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Journal articles on the topic 'Iambic trimeter'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 February 2023

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1

Hasegawa, Alexandre Pinheiro. "Poetam vincit amor: Eros no Livro dos Epodos de Horácio." Nuntius Antiquus 7, no. 1 (2011): 7–20. http://dx.doi.org/10.17851/1983-3636.7.1.7-20.

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This paper intends to show the importance of Eros in the Epodes. First of all, it is necessary to study the structure of the book: in the first part (1-10), ten poems in a combination of iambic lines (an iambic trimeter followed by an iambic dimeter); in the second part (11-17), seven poems in various combinations. In this part, when the poet introduces new meters, Eros appears in the book and conquers the poet, modifying the poetry.
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2

Itsumi, Kiichiro. "Anceps in Tragedy (1): Lyric Iambics." Journal of Hellenic Studies 140 (November 2020): 1–33. http://dx.doi.org/10.1017/s0075426920000014.

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Abstract:Anceps is not so free that either a long or a short syllable may be used on equal terms. In fact, some strong tendencies are observed in lyric iambics in tragedy. Long syllable is avoided especially at the final anceps in dimeter/trimeter, for instance. Frequencies are statistically calculated each in turn in various combinations of iambic metra, and irregular occurrences are examined in contexts. In contrast to iambics, anceps tends to be long in D/e. Sophocles employs long anceps more frequently than the other two tragedians because his iambics sometimes verge on D/e. In general, lo
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3

De Stefani, Claudio. "Die Hiatregel in den Jamben von Gregor von Nazianz." Byzantinische Zeitschrift 113, no. 3 (2020): 717–32. http://dx.doi.org/10.1515/bz-2020-0031.

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AbstractIn the Iambs of Gregory of Nazianzus occur many hiatuses: this might suggest that his verses had been composed with carelessness. In fact, if we examine the various kinds of hiatuses, we notice that some of them should not be considered as such, because they occur after words, or along with iuncturae, that usually admit them. There remains, however, a considerable number of hiatus in caesura. The article strives to demonstrate that these hiatuses are due to the imitation of the well-known hiatus in trocaic caesura in the hexameter, which was allowed since Homer’s age. As a matter of fa
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4

Borea, Marco. "Longueur du mot et déficit accentuel: le cas de la clausule du trimètre et du choliambe." Rhythmica. Revista Española de Métrica Comparada, no. 16 (February 20, 2019): 11. http://dx.doi.org/10.5944/rhythmica.23921.

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Les mots longs sont rares à la clausule dutrimètre iambique grec. Leur longueur compense en quelquesorte le déficit accentuel qu’ils entraînent. Le choliambe,quant à lui, s’écarte de cette tendance et affectionne untype prosodique précis, le trisyllabe, en le dotant d’unepolymorphie accentuelle remarquable.Longs words seldom occur in the clausula ofthe iambic trimeter. Word length is offset by the accentualdeficiency they bring about. The choliambus, though, quitediverges from this tendency and show a preference for aspecific prosodic type, the trisyllable, which it provides witha relevant acc
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5

BATTEZZATO, LUIGI. "SYNIZESIS IN EURIPIDES AND THE STRUCTURE OF THE IAMBIC TRIMETER — THE CASE OF ϑɛóς". Bulletin of the Institute of Classical Studies 44, № 1 (2000): 41–80. http://dx.doi.org/10.1111/j.2041-5370.2000.tb00598.x.

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6

Blyth, Dougal. "Comic Metrical Signatures in Menander's Dyskolos." Antichthon 42 (2008): 56–77. http://dx.doi.org/10.1017/s0066477400001842.

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Many scholars have commented on Menander's facility in alternating between tragic and comic forms of the iambic trimeter, and the subtle effects he creates thereby in manipulating the mood of a scene. But characteristically these effects are interpreted solely in dramatic terms, and the statements made are rather vague, at the most detailed (and rarely then) merely noting that in a given line a particular tone is created by the overall form of metre used. What I aim to show is that deliberate metrical manipulation of a quite different kind is also involved, and in order to appreciate better Me
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7

Hernández Muñoz, Felipe G. "Notes on the position of the Pronoun Ἐγώ in the iambic trimeter of Greek Theatre". Hermes 147, № 1 (2019): 103. http://dx.doi.org/10.25162/hermes-2019-0007.

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8

Grinbaum, Oleg. "Lermontov’s Borodino Strophe and Issues of Russian Verse Theory." Respectus Philologicus 21, no. 26 (2012): 44–58. http://dx.doi.org/10.15388/respectus.2012.26.15408.

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The paper considers several issues of Russian Verse Theory connected with the architectonics of Lermontov’s Borodino strophe. This rare and unique strophe is characterized by an odd number of lines (seven), peculiar rhyme, and mainly by the different number of syllables in its lines: five lines of the strophe contain nine syllables of iambic tetrameter, while the third and the seventh contain six syllables of iambic trimeter. Such a structure does not allow the use of traditional (statistical) methods of the study of verse rhythmics. To prove that, this paper describes the construction of “str
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9

Reece, Steve. "‘Aesop’, ‘Q’ and ‘Luke’." New Testament Studies 62, no. 3 (2016): 357–77. http://dx.doi.org/10.1017/s0028688516000126.

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The last chapter of the gospel of Luke includes a story of the risen Christ meeting two of his disciples on their way from Jerusalem to the village of Emmaus and chastising them with the poetic expression ὦ ἀνόητοι καὶ βραδεῖς τῇ καρδίᾳ ‘O foolish ones, and slow in heart’ (Luke 24.25). No commentator has ever observed that Jesus' expression occurs verbatim, in the same iambic trimeter metre, in two poetic versions of animal fables attributed to the famous Greek fabulist Aesop. It is plausible that Luke is here, as at least twice elsewhere in his gospel, tapping into the rich tradition of Aesop
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10

Papachrysostomou, Athina. "Οὐκ ἂν δυναίμην: A Euripidean Novelty". Antichthon 49 (листопад 2015): 1–23. http://dx.doi.org/10.1017/ann.2014.1.

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AbstractThis article studies a Euripidean innovation: the introduction into tragic language and the subsequent (selective) usage of the expression oὐκ ἂν δυναίμην by Euripides. This negative potential optative appears sixteen times within the surviving Euripidean corpus, as a stereotypical syntactic structure that is intertwined with dramatic content and meaning. But, surprisingly, this expression is absent from Aeschylus, Sophocles, and all other tragedians. Through close reading of the sixteen Euripidean cases, the article traces and defines the conspicuous context of this expression: oὐκ ἂν
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11

Patroeva, N. V. "Syntax of the «Poet of Thought» (To the 220th Anniversary of the Birth of Evgeny Baratynsky)." Russian language at school 81, no. 2 (2020): 50–55. http://dx.doi.org/10.30515/0131-6141-2020-81-2-50-55.

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E. A. Baratynsky’ influence on the 20th-century Russian philosophical lyrics is undeniable. The syntax used by the «poet of thought» demonstrates a tendency towards complication and archaization over time, which generally contradicts the aspirations for the democratization of the poetic syntax that emerged in the Karamzin era. The complexity of the syntactic structure in the poet’s search for a «metaphysical» language is achieved not by increasing the number of complex structures, which make up half of the sentences used by Baratynsky, but rather by saturating sentences with various kinds of c
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12

Gelfond, M. M. "Semantics of the Fictional Draft: Once again about B. L. Pasternak’s poem “A Fairy Tale” (“Skazka”)." Critique and Semiotics 38, no. 1 (2020): 351–62. http://dx.doi.org/10.25205/2307-1737-2020-1-351-362.

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The article deals with the fictional creative story of Boris Pasternak’s poem “The Fairy Tale” (“Skazka”), described in the novel “Doctor Zhivago”. It is fundamentally different from the real story: if Pasternak changed the plot and partly the genre of “The Fairy Tale”, as evidenced by his letter to Nina Tabidze, Yuri Zhivago in the novel changes the poetic meter twice – and at the same time comprehends its semantics. The differences between the real and the “novelistic” creative history focus on the semantic halo both of trochaic trimeter – the meter of “The Fairy Tale”, and of trochaic penta
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13

Nobili, Cecilia. "Iambi in Sparta." Greek and Roman Musical Studies 4, no. 1 (2016): 38–50. http://dx.doi.org/10.1163/22129758-12341266.

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Several sources attest that at the Spartan festival of the Gymnopaidia three choruses sang a song in iambic trimeters with skoptic content; Alcman also composed some iambic poems to be performed in the symposium. This demonstrates that iambic poetry was not unknown in Sparta, as is normally believed, and may be connected to the more general dynamics of praise and blame, which were very important in Sparta, especially in local symposia.
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14

García González, Máximo A., та Felipe G. Hernández Muñoz. "ἐγώ y la ‘cesura media’ en el trímetro yámbico del teatro griego". Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 35, № 1 (2022): 69–74. http://dx.doi.org/10.25145/j.fortunat.2022.35.04.

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15

Azarnert, Leonid. "Epitaph of Onesimos the Son of Kallisthenes." Ancient Civilizations from Scythia to Siberia 12, no. 3-4 (2006): 193–95. http://dx.doi.org/10.1163/157005706779851381.

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AbstractThis note analyses one of the Bosporan sepulchral inscriptions. The analysis suggests that the epitaph of Onesimos the son of Kallisthenes is a metric epigram cast in two iambic trimesters and not a prose inscription as has been previously believed.
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16

Clark, James T. "Penthemimeral Elision in Tragic Trimeters." Philologus 165, no. 2 (2021): 189–204. http://dx.doi.org/10.1515/phil-2021-0104.

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Abstract This paper provides a statistical survey of the incidence of elision at the penthemimeral caesura in the iambic trimeters of Greek tragedy. It updates and builds on the work of Descroix (1931) by considering the rates of elision of different types of words: lexicals, nonlexical polysyllables, and nonlexical monosyllables. While all tragedians elide less at the caesura than throughout the line, in Aeschylus the rate of this reduction is far greater for lexicals and polysyllabic nonlexicals than it is for monosyllabic nonlexicals. On this evidence, and the evidence of interlinear elisio
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17

Lotman, Maria-Kristiina. "On the semantics of rhythm: Formal differences between the characters of Oresteia in tragedy." Sign Systems Studies 31, no. 2 (2003): 441–64. http://dx.doi.org/10.12697/sss.2003.31.2.07.

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The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages’ utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general “liveliness” and the “liveliness” of characters’ utterances. Certain differences in the metrics an
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18

Moore, Timothy J. "Stinging Auloi." Greek and Roman Musical Studies 5, no. 2 (2017): 178–90. http://dx.doi.org/10.1163/22129758-12341299.

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When Dikaiopolis calls theauletaiaccompanying the Theban who comes to trade with him wasps (Ach. 864), he responds in part to a buzz-like sound produced by theirauloi. Contributing to the instruments’ buzzing may have been dissonance caused by so many pipes played at once, the pipes’ material (bone), and a playing technique that placed emphasis on the lowest notes. The instruments’ music is out of place because the scene is in iambic trimeters, which were almost always performed without accompaniment. Dikaiopolis also calls theauletaiwasps because their arrival reminds him of the Spartan army,
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19

Dover, K. J. "Some Types of Abnormal Word-Order in Attic Comedy." Classical Quarterly 35, no. 2 (1985): 324–43. http://dx.doi.org/10.1017/s0009838800040209.

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On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations (sometimes obscene or blasphemous) in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ (|) M M (M) Δ in comedy is sufficiently explained thereby. There are obvious affinities between some passages of comedy, relaxed conversation in Plato and Xenoph
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20

Franklinos, T. E. "NOTES ON THE TEXT OF CATALEPTON 10." Classical Quarterly 69, no. 2 (2019): 912–15. http://dx.doi.org/10.1017/s0009838819000752.

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Catalepton 10 (Sabinus ille) is a unique survival from antiquity: it is the only parody of an entire poem to reach us, and is written in pure iambic trimeters, a near intractable metre. Addressed to Sabinus, an upstart muleteer, the poem launches a stinging attack at him, and draws attention to his status as a parvenu. It remains incredibly close to its charming model—Catullus 4 (Phaselos ille)—in structural, lexical, stylistic and metrical terms, but rather different in purport. In attempting to reassess a number of problems in the text of the poem, the textual critic ought largely to be guid
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21

Smith, Joseph Andrew. "Modular Clause Composition in Plautus." Mnemosyne, May 26, 2021, 1–42. http://dx.doi.org/10.1163/1568525x-bja10068.

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Abstract The iambic trimeters of Plautus are analyzed by syntactic boundaries and shown to be composed in a very narrow range of clause-measures using regular termini points in trimeters—line-end and the two caesuras. The five most frequently used syntactic measures account for half of trimeter composition. Plautus composed in modular units of syntax. This paper demonstrates: 1) the most frequent clause-type in Plautus’ trimeters is a trimeter in length, 2) the most frequent clause-type involving enjambment is exactly two trimeters in length, 3) certain clause-types appear with greater frequen
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22

Palermo, Gabriele. "Quando i metri vengono da soli: a proposito di Luc. Men. 1." Num. 40 (n.s.) – Giugno 2022 – Fasc. 1, no. 1 (June 30, 2022). http://dx.doi.org/10.30687/lexis/2724-1564/2022/01/013.

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In the opening scene of Lucian’s Menippus, the protagonist, after citing some Euripidean trimeters, explains that his metrical delivery is due to his recent meeting with Euripides (and Homer) in Hades; in these self-explanatory words Harmon detected a comic iambic trimeter (αὐτόματά μοι τὰ μέτρα ἐπὶ τὸ στόμα ἔρχεται). The paper aims to demonstrate that this metrical segment, far from being incidental, is not even a comic quote, as Harmon himself suggests, but rather a slip by Menippus, metrically rough precisely because it is not intentional; the literary meaning of this Lucianic verse is then
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23

Tissol, Garth. "An Iambic Quotation in Plato’s Timaeus." Mnemosyne, April 8, 2021, 1–22. http://dx.doi.org/10.1163/1568525x-12347309.

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Abstract At Timaeus 86d2 Plato quotes a line and a third of iambic trimeter probably from an unknown tragedy, possibly from a comedy. Its context is Timaeus’ argument that one suffering from diseases of the soul is often considered willingly bad, but wrongly so: οὐχ ὡς νοσῶν ἀλλ’ ὡς ἑκὼν κακὸς κακῶς | δοξάζεται, ‘he is wrongly considered not as sick but as willingly bad’. This quotation has not to my knowledge been noted in scholarship. The prosaic vocabulary of the quotation is reminiscent of Euripides, whereas its theme links it to Deianeira’s remarks on the disease of eros in Sophocles’ Tra
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24

Lotman, Maria-Kristiina. "2. Word-ends and metrical boundaries in ancient iambic trimeter of comedy." Studia Humaniora Tartuensia 1 (December 27, 2010). http://dx.doi.org/10.12697/sht.2000.1.2.

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25

Vatri, Alessandro. "Κακὸν κακῶς σε in Demosthenes, De Corona 267". Mnemosyne, 12 липня 2022, 1–19. http://dx.doi.org/10.1163/1568525x-bja10125.

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Abstract The words κακὸν κακῶς σε at D. 18.267 are printed in quotation marks in many modern editions of the speech. This sequence scans as the beginning of an iambic trimeter and is connected by καί with two quotations from tragedy. This article questions the idea that the sequence should be interpreted as the start of an interrupted quotation by showing that (1) these words are part of a standard, vernacular Greek curse formula, (2) initial καί may be interpreted as a discourse-level connector rather than as a syntactic coordinator, and (3) word order in the curse may be accounted for withou
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26

"8. Metre." New Surveys in the Classics 44 (2014): 65–72. http://dx.doi.org/10.1017/s0533245118000093.

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Reacting to the death of his supposed father, Polybus, Oedipus’ dismisses the power of Apollo's shrine in Delphi at the very point when that god is inexorably bringing him to his destruction. The immense relief which Oedipus feels on learning that after all he will not kill his father is strikingly marked by the metre. An iambic trimeter usually scans ×—⏑—×—⏑—×—⏑— (where — represents a long syllable, ⏑ a short, and × an anceps which can be long or short); but line 967 scans ⏑—⏑— —⏑⏑⏑⏑⏑⏑⏑⏑⏑—, with three successive resolutions, or substitutions of a long syllable by a double short (⏑⏑). With the
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