Such structure may explain the irregularities of responsion in Greek Lyrics. A rather interesting example is the sculpture of Kleobis and Biton, twins that Polyimides did not make perfectly alike, inspired by nature. The centre is somehow displaced, providing the necessary variation to the whole. They are composed of two halves a bit different among themselves, so that one half needs the other. The centre of the piece, be it an iambic trimeter or the sculpture of a kore or the fronton of a temple, is not in the exact centre. Between the two halves of a whole we may find several kinds of symmetrical structure: the type ABC CBA, and the type ABC ABC are rather common. Greek symmetry is artistic and alive: unlike the exact items produced by a machine, Greek people infused order and proportion to their compositions, avoiding a mechanical similarity.
more A comparison is drawn between symmetry in Tragedy and in the Arts. Besides, in the 6da, the so-called trochaic caesura happens after the first short of a disyllabic D, while verse-end occurs after a monosyllabic D.Ī comparison is drawn between symmetry in Tragedy and in the Arts. On the other hand, the main caesurae of the three stichic verses happen after a component contrary to that of verse-end: Caesura after M, verse-end after a monosyllabic D. Had it 16 components, the last would be a short/long (Mv/-), that would satisfy the structure as much by being short as by being long: it could not mark a verse-end. The 4tr just adds three components at the beginning of the 3ia. It is coherent that an Indo-European language marks its verses at the end, as it does in the language itself. It must not be called anceps, because it is not. There is not a “prosodic neutrality” of the ending syllable. When a short syllable happens, the rhythm suffers a break: it is the brevis in longo, a hard mark of verse end.Īll verses and periods must end in a component that admits a long syllable, but not a single-short. The mark for verse-end in both verses is a variant of D that becomes fixed as monosyllabic. The rhythmic singularity resides in the M-components, which offer two kinds of expression: short (Mv) and short/long (Mv/-). D may occur as long or double-short, but in a given line all the D-components may be long. In the trimeter neither M nor D have a fixed quantity. M guides the rhythm, and D provides the rhythmic singularity when it happens as two short metrical syllables. In the hexameter M has a fixed quantity (always long), while D appears either as a long metrical syllable or as two short. Both the 6da and the 3ia are rhythmic sequences of 12 components of this kind:
Elsa speak para que sirve series#
The 6da, 3ia and 4tr are series of perfect alternation of the two components M/D. Starting from Maas' elementa, I define two kinds of Components: the Monosyllabic (M) and the Potentially Disyllabic (D). Quantity versus duration, element versus syllable, are the basis of structural metrics. I will speculate upon the basis of oral poetry. more I intend to redefine the stichic verses at the level of structure ("Vers", as opposed to realization, "Vortrag"), which in my opinion is the metrical counterpart to the level of "langue" (as opposed to realization, "parole"). I intend to redefine the stichic verses at the level of structure ("Vers", as opposed to realizat. Firstly I will present the differential traits of this approach, and briefly remember the character of the most representative stichic verses. I shall try to show how the structural approach that I have applied to stichic verses may be satisfactorily projected into Lyric periods.
Elsa speak para que sirve free#
While stichic verses present a fixed structure, are composed of M- and D-components in perfect alternation, are never isosyllabic, belong to a single rhythm, end in a D-component, and appear in runs of the same structure, Lyric periods present a free structure, only M-components are obligatory, are usually isosyllabic, often present two rhythms, end with a long-M, and appear in groups of different periods, which compose stanzas of the same structure. more On the basis of three linguistic features of Greek metre: syllabic quantity, synapheia and components, I state the similarity between stichic verses and Lyric periods, and I define the general structure of Lyric Periods and the differences between them and the stichic verses. On the basis of three linguistic features of Greek metre: syllabic quantity, synapheia and compon.
0 kommentar(er)
