Pindaric metre the other half itsumi kiichiro. The ‘Other Half’ : Pindaric Metre: The ‘Other Half’ 2019-01-29

Pindaric metre the other half itsumi kiichiro Rating: 8,3/10 1097 reviews

Pindaric Metre: The `Other Half' by Kiichiro Itsumi 9780199229611

pindaric metre the other half itsumi kiichiro

. They are listed at B. The similarity with the aeolics of tragedy or comedy is obvious. There are considerable diVerences in the frequency of each form of the base. This last argument means that 41,20a.

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Kiichiro Itsumi: Pindaric Metre: The ‘Other Half’.

pindaric metre the other half itsumi kiichiro

A similar tendency is observable between d D, D þ and e e2, e3 C. There emerges an important feature when the positions of wordends are examined in relation to link anceps. This chapter treats verses as a whole. Where the risk with metrical studies. We need not torture a verse so as to chop it up into accepted cola nor introduce multifarious, esoteric names almost for their own sake. This is the most certain attestation of expansion.

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Pindaric Metre: The 'Other Half'

pindaric metre the other half itsumi kiichiro

I use the notation þ3 without any implication. §1 and §3 are composed of longer verses 15. The metrical contexts of all the four verses are similar. Reversed dodrans with long second position Cf. Sed ne cui in reliquis strophis metrum diYcultates obiiciat, de his quoque dicendum puto.

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Pindaric Metre: The 'Other Half'

pindaric metre the other half itsumi kiichiro

Single-short movement is strikingly predominant. In our instance, xd x is followed by e x. I must admit that there is a dilemma, and I have no clear-cut solution at the moment. Acatalectic and catalectic verses appear in sequence to make an evident contrast at s5 and s6. Long anceps is never used in verses of these types, except at the beginning of the verse.

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‘Other Half’

pindaric metre the other half itsumi kiichiro

For the two verses of §1, see above. Every short syllable must be short in all the repetitions, even though it may theoretically fill an anceps position. Christ, following Bergk and M. Whether the Wnal position of this pherecratean is triseme created by catalexis or anceps is a recurrent question see 1 above. Prolongation Just as phrases may be abbreviated catalexis , so they may be prolonged. In the sung parts of dramatic poetry, tragedy and comedy alike, verse-end is not always clear.

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Kiichiro Itsumi: Pindaric Metre: The ‘Other Half’.

pindaric metre the other half itsumi kiichiro

Consistency is required not only for the analysis of the identical form, but also for similar, structurally related forms. Itsumi's analyses of individual poems include a discussion of stanzaic structure, of textual problems, and of particular lines in the stanza and their exploitationwithin the text. This is an a priori deWnition of catalexis, and it implies that the Wnal position of, for example, pherecratean is not anceps but triseme equal to three morae, T. They do not metrically correspond with each other although the meaning is, in general, unambiguous. But it should not be so described: not only does the term conceal the close relation to P2s1 but it is also inappropriate for another reason.

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The ‘Other Half’ : Pindaric Metre: The ‘Other Half’

pindaric metre the other half itsumi kiichiro

Thus the notation xx is appropriate there, and a base in this form is a distinctive characteristic of aeolic metre. There is an obvious inclination common to Turyn and 21 In this chapter, I shall append abbreviated names of phrases to metrical schemes. The initial anceps of the reizianum is always short. The first two positions of reversed dodrans 1. Composition of Verses 93 There are in total 19 examples of D, D þ, and their acephalous forms.

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Pindaric Metre: The (review)

pindaric metre the other half itsumi kiichiro

But even that is uncertain see Part I, 7. So are other related phrases. The former raises the following questions. And out of seven repetitions at I8s5c, three are resolved v. Earlier, it was usual to take these poems as polymetric. With a particular focus on the poems that begin and end the Olympian and Pythian books, the volume considers the continuities between reading and attending performances, highlighting elements of readers' experiences distinctive to Hellenistic culture.

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