 10, no. 2 (2008): 95. http://dx.doi.org/10.4312/keria.10.2.95-114.

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V antiki je bila ‘elegija’ vsaka nekoliko daljša pesem, zložena v elegičnem distihu, tematsko pa je – zlasti v stari Grčiji – lahko obravnavala pestro paleto govorčevih čustev in mnenj. Nasprotno se je v angleški poeziji razvila nova podzvrst, ‘pogrebna elegija’, tako da se je pojem elegije počasi zožil na pesem, ki izraža tožbo ali vsaj kaže resen, zamišljen ton. Drug pomemben odklon angleške elegije od njene antične predhodnice je njena poljubna oblika. Odločilni kriterij ‘elegičnosti’ se je tako prenesel z oblike na vsebino, predvsem pa na razpoloženje.

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10

McGavran, James. ""The Heavenly Language of Hellas": Pushkin's Elegiac Distichs." Pushkin Review 21, no. 1 (2019): 213–24. http://dx.doi.org/10.1353/pnr.2019.0010.

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11

Bauer-Zetzmann, Martin. "Eine Marien-Elegie vom Hof Kaiser Maximilians I.: der Text von Heinrich Isaacs Motette "O decus ecclesiae"." Classica et Mediaevalia 71 (October 11, 2022): 193–200. http://dx.doi.org/10.7146/classicaetmediaevalia.v71i.134235.

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This paper aims to revise and reconstruct the highly corrupt text of Heinrich Isaac’s Marianic motet O decus ecclesiae by examining the only manuscript source anew. It can be demonstrated that the text is written in elegiac distichs and artfully blends Christian ideas and classicising language. It is therefore highly probable that its author was one of the leading humanist poets at the court of Emperor Maximilian I and that the elegy was commissioned for a representative event.

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12

Carbon, Jan-mathieu. "A New Metrical Funerary Curse from Miletoupolis." Gephyra 27 (April 29, 2024): 209–12. http://dx.doi.org/10.37095/gephyra.1341167.

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An inscribed funerary stele probably from Miletoupolis has been recently published by E. Laflı and M.E. Uyar (Laflı – Uyar 2021, 77-79 no. 2). This short note offers a revision of the inscription from the published photograph as well as a brief commentary. The inscription is identified as a pair of elegiac distichs containing a funerary imprecation against any desecrator of the stele. While this curse echoes known formulae, it also contains a few distinct phrasings (including one new compound verb).

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13

Cormier, Raymond. "Marek Thue Kretschmer, Latin Love Elegy and the Dawn of the Ovidian Age. A Study of the Versus Eporedienses and the Latin Classics. Publications of The Journal of Medieval Latin, 15. Turnhout: Brepols, 2020, pp. 175." Mediaevistik 34, no. 1 (2021): 430–32. http://dx.doi.org/10.3726/med.2021.01.100.

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Abstract: “Verses from Ivrea” (northern suburban town of Turin, Italy, near the Po waterway), an elegiac love poem, dates from the late eleventh century and is attributed to a certain Wido. It celebrates not the usual contemptus mundi of the era but rather worldly pleasures. The poem draws on a wealth of Latin classical sources, Ovid in particular, which leads the editor to view it as a precursor to the twelfth-century Renaissance. Kretschmer (hereafter K.), a Norwegian Classics professor, now based in Paris, publishes herewith his third major work, a book-length edition and study of this unus

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14

Marengo, Silvia Maria. "Un nuovo carme epigrafico da Forum Sempronii." PICVS 44 (December 12, 2024): 141–50. https://doi.org/10.63277/pcs.v44i.4066.

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Si dà edizione di un nuovo carme epigrafico da Forum Sempronii costituitoda undici versi (nove esametri conclusi da un distico elegiaco) purtroppo ampiamentemutili nella prima parte del componimento. I versi 4-8 alludono al diverso destino didue fratelli, il verso conclusivo ripete l’augurio formulare che la terra sia leggera per ildefunto. Modello scrittorio e stile rimandano al III sec. d.C.

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15

Acar, Özge, and Christina Kokkinia. "New Funerary Epigram from Kibyra." Tekmeria 16 (February 21, 2022): 109–21. http://dx.doi.org/10.12681/tekmeria.29691.

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The Greek epigram published in this article was discovered in 2016 in modern Turkey, at Kibyra in southwest Asia Minor, during excavations under the directorship of Assoc. Prof. Şükrü Özüdoğru of the University of Burdur. Six lines preserving 3 elegiac distichs are carved on a stone that also features a relief showing a round shield with two greaves on either side. The epigram probably dates between the 1st century BCE and the 1st century CE and evokes the classical ideal of both physical and civic excellence in commemorating a man who died fighting as a citizen-soldier.

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16

Guardiano, Lorenzo. "Margherita Margani: preside epigrafista. Riflessioni su un epitafio greco degli Iblei." ACME 77, no. 1 (2024): 5–12. http://dx.doi.org/10.54103/2282-0035/26653.

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Queste pagine sono dedicate a uno studio epigrafico compiuto da Margherita Margani su una stele funeraria contenente un distico elegiaco, conservata al Museo Archeologico Ibleo. Il testo dell’epitafio, scritto da un figlio che seppellì i genitori con devozione nel vi secolo a.C., è stato oggetto di dibattito a partire dal 1942, soprattutto per gli antroponimi ivi contenuti. Margherita Margani, docente liceale e preside a Comiso e a Ragusa, riuscì a congetturare delle letture che furono adottate indipendentemente da studiosi di chiara fama negli anni successivi.

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17

Günther, H. C. "Verse transpositions in Tibullus." Classical Quarterly 47, no. 2 (1997): 501–9. http://dx.doi.org/10.1093/cq/47.2.501.

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After having been for some while the butt of conservative critics, verse transpositions in Propertius have, mainly thanks to the work of G. P. Goold, again become respectable among scholars. In his edition of Catullus, Tibullus, and Propertius J. J. Scaliger (first edition: Paris 1577,2Antwerp 1582, several times reprinted), the great archeget of the method, had subjected the other great elegist of Propertius’ generation to the same treatment,2 and in fact one of Scaliger's transpositions is supported by external evidence: 1.5.71–6 belong after 6.32; this is confirmed by Ovid's imitation in Tr

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18

Pilshchikov, Igor. "Notes on the metrical semantics of Russian, French and German imitations of Janus Secundus’s Basium II." Sign Systems Studies 40, no. 1/2 (2012): 155–76. http://dx.doi.org/10.12697/sss.2012.1-2.08.

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This article links Konstantin Batiushkov's poem Elysium (1810) to the tradition of poetic imitations of Janus Secundus's Basium II. A French equivalent for this poem's pythiambic distichs was invented by Ronsard (Chanson, 1578), who used cross-rhymed quatrains with regular alternation of dodecasyllabic and hexasyllablic lines. However, the French translators of Basia of the eighteenth and early nineteenth centuries could not use this metre, because its semantic aura was drastically changed by Malherbe's Consolation à Monsieur du Périer (1598). Batiushkov's Elysium as well as its Latin and Fren

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19

Limón, Belén Maria. "Notas para una nueva edición de ICVR I, 4071." Zeitschrift für Papyrologie und Epigraphik 190, no. 2014 (2014): 99–104. https://doi.org/10.5281/zenodo.10643133.

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Encastrado en el pavimento de la basílica de Santi Quattro Coronati, en Roma, se conserva un fragmento de mármol con restos de una inscripción latina: ICVR I, 4071 . En este trabajo proponemos una nueva edición del texto que corrige la edición de ICVR. Además, se estudian los datos que nos proporciona la ordinatio y que permiten afirmar que se trata de un carmen epigraphicum compuesto en dísticos elegíacos, algo que ha sido ignorado hasta la fecha. _______ Embedded in the pavement of the basilica of Santi Quattro Coronati, in Rome, a marb

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20

Floris, Cecilia. "Problemi colometrici negli anapesti senecani e sense-correspondence. L’esempio di Thyestes." ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 103–22. http://dx.doi.org/10.7358/acme-2012-003-flor.

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The purpose of this paper is to point out the unsolved problem of the anapaestic monodies’ unsecure colometry in Seneca’s tragedies as well as expose the so called sense-correspondence principle to help scholars propose a metrical subdivision of lines closer to the original one. In the first part of the paper I explain the difficulties about colometry that concern the division of trimeters into dimeters and monometers. I then outline a brief status quaestionis about this matter and the attempts at solving it. Proposals by Richter, Zweirlein and Fitch are examined, their methods and criteria an

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21

Gamberini, Diletta. "Ogni desiderio della marchesa è un ordine: i distici ritrovati di Giovan Giacomo Calandra sopra il ritratto di Isabella d’Este, opera di Lorenzo Costa." Zeitschrift für Kunstgeschichte 88, no. 2 (2025): 206–19. https://doi.org/10.1515/zkg-2025-2004.

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Abstract The article focuses on the analysis of four previously unpublished Neo-Latin epigrams penned by Giovan Giacomo Calandra, a leading officer and humanist serving at the court of Mantua, in celebration of Lorenzo Costa’s portrait of Isabella d’Este (1508). Art historians have long been aware that Isabella had solicited Calandra to supply her with a few elegiac couplets as a way of exalting one of the very few portraits of her which she actually liked. Equally well known is the fact that one of the epigrams was likely included as an inscription in Costa’s (now unidentified or lost) painti

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22

Hansen, P. A. "Single Elegiac Distichs - Marion Lausberg: Das Einzeldistichon: Studien zum antiken Epigramm. (Studia et testimonia antiqua, 19.) Pp. 631. Munich: Wilhelm Fink, 1982. DM 198." Classical Review 36, no. 2 (1986): 207–10. http://dx.doi.org/10.1017/s0009840x00106067.

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23

Schutjer, Karin. "Distichon (Distich)." Goethe-Lexicon of Philosophical Concepts 1, no. 2 (2021). http://dx.doi.org/10.5195/glpc.2021.50.

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The verse form Distichon (distich), a classical couplet comprising one hexameter and one pentameter line, can qualify as a Begriff (concept) in Clark Muenzer’s sense of an “experimental technology” that facilitates the intelligibility of a world in flux. Goethe experimented with this ancient form throughout the decade following his return from his first journey to Italy and developed it into a fine-tuned vehicle for his emerging natural scientific and cultural conceptions. While he drew from both the elegiac and epigrammatic distichal traditions, the epigram, in particular, shaped his conceptu

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24

Hanigan, Daniel R. "Geography in Couplets?" Mnemosyne, February 22, 2022, 1–10. http://dx.doi.org/10.1163/1568525x-bja10106.

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Abstract Greek periplography appears to have been an almost exclusively prosaic phenomenon. The single exception to this is Zenothemis (4th/3rd cent. BC) whom John Tzetzes credits with the production of an elegiac distich (SH 855 = Tz. H. 7.765f.) apparently sourced from a Periplous. This brief note contributes to the discussion about the shape of Zenothemis’ Periplous by offering a series of stylistic observations about the single surviving fragment and considering the rationale for ascribing (or not) seven other testimonia (SH 856-862) to this poem.

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25

Scicolone, Federica. "HELLENISTIC REUSE OF AEOLIC METRES." Classical Quarterly, March 5, 2025, 1–17. https://doi.org/10.1017/s0009838824000570.

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Abstract Alexandrian poetry is mostly characterized by the metrical forms of the hexameter and the elegiac distich, but also provides evidence of experimental attempts to innovate formal aspects of rhythm and metre. Taking inspiration from the archaic tradition of monody and song-making, especially in the third century b.c. poets toyed with verse forms that allowed them to ‘widen the repertory’ of metres available for the composition of literary poems,1 using them in stichic forms, as markers of poetic expertise. This article explores some of these experiments and aims at unveiling the Helleni

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26

Δρελιώση-Ηρακλείδου, Αναστασία, та Νίκος Λίτινας. "Ροδιακό όστρακο με ερωτικό επίγραμμα". EULIMENE, 31 грудня 2011, 135–55. http://dx.doi.org/10.12681/eul.32801.

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An Erotic Epigram on a Rhodian Ostracon. During excavations on a plot in the central cemetery of Rhodes a deep filling of black earth with evidence of burning was explored. It contained disintegrated skeleton remains, clay urns, pottery fragments, stamped amphora handles, many small artifacts and a large number of inscribed potsherds. All seem to be transferred there from elsewhere to settle the area probably after a natural disaster. As far as the contents of the inscribed texts are concerned, apart from one literary ostracon, which is edited in this article, all the other ostraca are documen

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27

Vakulyk, I. "«Poem Should Thrill»: on the Rough Sonnets of Neoclassic Poets in the Context of the Totalitarian Regime." Mìžnarodnij fìlologìčnij časopis 12, no. 4 (2021). http://dx.doi.org/10.31548/philolog2021.04.004.

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Abstract. The works of Ukrainian neoclassicists as the representatives of the era of «Executed Renaissance», who left an invaluable heritage and made a tremendous contribution to the enrichment of not only Ukrainian but also world literature, have repeatedly become the subject of scholars’ research. The purpose of the study is to analyze the sonnet as a phenomenon that appeared in the first third of the last century: what caused its «rigidity» and «severity», as well as what is its poetic beauty. Materials and methods of research. This article is based on the analysis of archival materials, le

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28

Brandenburg, Yannick. "Enjambement am Pentameterende." Mnemosyne, November 11, 2022, 1–26. http://dx.doi.org/10.1163/1568525x-bja10152.

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Abstract This paper traces the enjambment techniques employed by Hellenistic and Latin authors at the end of the elegiac couplet. While the Alexandrians make deliberate use of enjambment at the end of the pentameter, in later Hellenistic and in Latin epigram there is a discernible movement toward a unity of syntax and metre, as testified by the poets’ tendency to avoid enjambment between distichs. The earliest Latin epigrammatists loyally render their Greek contemporaries’ aesthetics. Catullus, in his turn to Callimachean poetics, at times employs enjambment in this position, especially in ele

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Nassichuk, John. "Jacques Delaunay et les moines poètes Dampierre et Marconville dans les Epigrammata." Humanistica Lovaniensia 70, no. 2 (2022). http://dx.doi.org/10.30986/2021.155.

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In his little-known 1539 collection of epigrams, Jacques Delaunay (Jacobus Alnetus), a physician and canon of Saint-Étienne de Troyes, includes two important, and hitherto unnoticed, poetic exchanges between the monastic humanist poets Jean Dampierre and Nicolas de Marconville and himself. After a brief presentation of these two figures, the present article examines the principal themes and literary techniques characteristic of the poems that comprise the two poetic “correspondences” with Delaunay. Examination of these two separate sequences reveals several common, unifying themes. The relativ

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Miguel, Antonio Mascarúa Alcázar, del Carmen Aguilar Soriano Cinthya, Orea Barragán Simón, and Juárez Pérez Sagrario. "Pueblos Mágicos: resultados y realidades del México actual. Huautla de Jiménez, Oaxaca." October 11, 2021. https://doi.org/10.22579/23463910.315.

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<strong>Problemática</strong>: el Programa Pueblos Mágicos (PMM) fue una iniciativa del Gobierno federal mexicano, que mediante el apoyo financiero buscó acelerar el turismo en las zonas geográficas que tuvieran atractivo, para impulsar el desarrollo económico y social. Y aunque en muchos casos ha tenido éxito, este trabajo expone el caso de Huautla de Jiménez en Oaxaca, un municipio mexicano en el que, según la percepción de los encuestados, no se logró el éxito. <strong>Objetivo: </strong>exponer las opini

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