The Metres of the Greeks and Romans: A Manual for Schools and Private Study |
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Page xvi
... Songs of the Dorian lyric poets . 299 Alemán • Stesichorus Pindar 299 300 300 Dorian Strophes Aeolian Strophes 300 305 Lydian Strophes 310 II . Antistrophic Songs of the dramatists 314 I. Trochaic - iambic Choral Songs 314 a . Strophes ...
... Songs of the Dorian lyric poets . 299 Alemán • Stesichorus Pindar 299 300 300 Dorian Strophes Aeolian Strophes 300 305 Lydian Strophes 310 II . Antistrophic Songs of the dramatists 314 I. Trochaic - iambic Choral Songs 314 a . Strophes ...
Page 10
... song of praise or triumph ; Ionic , from iwvixós , Ionian , being used especially by the Ionians ; Choriambus , composed of a choree ( trochee ) and an iambus ; Antispast , from avτionaoτos , drawn con- trary ; Molossus , from Moloooós ...
... song of praise or triumph ; Ionic , from iwvixós , Ionian , being used especially by the Ionians ; Choriambus , composed of a choree ( trochee ) and an iambus ; Antispast , from avτionaoτos , drawn con- trary ; Molossus , from Moloooós ...
Page 35
... song , mesode ( ʼn μɛoœdós ) . It is evident that this third strophe must always stand to the other two in a certain rela- tion which manifests itself even in the measure , and that , in general , three such strophes must form an ideal ...
... song , mesode ( ʼn μɛoœdós ) . It is evident that this third strophe must always stand to the other two in a certain rela- tion which manifests itself even in the measure , and that , in general , three such strophes must form an ideal ...
Page 36
... songs . With this dithy- rambic composition ( συστήματα ἀπολελυμένα ) the highest grade of rhythmical form is attained , but at the same time the foundation is laid for deterioration . The perception of unity was lost ; artificial and ...
... songs . With this dithy- rambic composition ( συστήματα ἀπολελυμένα ) the highest grade of rhythmical form is attained , but at the same time the foundation is laid for deterioration . The perception of unity was lost ; artificial and ...
Page 41
... in words was adapted to song and music lies beyond the limits of metrical science , and forms a part of the theory of the music of the ancients . PART II . THE APPLICATION OF THE LAWS OF RHYTHM 4 * CAESURA , DIAERESIS . 41 Dactylic Rhythms.
... in words was adapted to song and music lies beyond the limits of metrical science , and forms a part of the theory of the music of the ancients . PART II . THE APPLICATION OF THE LAWS OF RHYTHM 4 * CAESURA , DIAERESIS . 41 Dactylic Rhythms.
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Common terms and phrases
acat acatalectus Aeolian Aesch Agam Anacreon anacrusis anapaest Anapaesticus anceps Arist arrhythmy arsis and thesis asynartete bacchius caesura called Carm catalectic catalecticus catalexis choriamb close comic poets cretic dactyl dactylic rhythm diaeresis dimeter dipody distich disyll disyllabum dochmius drama dramatists epic Epod especially feet frequently glyconic Greek hence Hephaestion hexameter hiatus iamb iambic dipody iambic trimeter ionic ithyphallic Logaoedic series lyric poets measured metre metrical monometer occurs Olymp P. I. ch Pind Plaut poems poetry polyschematist form principal caesura principal diaeresis proceleusmatic Pyth rarely rhythmical Roman short singly sometimes Soph spondee strophe syllabam syllable Terent tetrameter tribrach trimeter tripody trochaic trochaic dipody trochee verse versus Virg word ww ww ἀλλ ἂν ἀντ γὰρ δὲ Διὸς ἐκ ἐν ἐπὶ καὶ μὲν μοι οὐ οὐδ οὐκ οὖν στρ τὰ Τὰν τε τὴν τί Τίς τὸ τὸν τῶν ὡς
Popular passages
Page 251 - Non sollicitae possunt curae mutare rati stamina fusi. Quidquid patimur mortale genus, quidquid facimus, venit ex alto, servatque suae decreta colus Lachesis nulla revoluta manu. Omnia secto tramite vadunt primusque dies dedit extremum.
Page 284 - Quis multa gracilis te puer in rosa Perfusus liquidis urget odoribus Grato, Pyrrha, sub antro?
Page 16 - Dactylic verse of one Dactyl is called a Monometer ; of two, a Dimeter ; of three, a Trimeter; of four, a Tetrameter ; of five, a Pentameter ; of six, an Hexameter.
Page 199 - Passer, deliciae meae puellae, quicum ludere, quern in sinu tenere, cui primum digitum dare appetenti et acris solet incitare morsus, cum desiderio meo nitenti carum nescio quid lubet iocari, et solaciolum sui doloris, credo, ut turn grauis acquiescat ardor: tecum ludere sicut ipsa possem et tristis animi leuare curas!
Page 191 - Jovemque concilias, tu das epulis accumbere divom, nimborumque facis tempestatumque potentem.' 80 Haec ubi dicta, cavum conversa cuspide montem impulit in latus : ac venti, velut agmine facto, qua data porta, ruunt et terras turbine perflant...
Page 210 - Tu ne quaesieris, scire nefas, quern mihi, quem tibi Finem di dederint, Leuconoe, nee Babylonios Tentaris numeros. Ut melius quidquid erit pati, Seu plures hiemes seu tribuit Juppiter ultimam, Quae nunc oppositis debilitat pumicibus mare Tyrrhenum. Sapias, vina liques, et spatio brevi Spem longam reseces. Dum loquimur, fugerit invida Aetas. Carpe diem, quam minimum credula postero.
Page 209 - Non omnis moriar, multaque pars mei Vitabit Libitinam : usque ego postera Crescam laude recens dum Capitolium Scandet cum tacita virgine pontifex.
Page 233 - Solvitur acris hiems grata vice veris et Favoni, trahuntque siccas machinae carinas, ac neque iam stabulis gaudet pecus aut arator igni, nec prata canis albicant pruinis.
Page 191 - Haec ubi dicta, cavum conversa cuspide montem impulit in latus ; ac venti, velut agmine facto, qua data porta, ruunt et terras turbine perflant. incubuere mari, totumque a sedibus imis 85 una Eurusque Notusque ruunt creberque procellis Africus, et vastos volvunt ad litora fluctus.
Page 191 - Iliacis occumbere campis non potuisse tuaque animam hanc effundere dextra, saevus ubi Aeacidae telo iacet Hector, ubi ingens Sarpedon, ubi tot Simois correpta sub undis 100 scuta virum galeasque et fortia corpora volvit!