His poems set trapdoors — emotional, metrical, intellectual — into which you can fall for miles.
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But the clunking gear changes between two metrical forms make it hard to build up a rhythm in either.
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His diction, focus and tone are those of a caustically gifted word man; his metrical dexterity is everywhere apparent.
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The pair have an affinity for dramatic yet metrical structures made of sturdy, uncomplicated materials like concrete and stone.
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Consequently, the audience is left to rapidly apprehend different historical eras, as well as languages and metrical forms—a tall order.
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They don't seriously undermine the legitimacy of the international metric order, but they do spoil the ambience of infallible metrical precision.
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It's a heartbeat, but it's also a very specific rhythm—it's iambic pentameter, the metrical foot made famous by William Shakespeare.
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Calvin actually revived congregational singing of the Psalms in Strasbourg and Geneva, and he even translated some Psalms for metrical composition himself.
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There are other soft spots in "Monument," moments when Trethewey's metrical dexterity slackens or her political points are too on the nose.
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At any rate, the answer to the clue, "Part of da-DUM, da-DUM, da-DUM" is IAMB, the metrical poetry measurement.
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This gap is something like the caesura, or metrical break in a line of poetry, and it has its violent and sexual subtext, too.
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Moreover the metrical poem (emphatic iambic beat) attempts to reinforce its moralizing by rhyming; even those are predictable and seem sponsored by Dr. Seuss.
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Photographs are structured with the equivalent of poetry's metrical cadences and internal rhymes, and treated less as generators of translatable ideas than of suggestive metaphors.
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Groups of beats in shifting metrical combinations churn constantly in midrange instruments, as oscillating two-note riffs, spiraling arpeggios, or rising and falling scales float above or hover below.
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"Literally, every single one of the 39 respective notes of 7 RINGS is identical with the 39 notes of I GOT IT from a metrical placement perspective," it says.
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"When called upon to memorialise a faulty bridge, McGonagall constructs another," writes Mr Lerner, as he dissects McGonagall's swirling metrical confusion with poetically informed glee across a number of pages.
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His father is the president of Manhattan College in Riverdale, N.Y. He is the author of "The Passion of Meter: A Study of Wordsworth's Metrical Art" (Kent State University Press, 1995).
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And if you say in patois, 'The boats are coming back,' the beat of that line, its metrical space, has to do with the sound and rhythm of the sea itself.
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His mentors were John Crowe Ransom and Theodore Roethke, masters of the metrical line, but perhaps his favorite American poet was Gary Snyder and one of his best friends was Robert Bly.
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The chorus is reminiscent of Arabic metrical rhymes as Huey's voice crescendos over the opening verse and chorus: "I finesse, kawal, finesse, kawal"—Apac's whispering adlibs float behind heavy bass and piano instrumentation.
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Staples specializes in a sort of updated old-school aesthetic whereby classicist virtues like verbal clarity, metrical dexterity, and musical austerity are inflected through the modernism of contemporary lyrical concerns and voguish electronic production.
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Five women, their insteps lively and their legs often straight, begin by advancing in a wedge shape, but the parallel vertical paths they take soon become interwoven with retreats, turns, arcs — and with metrical variations, too.
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When I heard Guillaume Apollinaire — the French poet whose most notable poem, "Le Pont Mirabeau," has a metrical solidity of great austerity — read the poem in a 1913 recording, a different facet of his art was revealed: not the exquisite rigor of his lines but the ardor of casual speech.
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Metrical sign is ) #Gavotte (In D major. Metrical sign is ) #Menuet I/II (In D major. Metrical sign is ) #Réjouissance (In D major. Metrical sign is ) Instrumentation: Trumpet I/II/III, timpani, oboe I/II/III, bassoon, violin I/II, viola, basso continuo.
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Metrical sign is ) #Gavotte I/II (In D major. Metrical sign is ) #Bourrée (In D major. Metrical sign is ) #Gigue (In D major. Metrical sign is ) Instrumentation: Trumpet I/II/III, timpani, oboe I/II, violin I/II, viola, basso continuo (second movement: only strings and continuo).
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It was the only metrical hymn included in the Edwardian liturgy. In 1561 John Day included it after the psalms in his incomplete metrical psalter of that year. From 1562 onwards, in The Whole Booke of Psalmes, Day printed Cranmer's version at the start of the metrical paraphrases.Beth Quitslund, The Reformation in Rhyme: Sternhold, Hopkins and the English Metrical Psalter (Ashgate, 2008), pp.
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His works are Ipomedon and Protheselaus, two long metrical romances§7. Sources and Subjects. XIII. Metrical Romances, 1200–1500. Vol. 1. From the Beginnings to the Cycles of Romance.
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Metrical Psalms are still very popular among many Reformed Churches.
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This is a substantially larger repertoire than in any other metrical tradition.
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Metrical texts are first attested in early Indo-European languages. The earliest known unambiguously metrical texts, and at the same time the only metrical texts with a claim of dating to the Late Bronze Age, are the hymns of the Rigveda. That the texts of the Ancient Near East (Sumerian, Egyptian or Semitic) should not exhibit metre is surprising, and may be partly due to the nature of Bronze Age writing. There were, in fact, attempts to reconstruct metrical qualities of the poetic portions of the Hebrew Bible, e.g.
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Darío wrote in thirty seven different metrical lines and 136 different stanza forms.
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He was experimentalist writer. He was associated with little magazine movement and modernist movement in Gujarati. His collection Raneri (1968), edited by Jayant Parekh, was published posthumously. It includes geet, ghazal, metrical and non-metrical poetry as well as prose poetry.
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Crystallography is one of the traditional areas of geology that use mathematics. Crystallographers make use of linear algebra by using the Metrical Matrix. The Metrical Matrix uses the basis vectors of the unit cell dimensions to find the volume of a unit cell, d-spacings, the angle between two planes, the angle between atoms, and the bond length. Miller's Index is also helpful in the application of the Metrical Matrix.
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In 12th standard, he learned the metres of ghazal and ventured in metrical form.
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In poetry, a monometre is a line of verse with just one metrical foot.
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He showed, likewise, a predilection for other metrical diversions, especially the acrostic and telestich.
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The metrical forms used by the Spanish poets resembled those later used by the troubadours.
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From a metrical point of view, classical Persian poetry can be divided into three types.
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The New Testament was first translated into Scottish Gaelic by Rev James Stuart, minister of Killin, and published in 1767, and the full Bible was completed in 1801. The Metrical Psalms were produced in 1826. The Scottish Bible Society has overseen the revision and updating and printing of this Bible and the Metrical Psalms. Recently the Scots Gaelic Bible was revised by Donald Meek into modern orthography and printed with the Metrical Psalms in 1992.
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Aakash, his first collection of poems, was published in 1972, followed by Vamal Na Van (1976) and Monta Collage (1979; posthumous). Vamal Na Van set a new trend in experimental Gujarati poems. The central emotion in his poems is pathos, depicted with rural milieu and colloquial style. In his non-metrical poems, he used rhythmic diction. In all, Joshi wrote 114 poems: 57 geets, 38 non- metrical poems, 14 ghazals and 5 metrical poems.
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The ballad is printed in the so-called "Hildebrandston," a stanzaic metrical form named about another heroic ballad, the Jüngeres Hildebrandslied. No melody has been transmitted with the text, but it was likely meant to be sung. The stanza consists of four "Langzeilen," lines consisting of three metrical feet, a caesura, and three additional metrical feet. Unlike the similar stanza used in the Nibelungenlied, in the "Hildebrandston" all four lines are of the same length.
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Elizabethan poems and plays were often written in iambic meters, based on a metrical foot of two syllables, one unstressed and one stressed. However, much metrical experimentation took place during the period, and many of the songs, in particular, departed widely from the iambic norm.
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Resolution is the metrical phenomenon in poetry of replacing a long syllable with two short syllables.
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The poems, odes, songs, and other metrical effusions, of Samuel Woodworth. New York. 284pp. p 163.
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Calvin endorsed only singing of metrical psalm texts, only in unison, only a cappella, with no harmonization and no accompanying instruments of any kind. Tunes for the metrical psalm versions came from several men, including Louis Bourgeois (c. 1501 – c. 1561), and Claude Goudemil (c. 1525–1572).
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This feature could take on multiple values to indicate various levels of stress. Stress was assigned using the cyclic reapplication of rules to words and phrases. Metrical phonology holds that stress is separate from pitch accent and has phonetic effects on the realization of syllables beyond their intonation, including effects on their duration and amplitude. The perceived stress of a syllable results from its position in the metrical tree and metrical grid for the phrase it appears in.
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By not treating stress as a feature of an individual segment, metrical phonology avoids the inexplicable differences between the stress feature and other phonological features. Metrical phonology also correctly predicts the ambiguity between broad and narrow focus. There are two possible metrical patterns for two-word phrases: S-W and W-S. However, there are three possible patterns of focus for such phrases: narrow focus on the first word, narrow focus on the second word, and broad focus.
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Hürnen Seyfrid is written in the so-called "Hildebrandston", a stanzaic metrical form named after its use in the Jüngeres Hildebrandslied that had an accompanying melody. The stanza consists of four "Langzeilen", lines consisting of three metrical feet, a caesura, and three additional metrical feet. Unlike the similar stanza used in the Nibelungenlied, in the "Hildebrandston" all four lines are of the same length. The lines rhyme in couplets, with occasional rhymes across lines at the caesura.
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These conventions can be linked to the need to make the text conform to fixed metrical formulae.
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It is a parallel translation, including a literal rendering of the Psalms and an accompanying metrical Psalms.
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The use of caesura is important in regard to the metrical analysis of Classical Chinese poetry forms.
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Out of the twelve Anglo-Saxon Metrical charms, nine contain religious references and five ending with Amen.
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Common metrical patterns in both poetry and music are iambic, trochaic, dactylic, amphibrachic, anapaestic, spondaic, and tribrachic.
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Psalm 1 in 1628 printing with tune, metrical version by Thomas Sternhold. The Whole Book of Psalmes Thomas Sternhold (1500–1549) was an English courtier and the principal author of the first English metrical version of the Psalms, originally attached to the Prayer-Book as augmented by John Hopkins.
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Prose lacks the more formal metrical structure of verse that can be found in traditional poetry. Prose comprises full grammatical sentences, which then constitute paragraphs while overlooking aesthetic appeal, whereas poetry often involves a metrical or rhyming scheme. Some works of prose contain traces of metrical structure or versification and a conscious blend of the two literature formats known as prose poetry. Verse is considered to be more systematic or formulaic, whereas prose is the most reflective of ordinary (often conversational) speech.
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The younger Yasna, though handed down in prose, may once have been metrical, as the Gathas still are.
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Panambih is metrical sung form of poetry, and a more modern version of the Tembang sunda of Indonesia.
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This dodecasyllable has a short metrical pause after the sixth syllable, and a longer one after the twelfth.
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Another magazine, The Roar, declared that it is, "the longest metrical poem in Africa".[Ezendiokwele, S. (2005). "The Longest Metrical Poem in Africa!", The Roar, Vol. 6, No. 1, P.8. ] In 2010, a new edition of the book of poems was published, with an audio CD of the poems.
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Those Winter Sundays contains 14 lines in 3 stanza. This makes it look like a typical Sonnet even though it isn't, it neither has a rhyme nor a regular iambic pentameter. The first line does not have a metrical pattern. In comparison, the second line is in a metrical pattern.
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Pitch accent is a term used in autosegmental-metrical theory for local intonational features that are associated with particular syllables. Within this framework, pitch accents are distinguished from both the abstract metrical stress and the acoustic stress of a syllable. Different languages specify different relationships between pitch accent and stress placement.
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Patel's writing is influence by his rural life and close contact with nature and agriculture. He has published two poetry collections, Mari Anagasi Rutu (1977) and Padmanidra (2001), containing metrical and non- metrical poetry. His love for nature and agriculture is evident in his poems. Simantara (2013) contains 81 poems.
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Modi was a pioneering poet and also an acclaimed playwright, critic, fiction writer and translator. His works are translated into English, Hindi and other Indian languages and his plays are staged several times. He had written both metrical and non-metrical form of poetry. His main contribution was in ghazal poetry.
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The musical portion of the Lutheran liturgy includes metrical psalter, metrical responses and hymns. Evangelical Lutheran Worship has ten settings of Holy Communion, for example. They range from plainsong chant, to Gospel, to Latin- style music. Congregations worship in many languages, many of which are represented in Evangelical Lutheran Worship.
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The Metrical Dindsenchas Poem 36 Also grandfather of Balor, he was killed at the legendary Second Battle of Moytura.
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The songs follow the pattern of rhymed and metrical verses, according to the intellectual tradition of the author's family.
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Since poetry frequently defies common sense, metrical form, in a way, offers the reader hope that the text will ultimately make sense, even that all parts of the poem will ultimately make sense. Meter can also be a subtle way for a poet to emphasize and de-emphasize. By occasionally breaking the metrical pattern, the poet can emphasize a word, for example. Certain metrical situations don't automatically produce particular effects -- the use of meter achieves an effect only within the context of sense and feeling.
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A hexameter line contains six metrical feet while a pentameter line contains five metrical feet. Dating back to the 7th century BC, the elegy was used to write about various topics, including love, lamentation, and politics. This form of poetry was widely used by poets such as Archilochus, Mimnermus, Tytraeus, Catullus, and Ovid. In English literature, it was not until the 16th century that the term “elegy” began to refer to the content of the poem as opposed to the metrical form of the poem.
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Later scholarship has uncovered further evidence to back up this claim: there are considerable differences in the two poems' style and adherence to the metrical norms of Hellenistic scholars.For Pseudo-Oppian's metrical practices see Wifstrand, A. 1933. 'Von Kallimachos zu Nonnos: metrisch-stilistische Untersuchungen zur späteren griechischen Epik und zu verwandten Gedichtgattungen'. Lund.
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Steven M. Oberhelman and Ralph G. Hall, "Meter in Accentual Clausulae," Classical Philology 80:3 (1985): 222–23, cited in Nixon and Rodgers, 19. This was a common metrical rhythm at the time, but had gone out of style by the 5th century, when metrical considerations no longer mattered.Nixon and Rodgers, 20.
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In 1968 a new metrical psalmbook appeared, which is incorporated in the Dutch hymnbook; Liedboek voor de kerken of 1973.
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The songs on you? me? us? are notable for metrical complexity and richness of lyric, and for Thompson's guitar work.
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I cite a particularly interesting example from Greek metrics, an Archaic eight-syllable metrical unit known as the choriambic dimeter.
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Page xiii-xiv. Also in 2006, William Baer's Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms was published by Writer's Digest Books. The book is a guide for aspiring poets in how to master traditional poetic forms and rhythms.William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, pages 18-206.
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To use Metrical Visions and George's scaffold speech as the lone pieces of evidence to support an argument for homosexual behaviour is problematic. The verses in Metrical Visions are based merely on Cavendish's interpretation of George's scaffold speech, with Warnicke and Weir solely re- interpreting George's final words on the basis of Cavendish's writings.
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The Psalms were translated into Gaelic in metrical form for congregational singing. The full 150 Metrical Psalms called Sailm Dhaibhidh were first published in full in 1694. The General Assembly of the Church of Scotland produced a revised edition in 1826, which is basically the same text which is still used today. The Metrical Psalms of all 150 Hebrew Psalms are often printed at the back of the Bible along with some 67 Paraphrases called Laoidhean o na Sgrioptuiribh Naomha and some 5 Spiritual Songs called Dana Spioradail.
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Unlike the Romantic trends of continuous legato, he considered any "metrical first" (i.e. downbeat - implied or actual) to be automatically accented.
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Indologist B. N. K. Sharma writes, "Narayana has earned a lasting fame for himself by his great metrical biography of Madhva".
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His printing patent for the metrical psalter passed to his son, Richard Day. In an effort to make amends, Richard Day appointed Wolfe as one of five assigns to administer the patent. Between 1585 and 1591, Wolfe was the sole printer of metrical psalters for Day.Hoppe, 263. On 23 July 1587, Wolfe was appointed Beadle of the Stationers' Company.
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Most Qənes are differentiated by their metrical pattern and length of verse. There are also different types of Qəne which are differentiated by the particular usage of the Säm əna Wärq mode. Since Qəne is sung as a hymn at a church service, classifying Qənes according to the metrical pattern is commonplace. Accordingly, there are 9 major Qəne types.
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The most of the inscription is metrical, with the exception of the initial invocation to Shiva and the samvat at the end.
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It has no title there. Athelston was first printed in 1829, when C. H. Hartshorne included it in his Ancient Metrical Tales.
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Dumville, "Félire Óengusso", p. 27. His metrical Life tells that he was buried in his birthplace Clonenagh.Aíbind suide sund amne, stanza 4.
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It is rare to find any significant metrical substitution in a well-written hymn; indeed, such variation usually indicates a poorly constructed text.
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The Song of Eärendil follows the Middle English poem Pearl (miniature from the Cotton Nero manuscript pictured) in its metrical and poetic intricacy.
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His metrical translation of the "Odes" of Tyrtæus, and his jeu d'esprit after Dr. Johnson on Gray's "Elegy", are not of much account.
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The Metrical Dindsenchas "Carn Amalgaid" Poem 78"Dinda HÚa n-Amalgada" Similarly, in Welsh folklore Brân the Blessed is the brother of Manawydan.
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As in most metrical systems, Vietnamese meter is structured both by the count and the character of syllables. Whereas in English verse syllables are categorized by relative stress, and in classical Greek and Latin verse they are categorized by length, in Vietnamese verse (as in Chinese) syllables are categorized by tone. For metrical purposes, the 6 distinct phonemic tones that occur in Vietnamese are all considered as either "flat" or "sharp". Thus a line of metrical verse consists of a specific number of syllables, some of which must be flat, some of which must be sharp, and some of which may be either.
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Lilit Phra Lo is written in metrical forms designed for this tonal structure. At some time before the mid-seventeenth century, pronunciation shifted to five tones. The old metrical forms fell out of use and were replaced by forms suitable to the five-tone structure. Lilit Phra Lo was clearly composed before this great tone shift in the Tai family of languages.
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Each style may use a metrical or a speech-rhythm form, or both; where the lines are metrical, the lam styles typically use seven syllables, as in Isan, while the khap styles use four or five syllables per line.Garland p. 340. The slower pace of some Lao styles allows the singer to improvise the verse, but otherwise the text is memorised.Garland p. 342.
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Hierarchical patterns of prominence like those represented in metrical trees can also apply to rhythm in music. The prominence level of a note is determined by the relative prominence of all the nodes above it. The timing of notes also depends on the metrical tree for a particular tune. Each node at the bottom level of the tree (terminal nodes) receives a beat.
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94 online. As indicated by its subtitle, the poem exhibits metrical complexities in imitation of a pindaric ode, that is, the structurally intricate poetry of the Greek lyric poet Pindar. The stanzas are irregular, and both line length and the rhyming pattern vary. Early editions misunderstood the pindaric vagaries of the Threnodia and are sometimes erratic in using indentation to indicate metrical units.
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Bahuk () is a Gujarati long narrative poem by Chinu Modi. The poem is composed both in metrical and non-metrical verse and centres on Nala, a character from the Mahabharata who metamorphosed into Bahuka. It is an acclaimed poem of Gujarati literature written in Sanskrit-styled figurative language. The poem was selected for the Ushnas Prize (1982–83) by the Gujarati Sahitya Parishad.
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They are biblical paraphrases: lyrical renderings of sections of the Bible that have been set to music, in a similar fashion to metrical psalms.
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The slash is used in various scansion notations for representing the metrical pattern of a line of verse, typically to indicate a stressed syllable.
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Different approaches to the poem—personal idiosyncratic approaches and those informed by historical context or metrical structure—are discussed as an introduction to "cognitive poetics".
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Edmund (Edmwnd) Prys (1542/3 - 1623) was a Welsh clergyman and poet, best known for Welsh metrical translations of the Psalms in his Salmau Cân.
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Kinsella has predominantly used anapaestic and dactylic metrical feet, a technique which evokes both the sea's rhythmic, repeated pattern and its maelstrom of clashing forces.
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Salmau Cân Newydd (New Metrical Psalms) is a new metrical version of the Psalms, based on the 2004 Welsh translation of the Bible, but also having regard to the original Hebrew, by Gwynn ap Gwilym (1950-2016), an Anglican priest in the Church in Wales. A variety of metres are used and appropriate tunes suggested. It was published by Gwasg Gomer (Gomer Press) in 2008.
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Typically, a hokku is 17 moras (or on) in length, composed of three metrical units of 5, 7 and 5 moras respectively. Alone among the verses of a poem, the hokku includes a kireji or "cutting-word" that appears at the end of one of its three metrical units. Like all of the other stanzas, a Japanese hokku is traditionally written in a single vertical line.
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However, writers discussing poetic metre seem to have used the terms arsis and thesis in a different way. Tosca Lynch writes: "Differently from rhythmicians, metricians employed the term arsis to indicate the syllables placed at the beginning of a foot or metrical sequence; in such contexts, the word thesis designated the syllables appearing at the end of the same foot or metrical sequence." (Lynch (2016), p. 506.) In a metrical dactyl (– ⏑⏑), according to Marius Victorinus and other writers on metre, the first syllable was the arsis, and second and third were the thesis; in an anapaest (⏑⏑ –) the arsis was the first two syllables, and the thesis the third.
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"William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 233. In response, Baer commented, "Like Picasso, the founders of Imagism came to disavow their methods. It's a true story that, unfortunately, is not often told to young aspiring writers. Certainly, serious poetic artists need to experiment, but not all experiments are necessarily useful or permanent... Oddly enough, even now, after nearly a hundred years of vers libre, the current Random House Webster's still defines poetry as 'literary work in metrical form' and prose as 'the ordinary form of spoken or written language, without metrical structure, as distinct from poetry or verse.
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Aðalheiður's main focuses in teaching and research are medieval Norse literature, legendary sagas, folktales, folk ballads and rímur (metrical romances), the history of dance and the history of magic. She has published books such as Úlfhams saga in 2001 and Strengleikar in 2006, as well as many academic papers. Her doctoral thesis, Úlfhams saga, discussed the metrical verses and the derived prose versions of the saga. The saga was adapted for the stage in Hafnarfjörður Theatre by the company Annað svið in 2004 and the opportunity was taken to record the rímur (metrical verses) and publish them on CD along with Aðalheiður's edition of the text, with explanatory notes.
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The division into feet is a tradition that produces arbitrary metrical rules, because it does not follow the actual metrical structure of the verse (see for example the listed variations in the tables below). In particular, though a long syllable and two short ones have the same number of morae, they are not always interchangeable: some metres permit substitutions where others do not. Thus a more straightforward analysis, favoured by recent scholarship, is by cola, considered to be the actual building blocks of the verse. A colon (from the Greek for "limb") is a unit of (typically) 5 to 10 syllables that can be re- used in various metrical forms.
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Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual- syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus one can speak about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another.
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"Æcerbot" (Old English "Field-Remedy") is an Anglo-Saxon metrical charm recorded in the 11th century, intended to remedy fields that yielded poorly.Grigsby (2005:96f, 246).
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Virgil's hexameters are generally regarded as "the supreme metrical system of Latin literature." Richard F. Thomas, Virgil: Georgics Vol. I, Cambridge University Press (1988), page 28.
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Morris Williams (1809-1874) was a bard known as Nicander. He was ordained as an Anglican clergyman in 1836. He produced his own Metrical Psalms in 1850.
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He is widely known for his ghazals. He also wrote in other forms of poetry including Geet, Anjani Geet, metrical and non-metrical poetry. He, along with a group of noted Gujarati poets, transformed the Gujarati Ghazal and established its individual identity by giving it a modernist sensibility. His poetry collections and anthologies include Achaanak (1970), Atkal (1979), Anjani (1991), Hastprat (1991), and Kyany Pan Gayo Nathi (posthumous, 2003).
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Various Reformers interpreted these texts as imposing strictures on sacred music. The psalms, especially, were felt to be commended to be sung by these texts. A revival of Gregorian chant, or its adaptation to the vernacular, was apparently not considered. Instead, the need was felt to have metrical vernacular versions of the Psalms and other Scripture texts, suitable to sing to metrical tunes and even popular song forms.
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For clarity, scansions that mark only ictus and nonictus will be called "metrical scansions", and those which mark stress or other linguistic characteristics will be called "rhythmic scansions".
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Naor's research concerns metric spaces, their properties, and related algorithms, including improved upper bounds on the Grothendieck inequality, applications of this inequality, and research on metrical task systems.
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John Marckant or Markant (died in or before 1586) was an English cleric, known as one of the contributors to the Sternhold and Hopkins Metrical Psalter of 1562.
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As in poetry, this prosodic cinema style uses each Shot (Syllable) with the adjacent one(s) to form a small rhythmic unit called the Step (Foot), which is placed into a larger metric unit called the Run (Meter/Line), which is repeated to flow successively over time in the larger unit of the Scene (Stanza) to make up the characteristic metrical rhythm in the Film (Poem). So, in Anaphylaxis a Step is a true “rhythmic unit” rather than a mere “rhythmic gesture”. In other words, the Steps are projected as pulses on the underlying Run, creating a structure of temporal regularity, a metrical rhythm. This rhythm/pattern of “Steps on a Run” mimics the metrical rhythm of poetry.
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Archilochian or archilochean is a term used in the metrical analysis of Ancient Greek and Latin poetry. The name is derived from Archilochus, whose poetry first uses the rhythms.
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However, some scholars see the origin of the Bern Riddles in Anglo-Saxon England, where several early medieval collections of metrical riddles originated, such as the Enigmata of Aldhelm.
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Yashwant Trivedi started writing in 1956. He wrote modern poetry. His first poetry collection Kshitijne Vansvan (1971) has songs and non-metrical poetry. It is followed by Pariprashna (1975).
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In poetry, a trimeter (Greek for "three measure") is a metre of three metrical feet per line. Examples: : When here // the spring // we see, : Fresh green // upon // the tree.
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173–185; Edward Gwynn (ed. & trans.), The Metrical Dindshenchas, Dublin Institute for Advanced Studies, 1906, Vol 4, Druimm Criaich Poem 13: Druimm Criach, pp. 43–57; Vernam Hull, (ed.
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The date for Antigone has not been definitively established. However, metrical analysis on the extant fragments, particularly the incidence of resolutions, by Cropp and Fick indicates that the play was likely written in the latter part of Euripides' life, between 420 BCE and 406 BCE. In addition, a scholiast remark indicates that another play of Euripides, Antiope, was produced after 412. However, metrical analysis of the extant fragments of Antiope indicate a much earlier date.
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A molossus () is a metrical foot used in Greek and Latin poetry. It consists of three long syllables. Examples of Latin words constituting molossi are audiri, cantabant, virtutem. In English poetry, syllables are usually categorized as being either stressed or unstressed, rather than long or short, and the unambiguous molossus rarely appears, as it is too easily interpreted as two feet (and thus a metrical fault) or as having at least one destressed syllable.
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Much of the poem Alphart's Tod is written in the same stanza as the Nibelungenlied: it consists of four so-called "Langzeilen." The first three "Langzeilen" consist of three metrical feet, a caesura, and an additional three metrical feet. The last line adds a fourth foot after the caesura. Several of the poems are written using a variant of this stanza, known as the "Hildebrandston" for its use in the Jüngeres Hildebrandslied.
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According to Irish academic Paul Tempan, Djouce is sometimes referred to Dowse in historical sources. Tempan notes that the old Irish word for "dígas" is high or lofty, but that while a "Sliab Digsa" is mentioned in the Metrical Dindshenchas, the second word is interpreted as a woman's name; potentially showing the meaning of "dígas" was unclear even at the time of the Metrical Dindshenchas (12th- century). The OSI Map uses the term Djouce Mountain.
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This idea is expressed through the continuous modulation of timbre in the piece. Anaklasis is also a metrical term used in Greek poetry. Penderecki's biographer, Wolfram Schwinger noted that, "Penderecki has indeed admitted, in his programme note for Donaueschingen 1960 when Anaklasis was first performed, that this metrical definition inspired the rhythmic procedure of the central section, and led to the ideas of rotation and arhythmical progressions as factors governing the rhythms generally."Schwinger, .
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Poetry is often separated into lines on a page, in a process known as lineation. These lines may be based on the number of metrical feet or may emphasize a rhyming pattern at the ends of lines. Lines may serve other functions, particularly where the poem is not written in a formal metrical pattern. Lines can separate, compare or contrast thoughts expressed in different units, or can highlight a change in tone.
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The English Civil War (1642–1653) produced a subgenre of "Cavalier ballads", including "When the King Home in Peace Again", while their parliamentarian opponents were generally happier singing metrical psalms.
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The number of metrical systems in English is not agreed upon. asserts that there is only one metre in English: Accentual-Syllabic. The essay is reprinted in . The four major types.
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Elizabeth C. Stedman Elizabeth Clementine Dodge Stedman (1810–1889) was an American writer. She was the author of Felicita, a Metrical Romance (1855), Poems (1867), and Bianco Capello, A Tragedy (1873).
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At the "high end" of closed forms are the sestina and villanelle. At the "low end" are forms such as the limerick, which follows a metrical pattern of two lines of anapestic trimeter (three anapests per line), followed by two lines of anapestic dimeter (two anapests per line), followed by one line of anapestic trimeter. (The beginning of the metrical foot does not have to coincide with the beginning of the line.) Any poem following this metrical pattern would generally be considered a limerick, however most also follow an AABBA rhyme scheme. Most limericks are humorous, and many are ribald, or outright obscene (possible rhymes that could follow an opening like "There once was a man from Nantucket" are left as an exercise for the reader).
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Pius made him a senator in 1848, two years before his death.Dionigi Strocchi. = National Library of Italy entry Louis I of Bavaria, whose poems were translated by Dionigi Strocchi He wrote his own poems but is better known as a translator, particularly for his metrical translation of Callimachus's hymns in 1805, which Giosuè Carducci adjudged to be finer than the originals. He also produced metrical translations of Virgil's Georgics in 1831 and his Eclogues in 1834.
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Common metre or common measureBlackstone, Bernard., "Practical English Prosody: A Handbook for Students", London: Longmans, 1965. 97-8—abbreviated as C. M. or CM—is a poetic metre consisting of four lines that alternate between iambic tetrameter (four metrical feet per line) and iambic trimeter (three metrical feet per line), with each foot consisting of an unstressed syllable followed by a stressed syllable. The metre is denoted by the syllable count of each line, i.e. 8.6.
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Richard Coer de Lyon survives in 10 manuscripts, of which the most complete is Cambridge, Gonville and Caius MS 175. The poem was printed in 1509 and 1528, both times by Wynkyn de Worde. An extended abstract of Richard appeared in George Ellis's Specimens of Early English Metrical Romances (1805). The Gonville and Caius manuscript was used by Henry Weber for an edition of the poem included in his Metrical Romances of the Thirteenth, Fourteenth, and Fifteenth Centuries (1810).
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The Free Church Continuing continues to hold to the exclusive use of metrical Psalms sung without instrumental accompaniment in worship, a position which the Free Church of Scotland has ceased to hold.
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In 2002 an edition of the Scots Gaelic New Testament was produced as a diglot with the English New King James Version (NKJV) along with the 1826 Metrical Psalms, with updated orthography.
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On metrical grounds, it has been placed closest to the Katha Upanishad. A date of c. 500 BCE has been proposed, but is unproven, and is not agreed upon by all scholars.
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Rhymed psalters are translations of the Psalms from Hebrew or Latin into poetry in some other language. Rhymed psalters include metrical psalters designed for singing, but are not limited to that use.
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78, credits Eugenius as the first to connect the "nature prologue", which was later to be so important to the courtly love lyric, to a "love interest". Eugenius also produced metrical calendars.
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Lines composed of the same number of syllables with division in different place are considered to be completely different metrical patterns. For example, Polish alexandrine (13) is almost always divided 7+6.
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Trochaic octameter is a poetic meter that has eight trochaic metrical feet per line. Each foot has one stressed syllable followed by an unstressed syllable. Trochaic octameter is a rarely used meter.
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"Metrical Romances, 1200–1500.: § 9. Traditional Plots.", The Cambridge History of English and American Literature in 18 Volumes The figure of the Spendthrift Knight probably influenced the like figure in Sir Cleges.
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Kahnemuyipour, Arsalan. 2009. The syntax of sentential stress. Oxford: Oxford University Press. Oltra- Massuet and Arregi (2005) argue that the metrical structure, as well, makes reference to hierarchical syntactic structure in Spanish.
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A tercet is composed of three lines of poetry, forming a stanza or a complete poem.William Baer, Writing metrical poetry: contemporary lessons for mastering traditional forms, 2006, "Chapet 9: The Tercet" pp 128ff.
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Epitaphs; 8. The epigrams of Gregory of Nazianzus; 9. Rhetorical and illustrative epigrams; 10. Ethical pieces; 11. Humorous and convivial; 12. Strato's Musa Puerilis; 13. Metrical curiosities; 14. Puzzles, enigmas, oracles; 15. Miscellanies.
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Title page of the copy of the Bay Psalm Book held by the Beinecke Rare Book and Manuscript Library The Bay Psalm Book is a metrical Psalter first printed in 1640 in Cambridge, Massachusetts. It was the first book printed in British North America. The Psalms in it are metrical translations into English. The translations are not particularly polished, and none has remained in use, although some of the tunes to which they were sung have survived (for instance, "Old 100th").
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The early Sangam poetry diligently follows two meters, while the later Sangam poetry is a bit more diverse. The two meters found in the early poetry are akaval and vanci. The fundamental metrical unit in these is the acai (metreme), itself of two types – ner and nirai. The ner is the stressed/long syllable in European prosody tradition, while the nirai is the unstressed/short syllable combination (pyrrhic (dibrach) and iambic) metrical feet, with similar equivalents in the Sanskrit prosody tradition.
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Tonal languages include Chinese, Vietnamese and most Subsaharan languages. Metrical rhythm generally involves precise arrangements of stresses or syllables into repeated patterns called feet within a line. In Modern English verse the pattern of stresses primarily differentiate feet, so rhythm based on meter in Modern English is most often founded on the pattern of stressed and unstressed syllables (alone or elided). In the classical languages, on the other hand, while the metrical units are similar, vowel length rather than stresses define the meter.
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One of the most common classical metres is deibhidhe,Pron. / 'devi: / in colloquial Irish and / 'devijə / for metrical purposes. written in quatrain form with seven syllables in each line. The metrical structure is as follows: • The last word of lines 1 and 3 must rhyme with the unstressed final syllable of the last word in lines 2 and 4 (a pattern called rinn and airdrinn, in which a stressed word in one line rhymes with an unstressed word in the line below).
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He identified with, among others, Sappho and Alcaeus of Mytilene, composing Sapphic and Alcaic stanzas, and with Archilochus, composing poetic invectives in the Iambus tradition (in which he adopted the metrical form of the epode or "iambic distich"). Horace also wrote verses in dactylic hexameter, employing a conversational and epistolary style. Virgil, his contemporary, composed dactylic hexameters on light and serious themes and his verses are generally regarded as "the supreme metrical system of Latin literature".Richard F. Thomas, Virgil: Georgics Vol.
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According to John Bowden, "the singing of metrical psalms, many of them set to old Celtic Christianity Scottish traditional and folk tunes" is a feature that remains a "distinctive part of Scottish Presbyterian worship".
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The slow middle section, unlike its counterpart in the first movement, is characterised by ostinato patterns and an eerie mood. Its metrical regularity contrasts sharply with the erratic rhythms of the outer, A sections .
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Some Sanskritic metrical forms, such as the vrattas (4 line verse) and kandas (chapter) were also used for composition. The composed lines lend themselves to tala (beats) and are hence suitable for dance-dramas.
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The "Oraisons" of the French Psalter were translated by and published in the Scottish Metrical Psalter in 1595. Over time the use of written prayers fell out of favor in the Church of Scotland.
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Through Ottoman Turkish, it got into Albanian and the bards of Muslim tradition in the Albanian literature took their name after this metrical unit, the poets known as bejtexhi, meaning literally meaning "couplet makers".
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A list is given by Mr. Frere in the Jour. Theol. Stud., II, 583. Some metrical compositions, bearing a resemblance to the Carmelite "O Flos Carmeli", figure among the offertories (see Frere, loc. Cit., 585.).
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He published Das Hohe Lied, translated in verse, and with notes according to the Midrash (Berlin, 1878); and Megillat Eka, with a metrical translation and a Hebrew commentary, under the title Zikron Yehudah (Schrimm, 1881).
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A Recantation of an Ill Led Life is a metrical autobiography and a poem in which Clavell apologizes about all his misdealings."Clavell, John". The Oxford Companion to English Literature. Ed. Margaret Drabble. 6th ed.
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Following the Chinese model, he divided the six tones of Vietnamese into "flat" (平) and "sharp" (仄), and used this distinction as the metrical foundation of his poems. The poets after him followed this practice.
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The objective of an online algorithm for task systems is to create a schedule that minimizes the overall cost incurred due to processing the tasks with respect to the states and due to the cost to change states. If the cost function to change states is a metric, the task system is a metrical task system (MTS). This is the most common type of task systems. Metrical task systems generalize online problems such as paging, list accessing, and the k-server problem (in finite spaces).
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Many were settings of metrical psalms, in which the solo voice sings a melody in the manner of the numerous metrical psalm collections of the day (e.g. Sternhold and Hopkins Psalter, 1562) with each line prefigured by imitation in the accompanying instruments. Others are dramatic elegies, intended to be performed in the boy-plays which were popular in Tudor London. A popular source for song settings was Richard Edwards' The paradyse of dainty devices (1576) of which seven settings in consort song form survive.
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William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, pages 226-232. Baer continues, "While living Italy, Pound not only supported the Fascist regime of Benito Mussolini, but he actually broadcast over Radio Rome a series of rather incomprehensible attacks against the United States, encouraging the American GIs to throw down their weapons. Thus, the most influential poet in the world had become a kind of Fascist Tokyo Rose."William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 232.
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According to David Nelson – an Ethnomusicology scholar specializing in Carnatic music, a tala in Indian music covers "the whole subject of musical meter". Indian music is composed and performed in a metrical framework, a structure of beats that is a tala. The tala forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music. However, talas have certain qualitative features that classical European musical meters do not.
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Hymn meter, in Western liturgy and literature, is the general metrical scheme in which hymns are recited or sung. Three metrical schemes are generally recognized, all (usually) in four-line stanzas rhyming a-b-c-b (or a-b-a-b). English minister and hymn writer Isaac Watts, who wrote hundreds of hymns and was instrumental in the widespread use of hymns in public worship in England, is credited with popularizing and formalizing these meters, which were based on English folk poems, particularly ballads.
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Fragments of a 9th-century metrical Anglo-Saxon Physiologus are extant (ed. Thorpe in Codex Exoniensis pp. 335–67, Grein in Bibliothek der angelsächsischen Poesie I, 223-8). About the middle of the 13th century there appeared a Middle English metrical Bestiary, an adaptation of the Latin Physiologus Theobaldi; this has been edited by Wright and Halliwell in Reliquiæ antiquæ (I, 208-27), also by Morris in An Old English Miscellany (1-25). There is an Icelandic Physiologus preserved in two fragmentary redactions from around 1200.
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The dactyl "out of the..." becomes a pulse that rides through the entire poem, often generating the beginning of each new line, even though the poem as a whole, as is typical for Whitman, is extremely varied and "free" in its use of metrical feet. Dactyls are the metrical foot of Greek and Latin elegiac poetry, which followed a line of dactylic hexameter with dactylic pentameter. In Joyce's Ulysses opening chapter Buck Mulligan quips that his own name is a dactyl. Mull-i-gan.
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Richard Johnson's 1621 narrative ends here, but he promised his readers a sequel that has never been found, if published at all. In 1630, a metrical version in three parts was published that continues Tom's adventures.
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A translation into English verse with notes, and the Latin text, by Christopher Wase, was published at London in 1654, and a translation into German, also metrical, by S. E. G. Perlet, at Leipzig, in 1826.
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By far the most popular and reprinted metrical Psalter was Thomas Sternhold's Whole book of Psalms. Although it was not legally required, it was traditional for virtually all Protestant churches and was also used at home.
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Ottawa's National Gallery of Canada has some of her lithographs as well, belonging to the 1840 and 1853 series. Also a writer, Miller published a volume of poetry, Metrical Musings, with her sister Catherine in 1856.
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Thula (; pl. thulas, from pl. þulur), is the name of an ancient poetic genre in the Germanic literatures. Thulas are metrical name-lists or listsOn the anthropological significance of making lists see now Eco, Umberto. 2009.
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In 1947 he received his habilitation from Heidelberg University with his "Observations on Ancient Metrical Quantity" (Bemerkungen zur antiken Quantitätsmetrik), a work on ancient Greek rhythms. Georgiades was succeeded in his research by his colleague Theodor Göllner.
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Two episodes from the Tochmarc Étaíne are also recounted in the metrical Dindsenchas. The Dindsenchas poem on Rath Esa recounts how Eochaid Airenn won back Étaín. The poem on Ráth Crúachan refers to Midir's abduction of Étaín.
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"Thy Holy Wings" (originally "Bred dina vida vingar" literally "Spread your wide wings") is a Swedish metrical psalm setting with lyrics by Lina Sandell in 1860 and reworked in 1865 to a Danish or Swedish folk melody.
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Odontological analysis revealed that the Central European populations from the Roman period and the Early Middle Ages were indistinguishable in terms of non-metrical dental traits, though this does not exclude the possibility of genetically different origins.
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S. Noerwidi, "Using Dental Metrical Analysis to Determine the Terminal Pleistocene and Holocene Population History of Java", in: Philip J. Piper, Hirofumi Matsumura, David Bulbeck (eds.), New Perspectives in Southeast Asian and Pacific Prehistory (2017), p. 92.
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Roychowdhury writes from life in pithy language, in both metrical and non-metrical verse. In his poems, he often explores the highs and lows of life, the aftermath of partition of Bengal, the struggle of refugee-life, love for native language and the suffering of his fellow people. His recent book of verse, Jashor Roder Gaachh (Trees Either Side of Jessore Road), laments the felling of trees, pollution, and destruction due to selfishness and greed. He uses 'the speech of ordinary men' but his metaphors casts a haunting effect on the readers.
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The Souterliedekens (literal: Psalter-songs) is a Dutch metrical psalter, published in 1540 in Antwerp, and which remained very popular throughout the century. The metrical rhyming psalms were, probably, arranged by a Utrecht nobleman: Willem van Zuylen van Nijevelt (d. 1543). For the melodies he used folksongs from the Low Countries (though some have German or French origin). This publication has great value, because the publisher (Symon Cock) not only added the phrase 'sung to the tune of...' but also provided the actual music (melody) with the texts.
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Schelkunoff was born in Samara, Russia in 1897, attended the University of Moscow before being drafted in 1917. He crossed Siberia into Manchuria and then Japan before settling into Seattle in 1921. There he received bachelor's and master's degrees in mathematics from the State College of Washington, now Washington State University, and in 1928 received his Ph.D. from Columbia University for his dissertation On Certain Properties of the Metrical and Generalized Metrical Groups in Linear Spaces of n Dimension. After receiving his degree, Schelkunoff joined Western Electric's research wing, which became Bell Laboratories.
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The Lex convivalis, also known as the Decretum parasiticum, is a humorous Latin text from late antiquity. Only a fragment of this work survives, transmitted at the end of the Querolus. Some editors include it in the text of that work, either at the end, as transmitted, or transposed to an earlier point in the last scene. The difference between the metrical character of the two works is against this: the Lex convivalis has metrical clausulae typical of late Latin prose rhythm, while the Querolus has endings that resemble Plautine verse.
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The Tamil conception of metrical structure includes elements that appear in no other major prosodic system. This discussion is presented in terms of syllables, feet, and lines (although syllables are not explicitly present in Tamil prosodic theory). Similarly to classical Latin, Greek, and Sanskrit prosody, a syllable is long if its vowel is (1) long (including diphthongs) or (2) followed by two or more consonants. Generally other syllables are short, though some syllables are considered "overshort" and ignored in the metrical scheme, while "overlong" syllables are variously dealt with.
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Tate and Brady refers to the collaboration of the poets Nahum Tate and Nicholas Brady, which produced one famous work, New Version of the Psalms of David (1696). This work was a metrical version of the Psalms, and largely ousted the old version of T. Sternhold and J. Hopkins' Psalter. Still regularly sung today is their version of Psalm 34, "Through all the changing scenes of life" (which was improved in the second edition of 1698). As well as the 150 Psalms they also wrote metrical versions of the Lord's Prayer and the Apostles' Creed.
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The pipe symbolsthe vertical bars and used above are phonetic, and so will often disagree with English punctuation, which only partially correlates with prosody. However, the pipes may also be used for metrical breaksa single pipe being used to mark metrical feet, and a double pipe to mark both continuing and final prosody, as their alternate IPA descriptions "foot group" and "intonation group" suggest. In such usage, each foot group would include one and only one heavy syllable. In English, this would mean one and only one stressed syllable: :Jack, :preparing the way, :went on.
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The dividing of verse into long and short syllables and analysis of the metrical family or pattern is called 'scanning' or 'scansion.' The names of the metrical families come from the names of the cola or feet in use, such as iambic, trochaic, dactylic and anapaestic meters. Sometimes meter is named after the subject matter (as in epic or heroic meter), sometimes after the musical instrument that accompanied the poetry (such as lyric meter, accompanied by the lyre), and sometimes according to the verse form (such as Sapphic, Alcaic and elegiac meter).
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Amner also wrote a pavan and galliard for viols and a single keyboard piece that stands out historically as the only recognized group of variations on a metrical psalm tune (O Lord in thee is all my trust).
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He printed privately in 1851 Legal lyrics and metrical illustrations of the Scotch form of process, and later some of his work was collected posthumously in Lyrics, Legal and Miscellaneous, which was published with short biography in 1874.
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Abraham (Rabel) Aberle (28 July 1811 – 9 March 1841) was a Moravian Hebrew poet, translator, and writer from Austerlitz. All his literary productions—poems, metrical translations, exegetical notes, and riddles—were published in the periodical Bikkure ha-'Ittim.
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Metrical Dindshenchas, volume 3, p. 203. When Fingen died, the story says, Mór Muman married Cathal mac Finguine. Unfortunately, the collector of this tale mistook this Cathal for his grandfather, Cathal mac Áedo.Byrne, Irish Kings, pp.204-207.
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In the Anglican Communion, Introit is the name given to the hymn or metrical psalm which is sung at the start of a service, a tradition which dates back to the reign of Queen Elizabeth I of England.
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He wrote in Syriac biblical commentaries, polemical treatises against heresy as well as dogmatic and legal writings. He also wrote texts in metrical form including an author catalog, which has for the Syrian literary history an important role.
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Ojibwe syllables are organized into metrical feet. A Foot consists of a minimum of one syllable and a maximum of two syllables. Syllables are either Weak or Strong. Each foot contains no more one than one Strong syllable.
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During a 14-year stay in Europe she was a friend of Robert Browning and Elizabeth Barrett Browning. She published Felicita, a Metrical Romance (1855), Poems (1867), and Bianco Capello, A Tragedy, written during her time abroad (1873).
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Prabandha can be described as a story in verse form with a tight metrical structure. Srinatha's Srungara Naishadhamu is a well-known example of the form. He is also credited with hundreds of extempore poems called Chatuvulu in Telugu.
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173–185; Edward Gwynn (ed. & trans.), The Metrical Dindshenchas, Dublin Institute for Advanced Studies, 1906, Vol 4, Druimm Criaich Poem 13: Druimm Criach, pp. 43–57; Vernam Hull, (ed. & trans.), "Aided Meidbe: The Violent Death of Medb", Speculum v.
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One of the inscriptions, for example, is a metrical hymn about Durga. The relief work includes a prominent Garuda, the vahana of Vishnu. Inside the temple is a Shiva linga. The temple was in ruins in the 19th century.
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Longer forms of literature, such as the novel, have no place in the Futurist aesthetic of speed and compression. Futurist literature primarily focuses on seven aspects: intuition, analogy, irony, abolition of syntax, metrical reform, onomatopoeia, and essential/synthetic lyricism.
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Harvey Lipkin (1983) Metrical Geometry from Georgia Tech University Other prominent contributors include Julius Plücker, W. K. Clifford, F. M. Dimentberg, Kenneth H. Hunt, J. R. Phillips.Clifford, William Kingdon (1873), "Preliminary Sketch of Biquaternions", Paper XX, Mathematical Papers, p. 381.
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In 1636, George Sandys published a volume containing a metrical version of other parts of the Bible together with "a Paraphrase upon the Psalmes of David, set to new Tunes for Private Devotion, and a Thorow Base for Voice and Instruments".
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He wrote criticism also which are published in Cross Ane Kavi (1987), Shabdagoshthi, Shabdani Arpar (2008), Shabdane Ajvale (2007) and Shabdasahvas (2008). Stotrasamhita (1980) is his metrical translation of the Biblical alleluias which are sung is several churches of Gujarat.
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An antibacchius is a rare metrical foot used in formal poetry. In accentual- syllabic verse an antibacchius consists of two accented syllables followed by one unaccented syllable. Its opposite is a bacchius. Example: :Blind luck is :loved more than :hard thinking.
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This interpretive tendency, and the inclusion of yet more non-Aesopic material, was to grow as versions in the various European vernaculars began to appear in the following centuries. Aesopus constructus etc., 1495 edition with metrical version of Fabulae Lib.
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One traditional prayerful preparation for reception of the Eucharist is to read three canons and an akathist the evening prior. When used privately there is generally no attempt at an elaborated musical or metrical performance, and may be read silently.
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In metrical texts, a double daṇḍa is used to delimit verses, and a single daṇḍa to delimit a pada, line, or semi-verse. In prose, the double daṇḍa is used to mark the end of a paragraph, a story, or section.
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' (, ) is a meter and a metrical unit, found in both Vedic and Classical Sanskrit poetry, but with significant differences. By origin, an anuṣṭubh stanza is a quatrain of four lines. Each line, called a pāda (lit. "foot"), has eight syllables.
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'"William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 234. In a reference to Robert Frost's famous comparison of free verse to tennis played without a net, Baer concluded with the words, "Tennis anyone?"William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 235. In a 2007 essay titled Why No One Wants to be a New Formalist, A.E. Stallings wrote, "People debate over who gets to be in the church of the Avant Garde — who gets to be among the Elect, who gets to be in the Canon Outside the Canon.
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The fourteener is a metrical line of 14 syllables (usually seven iambic feet). Fourteeners typically occur in couplets. Fourteener couplets broken into quatrains (four-line stanzas) are equivalent to quatrains in common metre or ballad metre: instead of alternating lines of tetrameter and trimeter, a fourteener joins the tetrameter and trimeter lines to give seven feet per line. The fourteener gives the poet greater flexibility than common metre, in that its long lines invite the use of variably placed caesuras and spondees to achieve metrical variety, in place of a fixed pattern of iambs and line breaks.
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In addition, whereas the poet of Ayutthaya period did not care to adhere to strict metrical regulation of the indianised prosody, the compositions of Rattanakosin poets are so much more faithful to the metrical requirements. As a result, the poetry became generally more refined but also was rather difficult for the common man to appreciate. The literary circle of the early Rattanakosin era still only accepted poets who had a thorough classical education, with deep learning in classical languages. It was in this period that a new poetical hero, Sunthorn Phu () (1786-1855) emerged to defy the traditional taste of the aristocrat.
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Old English poetry used a metrical pattern involving varied numbers of syllables but a fixed number of strong stresses in each line. Marianne Moore The chief device of ancient Hebrew Biblical poetry, including many of the psalms, was parallelism, a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three. Parallelism lent itself to antiphonal or call-and-response performance, which could also be reinforced by intonation. Thus, Biblical poetry relies much less on metrical feet to create rhythm, but instead creates rhythm based on much larger sound units of lines, phrases and sentences.
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The most frequently encountered metre of English verse is the iambic pentameter, in which the metrical norm is five iambic feet per line, though metrical substitution is common and rhythmic variations practically inexhaustible. John Milton's Paradise Lost, most sonnets, and much else besides in English are written in iambic pentameter. Lines of unrhymed iambic pentameter are commonly known as blank verse. Blank verse in the English language is most famously represented in the plays of William Shakespeare and the great works of Milton, though Tennyson (Ulysses, The Princess) and Wordsworth (The Prelude) also make notable use of it.
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It is possible to generalise this selection principle even beyond the domain of pitch. The diatonic idea has been applied in analysis of some traditional African rhythms, for example. Some selection or other is made from an underlying superset of metrical beats, to produce a "diatonic" rhythmic "scale" embedded in an underlying metrical "matrix". Some of these selections are diatonic in a way similar to the traditional diatonic selections of pitch classes (that is, a selection of seven beats from a matrix of twelve beats – perhaps even in groupings that match the tone-and-semitone groupings of diatonic scales).
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In Elizabethan England, music printing was regulated by two royal patents issued by the queen: one for metrical psalters (psalms set to music) and one for all other types of music and music paper. The patent-holders thus held a monopoly—only they or their assignees could legally print music.Smith 77 After printer John Day's death in 1584, the patent for metrical psalters transferred to his son Richard Day and was administered by his assignees, who were members of the Stationers' Company. The more general one was awarded to composers Thomas Tallis and William Byrd in January 1575.
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Bridges shows that: #there are no lines with fewer than ten syllables in Paradise Lost #with a suitable definition of elision, there are no mid-line extra-metrical syllables #the stresses may fall at any point in the line, #although most lines have the standard five stresses, there are examples of lines with only three and four stresses. Thus according to Bridges' analysis Milton was writing a form of syllabic verse. At the time this was a controversial thesis. George Saintsbury disagreed with Bridges, and stated that Milton had simply been using standard extra-metrical liberties, but Bridges was able to answer this objection by showing that every single instance in the poem of such a variation from the norm could be explained by his natural definition of elision; this would be extremely unlikely to be the case if the poet had simply been allowing himself extra-metrical variations as described by Saintsbury.
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Thus in general, word breaks occur in the middle of metrical feet, while ictus and accent coincide more often near the end of the line. The first line of Homer’s Iliad—"Sing, goddess, the anger of Peleus’ son Achilles"—provides an example: : Dividing the line into metrical units: : dactyl, dactyl, spondee, dactyl, dactyl, spondee. Note how the word endings do not coincide with the end of a metrical foot; for the early part of the line this forces the accent of each word to lie in the middle of a foot, playing against the ictus. This line also includes a masculine caesura after , a break that separates the line into two parts. Homer employs a feminine caesura more commonly than later writers: an example occurs in Iliad I.5 "...and every bird; thus the plan of Zeus came to fulfillment": : : : Homer’s hexameters contain a higher proportion of dactyls than later hexameter poetry.
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The work consists of 27 sections. Tempo and metrical information and parodied cantata sources come from Christoph Wolff's 1997 critical urtext edition, and from George Stauffer's Bach: The Mass in B Minor.Stauffer, Bach: The Mass in B Minor, p. 294. except where noted.
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A version by Bone without a refrain is commonly connected with a tune from the Andernacher Gesangbuch (Cologne, 1608), but it can also be used with the melody of the medieval Latin hymn Conditor alme siderum, further demonstrating the flexibility of metrical hymnody.
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Divine and Moral Speculations (1654)Divine and Moral Speculations in Metrical Numbers upon Various Subjects. By Doctor R. Aylet, one of the Masters of the High Court of Chancery. London . . . 1654. was dedicated to Henry Pierrepont, 1st Marquess of Dorchester and his wife.
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In English poetry substitution, also known as inversion, is the use of an alien metric foot in a line of otherwise regular metrical pattern. For instance in an iambic line of "da DUM", a trochaic substitution would introduce a foot of "DUM da".
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Therefore, psalms are sung in public worship solely and without instrumental accompaniment, and the Scottish Metrical Psalter of 1650 is used solely in the public singing of psalms. The Authorized King James Version of the Bible is the stated text for public reading.
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San Pietro in Bovara is a medieval abbey in Bovara, Umbria, central Italy. The (12th century) church has a façade including prominent corbels in the shape of cow's heads and an interesting metrical inscription; a 16th-century cloister is attached to the church.
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The Bṛhaddevatā (), is a metrical Sanskrit work, traditionally ascribed to Shaunaka. It is an enlarged catalogue of the Rigvedic deities worshipped in the individual suktas (hymns) of the Rigveda. It also contains the myths and legends related to the composition of these suktas.
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Slipping away to a hurling match where she expects to see Oengus, she ends up being carried off by Midir.The Metrical Dindsenchas "Cnogba" Poem 4 Englec winds up Midir's lover. Elcmar kills Midir afterwards. In turn, Oengus kills Elcmar for killing Midir.
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In 1985, Turner and Pöppel published their findings in the award-winning essay The Neural Lyre: Poetic Meter, the Brain, and Time in the magazine Poetry. William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, Writer's Digest Books. Page 238.
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O ty, kapłanie Delijskiego świętny, Przeszłego wiadom, przyszłości pojętny Wieńcz twe skronie, wieszczą bierz laskę, Śnieżny ubiór i złotą przepaskę. Trembecki's verse is syllabic (11/11/9/10). There is no accentual metrical pattern. German has also used alcaics with some success.
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The Morrígan is described as the envious wife of The Dagda and a shape-shifting goddess,The Metrical Dindsenchas "Odras" Poem 49 while Badb and Nemain are said to be the wives of Neit. She is associated with the banshee of later folklore.
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"Coventry Patmore's 'Unknown Eros'", The Catholic World, Vol. CV, April/September. which contains his finest poetic work,See Vesica piscis. and in the following year Amelia, his own favourite among his poems, together with an interesting essay on English Metrical Law, appeared.
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Metrical poetry in Telugu is called 'Chandassu' or 'Chandas'. ya-maa-taa-raa-ja-bhaa-na-sa-la-gam is called the chandassu chakram. Utpalamala, Champakamala, Mattebha vikreeditham, Sardoola Vikreeditham, Kanda, Aata veladi, Theta geethi, Sragdhara, Bhujangaprayata, etc. are some metrics used in Telugu poetry.
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He died of cancer in 2007, aged 55. A collection he edited, Myth in Early Northwest Europe, was published posthumously; his introduction was called "lively and, in places, poetic", and his translations of some of the Anglo-Saxon metrical charms were praised as "fluent, vigorous".
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Tilton, page 214. The tune has been lost > to history; the unusual metrical pattern is compatible with STILLE NACHT, > the tune for "Silent Night." Lamon's story is told in the film Saving Lincoln, which details the threats against Lincoln from Lamon's point of view.
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Vans Thaki Vahaveli (1982) was his first poetry collection which has 51 songs, 17 ghazals and 9 metrical poems written between 1968 and 1975. Agiyarami Disha (2000) has 68 songs and 40 ghazals. Chhalna Vagar is his another poetry collection. Atikraman (2012) is his novel.
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This syllable is called the Designated Terminal Element. In the example tree (1), the syllable '-ci-' is the Designated Terminal Element. (1)Image:Metrical tree broad focus.JPG Metrical trees allow us to change the stress pattern for a phrase by switching S and W sister nodes.
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The translation aims to be central between a literal translation and an idiomatic translation, a philosophy the ISV translation team call "literal-idiomatic" (p. xliii of the ISV Introduction). A distinctive feature of the ISV is that biblical poetry is translated into English metrical rhyme.
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Petrarch wrote his nine book epic poem in hexameters, the standard metre for Epic in Classical Latin and consisting of six metrical feet.Kirkham, p. 113, Petrarch probably intended his incomplete poem to be twelve books total based on Virgil's Aeneid, (also in hexameters).Everson, p.
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Best described as neo-tonal, Otterlei does not shun recognizable melodies. He employs modern as well as traditional harmonies, integrating consonance and dissonance in a fluid and logical way. His rhythmic structures can be complex, but they also remain dependent of traditional metrical thinking.
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Line 7 may also be read as exhibiting another common metrical variation, the initial reversal: / × × / × / × / × / (×) Give not a windy night a rainy morrow, (90.7) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. Initial reversals also occur in lines 3 and 6, and potentially 2.
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Routley states that metrical psalmody was actually the first English Protestant hymnody. England's Reformation began when King Henry VIII separated the English church from the Catholic Church in Rome in 1532. King Henry's heir was King Edward VI, who ascended to the throne in 1547.
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The painting Sir Isumbras at the Ford by the nineteenth century Victorian painter John Everett Millais. painted in 1857. Sir Isumbras is a medieval metrical romance written in Middle English and found in no fewer than nine manuscripts dating to the fifteenth century.Hudson, Harriet. 1996.
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Johnston pp. 155–159 Ellis provided Joseph Ritson with a verse translation of the "Lament for the Death of Simon of Montfort", though this did not appear until after both their deaths, in Ritson's Ancient Songs and Ballads (1829); he also pulled strings to ensure Ritson's Ancient Engleish Metrical Romanceës (1802) was published. He had better success in his Specimens of Early English Metrical Romances (1805), which presented a selection of Middle English romances, not in full editions but in the form of abstracts with numerous extracts. In this way he produced a work calculated to appeal to the reading public at large rather than to antiquarian specialists.
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Croagh Patrick comes from the Irish Cruach Phádraig meaning "(Saint) Patrick's stack". It is known locally as "the Reek", a Hiberno- English word for a "rick" or "stack".New Shorter Oxford English Dictionary, CD edition 1997, Oxford University Press, Oxford 1973, 1993, 1996. In pagan times it was known as Cruachán Aigle or Cruach Aigle, being mentioned by that name in sources such as Cath Maige Tuired,CELT: The Second Battle of Moytura (translation) - Irish Buile Shuibhne,CELT: Buile Shuibhne (translation) - Irish (Cruachán Oighle) The Metrical Dindshenchas,CELT: The Metrical Dindshenchas, 88 Cruachán Aigle (translation) - Irish and the Annals of Ulster entry for the year 1113.
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Linguistically, the most significant exceptions to this pattern are in Latvian, Lithuanian, and Serbian verse which, instead of stress, retain the older quantitative markers; that is, they use long and short syllables at the ends of hemistichs, rather than stressed and unstressed. Because all of these variables — line length, number and length of hemistichs, obligatory stress positions, etc. — differ in detail among various verse traditions; and because the individual languages supply words with different rhythmic characteristics; this basic metrical template is realized with great variety by the languages that use it, and a sequence of syllables that is metrical in one verse tradition will typically not fit in another.
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A mid-line reversal occurs in line 5. The metrical interpretations of the beginnings of lines 5 and 9 are especially dependent upon the rhetorical emphasis chosen. In line 5, any of the first three syllables could potentially take the first ictus. In line 9 any of four readings is rhetorically possible: / × × / [initial reversal] × / / × [2nd position reversal; rare] / × / × [double reversal; generally considered unmetrical] × / × / × / × / × / [regular] Then, soul, live thou upon thy servant's loss, (146.) The relative frequency of initial reversals and regular lines, and a characteristically Shakespearean use of metrical expectations to emphasize pronouns, suggest that readings with only an initial reversal or a regular meter may be the most appropriate.
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The lengths of the different versions of the poem vary greatly: the shortest is 270, the longest 400 lines; different manuscript versions also differ in wording. The Lambeth version is considered the oldest. In fact, there is so much "metrical, lexical and scribal variation" that it seems there is no "correct" version: "each copy represents a reshaping within an established rhythmical and metrical structure." Though a seventeenth-century identification between the Poema and The Proverbs of Alfred by Langbaine was proven erroneous (Langbaine was led astray because he had an expectation of finding the Alfredian proverbs in the manuscript known as Bodleian Library Digby 4).
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Anglican chant is a method of singing prose versions of the Psalms. In the early 17th century, when the King James Bible was introduced, the metrical arrangements by Thomas Sternhold and John Hopkins were also popular and were provided with printed tunes. This version and the New Version of the Psalms of David by Tate and Brady produced in the late seventeenth century (see article on Metrical psalter) remained the normal congregational way of singing psalms in the Church of England until well into the nineteenth century. In Great Britain, the 16th-century Coverdale psalter still lies at the heart of daily worship in Cathedrals and many parish churches.
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Griboyedov's dialogue is a continuous tour de force. It always attempts and achieves the impossible: the squeezing of everyday conversation into a rebellious metrical form. Griboyedov seemed to multiply his difficulties on purpose. He was, for instance, alone of his time to use unexpected, sonorous, punning rhymes.
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He had several wives, including Buí (AKA Buach or Bua "Victory") and Nás, daughters of Ruadri Ruad, king of Britain. Buí lived and was buried at Knowth (Cnogba). The Metrical Dindshenchas, Part 3. Poem 4: Nás was buried at Naas, County Kildare, which is named after her.
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Lugh had a son, Ibic "of the horses", by Nás. The Metrical Dindshenchas, Part 3. Poem 5: Nás It is said that Nás dies with the noise of combat, therefore it is difficult to know where she dies. Lugh's daughter or sister was Ebliu, who married Fintan.
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The wind vane has been the target of vandalism and sports bullet holes from an air rifle. "Crimond" is also the name of a hymn tune by Jessie Seymour Irvine, famous as the customary tune for "The Lord's my Shepherd", a metrical version of Psalm 23.
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228Rice (1921), p. 89 Chamaiah, a court poet, wrote an account of his patron, King Dodda Devaraja Wodeyar (r. 1659-1673) in Devarajendra Sangatya (late 17th century), and Channarya wrote a metrical history of the same king in Devaraja Vijaya (late 17th century).Rice E.P. (1921), p.
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Timothy Duguid, Metrical Psalmody in Print and Practice: English 'Singing Psalms' and Scottish 'Psalm Buiks', 1547-1640 (Ashgate Press, 2014). Miller Patrick, Five Centuries of Scottish Psalmody (Oxford University Press, 1949). Rowland S. Ward, The Psalms in Christian Worship (Presbyterian Church of Eastern Australia, Melbourne, 1992).
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The ballad's form is uncomplicated in structure. It is broken up into six stanzas, the first two being 12 lines, followed by two 6 line stanzas, and concluding with two 12 line stanzas. It utilizes rhyming couplets with alternating iambic pentameter and iambic tetrameter metrical lines.
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His first work Aravata was published in Sanskriti magazine. Swagat (1969) was his first poetry collection which included sonnets, metrical poetry and geet. His other poetry collections are Soorajno Hath (1983), Alakhna Asawar (1994) and Avajna X-Ray (2000). He has contributed in Gujarati children's literature.
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Laura A. Loomis Medieval Romance in England (New York: Burt Franklin, 1969) pp. 263, 266. The precise date of the poem is unknown, estimates varying from 1440 to 1520,William Edward Mead (ed.) The Squyr of Lowe Degre: A Middle English Metrical Romance (Boston: Ginn, 1904) p.
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Imam-ud-Din Shahbaz (or ID Shahbaz) was a Punjabi evangelist and a poet (in present-day Pakistan). His notable work is the first metrical translation of the Psalms in Punjabi known as Punjabi Zabur. He chose Shahbaz, meaning the King of the Falcons, as his takhallus.
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The acute and grave accents are occasionally used in poetry and lyrics: the acute to indicate stress overtly where it might be ambiguous (rébel vs. rebél) or nonstandard for metrical reasons (caléndar); the grave to indicate that an ordinarily silent or elided syllable is pronounced (warnèd, parlìament).
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Sukhmani Sahib is divided into 24 Ashtpadi (Section). The Ashtpada is the Sanskrit word for a verse that has eight (Asht) metrical feet (pādi). Before the Ashtpadi begins there is a Salok of two lines and then each Ashtpadi contains eight padas of 10 hymns per pada.
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The poem was written by Cynewulf some time between 750 and the tenth century. It is written in a West Saxon dialect, but certain Anglianisms and metrical evidence concerning false rhymes suggest it was written in an Anglian rather than Saxon dialect. It is 1,321 lines long.
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The whole exchange revolves around Marcabru's claim that he will accept bread from a fool so long as it lasts. On the other hand, both of Marcabru's pieces, which share Audric's metrical form, may be responses to Audric. Audric introduced the nickname Pan-Perdut (Breadless) for Marcabru.
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Whearin the Hebru, Challdian, Arabian, Phenician, Syrian, Persian, Greek and Latin names … in the holly Byble … ar set, and turned into oour English toong (1575).; . In 1583 Patten produced a metrical translation of Psalm 72, Deus Judicium,; . and in 1598 a similar translation of Psalm 21, Domine in Virtute.
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Though these poems did not employ any regular metre or rhyme scheme, they are known to have originated from the earlier tripadi metrical form.Shiva Prakash (1997), p. 169 The Veerashaivas, who wrote this poetry, had risen to influential positions by the Vijayanagara period (14th century).Shiva Prakash (1997), p.
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The Metrical Dindshenchas includes a passage which mentions "The three active Red Wolves of the Martine quenched the sturdy strength of the famous man: they took his head from him, whatever came of it." This may be a reference to Luath, Indell and Eoghan in Acallamh na Senórach .
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For example,Mac Eoin (ed. and trans. [commentary in Modern Irish]): Dán ar Chogadh na Traoi The most influential was Réidig dam, a Dé, do nim, a lengthy metrical history of the world kings of Eusebian tradition which appears to be related to Bede's Chronica Maiora.Mac Airt (ed.
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Winter Words in Various Moods and Metres is the last, posthumous collection of poems by English poet Thomas Hardy, and was published in 1928. The collection shows Hardy continued his metrical experimentation to the end,J. Lucas, Modern English Poetry (London 1986) p. 22 with his poetic energies undiminished.
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Frankel, 216 Its poems also feature a good deal of rhythmic repetition and variation and many of the songs or poems are arranged into stanzas of similar metrical structure.Frankel, 215–216 The poems use end rhyme and internal rhyme, occasional parallelism, and a vocabulary of identical and matching words.
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681, ed. vet. and was much embellished in the middle ages.History of the Seven Wise Masters, in Ellis's Specimens of Early English Metrical Romances, vol. iii. p. 41 Eratosthenes is said to have accused Andreas of plagiarism, and to have called him "the Aegisthius (or Adulterer) of Books".
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Like Dipavamsa, it omits Chandragupta's name altogether. The metrical version of Ashokavadana contains a similar genealogy with some variations. Chandragupta had a marriage alliance with the Seleucids, which has led to speculation that Bindusara's mother might have been Greek or Macedonian. However, there is no evidence of this.
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Roberts, S. E. (1941). José Toribio Medina: His life and works. New York: The H.W. Wilson company His first publication, when a very young man, was a metrical translation of Henry Wadsworth Longfellow's Evangeline. At twenty-two he was appointed the secretary to the legation at Lima, Peru.
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"Ionics" may refer inclusively to poetry composed of the various metrical units of the same total quantitative length (six morae) that may be used in combination with ionics proper: ionics, choriambs, and anaclasts.Halporn et al., Meters, p. 125. Equivalent forms exist in English poetry and in classical Persian poetry.
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Vipin Parikh started writing poetry at later age. He chiefly wrote non- metrical poetry and his poetry is socially concerned and expresses modern sensitivity. He published three poetry collections: Ashanka (1975), Talash (1980) and Coffee House (1998). Mari, Tamari, Aapani Vaat (2003) is an anthology of his all poems.
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1 March 1997. Retrieved 19 May 2017. The Homeric poems arrange words so as to create an interplay between the metrical ictus—the first syllable of each foot—and the natural, spoken accent of words. If the ictus and accent coincide too frequently the hexameter becomes "sing- songy".
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Qiqlar ::7. Rahit. (There may be several rahitim, in which case they are numbered 7a, 7b, 7c, et cetera.) ::8. Silluq. A long piyyut, often closer to rhyming prose than to any kind of metrical poetry. The silluq, at its conclusion, leads into the first verse of Qedusha.
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They are very short, only forty lines in all; but they have a unique interest as being the only love poems by a Roman woman that have survived. Their frank and passionate outpourings remind us of Catullus. The style and metrical handling betray a novice in poetical writing.
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The Formalist: A Journal of Metrical Poetry was a literary periodical, founded and edited by William Baer, which was published twice a year from 1990 to the fall/winter issue of 2004. The headquarters of the magazine was in Evansville, Indiana.Contact us The formalist. Retrieved 23 February 2016.
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I hope it will also bring the city to > homesick urbanites everywhere.” The twelve-track album is a breezy, earnest > yet celebratory piece—aglow with motherly wisdom and metrical nods to the > unassailable grit and color of urban life. Emmylou Harris appears as a guest vocalist on the album.
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This choice of metre became the predominant metre (common metre) not only of the old and new versions of England and Scotland, but of other metrical psalters and English hymns in general. Sternhold is said to have sung his psalms to his organ for his own solace. (Strype). The only edition which Sternhold lived to publish he dedicated to the young king Edward VI. In this dedication he expresses a hope of ‘travayling further,’ and ‘performing the residue’ of the Psalter; but his total contribution to the old version consists of only forty psalms. Sternhold is remembered as the originator of the first metrical version of the Psalms which obtained general currency alike in England and Scotland.
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A Test of Non-metrical Analysis as Applied to the 'Beaker Problem' – Natasha Grace Bartels, University of Albeda, Department of Anthropology, 1998 Subsequent studies, such as one concerning the Carpathian Basin, and a non-metrical analysis of skeletons in central-southern Germany, have also identified marked typological differences with the pre-Beaker inhabitants. Jocelyne Desideri examined the teeth in skeletons from Bell Beaker sites in Northern Spain, Southern France, Switzerland, the Czech Republic and Hungary. Examining dental characteristics that have been independently shown to correlate with genetic relatedness, she found that only in Northern Spain and the Czech Republic were there demonstrable links between immediately previous populations and Bell Beaker populations. Elsewhere there was a discontinuity.
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Unlike the Nibelungenlied-stanza, all four lines in the "Hildebrandston" are of the same length: three metrical feet, followed by a caesura, then three additional metrical feet. Both types of stanza rhyme in couplets. Some poems use a variant of the "Hildebrandston" known as the "Heunenweise" or "Hunnenweise" (the Hunnish melody), in which the words before caesuras also rhyme across lines, creating a rhyme scheme of ABABCDCD. The Rabenschlacht uses a unique stanza consisting of three "Langzeilen" with rhymes at the caesuras: in this form, the first line is equivalent to a line of the Hildebrandston, the second adds an additional foot after the caesura, and the third adds two or even three additional feet.
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The paeon (particularly the first and fourth) was favored by ancient prose writers since, unlike the dactyl, spondee, trochee, and iamb, it was not associated with a particular poetic meter, such as the hexameter, tetrameter, or trimeter, and so produced a sound not overly poetical or familiar.Steele, p. 127.; Quintilian, Institutio Oratoria, 9.5.87-89. Regarding the use of the paeon in prose, Aristotle writes: :All the other meters then are to be disregarded for the reasons stated, and also because they are metrical; but the paean should be retained, because it is the only one of the rhythms mentioned which is not adapted to a metrical system, so that it is most likely to be undetected.
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She defined it in her preface to "Sword Blades and Poppy Seed"; in the North American Review for January, 1917; in the closing chapter of "Tendencies in Modern American Poetry"; and also in the Dial (January 17, 1918), as: "The definition of Vers libre is: a verse- formal based upon cadence. To understand vers libre, one must abandon all desire to find in it the even rhythm of metrical feet. One must allow the lines to flow as they will when read aloud by an intelligent reader. Or, to put it another way, unrhymed cadence is "built upon 'organic rhythm,' or the rhythm of the speaking voice with its necessity for breathing, rather than upon a strict metrical system.
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They will be tempted to deny that African music has a > bona fide metrical structure because of its frequent departures from > normative grouping structure—Agawu (2003: 87).Agawu, Kofi (2003: 87). > Representing African Music: Postcolonial Notes, Queries, Positions New York: > Routledge. In divisive form, the strokes of tresillo contradict the beats.
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His Simhagiri Vachanas are still recited in Simhachalam in Vizag. His works were perhaps available to Annamayya. He wrote poetry in simple, non-metrical language that was free from any ornamentation or high vocabulary that distracts the attention from the essential philosophy of his writings. Krishnamayya was also a converted Vaishnavite.
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English-speaking Lutherans in America began singing the metrical translations of German chorales by Catherine Winkworth and Jane Laurie Borthwick, and rediscovered their heritage. Although closely associated with the Church of England, Hymns Ancient and Modern was a private venture by a committee, called the Proprietors, chaired by Sir Henry Baker.
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The date for Oedipus has not been definitively established but metrical analysis on the extant fragments, particularly the incidence of resolutions by Cropp and Fick, indicates that the play was likely written in the latter part of Euripides' life, between 419 BCE and 406 BCE, and most likely after 415 BCE.
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This theory influenced "harmonic dualists" including Hugo Riemann. He also advocated just intonation and considered enharmonic progressions unnatural. In this sense, he could be considered a conservative in relation to the compositional trends of his time. He displayed a taste for classical proportion, formal order, metrical clarity, and tonal logic.
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Its metrical form is 'upadohaka', a variety of Doha, a medieval poetic meter. Thematically the poems are divided into two parts. The first part consist of 1 to 45 stanzas which narrates 'separation of couples', and the second part consist of 46 to 84 and it deals with 'union of couples'.
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National Presbyterian Church in Cancún The theology of the church is conservative and creeds and confessions represent its Reformed and Presbyterian heritage. The liturgy is a hybrid – traditional and indigenous hymns are sung, and may be accompanied by organ or piano. The guitar is frequently used, as are metrical psalms.
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Lancetti, Memorie intorno p. 171. Sabino also edited the 2nd-century BC playwright Terence (1472), whose verse comedies he arranged as prose,Joseph A. Dane, "On Metrical Confusion and Consensus in Early Editions of Terence," Humanistica Lovaniensia 48 (1999), p. 109 online and 113. and the early Christian theologian Lactantius (1474).
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The famous opening line of the book "Last night I dreamt I went to Manderley again." is an iambic hexameter. The last line of the book "And the ashes blew towards us with the salt wind from the sea" is also in metrical form; almost but not quite an anapestic tetrameter.
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He also wrote a metrical adaptation of Caxton's Reynard the Fox, (1894, revised 1897), edited and translated Guillaume de Lorris's and Jean de Meun's Romance of the Rose (1900, "Temple Classics"), and H. Pengelly's Memoir, with a preface (1897); and contributed memoirs to Bernard Quaritch's Dictionary of English Book Collectors.
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Her "Song of Lancaster" was described as a "metrical history after the style of Hiawatha". Longfellow corresponded with her approvingly about it. She also wrote the essay "Women's Work in Kentucky". In May 1892, Potts joined a new monthly publication focused on "literature, education and art", called the Illustrated Kentuckian.
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Metrical poetry in Sanskrit is called Chhandas () or Chhandas () and (). Prose and poetry follows the rules of Chhandas to design the structural features of 'poetry'. Chhandas is a definable aspect of many definable and indefinable aspects of poetry. Chhandas generates rhythm to the literature when the rules are properly followed.
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In the 1990s English Heritage funded a project at the University of Southampton to collect and synthesize metrical data recorded over the past twenty years. The main aim was to assemble the data and ensure that it was kept in a format in which it would be maintained and made accessible.
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About 1250 Eustace of Kent introduced into England the roman d'Alexandre in his Roman de toute chevalerie, many passages of which have been imitated in one of the oldest English poems on Alexander, namely, King Alisaunder (P. Meyer, Alexandre le grand, Paris, 1886, ii. 273, and Weber, Metrical Romances, Edinburgh).
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He is especially famous for his metrical homilies in the dodecasyllabic verse of which, says Bar Hebraeus, he composed over eight hundred known to us. Only a selection of them have been published in modern translations, e.g. on Simeon Stylites,Assemani, "Acta Martyrum", Il. 230 sqq. on virginity, fornication, etc.
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Poetic devices are a form of literary device used in poetry. A poem is created out of poetic devices composite of: structural, grammatical, rhythmic, metrical, verbal, and visual elements. They are essentially tools that a poet uses to create rhythm, enhance a poem's meaning, or intensify a mood or feeling.
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Flann mac Lonáin was a famed and at times controversial poet. He was the Chief Ollam of Ireland He seems to have been born in the east Clare/west Tipperary region. Distinguished both in his lifetime and after, his compositions were studied and used as exemplars in medieval metrical tracts.
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Isaac of Antioch (451–452), one of the stars of Syriac literature, is the reputed author of a large number of metrical homilies (The fullest list, by Gustav Bickell, contains 191 which are extant in MSS), many of which are distinguished by an originality and acumen rare among Syriac writers.
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Metrical Visions are Cavendish's interpretation of George's scaffold speech, when George said he was "a wretched sinner deserving of death".There are many different versions of George's scaffold speech, but they all follow the basic contents. It can be found in Wriothesley's Chronicle, pp. 39–40, Thomas, The Pilgrim, pp.
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Chauhan started writing poetry in 1988, venturing into metrical form in 1990. In the same year, his poem, "" appeared in periodical, published from Surat. His poetry was published in other Gujarati literary magazines including , , , , , and . He worked as a journalist for five years and as a teacher for seven years.
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Campbell, Anglo-Saxons, pp. 26–27; Sims-Williams, "Settlement", pp. 29–30. James Campbell notes the similarity between such Anglo-Saxon traditions and the Middle Irish language dindshenchas, such as the Metrical Dindshenchas, which record traditions about places. In the 18th and 19th centuries Natanleod was frequently identified with Ambrosius Aurelianus.
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Bristol, 1780), for which Caleb Evans wrote a preface. Her complete works were published in one volume by Daniel Sedgwick (London, 1863), as Hymns, Psalms, and Poems by Anne Steele, with a memoir by John Sheppard. It comprised 144 hymns, thirty-four metrical psalms and fifty moral poems. Some of them, e.g.
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Another metrical variation, a mid-line reversal, is found in line 4: × / × / / × × / × / And that your love taught it this alchemy, (114.4) An initial reversal is potentially present in line 2. The meter demands a few variant pronunciations: Line 1's "being" functions as one syllable, and line 9's "flattery" as two.
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Bres, who was under an obligation not to refuse hospitality, drank it down without flinching, and it killed him., The Metrical Dindshenchas Part III. Poem 40: Carn Huí Néit Lugh is said to have invented the board game fidchell. One of his wives, Buach, had an affair with Cermait, son of the Dagda.
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The Roberts (Gwyllt) translation has four verses. The first verse is a virtual equivalent of Hartsough's original (see infra). Roberts essentially skipped Hartsough's second verse and then conflated the remaining three verses into similar but not verbatim thoughts matching Welsh to the metrical pattern of Hartsough's tune.Not an easy task, in translation.
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Because "O Come, O Come Emmanuel" is a metrical hymn in the common 88.88.88 meter scheme (in some hymnals given as "8.8.8.8 and refrain"), it is possible to pair the words of the hymn with any number of tunes. The meter is shared between the original Latin text and the English translation.
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It is therefore important to the study of the development of Kannada literature. According to the scholar D.R. Nagaraj, exalting the "individual as the hero of the community" is the commonality the Nandisena inscription has with the other metrical Kannada inscriptions of the period; the Halmidi inscription and the Kappe Arabhatta inscription.
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The so-called "Journey Charm" is one of the 12 Anglo-Saxon metrical charms written in Old English. It is a prayer written to summon protection from God and various other Christian figures from the hazards of the road. It is of particular interest as evidence for popular Anglo-Saxon Christian religion.
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Christian Hymns is a non-denominational Christian hymnbook. It was first published in 1977 by the Evangelical Movement of Wales, with a second edition being published in 2004. Large print and music editions of both editions are also published. The first edition contains 901 hymns, carols and metrical psalms arranged into 14 sections.
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His object was to present some of the songs in Vuk which had not yet been translated, and he took the greatest pains to reproduce in German the metrical effect of the Serbian original.Nancy Morris Thesis on Frankl, catalog page on McGill University library site His son is Lothar von Frankl- Hochwart.
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It was important to > hasten over the merely physical attributes of the princess, and the metrical > telescoping of the line fits that intention without disturbing the > processional rhythm. The poem surely adds a wry layer of meaning to Stevens' epigram in Adagia, "The poet makes silk dresses out of worms."Kermode, p. 900.
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From the point of view of style, the poet's work is marked by his simplicity, distant from the grandiloquence and the metrical structure of the neoclassic poets. His verses approach the popular forms, and his tone approaches a colloquialism, which contributes to the effect of denunciation of everyday vices, of ordinary episodes.
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The term Chanda (Sanskrit: छन्द) means "pleasing, alluring, lovely, delightful or charming", and is based on the root chad which means "esteemed to please, to seem good, feel pleasant and/or something that nourishes, gratifies or is celebrated". The term also refers to "any metrical part of the Vedas or other composition".
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Tunes quoted include "In the Sweet By-and-By", "Beulah Land", "Marching Through Georgia", "Ye Christian Heralds", "Jesus, Lover of my Soul" and "Nearer, My God, to Thee". The disjunctive metrical and temporal complexity of this movement requires at least one additional conductor. The music builds to several riotous climaxes before ebbing away.
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His publications include the books Ob-Ugric metrics: The metrical structure of Ostyak and Vogul folk-poetry (1958) and Finnish reader and glossary (1963). He was co-editor of Readings in linguistics II (1966) with Eric P. Hamp and Fred W. Householder. This volume followed Readings in linguistics (1958), edited by Martin Joos.
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A lengthy but rather facetious synopsis of the Morte, with quotations, figured in the Specimens of Early English Metrical Romances (1805) by George Ellis. Ritson's late date for the poem was there rejected.Johnston pp. 171–2 A complete edition of the Morte by Thomas Ponton was published by the Roxburghe Club in 1819.
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Another important theoretical work is The Writer and the Book: An Outline of Textology (1928, second edition 1959). He was especially interested in the theory of versification. In his metrical studies, following in the footsteps of Andrey Bely, he applied statistical procedures to the study of Russian poetryTzvetan Todorov. The Poetics of Prose.
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The genre was also developed by Felicia Hemans and Letitia Elizabeth Landon, beginning in the latter's case with her long poem The Improvisatrice.Serena Baiesi. Letitia Elizabeth Landon and Metrical Romance, 2009, p.56-58. The novel and plays have also been important influences on the dramatic monologue, particularly as a means of characterization.
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Joachim Heinzle, however, has argued that Albrecht's metrical form actually shows him to be using the form of the "Berner Ton" given above, rather than that found in the earliest attested example, the single Eckenlied stanza transmitted in the Codex Buranus. Heinzle concludes from this fact that Albrecht adapted an already existing form.
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While the attribution of the entire play to Peele is no longer accepted, Sir Brian Vickers demonstrated using metrical and other analysis that Peele wrote the first act and the first two scenes in Act II of Titus Andronicus, with Shakespeare responsible for the rest.Vickers, Brian. Shakespeare, Co-Author. (2004) Oxford UP, 154.
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Timothy Duguid, Metrical Psalmody in Print and Practice: English 'Singing Psalms' and Scottish 'Psalm Buiks', 1547-1640 (Ashgate Press, 2014), pp. 142-143. The 1564 edition went through many changes that culminated with the 1635 version. Edited by Edward Millar, the 1635 Scottish Psalter included the very best of the psalm settings for the Sternhold and Hopkins psalms. This included four-part homophonic settings of many of the psalms (those texts that did not have a proper melody were assigned a melody from another psalm), several more complicated or polyphonic psalm settings (also known as Psalms in Reports), and settings of many of the so-called Common Tunes that had come to be used in the seventeenth century Duguid, Metrical Psalmody, pp. 159-163..
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The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as "tuple", "-uplet" and "-plet", which are used to form terms denoting multiplets (Oxford English Dictionary, entries "multiplet", "-plet, comb. form", "-let, suffix", and "-et, suffix1"). An alternative modern term, "irrational rhythm", was originally borrowed from Greek prosody where it referred to "a syllable having a metrical value not corresponding to its actual time-value, or ... a metrical foot containing such a syllable" (Oxford English Dictionary, entry "irrational"). The term would be incorrect if used in the mathematical sense (because the note-values are rational fractions) or in the more general sense of "unreasonable, utterly illogical, absurd".
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Hall followed up his literal Beowulf translation with a metrical translation in 1914. Writing for The Modern Language Review, a W. G. Sedgefield suggested that "[i]n attempting to make a metrical version of the Beowulf in modern English, Dr Clark Hall has undertaken one of the most difficult tasks possible for a translator, and we intend no reflection on his ability and scholarship when we say that in our opinion he has not succeeded." Noting the difficulties of translating the poem, and what he termed "arbitrar[y]" choices by Hall, Sedgefield concluded that "Dr Hall would have done well not to try to improve on his excellent prose version of the poem." The translation did not see a second edition.
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The 9th line presents a case of metrical ambiguity. Probably the simplest scansion features only one metrical variation, a reversal of the accents in the third foot: × / × / / × × / × / How many lambs might the stern wolf betray, (96.9) However, the line may be read differently, depending upon the reader's interpretation. The line may be scanned with an initial reversal, and with the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × × / / × / How many lambs might the stern wolf betray, (96.9) The meter calls for a few variant pronunciations: line 5's "thronèd" is two syllables, and line 14's "being" is one. In lines 8 and 10 "translated" and "translate" are both stressed on the second syllable.
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That agrees with metrical evidence in the Iliad that the name ᾽Ιλιον (Ilion) for Troy was formerly Ϝιλιον (Wilion) with a digamma."Metrical evidence" is a specialized term from the study of Greek poetry. Where English poetry constructs its metric feet from emphasized and unemphasized syllables:"Listen my children and you shall hear ...," ancient Greek uses long and short syllables, the length being determined according to the sequence of long and short vowels and clusters of consonants. Homer wrote his poetry in dactylic hexameter: "Menin aeide thea ...." From the fact that some syllables are treated as long when they should be short leads the linguists to conclude that an initial "w" was dropped at some time after composition: Ilion for former Wilion.
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These variations allow for associating the name with the word for "rabbit(-)" (waabooz(o-)). Due to the placement of word stress, determined by metrical rules that define a characteristic iambic metrical foot, in which a weak syllable is followed by a strong syllable, in some dialects the weak syllable may be reduced to a schwa, which may be recorded as either i or e (e.g. Winabozho or Wenabozho if the first weak syllable is graphically shown, Nanabizho if the second weak syllable is graphically shown). In addition, though the Fiero double-vowel system uses zh, the same sound in other orthographies can be realized as j in the Algonquin system or š (or sh) in the Saulteaux-Cree system (e.g.
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Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms in odes to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).Halporn, James & al. The Meters of Greek and Latin Poetry, p. 16\.
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Félire Óengusso, ed. Stokes, pp. 86–7. Mo Chutu first became abbot of Rahan, a monastery which lay in the territory of the southern Uí Néill. He composed a rule for his monks, an Irish metrical poem of 580 lines, divided into nine separate sections, a notable literary relic of the early Irish Church.
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Each shloka line has two quarter verses with exactly eight syllables. Each of these quarters is further arranged into "two metrical feet of four syllables each", state Flood and Martin. The metered verse does not rhyme. While the shloka is the principal meter in the Gita, it does deploy other elements of Sanskrit prosody.
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Porson's Law, or Porson's Bridge, is a metrical law that applies to iambic trimeter, the main spoken metre of Greek tragedy. It does not apply to iambic trimeter in Greek comedy. It was formulated by Richard Porson in his critical edition of Euripides' Hecuba in 1802.Porson, R. Supplementum ad Praefationem ad Hecubam, p.
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The origins of the rhymed psalter lie in twelfth-century translations from the Latin Vulgate into French. These were made in England for the French-speaking Anglo- Normans.William W. Kibler, Medieval France: An Encyclopedia (1995), p. 127. Following the Protestant Reformation rhymed metrical psalters like the Dutch Souterliedekens came into popular use for congregational singing.
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The Hindu epics and the post- Vedic classical Sanskrit poetry is typically structured as quatrains of four pādas (lines), with the metrical structure of each pāda completely specified. In some cases, pairs of pādas may be scanned together as the hemistichs of a couplet.Hopkins, p.194. This is typical for the shloka used in epic.
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In prosody a paeon (or paean) is a metrical foot used in both poetry and prose. It consists of four syllables, with one of the syllables being long and the other three short.Free Dictionary Paeons were often used in the traditional Greek hymn to Apollo called paeans. Its use in English poetry is rare.
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As told in the Dindsenchas,Metrical Dindshenchas, Vol 3, poem 2: "Boand I" (ed. Edward Gwynn) at CELT. Boann created the Boyne. Though forbidden to by her husband, Nechtan, Boann approached the magical Well of Segais (also known as the Connla's Well), which was surrounded, according to the legend, by nine magic hazel-trees.
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Whereas in principle the gāyatrī mantra specifies three pādas of eight syllables each, the text of the verse as preserved in the Samhita is one short, seven instead of eight. Metrical restoration would emend the attested tri-syllabic ' with a tetra-syllabic '.B. van Nooten and G. Holland, Rig Veda. A metrically restored text.
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1 (Autumn 1990): 11. This creates a contrast of "the metrical rhythms of traditional military music" against "the apparently ametrical rhythms of [Hindustani] music."Larrick, "Multicultural Music," 12. Lasting approximately 30 minutes, the work also points to Becker's experience with the minimalist works of Reich, which also share in a sense of multicultural influence.
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Moreover, line 4 potentially exhibits both of the other two common metrical variants: an initial reversal, and the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × × / / × /(×) Thou art the fairest and most precious jewel. (131.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
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He came up with the concept of the "variable foot" which Williams never clearly defined, although the concept vaguely referred to Williams's method of determining line breaks. The Paris Review called it "a metrical device to resolve the conflict between form and freedom in verse."Interview with Stanley Koehler, Paris Review, Vol. 6, 1962.
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Hausamanuscripts probably all date from the 19th century and after. Numerous texts, written in Arabic script, are preserved in manuscripts, dating from the past four centuries. The earliest datable text is a sizeable compendium of lectures on the “religious sciences” (lɛulum n ddin) composed in metrical verses by Ibrāhīm al-Ṣanhājī, a.k.a. Brahim Aẓnag (d.
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Based on these facts, scholars can reasonably assume that the poem is nearly complete. However, it is worth noting that several scholars argue that The Blessed Soul's address is an inferior, later addition by another poet. Peter R. Orton points to lapses in metrical structure and inconsistencies in spelling and punctuation to support this argument.
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There is a conceptual or compositional relationship between this section and the preceding Breviate Psalter verses, as this Harrowing of Hell is a pastiche of verses from the Psalms. An Irish influence is suggested by the metrical structure of the hymns as well as the inclusion of the Breviate Psalter.Dumville 1972, pp. 382, 384, 385.
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Tibetan Buddhism is the most widespread religion in Tibet. Musical chanting, most often in Tibetan or Sanskrit, is an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables.
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Liberman's main research interests lie in phonetics, prosody, and other aspects of speech communication. His early research established the linguistic subfield of metrical phonology. Much of his current research is conducted through computational analyses of linguistic corpora. In 2017, Liberman was the recipient of the IEEE James L. Flanagan Speech and Audio Processing Award.
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This is not a mean achievement. A few of his stanzas can be read backwards as well and in the ordinary way. He has used forty one metre in his classic where as Bharvi used only twenty-four metres. This is metrical profusion in wonderful. The ”Shishupal Vadha” shows that Magh”s knowledge was encyclopedic.
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By his wife, Elizabeth, Coles had a son, Elisha, whom he apprenticed. Elisha Coles the lexicographer was not this son, but a nephew. The son or the nephew published rhymes entitled Χριστολογία, or a Metrical Paraphrase on the History of our Lord and Saviour Jesus Christ; the Oxford Dictionary of National Biography suspends judgement.
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Ewe music is the music of the Ewe people of Togo, Ghana, and Benin, West Africa. Instrumentation is primarily percussive and rhythmically the music features great metrical complexity. Its highest form is in dance music including a drum orchestra, but there are also work (e.g. the fishing songs of the Anlo migrants), play, and other songs.
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All of these were Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chautisha represents the originality of Odissi style. All the thirty four (34) letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
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George Ellis FSARigg and Mills (19 December 1753 – 10 April 1815) was a Jamaican-born English antiquary, satirical poet and Member of Parliament. He is best known for his Specimens of the Early English Poets and Specimens of Early English Metrical Romances, which played an influential part in acquainting the general reading public with Middle English poetry.
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The area was accorded its own place-legend in the Dindsenchas, Liamuin.Gwynn, Edward, The Metrical Dindshenchas part iv, (1924), pp.328-331 Lyons subsequently became home to the Aylmer,Aylmer, Hans Hendrick: The Aylmers of Lyons, County Kildare, JCKAS Vol. IV, No. 3 (January 1904) pp179-183FitzGerald, Lord Walter: The Aylmers of Lyons and Donadea [query], JCKAS Vol.
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His books Minúsculas (1901) and Exóticas (1911) are often considered as modernista although his work transcends the scope of that movement. Some critics have suggested that his poetry is pre-proletarian. Baladas peruanas (1935), perhaps his best book, is a vindication of the Indian. His metrical and rhythmical innovations and experiments are remarkable in Spanish-American poetry.
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The Middle English Metrical Paraphrase of the Old Testament is a retelling of the Old Testament in Middle English rhyme for lay people, dated to the early fifteenth century, c. 1400-1410. Over 18,000 verses long, it exists in two manuscripts from the middle of the fifteenth century, both written in a Northern dialect from the Yorkshire area.
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Ennius's list appears in poetic form, and the word order may be dictated by the metrical constraints of dactylic hexameter. The Dii Consentes are sometimes seen as the Roman equivalent of the Greek Olympians. The meaning of Consentes is subject to interpretation, but is usually taken to mean that they form a council or consensus of deities.
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6 the daughter of Campbell of Fordy, bore him a second son, Robert, who became a minister at Dornoch, Sutherlandshire.Lang 1893Kirk was minister at Balquhidder until 1685.Kirk was a Gaelic scholar, the author of the first complete translation of the Scottish metrical psalms into Gaelic, published at Edinburgh in 1684 as Psalma Dhaibhidh an Meadrachd, &c.
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"The Lord's my Shepherd" is a Christian hymn. It is a metrical psalm commonly attributed to the English Puritan Francis Rous and based on the text of Psalm 23 in the Bible. The hymn first appeared in the Scottish Psalter in 1650. It is commonly sung to the tune , which is generally credited to Jessie Seymour Irvine.
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The book was leather-bound with a piece on the front engraved with a classical temple with statues of saints. The Latin words "Domus Orationis," or "House of Prayer" are also written. There are decorated pictorial squares throughout the book which highlight its expense and quality. The book was relatively small as it lacks metrical psalms.
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"Epilogue for W. H. Auden" is a poem of 19 stanzas, each of four lines. The rhyme scheme is aabb. The poem is written in tetrameters (lines of four metrical feet). W. H. Auden would later use the same rhyme scheme and metre (tetrameter couplets) in the last section of In Memory of W. B. Yeats (1939).
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It was published in a pamphlet in 1816, alongside Kubla Khan and The Pains of Sleep. Coleridge wrote Christabel using an accentual metrical system, based on the count of only accents: even though the number of syllables in each line can vary from four to twelve, the number of accents per line rarely deviates from four.
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The original text is presented here with 12th-century Icelandic spelling and, in the second column is presented here with 19th-century Icelandic. In the third column, a rough, literal translation into English. The fourth column is a looser translation regularized to a metrical pattern of 5.5.5.5.5.5.5.5 and stating all first-person pronouns in the singular.
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His great achievement was metrical perfection added to musical resonance and rhythmic movement. His expressions in superb languages are lucid. His poems on the Radhakrishna legend have a unity of description and treatment in the delineation of Krishna's sorts and the Viraha of the Gopis. In his poems he deals with Mana, Viraha, Vasantalila, Rasalila, Radhavarna, Abhisara.
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Edward Gwynn compiled and translated dindsenchas poems from the Lebor na hUidre, the Book of Leinster, the Rennes Manuscript, the Book of Ballymote, the Great Book of Lecan and the Yellow Book of Lecan in The Metrical Dindshenchas, published in four parts between 1903 and 1924, with a general introduction and indices published as a fifth part in 1935.
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Benveniste prepared (1) Mishmeret Ha-Miẓvot (Observance of the Commandments), a metrical version of the Azharot, with commentary; and (2) Lebush Malkut (Royal Garment), a hymn in the style of Gabirol's Royal Crown, of which medical science constitutes the foundation. Azulai claims to have seen both of these writings in manuscript at the house of a rabbi in Constantinople.
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McMullen was invited to speak at the 1974 International Congress of Mathematicians in Vancouver; his contribution there had the title Metrical and combinatorial properties of convex polytopes.ICM 1974 proceedings . He was elected as a foreign member of the Austrian Academy of Sciences in 2006.Awards, Appointments, Elections & Honours, University College London, June 2006, retrieved 2013-11-03.
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Witt, 1990, p. 96. A keen admirer of the Roman dramatist Seneca, Lovato demonstrated his clear understanding of metrical structure of ancient Latin poetry, later producing the earliest Renaissance treatise on metrics. He wrote a short account of Senecan meters,Nauert, 1995,p. 6. illustrating Latin poet's preference for two verse patterns, the pentameter and the hexameter.
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Igor Kaczurowskyj considered himself a follower of Mykola Zerov's translating school, that is the translation of each verse with a maximum approach to the original, not only as regards the contents, but the metrical, and stylistic particularities as well. Sometimes, he recurred to prose interlinear translations made by Lidia Kriukow, who is familiar with many European languages.
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Achall, daughter of Cairbre Nia Fer, king of Tara, and his wife Fedelm Noíchrothach, is a minor character from the Ulster Cycle of Irish mythology. After her brother Erc was killed by Conall Cernach, she died of grief on a hill near Tara, which was named Achall after her.Edward Gwynn (ed. & trans.), "Achall", The Metrical Dindshenchas Vol.
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An Eton Poetry Book is an anthology edited by Cyril Alington and George Lyttelton, with an introduction by A. C. Benson. The editors' intentions were "to provide poems which boys might reasonably be expected to like" and "to awaken their metrical sense." The book was published in 1925, with a second impression in 1927 and a third in 1938.
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Bujangga Manik is one of the precious remnants of Old Sundanese literature. It is told in octosyllabic lines – the metrical form of Old Sundanese narrative poetry – in palm-leaf manuscript kept in the Bodleian Library of Oxford University in England, since 1627 or 1629 (MS Jav. b. 3 (R), cf. Noorduyn 1968:469, Ricklefs/Voorhoeve 1977:181).
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Demetrius Triclinius Demetrius Triclinius (; b. ca. 1300), a native of Thessalonica, was a Byzantine scholar who edited and analyzed the metrical structure of many texts from ancient Greece, particularly those of Aeschylus, Sophocles and Euripides. He is often compared favorably with two contemporary annotators of ancient Greek texts, Thomas Magister and Manuel Moschopulus. He also had knowledge of astronomy.
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Taken together, the metrical Foot in combination with weak and strong syllables define the domain for relative prominence, in which a Strong syllable is more prominent than the weak member of the foot. The following summarizes material in . Syllable weight plays a significant role in Ottawa phonology and determines stress placement and syncope. Several general principles determine syllable weight.
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The poem is constructed out of two stanzas with always four verses. The rhyming scheme in the first stanza has an embracing rhyme (ABBA), in the second one a cross rhyme (CDCD). Metrical seen an iambic pentameter having some irregularities in the second stanza. The first one is accentuated with masculine cadences, the second one with female cadences.
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1–2, alluding to Bellum civile 3.80.1–81.2, cited in Nixon and Rodgers, 18–19. Accentual and metrical clausulae were used by all the Gallic panegyrists. All of the panegyrists, save Eumenius, used both forms at a rate of about 75 percent or better (Eumenius used the former 67.8 percent of the time, and the latter 72.4 percent).
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The poem is written in four quatrains. The poem is sometimes formatted without stanza breaks or em-dashes, though it has both in Dickinson's original manuscript. The poem's metrical pattern resembles ballad meter, however, only the final stanza fully follows the meter of a trochaic ballad. The other stanzas are more irregular in observance of ballad meter.
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Anapestic tetrameter is a poetic meter that has four anapestic metrical feet per line. Each foot has two unstressed syllables followed by a stressed syllable. It is sometimes referred to as a "reverse dactyl", and shares the rapid, driving pace of the dactyl.The Oxford Companion to Shakespeare (2001) Ed. Michael Dobson and Stanley Wells, Oxford University Press.
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This movement is notable for its difficulty, rhythmic and metrical complexity, and harmonic exploration (for instance, after the final D section, the piano plays a cadenza based on the B section that modulates from G minor to F minor), and has remained one of the most difficult movements to perform in all of Brahms's chamber music.
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The poem consists of 2,684 lines of English verse. They are divided into stanzas, typically consisting of 4 to 6 lines each. The poem is based on the ballad stanza form, although the poem often departs significantly from it. Types of metrical feet are used more or less freely, although there is often basic repetition in a line.
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Later writers attempted to repair the literary inadequacies of the Sternhold and Hopkins version. The Bay Psalm Book (1640), the first book published in the British colonies in America, was a new metrical psalter: :The earth Jehovah’s is, ::and the fullness of it: :the habitable world, and they ::that there upon do sit :Because upon the seas, ::he hath it firmly laid: :and it upon the water-floods ::most solidly hath stayed In the 1640s, the English Parliamentarians Francis Rous and William Barton both authored their own metrical paraphrases. Their translations were scrutinised by the Westminster Assembly and heavily edited. Rous's original version of Psalm 24 read: :The earth is Gods, and wholly his ::the fulnesse of it is: :The world, and those that dwell therein ::he made, and they are his.
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Many churches continue to use metrical psalters today. For example, the Reformed Presbyterian Church of North America (RPCNA) produced psalm books based on the Scots Metrical Psalter, with the intention of making the words more modern and the translation more accurate. These were produced in 1889 (a split-leaf brown book), 1911 (unpopular due to musical complexity), 1920 (a green book) and 1929 (also green, an expanded version of the 1920 one), 1950 (a blue book), and 1973 (a maroon one) called The Book of Psalms for Singing. A further revision has been undertaken by the RPCNA, again for the purposes of making the words more modern, and also to replace some of the more difficult-to-sing tunes, such as Psalm 62B, with tunes that are easier to sing.
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The word shamrock derives from seamair óg or young clover, and references to semair or clover appear in early Irish literature, generally as a description of a flowering clovered plain. For example, in the series of medieval metrical poems about various Irish places called the Metrical Dindshenchus, a poem about Tailtiu or Teltown in Co. Meath describes it as a plain blossoming with flowering clover (mag scothach scothshemrach). Similarly, another story tells of how St. Brigid decided to stay in Co. Kildare when she saw the delightful plain covered in clover blossom (scoth-shemrach).Stokes, Whitley, Lives of the Saints from the Book of Lismore, (1890), p177 However, the literature in Irish makes no distinction between clover and shamrock, and it is only in English that shamrock emerges as a distinct word.
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Robert J. Bickner completed a thesis at University of Michigan with a detailed examination of the metrical forms used. The study was published in 1991. Soison Sakolrak completed a thesis at SOAS, University of London in 2003, concentrating on the modern adaptations of the poem. In 1982, Wibha Kongkananda authored Phra Lo: A Portrait of the Hero as Tragic Lover for UNESCO.
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Parallel Latin/English Psalter / Psalmus 30 (31) medievalist.net As indicated in the first verse in the Hebrew, it was composed by David. The psalm is a regular part of Jewish, Catholic, Anglican and Protestant liturgies. Metrical hymns in English and German were derived from the psalm, such as "In dich hab ich gehoffet, Herr" and "Blest be the name of Jacob's God".
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29-43 (p. 32), doi:10.1007/978-1-137-39706-5_3. It is clear for metrical reasons that the runes were supposed to be sounded by their names, which are also words in their own right, so that in a sense the translation should also be something like: where I sit cheerful. 'Gift' name me, also 'ash-tree' and 'ride'.
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The two manuscripts containing the Metrical Paraphrase are MS Selden supra 52 (Bodleian 3440), fols. 2a-168a (S), and MS Longleat 257, fols. 119a-212a (L), a manuscript in the private collection of the Marquess of Bath. The two manuscripts are not directly related; that is to say, they are not derived from one another, nor from a common manuscript (Kalén, p. xxxiv).
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The second of these melodies was used in compositions such as chorale preludes by Johann Sebastian Bach and Max Reger. Bach used single stanzas in vocal works, including his St John Passion. Catherine Winkworth's made a metrical translation to "Farewell I Gladly Bid Thee" which also appeared with the second tune as No. 137 in The Chorale Book for England in 1865.
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Perception & Psychophysics, 14, 5– 12. mathematical modeling to test different hypotheses on the timing of the drummer. One version of the model used a metrical structure; however, the authors found that this structure was not necessary. All drumming patterns could be interpreted within an additive structure, supporting the idea of a universal ametrical organization scheme for rhythm.Magill, J. M., & Pressing, J. L. (1997).
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Patrick J. Murphy, Unriddling the Exeter Riddles (University Park, PA: Pennsylvania State University Press, 2011), p. 4. The manuscript was written c. 800 in the Carolingian scriptorium of Lorsch Abbey, where it was rediscovered in 1753. It contains among a variety of grammatical texts the Aenigmata of Symphosius, the Enigmata of Aldhelm and a variety of prose and metrical texts by Boniface.
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370 ff. Around 1100 Hillinus, a deacon and cantor of the church of Fosses, wrote a metrical life of Foillan for his master Sigebert, the patron of Fosses.Bollandists, Acta Sanctorum, October Vol XIII, pp 395–408. Soon afterwards, between 1102 and 1112, Hillinus also wrote a prose In Miraculis Sancti Foyllani Martyris, a book of the miracles associated with St. Foillan at Fosse.
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He was forced to retire in 1920 because of failing health and moved nearer to Lovedale again. In the same year, already in poor health he appeared before the Native Affairs Commission. His last years were spent helping Dr. Henderson, the principal, to translate the metrical psalms into Xhosa. He died at his home at Ntselamanzi, near Lovedale, on February 22, 1922.
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The first of these was written specially for that Hymnal. His metrical rendering of one of Rodwell's prose translations of Jared's Abyssinian hymns was printed in the Oldbury Weekly Times, circa 1880, and subsequently as a broadsheet. It begins "To Christ, uprising from the dead be sung." His Popular Introduction to the History of Christian Doctrine was published in 1883.
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An adonic (Latin: adoneus) is a unit of Aeolic verse, a five-syllable metrical foot consisting of a dactyl followed by a trochee. The last line of a Sapphic stanza is an adonic. The pattern (with "-" a long and "u" a short syllable) is: "- u u - -" when the pattern ends with a spondee (i.e. --) or " -uu -u " if a trochee is intended.
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The poem is significantly less structured than most Eddic poems, and is predominantly written in a metric form known as málaháttr or "conversational style." However, other metrical forms are also to be discerned, while some of the text is pure prose. In the last decade, several scholars have concluded that the poem is an intentionally stylized version of the traditional flyting structure.
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Little Flock Tune Books have been published in 1883, 1904, 1932, 1954, 1965, and 1979. Charles Theodore Lambert's edition of 1932 published both words and tunes with an appendix "Containing a few hymns suitable for the Christian Household". It is still published in Tonic Sol-Fa by the Symington/Hales Depot. The other Tune Books had tunes only, listed in metrical order.
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Ancient Engleish Metrical Romanceës (1802) is a collection of Middle English verse romances edited by the antiquary Joseph Ritson; it was the first such collection to be published. The book appeared to mixed reviews and very poor sales, but it continued to be consulted well into the 20th century by scholars, and is considered "a remarkably accurate production for its day".
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The intention was to produce individual tunes for each psalm, but of 150 psalms, 105 had proper tunes and in the seventeenth century, common tunes, which could be used for psalms with the same metre, became more frequent.T. Duguid, Metrical Psalmody in Print and Practice: English 'Singing Psalms' and Scottish 'Psalm Buiks,' 1547-1640 (Ashgate, 2014), pp. 85-90, 173-9, 201-28.
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Prince's early work drew praise from T.S. Eliot, who was then editor at Faber and Faber. Eliot published some of his poetry in The Criterion before publishing Prince's first book Poems in 1938. In work such as the Afterword on Rupert Brooke his interest in the metrical ideas of Robert Bridges is evident. F. T. Prince died in Southampton in 2003.
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The near-edge region is difficult to quantitatively analyze because it describes transitions to continuum levels that are still under the influence of the core potential. This region is analogous to the EXAFS region and contains structural information. Extraction of metrical parameters from the edge region can be obtained by using the multiple-scattering code implemented in the MXAN software.
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South, Historia, pp. 20–22 Ted Johnson South described its style as "English Secretary Hand with Anglicana affinities"; it probably comes from the 15th century.South, Historia, pp. 20–21, quote on p. 21 The Historia comes after a second metrical Life of St Cuthbert (and the history of the bishopric) and before a chronicle of the bishopric of Lindisfarne from 625 to 847.
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Aesopus constructus etc., 1495 edition with metrical version of Fabulae Lib. I-IV by Anonymus Neveleti Gualterus Anglicus (Medieval Latin for Walter the EnglishmanGalterus, Gualtherus Anglicus, Waltarius; Walter the Englishman, Walter of England, Walther; Gauthier or Gautier l'Anglais; Anonyme de Nevelet.) was an Anglo-Norman poet and scribe who produced a seminal version of Aesop's Fables (in distichs) around the year 1175.
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Saif's poetic fervour emerged when he was a student of grade- VIII. In 1962, his first poems published appeared in the literary periodical Shomokal edited by Sikander Abu Zafar. In writing poetry, his preferred metrical style in 'Okkherbritta' or 'Poyer', which is the most popular among modern Bengali poems. He is prone to use Bengali language words of Sanskrit origin.
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130 – 131 (and the final lines of fr. 94's stanzas) are composed in a shortened version (gld) of the meter used in Book II of her poetry. However, the surviving poetry also abounds in fragments in other meters, both stanzaic and stichic, some of them more complicated or uncertain in their metrical construction. Some fragments use meters from non-Aeolic traditions (e.g.
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The author(s) of this poem is unknown. The poem was copied down in the Exeter Book in the latter half of the tenth century. Its original date of composition is unknown, though Leonard Neidorf has recently adduced lexical, metrical, and cultural reasons to believe that the poem was first composed in either the seventh or the eighth century. Neidorf, pp. 137–146.
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Derbriu was the lover of Aengus of the Tuatha Dé Danann. Her mother-in-law, Garbdalb, turned six men into pigs for the crime of eating nuts from her grove, and Derbriu protected them for a year until they were killed by Medb.Edward Gwynn (ed. & trans.), The Metrical Dindshenchas Dublin Institute for Advanced Studies, 1906, Vol 3, Poem 70: Duma Selga, pp.
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A lilit () is a literary format which interleaves poetic verses of different metrical nature to create a variety of pace and cadence in the music of the poetry. The first Lilit poem to appear is Lilit Yuan Phai ( 'the defeat of the Yuan', composed during the early- Ayutthaya period (c. 1475 CE). Yuan Phai is the Thai equivalent of the Song of Roland.
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Vladimir Nabokov, another Russian-born author, took a view similar to Jakobson's. He considered rhymed, metrical, versed poetry to be in principle untranslatable and therefore rendered his 1964 English translation of Alexander Pushkin's Eugene Onegin in prose. Hofstadter, in Le Ton beau de Marot, criticized Nabokov's attitude toward verse translation. In 1999 Hofstadter published his own translation of Eugene Onegin, in verse form.
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The structure of A Confederacy of Dunces reflects the structure of Ignatius's favorite book, Boethius' The Consolation of Philosophy. Like Boethius' book, A Confederacy of Dunces is divided into chapters that are further divided into a varying number of subchapters. Key parts of some chapters are outside of the main narrative. In Consolation, sections of narrative prose alternate with metrical verse.
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Increasingly, arguments for and against the attribution to Aeschylus have been based on metrical-stylistic grounds: the play's diction, the use of so-called Eigenwoerter, the use of recitative anapests in the meter, etc.See, as examples, Griffith 1977, 157-72; Ireland 1977, 189-210; Hubbard 1991, 439-60. Using such criteria in 1977, Mark Griffith made a case against the attribution.
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Susarion (Greek: Σουσαρίων) was an Archaic Greek comic poet, was a native of Tripodiscus in Megaris (see Megara) and is considered one of the originators of metrical comedyEdmonds, J.M. (John Maxwell), The Fragments of Attic Comedy, Leiden : E. J. Brill, 1957; v.I (Old Comedy) 1957; v.II (Middle Comedy) 1959. and, by others, he was considered the founder of Attic Comedy.
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While it is accepted by modern critics that the name was originally Oldcastle in Part 1, it is disputed whether or not Part 2 initially retained the name, or whether it was always "Falstaff". According to René Weis, metrical analyses of the verse passages containing Falstaff's name have been inconclusive.René Weis (ed), Henry IV, Part 2, Oxford University Press, 1997, p.37.
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It is a nine-book epic of unrhymed couplets, recounting the biblical tale of mankind from the creation to the present.Summarised by Rigg, History of Anglo-Latin Literature, pp. 54–58 Lawrence had been composing a metrical version of the Bible, though becoming a member of the episcopal court meant he was only able to compose 40 lines per day.Raine, Dialogi, p.
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Despite this move, Wolfe continued his penchant for piracy, and began pirating Day's lucrative metrical psalters. His former master, on discovering Wolfe's roguery, led a raid on Wolfe's premises and confiscated printing materials. Wolfe challenged the raid in the Court of Star Chamber: on 18 May 1584, he issued a bill of complaint accusing Day of illegally damaging his property.Hoppe, 255.
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Kathakalī is structured around plays called Attakatha (literally, "enacted story"), written in Sanskritized Malayalam. These plays are written in a particular format that helps identify the "action" and the "dialogue" parts of the performance. The Sloka part is the metrical verse, written in third person – often entirely in Sanskrit - describing the action part of the choreography. The Pada part contains the dialogue part.
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The most important of his works are his lyric, teaching hymns (, madrāšê). These hymns are full of rich, poetic imagery drawn from biblical sources, folk tradition, and other religions and philosophies. The madrāšê are written in stanzas of syllabic verse and employ over fifty different metrical schemes. Each madrāšâ had its qālâ (), a traditional tune identified by its opening line.
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The collection features a variety of styles and formats, including uses blank verse, free verse, prose, and several metrical patterns. Onomatopoeia is used throughout, as well as alliteration and fine sensory detail. She also sprinkles her text with Scottish words and phrases such as "trow" and "stumba" ("dense mist or fog"). She divides the book into three sections of related poems.
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It is also historical work as its veracity can be verified by contemporary Muslim chronicles. The poem starts with ten Sanskrit verses followed by 60 Gujarati verses full of words of Persian and Arabic origin. It employs words with consonants to produce heroic feelings. His description of battle, characterization of hero and metrical patterns made it unique in Gujarati literature.
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The Formalist published contemporary, metrical verse. Poets whose work has appeared in the journal include: Howard Nemerov, Richard Wilbur, Derek Walcott, Mona Van Duyn, Donald Justice, James Merrill, Maxine Kumin, Karl Shapiro, W. S. Merwin, May Swenson, W. D. Snodgrass, Louis Simpson, John Updike, Fred Chappell, and John Hollander. From 1994 to 2005 The Formalist awarded the Howard Nemerov Sonnet Award.
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Boardman, like Beazley before him, reads this as 'Herakles' daughter' rather than Herakles' girl, and connects the mythological to the historical in that Phye (Athena) was the daughter (in law) of Peisistratos (Herakles). Ferrari believes these words are the beginning of a metrical hymn and connects the mythological scene and historical event to the larger theme of the Panathenaic festival.
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Sri Narayana Panditacharya (also referred as Narayana Pandita) (IAST:Nārāyaṇa Paṇḍitacārya) (c. 1290 - c. 1370), is an Indian scholar and philosopher in the Dvaita Vedānta tradition. He was the youngest son of Trivikrama Panditacharya, one of the direct disciples of Sri Madhva He is the author of Sri Madhva Vijaya, a metrical biography of the rejuvenator of the Dvaita school of philosophy, Sri Madhvacharya.
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In each 4-mora foot there can be two long syllables, four short syllables, or one long and two short in any order. Standard traditional works on metre are Pingala's and Kedāra's . The most exhaustive compilations, such as the modern ones by Patwardhan and Velankar contain over 600 metres. This is a substantially larger repertoire than in any other metrical tradition.
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Early Iron Age metrical poetry is found in the Iranian Avesta and in the Greek works attributed to Homer and Hesiod. Latin verse survives from the Old Latin period (c. 2nd century BC), in the Saturnian metre. Persian poetryFereydoon Motamed La Metrique Diatemporelle: Quantitative poetic metric analysis and pursuit of reasoning on aesthetics of linguistics and poetry in Indo-European languages.
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Sharpe contributed ballads to the second volume of Walter Scott's Border Minstrelsy. In 1807 he also published at Oxford Metrical Legends and other Poems. In 1823 he published his Ballad Book, which in 1880 was re-edited by David Laing, with additions from Sharpe's manuscripts. To Laing's edition of William Stenhouse's notes to James Johnson's Scots Musical Museum (1853), he made some contributions.
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Phrases that are marked by syllables with stable pitches and that favor a metrical interpretation tend to be conducive to the illusion. However, the illusion is not enhanced by regular repetitions of the entire phrase. Further, the illusion is stronger for phrases in languages that are more difficult to pronounce and when listeners are unable to understand the language of the utterance.
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Her work contains lyrical echoes of sound, and yet is not pinned down by a consistent metrical pattern or a conventional poetic rhyme scheme. Howe is the recipient of the 2017 Robert Frost Medal awarded by the Poetry Society of America, the recipient of the 2011 Bollingen Prize in American Poetry, and a member of the American Academy of Arts and Sciences.
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Clwydfardd's book "Cyfaill yr Ysgolar" (The Scholar's Friend) was published in 1839. It was a guide to the correct use of the Welsh language, and how to use an effective writing style. In 1889 he published an edition of Edmund Prys's Salmau Cân (1621), a metrical translation of the Psalms into Welsh. Chairing of the Bard at a National Eisteddfod, .
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In the countable sense, a verse is formally a single metrical line in a poetic composition. However, verse has come to represent any division or grouping of words in a poetic composition, with groupings traditionally having been referred to as stanzas. In the uncountable (mass noun) sense verse refers to "poetry" as contrasted to prose.Wiktionary, "Verse" (accessed 8 August 2014).
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T.V.F. Brogan says of the theory, "It is fair to say that so far their approach has been considered unfruitful by most metrists."Brogan 1981, E820. However, Derek Attridge considers that David Chisholm's modification of Magnuson–Ryder — along with Kiparsky's theory — "capture the details of English metrical practice more accurately than any of their [generative] predecessors".Attridge 1982, p 50.
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The hymn "The Lord's my Shepherd", a metrical paraphrase of 23rd Psalm, is traditionally sung to the hymn tune . It is thought that this tune was composed in 1871 by Jessie Seymour Irvine (1836–1887), daughter of the minister, Rev. Alexander Irvine (1804–1884). The tune was first published in The Northern Psalter (1872) but was attributed to David Grant.
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Louis Guéymard in the Meyerbeer opera The oldest known account of this legend is a Latin prose narrative by a Dominican friar, Etienne de Bourbon (c. 1250), in which no information on Robert's family is given. Then it appears in a French metrical romance of the thirteenth century, in which Robert is described as the son of the duchess of Normandy.Laura A. Hibbard, Medieval Romance in England: A Study of the Sources and Analogues of the Non-Cyclic Metrical Romances (New York: Oxford University Press, 1924), p. 50. Samuel N. Rosenberg, "Robert the Devil: The First Modern English Translation of Robert le Diable, an Anonymous French Romance of the Thirteenth Century" (University Park, PA: Pennsylvania State University Press, 2018). An English translation by Samuel N. Rosenberg of the thirteenth-century French romance was published in 2018 by Penn State University Press.
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Distinct forms of line, as defined in various verse traditions, are usually categorised according to different rhythmical, aural or visual patterns and metrical length appropriate to the language in question. (See Metre.) One visual convention that is optionally used to convey a traditional use of line in printed settings is capitalisation of the first letter of the first word of each line regardless of other punctuation in the sentence, but it is not necessary to adhere to this. Other formally patterning elements, such as end-rhyme, may also strongly indicate how lines occur in verse. In the speaking of verse, a line ending may be pronounced using a momentary pause, especially when its metrical composition is end-stopped, or it may be elided such that the utterance can flow seamlessly over the line break in what can be called run-on.
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The acai in the Sangam poems are combined to form a cir (foot), while the cir are connected to form a talai, while the line is referred to as the ati. The sutras of the Tolkappiyam – particularly after sutra 315 – state the prosody rules, enumerating the 34 component parts of ancient Tamil poetry. The prosody of an example early Sangam poem is illustrated by Kuruntokai: The prosodic pattern in this poem follows the 4-4-3-4 feet per line, according to akaval, also called aciriyam, Sangam meter rule: A literal translation of Kuruntokai 119: English interpretation and translation of Kuruntokai 119: This metrical pattern, states Zvelebil, gives the Sangam poetry a "wonderful conciseness, terseness, pithiness", then an inner tension that is resolved at the end of the stanza. The metrical patterns within the akaval meter in early Sangam poetry has minor variations.
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In addition to metrical versions of all 150 psalms, the volume included versified versions of the Apostles' Creed, the Magnificat, and other biblical passages or Christian texts, as well as several non-scriptural versified prayers and a long section of prose prayers largely drawn from the English Forme of Prayers used in Geneva. Psalm 100 in the metrical setting, from a 1628 printing of the Sternhold & Hopkins Psalter Sternhold and Hopkins wrote almost all of their Psalms in the "common" or ballad metre. Their versions were quite widely circulated at the time; copies of the Sternhold and Hopkins psalter were bound with many editions of the Geneva Bible, and their versions of the Psalms were used in many churches. The Sternhold and Hopkins psalter was also published with music, much of it borrowed from the French Geneva Psalter.
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There seems to be a consensus among the few scholars who have seriously studied the metrics of zajal that it follows two distinct metrical systems. One metrical system is quantitative and is clearly based on some of the strict so-called Khalili meters of classical Arabic poetry (for instance the m3anna and related forms scan according to the classical sari3, rajaz and wafir meters,) and the other is stress-syllabic (for instance many sub-forms of the qerradi are clearly based on Syriac metrics, such as the syllabic metric of the Afframiyyat homilies attributed to the 4th-century St. Ephraem.) Both kinds of metrics in zajal are subject to fluid alteration by musical accentuation and syncopation which is possible due to the colloquial's malleability and its inherent allowance (like Syriac) to erode inflections and internal voweling.
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The Old English epic poem Beowulf is written in alliterative verse. In prosody, alliterative verse is a form of verse that uses alliteration as the principal ornamental device to help indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, and the Alliterative Morte Arthur all use alliterative verse.
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Subsequently, he gathered a large congregation at Hoxton, apparently in a wooden meeting-house, of which for a time he was dispossessed. He was among the signers of the 1673 Puritan Preface to the Scots Metrical Psalter. He did not escape imprisonment for his nonconformity. He died on 15 October 1678, and was buried (27 October) in the churchyard of St Giles-without-Cripplegate.
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Rāg Lalit is a studio album by Indian classical musician Ram Narayan, released in 1989. Recorded December 3, 1987, in Wyastone Leys near Monmouth, Wales, the album features a performance of the serene dawn raga Lalit on sarangi. Narayan performs a long non-metrical introduction to unfold the raga, during which he adds a pulse, until he is joined by tabla to perform a composition.
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Parallel Latin/English Psalter / Psalmus 54 (55) medievalist.net The psalm is a lament in which the author grieves because he is surrounded by enemies, and one of his closest friends has betrayed him. The psalm is a regular part of Jewish, Catholic, Anglican and Protestant liturgies. Metrical hymns in English and German were derived from the psalm, and it has been set to music.
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My Dreams In the year 1848, McCord published her first book of poetry. My Dreams, a collection of fugitive poems, from the press of Carey & Hart, Philadelphia. A close study of these poems reveals a genuine poetic talent, but there is not the certainty of maturity, not the metrical perfection of first-rate poetry. The lyrist is an honestly doubting lyrist in many passages.
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It is described as a "metrical romance", which she never published. In 1820, Brooks published a collection of her poetry, Judith, Esther, and other Poems, under the pseudonym "A Lover of Fine Arts". In 1823, the husband died, and Brooks went to live with her brother on his coffee plantation in Manzanas, Cuba. He died soon after her arrival, which left her with a "settled income".
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Corrido sheet music celebrating the entry of Francisco I. Madero into Mexico City in 1911. The corrido () is a popular narrative metrical tale and poetry that forms a ballad. The songs are often about oppression, history, daily life for criminals, and other socially relevant topics. It is still a popular form today in Mexico and was widely popular during the Mexican Revolutions of the 20th century.
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He lays stress on Alfonsi's importance as one of the intermediaries between Eastern and Western folk-lore, and quotes one of Caxton's stories from "Alfonce." An outline of the tales, by Douce, is prefixed to Ellis' "Early English Metrical Romances." Nearly all the stories are adopted in the Gesta Romanorum. Chapters ii and iii were done into Hebrew and issued under the title, Book of Enoch,.
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Turnbull, William B., ed., The Buik of the Chroniclis of Scotland; a metrical version of the History of Hector Boece by William Stewart, 3 vols, Rolls Series, Longman (1858). The chronicler Polydore Vergil made some use of Boece for his 1534 Historia Anglica. David Chalmers of Ormond in his Histoire abbregée (1572) wrote about the French, English and Scottish monarchies, relying on Boece for the Scottish account.
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Traditional music includes the instruments Daman, Surna and Piwang (Shehnai and Drum). The music of Ladakhi Buddhist monastic festivals, like Tibetan music, often involves religious chanting in Tibetan or Sanskrit as an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables.
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"Against a Dwarf" (Old English: Ƿið Dƿeorh) is an Anglo-Saxon metrical charm found in the Lacnunga. It requires writing the names of the Seven Sleepers onto seven wafers, then singing an alliterative verse three times. The verse is written in half lines and was used for its assumed curative properties, although what the charm is supposed to be curing is still a matter of debate.
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She successfully couched the substance of those verses in a poetical setting which, in musical terms, reflects the original Sindhi metrical structure and expression in which Latif had cast them. Her translation of Shah Abdul Latif's poetry is considered by many to be the best in English. Her works have been the subject of several doctoral theses. She is also famous for her stories for children.
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His style included 'metrical vandalism' and looseness of structure. Horace instead adopted an oblique and ironic style of satire, ridiculing stock characters and anonymous targets. His libertas was the private freedom of a philosophical outlook, not a political or social privilege.L. Morgan, Satire, 177–78 His Satires are relatively easy-going in their use of meter (relative to the tight lyric meters of the Odes)S.
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It was an influential version for at least one hundred years. By the 17th century, as Laudian influences would gain ascendancy, all- things-Genevan grew to be condemned. Besides the translation of the Bible, Whittingham issued metrical versions some of Psalms. Seven of these were included among the fifty-one psalms published at Geneva in 1556; others were revised versions of Thomas Sternhold's psalms.
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They include some nature description and laments for dying genius.The Feminist Companion to Literature in English, eds Virginia Blain, Patricia Clements and Isobel Grundy (London: Batsford, 1990), p. 248. A recent critic discerned in her work "technical virtuosity, masked by claims of metrical irregularity, and a profound questioning of Romantic values." Another modern commentator has called her book of poems "a remarkable text of women's Romanticism".
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Like the majority of German heroic epics, the Virginal is written in stanzas. The poem is composed in a stranzaic form known as the "Berner Ton," which consists of 13 lines in the following rhyme scheme: aabccbdedefxf. It shares this metrical form with the poems Goldemar, Sigenot, and Eckenlied. Early modern melodies for the "Berner Ton" have survived, indicating that it was meant to be sung.
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MacLachlan was born in Lochaber, and educated at Aberdeen University. He was librarian to University and Kings College, Aberdeen from 1800–1818, and headmaster of Aberdeen grammar school from 1810–1822. He translated the first eight books of Homer's Iliad into Gaelic. He also composed and published his own Gaelic Attempts in Verse (1807) and Metrical Effusions (1816), and contributed greatly to the 1828 Gaelic–English Dictionary.
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Every critic sufficiently acquainted with his lyrical compositions has rendered justice to their merit. From the romance of Galatea, Cervantes must have composed in all the various kinds of syllabic measure used in his time. He even occasionally adopted the old dactylic stanza. He appears to have experienced some difficulty in the metrical form of the sonnet, but his poems in Italian octaves display great facility.
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The Lalita Sahasranama does not use any such auxiliary conjunctions and is unique in being an enumeration of holy names that meets the metrical, poetical and mystic requirements of a sahasranama by their order throughout the text. Etymologically, "Lalita" means "She Who Plays." In its root form, the word "Lalita" means "spontaneous" from which the meaning "easy" is derived and implicitly extends to "play".
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Pullain contributed a metrical rendering of the 148th and 149th Psalms to the earlier editions of Sternhold and Hopkins's version (1549 and after). The latter psalm was printed in Select Poetry published by the Parker Society (ii. 495). He is known to have written other versa/but none of it has survived. Thomas Warton quotes as by Pullain a stanza from William Baldwin's Balades of Salomon (1549).
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The basic prosodic unit is the asai (acai) which is composed of ezhuttu (eḷuttu), the letters of the Tamil language or more accurately, the speech sounds in Tamil. Asais are the components of the metrical foot or cīr which, in turn, are the components of the adi (aṭi), a line of poetry. Other elements include todai (toṭai, alliteration) and vannam (vaṇṇam, "rhythmic effect", lit. colour or beauty).
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New York: Robert Appleton Company, 1907. 21 May 2013 He himself did not disdain to teach "the art of metrical composition". His Life of Saint Brigid is interspersed with short poems of his own composition. The best known of these is the twelve-line poem in which he describes the beauty and fertility of his native land, and the prowess and piety of its inhabitants.
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There has been considerable debate as to how the first sentences of the preface of Buddhist discourses should be translated, especially with regard to punctuation. There are three main opinions. The first possible and most common translation is Thus have I heard. At one time the Blessed One was at ... in ... Buddhist studies scholar Mark Allon has defended this translation based on metrical and rhyme patterns.
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In William Caxton's and later editions of Chaucer's Works there appears "moral ballad" composed by Scogan, for the sons of Henry IV. According to John Shirley (c.1366–1456), Scogan interpolated in it three stanzas by Chaucer. Among manuscripts at Corpus Christi College, Oxford, there was a collection of metrical proverbs, headed Proverbium Scogani. It has been ascribed to Chaucer by John Urry, but also to Scogan.
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Another metrical system was put forward by John C. Pope in which rhythmic stress is assigned using musical patterns. This system seems to make more sense when considering that the poetry of the Anglo-Saxons was set to music. An explanation of the Pope system is also included in Cassidy & RinglerFrederic G Cassidy and Richard M. Ringler, eds. Bright’s Old English Grammar and Reader.
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However, Keats incorporates spondees in 37 of the 250 metrical feet. Caesurae are never placed before the fourth syllable in a line. The word choice represents a shift from Keats's early reliance on Latinate polysyllabic words to shorter, Germanic words. In the second stanza, "Ode on a Grecian Urn", which emphasizes words containing the letters "p", "b", and "v", uses syzygy, the repetition of a consonantal sound.
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A section from an ancient metrical treatise concerning the anacreonteus. Above the description the lengths of all but the first syllable can be seen marked out; the final syllable is marked as anceps. Near the beginning of the description it is reported that some call the anacreonteus "Parionic" (παριωνικόν) because of its resemblance to the "class of Ionic meters" (Ἰωνικῶν γένους). (P.Oxy. II 220 col.
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Most modern authors hold that the songs were composed in Chinese and their words translated (where possible) into equivalent Pai-lang words or phrases, retaining the metrical structure of the Chinese original. This view is disputed by Christopher Beckwith, who claims that the Pai-lang version shows patterns of assonance and consonance when the characters are read in a southwestern variety of Eastern Han Chinese.
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He also composed and published his own Gaelic Attempts in Verse (1807) and Metrical Effusions (1816), and contributed greatly to the 1828 Gaelic–English Dictionary. The poetry of Allan MacDonald (1859–1905) is mainly religious in nature. He composed hymns and verse in honour of the Blessed Virgin, the Christ Child, and the Eucharist. However, several secular poems and songs were also composed by him.
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Like the majority of German heroic epics, the Sigenot is written in stanzas. The poem is composed in a stranzaic form known as the "Berner Ton," which consists of 13 lines in the following rhyme scheme: aabccbdedefxf. It shares this metrical form with the poems Goldemar, Eckenlied, and Virginal. Early modern melodies for the "Berner Ton" have survived, indicating that it was meant to be sung.
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31 Chapter Three, The Formula, discusses what Lord believes to be a classic oral formula. In doing so, he borrows Parry's definition that defines a formula as "a group of words which is regularly employed under the same metrical conditions to express a given essential idea."Parry, Milman "Studies in the Epic Technique of Oral Verse-Making: I: Homer and Homeric Style." Harvard Studies in Classical Philology.
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To India - My Native Land is a poem by Indian poet Henry Louis Vivian Derozio, published in 1828 as part of his book The Fakeer of Jungheera: A Metrical Tale and Other Poems. It is one of the most notable works by the Indian poet. The poet was very pained at the fact that India was under British rule and laments that fact in this poem.
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In 1863 Mr. Miller resigned his seat, and accepted the appointment of assistant-clerk to the House, an office which he held until within a short time of his death, which took place at Hobart on 10 April 1867. Miller was a brother of Robert Byron Miller. He was the author of The Tasmanian House of Assembly: A Metrical Catalogue (Hobart, 1860), a trenchant political satire.
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He died in 1603, probably in London from plague. Whilst in London Kyffin enjoyed singing the psalms in the Church of England tradition. He wanted to translate the Welsh psalms into metre, so that they could be sung as the English metrical psalms were. It is believed that he versified around 50 of the psalms from William Morgan's Welsh translation, but only a handful have survived.
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Book of Saints, 1921. CatholicSaints.Info. 22 November 2012. Web at the age of ninety, on the first day that the Easter feast was observed by this manner in the monastery, on 24 April 729.Bede Historia ecclesiastica gentis Anglorum 5.22 His feast day in the Roman Catholic Church, 24 April, is found in both the Roman and Irish martyrologies, and in the Metrical Calendar of York.
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The latter inscriptions suggest that the temple was a Shaiva shrine by the 15th century. One of the inscriptions discovered is a metrical hymn about Durga, which suggests a Shakta tradition influence. The temple lacks a covered mandapa, but includes a circumambulatory path. This path has four entrances, one from each cardinal direction which a devotee can use to enter the temple for a darshana.
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Brady's best-known work, written with his collaborator Nahum Tate, is New Version of the Psalms of David, a metrical version of the Psalms. It was licensed in 1696, and largely ousted the old Sternhold and Hopkins Psalter. He translated Virgil's Aeneid and wrote several smaller poems and dramas, as well as sermons. He married Letitia Synge and had four sons and four daughters.
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Most of the fragments, replete with unique terms for fish and numerous place names, are corrupt or damaged. The Hedyphagetica is written in hexameters, but differs from the Annales in regards to "metrical practices"; this difference is largely due to each works' distinct subject matter.Ennius, Goldberg, & Manuwald (2018), pp. 26061. The titles Praecepta and Protrepticus were likely used to refer to the same (possibly exhortatory) work.
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This ternary division held for all note values. In contrast, the Ars Nova period introduced two important changes: the first was an even smaller subdivision of notes (semibreves, could now be divided into minim), and the second was the development of "mensuration." Mensurations could be combined in various manners to produce metrical groupings. These groupings of mensurations are the precursors of simple and compound meter.
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In trisyllabic roots, stress is placed on the syllable in the penultimate consonant, or if not present, the first syllable. In roots containing four or more syllables, stress is placed on both the first syllable and the syllable in the penultimate consonant. The rhythm of sentences is affected by the speaker; the two factors being tentative pauses and the application of metrical production rules.
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In some kinds of metre, such as the Greek iambic trimeter, two feet are combined into a larger unit called a metron (pl. metra) or dipody. The foot is a purely metrical unit; there is no inherent relation to a word or phrase as a unit of meaning or syntax, though the interplay between these is an aspect of the poet's skill and artistry.
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Janáček was deeply influenced by folklore, and by Moravian folk music in particular, but not by the pervasive, idealized 19th century romantic folklore variant. He took a realistic, descriptive and analytic approach to the material. Moravian folk songs, compared with their Bohemian counterparts, are much freer and more irregular in their metrical and rhythmic structure, and more varied in their melodic intervals.Zemanová (2002), p.
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Many ecclesiastics of the period were his pupils. Foremost among his writings are the "Letters," which are 80 in number, and which provide information about the political and religious problems of the time. His poetry bears the impress of both Homeric Greek and the Arabic of his own century. His chief poetical work is a long metrical narrative of the principal events recorded in the Bible.
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Quince's amateurish playwriting is usually taken to be a parody of the popular mystery plays of the pre-Elizabethan era, which were also produced by craftspeople. His metrical preferences refer to vernacular ballads. Despite Quince's obvious shortcomings as a writer, Stanley Wells argues that he partly resembles Shakespeare himself. Both are from a craftsmanly background, both work quickly and both take secondary roles in their own plays.
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Dibdin published a number of poems including Young Arthur, or, The Child of Mystery: a Metrical Romance in 1819. He completed A History of the London Theatres which was published in 1826 to much acclaim. His last theatrical composition was the farce, Nothing Superfluous, which was produced in Hull in 1829. The following year, he completed his memoirs, but they were not published until discovered in 1956.
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Horace Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins. The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures.
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The internal rhyme in the first half of this verse () is similar to the internal rhyme in the Arabic poem which Hafez quotes in ghazal no. 1), which has "neither remedy nor enchanter". There is another internal rhyme in verse 9 of this poem: . Whenever such internal rhymes occur, they almost always coincide with the end of a metrical foot (see Persian metres#Internal rhyme).
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The Cynegetica consists of about 2150 lines and is divided into four books. The fourth book ends abruptly, suggesting that the ending is lost or that the poem was never completed in the first place. The Cynegetica has often been compared infavourably to its main model, Oppian's Halieutica, on the basis of its relative neglect of the Alexandrian metrical refinements and its highly rhetorical style.Hopkinson, N. 1994.
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The codex contains the text of the four Gospels on 441 paper leaves (size ). The text is written in one column per page, 42 lines per page. It contains lists of the , numerals of the (chapters) at the left margin, the Ammonian Sections, (not the Eusebian Canons), lectionary markings at the margin, and metrical verses. It has a commentary, to the Mark of Victorinus of Pettau.
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Hook was born in Charlotte Street, Bedford Square, London. His father, James Hook (1746–1827), was a composer; his elder brother, also called James Hook, became Dean of Worcester. He spent a year at Harrow School and subsequently matriculated at the University of Oxford. His father took delight in exhibiting the boy's musical and metrical gifts, and the precocious Theodore became a pet of the green room.
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In Book II, "Of Proportion Poetical," Puttenham compares metrical form to arithmetical, geometrical, and musical pattern. He adduces five points to English verse structure: the "Staffe," the "Measure," "Concord or Symphony," "Situation" and "Figure". The staff, or stanza, is four to ten lines that join without intermission and finish up all of the sentences thereof. Each length of stanza suits a poetic tone and genre.
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Syllabic length is a factor but accentuation is not. Caesura should occur at the same place in every line; it helps to keep up distinctness and clarity, two virtues of civil language. "Concord, called Symphonie or rime" (76) is an accommodation made for the lack of metrical feet in English versification. The matching of line lengths, rhymed at the end, in symmetrical patterns, is a further accommodation.
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A western square dance caller may interpolate patter—in the form of metrical lines, often of nonsense—to fill in between commands to the dancers.Square Dance Patter Sayings Vic & Debbie Ceder's Square Dance Resource Net. In some circumstances, the talk becomes a different sense of "patter": to make a series of rapid strokes or pats, as of raindrops. Here, it is a form of onomatopoeia.
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' (J. V. Cunningham.) In a 'rant' near the end of the book he states: "I think that much poetry today suffers from anaemia. There is no iron in its blood, no energy, no drive". Fry sets out to explain the many tools available to a poet in order to organise writing, noting poetry's essential metrical basis and introducing the many technical terms, with explanations and exercises.
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Ralph Vaughan Williams suggested that a congregational hymn be included. This was approved by the Queen and the Archbishop of Canterbury, so Vaughan Williams recast his 1928 arrangement of Old 100th, the English metrical version of Psalm 100, the Jubilate Deo ("All people that on earth do dwell") for congregation, organ and orchestra: the setting has become ubiquitous at festal occasions in the Anglophone world.
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"Against a Wen" is an Old English metrical charm and medical text found in the Royal MS. 4A.XIV, British Museum. It appears to describe a remedy for ridding oneself of a wen, which is an Old English term for a cyst or skin blemish. As cysts are commonly mobile masses on the skin, the charm is written to the wen itself, asking it to leave.
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Achala (1937) is an epic tragic poem in Shikharini metre. His another epic poem is Vinashna Ansho, Maya (1938). His another epic poem Dharati (1946) has a story of human civilization in total 1038 stanzas in Prithvi metre. His Ajampani Madhuri (1941) has more than hundred sonnets, songs and metrical poems. His Ravanhaththo (1942) has poems influenced by bhajans and folksongs and depicts social inequality and exploitation.
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It is not clear that this is actually a secondary thematic group as found in a sonata-allegro form. It is instead developmental in essence . The middle section is contrasted by its simplicity, slower tempo, and 3/4 metre (though there are metrical variations throughout the section). It is features a lyrical, two-voiced theme, first presented by the clarinet and bassoon over an ostinato bass accompaniment.
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The outcome of his lawsuit is not known, but neither Barley nor Morley ever published another metrical psalter. Under Morley, Barley published eight books. The covers of each indicated that they were "printed by" Barley, but examination of the typography reveals this to be unlikely. At least two of the works contain designs that seem to belong to a device used by London printer Henry Ballard.
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Hexameter is a metrical line of verses consisting of six feet. It was the standard epic metre in classical Greek and Latin literature, such as in the Iliad, Odyssey and Aeneid. Its use in other genres of composition include Horace's satires, Ovid's Metamorphoses, and the Hymns of Orpheus. According to Greek mythology, hexameter was invented by Phemonoe, daughter of Apollo and the first Pythia of Delphi.
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St Patrick casts down Cromm Cruach and the twelve idols; from a 1911 illustration by Curtis Dunham. The main events in the history of Magh Slécht as listed in the ancient sources are # The Journey of Corrgenn through Mag Senaig in 2000 BCThe Metrical Dindshenchas, poem/story 24, AILECH III # The killing of Regan, the Fomorian, at Tomregan in 1860 BC. # The death of the High King of Ireland, Tigernmas, & 4,000 of his followers in the Seventh Plague of Ireland while worshipping Crom Cruaich on 31 October (Samhain, Halloween), 1413 B.C. His grave there is marked by a standing stone.The Metrical Dindshenchas, poem/story 7, Mag Slecht # The Battle of Tuaim Drecain (Tomregan) in 1342 BC by the High King Eochaid Faebar Glas.Lebor gabála Érenn, Poem XCVIII # The murder of the Ulster hero Conall Cernach in the 1st century BC at Áth na Mianna (Ballyconnell).
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In English verse, "alexandrine" is typically used to mean "iambic hexameter": × / × / × / ¦ × / × / × / (×) /=ictus, a strong syllabic position; ×=nonictus ¦=often a mandatory or predominant caesura, but depends upon the author Whereas the French alexandrine is syllabic, the English is accentual-syllabic; and the central caesura (a defining feature of the French) is not always rigidly preserved in English. Though English alexandrines have occasionally provided the sole metrical line for a poem, for example in lyric poems by Henry Howard, Earl of Surrey and Sir Philip Sidney, and in two notable long poems, Michael Drayton's Poly-Olbion and Robert Browning's Fifine at the Fair, they have more often featured alongside other lines. During the Middle Ages they typically occurred with heptameters (seven-beat lines), both exhibiting metrical looseness. Around the mid-16th century stricter alexandrines were popular as the first line of poulter's measure couplets, fourteeners (strict iambic heptameters) providing the second line.
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Six or seven versions of an inscription written in metrical Sanskrit were inscribed on its pillars. Prince Haritiputra Virapurushadatta commissioned the Pushpabhadra-savmin temple during the 14th regnal year of Ehuvala. The shrine of Nodagishvara- svamin was also built during Ehuvala's reign, and received a permanent endowment for its maintenance. Buddhism also flourished in Ikshvaku kingdom, and several princes and queens contributed to the construction of the Buddhist shrines.
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When Burns died in 1796, Maria wrote an admired account of him for the Dumfries Journal. She was also a friend of the novelist and poet Helen Craik, another admirer of Burns. She included some poems by Anna Laetitia Barbauld, Georgiana, Duchess of Devonshire and Mary Darwall in her 1802 anthology, The Metrical Miscellany. Her husband lost Woodley Park and another property and died at the end of the century.
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Although the text is printed as prose, the author was clearly trying to give the effect of the metres of Plautus.Cavallin (1951), 143-6. Sentences and phrases regularly end with the line endings of a trochaic septenarius or iambic senarius; and there is a tendency to trochaic sequences at the start of the next unit. In the middle however the metrical form of a Plautine verse is only occasionally preserved.
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Balangoda Man is estimated to have had thick skulls, prominent supraorbital ridges, depressed noses, heavy jaws, short necks and conspicuously large teeth. Metrical and morphometric features of skeletal fragments extracted from cave sites that were occupied during different periods have indicated a rare biological affinity over a time frame of roughly 16,000 years, and the likelihood of a partial biological continuum to the present-day Vedda indigenous people.
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New York, Harper & Brothers, 1855, p. 64. Southey wrote the poem, sometimes considered by critics as the most celebrated as British anti-war poems, while living at Westbury with his mother and his cousin (Peggy) in a renovated ale-house, which he shared also with a "great carroty cat".Speck, p. 74. It appeared in publication with several others, in the category of Ballads and metrical tales,Robert Southey, Poems.
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These texts include the Prose Edda, composed in the 13th century by Snorri Sturluson, and the Poetic Edda, a collection of poems from earlier traditional material anonymously compiled in the 13th century., and . The Prose Edda was composed as a prose manual for producing skaldic poetry—traditional Old Norse poetry composed by skalds. Originally composed and transmitted orally, skaldic poetry utilizes alliterative verse, kennings, and several metrical forms.
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While working in Aberystwyth, Saunders gained prominence for his nature poems and for metrical translations. He won eisteddfod prizes in Carmarthen and other places. His titles included "Y Gwanwyn" (Spring), "Yr Haf" (Summer), "Yr Hydref" (Autumn), "Y Gaeaf" (Winter), "Y Daran" (Clap) and "Y Môr" (The Sea). In 1830 Saunders moved to the printing and publishing firm of William Rees (1808–1873) in the smaller market town of Llandovery, Carmarthenshire.
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The research of D'Ovidio was mainly in geometry and the most important works were produced when he was in Turin. Specially interesting is his work Le funzioni metriche fondamentali negli spazi di quante si vogliono dimensioni e di curvatura costante (The fundamental metrical functions in the n-dimensional spaces of constant curvature), published in 1876 and where he stated for first time the law of sines in n-dimensional curved spaces.
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Rag Shankara, Rag Mala in Jogia was recorded on 15 and 16 November 1989 in Wyastone Leys near Monmouth, Wales. Narayan begins the performances by playing a long alap (non-metrical introduction) and jor (performance with pulse). The tabla player then joins Narayan in performing a composition, repeating the rhythmic cycle on which the composition is based and playing occasional improvisations. The album cover features a painting made ca.
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In rhyming slang, rhyming euphemisms are often truncated so that the rhyme is eliminated; prick became Hampton Wick and then simply Hampton. Another well-known example is "cunt" rhyming with "Berkeley Hunt", which was subsequently abbreviated to "berk". Alliteration can be combined with metrical equivalence, as in the pseudo-blasphemous "Judas Priest", substituted for the blasphemous use of "Jesus Christ". Minced oaths can also be formed by shortening: e.g.
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There is a MS. existing in the British Museum (addit. 1577) entitled "Figures de la Bible" consisting of pictures illustrating events in the Bible with short descriptive text. This is of the end of the thirteenth, or the beginning of the fourteenth, century. Of the same date is the "Historia Bibliæ metrice" which is preserved in the same library and, as the name implies, has a metrical text.
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Subhashitas are structured in pada-s (Sanskrit: पद, or lines) in which a thought or a truth is condensed. These epigrammatic verses typically have four padas (verse, quatrain), are poetic and set in a meter. Many are composed in the metrical unit called Anuṣṭubh of Sanskrit poetry, making them easy to remember and melodic when recited. But sometimes Subhashitas with two pada-s or even one pada proclaim a truth.
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Of all the varieties of artistic poetry there survived only the romance, though this became more serious in its aims, and its province expanded. Of metrical forms there remained only the political (fifteen- syllable) verse. From these simple materials there sprang forth an abundance of new poetic types. Alongside of the narrative romance of heroism and love there sprang up popular love lyrics, and even the beginnings of the modern drama.
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A metrical rendering of the Ten Commandments by Whittingham was appended. Another edition of 1558, now lost, is believed to have contained nine fresh psalms of Whittingham; these were reprinted in the edition of 1561, to which Whittingham also contributed a version of the 'Song of Simeon' and two of the Lord's Prayer. Besides these, Whittingham translated four psalms in the Scottish psalter. These do not appear in any English edition.
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He wrote under the pen name of J.P., especially for La Nouvelle Chronique de Jersey and its Almanac. He often undertook translations from English, notably versions of poems by Robert Service, and of Mrs. Caudle's Curtain Lectures genre pieces by Douglas Jerrold, originally published in Punch in the 1840s which may have later influenced Edward Le Brocq's Ph'lippe et Merrienne stories. His verses are metrical rather than syllabic.
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His metrical episcopal epitaph allows us to know that he came from the nobility and that he held political office before becoming a bishop.Jacques Gadille, René Fédou, Henri Hours et Bernard de Vregille, Histoire des diocèses de France, Lyon, Paris, Éditions Beauchesne, coll. « Histoire des diocèses France » (no 16), (april 1997), p.352 One of his rare known actions is the meeting of a provincial council in 583 in Lyon.
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Precise dating eludes scholars, with limits being placed anywhere between 300BCE and 1000CE.Those who argue that sutras from the Kathakagrhya and metrical verses were added later place the text's original composition at somewhere between 300BCE and 100CE, followed by a more current, edited version which appeared between 400 and 600CE. According to the latest research by Olivelle, there is reason to doubt the likelihood of repeated editing and revising.Olivelle 2007.
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Quince's amateurish playwriting is usually taken to be a parody of the popular mystery plays of the pre-Elizabethan era, plays that were also produced by craftspeople. His metrical preferences are references to vernacular ballads. Despite Quince's obvious shortcomings as a writer, Stanley Wells argues that he partly resembles Shakespeare himself. Both are from a craftsmanly background, both work quickly and both take secondary roles in their own plays.
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In medieval Latin, a vogue for scholarly obscenity led to a perception of the dactyl, a metrical unit of verse represented as an image of the penis, with the long syllable (longum) the shaft and the two short syllables (breves) the testicles.Adams, p. 39. The apparent connection between Latin testes, "testicles," and testis, plural testes, "witness" (the origin of English "testify" and "testimony")Adams, p. 67. may lie in archaic ritual.
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Whereas the metrical rules of later are clear (and are based on counting syllables), the precise metre of the early is debated and could have involved stress-counting.Rowland, Jenny, Early Welsh Saga Poetry: A Study and Edition of the Englynion (Cambridge: Brewer, 1990), pp. 308-32. The earliest are found as marginalia written in a tenth-century hand in the Juvencus Manuscript.A Selection of Early Welsh Saga Poems, ed.
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At the core of the philosophy is the belief that faith facilitates a connection to a consciousness that transcends normal experience or critical analysis, and that the prayers of the Avesta, which are to a degree metrical, are a means to achieve that consciousness. In contrast with mainstream Zoroastrianism, the beliefs in reincarnation, vegetarianism, spiritual vibrations, and the like are unique to the movement and are heavily influenced by Theosophy.
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Extended scenes describing Knight's unpleasant encounters with food occur often throughout her journal. Some moments during the journey appear to have had a profound impact on Knight. These experiences are marked by distinct poetic interludes in her journal, in which she abandons the conventions of prose and resorts to metrical composition. In one instance, Knight finds herself riding her horse in the pitch-dark woods alone late at night.
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The AP Latin Literature exam began with a 60-minute multiple-choice section. Students were given four passages, three of which were shared with the AP Latin: Vergil exam and one of which was a passage of Catullus that students should have already studied. The multiple-choice questions were concerned with comprehension, translation, metrical scanning, poetic devices, and grammatical structures. The students were then given a 120-minute free- response section.
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Pity the Beautiful (2012) marked Gioia's return to poetry after his term in public office as chairman of the NEA. As with his previous books of poetry, it featured both metrical verse and free verse. "Special Treatments Ward" garnered notice for its description of a pediatric cancer ward. "Haunted", the central poem in the collection, is a long dramatic monologue that is both love story and ghost story.
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Line length is the fundamental metrical criterion in classifying Classical Chinese poetry forms. Once the line length is determined, then the most likely of the line by caesuras is also known, since they are as a rule fixed in certain positions. Thus, specifying the line-length of a Chinese poem is equivalent to specifying both the type of feet and the number of feet per line in poetry using quantitative meter.
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We also played Shepp's pieces, one or two of Ornette's, and some of mine." In a similar vein, Ekkehard Jost wrote: "the NYCF takes the Ornette Coleman group of the late Fifties as the starting point for its own general musical conception. This means the negation of harmonic- metrical patterns. But it also means the retention of a steady, swinging basic rhythm and a quite conventional 'theme-solo improvisation-theme' form.
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Louvain: Peeters, 2003. p. 131. Hugh divided metrical composition into three kinds: quantitative verse (carmina), verse based on syllable count and assonance (rithmi), and "the mixed form ... when a part is expressed in verse and a part in prose" (prosimetrum).Dronke, p. 2. The derived adjective prosimetrical occurs in English as early as Thomas Blount’s Glossographia (1656) where it is defined as "consisting partly of Prose, partly of Meteer or Verse".
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Harikrishna Pathak has experimented with several genres of literature. His first work, a satire, Natakno Takhto was published in Chandani while his first poem was published in Kumar. Sooraj Kadach Uge (1974) was his first poetry collection which had 82 poem including metrical poetry, sonnets, songs, ghazals and free verse. It has traditional as well as experimental poems. Halavi Hawane Pankhe (2005), Tapu and Jalna Padgha are his another poetry collections.
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Einion Offeiriad (“Einion the Priest”) (died 1356) was a Welsh language poet and grammarian. Einion lived in Ceredigion, where he was a chaplain to Sir Rhys ap Gruffudd ap Hywel ap Gruffudd ab Ednyfed Fychan, a wealthy nobleman. Amongst Einion’s surviving poems is an awdl sung in praise of Sir Rhys ap Gruffudd. Einion’s fames lies primarily with his metrical grammar, ‘llyfr cerddwriaeth’, the earliest of its kind known in Welsh.
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His Studies of Shakespeare appeared in 1910. But it was not only in his published work that Watts-Dunton's influence on the literary life of his time was potent. His long and intimate association with Rossetti and Swinburne made him a unique figure in the world of letters. His grasp of metrical principle and of the historic perspective of English poetry brought him respect as a literary critic.
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In the form of sin2(θ) the haversine of the double-angle Δ describes the relation between spreads and angles in rational trigonometry, a proposed reformulation of metrical planar and solid geometries by Norman John Wildberger since 2005. As sagitta and cosagitta, double-angle Δ variants of the haversine and havercosine have also found new uses in describing the correlation and anti-correlation of correlated photons in quantum mechanics.
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His article in the first issue, "Fra gammelnorsk myte og kultus," was in itself an important contribution to the study of Germanic religion, interpreting "Skírnismál" in terms of the hieros gamos.Joseph Harris, "Cursing with the Thistle: Skírnismál 31, 68 and OE Metrical Charm 9, 16-17," p. 91, note 7 in The Poetic Edda: Essays on Old Norse Mythology, ed. Paul Acker, Carolyne Larrington, New York: Routledge, 2002, , pp. 79-93.
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The book is part of Tolkien's Middle-earth legendarium. The volume includes The Sea-Bell, subtitled Frodos Dreme, which W. H. Auden considered Tolkien's best poem. It is a piece of metrical and rhythmical complexity that recounts a journey to a strange land beyond the sea. Drawing on medieval 'dream vision' poetry and Irish immram poems the piece is markedly melancholic and the final note is one of alienation and disillusion.
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The Artharvaveda Samhita is the text 'belonging to the Atharvan and Angirasa poets. It has about 760 hymns, and about 160 of the hymns are in common with the Rigveda. Most of the verses are metrical, but some sections are in prose. Two different versions of the text – the and the – have survived into the modern times.Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, , pp.
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It begins As pants the hart in the English metrical version by Tate and Brady (1696) and in Coverdale's translation in the Book of Common Prayer, Like as the hart desireth the water brooks. The psalm is a regular part of Jewish, Catholic, Anglican and Protestant liturgies and has often been set to music, notably in Palestrina's Sicut cervus, Handel's As pants the hart and Mendelssohn's Psalm 42.
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In addition to the works already mentioned, Alemán is the author of a life (1604) of St. Anthony of Padua, and versions of two odes of Horace bear witness to his taste and metrical accomplishment. His most famous work, however, is Guzmán de Alfarache, which was translated into French in 1600, into Italian in 1606, into German in 1615, into English in 1622 by James Mabbe, and into Latin in 1623.
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Dancer in masked dance festival The music of Ladakhi Buddhist monastic festivals, like Tibetan music, often involves religious chanting in Tibetan as an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables. Religious mask dances are an important part of Ladakh's cultural life.
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The opening da capo aria for tenor is based on a paraphrase of "Render to Caesar": "Nur jedem das Seine". The aria features an unusual ritornello in which the strings assume a motif introduced by the continuo, which is then repeated several times through all parts. The movement is a da capo aria emphasizing dualism and debt. Craig Smith remarks that it is "almost academic in its metrical insistence".
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However, when pressed in correspondence by Paul, bishop of Edessa, he openly expressed dissatisfaction with the proceedings of Chalcedon. From the various extant accounts of Jacob's life and from the number of his known works, we gather that his literary activity was unceasing. According to Bar Hebraeus (Chron. Eccles. i. 191) he employed 70 amanuenses and wrote in all 760 metrical homilies, besides expositions, letters and hymns of different sorts.
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Sonnet 8 follows standard English or Shakespearean sonnet form, with 14 lines of iambic pentameter sectioned into three quatrains and a couplet, with the rhyme scheme ABAB CDCD EFEF GG. The iambic pentameter's metrical structure is based on five pairs of metrically weak/strong syllabic positions per line (as exemplified in the fourth line): × / × / × / × / × / Or else receiv'st with pleasure thine annoy? (8.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
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MacDonald P. Jackson argues that "Woodstock's contractions and linguistic forms, expletives, metrical features and vocabulary all point independently to composition in the first decade of the seventeenth century", a conclusion which would make the play's relationship with Richard II that of a "prequel" rather than a source.Jackson, Macd. P. "Shakespeare's Richard II and the Anonymous Thomas of Woodstock" in Medieval and Renaissance Drama in England 14 (2001) 17–65.
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Watts also introduced a new way of rendering the Psalms in verse for church services, proposing that they be adapted for hymns with a specifically Christian perspective. As Watts put it in the title of his 1719 metrical Psalter, the Psalms should be "imitated in the language of the New Testament." Besides writing hymns, Isaac Watts was also a theologian and logician, writing books and essays on these subjects.
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In poetry, a dimeter is a metrical line of verse with two feet. The particular foot, of course, can vary. Consider Thomas Hood's "Bridge of Sighs:", in which the first line of a pair is of two feet, each composed of three syllables, and the subsequent line is of two feet, each of two syllables. :Take her up \\\ tenderly, :Lift her \\\ with care, :Fashioned so \\\ slenderly, :Young and \\\ so fair.
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They are remarkable for a prodigious metrical inventiveness and a genuine gift of melody. In subject matter they are entirely within the pale of classical, conventional love poetry. Sumarokov's literary criticism is usually carping and superficial, but it did much to inculcate on the Russian public the canons of classical taste. He was a loyal follower of Voltaire, with whom he prided himself on having exchanged several letters.
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Little is known about Day's activities in his later years. He resigned from the Church in 1584, and watched over the patents that he inherited from his father, although he never printed any works himself. When Thomas Morley published Richard Allison's Psalmes of David in Metre in 1599, he sued, claiming this infringed on the Day patent for printing the metrical psalter. It is unknown whether any settlement was reached.
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Ancient Greek has two nasals: the bilabial nasal , written and the alveolar nasal , written . Depending on the phonetic environment, the phoneme was pronounced as ; see below. On occasion, the phoneme participates in true gemination without any assimilation in place of articulation, as for example in the word . Artificial gemination for metrical purposes is also found occasionally, as in the form , occurring in the first verse of Homer's Odyssey.
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This was translated into French about 1210 by a trouvère named Herbers as Li romans de Dolopathos. Another French version, Li Romans des sept sages, was based on a different Latin original. The German, English, French and Spanish chapbooks of the cycle are generally based on a Latin original differing from these. Three metrical romances probably based on the French, and dating from the 14th century, exist in English.
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Josyf Slipyj's father, Joannes (Ivan) Slipyj, was born 19 May, 1846[Metrical record for birth of Joannes Sliepy (sic), 19 May 1846, Vol 487-1/256. Film# 2152026/9],[LDS FHC], digital images [Familysearch.org] (: accessed [January 11, 2019]) in Zazdrist (Pol: Zazdrosc) into a family of local Ukrainian farmers. His mother was Anastasia Dychkovska (born 27 January 1850), the daughter of Roman Dychkovski and Barbara Janisiewicz, also from Zazdrist.
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324 as for example in his metrical range, mostly dactylo-epitrite in form, with some Aeolic rhythms and a few iambics. The surviving poems in fact are not metrically difficult, with the exception of two odes (Odes XV and XVI, Jebb). He shared Simonides's approach to vocabulary, employing a very mild form of the traditional, literary Doric dialect, with some Aeolic words and some traditional epithets borrowed from epic.
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Pro Esperanto. Vienna, 1993. . 225 p. The text also features occasional detailed explanations of the various elements of the whole, such as the attractions of the city of Babylon. The metrical structure that lends fluency to these descriptions also endows with a certain majesty the few epigrammatic expressions of conventional sentiments, such as Hazardo suverenas sur nia mondo drakone, ‘It is Chance that holds draconian sway over our world’.
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As of the 1970s, folklorists had not undertaken extensive collecting of riddles in India, but in 1974 Ved Prakash Vatuk published a significant collection of metrical folk-riddles from Bulandshahr in Uttar Pradesh.Alan Dundes and Ved Prakash Vatuk, 'Some Characteristic Meters of Hindi Riddle Prosody', Asian Folklore Studies, 33.1 (1974), 85-153. They circulate in both folk and literary forms. Types of Tamil riddles include descriptive, question, rhyming and entertaining riddles.
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In divisive form, the strokes of tresillo contradict the beats. In additive form, the strokes of tresillo are the beats. From a metrical perspective then, the two ways of perceiving tresillo constitute two different rhythms. On the other hand, from the perspective of simply the pattern of attack-points, tresillo is a shared element of traditional folk music from the northwest tip of Africa to southeast tip of Asia.
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Arthur was a man of poetic taste and greatly admired the Hymns of the Passion by Rev Hallgrímur Pétursson. Although an earlier English translation of the hymns had been made in 1913, Gook was not satisfied. When he returned to England in 1955, due to poor health, he began a new translation of Pétursson's Passion Hymns into English. As far as possible, he kept to the metrical form of the original.
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The Ode Less Travelled: Unlocking the Poet Within is a book by author, actor, comedian, and director Stephen Fry about writing poetry. Fry covers metre, rhyme, many common and arcane poetic forms, and offers poetry exercises, contrasting modern and classic poets. Fry's starting point can be summed up by the quotation with which he heads Chapter One: 'Poetry is metrical writing./If it isn't that I don't know what it is.
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The Book of Psalms has sometimes been called the first hymn book. Some psalms are headed with instructions relating to their musical performance, music to which they were "married," even though no music is included with the texts. Psalters contained metrical versifications of the psalms. Using a regular meter, authors would translate the psalms into the vernacular, and create versions which could be set to music for the people to sing.
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St. Fiacc is the reputed author of the metrical life of St. Patrick in Irish, a document of prime importance as the earliest biography of the saint that has come down to us. Modern scholars generally think it was composed later, in the seventh or possibly even the eighth century.Redington, N. "Fiacc: Hymn on the Life of St. Patrick", St. Pachomius Orthodox Library, voskrese.info; accessed 15 June 2017.
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Thus, to every note in the series measured in semitones > from a 'root-note' in the hexachordal system, a number is made to correspond > it such that it can equally refer to a scale of time or of metrical values. > Such a plan of organization may appear extremely rigid. But Roberto Gerhard > is no pedant. He always knows how to preserve his freedom of action in > confronting any musical problem.
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Bruce Hayes (born June 9, 1955) is a Distinguished Professor of Linguistics at the University of California, Los Angeles. He received his Ph.D. in 1980 from MIT, where his dissertation supervisor was Morris Halle. Hayes works in phonology, and is well known for his book Metrical Stress Theory: Principles and Case Studies, a typologically based theory of stress systems. His research interests also include phonetically based phonology and learnability.
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Jean Renart, also known as Jean Renaut, was a Norman trouvère from the end of the 12th century and the first half of the 13th to whom three works are firmly ascribed: two metrical chivalric romances, L'Escoufle ("The Kite") and Guillaume de Dole, and a lai, Lai de l’Ombre. Nothing else is known of him or his life. He is praised for his realism and his psychological insight."Renart, Jean".
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Upadesasahasri is divided into two parts – one is in metric verse and another is in prose. There are nineteen chapters (prakarana) in the verse (or Metrical Part (Padyabandha). The manuscript of this work indicates that the two parts (prose and verse) were regarded as independent works and studied or commented upon separately. Manuscript also suggests the possibility that any single chapter could be studied differently – apart from the rest.
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Some literary scholars have argued that the author(s) of Lilit Phra Lo made mistakes in the placement or rhymes and tones; either the authors were unskilled or the metrical forms had not yet developed to the refined suphap () forms achieved in the seventeenth century. MR Sumonnachat Sawatdikun pointed out that the authors were being judged by metrical rules that may have been formulated long after the poem was composed. Robert Bickner added that the use of the meter in the poem is consistent and conforms to the nature of the Thai language at the time, and that most of the anomalies can be attributed to corruptions of the manuscript by copyists and editors. In 1949, the poet wrote an article under the pen-name Indrayuth () in the magazine Aksonsan criticizing Lilit Phra Lo as "feudal literature" produced by and for a degenerate elite, and calling on people to read literature with social relevance instead.
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His poem Lilja ("the lily", in medieval Christian imagery the flower which symbolizes purity and thus also the Virgin Mary) still lives, however, mainly because of its extraordinarily gifted composition and the fact that Eysteinn was, for his times, a purist regarding language: he avoided both complicated kenningar and borrowings as far he could. This is especially noteworthy as the poetic tradition he was a member of (skaldic poetry) draws for a great part upon most complex formal aspects, among them alteration and interweaving of word and phrase positions, a highly elaborated metaphorical system and strict metrical rules. Only the metrical regulations are still held up by Eysteinn in his poem, although he does not use the traditional Dróttkvætt metre, but the Hrynhent whose main difference is a syllable count of eight in contrast to the six-syllabic dróttkvætt. The metre has also been seen to relate, in its slower, broader word-flow, to the sermon tradition.
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Hymnals usually contain one or more indexes; some of the specialized indexes may be printed in the companion volumes rather than the hymnal itself. A first line index is almost universal. There may also be indexes for the first line of every stanza, the first lines of choruses, tune names, and a metrical index (tunes by common meter, short meter, etc.). Indexes for composers, poets, arrangers, translators, and song sources may be separate or combined.
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The tune-books of Billings and other Yankee tunesmiths were widely sold by itinerant singing-school teachers. The song texts were predominantly drawn from English metrical psalms, particularly those of Isaac Watts. All of the publications of these tunesmiths (also called "First New England School") were essentially hymnals. In 1801 the tunebook market was greatly expanded by the invention of shape notes, which made it easier to learn how to read music.
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Musical and lyric metre In music, metre (Am. meter) refers to the regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener. A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of tala and similar systems in Arabian and African music.
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Bob and wheel is the term for a pairing of two metrical schemes. The wheel is a type of rhythm used in hymns or narrative songs sung in European churches or gatherings from the 12th to the 16th Centuries. A wheel occurs when at the end of each stanza, the song and the lyric return to some peculiar rhythm. In some instances the wheel is a return to something that resembles no definable poetic rhythm.
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While Bishop of Clonfert, Ó Ceallaigh commissioned the work known as Leabhar Ua Maine, written by ten scribes in Uí Maine before 1392 and after 1394. It includes a series of metrical dindsenchas, An Banshenchas, poems, genealogies and pedigrees. The largest single section is devoted to the origins and genealogies of the Ó Cellaigh dynasty of Ui Maine, its contents updated to the time of compilation. There were ten scribes, eight of whom are anonymous.
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Each strophe is composed of monorhyming ottonari and a concluding monorhymed couplet or tercet of endecasillabi, though there are metrical and linguistic irregularities. The poet is indebted to an unnamed Latin source, scriptura, possibly the Bible. It has been speculated, based on internal references to fegura (figure, allegory, picture, drawing), that the poem may have been performed by a giullare with visual aids. The opening stanza introduces the contrast between this life and the afterlife.
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Lugh killed him in revenge, but Cermait's sons, Mac Cuill, Mac Cecht, and Mac Gréine, killed Lugh in return, spearing him through the foot then drowning him in Loch Lugborta in County Westmeath, The Metrical Dindshenchas Part IV. Poem 86:"Loch Lugborta" He had ruled for forty years. Cermait was later revived by his father, the Dagda, who used the smooth or healing end of his staff to bring Cermait back to life.
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Longfellow circa 1850s Much of Longfellow's work is categorized as lyric poetry, but he experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads, and sonnets. Typically, he would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melodious musicality.
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'"Madden 1972 qtd. pp. 64–65 The review continued, "He tells us it is metrical ... He will excuse our ears, but we cannot agree with him. Among the sins of our youth, we, like him, have traded in desultory versification, but have long been brought back to lyrical rhyme, and heroic blank verse. The reasons are obvious ... We recommend his beauties to the esteem, and his faults to the forgetfulness, of every reader.
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In Greek and thus in Latin, Patroclus has all short vowels. Thus the expected English pronunciation would be with stress on the 'a'. However, Alexander Pope shifted the stress to the first 'o', , for metrical convenience in his verse translation of Homer, and this irregular pronunciation has become established in English. Patroclus and its moon Menoetius are the only objects in the Trojan camp to be named after Greek rather than Trojan characters.
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The metrical rhythm of mantinadas usually falls into eight successive iambs followed by an unstressed syllable, the form known in Greek as political verse and akin to the English-language fourteener and ballad stanza. There may be slight variations in meter. For example: > Τα κρητικά τα χώματα, όπου και αν τα σκάψεις, > αίμα παλικαριών θα βρείς, κόκαλα θα ξεθάψεις. > Ta Kritika ta chomata opou kai an ta skapseis > Aima palikarion tha vreis, kokala tha ksethapseis.
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According to the Encyclopædia Britannica Eleventh Edition, "[n]o Spanish dramatist of the nineteenth century approaches him in comic power, in festive invention, and in the humorous presentation of character, while his metrical dexterity is unique. that Marcela, o ¿a cuál de los tres? (1831), Muérete y verás! (1837) and La Escuela del matrimonio (1852) still hold the stage [as of 1911], and are likely to hold it so long as Spanish is spoken".
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Scansion ( , rhymes with mansion; verb: to scan), or a system of scansion, is the method or practice of determining and (usually) graphically representing the metrical pattern of a line of verse. In classical poetry, these patterns are quantitative based on the different lengths of each syllable. In English poetry, they are based on the different levels of stress placed on each syllable. In both cases, the meter often has a regular foot.
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Kirk argues that Homeric poems differ from those traditions in their "metrical strictness", "formular system[s]", and creativity. In other words, Kirk argued that Homeric poems were recited under a system that gave the reciter much more freedom to choose words and passages to get to the same end than the Serbo-Croatian poet, who was merely "reproductive".Kirk, Geoffrey S. The Songs of Homer. Cambridge: Cambridge University Press, 1962. pp88 - 91.
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Metrical concepts of Euclidean geometry (concepts concerned with measuring lengths and angles) can not be immediately extended to the real projective plane.Consider finding the midpoint of a line segment with one endpoint on the line at infinity. They must be redefined (and generalized) in this new geometry. This can be done for arbitrary projective planes, but to obtain the real projective plane as the extended Euclidean plane, some specific choices have to be made.
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Karl Georg Christian von Staudt defined a conic as the point set given by all the absolute points of a polarity that has absolute points. Von Staudt introduced this definition in Geometrie der Lage (1847) as part of his attempt to remove all metrical concepts from projective geometry. A polarity, , of a projective plane, , is an involutory (i.e., of order two) bijection between the points and the lines of that preserves the incidence relation.
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Admirers remained hesitant to adopt such departures from traditional metrical schemes: "The English ... had been writing separate lines for so long that they could not rid themselves of the habit".Dexter 1922 p. 59. Isaac Watts preferred his lines distinct from each other, as did Oliver Goldsmith, Henry Pemberton, and Scott of Amwell, whose general opinion it was that Milton's frequent omission of the initial unaccented foot was "displeasing to a nice ear".
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Wesley's hymns are notable as interpretations of Scripture. He also produced paraphrases of the Psalms, contributing to the long tradition of English metrical Psalmody. A notable feature of his Psalms is the introduction of Jesus into the Psalms, continuing a tradition of Christological readings of the Psalms evident in the translations of John Patrick and Isaac Watts. The introduction of Jesus into the Psalms was often the source of controversy, even within Wesley's own family.
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A specimen of common hawthorn found at Glastonbury, first mentioned in an early sixteenth century anonymous metrical Lyfe of Joseph of Arimathea, was unusual in that it flowered twice in a year, once as normal on "old wood" in spring, and once on "new wood" (the current season's matured new growth) in the winter. This tree has been widely propagated by grafting or cuttings, with the cultivar name 'Biflora' or 'Praecox'.Lance et al., p.
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Small devoted his leisure time to literary work. His first larger publication was a volume, English Metrical Homilies … Edited, with an Introduction and Notes, Edinburgh, 1862. He was the chief associate of Cosmo Innes in editing the Journal of Andrew Halyburton, published in 1867. Thereafter his chief labour was expended on editing, with careful glossaries and indices, the works of early Scottish poets, viz. The Poetical Works of Gavin Douglas, 4 vols.
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The Tournament of Tottenham is a short humorous poem of 231 lines written in Middle English and is dated between 1400–40. There are two known manuscripts for the poem, one Harleian 5306 (H), 1456 in the British Library and the other Ff. II 38 (c), 1431 in the Cambridge University Library. The dialect has been identified as Northern English. The line is alliterative, either emulating or parodying older Germanic metrical styles.
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The use of Megalynaria in Orthodox worship dates back to the 8th century. St. Cosmas the Melodist (or Hymnographer), who wrote the original megalynarion to the Theotokos (Virgin Mary), "More honorable than the Cherubim..." for the 9th Ode of the Canon of Great and Holy Thursday.The St. John Orthodox Church Choir , Website of St. John Orthodox Church, Memphis, Tennessee. Accessed 2008-05-02 All subsequent megalynaria in Greek follow the same metrical pattern.
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Sonnet 32 is written in the English (Shakespearean) sonnet form. It consists of 14 lines: 3 quatrains followed by a couplet. The metrical line is iambic pentameter with the rhyme scheme ABAB CDCD EFEF GG. Literary critic George T. Wright observes how iambic pentameter, "however highly patterned its syntax, is by nature asymmetrical – like human speech". Thus, the organization of a sonnet exists so that meaning may be found in its variation.
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This amounts to a specification of 19 equal temperament for a keyboard version of this chanson.Levy 1955, 215–16. While he was a member of Jean-Antoine de Baïf's Academie de musique et de poésie, few of his works show the influence of, or intent to contribute to, the newly developed genre of musique mesurée. Only two compositions in the collection entitled Musique, published in 1570, show the metrical freedom which characterizes the style.
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Strachan, p. 184. Depending on the position of the long syllable, the four paeons are called a first, second, third, or fourth paeon.The Roman rhetorician Quintilian, only considered the first and fourth forms to be paeons, while acknowledging that some include all four, Institutio Oratoria 9.5.96. The cretic or amphimacer metrical foot, with three syllables, the first and last of which are long and the second short, is sometimes also called a paeon diagyios.
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Lugh made 300 wooden cows, and filled them with a bitter, poisonous red liquid which was then "milked" into pails and offered to Bres to drink. Bres, who was under an obligation not to refuse hospitality, drank it down without flinching, and it killed him.E. J. Gwynn, The Metrical Dindshenchas Vol 3, Poem 40: Carn Hui Neit The Lebor Gabála mentions this incident briefly, however the deadly liquid is identified as sewage.
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ABMAP, also known as the Animal Bone Metrical Archive Project, consists of a collection of metric data on the main domestic animals recorded at the University of Southampton, together with the data from some other sources, in particular the Museum of London Archaeology Service (MoLAS). Whilst the data is primarily from England, it is applicable to a wider geographical area. Stored in a neutral archival format, it is freely available for teaching, learning and research.
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This new regard for the letter of the Biblical text diminished the appeal of the psalters' previous versions; those who sang them no longer felt they were singing Scripture. The success of these newer hymns has largely displaced the belief that each hymn must be a direct translation of Scripture. Now, many hymnals contain Biblical references to the passages that inspired the authors, but few are direct translations of Scripture like the metrical psalters were.
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Many also have a community cultural character and are closely related to the production culture. Some literature is in metrical verse, while others are in prose form. Fragmentary written evidence of Korean folk literature can be found as far back as the 5th century, while complete stories preserved in writing exist from the 12th and 13th centuries in the Buddhist priest Iryeon's compendium Samguk yusa. Princess Bari holding the flower of resurrection.
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5, 116. One seminal composition, directly or indirectly influential on many subsequent sagas, seems to have been Klári saga, whose prologue states that it was translated from a Latin metrical work which Jón Halldórsson Bishop of Skálholt found in France, but which is now thought to have been composed by Jón from scratch.; cf. Marianne Kalinke, 'Clári saga: A Case of Low German Infiltration', Scripta Islandica: Isländska sällskapets ärbok, 59 (2008), pp. 5-25.
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John Stanyan Bigg (1828–1865) was an English poet of the Spasmodic School. His major works are The Sea-King; A metrical romance, in six cantos (1848), Night and the soul. A dramatic poem (1854), Shifting Scenes and Other Poems (1862). In 1858 Stanyan Bigg submitted an entry to the 'Burns Centenary Poetry Competition', organised by the directors of the Crystal Palace Company in London to mark the centenary of the birth of Robert Burns.
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The name's meaning is unknown. It has been speculatively linked to various Old Norse words, such as , "fruit, land", , "people" and , "to attract". The Gothic words , "to grow" and , "shape", as well as the German word , "to blaze", have also been mentioned in this context. The metrical position of Lóðurr's name in the skaldic poem , composed in the strict dróttkvætt metre, indicates that it contains the sound value /ó/ rather than /o/.
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Schwechater is a 1958 experimental short film by Austrian filmmaker Peter Kubelka. It is the second entry in his trilogy of metrical films, between Adebar and Arnulf Rainer. Originally commissioned to make an advertisement for , Kubelka edited footage from the shoot based on a complex set of rules, producing a rapid procession of images. Although the company was displeased with the commercial, Schwechater found favour as a work of avant-garde cinema.
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The village is named for St. Srafán, whose feast day in the Martyrology of Tallaght was 23 May. Straffan was also one of 300 Irish locations accorded its own place-legend in Dinnshenchas Érenn (Metrical (ed. Edward Gwynn 1924) iv, pp328–331). It consisted of a poem called "Lumman Tige Srafain", about a warrior named Lumann who possessed a wonderful shield and who, according to the poem, died of his wounds at Tech Srafáin.
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"Prologue", p.3 It was followed by the Reverend Frederick Toller’s A poetical version of the fables of Phædrus (London, 1854).Google Books These were translated more diffusely into irregular verses of five metrical feet and each fable was followed by a prose commentary. The most recent translation by P. F. Widdows also includes the fables in the Perotti appendix and all are rendered into a free version of Anglo-Saxon alliterative verse.
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The ',Also known as the ' ascribed to Gobhilaputra, is a concise metrical text of two chapters, with 113 and 95 verses respectively. Its subjects are covered in a manner clear to those who understand Vedic Sanskrit. The first chapter deals with physical aspects of sacred cosmic rituals e.g. names of the 37 types of sacred fires, the rules and measurements for the firewood, preparation of the holy site and the timings of each cosmic activity.
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His poetry, in which he sought to imitate Ovid and Ausonius, is much praised by John Bale. Amongst other poems, we may enumerate one in elegiacs, giving a description of all the saints' days throughout the year, with lives of the saints who were celebrated on each and a metrical compendium of Bible History. A further account of Alexander's works will be found in Thomas Tanner's Bibliotheca, and in Polycarp Leyser's Hist. Poet. Med. Ævi.
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59 White also observes the music's complex metrical character, with combinations of duple and triple time in which a strong irregular beat is emphasised by powerful percussion.White 1961, p. 61 The music critic Alex Ross has described the irregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages".
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Dimock was interested in ecclesiastical and mediaeval history: his earliest work was Illustrations of the Collegiate Church of Southwell, London, 1854. In 1860 he published at Lincoln an edition of the Metrical Life of St. Hugh, and in 1864 he edited for the Rolls Series the Magna Vita S. Hugonis, Episcopi Lincolniensis, 1864. He also published The Thirty-nine Articles . . . explained, proved, and compared with her other authorized formularies, London, 1843, 1845, 2 vols.
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Manilal's poetic ideal was influenced by his association with Gujarati writer and poet Narmad, and also by his own philosophical outlook and study of English poetry. In his journal Priyamvada (later Sudarshan), Manilal wrote that many of his poems came from his own intense personal experiences. Over the twenty-two years during which he wrote poetry (1876–1898), Manilal tried various poetic forms. Atmanimajjan includes ghazals, songs, and bhajans, in addition to metrical poetic compositions.
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More original are some compositions of an educational character known under the name of ensenhamenz, and, in some respects, comparable to the English nurture-books. The most interesting are those of Garin le Brun (12th century), Arnaut de Mareuil, Arnaut Guilhem de Marsan, Amanieu de Sescas. Their general object is the education of ladies of rank. Of metrical lives of saints we possess about a dozen, notes Histoire littéraire de la France, vol. xxxii.
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Expletive comes from the Latin verb ', meaning "to fill", via ', "filling out". It was introduced into English in the seventeenth century for various kinds of padding—the padding out of a book with peripheral material, the addition of syllables to a line of poetry for metrical purposes, and so forth. Use of expletive for such a meaning is now rare. Rather, expletive is a linguistics term for a meaningless word filling a syntactic vacancy.
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Title page of composer Tobias Hume's First Part of Ayres (1605), which Windet printed John Windet (fl 1584–1611)Miller. was an English printer, notable for his music publications. He was a close business associate of fellow printer John Wolfe. After 1591, Wolfe ceased printing the lucrative metrical psalter of Thomas Sternhold and John Hopkins, and Windet succeeded him in becoming the sole printer of the work for patent-holder Richard Day.
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String Quartet No. 1 in C minor is remarkable for its organic unity and for the harmonically sophisticated, "orchestrally inclined" outer movements that bracket its more intimate inner movements. The quartet consists of four movements: The String Quartet No. 2 in A minor, also highly unified thematically, is comparatively lyrical, although culminating in a dramatic and propulsive finale whose tension "derives...from a metrical conflict between theme and accompaniment."Donat, Misha (2007). Liner notes.
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In 1865 he became assistant master of Eccleshall College, a private school near Sheffield. Subsequently he purchased a day school in Sheffield, which proved a failure, and in 1880 he had to retire from his charge penniless. From that date till his death in 1886 he acted as a private tutor in Edinburgh. He published 'Metrical Tales' at Sheffield in 1880, and 'Lays and Legends of the North' at Edinburgh in 1884.
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In pre-Christian times, witchcraft was a common practice in the Cook Islands. The native name for a sorcerer was tangata purepure (a man who prays). The prayers offered by the ta'unga (priests) to the gods worshiped on national or tribal marae (temples) were termed karakia; those on minor occasions to the lesser gods were named pure. All these prayers were metrical, and were handed down from generation to generation with the utmost care.
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The maqtaa is typically more personal than the other couplets in a ghazal. The creativity with which a poet incorporates homonymous meanings of their takhallus to offer additional layers of meaning to the couplet is an indicator of their skill. # Bahr/Beher: Each line of a ghazal must follow the same metrical pattern and syllabic (or morae) count. Unlike in a nazm, a ghazal's couplets do not need a common theme or continuity.
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In music, a caesura denotes a brief, silent pause, during which metrical time is not counted. Similar to a silent fermata, caesurae are located between notes or measures (before or over bar lines), rather than on notes or rests (as with a fermata). A fermata may be placed over a caesura to indicate a longer pause. In musical notation, a caesura is marked by double oblique lines, similar to a pair of slashes .
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Monks playing Tibetan horns Music forms an integral part of Tibetan Buddhism. While chanting remains perhaps the best known form of Tibetan Buddhist music, complex and lively forms are also widespread. Monks use music to recite various sacred texts and to celebrate a variety of festivals during the year. The most specialized form of chanting is called yang, which is without metrical timing and is dominated by resonant drums and sustained, low syllables.
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After a very brief telling of the cock's rejection of the pearl as being inedible, La Fontaine describes a parallel situation in which a man inherits a valuable manuscript but prefers to have cash in hand for it.Fontaine's metrical version of the fable, on the 'Read Book Online' website. According to his reading of the fable, what the man and the cock lack is aesthetic judgement rather than wisdom. Some later interpretations are equally materialistic.
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Rhosymedre is the name of a hymn tune written by the 19th-century Welsh Anglican priest John David Edwards. Edwards named the tune after the village of Rhosymedre in the County Borough of Wrexham, Wales, where he was the vicar from 1843 until his death in 1885. The hymn tune is seven lines long, with a metrical index of 6.6.6.6.8.8.8. It appears in a number of hymnals and is sung to a variety of words.
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Hokku and haiku consist of 17 Japanese syllables, or on (a phonetic unit identical to the mora), in three metrical phrases of 5, 7, and 5 on respectively. A kireji is typically positioned at the end of one of these three phrases. When it is placed at the end of the final phrase (i.e. the end of the verse), the kireji draws the reader back to the beginning, initiating a circular pattern.
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Music also incorporated wider European influences although the Reformation caused a move from complex polyphonic church music to the simpler singing of metrical psalms. Combined with the Union of Crowns in 1603, the Reformation also removed the church and the court as sources of patronage, changing the direction of artistic creation and limiting its scope. In the early seventeenth century the major elements of the Renaissance began to give way to Mannerism and the Baroque.
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He was confined to bed for a number of his final years, having injured himself in a fall. He published at least 23 volumes of poetry— sixteen in Nepali, and four each in Newari and Hindi. His poems are usually written in metrical verse and are very brief, rarely exceeding a page in length. His early poems are melancholic, pessimistic or revolutionary, in keeping with his incarceration during a time of revolution against the tyranny of the Ranas.
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She was born at Apple Hall, Bradford, Yorkshire, 8 August 1800, and died at Trebah 19 February 1882. Her writings were: A Metrical Version of the Book of Job, 1852–4; Poems, Original and Translated, 1863; Catch who can, or Hide and Seek, Original Double Acrostics, 1869; and "The Matterhorn Sacrifice, a Poem", in Macmillan's Magazine, 1865. Their daughter Juliet married Edmund Backhouse, who was MP for Darlington and a wealthy banker. Another daughter died in childhood.
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Tibetan music often involves chanting in Tibetan or Sanskrit as an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables. Other styles include those unique to the various schools of Tibetan Buddhism, such as the classical music of the popular Gelug school and the romantic music of the Nyingma, Sakya and Kagyu schools.
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These metrical restraints encouraged the creation of new compounds, adjectives, and coined words, and Nonnus' work has some of the greatest variety of coinages in any Greek poem. The poem is notably varied in its organization. Nonnus does not seem to arrange his poem in a linear chronology; rather, episodes are arranged by a loose chronological order and by topic, much as Ovid's Metamorphoses. The poem states as its guiding principle poikilia, diversity in narrative, form, and organization.
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In 1636 Lewknor was appointed to a commission for better preservation of timber in view of the growth of the Sussex iron trade.Mark Antony Lower Contributions to literature: historical, antiquarian, and metrical By the early 1630s he was recorder of Chichester. In April 1640, he was elected MP for Chichester in the Short Parliament. He was re-elected MP for Chichester in November 1640 for the Long Parliament and sat until he was disabled as a Royalist in 1642.
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In the English language poetic metres and hymn metres have different starting points but there is nevertheless much overlap. Take the opening lines of the hymn Amazing Grace: :Amazing grace, how sweet the sound :that saved a wretch like me. Analyzing this, a poet would see a couplet with four iambic metrical feet in the first line and three in the second. A musician would more likely count eight syllables in the first line and six in the second.
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Nancarrow's first pieces combined the harmonic language and melodic motifs of early jazz pianists like Art Tatum with extraordinarily complicated metrical schemes. The first five rolls he made are called the Boogie-Woogie Suite (later assigned the name Study No. 3 a-e). His later works were abstract, with no obvious references to any music apart from his own. Many of these later pieces (which he generally called studies) are canons in augmentation or diminution (i.e.
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There are also several contractions which are unusual to modern ears: Line 9's "rud'st" and line 10's "deformèd'st" of which Stephen Booth says, "[b]oth words demonstrate their sense; they are contorted alternatives for 'rudest' and 'most deformed'". Finally, the Quarto's metrical "maketh mine" in line 14 is rejected by some editors, typically requiring an emendation with an unusual pronunciation, as for example Kerrigan's "mak'th mine eye", or Booth's "maketh m'eyne" (m'eyne = "my eyes").
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The legend of Alexius, from a fresco in the Basilica di San Clemente The Ritmo di Sant'Alessio or Ritmo marchigiano su Sant'Alessio is a late twelfth-century metrical vita of the legendary saint Alexius of Rome composed for public performance by an anonymous giullare. It is one of the earliest pieces of Italian literature. The cult of Alexius was mainly promoted by the Benedictines, starting in Italy. In the tenth century a Greek vita was adapted to Latin prose.
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24; Williams, Smyth and Kirby, Biographical Dictionary of Dark Age Britain, s.v. "Eadfrith" p. 112 The Anonymous Life was organised into four books; though this was not common in the literature of the day, it followed the organization of the metrical Vita Sancti Martini of Venantius Fortunatus, Gregory of Tours' De Virtutibus Sancti Martini and the Dialogi of Gregory the Great (containing an account of the life of Benedict of Nursia).Berschin, Berschin, "Opus Deliberatum", p.
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For example, Krishnadevaraya of the Vijayanagara Empire styled himself as Abhinava-Bhoja ("the new Bhoja") and Sakala-Kala-Bhoja ("Bhoja of all the arts"). Bhoja was himself a polymath. Under his rule, Mālwa and its capital Dhara became one of the chief intellectual centres of India. He is said to have paid great attention to the education of his people, so much so that even humble weavers in the kingdom are supposed to have composed metrical Sanskrit kavyas.
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Boece's Historia as published terminated in 1438. In the early 1530s the scholar Giovanni Ferrerio, engaged by Robert Reid of Kinloss Abbey, wrote a continuation of Boece's history, extending it another 50 years, to the end of the reign of James III. John Lesley in his De Origine, Moribus, et Rebus Gestis Scotorum, and Robert Lindsay of Pitscottie, provided further continuations. The metrical translation into Scots by William Stewart, not published until the nineteenth century, also provided some expansion.
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Research by Milman Parry and Albert Lord indicates that the verse of the Greek poet Homer has been passed down (at least in the Serbo-Croatian epic tradition) not by rote memorization but by "Oral-formulaic composition". In this process extempore composition is aided by use of stock phrases or "formulas" (expressions that are used regularly "under the same metrical conditions, to express a particular essential idea").Milman Parry, L’epithèt traditionnelle dans Homère (Paris, 1928), p. 16; cf.
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Instead, they composed brief, highly polished poems in various thematic and metrical genres. The Roman love elegies of Tibullus, Propertius, and Ovid (Amores, Heroides), with their personal phrasing and feeling, may be the thematic ancestor of much medieval, Renaissance, Romantic, and modern lyric poetry, but these works were composed in elegiac couplets and so were not lyric poetry in the ancient sense.Bing, Peter & al. Games of Venus: An Anthology of Greek and Roman Erotic Verse from Sappho to Ovid.
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To the former corresponds the Apokopos, a satire of the dead on the living; to the latter the Piccatores, a metrical piece decidedly lengthy but rather unpoetic, while the former has many poetical passages (e.g. the procession of the dead) and betrays the influence of Italian literature. In fact Italian literature impressed its popular character on the Greek popular poetry of the 16th and 17th centuries, as French literature had done in the 13th and 14th.
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Bern, Burgerbibliothek, Cod. 611, f. 73v: two of the Bern Riddles ("De sale" 'salt' and "De mensa" 'table'), from the manuscript that gives the collection its name. The Bern Riddles, also known as Aenigmata Bernensia, Aenigmata Hexasticha or Riddles of Tullius, are a collection of 63 metrical Latin riddles, named after the location of their earliest surviving manuscript, which today is held in Bern (though probably produced in Bourges): the early eighth-century Codex Bernensis 611.
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"For a Swarm of Bees" is an Anglo-Saxon metrical charm that was intended for use in keeping honey bees from swarming. The text was discovered by John Mitchell Kemble in the 19th century. The charm is named for its opening words, "'", meaning "against (or towards) a swarm of bees". In the most often studied portion, towards the end of the text where the charm itself is located, the bees are referred to as ', "victory-women".
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The main raso forms are doha (couplet) and chhand (extended metre). A variant of the doha is the soratha. The number of syllables per line is the same in both forms; however, in doha the first half of the line is longer and the rhyme occurs at the end of the line, whereas in sorath the second half of the line is longer and the rhyme occurs in the middle. In chhand, the metrical structure has many forms.
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The Nativity of Jesus on the recto of the British Library page The book is large, with 281 vellum folios or leaves (two-sided) in Cambridge, measuring an average .PUEM The four detached leaves have presumably been trimmed and are now 400–405 mm x 292–300 mm.Zarnecki, 111–112 The texts are: "a calendar, triple Metrical Psalms ... canticles, two continuous commentaries, two prognostications".PUEM The three main different Latin versions of the Psalms are given side by side.
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In England, the subject was treated in the metrical romance, Sir Gowther, probably written around the end of the fourteenth century (though in this version the devil disguises himself as the mother's husband).Corinne Saunders, Rape and Ravishment in the Literature of Medieval England, D.S. Brewer, Rochester, NY. 2001. p.223; E. M. Bradstock, `Sir Gowther: Secular Hagiography or Hagiographical Romance or Neither?', AUMLA: Journal of the Australasian Universities Language and Literature Association 59 (1983), 26-47.
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The development of Tamil prosody can be broadly broken into four stages. The first stage is predominantly indigenous, pre-Sanskritic and extra-Sanskritic. It is based on a basic metrical unit named acai which forms the basis for all the important classical metres of Tamil. The second stage () marks the influence of Sanskritic prosody on the Tamil metre and ends with the overwhelming incorporation of the akshara (syllable) and matra (mora) based metrics alongside the indigenous Tamil ones.
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The biggest river flowing into Vučitrn is the Sitnica. It is the second biggest natural basin river of Kosovo (), after the Drini i Bardhe (). According to many years of hydro-metrical observation, the Sitnica flows at a rate of approximately , or 439.11 million m³ of water per year. The Sitnica river gathers smaller rivers such as Llapi, Lumkuqi, Tërrstena, Banja e Gjytezës and some other water flows that comes from the east side of the Čičavica mountain.
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Fingen eventually slept with her, and her memory returned. In the morning, Fingen gave her the queen's robe and brooch, and put aside his current queen, daughter of the king of the Deisi, and put Mór in her place as she was of better blood. The Metrical Dindshenchas say of Fingen and Mór: > Best of the women of Inis Fail > is Mór daughter of Áed Bennan. > Better is Fingen than any hero > that drives about Femen.
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Massengale observes that good musical poetry, like this Epistle, is always a compromise, as it has both to fit its music or be no good as a musical setting, and to contrast with its music, or be no good as poetry. The final verse, containing all three metrical devices, is not, argues Massengale, an example of "decay", but shows Bellman's freedom, change of focus (from lament to acceptance), and the closure of the Epistle.Massengale, 1979, pages 147–148.
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Pāda is the Sanskrit term for "foot" (cognate to English foot, Latin pes, Greek pous), with derived meanings "step, stride; footprint, trace; vestige, mark". The term has a wide range of applications, including any one of four parts (as it were one foot of a quadruped), or any sub-division more generally, e.g. a chapter of a book (originally a section of a book divided in four parts). In Sanskrit metre, pāda is the term for a metrical foot.
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In probability theory and information theory, adjusted mutual information, a variation of mutual information may be used for comparing clusterings. It corrects the effect of agreement solely due to chance between clusterings, similar to the way the adjusted rand index corrects the Rand index. It is closely related to variation of information: when a similar adjustment is made to the VI index, it becomes equivalent to the AMI. The adjusted measure however is no longer metrical.
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In 1583 William Hunnis entitled his translation "Seven Sobs of a Sorrowful Soul for Sinne". During the reign of Edward VI, Sir Thomas Smith translated ninety-two of the psalms into English verse while imprisoned in the Tower of London. A chaplain to Queen Mary I of England, calling himself the "symple and unlearned Syr William Forrest, preeiste", did a poetic version of fifty psalms in 1551. Matthew Parker, later Archbishop of Canterbury, completed a metrical psalter in 1557.
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Gullick, "Scribes", p 109; South, Historia, pp. 15–17 Bodley 596 itself is a compilation bound together in the early 17th century, but folios 174 to 214 are from the late 11th or early 12th century, containing Bede's prose Life of St Cuthbert (175r–200v), his metrical Life of St Cuthbert (201r–202v), this Historia and finally a Life and Office of St Julian of Le Mans (206v–214v).Colgrave, Two Lives, p. 24; South, Historia, p.
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He learned French, Italian, Latin, and Greek by himself, and discovered Homer at the age of six. As a child Pope survived being once trampled by a cow, but when he was 12 began struggling with tuberculosis of the spine (Pott disease), along with fits of crippling headaches which troubled him throughout his life. In the year 1709, Pope showcased his precocious metrical skill with the publication of Pastorals, his first major poems. They earned him instant fame.
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Rebel was one of the first French musicians to compose sonatas in the Italian style. Many of his compositions are marked by striking originality that include complex counter-rhythms and audacious harmonies that were not fully appreciated by listeners of his time. His opus Les caractères de la danse combined music with dance, a French tradition, and presented innovative metrical inventions. The work was popular and was performed in London in 1725 under the baton of George Frideric Handel.
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Sonnet 108 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 14th line exemplifies a regular iambic pentameter: × / × / × / × / × / Where time and outward form would show it dead. (108.14) The sonnet exhibits many metrical variations.
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The new edition, The Book of Psalms for Worship, was released in 2009. The Reformed Presbyterian Church of Ireland, however, produced a split leaf version of the Scots Metrical Psalter, but with additional "Alternative versions" of the words included as the second half of the book. These were culled from a number of sources, including the RPCNA books mentioned above. Whenever a new version was necessary, they merely expanded their old book, without removing any of the old translations.
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Jin particularly expresses his admiration for Yingying's beauty and character, and modifies any scenes which he feels painted her in too vulgar a light. Other changes are made for the simple reason of achieving superior literary effect. In the arias of the play, these changes include removing supernumerary words and changing words to more vivid descriptors. The strict metrical requirements of the aria format makes it difficult for Jin to make large-scale changes to these sections.
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Gorakhpuri was well-versed in all traditional metrical forms such as ghazal, nazm, rubaai and qat'aa. He wrote more than a dozen volumes of Urdu poetry, a half dozen of Urdu prose, several volumes on literary themes in Hindi, as well as four volumes of English prose on literary and cultural subjects. His biography, Firaq Gorakhpuri: The Poet of Pain & Ecstasy, written by his nephew Ajai Mansingh was published by Roli Books in 2015.Books reflect a political fever.
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14.7 and Carm. 1.16.24. but it is uncertain if this was intended as a title or only as a generic descriptor, referring to the dominant metre used in the collection: the iamb. In the ancient tradition of associating metrical form with content, the term had by Horace's time become a metonym for the genre of blame poetry which was habitually written in iambic metre. Both terms, Epodes and Iambi, have become common names for the collection.
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Sonnet 124 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / It suffers not in smiling pomp, nor falls (124.6) Many metrical variants occur in this poem.
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The ionic (or Ionic) is a four-syllable metrical unit (metron) of light-light- heavy-heavy (u u – –) that occurs in ancient Greek and Latin poetry. According to Hephaestion it was known as the Ionicos because it was used by the Ionians of Asia Minor; and it was also known as the Persicos and was associated with Persian poetry.Quoted in Thiesen, Finn (1982). A Manual of Classical Persian Prosody, with chapters on Urdu, Karakhanidic and Ottoman prosody.
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There was a translation of the Psalmyn Ghavid (Psalms of David) in metre in Manx by the Rev John Clague, vicar of Rushen, which was printed with the Book of Common Prayer of 1768. Bishop Hildesley required that these Metrical Psalms were to be sung in churches. These were reprinted by the Manx Language Society in 1905. The British and Foreign Bible Society (BFBS) published the Conaant Noa (New Testament) in 1810 and reprinted it in 1824.
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The aria is in three thematic sections: "enjoining", "melodramatically rhetoric", and "imprecatory". The fourth movement is a soprano and alto duet recitative, "" (I would gladly, o God, give you my heart) It is rhythmically metrical and presents five sections based on mood and text. The recitative is "high and light but very complicated in its myriad of detail". The duet aria, "" (Take me from myself and give me to You!), again for soprano and alto, is in triple time.
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MacCaig's first two books were deeply influenced by the New Apocalypse movement of the thirties and forties, one of a number of literary movements that were constantly coalescing, evolving and dissolving at that time. Later he was to all but disown these works, dismissing them as obscure and meaningless. His poetic rebirth took place with the publication of Riding Lights in 1955. It was a complete contrast to his earlier works, being strictly formal, metrical, rhyming and utterly lucid.
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Pomponius was the first to give artistic dignity to the Atellan Fables by making them less improvised and providing the actors with a script (written in the metrical forms and technical rules of the Greeks) and a predetermined plot. Pomponius’ skill in the utilization of rustic, obscene, quotidian, alliterative, punning, and farcical language was remarked on by Macrobius in his Saturnalia, as well as by Seneca and Marcus Velleius Paterculus. His work included political, religious, social, and mythological satires.
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Her 1960 marriage to her second husband, design engineer Herbert La Mers, produced one daughter, and lasted until his death in 2003. La Mers published her first poem in The Southern Churchman when she was seven years old. Since then her poetry has appeared in The Wall Street Journal, The Saturday Evening Post, Collier's, Light Quarterly, and several anthologies. Her work, usually humorous and always metrical, has been characterized as "a marriage of Dorothy Parker and Ogden Nash".
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English language poetic meter depends on stress, rather than the number of syllables. It thus stands in contrast to poetry in other languages, such as French, where syllabic stress is not present or recognized and syllable count is paramount. This often makes scansion (the analysis of metrical patterns) seem unduly arcane and arbitrary to students of the craft. In the final analysis, the terms of scansion are blunt instruments, clumsy ways of describing the infinitely nuanced rhythms of language.
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Illustration by George Cruikshank for the 'Dead Drummer of Salisbury Plain', one of The Ingoldsby Legends. In 1826 Barham first contributed to Blackwood's Magazine; and in 1837 he began to write for a recently initiated magazine, Bentley's Miscellany, a series of tales (most of them metrical, some in prose) known as The Ingoldsby Legends. These became very popular. They were published in a collected form in three volumes between 1840 and 1847, and have since appeared in numerous editions.
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Jessie Seymour Irvine (26 July 1836 – 2 September 1887) was the daughter of a Church of Scotland parish minister who served at Dunottar, Peterhead, and Crimond in Aberdeenshire, Scotland. She is referred to by Ian Campbell Bradley in his 1997 book Abide with Me: The World of Victorian Hymns as standing "in a strong Scottish tradition of talented amateurs ... who tended to produce metrical psalm tunes rather than the dedicated hymn tunes increasingly composed in England".
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At the time, Grant was collaborating with a group of associates compiling hymns and metrical psalms from across the North of Scotland with the intention of publishing them in a new hymnal. His colleagues were Robert Cooper, precentor of Peterhead Parish Church, William Clubb, precentor at Crimond, and William Carnie, a journalist from Aberdeen. Irvine submitted the tune to Carnie. The Northern Psalter was published in 1872, but with credited solely to David Grant as its composer.
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There is another oracle mentioned in The Metrical Dindshenchas, poem 102 on Druim Tairleime: Hogan's Onomasticon gives the following entry:- Druim Tairléme:- Sa. 87 a; ¶ v. D. Tuirléime; ¶ "Drumtorlingy, Drumhurling, Drumhurlin, in Taghmon parish, Barony of Corkaree, County of Westmeath. Mis. 244(?)." But it is more likely to be in County Meath, close to Tara, as Cath Maighe Léna states that the name of the hill where Conn of the Hundred Battles was killed was Druim Tuirléime.
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Gregory has also been supposed to be the author of the Metrical Life of St. Hugh of Lincoln; but this is scarcely probable, since that poem appears to have been written before 1235. The Laudian MS., however, seems to contain a later edition, and ascribes the poem to a Gregory who had dedicated it to a bishop of Winchester, and it is therefore possible that the writer may have been the reviser of the older poem.
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413 – 830. along with Horace's Canidia. Bound tablets with magic inscriptions from late antiquity The Twelve Tables forbade any harmful incantation (malum carmen, or 'noisome metrical charm'); this included the "charming of crops from one field to another" (excantatio frugum) and any rite that sought harm or death to others. Chthonic deities functioned at the margins of Rome's divine and human communities; although sometimes the recipients of public rites, these were conducted outside the sacred boundary of the pomerium.
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He conducted a preaching tour in Ireland in the 1830s - not in English, but to Irish-speaking districts using his own Gaelic. In conjunction with Ppresbyterians in Belfast he made a translation into Irish of the metrical psalms, although it has to be said the text is an odd hybrid of Scottish Gaelic and Irish. Along with the Rev. Daniel Dewar he produced a Gaelic-English/English-Gaelic dictionary in 1831, reprinted 13 times between then and 1910.
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In projective geometry, a von Staudt conic is the point set defined by all the absolute points of a polarity that has absolute points. In the real projective plane a von Staudt conic is a conic section in the usual sense. In more general projective planes this is not always the case. Karl Georg Christian von Staudt introduced this definition in Geometrie der Lage (1847) as part of his attempt to remove all metrical concepts from projective geometry.
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Kaluza's law proposes a phonological constraint on the metre of the Old English poem Beowulf. It takes its name from Max Kaluza, who made an influential observation on the metrical characteristics of unstressed syllables in Beowulf.Max Kaluza, 'Zur Betonungs- und Verslehre des Altenglischen', in Festschrift zum. Siebzigsten Geburtstage Oskar Schade (Königsberg: Hartung, 1896), pp. 101-33. His insight was developed further in particular by Alan BlissThe Metre of Beowulf (Oxford: Blackwell, 1958), §§34–7 and 118–21.
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Sir James Ware himself referred to the second part as the Saltair na Rann by Óengus Céile Dé, after the metrical religious work of this name beginning on the first folio (fo. 19): "Oengus Celide, Author antiquus, qui in libro dicto Psalter-narran"Breatnach, "Manuscript sources and methodology", p. 41-2. and elsewhere, "vulgo Psalter Narran appellatur" ("commonly called Psalter Narran").Ó Riain, "The Book of Glendalough: a continuing investigation", p. 80. Ware’s contemporaries John Colgan (d.
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Metrical and morphological studies of horse teeth from the Bluefish Caves confirm the close similarity between Equus lambei with wild and domestic horses alive today. E. lambei is a caballus horse, not an ass. Among living horses, the Yukon horse most closely resembles the Przewalski's horse (Equus caballus przewalskii) from Mongolia (now believed to be extinct in the wild) particularly in size and proportions. However, the upper foot bones (metapodials) of Equus lambei are slender compared to Przewalski's horse.
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Chunlian (春聯) is a couplet, typically seven characters, on two sides of the door frame, whose content is related to spring. Lexical and tonal rules are always adhered, though not strictly, as chunlian is transformed from metrical poems. Sometimes, concurrently, a horizontal scroll with four to five characters is hanged on the crosspiece of the door. Its content is mostly about the beauty of nature, patriotism of China and their earnestness of a splendid future.
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First page of an autograph manuscript of a tune by John Darwall for Psalm 1, in the metrical version by Tate and Brady. John Darwall (1731–1789) was an English clergyman and hymnodist. Born in the village of Haughton in Staffordshire, Darwall was educated at Manchester Grammar School and at Brasenose College, Oxford (which he entered at the age of 14), graduating in 1756. He then became curate and later vicar of St Matthew's Parish in Walsall.
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Red-Balli carved these runes. Óðindísa was a good sister to Sigmundr." The runic text carved on the serpent of the Odendisa Runestone contains a poem in fornyrðislag and is one of few runestones raised for a woman, and the only one in Sweden with a verse commemorating a woman. The metrical part is interpreted as: :Kumbʀ hifrøya / til Hasvimyra / æigi bætri / þan byi raðr :"To Hassmyra will come no better housewife, who arranges the estate.
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The Mythological Cycle, comprising stories of the former gods and origins of the Irish, is the least well preserved of the four cycles. It is about the principal people who invaded and inhabited the island. The people include Cessair and her followers, the Formorians, the Partholinians, the Nemedians, the Firbolgs, the Tuatha Dé Danann, and the Milesians. The most important sources are the Metrical Dindshenchas or Lore of Places and the Lebor Gabála Érenn or Book of Invasions.
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They faced opposition from their enemies, the Fomorians, led by Balor of the Evil Eye. Balor was eventually slain by Lugh Lámfada (Lugh of the Long Arm) at the second battle of Magh Tuireadh. With the arrival of the Gaels, the Tuatha Dé Danann retired underground to become the fairy people of later myth and legend. The Metrical Dindshenchas is the great onomastics work of early Ireland, giving the naming legends of significant places in a sequence of poems.
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The melody for Loys Bourgeois's Old 100th with Kethe's translation, from a 1628 publication William Kethe's translation is in long metre, and formed part of a collection of psalms translated into metrical form in English, the 1562 expanded 150-psalm edition of Thomas Sternhold's and John Hopkins's 1549 metrical psalter (Day's Psalter). First appearing in Fourscore and Seven Psalms of David (the so-called Genevan Psalter) the year before, it divides the verses in the same way as the Book of Common Prayer: # All people that on earth do dwell, sing to the Lord with cheerful voice: him serve with fear, his praise forth tell, come ye before him and rejoice! # The Lord, ye know, is God indeed, without our aid he did us make; we are his flock he doth us feed, and for his sheep he doth us take. # O enter then his gates with praise, approach with joy his courts unto; praise, laud, and bless his Name always, for it is seemly so to do.
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Various versions of St Mansuy's life were composed in the Middle Ages, the earliest was written by Adson of Montier-en-Der at the request of Gerard of Toul in the mid tenth- century. In the eleventh and twelfth centuries a shorter version and a metrical version were written. Monique Goullet, 'Les Vies de Saint Mansuy (Mansuetus) Premier Évêque de Toul' in Analitica Bollandiana, vol 116 (1998), p. 57-105 According to the Vita Sancti Gerardi, Bishop St. Gerard I of Toul (r.
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In keeping with Greek poetic tradition, his poetry relied on meter for its construction. Metrical poetry is a particularly rhythmic form, deriving its structure from patterns of phonetic features within and between the lines of verse. The phonetic patterning in Anacreon's poetry, like all the Greek poetry of the day, is found in the structured alternation of "long" and "short" vowel sounds. The Ionic dialect also had a tonal aspect to it that lends a natural melodic quality to the recitation.
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Although writers of ' consistently continued to use rhyme, many of them accepted categories of rhyme which were previously considered "careless" or unusual. The alexandrine was not their only metrical target; they also cultivated the use of ' — lines with an odd, rather than even, number of syllables. These uneven lines, though known from earlier French verse, were relatively uncommon and helped suggest a new rhythmic register. ;'''' ' is the source of the English term free verse, and is effectively identical in meaning.
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Munsee phonology is complex but regular in many regards. Metrical rules of syllable weight assignment play a key role in the assignment of word-level stress, and also determine the form of rules of vowel Syncope that produce complex but mostly regular alternations in the forms of words.Goddard, Ives, 1979, Ch. 2 Word-level stress is largely predictable, with exceptions occurring primarily in loan words, reduplicated forms, and in words where historical change has made historically transparent alternations more opaque.
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His first play, Primera parte de las Comedias y Tragedias, was published in 1579. This was an unusual step in itself; few of his contemporaries bothered publishing their works, which are consequently only partially known. Although he wrote in part on the classical themes that were typical of Spanish theatre at the time, he innovated in a number of regards. He consciously disregarded the conventional classical unities, reduced the traditional number of acts from five to four and introduced new metrical forms.
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The metrical pattern is 6686 with refrain 5576. The rhyme scheme is abcb; the second and fourth lines rhyme, whether in the verse or in the refrain. In 1906 the American gospel singer and composer Ira D. Sankey wrote: > The words and music of this beautiful hymn were first published in a monthly > entitled Guide to Holiness, a copy of which was sent to me in England. I > immediately adopted it, and had it published in Sacred Songs and Solos.
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Written in a smooth flowing language, it has an originality of its own.Sahitya Akademi (1987), p. 620 Chandombudhi, the earliest work on the science of prosody (Chandonusasana) is important from the point of establishing a relationship between native (desi) folk metrical forms of Kannada and the dominant Sanskritic literary culture that had descended on medieval Karnataka. It was written at a time when the Sanskrit textual production had won mainstream (margam) appeal and its scholars were held in high esteem.
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Of the few complete translations into English, it is only the older translations by John Martin Crawford (1888) and William Forsell Kirby (1907) which attempt to strictly follow the original (Kalevala metre) of the poems. Eino Friberg's 1988 translation uses it selectively but in general is more attuned to pleasing the ear than being an exact metrical translation; it also often reduces the length of songs for aesthetic reasons.Eino Friberg. Kalevala – Epic of the Finnish people, Introduction to the first edition, 1989.
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These were executed with Thulis and Wrenno. Thulis was hanged, drawn, and quartered; the quarters were set up at Lancaster, Preston, Wigan, and Warrington. Wrenno was hanged next, and, the rope breaking, he was once more offered his life for conformity; but he ran to the ladder and climbed it. A metrical account of their martyrdom, as well as portions of a poem composed by Thulis, were printed by John Hungerford Pollen in his Acts of the English Martyrs (London, 1891), 194-207.
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Fix an arbitrary line in a projective plane that shall be referred to as the absolute line. Select two distinct points on the absolute line and refer to them as absolute points. Several metrical concepts can be defined with reference to these choices. For instance, given a line containing the points and , the midpoint of line segment is defined as the point which is the projective harmonic conjugate of the point of intersection of and the absolute line, with respect to and .
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Robert Lowth writing in James Merrick's 1768 Annotations on the Psalms said that "I am persuaded that the Masoretical correction […] is right: the construction and parallelism both favour it.". The Old English metrical form of Psalm 100, associated with the Paris Psalter, similarly gives "we his syndon" ("we belong to him"). Scholarship on this rests on the 19th century Ph.D. thesis of Helen Bartlett. Bartlett, like the parallel Old- English and Latin psalters of earlier in the 19th century (e.g.
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Unlike the language of Cheeraman's Ramacharitam and the works of the Niranam poets, the language of Krishna Gatha marks the culmination of a stage of evolution. This work has been respected by the people of Kerala similar to Thunchaththu Ezhuthachan's Adhyathmaramayanam (Ezhuthachan is known as the father of modern Malayalam literature). The legend is that Cherusseri was inspired by a lullaby and followed the same metrical pattern for the composition of Krishna Gatha. It is written in a melodious metre known as manjari.
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Hayes (1981) describes four metrical parameters which can be used to group languages according to their word-level stress patterns. #Right-dominant vs. left-dominant: In a right-dominant language nodes on the right are labeled S, while in a left- dominant language nodes on the left are labeled S. #Bounded vs. unbounded: In a bounded language the main stress appears a fixed distance from the word boundary and the secondary stress appears at fixed intervals from other stressed syllables.
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Anaphylaxis is a 2009 British art house feature film written and directed by Ayman Mokhtar and starring Guy Defferary, Katia Winter, Jenna Brook and Frazer Douglas. The story is about a doctor allergic to the human touch who finds his salvation in writings tattooed on the body of a dead poet. The film has a prosodic visual style, where shots follow certain durational rules to create a visual metrical rhythm (similar to that of poetry) for each scene in the film.
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Victorinus' manual of prosody, in four books, taken almost literally from the work of Aelius Aphthonius, still exists. It is doubtful that he is the author of certain other treatises attributed to him on metrical and grammatical subjects. His commentary on Cicero's De Inventione is very diffuse. He retained his Neoplatonic philosophy after becoming Christian, and in Liber de generatione divini Verbi, he states that God is above being, and thus it can even be said that He is not.
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226, University of Texas > Press, 2001ISBN 0292725272 > They gave themselves [the scroll as lector]-priest, the writing board as > loving son. Instruction are their tombs, the reed pen their child, the stone > surface their wife.....Man decays, his corpse is dust. All his kin have > perished; But a book makes him remembered through the mouth of its reciter. > Better is a book than a well built house... The oratorical style of its writing is evidenced by the metrical structure of the text.
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In this case, the meter is sometimes characterized as "triple septuple time". It is also possible for a time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of eighth notes. Septuple meter can also be notated by using regularly alternating bars of triple and duple or quadruple meters, for example + , or + + , or through the use of compound meters, in which two or three numerals take the place of the expected numerator 7, for example, , or .
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Where the division into feet is uncontroversial, the preference is usually for feet which end in a heavy syllable. Thus in the second pattern, the feet u – – – , – u – – , – – u – exist, but – – – u is not found. There is also a preference for feet of four syllables, rather than three or five; thus the kāmil metre (common in Arabic) with its repeated five- syllable foot of u u – u – does not easily fit into the Persian metrical system and is almost never found.
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In 1770, his mother died and he returned to Copenhagen. In 1772, he co-founded The Norwegian Society (Norske Selskab), a literary society for Norwegian students in Copenhagen. He published the prize- winning play Hermine in 1772, a metrical tragedy and in 1773 he delivered the play as a participant in a competition announced by the Royal Danish Theatre. From 1773, he was co-editor of Kritisk Journal and from 1775-76 Kritisk Tilskuer delivering critical reviews to both magazines.
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He was also a playwright, a scholar, a translator and an editor. In 1902, he wrote and published "Jonathan", a tragedy based on the Biblical story about Jonathan's friendship with David. His metrical translations of Horace, from the Latin, also appeared in the American magazine, Poet Lore. Besides being the President of a publishing company, he was also the editor and publisher of a 1928 book about his great grandfather, The Military Journal of George Ewing, 1754–1824, a Soldier of Valley Forge.
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The reason for this unusual > division of movements is that the tempo and character change, which occurs > between what are usually called movements, is the goal, the climax of the > techniques of metrical modulation which have been used. It would destroy the > effect to break off the logical plan of movement just at its high point. > Thus pauses can come only between sections using the same basic material. > This is most obvious in the case of the pause before the movement marked > Variations.
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He received assistance from Hugh Miller and Thomas Gillespie, and contributions from others such as Alexander Bethune and his brother John, and John Howell. In 1860–1 Leighton published two series of Curious Storied Traditions of Scottish Life, in 1864 Mysterious Legends of Edinburgh, in 1865 Shellburn, a novel, and in 1867 Romance of the Old Town of Edinburgh. Other works were Men and Women of History, Jephthah's Daughter, A Dictionary of Religions, and a Latin metrical version of Robert Burns's songs.
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Mark Rudman suggests that "Briggflatts" is an example of how free verse can be seen as an advance on traditional metrical poetry. He cites the poem to show that free verse can include a rhyme scheme without following other conventions of traditional English poetry. To Rudman, the poem allows the subject to dictate the rhyming words and argues that the "solemn mallet" is allowed to change the patterns of speech in the poetry to meet with the themes discussed in the text.Rudman, Mark.
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Anisometric verse, known also as heterometric stanza, is a type of poetry where the stanza is made up of lines having unequal metrical length. The number of syllables within the individual lines do not correspond, nor do the number of feet. In poetry, a foot is a group of syllables where one of the syllables is accented or stressed more than the others. Traditionally, poetry uses isometric stanza, each line having the same number of syllables and the same number of feet.
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Orlando Gibbons provided tunes for some of them. They were issued under a patent of King James I ordaining that they should be bound up with every copy of the authorized metrical psalms offered for sale. This patent was opposed, as inconsistent with their privilege to print the singing-psalms, by the Stationers Company, to Wither's great mortification and loss, and a second similar patent was finally disallowed by the House of Lords. Wither defended himself in The Schollers Purgatory (1624).
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Music in the Church of England was limited to biblical texts and music sung during worship in the early church. Examples of permissible music included metrical psalms and liturgical texts such as the Te Deum. Although most people were able to sing, worship was dominated by choral liturgies, especially in the cathedrals. During this time, motets were replaced by anthems,See the entry on Anthem in the 1911 Encyclopedia Britannica and William Byrd's Great Service was composed for the royal chapel and cathedrals.
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Many European languages have significant syllabic verse traditions, notably Italian, Spanish, French, and the Baltic and Slavic languages. These traditions often permeate both folk and literary verse, and have evolved gradually over hundreds or thousands of years; in a sense the metrical tradition is older than the languages themselves, since it (like the languages) descended from Proto-Indo-European.Gasparov 1996, chapters 1, 2, 7, and 9; which also serves as the primary source for the following discussion. It is often impliede.g.
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Without the succour of the Mima, the erstwhile colonists seek distraction in sensual orgies, memories of their own and earlier lives, low comedy, religious cults, observations of strange astronomical phenomena, empty entertainments, science, routine tasks, brutal totalitarianism, and in all kinds of human endeavour, but ultimately cannot face the emptiness outside and inside. The poems are metrical and mostly rhymed, using both traditional and individual forms, several alluding to a wide range of Swedish and Nordic poetry, such as the Finnish Kalevala.
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Salmau Cân (Metrical Psalms) is a translation of the 150 Psalms into free Welsh verse, suitable for congregational singing. It was the work of Edmund Prys (also spelt Edmwnd Prys) (1544-1623), a poet, rector of Ffestiniog and Archdeacon of Merioneth. They were printed in London and first published with the 1621 Book of Common Prayer. Edmund Prys is mentioned by William Morgan as one of three who helped him in the preparation of his translation of his 1588 Bible.
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The seventh and final item in the sequence can be either a Shlokam or a Mangalam. The dancer calls for blessings on the people all around. The overall sequence of Bharatanatyam, states Balasaraswati, thus moves from "mere meter; then melody and meter; continuing with music, meaning and meter; its expansion in the centerpiece of the varnam; thereafter, music and meaning without meter; (...) a non-metrical song at the end. We see a most wonderful completeness and symmetry in this art".
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Athenian tragedy in performance during Euripides' lifetime was a public contest between playwrights. The state funded it, and awarded prizes. The language was metrical, spoken and sung. The performance area included a circular floor or orchestra where the chorus could dance, a space for actors (three speaking actors in Euripides' time), a backdrop or skene and some special effects: an ekkyklema (used to bring the skene's "indoors" outdoors) and a mechane (used to lift actors in the air, as in deus ex machina).
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The philosopher Quentin Meillassoux argues that the formal construction of the poem is governed by the book's physical relationship to the number 12, while the contents of the poem are constructed under a metrical constraint related to the number 7. Meillassoux claims that the "Number" referenced in the poem explicitly refers to 707, which is, by his count, the number of words in the 1898 version of the text.Meillassoux, Quentin. The Number and the Siren: A Decipherment of Mallarmé's Coup De Dés.
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A mora (plural morae or moras; often symbolized μ) is a unit in phonology that determines syllable weight, which in some languages determines stress or timing. The definition of a mora varies. In 1968, American linguist James D. McCawley defined it as "something of which a long syllable consists of two and a short syllable consists of one". The term comes from the Latin word for "linger, delay", which was also used to translate the Greek word chronos (time) in its metrical sense.
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Genre theory or genre studies got underway with the Ancient Greeks, who felt that particular types of people would produce only certain types of poetry. The Greeks also believed that certain metrical forms were suited only to certain genres. Aristotle said, > We have, then, a natural instinct for representation and for tune and > rhythm—and starting with these instincts men very gradually developed them > until they produced poetry out of their improvisations. Poetry then split > into two kinds according to the poet's nature.
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"Longshanks kisses them both and speaks", "Bishop speaks to her in her bed". Jackson found twenty examples in Edward I; six each in The Battle of Alcazar and David and Bathseba and eleven in The Arraignment of Paris.Jackson (1996: 139) He combined these discoveries with a new metrical analysis of the function words "and" and "with". In Act 1 of Titus, the rate of these words is every 12.7 lines, but elsewhere in the play it is every 24.7 lines.
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The next line presents a somewhat unusual metrical problem. It can be scanned regularly: × / × / × / × / × / Resembling strong youth in his middle age, (7.6) The problem arises with the words "strong youth". Both words have tonic stress, but that of "strong" is normally subordinated to that of "youth", allowing them comfortably to fill `× /` positions, not `/ ×`. The scansion above would seem to suggest a contrastive accent placed upon "strong", which may not be appropriate as the more salient contrast is between youth and age.
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Bacon also paid for and helped write speeches for a number of entertainments, including masques and dumbshows, although he is not known to have authored a play. His only attributed verse consists of seven metrical psalters, following Sternhold and Hopkins.. Since Bacon was knowledgeable about ciphers,. early Baconians suspected that he left his signature encrypted in the Shakespeare canon. In the late 19th and early 20th centuries many Baconians claimed to have discovered ciphers throughout the works supporting Bacon as the true author.
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There is a traditional story told about the origin of the treatise. It is said that originally Śankara wanted Sureśvara to write a metrical commentary upon Śankara's magna opus, his commentary on the Brahma Sūtras. However, since Sureśvara was a recent convert to Advaita from the rival ritual-oriented theology Pūrva Mīmāṃsā, Śankara's other disciples objected, concerned that Sureśvara could misinterpret the commentary. In the end, Śankara commanded Sureśvara to write an independent treatise on Advaita, which became the Naiṣkarmya Siddhi.
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Moore, Rayburn S. Paul Hamilton Hayne. Twayne Publishers, 1972: 29. In a review of his work by Rayburn S. Moore, his influences are described as also including Geoffrey Chaucer, Edmund Spenser, William Wordsworth, and Alfred Tennyson, although the derivative nature and lack of intellectual force are considered weaknesses. Moore considers strengths of Hayne's poetry to include the authenticity of detail and observation of locality and situation as well as the versatility of forms, metrical schemes, and techniques, especially in short poems and sonnets.
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From the early days, the Society sought to be ecumenical and non-sectarian. The Controversy in 1825-26 about the Apocrypha and the Metrical Psalms resulted in the secession of the Glasgow and Edinburgh Bible Societies, which later formed what is now the Scottish Bible Society. This and another similar 1831 controversy about Unitarians holding significant Society offices resulted in a minority separating to form the Trinitarian Bible Society. The Bible Society extended its work to England, India, Europe and beyond.
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It was her good fortune that she did not make rhymes easily. Had she possessed the fatal facility of some young persons in emitting jingle, she might, like them, have been tempted into pouring out profusely a weak wash of metrical prattle, which can he called poetry only by the same license which allows sound to be called music or words eloquence. But her sense of precision and proportion kept back the flood. Like Lowell, most accurate and idiomatic of out poets, Mrs.
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The text consists of seven separate and different treatises, of which first three are on medicine, next two on divination, and last two on magical incantations. The three medicinal treatises contain content that is also found in the ancient Indian text called the Caraka Samhita. Treatises I to III are the medical treatises of the collection and contain 1,323 verses and some prose. The metrical writing suggests that the scribe of the three medical treatises was well versed in Sanskrit composition.
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It then appeared in Joshua Leavitt's popular and influential 1833 tunebook The Christian Lyre as "Let thy kingdom", associated to the tune "Good Shepherd" with an 8.7. metrical pattern. It contained lines such as: :Let thy kingdom, blessed Savior, :Come, and bid our jarring cease; :Come, oh come! and reign for ever, :God of love and Prince of peace; : ... :Some for Paul, some for Apollos, :Some for Cephas—none agree; : ... :Not upheld by force or numbers, :Come, good Shepherd, feed thy sheep.
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From presuppositions emerges the topology and metric of Minkowski spacetime. ;Cellular networks by Requardt: Space is described by a graph with densely entangled sub-clusters of nodes (with differential states) and bonds (either vanishing at 0 or directed at 1). Rules describe the evolution of the graph from a chaotic patternless pre-Big Bang condition to a stable spacetime in the present. Time emerges from a deeper external-parameter "clock-time" and the graphs lead to a natural metrical structure.
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The metrical system of Classical Arabic poetry, like those of classical Greek and Latin, is based on the weight of syllables classified as either "long" or "short". The basic principles of Arabic poetic metre Arūḍ or Arud ( ') Science of Poetry ( '), were put forward by Al-Farahidi (786 - 718 CE) who did so after noticing that poems consisted of repeated syllables in each verse. In his first book, Al-Ard ( '), he described 15 types of verse. Al-Akhfash described one extra, the 16th.
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An Old English poem such as Beowulf is very different from modern poetry. Anglo-Saxon poets typically used alliterative verse, a form of verse in which the first half of the line (the a-verse) is linked to the second half (the b-verse) through similarity in initial sound. In addition, the two-halves are divided by a caesura: "Oft Scyld Scefing \\\ sceaþena þreatum" (l. 4). This verse form maps stressed and unstressed syllables onto abstract entities known as metrical positions.
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As the name may imply, musicians during this time would perform in private homes and other unconventional spaces. The status of free jazz became more complex, as many musicians sought to bring in different genres into their works. Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out by Coleman, Coltrane, and Taylor. Instead, the free jazz that developed in the 1960s became one of many influences, including pop music and world music.
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In 1760, Colman produced his first play, Polly Honeycomb, which met with great success. In 1761, The Jealous Wife, a comedy partly founded on Tom Jones, made Colman famous. The death of Lord Bath in 1764 placed him in possession of independent means. In 1765, his metrical translation of the plays of Terence appeared, and in 1766, he produced The Clandestine Marriage, jointly with Garrick, whose refusal to take the part of Lord Ogleby led to a quarrel between the two authors.
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He retired in the summer of 1921. Among Kaluza's research was an observation on the metrical characteristics of unstressed vowels in the Old English poem Beowulf,Max Kaluza, 'Zur Betonungs- und Verslehre des Altenglischen', in Festschrift zum. Siebzigsten Geburtstage Oskar Schade (Königsberg: Hartung, 1896), pp. 101-33. on which the name 'Kaluza's law' was later bestowed, apparently by R. D. Fulk.R. D. Fulk, A History of Old English Meter (Philadelphia: University of Pennsylvania Press, 1992), §§170–83 and §§376–8.
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Lerer states that it "more than competently reproduces the traditional alliterative half-lines of Old English prosody", while Thomas Cable considers the poem to break with the traditional form, "as though the author of Durham were familiar with earlier Old English poetic texts but misunderstood their metrical principles." Fulk notes that a high proportion of half-lines are defective in metre.Fulk 1992, pp. 260–61 Bede's tomb at Durham Cathedral Relatively little modern research has focused on the poem's literary aspects.
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The second collection, "Formulæ Senonenses recentiores", dates from the reign of Louis the Pious, and contains eighteen formulæ, of which seven deal with judicial acts. Zeumer added five metrical formulæ, and two Merovingian formulæ written in Tironian notes. ## "Formulæ Pithoei" In a manuscript loaned by Pithou to Du Cange for his "Glossarium" of medieval Latin there was a rich collection of at least one hundred and eight formulæ, drawn up originally in territory governed by Salic law. This manuscript has disappeared.
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Tembang sunda, also called "seni mamaos cianjuran", or just cianjuran, is a form of sung poetry which arose in the colonial-era of Cianjur. It was first known as an aristocratic art; one cianjuran composer was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834–1862). The instruments of Cianjuran are kacapi indung, kacapi rincik and suling or bamboo flute, and rebab for salendro compositions. The lyrics are typically sung in free verse, but a more modern version, panambih, is metrical.
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"Scannell Vernon, Tiger and the Rose, London: Hamish & Hamilton, 1971. Seamus Heaney in a letter to Andrew Taylor said he admired Scannell's poems "not only for their sturdy metrical pace and structure, but for their combination of mordancy and a sense of mortality". John Carey, the critic commented: "Scannell nearly always works on two levels, one realistic and external, the other imaginative, metaphorical, haunted by memory and desire. A master of the dramatic monologue, his work is drenched in humanity.
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Ojibwe divides words into metrical "feet." Counting from the beginning of the word, each group of two syllables constitutes a foot; the first syllable in a foot is weak, the second strong. However, long vowels and vowels in the last syllable of a word are always strong, so if they occur in the weak slot of a foot, then they form a separate one-syllable foot, and counting resumes starting with the following vowel. The final syllable of a word is always strong as well.
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Tom's tale was reprinted countless times in Britain, and was being sold in America as early as 1686. A metrical version was published in 1630 entitled Tom Thumbe, His Life and Death: Wherein is declared many Maruailous Acts of Manhood, full of wonder, and strange merriments: Which little Knight liued in King Arthurs time, and famous in the Court of Great Brittaine. The book was reprinted many times, and two more parts were added to the first around 1700. The three parts were reprinted many times.
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Early ethnomusicological analysis often perceived African music as polymetric. Pioneers such as A.M. Jones and Anthony King identified the prevailing rhythmic emphasis as metrical accents (main beats), instead of the contrametrical accents (cross-beats) they in fact are. Some of their music examples are polymetric, with multiple and conflicting main beat cycles, each requiring its own separate time signature. King shows two Yoruba dundun pressure drum ("talking drum") phrases in relation to the five-stroke standard pattern, or "clave," played on the kagano dundun (top line).
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In the 1930s he developed close ties with Béla Bartók and Zoltán Kodály in Hungary, and this is reflected in his music to some extent. In the 1940s, he began to take an interest in Schoenbergian twelve-tone technique; though he studied with Webern his own idiom was closer to Alban Berg. In the 1950s, Hartmann started to explore the metrical techniques pioneered by Boris Blacher and Elliott Carter. Among his most-used forms are three-part adagio slow movements, fugues, variations and toccatas.
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Such epitaphs were frequently in metrical form, usually either hexameter or elegiacs. Many of them have been collected, and they form an interesting addition to the Greek anthology. In later times it becomes usual to give more elaborate praise of the deceased; but this is hardly ever so detailed and fulsome as on more modern tombstones. The age and other facts about the deceased are occasionally given, but not nearly so often as on Latin tombstones, which offer valuable statistical information in this respect.
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In 1839 Windele published Historical and Descriptive Notices of the City of Cork and its Vicinity; in 1849 this was abridged and published as A Guide to Cork. He also wrote A Guide to Killarney, and frequently contributed to the Dublin Penny Journal and to the Proceedings of the Kilkenny Archaeological Society, of which he was a member from its foundation in 1849. In 1860 he edited Matthew Horgan's Cahir Conri, an Irish metrical legend, with a translation into English verse by Edward Kenealy.
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He is noted for attempting to create a more natural, but non-indigenous system of music notation to the study of African music.Meki Nzewi, Israel Anyahuru, and Tom Ohiaraumunna, Musical Sense and Musical Meaning: An Indigenous African Perception (Amsterdam: Rozenberg Publishers, 2008), p. 213 Anku's circular notation shows the various "combinatoric aspects of [a] pattern relative to different metrical positions, based on how the rhythmic pattern is aligned with [a] regulative metric pattern."Justin London, Hearing in Time (Oxford: Oxford University Press, 2012), pp.
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137 In 1805 the historian and satirist George Ellis included a lengthy abstract of Beves, based on E and on Pynson's edition, in his Specimens of Early English Metrical Romances. In a letter to Walter Scott he raised the possibility, now widely accepted, that Chaucer had read Beves in A. Johnston (1964) pp. 161, 168 In the winter of 1831–32 Sir Walter Scott discovered N in the Royal Library of Naples, and commissioned a copy of it which he brought back to Scotland. Mitchell (1987) p.
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Rudrabhatta was a Brahmin and a Smartha (believer of monistic philosophy). Based on the Sanskrit classic Vishnu Purana, he wrote the epic Jagannatha Vijaya in the Champu metrical form (mixed prose-verse). The epic kavya (a narrative poem) describes the life of the Hindu god Krishna leading up to his fight with the demon Banasura. In this work, Rudrabhatta envisions the Hindu gods Hari (Vishnu), Hara (Shiva) and Brahma as one composite supreme deity (Parabrahma) who takes the form of the god Krishna (an avatar of Vishnu).
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Tarlinskaja uses scansion as a basis for statistical analysis of verse. She has used several versions of the scansion levels shown above, some more and some less fine-grained, and some reduced to numerical values; but all relate to this basic 3 × 2 structure. In the metrical component of her scansion, she (like Jespersen) marks the ictic and nonictic positions of the meter, not of the line. This allows her to compare patterns across hundreds or thousands of verse lines statistically, using a consistent matrix of positions.
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This continuous (or "analogue") aspect of the scale differentiates it from discrete scales such as the Likert scale. There is evidence showing that visual analogue scales have superior metrical characteristics than discrete scales, thus a wider range of statistical methods can be applied to the measurements. The VAS can be compared to other linear scales such as the Likert scale or Borg scale. The sensitivity and reproducibility of the results are broadly very similar, although the VAS may outperform the other scales in some cases.
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Gezai Opera () is the only traditional Chinese opera that became established in Minnan, in southern Fujian province, and arose from Taiwan. It is based on Minnan gezai (ballads) and absorbs elements from Liyuan Opera, Beiguan Opera, Gaojia Opera, Peking Opera and Minju Opera. The art form emerged in Taiwan at the beginning of last century, then spread to Minnan and then to Southeast Asia through Chinese people and foreign citizens of Chinese origin. Gezai Opera uses a free metrical pattern, various tunes but few lyrics.
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Byrd's set contains compositions in a wide variety of musical styles, reflecting the variegated character of the texts which he was setting. The three-part section includes settings of metrical versions of the seven penitential psalms, in an archaic style which reflects the influence of the psalm collections. Other items from the three-part and four-part section are in a lighter vein, employing a line-by-line imitative technique and a predominant crotchet pulse (The nightingale so pleasant (a3), Is love a boy? (a4) ).
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The text is a free paraphrase of Psalm 103. While, in the mid-nineteenth century, hymn writers usually kept their metrical settings of psalm texts as close as possible to the original, Lyte instead decided to maintain the spirit of the words while freely paraphrasing them. The result speaks, in an imaginative fashion, with "beautiful imagery and thoughtful prose", of themes such as the Love of God, healing and forgiveness, including the repeated exclamations "Praise Him!", in what is a spectacular rhetorical statement of praise.
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Nevertheless, early modern melodies for the "Berner Ton" have survived, so that it was probably sung in the traditional manner of German heroic poetry. As the Goldemar alone among all the Dietrich poems names an author thought to be genuine, Albrecht von Kemenaten, earlier scholarship believed him to be the author of all four poems; this is no longer thought to be the case. Further information on the metrical forms of the stanzaic poems, including examples, can be found on the pages for the individual poems.
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Linguistic prominence in metrical phonology is partially determined by the relations between nodes in a branching tree, in which one node is Strong (S) and the other node or nodes are Weak (W). The labels Strong and Weak have no inherent phonetic realization, and only have meaning relative to the rest of the labels in the tree. A Strong node is stronger than its Weak sister node. The most prominent syllable in a phrase is the one that does not have any Weak nodes above it.
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His Prabhulinga Lile, written in the native Bhamini Shatpadi metrical composition form (six line verse or hexa-metre) was a eulogy of 12th-century saint Allama Prabhu. So popular was the writing with the King that he had it translated into Telugu and Tamil languages, and later into the Sanskrit and Marathi languages as well.Datta (Sahitya Akademi, 1987), p. 617 In the story, the saint is considered an incarnation of the Hindu god Ganapathi while Parvati took the form of a princess of Banavasi.
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In 1900 Grossmann graduated from the Federal Polytechnic School (ETH) and became an assistant to the geometer Wilhelm Fiedler. He continued to do research on non- Euclidean geometry and taught in high schools for the next seven years. In 1902, he earned his doctorate from the University of Zurich with the thesis Ueber die metrischen Eigenschaften kollinearer Gebilde (translated On the Metrical Properties of Collinear Structures) with Fiedler as advisor. In 1907, he was appointed full professor of descriptive geometry at the Federal Polytechnic School.
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It can be argued that Javanese literature started in Central Java. The oldest- known literary work in the Javanese language is the inscription of Sivagrha from Kedu Plain. This inscription, which is from 856 AD, is written as a kakawin or Javanese poetry with Indian metres.De Casparis, "A Metrical Old Javanese Inscription Dated 865 A.D." in Prasasti Indonesia II (1956:280–330) The oldest of narrative poems, Kakawin Ramayana, which tells the well-known story of Ramayana, is believed to have come from Central Java.
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Massengale, 1979, pages 78–79. Massengale points out that in the Epistles, Bellman employs a variety of methods to make the poetry work. For example, in Epistle 35, Bröderna fara väl vilse ibland, Bellman uses a panoply of metrical devices to counteract the "metrically plodding melody". He uses the rhetorical figure anadiplosis (repeating the last word of a clause at the start of the next) in verse 3 with "...skaffa jag barnet; barnet det dog,..." (...got I the child; the child died...) and again in verse 4.
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From about 1900, her father worked with Herbert M. Adler, nephew of Chief Rabbi Hermann Adler, on a multivolume edition of the Machzor with a new and modern translation. Nina and her sister, Elsie, both contributed to the work, devoting themselves to translating the metrical sections of the original into poetry, while their father rendered the prose. The festival prayer book was published as Service of the Synagogue in 1904–9, and is still in use in synagogues across Great Britain, Canada, and Australia.
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Biceps is a point in a metrical pattern where a pair of short syllables can freely be replaced by a long one. In Greek and Latin poetry, it is found in the dactylic hexameter and the first half of a dactylic pentameter, and also in anapaestic metres. It is not to be confused with resolution, which is a phenomenon where a normally long syllable in a line is sometimes replaced by two shorts. Resolution is typically found in an iambic metre such as the iambic trimeter.
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Three significant systems of them: Āryabhaṭa numeration, katapayadi system, and the aksharapalli numerals. Alphasyllabic numeration are very important for understanding Indian astronomy, astrology, and numerology, since Indian astronomical texts were written in Sanskrit verse, which had strict metrical form. These systems had the advantage of being able to give any word a numerical value, and to find many words corresponding to one given number. This made possible the construction of various mnemonics to aid scholars and students, and would have served a prosodic function.
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There are three manuscript witnesses for the Historia, now in Oxford, Cambridge and London, none of which attribute the text to any author. The earliest witness is believed to be the version in the Oxford manuscript, folios 203r to 206v of Oxford's Bodleian Library, MS "Bodley 596".South, Historia, pp. 14–15 The text is incomplete, beginning only in chapter 8, as the first folio has disappeared (along with the later folios of the text that preceded it in the manuscript, Bede's metrical Life of St Cuthbert).
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Whitney revised definitions for the 1864 edition of Webster's American Dictionary, and in 1869 became a founder and first president of the American Philological Association. In the same year he also became Yale's professor of comparative philology. Whitney also gave instruction in French and German in the college until 1867, and in the Sheffield scientific school until 1886. He wrote metrical translations of the Vedas, and numerous papers on the Vedas and linguistics, many of which were collected in the Oriental and Linguistic Studies series (1872–74).
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New literary genres such as the essay (Montaigne) and new metrical forms such as the Spenserian stanza made their appearance. The impact of the Renaissance varied across the continent; countries that were predominantly Catholic or Protestant experienced the Renaissance differently. Areas where the Eastern Orthodox Church was culturally dominant, as well as those areas of Europe under Islamic rule, were more or less outside its influence. The period focused on self- actualization and one's ability to accept what is going on in one's life.
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J. R. Watson, The English Hymn: A Critical and Historical Study (1999), pp. 57-8/ In this document, a 140-page diatribe against the Stationers Company for their refusal to print his work, Wither blames them for his financial ruin and hardship. Some more of Wither's religious poetry is contained in Heleluiah: or Britain's Second Remembrancer, which was printed in Holland in 1641. This work assumed the knowledge of metrical psalms.Christopher Hill, A Turbulent, Seditious and Factious People: John Bunyan and his Church (1988), p. 262.
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He completed Erchanbert's chronicle, arranged a martyrology, composed a metrical biography of Saint Gall, and authored other works. In his martyrology, he appeared to corroborate one of St Columba's miracles. St Columba, being an important father of Irish monasticism, was also important to St Gall and thus to Notker's own monastery. Adomnan of Iona had written that at one point Columba had through clairvoyance seen a city in Italy near Rome being destroyed by fiery sulphur as a divine punishment and that three thousand people had perished.
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Extremely proficient in metrical composition, and commanding an inexhaustible fund of drollery, he cultivated with especial success the comical poetic tale, frequently inclining toward frivolity, but teeming with fun. Many of his works have been illustrated by Johann Heinrich Ramberg, a renowned illustrator and painter of the Goethe era. The widespread popularity of Langbein's Schwänke (1792, 21st ed. 1888) was almost equaled by that of his merry tales in prose, such as Thomas Kellerwurm (1806), Magister Zimpels Brautfahrt, and others, distinguished for inventive faculty and pleasing diction.
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His 1901 prose translation of Beowulf—the tenth in English, known simply as "Clark Hall"—became "the standard trot to Beowulf", and was still the standard introduction to the poem into the 1960s; several of the later editions included a prefatory essay by J. R. R. Tolkien. Other work on Beowulf included a metrical translation in 1912, and the translation and collection of Knut Stjerna's Swedish papers on the poem into the 1912 work Essays on Questions Connected with the Old English Poem of Beowulf.
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An example of an old metrical office, intermixed with Prose Responses, is that of St. Lambert (Anal. Hymn., XXVII, no. 79), where all the antiphons are borrowed from that saint's Vitœ metricœ, presumably the work of Hucbald of St. Amand; the office itself was composed by Bishop Stephen of Liège about the end of the ninth century: ;Antiphona I: :Orbita solaris præsentia gaudia confert Præsulis eximii Lantberti gesta revolvens. ;Antiphona II: :Hic fuit ad tempus Hildrici regis in aula, :Dilectus cunctis et vocis famine dulcis.
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A metrical psalter was also produced for the Calvinist Reformed Church of the Netherlands by Petrus Datheen in 1566. This Psalter borrowed the hymn tunes from the Genevan Psalter and consisted of a literal translation of Marot and Beza's French translation. The Dutch psalter was revised on orders of the Dutch legislature in 1773, in a revision which also added non-paraphrase hymns to the collection. This psalter also continues in use among the Reformed community of the Netherlands, and was recently revised in 1985.
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He became, in 1812, director of the University of San Isidro; but having offended the government by establishing a chair of international law, he was imprisoned for five years (1815–1820). The Trienio Liberal reinstated him, but the counter-revolution of three years later forced him into exile. After four years he was allowed to return, and he died, in 1834, a member of the supreme council of war. González-Carvajal enjoyed European fame as author of metrical translations of the poetical books of the Bible.
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Chapter 2 of the epistle contains a famous poem describing the nature of Christ and his act of redemption: Due to its unique poetic style, scholars agree that this passage constitutes an early Christian poem that was composed by someone else prior to Paul's writings, as early as the mid-late 30s AD. While the passage is often called a "hymn," some scholars believe this to be an inappropriate name since it does not have a rhythmic or metrical structure in the original Greek.
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Musical settings of the Symbolum Apostolorum as a motet are rare. The French composer Le Brung published one Latin setting in 1540, and the Spanish composer Fernando de las Infantas published two in 1578. Martin Luther wrote the hymn "Wir glauben all an einen Gott" (translated into Engish as "We all believe in one God") in 1524 as a paraphrase of the Apostles' Creed. In 1957, William P. Latham wrote "Credo (Metrical Version of the Apostle’s Creed)" in an SATB arrangement suitable for boys' and men's voices.
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The diaeresis mark is also in rare cases used over a single vowel to show that it is pronounced separately (as in Brontë). It is often omitted in printed works because the sign is missing on modern keyboards. The acute and grave accents are occasionally used in poetry and lyrics: the acute to indicate stress overtly where it might be ambiguous (rébel vs. rebél) or nonstandard for metrical reasons (caléndar); the grave to indicate that an ordinarily silent or elided syllable is pronounced (warnèd, parlìament).
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Englewood Cliffs, New Jersey: Prentice-Hall. . Durational patterns are the foreground details projected against a background metric structure, which includes meter, tempo, and all rhythmic aspects which produce temporal regularity or structure. Duration patterns may be divided into rhythmic units and rhythmic gestures (Winold, 1975, chap. 3). But they may also be described using terms borrowed from the metrical feet of poetry: iamb (weak–strong), anapest (weak–weak–strong), trochee (strong–weak), dactyl (strong–weak–weak), and amphibrach (weak–strong–weak), which may overlap to explain ambiguity.
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Tembang sunda, also called seni mamaos cianjuran, is a style of classical vocal music that originated in the Priangan highland of western Java. Unlike Sundanese gamelan music, tembang sunda was developed in the court of the regent Kabupaten Cianjur during the Dutch colonial period (mid-nineteenth century). The traditional vocal portion is sung free verse poetry, the instrumental accompaniment being performed on kacapi (zither), suling (bamboo flute) and sometimes, rebab (violin). A more modern, and metrical, form of lyrics exists that is called panambih.
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Thence he went to the > mountain. Hence is “Sliab Bladma” (Bladma’s Mountain). Whence the poet said: > ‘Blod, son of Cú, son of Cass Clothmín, Killed the cowherd of fair Bregmael, > The smith of Cuirche Mór, son of Snithe: He set up at Ross Tíre ind Áir.’ Or > it is Blod, son of Breogan, that died there; and from him the mountain of > Bladma was named. Edward J. Gwynn’s The Metrical Dindshenchas give a longer account and another origin story (bleda mara "sea-monsters" cf.
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Bessie Gray ; And, Our Stepmother The Story of Chief Joseph was published in 1881, a metrical version of the eloquent speech of Chief Joseph, in order to awaken sympathy for the Native American cause. Bessie Grey was a small illustrated gift-book. Her last work was a volume of poems, many of which had been printed before, but rearranged and published in 1900, an Easter memorial tribute called The Immortals. She contributed often to the journals in her own town, and constantly contributed to newspapers and periodicals.
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The poetry anthology The Han Garden Collection () co-written by Bian, Li Guangtian and He Qifang, was published in 1936. Bian's poems were related to the Crescent School () which advocated modern metrical poetry, but his style was closer to the Chinese symbolists. He once coedited the magazine New Poems () with the representative figure of Chinese symbolist poetry Dai Wangshu. Bian's poems of this time represented his dissatisfaction and thinking of the social reality as a young intellectual, showed his quick perception, and sometimes hard to understand.
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Charles Bagot Cayley (1823–1883) was an English linguist, best known for translating Dante into the metre of the original, with annotations. He also made metrical versions of the Iliad, the Prometheus of Æschylus, the Canzoniere of Petrarch. The translations from the Greek are a laboured attempt to mirror the versification rules of the originals. His version of The Divine Comedy is much more successful, preserving the Dante's terza rima rhyme scheme while using a relatively simple English which reflects Dante's own use of ordinary Italian.
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We may mention also a poem on astrology by a certain C. (Guilhem?), and another, anonymous, on geomancy, both written about the end of the 13th century. cites Romania, xxvi. p. 825 As to moral compositions, we have to recall the Boethius poem (unfortunately a mere fragment) already mentioned as one of the oldest documents of the language, and really a remarkable work; and to notice an early (12th century?) metrical translation of the famous Disticha de moribus of Dionysius Cato (Romania, xxv. 98, and xxix. 445).
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Clothru was, according to medieval Irish legend, the daughter of Eochu Feidlech, a High King of Ireland, and the sister of queen Medb of Connacht and Ethniu.The Metrical Dindsenchas "Cairn Furbaide" Poem 10 When her triplet brothers, the findemna, were fighting with their father Eochu Feidlech for the high kingship, she was concerned that her brothers might die without heirs. She is said to have seduced the three of them, and conceived Lugaid Riab nDerg.Joseph O'Neill (ed. & trans), "Cath Boinde", Ériu 2, 1905, pp.
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Use of Latin continued in the Roman Catholic Church long after it ceased to be the vernacular. By the time of Martin Luther in the early 16th century, the singing was still in Latin but was done by choirs of priests and monks, although the choirs sometimes included a few lay musicians as well. Hymnals evolved from psalters, in that hymns are songs for the congregation and choir to sing, but go beyond metrical recasting of only psalm texts. In early hymnals, only texts were printed.
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Families enjoyed singing hymns in parts in their homes, for the family's enjoyment and edification, but unison singing was the custom in church. The Reformed Church and the (French) Genevan Psalter were the result of work by John Calvin (1509–1564). His profound reverence for the biblical text "...caused him to insist that public praise in church should be confined to the language of the Bible, adapted to the minimum extent required for congregational singing. He was "... the architect of the tradition of metrical psalmody.
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His metrical tomb inscription of unknown date, published in Gallia Christiana, extols him as an ideal bishop; as a skilled goldsmith who made the sacred liturgical vessels with his own hands; as a protector and benefactor of the poor who ploughed his own land; as a man of prayer, and as a scholar. In 587 he consecrated a proprietary church built at his expense on property of his own at Paterniacum (Payerne). The church of Saint Thyrsus was rededicated at an early date to Saint Marius.
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Whether in Scots or English, the poetry is characterised by a respect for, and sensitivity too, form and rhythm; this applies to his later 'free verse' as much as to his earlier metrical work. Recurrent themes are the lyrical concerns of love and loss, time and memory. Some, like Above the Formidable Tomb and Had I Twa Herts, are profoundly metaphysical. He also wrote a poem in Middle Scots (Ressaif My Saul), and gently satirised some of his contemporaries in Doun the Watter wi the Lave.
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Hand-written Chinese New Year's duilian In Chinese poetry, a couplet () is a pair of lines of poetry which adhere to certain rules (see below). Outside of poems, they are usually seen on the sides of doors leading to people's homes or as hanging scrolls in an interior. Although often called antithetical couplet, they can better be described as a written form of counterpoint. The two lines have a one-to-one correspondence in their metrical length, and each pair of characters must have certain corresponding properties.
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Babads as a genre belong to the traditional literature. A characteristic of this kind of literature is that it is written in metrical form and is governed by a set of strict conventions. In traditional Javanese society, prose (gancaran) was not considered to be belles letters but was considered to be merely sets of notes or aide-mémoires. This approach reflected the way in which literature was presented: text was not usually read in silence but, rather, was recited or sung to an audience.
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The different versions of the Anglo-Saxon Chronicle start off with the names of the English rulers back to Woden in metrical form: "Cynric [wæs] Cerdicing, Cerdic Elesing, Elesa Esling, Esla Gewising, Gewis Wiging, Wig Freawining, Freawine Friðugaring, Friðugar Bronding, Brond Bædæging, Bældæg Wodening." (after The Parker Chronicle, ed. Plummer 1892-99) The longest Old English thulas, though, are part of the poem Widsith, listing, in the first thula, 30 kings, 54 tribes in the second, and 28 men in the third and last thula.
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Although there are no b-flats indicated in the musical notation, it seems likely that they were understood, based on Guido d'Arezzo's description of the "more perdulcis Ambrosii." Nearly all of the texts used in Ambrosian chant are biblical prose, not metrical poetry, despite Ambrose having introduced Eastern hymnody to the West. Ambrosian chant serves two main functions in the Ambrosian liturgy: to provide music for the chanting of the Psalms in the monastic Offices, and to cover various actions in the celebration of the Mass.
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When this circle was broken up by the assassination of Hipparchus, Anacreon seems to have returned to his native town of Teos, where, according to a metrical epitaph ascribed to his friend Simonides, he died and was buried. According to others, before returning to Teos, he accompanied Simonides to the court of Echecrates, a Thessalian dynast of the house of the Aleuadae. Lucian mentions Anacreon amongst his instances of the longevity of eminent men, as having completed eighty-five years. If an anecdote given by Pliny the ElderNat. Hist. vii.
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Anacreon's meters include the anacreonteus. The Greek language is particularly well suited to this metrical style of poetry but the sound of the verses does not easily transfer to English. As a consequence, translators have historically tended to substitute rhyme, stress rhythms, stanzaic patterning and other devices for the style of the originals, with the primary, sometimes only, connection to the Greek verses being the subject matter. More recent translators have tended to attempt a more spare translation which, though losing the sound of the originals, may be more true to their flavor.
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Actually, Ingalls explains, it is possible to write the sentence in Sanskrit in around fifteen different ways 'by using active or passive constructions, imperative or optative, an auxiliary verb, or any of the three gerundive forms, each of which, by the way, gives a different metrical pattern'. Ingalls emphasizes that while these constructions differ formally, emotionally they are identical and completely interchangeable. He comments that in any natural language this would be impossible. Ingalls uses this and other arguments to show that Sanskrit is not a natural language, but an 'artificial' language.
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There is just enough toughness and angularity in his verse to constantly remind the reader of the pains undergone and the difficulties triumphantly overcome by the poet. Despite the fetters of the metrical form, Griboyedov's dialogue has the natural rhythm of conversation and is more easily colloquial than any prose. It is full of wit, variety, and character, and is a veritable encyclopedia of the best spoken Russian of the period. Almost every other line of the comedy has become part of the language and proverbs from Griboyedov are as numerous as proverbs from Krylov.
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Tresillo written in additive form: 3 + 3 + 2. > Although the difference between the two ways of notating this rhythm may > seem small, they stem from fundamentally different conceptions. Those who > wish to convey a sense of the rhythm’s background [main beats], and who > understand the surface morphology in relation to a regular subsurface > articulation, will prefer the divisive format. Those who imagine the > addition of three, then three, then two sixteenth notes will treat the well- > formedness of 3+3+2 as fortuitous, a product of grouping rather than of > metrical structure.
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The rhyme is constructed of quatrains in trochaic tetrameter catalectic,A. L. Lazarus, A. MacLeish, and H. W. Smith, Modern English: a Glossary of Literature and Language (London: Grosset & Dunlap, 1971), , p. 194 (each line made up of four metrical feet of two syllables, with the stress falling on the first syllable in a pair; the last foot in the line missing the unstressed syllable), which is common in nursery rhymes.L. Turco, The Book of Forms: a Handbook of Poetics (Lebanon, NH: University Press of New England, 3rd edn.
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According to Irish academic Paul Tempan, the historian Eoin MacNeill, writing in the Journal of the Royal Society of Antiquaries of Ireland (JRSAI), thought that the Irish name "Drobeóil", as listed in the Metrical Dinsenchas, had survived the mountain name "Gravale". Tempan also notes that historical maps of the estates in which Gravale lies suggest that the col between Gravale and Duff Hill was known as "Lavarna" or "Lavarnia", from the Irish "Leath-Bhearna", meaning "half-gap", and that this was likely a difficult trail from the Blessington lakes area to Lough Dan.
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Parry in his 1919 high school yearbook Parry was born in 1902, graduated from Oakland Technical High School in 1919, and studied at the University of California, Berkeley (B.A. and M.A.) and at the Sorbonne (Ph.D.). A student of the linguist Antoine Meillet at the Sorbonne, Parry revolutionized Homeric studies. In his dissertations, which were published in French in 1928, he demonstrated that the Homeric style is characterized by the extensive use of fixed expressions, or 'formulas', adapted for expressing a given idea under the same metrical conditions.
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Bernardo Joaquim da Silva Guimarães (; August 15, 1825 – March 10, 1884) was a Brazilian poet and novelist. He is the author of the famous romances A Escrava Isaura and O Seminarista. He also introduced to Brazilian poetry the verso bestialógico (, roughly silly verse), also referred to as pantagruélico (in a reference to Rabelais's character Pantagruel) — poems whose verses are very nonsensical, although very metrical. Under the verso bestialógico, he wrote polemical erotic verses, such as "O Elixir do Pajé" (The Witchdoctor's Elixir) and "A Origem do Mênstruo" (The Origin of Menstruation).
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Urbana and Chicago: University of Illinois Press, 2000 p. 136. .A similar but more sophisticated magneto- mechanical (rather than opto-mechanical) scheme would soon be used by Laurens Hammond to construct his first organ, introduced in 1935. Nicolas Slonimsky described its capabilities in 1933: > The rhythmicon can play triplets against quintuplets, or any other > combination up to 16 notes in a group. The metrical index is associated ... > with the corresponding frequence of vibrations.... Quintuplets are ... > sounded on the fifth harmonic, nonuplets on the ninth harmonic, and so > forth.
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The content of the bob and wheel varies, but, generally, it functions as a refrain, or a summary, or an ironic counterpoint to the stanza that preceded it. Some Modern English poets and contemporary poets have revived the use of the bob and wheel. It is often considered as a regular metrical form as the Pearl Poet uses it, but in fact, in Middle English, there is great variation, and wheels are often used without the bob.Brogan, T.V.F. "Bob and wheel" in Alex Preminger and T.V.F. Brogan, eds.
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Kanakadasa's Ramadhanya Charitre is considered a unique work on class struggle. Linganna wrote Keladinripavijayam and Kavi Malla wrote Manmathavijaya, Madhava wrote Madahaalankara (a translation of Dandi's Sanskrit Kayvadarsha), Isvara Kavi also known as Bana Kavi wrote Kavijihva- Bandhana (a work on prosody), Sadananda Yogi wrote portions of Bhagavata and Bharata, Tirumala Bhatta wrote the Sivagite and Thimma wrote Navarasalankara, Ramendra wrote the Saundarya-Katharatna (a metrical version in tripadi metre of Battisaputtalikathe). Krishnadevarayana Dinachari is a recent discovery. The Vijayanagar period continued the ancient tradition of Kannada literature.
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The sirventes or serventes (), sometimes translated as "service song", was a genre of Old Occitan lyric poetry practiced by the troubadours. The name comes from sirvent ("serviceman"), from whose perspective the song is allegedly written. Sirventes usually (possibly, always) took the form of parodies, borrowing the melody, metrical structure and often even the rhymes of a well- known piece to address a controversial subject, often a current event. The original piece was usually a canso, but there are sirventes written as contrafacta of (at least) sestinas and pastorelas.
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As usual for online problems, the most common measure to analyze algorithms for metrical task systems is the competitive analysis, where the performance of an online algorithm is compared to the performance of an optimal offline algorithm. For deterministic online algorithms, there is a tight bound 2n-1 on the competitive ratio due to Borodin et al. (1992). For randomized online algorithms, the competitive ratio is lower bounded by \Omega(\log n / \log\log n) and upper bounded by O\left((\log n)^2\right). The lower bound is due to Bartal et al. (2006,2005).
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At the 1798 Exposition des produits de l'industrie française Pierre and Firmin Didot and Louis Etienne Herhan won an honorable distinction, the highest award, for their "Superb edition of Virgil with characters and ink of their manufacture; a stereotype plate, and an in-12 edition of the works of Virgil and Lafontaine with these characters." Didot was appointed by Napoleon as the director of the Imprimerie Impériale typefoundry. He was also the author of two tragedies La Reine de Portugal and La Mort d’Annibal and he wrote metrical translations from Virgil, Tyrtaeus and Theocritus.
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Three collections of Boyd's verse were printed during his lifetime. The Garden of Zion (1644) is a two-volume work that versifies Job, Proverbs, Ecclesiastes, the Song of Solomon, and other Old Testament songs. Boyd sought to have his metrical paraphrase of the psalter (printed in 1644) and scriptural songs (1645) accepted as the standard text for use in England and Scotland. Though the Scottish General Assembly sent his psalms to the Westminster Assembly for consideration, Robert Baillie criticized Boyd for his in seeking to have his psalter adopted.
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A canso usually consists of three parts. The first stanza is the exordium, where the composer explains his purpose. The main body of the song occurs in the following stanzas, and usually draw out a variety of relationships with the exordium; formally, aside from the envoi(s), which are not always present, a canso is made of stanzas all having the same sequence of verses, in the sense that each verse has the same number of metrical syllables. This makes it possible to use the same melody for every stanza.
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Among Episcopalians, Qualified Chapels used the English Book of Common Prayer. They installed organs and hired musicians, following the practice in English parish churches, singing in the liturgy as well as metrical psalms, while the non- jurors had to worship covertly and less elaborately. When the two branches united in the 1790s, the non-juring branch soon absorbed the musical and liturgical traditions of the qualified churches.R. M. Wilson, Anglican Chant and Chanting in England, Scotland, and America, 1660 to 1820 (Oxford: Oxford University Press, 1996), , p. 192.
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Rag Shankara, Rag Mala in Jogia is a studio album by Indian classical musician Ram Narayan, released in 1990. Recorded on 15 and 16 November 1989 in Wyastone Leys near Monmouth, Wales, the album features a sarangi performance of the solemn night raga Shankara and a ragamala ("garland of ragas") based on the introspective early morning raga Jogiya (or Jogia). On both tracks, Narayan performs a long non-metrical introduction to unfold the raga, during which he adds a pulse, until he is joined by the tabla (percussion) player to perform a composition.
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The Vita Sancti Cuthberti (English: "Life of Saint Cuthbert") is a prose hagiography from early medieval Northumbria. It is probably the earliest extant saint's life from Anglo-Saxon England, and is an account of the life and miracles of Cuthbert (died 687), a Bernician hermit-monk who became bishop of Lindisfarne. Surviving in eight manuscripts from Continental Europe, it was not as well read in the Middle Ages as the prose version by Bede. It was however Bede's main source for his two dedicated works on Cuthbert, the "Metrical Life" and the "Prose Life".
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It was completed soon after the translation of Cuthbert's body in 698, at some point between 699 and 705. Compiled from oral sources available in Bernicia at the time of its composition, the Vita nonetheless utilized previous Christian writing from the Continent, particularly Gregory the Great's Dialogi and Sulpicius Severus' Vita Sancti Martini, as powerful influences. The name of the author is not known, though he was a monk of the monastery of Lindisfarne. It is often called the Anonymous Life to distinguish it from the "Prose Life" and the "Metrical Life" of Bede.
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Emaré is a Middle English Breton lai, a form of mediaeval romance poem, told in 1035 lines. The author of Emaré is unknown and it exists in only one manuscript, Cotton Caligula A. ii, which contains ten metrical narratives.British Library MS Cotton Caligula A.ii, fols. 71-76. [The early fifteenth-century manuscript consists of two paper quartos, the first of which contains Emaré and other English verse texts as well as a treatise on pestilence, a prose treatise on the rite of confession, a short Latin chronicle and a few prescriptions.
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The text of "O Come, O Come, Emmanuel," in all its various versions, is a metrical paraphrase of the O Antiphons, so the intricate theological allusions of the hymn are essentially the same as for the antiphons. One notable difference is that the antiphon "O Radix Jesse" ("root" of Jesse) is generally rendered in meter as "Veni, O Iesse virgula" ("shoot" of Jesse). Both refer to the writings of the prophet Isaiah ( and , respectively), but the hymn's "virgula" precludes the formation of the acrostic "ero cras" from the antiphons.
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Offa's wife was called Cynethryth not Botilda and the name is not mentioned in any charter or by any chronicler. Bishop Heswi, or Oswy as the name is written in John Lydgate's Metrical Legend, cannot be identified. Offa died on 29 July 796 and was succeeded by his son Ecgfrith, "Who had been anointed king in his lifetime" according to William of MalmsburyGesta Regum Anglorum, William of Malmsbury and Æthelweard.The Chronicle of Aethelwerd Egferth died the same year as Offa and so none of the legend fits the history on these points.
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He continued this work on the collection when he returned to Harvard, at times assisted by Gabriel Lasker. Washburn would later credit the ongoing discussions between Lasker and himself during this period (1938) as formative to his views about human variability. To Washburn, human variability was to be understood in terms of population genetics, and not according to the terms of racial and constitutional typology as typified by his doctoral advisor, Hooton. His doctoral thesis was a metrical appraisal of proportions in the skeletons of adult macaques and langurs.
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He had a special interest in metrical inscriptions and his Piacentine collection he divided under the headings RITHM and METR, indicating rhythmic and hexametric metre, respectively. The Sylloge centulensis, from an eighth- or ninth-century manuscript of the monastery of Corvey, compiled on a trip from Rome to Spoleto to Ravenna, records "what we might term Petrean poetry", a style lying between classical and medieval forms.Everett, Literacy, 244. Pierre Riché referred to it as "a religious poetry in classical vocabulary and form" where "not even dogma escaped the laws of poetry".
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III, page 133 The dream motif was borrowed by Aeschylus for his own version of the Clytemnestra character in Libation Bearers.G. Massimilla, Un sogno di Giocasta in Stesicoro? The fragment also has implications for our understanding of ancient scholarship, especially the manner in which poetic texts were transmitted. It was usual in ancient times for uniform verses to be written out in lines, as for example lines of dactylic hexameter in epic verse and iambic trimeter in drama, but lyric verses, which feature varying metrical units or cola, were written out like prose.
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Another property suggested for pitch-accent languages to distinguish them from stress languages is that "Pitch accent languages must satisfy the criterion of having invariant tonal contours on accented syllables ... This is not so for pure stress languages, where the tonal contours of stressed syllables can vary freely" (Hayes (1995)).Hayes, Bruce (1995) Metrical stress theory: Principles and case studies. University of Chicago Press; p. 50. Although this is true of many pitch-accent languages, there are others, such as the Franconian dialects, in which the contours vary, for example between declarative and interrogative sentences.
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The ethical idea is the romantic idea of knighthood—the winning of the loved one by valour and daring, not by blind chance as in the Byzantine literary romances. Along with these independent adaptations of French material, are direct translations from "Flore et Blanchefleur", "Pierre et Maguelonne", and others, which have passed into the domain of universal literature. To the period of Frankish conquest belongs also the metrical Chronicle of the Morea (14th century). It was composed by a Frank brought up in Greece, though a foe of the Greeks.
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" He continued, "Ms. Feeney's music draws on sources across centuries. Her ensemble, including strings, trumpet and sometimes a recorder, often sounds like a Baroque consort, spinning contrapuntal arpeggios; it also hints at folk-pop, Minimalism and the metrical gamesmanship of progressive rock. "One More Tune" used syncopated handclaps reminiscent of Steve Reich and a trumpet line hinting at a village brass band, while a new song, "If I Lose You Tonight," which she sang accompanied only by a few notes from a mandolin, had the melodic purity of a traditional Irish ballad.
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Cited in distinguishes his 20th century medievalism from Antheil's SPACE/TIME theory of modern music, which sought pure abstraction. Antheil's system of time organization is inherently biased for complex, asymmetric, and fast tempi; it thrives on innovation and surprise. Pound's more open system allows for any sequence of pitches; it can accommodate older styles of music with their symmetry, repetition, and more uniform tempi, as well as newer methods, such as the asymmetrical micro- metrical divisions of rhythm created for Le Testament. Pound was a friend of Igor Stravinsky.
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The English lawyer and politician Francis Rous authored a new metrical paraphrase of the Book of Psalms which he published in 1641. Under Oliver Cromwell, Rous had been appointed a member of the Westminster Assembly and was a prominent figure among the English Puritans. Before his Psalms could be approved, they were subjected to scrutiny by the Long Parliament, and a committee of translators was formed to review submissions by Rous and by his rival, William Barton. The committee deliberated for six years and made extensive alterations to the texts.
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The symphony is in four movements. The first movement is elemental in nature, initially based on pulsing Cs but giving way before long to contrasting scales. It is soft and brief, evocative of the composer's earlier string quartets, and acts as a prelude to the faster and more lively second movement, which begins with running quavers that immediately signal a change in texture and harmonic breadth. The movement progresses to a series of abrupt metrical changes, and ends when it moves without transition into a new closing theme with pizzicato counterpoint.
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Born in Portland, Maine, Bellows graduated from Harvard University in 1906, and then taught English as an assistant there for three years. He received his Ph.D. in 1910 for a dissertation in comparative literature entitled The Relations between Prose and Metrical Composition in Old Norse LiteraturePhD Dissertations, Department of Comparative Literature, Harvard University. and then became an assistant professor of rhetoric at the University of Minnesota.William M. Emery, The Howland Heirs: Being the Story of a Family and a Fortune and the Inheritance of a Trust Established for Mrs.
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Rather, it reworks the oral legend of the warrior Hildebrand and his fight against his son (here Alebrand) in accordance with late medieval and early modern taste. It is highly sentimentalized and focuses on Hildebrand's return home rather than the tragic conflict of the older tradition. The Jüngeres Hildebrandslied was an extremely popular ballad in the age of print, and continued to be reprinted into the eighteenth century. Its melody was well known and the poem has given its name to its metrical form, the so-called "Hildebrandston".
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On 17 December 1923 he married Agnes May Hurley at Mackay, where he was in a legal partnership with Vincent Macrossan. He ran unsuccessfully for Herbert as a Nationalist in the 1929 federal election. He wrote sporadically for the Mackay Daily Mercury for many years and in 1932 published Literature by Languages: A Roll Call, a survey of world literature. His later publications included A Shakespeare or Two (1935), The Practice of Literary History (1936), Courses in Literary History (1938), Scrambled Scrutinies (1949), and Metrical Diversions of a Sexagenarian (1952).
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Ambrosius Lobwasser Ambrosius Lobwasser (1515–1585) was a German humanist and translator, born in Saxony. He served as professor of jurisprudence at the University of Königsberg from 1563 until his retirement in 1580, but is best known for his Psalter des Königlichen Propheten David, published in 1573 (Leipzig). This metrical psalter, a translation of the Genevan Psalter, became one of the standard psalm-books used by the evangelical churches of the German-speaking lands, including Switzerland (the Genevan Psalter had been written in French). The Lobwasser psalter was widely reprinted into the 1800s.
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The Short English Metrical Chronicle, an anonymous history of England in verse composed in about the 1330s, which survives in several variant recensions (including one in the so- called Auchinleck manuscript), includes the statement that "Brut sett Londen ston" – that is to say, that Brutus of Troy, the legendary founder of London, set up London Stone. (line 457) This claim suggests that interest in the Stone's origin and significance already existed. However, the story does not seem to have circulated widely elsewhere, and was not repeated in other chronicles.
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With regard to the form of the poem, Rutilius handles the elegiac couplet with great metrical purity and freedom, and betrays many signs of long study in the elegiac poetry of the Augustan era. The Latin is unusually clean for the times, and is generally classical, both in vocabulary and construction. Rutilius may lack the genius of Claudian, but also lacks his overloaded gaudiness and his large exaggeration; and the directness of Rutilius shines in comparison with the labored complexity of Ausonius. It is common to call Claudian "the last of the Roman poets".
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The most important rule in the phonology of the vowels of the Miami-Illinois language is the iambic metrical rule, which is referred to by David Costa (2003) as the strong syllable rule (SSR). Syllables in this language are considered either strong or weak depending on whether they occur in an even or odd numbered spot within the word. Counting from left to right, the even numbered syllables are strong and the odd numbered syllables are weak. However, a long vowel is always considered strong and the syllable count is restarted from this point.
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As a narrative film, Anaphylaxis observes shot continuity, content and arrangement necessary for storytelling. However, the film also observes a set of strict shot-length rules to create a defined rhythm for each of its scenes. In a prosodic cinematic style, shots in Anaphylaxis come together according to defined shot-length rules in order to compose durational patterns (rhythmic units). The shots in these rhythmic units mimic in their length pattern some of the known metrical feet of poetry such as iamb (short- long), anapest (short-short-long) and trochee (long-short).
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Priyankant Maniyar is considered as one of the four major poets of the Niranjan school, a literary school named after poet Niranjan Bhagat. Other major poets of this school include Hasmukh Pathak and Nalin Raval. Maniyar wrote symbolic and imagist poetry, and published seven collections of poems: Pratik (Sumbol; 1953), Ashabda Ratri (Silent Night; 1959), Sparsha (Touch; 1966), Sameep (Nearness; 1972), Prabal Gati (Powerful Speed; 1974), Vyom Lipi (Sky's Alphabet; 1979) and Lilero Dhal (Green Slope; 1979). His poems are composed in metrical, prosodic, orthometric and blank verses.
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It is commonly agreed upon that the Vishnu Smriti relies heavily on previous Dharmashastra texts, such as the Manusmriti and Yajnavalkya smrti. However, some scholars see it as a Vaishnava recast of the Kathaka Dharmasutra Jolly and Bühler make this claim but this same statement was made by their contemporaries of many other Dharmaśāstra texts, including the Manu smrti. It seems quite certain that the author of the Vishnu Smriti was a member of the Kathaka school of the Black Yajurveda in Kashmir. while others say that the Kathakagrhya and metrical verses were added later.
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Velma Bourgeois RichmondRichmond, The Legend of Guy of Warwick. (New York and London: Garland) 1996. has traced the career of Guy of Warwick from the legends of soldier saints to metrical romances composed for an aristocratic audience that widened in the sixteenth century to a popular audience that included Guy among the Nine Worthies, passing into children's literature and local guidebooks, before dying out in the twentieth century. The kernel of the tradition evidently lies in the fight with Colbrand, which symbolically represents some kernel of historical fact.
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221 Jenner produced two more works in the same general vein. The Ages of Sin, or Sinne's Birth and Growth. With the Stepps and Degrees of Sin from thought to finall Impenitencie consists of a series of engraved plates in which, as in Francis Quarles's Emblems, each is accompanied by six metrical lines. There is also The Path of Life and the Way that leadeth down to the Chambers of Death or the Steps to Hell and the Steps to Heaven, in which all men may see their ways set forth in copper prints.
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He published his treatise about Nostradamus' letters and works, La clef secrète de Nostradamus (The Secret Key of Nostradamus). In the book, Frontenac professed his belief in Nostradamus as a true prophet, who made correct foretellings, and that the centuries (in French Les Propheties) contained true predictions about future events until the year 3797. But, he contended that those predictions were hidden and mixed, and not made understandable before events occurred. His conclusions were based on a combination of several cryptographic methods, including a systematic alteration in the metrical order of quatrains' texts.
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Dochmiac (, from δόχμιος 'pertaining to a δοχμή or hand's-breath'Oxford English Dictionary.) is a poetic meter that is characteristically used in Greek tragedy, expressing extreme agitation or distress. There are examples in satyric drama and Aristophanes, but these are often paratragic in tone and impassioned. The base metrical scheme is: ‿ — — ‿ —, although any of the long syllables may be resolved and either of the two shorts may be replaced by a long (drag-in where the first is replaced, drag-out where the second is replaced, and double drag where both are replaced).
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Meanwhile, attacks by free verse and confessional poets against Formalists like Nemerov, Wilbur, Turco, and Hecht grew ever lounder. According to Baer, "...both meter and rhyme were considered, at best, an outdated aspect of the literary past, or, much worse, a debilitated form of bourgeois or capitalist control. Occasionally, these attacks at their worst and most shrill, even descended into fantastic charges that formal poetry was actually fascist (as William Carlos Williams once delineated the sonnet)..."William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, Writer's Digest Books. Pages 236-237.
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This movement is marked Con moto (with motion) and contains a theme and five variations as do the final movements of Mozart's Clarinet Quintet and Brahms's Clarinet Sonata No. 2\. Tempo varies according to the musician. The fourth variation, in B major, has a sweet melody mostly performed by the clarinet, which recalls the mood of the second movement. The fifth (final) variation, beginning with the viola playing the melody over the pizzicato cello, is back in B minor but bears a different metrical sign (6/8) till the end of the movement.
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His poems, though lacking polish and elegance, are full of fire, spirit, and poetic movement. His thought is solid, fertile, and gives evidence of a well- trained mind. Eugenius left two books in prose and verse, containing his poems on religious and secular subjects, his recension of the poem of Dracontius on "The Six days of Creation", to which he added a "Seventh Day", and a letter to King Chindaswith explaining the plan of the entire work. He also edited the metrical "Satisfactio" of Dracontius, an account of the writer's misfortunes.
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Certain restrictions or associations of particular words were often typical of certain poetic forms, and for some forms of poetry there were rules restricting or encouraging the repetition of the same word within a poem, a stanza, or a line or couplet. Sometimes a deliberately archaic or traditional poetic vocabulary was used. Often the use of common words such as pronouns and "empty words" like particles and measure words were deprecated. Certain standard vocabulary substitutions were standard where a certain word would not fit into the metrical pattern.
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Anglo-Saxon metrical charms were sets of instructions generally written to magically resolve a situation or disease. Usually, these charms involve some sort of physical action, including making a medical potion, repeating a certain set of words, or writing a specific set of words on an object. These Anglo-Saxon charms tell a great deal about medieval medical theory and practice. Although most medical texts found from the pre-Christian Anglo-Saxon period are translations of Classical texts in Latin, these charms were originally written in Old English.
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The gaṇas are, however, not the same as the foot in Greek prosody. The metrical unit in Sanskrit prosody is the verse (line, pada), while in Greek prosody it is the foot.A history of Sanskrit Literature, Arthur MacDonell, Oxford University Press/Appleton & Co, page 55 Sanskrit prosody allows elasticity similar to Latin Saturnian verse, uncustomary in Greek prosody. The principles of both Sanskrit and Greek prosody probably go back to Proto-Indo-European times, because similar principles are found in ancient Persian, Italian, Celtic, and Slavonic branches of Indo-European.
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In traditional stock market exchanges such as the New York Stock Exchange (NYSE), most trading activity took place in the trading pits in face-to-face interactions between brokers and dealers in open outcry trading. In 1992 the Financial Information eXchange (FIX) protocol was introduced, allowing international real-time exchange of information regarding market transactions. The U.S. Securities and Exchange Commission ordered U.S. stock markets to convert from the fractional system to a decimal system by April 2001. Metrification, conversion from the imperial system of measurement to the metrical, increased throughout the 20th century.
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Lovato's manuscript of Seneca's Tragedies was a centrepiece among his life's accomplishments, which served a key role in the movement for the revival of Seneca's work. Witt, 2000, p. 100. Lovato attached an essay at the end of the manuscript Seneca's Tragedies discussing the metrical schemes in Seneca's plays. Other than rare works such as Horace's Carmina and Statius's Silvae being brought back into the awareness of Western Europeans for the first time in three to four centuries, Lovato also made known Ovid's Ibis and Martial's Epigramus to his medieval audiences.
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Bishop Peter, known as Chrysologus, gave a magnificent eulogy of Bishop Cornelius at the consecration of his successor, Projectus.Chrysologus himself was buried at Imola, having died in his native city. His tombstone, discovered in 1698, was a rude block on which was written PETRUS. Of the gifts said to have been given by Chrysologus to the church of Imola there is still preserved a paten, with the figure of a lamb on an altar, surrounded by the metrical legend Quem plebs tunc cara crucis agnum fixit in ara.
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Falconer was born at Aberdeen, 10 September 1805, was the second and only surviving son of Gilbert Falconer of Braeside, Fife. He was educated at the grammar school and at Marischal College, where he obtained prizes in classical studies. His first publications, which appeared anonymously in local journals, were also classical, consisting of metrical translations from the Greek anthology. He commenced his oriental studies before the age of twenty, by attending the Hebrew classes of Professor James Bentley in Aberdeen, and likewise began the private study of Arabic and Persian.
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She is identified in Lebor Gabála Érenn as a daughter of the Dagda and a poet. The same passage mentions that she has two oxen, Fe and Men, that graze on a plain named after them, Femen; elsewhere Fe and Men are described as the two oxen of Dil, "radiant of beauty," which may be a byname for Brigid.The Metrical Dindsenchas: "Mag Femin, Mag Fera, Mag Fea," Poem 36 She also possessed the king of boars, Torc Triath, and Cirb, king of wethers (sheep), from whom Mag Cirb is named.Macalister, R. A. Stewart.
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The Operations of the Holy Ghost Considered, in a Sermon (1764) was the published form of the visitation sermon by Conyers, to which his archbishop took exception. In 1767, Conyers published A Collection of Psalms and Hymns from Various Authors. At this period a number of evangelicals within the Church of England were compiling hymn books, and Conyers put his together to replace the use of metrical psalms and paraphrase singing by his own congregation. The Collection took much of its material from Martin Madan's similar work of 1760.
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Fraoch succeeded in stealing fruit from the tree, but when he was sent back to get the tree itself, the dragon pursued him. In the ensuing battle, both Fraoch and the dragon died. A cairn was raised on the spot where Fraoch fell and the island named in his honour. This legend, a version of the Hesperides myth, is recounted in a Gaelic ballad, Bás Fraoich, which was collected by Jerome Stone, the schoolmaster at Dunkeld, and published in his metrical English translation in The Scots Magazine, January 1756.
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Contemporary Arabic poets considered their language, the language of the Qur'an, the most beautiful language, and Arabic verse as the highest form of poetry; Jewish poets thought similarly of their sacred writings and composed poetry in Biblical Hebrew Apart from Dunash's metrical innovations, the Hebrew of these poems tried to emulate the diction and style of Classical Hebrew, abolishing elements that had been introduced into the language after the canonization of the Hebrew Bible. This classical approach was facilitated by advances in the study of Hebrew grammar and biblical interpretation.
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In 1562 he began to study law in London, and gained a reputation, according to Anthony à Wood, as a poet and man of affairs. He accompanied Thomas Randolph on a special mission to Moscow to the court of Ivan the Terrible in 1568. Of his Poems describing the Places and Manners of the Country and People of Russia mentioned by Wood, only three metrical letters describing his adventures survive, and these were reprinted in Hakluyt's Voyages (1589). His Epitaphs, Epigrams, Songs and Sonnets appeared "newly corrected with additions" in 1567.
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Willard's poetry is metrical and rhyming, simple in many ways but never simplistic. Hints of a larger universe or magical forces at work are never far from the surface. In the central "Blake Leads a Walk on the Milky Way", most of the characters express wonder and awe at the eternal beauty around them and are rewarded by Blake with gifts of stars, while the rat, sullen and cynical, receives only "a handful of dirt". The illustrations are whimsical, iconic gouache paintings, making great use of the architecture of Blake's England.
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The Samaveda SamhitaFrom , the term for a melody applied to a metrical hymn or a song of praise, . consists of 1549 stanzas, taken almost entirely (except for 75 mantras) from the Rigveda.Witzel, M., "The Development of the Vedic Canon and its Schools : The Social and Political Milieu" in While its earliest parts are believed to date from as early as the Rigvedic period, the existing compilation dates from the post-Rigvedic Mantra period of Vedic Sanskrit, between c. 1200 and 1000 BCE or "slightly later," roughly contemporary with the Atharvaveda and the Yajurveda.
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William Edward Mead, in his standard edition of the romance, published in 1904, expressed an opinion closer to that of most modern critics when he said that > We can praise The Squyr of Lowe Degre only with considerable reservations, > and do not seek a place for it among the great creative poems of the world. > But it is interesting, at times charming, and it more than holds its own > among poems of its class.William Edward Mead (ed.) The Squyr of Lowe Degre: > A Middle English Metrical Romance (Boston: Ginn, 1904) p. lxxxii.
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In addition to these two loose groupings, a number of prominent Irish poets of the second half of the 20th century could be described as outsiders, although these poets could also be considered leaders of a mainstream tradition in the Republic. These include Thomas Kinsella (born 1928), whose early work was influenced by Auden. Kinsella's later work exhibits the influence of Pound in its looser metrical structure and use of imagery but is deeply personal in manner and matter. John Jordan (1930–1988) was an Irish poet born in Dublin on 8 April 1930.
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It was believed that a well-aimed bardic satire, glam dicin, could raise boils on the face of its target. However, much of their work would not strike the modern reader as being poetry at all, consisting as it does of extended genealogies and almost journalistic accounts of the deeds of their lords and ancestors. The Metrical Dindshenchas, or Lore of Places, is probably the major surviving monument of Irish bardic verse. It is a great onomastic anthology of naming legends of significant places in the Irish landscape and comprises about 176 poems in total.
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The earliest of these date from the 11th century, and were probably originally compiled on a provincial basis. As a national compilation, the Metrical Dindshenchas has come down to us in two different recensions. Knowledge of the real or putative history of local places formed an important part of the education of the elite in ancient Ireland, so the Dindshenchas was probably a kind of textbook in origin. Verse tales of Fionn and the Fianna, sometimes known as Ossianic poetry, were extremely common in Ireland and Scotland throughout this period.
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In 1602, after Willliam Middleton had died, his cousin Thomas Myddleton advanced £30 to print the psalms. The psalms were collected by Thomas Salisbury, who also published other items in Welsh. In 1603 he had them published in London by the printer Samuel Stafford, as: Psalmæ y brenhinol brophvvyd Dafydh: gwedi i cynghanedhu mewn mesurau cymreig. Middleton’s psalms were the first full metrical Psalter in Welsh, and the only one in full cynghanedd. Middleton’s psalms remained at the British Library, where they came to the attention of Walter Davies. Rev.
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On the other hand, if she is to be located closer to the Hellenistic period, parallels can be found in the poetry of Theocritus. Forty-two fragments of Corinna's poetry survive, though no complete poems of hers are known. The three most substantial fragments are preserved on pieces of papyrus discovered in Hermopolis and Oxyrhynchus in Egypt, dating to the second century AD; many of the shorter fragments survive in citations by grammarians interested in Corinna's Boeotian dialect. Corinna's language is clear, simple, and generally undecorated, and she tends to use simple metrical schemes.
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Sonnet 9 is an English or Shakespearean sonnet. Sonnets of this type comprise 14 lines, containing three quatrains and a final couplet, with the rhyme scheme ABAB CDCD EFEF GG. They are composed in iambic pentameter a metrical line based on five pairs of metrically weak/strong syllabic positions. Ambiguity can exist in the scansion of some lines. The weak words (lacking any tonic stress) beginning the poem allow the first line to be scanned as a regular pentameter: × / × / × / × / × / Is it for fear to wet a widow's eye (9.1) :/ = ictus, a metrically strong syllabic position.
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Indian medicine has a long history. Its earliest concepts are set out in the sacred writings called the Vedas, especially in the metrical passages of the Atharvaveda, which may possibly date as far back as the 2nd millennium BCE. According to a later writer, the system of medicine called Āyurveda was received by a certain Dhanvantari from Brahma, and Dhanvantari was deified as the god of medicine. In later times his status was gradually reduced, until he was credited with having been an earthly king who died of snakebite.
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Heber's controversial hymn "From Greenland's Icy Mountains" as published in a school hymnal in 1899 At the start of the 19th century the Anglican authorities officially disapproved of the singing of hymns in churches, other than metrical psalms, although there was considerable informal hymn-singing in parishes.Hughes, pp. 77–78 Heber, according to the poet John Betjeman, was a professed admirer of the hymns of John Newton and William Cowper, and was one of the first High Church Anglicans to write his own. In all he wrote 57, mainly between 1811 and 1821.
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Turner is Founders Professor of Arts and Humanities at the University of Texas at Dallas. Previous academic positions included the University of California, Santa Barbara (assistant professor 1967-72), Kenyon College (associate professor 1972-85), and the University of Exeter in England (visiting professor 1984-85). Between 1979 and 1983, Turner and Ronald Sharp served as editors of The Kenyon Review, where they published both the poems and the essays of the first New Formalist poets.William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, Writer's Digest Books.
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Vowels and consonant-vowel compounds in Tamil alphabet have been classified into ones with short sounds (kuril) and the ones with long sounds (nedil). A sequence of one or more of these units optionally followed by a consonant can form a ner asai (the Tamil word asai roughly corresponds to syllable) or a nirai asai depending on the duration of pronunciation. Ner and Nirai are the basic units of meter in Tamil prosody. A siir or cheer is a type of metrical foot that roughly corresponds to an iamb.
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Yigdal (; yighdāl, or ;yighdal; means "Magnify [O Living God]") is a Jewish hymn which in various rituals shares with Adon 'Olam the place of honor at the opening of the morning and the close of the evening service. It is based on the 13 principles of faith (sometimes referred to as "the 13 Creeds") formulated by Maimonides. This was not the only metrical presentment of the Creeds, but it has outlived all others, whether in Hebrew or in the vernacular. A translation can be found in any bilingual siddur.
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Haiku is a short verse genre written in one line in Japanese and commonly three lines in English and other languages. It has achieved significant global popularity, having been adapted from Japanese into many other languages. Typical of Japanese haiku is the metrical pattern of 5, 7, and 5 on (also known as morae). Other features include the juxtaposition of two images or ideas with a kireji ("cutting word") between them, and a kigo, or seasonal reference, usually drawn from a saijiki, or traditional list of such words.
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The seven or eight syllable line typical of formal Irish verse is derived from an ancient Indo-European metrical tradition. The Irish combination of end-rhyme, internal rhyme and alliteration, however, derives ultimately from the example of late Latin hymns, as elaborated by Irish monks. Such rhyme first appears in Latin hymns of the third and fourth centuries. Its use was taught by the late Classical writer Virgilius Marus Grammaticus, whose writings were well known in Ireland, and rhyme is found in some of the earliest Irish Latin hymns.
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Whatever its origins, "Termagant" became established in the West as the name of the principal Muslim god, being regularly mentioned in metrical romances and chansons de geste. The spelling of the name varies considerably (Tervigant, Tervagant, Tarvigant, etc.). In Occitan literature, the name Muhammed was corrupted as "Bafomet", forming the basis for the legendary Baphomet, at different times an idol, a "sabbatic goat", and key link in conspiracy theories. The troubadour Austorc d'Aorlhac refers to Bafomet and Termagant (Tervagan) side-by-side in one sirventes, referring also to the latter's "companions".
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Crimond Parish Church While Rev Irvine was serving at Crimond Church, his teenage daughter Jessie was undertaking training as an organist at the nearby town of Banff. According to some accounts, she composed a tune in 1871 for the metrical version of Psalm 23, "The Lord's my Shepherd", in the Scottish Psalter as an exercise for a composition class. The setting was first performed at evening worship at Auchterless Parish Church. Dissatisfied with her own harmonisation, Jessie asked David Grant, a musician from Aberdeen, to reharmonise it for her.
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The Tamils of South India have an extensive literature describing their Heroic Age (the Sangam period). The Sangam poems share common themes with their Greek and German counterparts, such as glory, victory, fate and honour. The Sangam age is dated to between the 3rd century B.C.E and 2nd century C.E. However, the events described have been transmitted orally from an earlier period. This is evidenced by the oral nature of the poems which (like the Iliad and Odyssey) use epithets and other metrical devices common in oral poetry.
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The etymology of the term is unclear. Arps relates it to the gamelan practice of cêluk ("calling out"), an introduction to a piece with a sung phrase, rather than an instrumental introduction.Arps (1992) It is also possible that the word derives from the Sanskrit term sloka, a verse form consisting of octosyllabic couplets. This is plausible considering that the metrical structure of sulukan verses does indeed generally conform to the pattern of octosyllabic couplets, the etymology may have passed into Javanese lore from the work of 19th century Dutch scholars.
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The buckle bears a runic inscription on its front, incised after its manufacture: :aigil andi aïlrun [ornament or bind-rune] :iltahu (or elahu) gasokun [ornamental braid] Linguistic analysis of the inscription reveals that it was composed in early Old High German and is thus considered the oldest preserved line of alliterative verse in any West Germanic languages (while the Golden horns of Gallehus inscription, roughly one century older, is considered the oldest example of a North Germanic metrical line). However, scholars have yet to reach a consensus as to its exact import.
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Sima Xiangru ( , ; c. 179117BC) was a Chinese poet, writer, musician, and politician who lived during the Western Han dynasty. Sima is a significant figure in the history of Classical Chinese poetry, and is generally regarded as the greatest of all composers of Chinese fu rhapsodies. His poetry includes his invention or at least development of the fu form, applying new metrical rhythms to the lines of poetry, which he mixed with lines of prose, and provided with several of what would in ensuing centuries become among a group of common set topics for this genre.
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In 1839 he became editor of the Renaissance, a paper founded to encourage the fine arts. His chief work, the epic of the Quatre Incarnations du Christ, was published in 1867. In the same volume were printed his Études rythmiques, a series of metrical experiments designed to show that the French language could be adapted to every kind of musical rhythm. With the same end in view he executed translations of many German songs, and wrote new French libretti for the best- known operas of Mozart, Weber and others.
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She wrote a long poem of lament and petition in the traditional rhymed metrical form. Her poems are among the few examples of the early modern Hebrew texts written by women.Shirley Kaufman, Galit Hasan-Rokem, Tamar Hess, Hebrew Feminist Poems from Antiquity to the Present: A Bilingual Anthology, Feminist Press, 1999, , pp.7, 9 Immigration of Kurdish Jews to the Land of Israel initiated during the late 16th century, with a community of rabbinic scholars arriving to Safed, Galilee, and a Kurdish Jewish quarter had been established there as a result.
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The preacher impersonates the Hebrew prophets whose Messianic utterances he works into an argument establishing the Divinity of Christ. Having confuted the Jews out of the mouths of their own teachers, the orator addresses himself to the unbelieving Gentiles— "Ecce, convertimur ad gentes." The testimony of Virgil, Nabuchodonosor, and the Erythraean Sibyl is eloquently set forth and interpreted in favour of the general thesis. As early as the eleventh century this sermon had taken the form of a metrical dramatic dialogue, the stage-arrangement adhering closely to the original.
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Shin Raṭṭhasāra (; 1468-1529 (1530) was a Buddhist monk and prominent classical poet during the Ava Kingdom, known for his pyo poetry. His 1523 Kogan Pyo () based on the Hatthipāla Jātaka, is among the most widely known pyo in modern-day Myanmar, and is taught in Burmese schools. His Buridat Pyo (; based on the Bhūridatta Jātaka) is also considered an exemplar of the medieval literary style, is considered a masterpiece of Burmese classical poetry. Raṭṭhasāra also composed metrical versions of other Jataka tales, including the Saṃvarajātaka, besides a number of other poems.
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Of Portuguese Jewish extraction, Mendès was born in Bordeaux. After childhood and adolescence in Toulouse, he arrived in Paris in 1859 and quickly became one of the protégés of the poet Théophile Gautier. He promptly attained notoriety with the publication in the La Revue fantaisiste (1861) of his Roman d'une nuit, for which he was condemned to a month's imprisonment and a fine of 500 francs. He was allied with Parnassianism from the beginning of the movement and displayed extraordinary metrical skill in his first volume of poems, Philoméla (1863).
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The Fundamental Theory of Projective Geometry Projective geometry is an elementary non-metrical form of geometry, meaning that it is not based on a concept of distance. In two dimensions it begins with the study of configurations of points and lines. That there is indeed some geometric interest in this sparse setting was first established by Desargues and others in their exploration of the principles of perspective art.Ramanan 1997, p. 88 In higher dimensional spaces there are considered hyperplanes (that always meet), and other linear subspaces, which exhibit the principle of duality.
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The Aeneid, like other classical epics, is written in dactylic hexameters: each line consists of six metrical feet made up of dactyls (one long syllable followed by two short syllables) and spondees (two long syllables). This epic consists of twelve books, and the narrative is broken up into three sections of four books each, respectively addressing Dido; the Trojans' arrival in Italy; and the war with the Latins. Each book has roughly 700–900 lines. The Aeneid comes to an abrupt ending, and scholars have speculated that Virgil died before he could finish the poem.
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Morley's pick of Barley as an assignee (rather than experienced printers such as East or Peter Short, both of whom had previously worked with Morley) is surprising. Morley may have been looking for help in challenging the metrical psalter patent of Richard Day and his assignees. At that time, East and Short were stationers, and the Stationers' Company was actively enforcing the Day monopoly. Barley, however, was not a stationer, and in 1599 he and Morley published The Whole Booke of Psalmes and Richard Allison's Psalmes of David in Metre.
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Smith 92–93 The former was a small pocket edition that was largely based on East's 1592 publication of the same name. This work, although pirated and filled with small errors, provides some evidence of Barley's editorial skill; musicologist Robert Illing notes that if Barley "is to be discredited for roguery, he must also be applauded for his strokes of musical imagination" for successfully compressing such a large work into a pocket- sized production.Illing 223 In Allison's work, the two claimed that they had exclusive rights on the metrical psalter. Duly provoked, Day sued.
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He contributed to the Christian Inquirer and the Atlantic Monthly, and prepared political articles for various journals. In 1841 he wrote a play entitled The Vagabonds, which was produced at the Franklin Theatre in New York City and the Arch Street Theatre in Philadelphia, and at one point he was preparing Cæsar and Cleopatra, an acting drama. Weidemeyer also published Real and Ideal: a Collection of Metrical Compositions by John W. Montclair (Philadelphia, 1865); Themes and Translations (New York, 1867); American Fish, and how to catch Them (1885); and From Alpha to Omega (1889).
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In medieval Latin, while verse in the old quantitative meters continued to be written, a new more popular form called the sequence arose, which was based on accentual metres in which metrical feet were based on stressed syllables rather than vowel length. These metres were associated with Christian hymnody. However, much secular poetry was also written in Latin. Some poems and songs, like the Gambler's Mass (officio lusorum) from the Carmina Burana, were parodies of Christian hymns, while others were student melodies: folksongs, love songs and drinking ballads.
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Most Qənes are composed in Ge’ez, and most students at Qəne school start their education by learning the basics of the Gəʾəz language. Most Qənes are composed in Gəʾəz since Qəne rules regarding the Säm əna Wärq mode and metrical pattern are set up for the Gəʾəz language. But once we follow the right metrical pattern and rules of metaphor, one can compose Qəne in other languages. For Example in Amharic, Afaan Oromo, English ...etc. This is evident in the advent of Guramayle Qəne (a blend of Gəʾəz and Amharic) and Amharic Qənes starting from the Gondarine Period (17th to 19th century) Example of Qene blending Gəʾəz, Amharic and English: 3፡ Mäwädəs ኦ ብራዘርስ ውሉደ ጥምቀት፣ እንተ በጉጓዔ ንትጋባ ውስተ ታዕካ ዘቅድስና፣ መና ቃለወንጌል ቅዱስ እስመ በዛቲ አለና፣ ፎር ዘ ሴክ ኦፍ ሳቲስፋይንግ ኢንተረስተ ውሉድ በጥዑም መና፣ ወይነ ምስጋና ዘመላእከት ውስቴታ ተቀድሃ ከመ ከመ ያስተፍስህ የሰው ልቡና፣ ኸርትሂ የገበሬ እርሻ እንዳያገኛት ሙስና፣ ይዝነም ቃለ ወንጌል በፍቅር ወበትህተና፣ እስመ ዝናመ ጽድቅ ተርዕየ በዘጳውሎስ ደመና፣ ወደቂቀ ጳውሎስ አእዋም አህመልመሉ በዳኅና፡፡ Oh Brothers, children of Baptism Let us hurry and enter the hall of Holiness Because inside there is Manna / words of the Gospel And to satisfy the interest of the children with tasty Manna The Angels’ gratitude / wine was poured to satisfy man's conscience.
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There are very few studies on Khun Chang Khun Phaen in western languages. Prince Dhani Nivat wrote two articles on the poem in the Journal of the Siam Society in 1926 and 1941 which explain the metrical form of the sepha and give a summary of the plot. E. H. S. Simmonds published an aritlce in Asia Major in 1963 which compares one episode in the standard text with a version he recorded in performance. Khun Chang Khun Phaen has been completely translated into English by husband-and-wife team Chris Baker and Pasuk Phongpaichit in 2010.
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Praise for the versification of the Vita has been qualified. John Jay Parry conceded that it "is good, by medieval standards, and in places rises to poetry", and likewise Peter Goodrich thought it "better than average Latin hexameter verse". Tatlock wrote that it is "a favourable specimen of mediaeval metrical verse", with few false quantities, no elision or hiatus, and a moderate use of verbal jingles, though he preferred the poetic form and style of the two short poems in Geoffrey's Historia. The figure of Merlin in the poem is hard to pin down, and has been interpreted variously by different critics.
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These three similar terms (in French ' and ' are homophones) designate distinct historical strategies to introduce more prosodic variety into French verse. All three involve verse forms beyond just the alexandrine, but just as the alexandrine was chief among lines, it is the chief target of these modifications. ;'''' ' (also ', ', or ') are found in a variety of minor and hybrid genres of the 17th and 18th century. The works are composed of lines of various lengths, without regularity in distribution or order; however, each individual line is perfectly metrical, and the rule of alternation of rhymes is followed.
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His earliest metrical versions of the Psalms may have been composed in Henry's reign; Miles Coverdale had published his 'Goostly Psalmes,' a translation of Luther's psalm versions, as early as 1535. In 1540 the earliest Psalms by Marot, valet de chambre to Francis I, were known at the French court, and soon afterwards passed into Protestant worship at Geneva. Sternhold, Marot, and Coverdale all wished to substitute the Psalms of David for the ballads of the court and people. Sternhold (with the exception of Psalm cxx) used only one metre, and this the simplest of all ballad measures, the metre of Chevy Chace.
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Next, a syntactic transformation heightens metrical ambiguity through the loss of a pulse and clear rhythmic distinctions (p. 235). Lastly, Tristans semantic transformation, or "its true semantic quality" is Wagner's strong reliance upon musical metaphor. The piece "is one long series of infinitely slow transformations, metaphor upon metaphor, from the mysterious first phrase through to the climactic heights of passion or of transfiguration, right to the end" (p. 237). Bernstein indicates that the phonological transformation, or the extreme chromaticism of Tristan, is at a breaking point for tonality, so part 3 examines the next step in twentieth-century ambiguity: atonality.
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The poet seems to have been inspired by the Kirātārjunīya of Bharavi, and intended to emulate and even surpass it. Like the Kirātārjunīya, the poem displays rhetorical and metrical skill more than the growth of the plot and is noted for its intricate wordplay, textual complexity and verbal ingenuity. It has a rich vocabulary, so much so that the (untrue) claim has been made that it contains every word in the Sanskrit language. The narrative also wanders from the main action solely to dwell on elegant descriptions, with almost half the cantos having little to do with the proper story e.g.
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A great deal is known about George and Grizel Baillie's marriage and family thanks to the biography written by their daughter, Grizel Murray. Although not intended for publication, the biography appeared in print in 1809 in Observations on the Historical Work of the Right Honorable Charles James Fox under the title, "Lady Murray's Narrative". George Baillie's Correspondence (1702-1708) was edited by Lord Minto for the Bannatyne Club in 1842. Lady Grizel also was memorialized by a Scottish poet who claimed to be a distant relative, Joanna Baillie, in a poem first published in 1821 in Metrical Legends of Exalted Characters.
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Malapropisms tend to maintain the part of speech of the originally intended word. According to linguist Jean Aitchison, "The finding that word selection errors preserve their part of speech suggest that the latter is an integral part of the word, and tightly attached to it." Likewise, substitutions tend to have the same number of syllables and the same metrical structure – the same pattern of stressed and unstressed syllables – as the intended word or phrase. If the stress pattern of the malapropism differs from the intended word, unstressed syllables may be deleted or inserted; stressed syllables and the general rhythmic pattern are maintained.
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Virgil's Aeneid, Thomas Campion's metrical experiments, and Spenser's Shepheardes Calender and plays like Shakespeare's Antony and Cleopatra are all examples of the influence of classicism on Elizabethan poetry. It remained common for poets of the period to write on themes from classical mythology; Shakespeare's Venus and Adonis and the Christopher Marlowe/George Chapman Hero and Leander are examples of this kind of work. Translations of classical poetry also became more widespread, with the versions of Ovid's Metamorphoses by Arthur Golding (1565-67) and George Sandys (1626), and Chapman's translations of Homer's Iliad (1611) and Odyssey (c.1615), among the outstanding examples.
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She is also one of the great risk-takers in contemporary poetry, right up there with Lee Ann Brown & Bernadette Mayer in her willingness to completely shatter our expectations as readers." The experimental aspect of Finch's work became more evident with the publication of Spells, which includes 35 of the poems composed in the 1980s that she refers to as the "lost poems." In the preface to Spells, she describes these as "metrical and experimental poems [that]. . . did not find their audience until the avant- garde's rediscovery of formal poetic strategies just a few years ago.
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He mentions the native shatpadi (six-line verse) metre, more than two centuries before it was hugely popularised by the Hoysala poet Raghavanka in the 1225 CE.Sahitya Akademi (1988), p. 1181 He also dwells at length on metres that were common to Sanskrit and Kannada and calls the section samavrtta, metres (vrtta) inherited from Sanskrit and very much in vogue among the classical poets of Kannada language.Nagaraj (2003), p. 340 According to Nāgavarma I, some native metrical forms such as the ragale and dandaka that were later to become popular in Kannada have similarities with Prakrit language metres.
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In 1801 the Gaelic Bible was printed by the Society for Promoting Christian Knowledge (SPCK). The Gaelic Bible was first printed by the Bible Society in 1807 when the British and Foreign Bible Society (BFBS) printed a corrected edition of the SPCK text. In 1826 a revision of the Bible was made by the General Assembly of the Church of Scotland and was printed with the Metrical Psalms Sailm Dhaibhidh by SPCK and BFBS. From 1872 the text was maintained by the National Bible Society of Scotland (NBSS) in Edinburgh, instead of by the British and Foreign Bible Society (BFBS).
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The manuscript is a massive, oversized vellum book written in Irish, its contents are described by one of the scribes as bolg an tsolathair (a mixed bag of contents). It includes a series of metrical dindsenchas, An Banshenchas, Cormac's Glossary, Lebor na Cert, portions of Lebor Gabála, poems, genealogies and pedigrees. The largest single section is devoted to the origins and genealogies of the Ó Ceallaigh dynasty of Uí Maine, its contents updated to the time of compilation. Works found in this work are quatrains paying tribute to the long reign and continuing prosperity of the Uí Dhiarmada (i.e.
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Robert Andrews' translation of Virgil into English blank verse, printed by John Baskerville in 1766 Blank verse is poetry written with regular metrical but unrhymed lines, almost always in iambic pentameter.Robert Burns Shaw, Blank Verse: A Guide to its History and Use (Ohio University Press, 2007), page 1. It has been described as "probably the most common and influential form that English poetry has taken since the 16th century",Jay Parini, The Wadsworth Anthology of Poetry (Cengage Learning, 2005), page 655. and Paul Fussell has estimated that "about three quarters of all English poetry is in blank verse".
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Duncan MacLaren Young SommervilleIn 1915 Sommerville went to New Zealand to take up the Chair of Pure and Applied Mathematics at the Victoria College of Wellington. Duncan became interested in honeycombs and wrote "Division of space by congruent triangles and tetrahedra" in 1923.Proceedings of the Royal Society of Edinburgh 43:85–116 The following year he extended results to n-dimensional space.D. Sommerville (1924) "The regular divisions of space of n dimensions and their metrical constants", Rendiconti del Circolo Matematico di Palermo 48:9–22 He also discovered the Dehn–Sommerville equations for the number of faces of convex polytopes.
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He translated Bahya ibn Paquda's ethical work Hobot halLebabot from Arabic into Hebrew, and he turned Solomon ibn Gabirol's Mibḥar hapPeninim into metrical form under the title Sheqel haqQodesh. Of the translation, only a fragment has been preserved, which was published by Jellinek in Benjacob's edition of ibn Tibbon's translation of that work (Leipsic, 1846); the "Sheqel" is still unprinted. In his translation, aiming chiefly at elegance of expression, Ḳimḥi does not keep to the original. He works too independently and, carrying into the work his own spirit, he often obscures the thought of the author.
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At Thebessa in Northern Africa there were found fragments of a metrical inscription once set up over a door, and in almost exact verbal agreement with the text of an inscription in a Roman church. Both the basilica of Nola and the church at Primuliacum in Gaul bore the same distich: > Pax tibi sit quicunque Dei penetralia Christi, > :pectore pacifico candidus ingrederis. ("Peace be to thee whoever enterest > with pure and gentle heart into the sanctuary of Christ God.") In such inscriptions the church building is generally referred to as domus Dei ("the house of God") or domus orationis ("the house of prayer").
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Quintus Horatius Flaccus (8 December 65 – 27 November 8 BC), known in the English-speaking world as Horace (), was the leading Roman lyric poet during the time of Augustus (also known as Octavian). The rhetorician Quintilian regarded his Odes as just about the only Latin lyrics worth reading: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."Quintilian 10.1.96. The only other lyrical poet Quintilian thought comparable with Horace was the now obscure poet/metrical theorist, Caesius Bassus (R.
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In his book Milton's Prosody, Robert Bridges undertakes a detailed analysis of the prosody of John Milton's Paradise Lost. Bridges shows that there are no lines in Paradise Lost with fewer than ten syllables, and furthermore, that with a suitable definition of elision, there are no mid-line extra-metrical syllables. He also demonstrates that the stresses may fall at any point in the line, and that although most lines have the standard five stresses, there are examples of lines with only three and four stresses. All this amounts to a statement that Milton was writing a form of Syllabic verse.
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He describes his devotion as something that lies beyond worldly existence and strife (the sphere of our sorrow). Shelley uses the sentence I can give not what men call love which shows that he himself is not averse to the use of the word love but because it has been misused often by men everywhere to describe ordinary and worldly feelings, he will not use this word for Jane. The metrical feet used in the poem are a mixture of anapests and iambs. The first line of each couplet contains three accents and the second line contains two.
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Heorot, Herut, and Hert are Old English spellings of hart; thus Heorot, a royal hall in Beowulf, is named for the hart, as is Hertford and Hertfordshire in England. A hart appears in the first line of Psalm 42 in the King James (Authorized) Version (1604–1611) of the Psalms in the Holy Bible: "As the hart panteth after the water brooks, so panteth my soul after thee, O God." Tate and Brady's (1696) metrical psalms, among others, also use this figure: "As pants the hart for cooling streams" for its common meter (CM) rendering of the Psalm 42 text.
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He retained instead the octosyllabic line that had previously been the standard form for English poetry, and wrote it in couplets, rather than in the stanzas he had employed in his previous works. Gower characterised his verse in the Confessio as the plain style. This decision has not always met with appreciation, the shorter lines being sometimes viewed as lending themselves to monotonous regularity, but Gower's handling of the metre has usually been praised. Macaulay (1901:xvi, 1908:sec 33) finds his style technically superior to Chaucer's, admiring "the metrical smoothness of his lines, attained without unnatural accent or forced order of words".
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The last separate Qualified Chapel, St Peter's in Montrose, Angus, founded in 1722, only joined the Episcopal Church in 1920. Following the practice in the Church of England, Qualified Chapels installed organs and hired musicians, singing in the liturgy as well as metrical psalms, while the non-jurors had to worship covertly and less elaborately. After the two branches united, the former non-juring branch absorbed the musical and liturgical traditions of the qualified churches.R. M. Wilson, Anglican Chant and Chanting in England, Scotland, and America, 1660 to 1820 (Oxford: Oxford University Press, 1996), , p. 192.
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Jessie was a keen musician and was undergoing training as an organists at the nearby town of Banff. According to some accounts, she composed the tune in 1871 as an exercise for a composition class and it was first performed at evening worship at Auchterless Parish Church. Dissatisfied with her own harmonisation, she asked David Grant, a musician from Aberdeen, to reharmonise it for her. At the time, Grant was collaborating with a group of associates compiling hymns and metrical psalms from across the North of Scotland with the intention of publishing them in a new hymnal.
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The Silvae were probably composed by Statius between 89–96 AD. The first three books seem to have been published together after 93 AD, Book 4 was probably released in 95 AD, and Book 5 is thought to have been released posthumously c. 96.Shackleton Bailey, D. R. Statius Silvae (Cambridge, 2003) pg.5 The title of the collection, (silvae meaning "forest" or "raw material") was used to describe the draft of a poet's work which was composed impromptu in a moment of strong inspiration and which was then revised into a polished, metrical poem.Quintilian 10.3.
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Metrical phonology is a theory of stress or linguistic prominence. The innovative feature of this theory is that the prominence of a unit is defined relative to other units in the same phrase. For example, in the most common pronunciation of the phrase "doctors use penicillin" (if said out-of-the- blue), the syllable '-ci-' is the strongest or most stressed syllable in the phrase, but the syllable 'doc-' is more stressed than the syllable '-tors'. Previously, generative phonologists and the American Structuralists represented prosodic prominence as a feature that applied to individual phonemes (segments) or syllables.
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Metrical phonology offers a number of advantages over a system representing stress as a feature that applies to individual segments or syllables, without reference to the other syllables in a phrase. Creators of traditional feature systems posited the stress feature, which differed from other phonological features in several key ways. For instance, the feature stress had an arbitrary number of values or levels, rather than two or some justified number more than two. In addition, the non-primary stress values in these systems were only defined relative to the primary stress value, and did not have local acoustic or articulatory effects.
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Originally, the word bar came from the vertical lines drawn through the staff to mark off metrical units and not the bar-like (i.e., rectangular) dimensions of a typical measure of music. In British English, these vertical lines are called bar, too, but often the term bar line is used in order to make the distinction clear. A double bar line (or double bar) can consist of two single bar lines drawn close together, separating two sections within a piece, or a bar line followed by a thicker bar line, indicating the end of a piece or movement.
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In the introduction, Janeway asks, It became an effective evangelistic tool, and was the most widely read book in nurseries in England next to the Bible and Pilgrim's Progress by John Bunyan. The New England preacher Cotton Mather regarded that book so highly that he wrote his own version of it and called it A Token for the Children of New England. Janeway also wrote "Upon Earth: Jesus, The Best Friend in the Worst Times". He was among the signers of the 1673 Puritan Preface to the Scottish Metrical Psalms and contributed one of the "Cripplegate Sermons: Duties of Masters and Servants".
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John Foster (1752–1822) of High Green in the parish of Ecclesfield, South Yorkshire was a coroner and amateur musician. He composed two books of sacred music in a 19th-century classical style published between 1817 and 1822, Sacred Music and A 2d Collection of Sacred Music. Both books were published in York by Samuel Knapton (the father of the organist and composer Philip Knapton). They comprise 17 settings of metrical psalm and hymn texts (8 in the first book and 9 in the second), with orchestral and keyboard accompaniments, and are dedicated to Richard Lumley-Saunderson, 6th Earl of Scarbrough.
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The second important literary work of Ekkehard is his Liber Benedictionum. It comprises metrical inscriptions for the walls of the Mainz cathedral, and benedictions (also in verse) for use in choir-service and at meals, also poems in honour of the festivals of various saints, partly from his own pen and partly by Notker Labeo. In poetical merit these works are inferior enough, nevertheless they betray a very fair knowledge of Latin. The glosses from his pen, both on his own manuscripts and others belonging to the abbey, remain as proof of his lifelong zeal in pursuit of knowledge.
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These soldiers in turn exacted reprisals on the locals, even killing the local doctor, Johnston. Mary Leadbeater wrote of the killing of her friend: "He was alone and unarmed when seized, and I believe had never raised his hand to injure any one." The soldiers sacked the town, burned many houses and smashed up the rest, and one of them almost killed Mary Leadbeater, who had to flee with a number of other women. In 1808 she published Poems with a metrical version of her husband's prose translation of Maffæus Vegio's Thirteenth Book of the Æneid.
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In the poem "Fancy", she was said to have excelled; while in the expression of sentiment less imaginative, her work was good, but not surpassing. Yet another reviewer stated that Dandridge's first volume, Joy and Other Poems, raised hopes which her second volume, Rose Brake, did not satisfy. There was no lack of metrical skill, or appreciation of nature and subtle moods, but there was lacking the deeper interpretation of life which poetry demands. During the period of 1891 till 1904, she turned to writing garden articles, more than 200 of them, for Forest and Stream, Garden and Forest, Gardening, among other publications.
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New Formalism is a literary movement in late 20th- and 21st-century American poetry that promotes a return to rhymed, metrical, and narrative poetry. Since the 1980s, New Formalists have argued that American poetry needs to return to rhyme, regular rhythm, and the telling of non-autobiographical stories. Otherwise, they say, poetry will never again have the readership still enjoyed by novels and creative nonfiction or regain the vital role poetry once played in American culture. New Formalism has always consisted of poets from many different racial and ethnic backgrounds, religious and political beliefs, lifestyle choices, and sexual orientations.
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A time signature of , however, does not necessarily mean the music is in a compound quintuple meter. It may, for example, indicate a bar of triple meter in which each beat is subdivided into five parts. In this case, the meter is sometimes characterized as "triple quintuple time". It is also possible for a time signature to be used for an irregular, or additive, metrical pattern, such as groupings of eighth notes or, for example in the Hymn to the Sun and Hymn to Nemesis by Mesomedes of Crete, , which may alternatively be given the composite signature .
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Alterman's first published book of poetry was Kokhavim Bakhuts ("Stars Outside"), published in 1938. This volume, with its "neo-romantic themes, highly charged texture, and metrical virtuosity," as Israeli critic Benjamin Harshav puts it, established him as a major force in modern Hebrew literature. His next major book was "The Joy of the Poor" ( ṡimḥàt aniyím, 1941), which many regard as his magnum opus. This is a kaleidoscopic phantasmagoria consisting of 31 interconnected poems, all from the viewpoint of the ghost of a dead man obsessed with the living woman he loves – a reversal of the Orpheus and Eurydice story.
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His published works include a metrical version of the Song of Solomon (1820), Geirlyfr Cymraeg, a Welsh dictionary that was published in forty-five parts, and Hanes y deg erledigaeth o dan Rufain Babaidd (1847). Many his unpublished manuscripts are in the National Library of Wales with at least six of the Cwrtmawr manuscripts containing the work of Owen Williams. His son, Thomas Williams, published two books that include some of his works; Gemau Gwyrfai (1904) includes a biography of Owen Williams and Gemau Môn ac Arfon (1911) includes some of his antiquarian writings and transcriptions of poetry from ancient manuscripts.
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Shallcrass has been active in areas of ancient technology such as roundhouse building at the Wildways retreat centre in Shropshire.Philip Shallcrass, A Roundhouse Between The Worlds, Pagan Dawn 207 Beltane 2018 p14 to 16. He has also created numerous songs and chants, and worked with instruments including the drum, the chrotta and the tiompan. Some of these performances draw upon Shallcrass's knowledge of the Medieval period and its poetry and literature including metrical dinsenchas, while also being inspired by classical poems such as The Song of Amergin from the Mabinogion and The Battle of Cad Goddeu.
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The most common form of poetry recital was the mushaira, or poetic symposium, where poets would gather to read their compositions crafted in accordance to a strict metrical pattern, agreed upon beforehand, even while meeting a certain loftiness of thought. The real initiative was legendary that took in 18th century in the Mughal Court helping Urdu Mushaira reach its final, decisive form. A culture was built around taking lessons in poetry writing; it even became fashionable for royalty to learn Urdu shairi. Bahadur Shah Zafar, the last Mughal Emperor of India, was an accomplished poet in his own right.
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The literary corpus of the dindsenchas comprises about 176 poems plus a number of prose commentaries and independent prose tales (the so-called "prose dindsenchas" is often distinguished from the "verse", "poetic" or "metrical dindsenchas"). As a compilation the dindsenchas has survived in two different recensions. The first recension is found in the Book of Leinster, a manuscript of the 12th century, with partial survivals in a number of other manuscript sources. The text shows signs of having been compiled from a number of provincial sources and the earliest poems date from at least the 11th century.
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However, they felt their first effort "much too stiff and metrical", so they left the song for a few days while they worked on other songs. Four days later they returned to the song, and Andersson came up the idea of using a French chanson-stye arrangement with a descending piano line and a looser structure. Ulvaeus then recorded a demo using nonsense French words for lyrics, and took the recording home to write the lyrics for "The Winner Takes It All". According to Ulvaeus, he drank whisky while he was writing, and it was the quickest lyrics he ever wrote.
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Brevis in longo is associated with catalexis (the shortening of a metre by one syllable), in that when a metre ending u – loses its final syllable, the former short penultimate element becomes long since it is now final. Brevis in longo is distinct from the metrical element anceps, which is a position in a line which can be filled by either a long or a short syllable. These two phenomena are often confused but there are differences between the two. For example, an anceps will be considered short or long in accordance with its natural length.
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Through these metrical charms, we can more easily understand the religious beliefs and practices that pre-Christian Anglo-Saxon England had; we can also see how the people of that time saw and understood sickness and health.The Broadview Anthology of British Literature: The Medieval Period, pg. 32-35. Today, some non-mainstream medical professionals use herbal remedies, but these are often based on some sort of scientific reason. The medical procedures and herbal remedies in these Anglo- Saxon medical charms are not based on science, but on other spiritual qualities that they were believed to have at the time.
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"The Wind" shows great inventiveness in its choice of metaphors and similes, while employing extreme metrical complexity. It is one of the classic examples of the use of what has been called "a guessing game technique" or "riddling", a technique known in Welsh as dyfalu, comprising the stringing together of imaginative and hyperbolic similes and metaphors. Sometimes Dafydd used dyfalu pejoratively; less often, as in this poem, to express his wonder at one of the great forces of nature. The display of Dafydd's virtuosity in this technique has been seen as his prime motivation for writing the poem.
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D'Alton's first publication was a metrical poem, Dermid, or the Days of Brian Boru, in twelve cantos. In 1827 the Royal Irish Academy offered a prize of £80 and the Cunningham gold medal for an essay on the Irish people to the twelfth century; D'Alton obtained the top prize and medal, and his essay, which was read 24 November 1828, occupied the first part of vol. xvi. of the Transactions of the Royal Irish Academy. In 1831 he also gained the prize offered by the Royal Irish Academy for an account of the reign of Henry II of England in Ireland.
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Other works by Gentile were De complexione, proportione et dosi medicinarum; Consilium de temporibus partus; De statu hominum; De lepra; De febribus; De balneis; De divisione librorum Galeni; Tractatus de reductione medicinarum; Regimen preservativum; Among these the Consilium, a compilation of therapeutic advice for many diseases. He made commentaries on two works, Carmina de urinarum iudiciis ("Songs of urinary judgements") part of a metrical work, the Carmina medica, that had been composed by Egidius Corbaliensis, and Egidius' De pulsibus ("About pulses").See also Lynn Thorndike, "Consilia and more works in manuscript by Gentile da Foligno", Medical History.
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By the assembly of 1647 Row was appointed to revise a new metrical version of the Psalms, from the 90th to the 120th Psalm. In 1648 he was named one of a committee to revise the proceedings of the last commission of the assembly, and on 23 July 1649 one of a commission for visiting the University of Aberdeen. He was one of the six ministers appointed to assist the committee of despatches in drawing up instructions to the commissioners sent to London to protest against the hasty proceedings taken against the life of Charles I (Sir James Balfour, Annals, iii. 385).
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Victorians disapproved of the Georgian galleries, and most were removed during restorations in the 19th century.Simon Knott, Upwell at the Norfolk Churches site, Retrieved 5 October 2010 The music sung by gallery choirs often consisted of metrical psalm settings by composers with little formal training, often themselves local teachers or choir members. The tunes are usually two to four voice parts. "Tunes in reports" or fuguing tunes featured imitative entries of the parts, while anthems (settings of prose texts from the Bible or the Book of Common Prayer) often had changes of texture and musical meter.
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Anderson also wrote about contemporary artists' work for magazines such as Art in Australia and Home, while her poetry and stories were published in The Spectator, Punch, the Cornhill Magazine, The Atlantic Monthly, The Sydney Morning Herald and The Bulletin. Her poetry was influenced by her knowledge of French literature and Modernist work, with considerable formal and metrical experimentation. Her poem The Song of Hagar was set to music by John Antill. The death of her husband in 1949 meant that she had to support herself, which she did through her writing, serialising her first novel At Parramatta in The Bulletin.
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The writings of Richard of Poitiers received a relatively wide circulation. In the number of extant manuscripts, his chronicle ranks alongside Otto of Freising's Deeds of Frederick Barbarossa, and Robert of Gloucester's Metrical Chronicle. The distribution of manuscripts in France, Spain, England, Italy and Germany, and its inclusion in monastic, episcopal and aristocratic libraries suggest a broad audience. Subsequent chroniclers, such as Amaury Augier, Martin of Troppau and William Rede, continued Richard's text into their own times, and Richard is noted as an accomplished historian by such humanists as Johann von Heidenberg, Conrad Gesner and Gerard Vossius.
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Moreover auditors tend to perceive word stresses to fall at equal intervals in time, making English a perceptually "stress-timed" language; it seems that the same amount of time occurs between stresses.Chatman 1965, p 21-22. So the conventional patterns of accentual and accentual-syllabic English verse are perceived as regularly rhythmic, whereas to the listener, syllabic verse generally is not distinguishable from free verse. Thus syllabic technique does not — in English — convey a metrical rhythm; rather it is a compositional device: primarily of importance to the author, perhaps noticed by the alert reader, and imperceptible to the hearer.
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One of the greatest metrical psalters produced during the Reformation, the Genevan Psalter, was authored for the Protestant churches of France and Geneva (called the Huguenots). It has been in uninterrupted use to the present day by the Huguenot and other French-speaking Protestant churches. The texts of the French Psalter were brought together from two independent sources: the poet Clément Marot and the theologian Théodore de Bèze. Marot and Beza's psalms appeared in a number of different collections, published between 1533 and 1543; in the latter year Marot published Cinquante Pseaumes, a collection of 50 psalms rendered into French verse.
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The Scottish Gaelic Psalter was produced by the Synod of Argyll. By 1658, the first fifty psalms had been translated into ballad metre due to the work of Dugald Campbell, John Stewart, and Alexander McLaine. A manuscript of the final 100 psalms was produced in 1691 with the entire Gaelic psalter, with revisions to the 'first fifty' being produced in 1694. The Gaelic Metrical Psalms are used to this day in the Scottish Highland Presbyterian Churches where the practice of lining out is used, in accordance with the Westminster Assembly of Divines Directory for Public Worship.
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A split-leaf psalter (sometimes known as a "Dutch door" psalter) is a book of Psalms in metrical form, in which each page is cut in half at the middle, so that the top half of the pages can be turned separately from the bottom half. The top half usually contains the tunes, and the bottom half contains the words. The tune and words can be matched by matching the meter; each meter is a specification of line length and (implicitly) stressed syllables; if a tune is in Common Meter, any set of "Common Meter" words will go with it (and vice versa).
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Sri Sacchidananda Bharati (I) is said to have composed Gurustutisatakam ()which details the lives of all the Acharyas of Sringeri from Adi Sankara till the 24th Pontiff Sri Abhinava Narasimha Bharati.Sri Sri Sri Sacchidananda Bharati Mahasvaminah with commentary by Sri Lakshmana Sarma, Samskrit Book. (October 2009.). "Sri Gurustutisatakam", Sri Shankara Advaita Research Center, Dakshinamnaya Sri Sharda Peetham, Sringeri, Karnataka, Sri Offset - Vidya Bharati Press, Shankarapuram, Bangalore He has also composed other hymns and metrical works such as Meenakshi Satakam (), Meenakshi Ashtakam () in the remembrance of His stay in Madurai and visit to the Goddess Meenakshi temple, Rama Bhujanga (), Kovidashtakam and Ramachandra Mahodayakavyam.
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Rundi is a tonal language. There are two essential tones in Rundi : high and low (or H and L). Since Rundi has phonemic distinction on vowel length, when a long vowel changes from a low tone to a high tone it is marked as a rising tone. When a long vowel changes from a high tone to a low tone, it is marked as a falling tone.de Samie 2009 Rundi is often used in phonology to illustrate examples of Meeussen's ruleMyers 1987Phillipson 2003 In addition, it has been proposed that tones can shift by a metrical or rhythmic structure.
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Following their declared wish to awaken boys' metrical sense, the editors grouped their selections into seven sections, the heroic couplet, the octosyllabic couplet, the sonnet, the trochaic metre, the dactylic or anapaestic metre, classical metres, and miscellaneous.Alington and Lyttelton, p. xv The sections, and the poems within them, are introduced with brief background notes, putting them in context. ;The heroic couplet This section begins with excerpts from Chaucer's The Canterbury Tales and continues with works or parts of works from the sixteenth to the twentieth centuries, ending with two anonymous parodies, possibly written by one or both of the editors.
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In his introduction Kyffin argues that his work was merely an experiment, to motivate others to do a better job. The metrical psalms were published side by side with the biblical psalms, with Kyffin's psalms in black letter Gothic type on the left and William Morgan's psalms in plain type on the right. The text included a preface to the reader (At y Darllenudd) from Edward Kyffin. Kyffin's psalms were republished in 1930 by the University of Wales Press in Cardiff when it was entitled: Rhann o Psalmae Dafydd Brophwyd - I’w canu ar ol y don arferedig yn Eglwys Loegr.
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They installed organs and hired musicians, following the practice in English parish churches, singing in the liturgy as well as metrical psalms, while the non-jurors had to worship covertly and less elaborately. When the two branches united in the 1790s, the non-juring branch soon absorbed the musical and liturgical traditions of the qualified churches.R. M. Wilson, Anglican Chant and Chanting in England, Scotland, and America, 1660 to 1820 (Oxford: Oxford University Press, 1996), , p. 192. Catholic worship was deliberately low key, usually in the private houses of recursant landholders or in domestic buildings adapted for services.
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The 8th line exhibits a common metrical variation, an initial reversal; it potentially also features a rightward movement of the fourth ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × / × × / / Wooing his purity with her foul pride. (144.8) However, Shakespeare's frequent implied emphasis of pronouns may render the second half of this line regular. Lines 6 and 8 also feature initial reversals, and line 2 potentially does. Line 11 has a potential mid-line reversal, but if a somewhat playful contrastive accent on "to" is inferred, this would render the line regular.
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The earliest surviving manuscripts mentioning elves in any Germanic language are from Anglo-Saxon England. Medieval English evidence has, therefore, attracted quite extensive research and debate. In Old English, elves are most often mentioned in medical texts which attest to the belief that elves might afflict humans and livestock with illnesses: apparently mostly sharp, internal pains and mental disorders. The most famous of the medical texts is the metrical charm Wið færstice ("against a stabbing pain"), from the tenth-century compilation Lacnunga, but most of the attestations are in the tenth-century Bald's Leechbook and Leechbook III.
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All of Neutzsky-Wulff's poetry is in rhyme, metrical with a touch of subtle pastiche. With the episodic novel Adam Harts Opdagelser <5> (1972), Neutzsky-Wulff began to find his style and obtained henceforth crowds of fans. The book's protagonists are Adam Hart and his partner Victor Janis, both working as "occult detectives". An ironically rendered Neutzsky-Wulff himself also appears in a more secondary role. The series continues with the episodic Adam Hart og sjælemaskinen <6> (1977) Victor Janis og søn <7> (1977), both representing a more conventional novel structure, and ends with an experimental novel, Oiufael (1977), mainly written on verse.
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The literary effort most commonly attributed to Óengus is the Old Irish work known as Félire Óengusso ("Martyrology of Óengus"), which is the earliest metrical martyrology — a register of saints and their feast days – to have been written in the vernacular. The work survives in at least ten manuscripts, the earliest being Leabhar Breac of the early 15th century. The martyrology proper consists of 365 quatrains, one for each day of the year, and is framed between a lengthy prologue and epilogue. Later scribes added a prose preface, including material on Óengus, and accompanied the text with abundant glosses and scholia.
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Williams referred to the prosody of triadic-line poetry as a "variable foot", a metrical device to resolve the conflict between form and freedom in verse."Interview with Stanley Koehler", Paris Review Vol 6 April 1962 Each of the three staggered lines of the stanza should be thought of as one foot, the whole stanza becoming a trimeter line.Hartman, Charles, Free Verse an essay on Prosody, Northwestern University Press, Evanston 1996 Williams' collections Journey to Love (1955) and The Desert Music (1954) Collected Poems ed. Christopher MacGowan, Collected Poems Vol II, Carcanet Press, Manchester, 2000 contained examples of this form.
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Dehmel is considered one of the foremost German poets of the pre-World War I era. His poems are finished in form and use numerous metrical patterns. They were set to music by composers such as Richard Strauss (who met his principal librettist Hugo von Hofmannsthal at Dehmel's house), Max Reger, Alexander von Zemlinsky, Arnold Schoenberg, Oskar Fried, Alma Mahler, Anton Webern, Ignatz Waghalter, Carl Orff, and Kurt Weill, or they inspired them to write music. Dehmel's main theme was "love and sex (Eros)", which he framed as a power to break away from middle-class values and fetters.
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Poets and composers have used long metre for more than a millennium: Venantius Fortunatus (c.530-c.600/609) wrote "Vexilla regis", and probably also wrote "Quem terra, pontus, aethera", both of which are in long metre. Metrical psalters include many such tunes, some of which are still sung today, such as "All people that on Earth do dwell", a paraphrase of Psalm 100 sung to a tune that first appeared in the Genevan Psalters of 16th century. Many church hymns are also based on long metre tunes, such as the Good Friday hymn When I Survey the Wondrous Cross.
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The simplest is "a relatively straightforward expository style", such as in the cetological chapters, though they are "rarely sustained, and serve chiefly as transitions" between more sophisticated levels. A second level is the "poetic", such as in Ahab's quarter-deck monologue, to the point that it can be set as blank verse.Bezanson (1953), 648, italics Bezanson's Set over a metrical pattern, the rhythms are "evenly controlled—too evenly perhaps for prose," Bezanson suggests.Bezanson (1953), 648–49, italics Bezanson's A third level is the idiomatic, and just as the poetic it hardly is present in pure form.
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It is strange that Dupin should have called him minus nitidus ac politus, for both in the words he employs and in their order he almost incurs the blame of preciosity. He is as strict as Cyprian as to the metrical cadences at the close of every sentence. He was evidently a man of good taste as well as of high culture, and he has left us in his one work a monument of convincing dialectic, of elegant literary form, and of Christian charity. But the general marshalling of his arguments is not so good as is the development of each by itself.
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After a year as a teaching fellow at Texas, he taught high school for a year in Marshall, Texas. An assignment of Halsted's led Moore to prove that one of Hilbert's axioms for geometry was redundant. When E. H. Moore (no relation), who headed the Department of Mathematics at the University of Chicago, and whose research interests were on the foundations of geometry, heard of Robert's feat, he arranged for a scholarship that would allow Robert to study for a doctorate at Chicago. Oswald Veblen supervised Moore's 1905 thesis, titled Sets of Metrical Hypotheses for Geometry.
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Due to this he chose this story and it exhibits the great interest he had in Hinduism particularly the account of Bhakti. Taking the love story of Nal and Damayanti and adding a metrical scheme of the story of Layla-Majnun is what Abu al-Fayz Faizi tried achieving. The love of Nal for Damayanti is portrayed in a Sufi way by Faizi who used the components like junnun, ishq and aql to exhibit his state in love. In addition, the re- interpretation of story also exhibits the great interest Muslim rulers had in some of the Hindu/Bhakti traditions.
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Dosoftei, a Moldavian published in Poland in 1673, was the first Romanian metrical psalter, producing the earliest known poetry written in Romanian. Early efforts to publish the Bible in Romanian started with the 1582 printing in the small town of Orăștie of the so-called Palia de la Orăștie – a translation of the first books of the Old Testament - by Deacon Şerban (a son of the above-mentioned Deacon Coresi) and Marien Diacul (Marien the Scribe). Palia was translated from Latin by Bishop Mihail Tordaș et al., the translation being checked for accuracy using Hungarian translations of the Bible.
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Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes.
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Garvey, 5–6. Strunk first taught mathematics at Rose Polytechnical Institute in Terre Haute, Indiana in 1890–91.Who Was Who, vol. 2. He then taught English at Cornell for 46 years, and was elected to Phi Beta Kappa, disdaining specialization and becoming an expert in both classical and non-English literature.Cornell University, Necrology of the Faculty, in Garvey, 199. In 1922 he published English Metres, a study of poetic metrical form, and he compiled critical editions of Cynewulf's Juliana, several works of Dryden, James Fenimore Cooper's Last of the Mohicans, and several Shakespearean plays.Garvey, 25.
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Written after the Dharmasūtras, these texts use a metered verse and are much more elaborate in their scope than Dharmasutras. The word Dharmaśāstras never appears in the Vedic texts, and the word śāstra itself appears for the first time in Yaska's Nirukta text. Katyayana's commentary on Panini's work (~3rd century BCE), has the oldest known single mention of the word Dharmaśāstras. The extant Dharmaśāstras texts are listed below: > # The Manusmriti (~ 2nd to 3rd century CE)Patrick Olivelle (2005), Manu's > Code of Law, Oxford University Press, , pages 24–25 is the most studied and > earliest metrical work of the Dharmaśāstra textual tradition of Hinduism.
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The sanqu were literary lyrics directly related to the zaju arias: these were dramatic lyrics written to fixed musical modes or metrical forms and could contain several aria or lyric song segments in one suite. Sanqu, however, could be composed in single discrete sections. It is often said that the sanqu verses tend to reflect excess energies and resentments of contemporary disenfranchised Chinese literati, due to contemporary Jurchen and Mongol political domination. Often the poetry could be humorous as is the following anonymous lyric: "Wearing Ruined Boots" The seams have come unstitched, All falling apart, the leather is ruined.
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In linguistics, a prosodic unit, often called an intonation unit or intonational phrase, is a segment of speech that occurs with a single prosodic contour (pitch and rhythm contour). The abbreviation IU is used and therefore the full form is often found as intonation unit, despite the fact that technically it is a unit of prosody rather than intonation, which is only one element of prosody. Prosodic units occur at a hierarchy of levels, from the metrical foot and phonological word to a complete utterance. However, the term is generally restricted to intermediate levels which do not have a dedicated terminology.
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Schoenberg, the 20th-century revolutionary and later inventor of the twelve-tone technique, is perhaps best known among audiences for this early tonal work. The piece derives its stylistic lineage from German late- Romanticism. Like his teacher Zemlinsky, Schoenberg was influenced by both Johannes Brahms and Richard Wagner and sought to combine the former's structural logic with the latter's harmonic language, evidenced in the work's rich chromaticism (deriving from Wagner's Tristan und Isolde) and frequent use of musical phrases which serve to undermine the metrical boundaries. Richard Swift has examined the various tonal relations in the work.
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Besides the Virgilian commentary, other works of Servius are extant: a collection of notes on the grammar (Ars grammatica) of Aelius Donatus; a treatise on metrical endings in verse (De finalibus); and a tract on the different poetic meters (De centum metris). The edition of Georg Thilo and Hermann Hagen (1878–1902), remains the only edition of the whole of Servius' work. Currently in development is the Harvard Servius (Servianorum in Vergili Carmina Commentariorum Editio Harvardiana); of the projected five volumes, two have so far appeared, i (Aeneid 1–2), 1946, and ii (Aeneid 3–5), 1965.
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The direct inspiration, however, came from the Misty Poets group of the late 1970s and early 1980s (gungga was a direct translation of menglong, "obscure", "misty", or "hazy" in Mandarin.) The movement absorbed "the vision and the aesthetic principles of that groundbreaking movement through the literary manifestations were necessarily different." The gungga movement's works were in free verse, not the Aruz or syllabic metrical forms then dominant in Uyghur poetry. They relied on metaphor, contrast, images and symbols, instead of more direct means of expression. Their titles didn't directly relate to the bodies of the poems.
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Henry Wadsworth Longfellow claims he was also the author of the metrical romance of Lancillotto, or Launcelot of the Lake, but this claim is completely unsubstantiated; Dante's reference to Daniel as the author of prose di romanzi ("proses of romance") remains, therefore, a mystery. There are sixteen extant lyrics of Arnaut Daniel only one of which can be accurately dated, to 1181.Smythe, 108 Of the sixteen there is music for at least one of them, but it was composed at least a century after the poet's death by an anonymous author. No original melody has survived.
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He is notable as one of the finest exponents of the metrical form known as the cywydd. He composed poems to a number of Welsh noblemen, notably to his chief patron Ithel ap Robert, an archdeacon of St Asaph who lived near Caerwys, and also a poem to King Edward III of England, which shows a detailed knowledge of places and battles in England, Ireland and France during this period and possibly written in 1347. One of his three poems composed for Owain Glyndŵr includes a vivid description of Owain's hall at Sycharth. They were clearly composed before Owain's rebellion.
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The chansons by Millot resembled those of the previous generation, for example works by Clément Janequin and Sandrin, with their alternating polyphonic and homophonic textures. More progressive composers writing chansons in the 1560s and 1570s generally put the melodic line in the topmost voice, strove for a homophonic texture, and in the case of the musique mesurée, used metrical irregularity to align the strong beats and long notes in the music with the natural accents of the French language. Millot usually avoided these features in his own music. Poetry set by Millot included works by Pierre de Ronsard, as well as popular verse.
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Wulfstan's poem Narratio metrica de S. Swithuno is a hexametrical version of Lantfred of Winchester's Translatio et miracula S. Swwithuni (c.975). Wulfstan's poem was composed between 992 and 994, but was put into its final form after the composition of Vita S. Aethelwoldi in 996, when two chapters of Wulfstan's prose from the Vita were turned into verse and incorporated into the poem. The poem consists of 3386 lines, making it the longest Anglo-Latin poem surviving today. It is also the most accomplished Anglo-Latin poem in terms of metrical style, illustrating Wulfstan's skill as a poet.
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Breuiloquium de omnibus sanctis is a recently discovered poem by Wulfstan. The poem bears Wulfstan's name and is thus very significant to scholars as it provides a firm basis for the analysis of Wulfstan's poetic style and technique, allowing it to be used as a template for the attribution of other works to Wulfstan. The poem is long, consisting of 669 hexameters preceded by a prologue of 20 lines of epanaleptic couplets and ending with an epilogue of 27 hexameters. Breuiloquium de omnibus sanctis is a metrical version of an anonymous Carolingian sermon on All Saints called Legimus in ecclesiasticis historiis.
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Along with ghazals, he had written in various genres; geet, sonnet, free verse and Khandakavya (long narrative poem). He started writing poetry in 1955. Vyatan (1963) was his small and first poetry collection. His other poetry collections which consist of metrical and nonmetrical poems are Urnanabh (1974), Shapit Vanma (1976), Deshvato (1978), Kshano Na Mahelma, Darpan Ni Galima (1975), Irshadgadh (1979), Afawa (1991), Inayat (1996) and Nakashanagar (2001), Vi-nayak (1996), Ae (1999), Saiyar (2000), Shwetsamudro (2001), Gatibhas (2012), Agha Pachha Shwas (2007) and Khara Zaran. Bahuk (1982), based on Nalakhyan of Mahabharata, is a long narrative poem written by him.
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The source is lost, but the existing parts date from circa 1730. Rifkin has argued that the lost original version was written during Bach's tenure at Köthen, did not have trumpets or timpani, and that Bach first added these part when adapting the Ouverture movement for the choral first movement to his 1725 Christmas cantata Unser Mund sei voll Lachens, BWV 110 ("Our mouths are full of laughter"). #Ouverture (In D major. Metrical sign is for the opening section, for the fast fugal section) #Bourrée I/II (Bourrée I in D major & Bourrée II, the middle section, in B minor.
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Glinka's martial songs have special reference to the Russian military campaigns of his time. He is also known as the author of the descriptive poem Karelia (1830), and of a metrical paraphrase of the book of Job, which was praised by D.S. Mirsky as the finest religious poetry in the language. His fame as a military author is chiefly due to his Pisma Russkago Ofitsera ("Letters of a Russian Officer") (8 vols., 1815–1816). His most infamous work which remains exceedingly rare was his contribution of an allegory to the first Swedish translation of John William Polidori’s Vampyre (Vampyren) credited to Lord Byron.
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1266) is a translation of the Secreta secretorum, a manual for the education of princes, ascribed throughout the Middle Ages to Aristotle. Van der Naturen Bloemevan Maerlant, J., Van der Naturen Bloeme, met miniaturen, fol. oude band met sloten, Koninklijke Bibliotheek, Den Haag, KA_16 (XVI 9869) is a free translation of De natura rerum, a natural history in twenty books by a native of Brabant, Thomas of Cantimpré; and his Rijmbijbel is taken, with many omissions and additions, from the Historia scholastica of Petrus Comestor. He supplemented this metrical paraphrase of scripture history by Die Wrake van Jherusalem (1271) from Josephus.
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An approach of natural forms was proposed by Stevens (1974) who tried to rationally make classification of forms and to find their specific properties and advantages in terms of directness or economy of ways. Since almost one century, an important corpus of theoretical tools, still poorly exploited, has revealed to be very helpful for the understanding of the nervous system. These tools, generally, may be classified as «logical » or more narrowly as « logico-mathematical ». As will be seen, the most useful for the theoretical neuromorphology, along with geometry for metrical parameters, are the set theory, the system theory, the graph theory.
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Bishop Percy was next subjected to a furious onslaught in the preface to a collection of Ancient Songs (printed 1787, dated 1790, published 1792). In a letter (14 March 1803) to Samuel Taylor Coleridge, Robert Southey wrote that “Ritson is the oddest, but most honest of all our antiquarians, and he abuses Percy and Pinkerton with less mercy than justice.”Charles Cuthbert Southey (ed.), The life and correspondence of Robert Southey, New York, 1855, p. 159. Ritson usually spared no pains himself to ensure accuracy in the texts of old songs, ballads and metrical romances which he edited.
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Day took advantage of the monopoly clause, reestablishing his Edwardian patent for The ABC with Little Catechism. In 1559, he obtained a patent for The Whole Booke of Psalmes, Collected into English Meter, a metrical psalter, compiled mostly by Thomas Sternhold and John Hopkins, that Day first published in 1562.Miller. The Stationers' Company guaranteed Day the right to print all "psalmes in metre with note", in other words, psalms with music. Despite the fact that psalmes had usually been learned by rote, the business proved lucrative, reflecting a rise in musical literacy during the period.
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Thus, even though a poem uses a mode of Säm əna Wärq, unless it follows a certain metrical pattern it can't be classified as a Qəne. እናንተ ወጣቶች ቀን አለ መስሏችሁ፣ ከገጠሩ ኑሮ ከተማ ገብታችሁ፣ መሠረት የሌላት ጎጆ መሥርታችሁ፣ ዘማለች አደራ እንዳትወድቅባችሁ፡፡ Oh! Youth thinking it is your time You left the countryside to settle in the city But your house is without foundation So be alert before the leaning house / harlot falls and/destroys you. The poem has two Wärq phrases, the former is about the harlot and the latter warns about being destroyed by promiscuity.
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After Dr. Nisbet's death in 1804, Davidson discharged the duties of president of the college till 1809, when he resigned. Davidson had a reputation as a scholar, but was especially interested astronomy, and invented a cosmosphere or compound globe. He was also a skilful draughtsman, and was a composer of sacred music. Besides sermons, he published an “Epitome of Geography, in Verse,” for the use of schools (1784); “The Christian's A, B, C,” or the 119th psalm in metre, each stanza beginning with a different letter (1811); and a “New Metrical Version of the Psalms,” with annotations (1812).
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Nonetheless, Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Racter is an example of such a software project.
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Rational trigonometry is a proposed reformulation of metrical planar and solid geometries (which includes trigonometry) by Canadian mathematician Norman J. Wildberger, currently a professor of mathematics at the University of New South Wales. His ideas are set out in his 2005 book Divine Proportions: Rational Trigonometry to Universal Geometry. According to New Scientist, part of his motivation for an alternative to traditional trigonometry was to avoid some problems that he claims occur when infinite series are used in mathematics. Rational trigonometry avoids direct use of transcendental functions like sine and cosine by substituting their squared equivalents.
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He also authorized him to conduct a general edition of his works. In May 1519, Goclenius had composed a metrical version of the catalog of the works of the great writer, lucubrationum Erasmicarum elenchus. When Erasmus believed himself close to death, it was to Goclenius that he entrusted his will, in which he entrusted a considerable sum to Goclenius. In April 1525 he was appointed canon of the Cathedral of Our Lady in Antwerp (through jus nominationis granted by Pope Leo X in the liberal arts faculty of Leuven), but the nomination was contested, and a very long trial followed.
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Central to his depiction of Roger Bacon is that "He was not an inventor, an Edison or Luther Burbank, holding up a test tube with a shout of Eureka!" He was instead a theoretical scientist probing fundamental realities, and his visions of modern technology were just by-products of "...the way he normally thought – the theory of theories as tools..." Blish indicates where Bacon's writings, for example, consider Newtonian metrical frameworks for space, then reject these for something which reads remarkably like Einsteinian relativity, and all "...breathtakingly without pause or hiccup, breezily moving without any recourse through over 800 years of physics".
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An innovation, at the suggestion of Vaughan Williams, was the inclusion of a hymn in which the congregation could participate. This proved controversial and was not included in the programme until the Queen had been consulted and found to be in favour; Vaughan Williams wrote an elaborate arrangement of the traditional Scottish metrical psalm, "Old 100th", which included military trumpet fanfares and was sung before the communion. Gordon Jacob wrote a choral arrangement of God Save the Queen, also with trumpet fanfares. The choir for the coronation was a combination of the choirs of Westminster Abbey, St Paul's Cathedral, the Chapel Royal, and Saint George's Chapel, Windsor.
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In order to accomplish this goal, Josephus omitted certain accounts in the Jewish narrative and even added a Hellenistic "glaze" to his work. For example, the "Song of The Sea" sung by Moses and the people of Israel after their deliverance at the Red Sea is completely omitted in Josephus' text.Exodus 15 He does mention, however, that Moses composed a song to God in hexameter—a rather unusual (and Greek) metrical scheme for an ancient Hebrew.Ant. 2:346 Josephus also writes that Abraham taught science to the Egyptians, who in turn taught the Greeks, and that Moses set up a senatorial priestly aristocracy, which like Rome resisted monarchy.
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Rāg Lalit was recorded in a single take in Wyastone Leys near Monmouth, Wales, on December 3, 1987, and includes the tuning of the sarangi's sympathetic strings through plucking. In the performance, Narayan plays a long alap (non-metrical introduction) and a jor (performance with pulse) that increases in speed and range and makes use of gamaks (note oscillations). Suresh Talwalkar, a frequent accompanist of Narayan, joins in playing a gat (composition with rhythmic pattern provided by the tabla) in the rhythmic 16-beat cycle tintal, which is separated into four groups of four beats. When Talwalkar plays a solo, the sarangi repeats the melody.
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Oral-formulaic composition is a theory that originated in the scholarly study of epic poetry and was developed in the second quarter of the twentieth century. It seeks to explain two related issues: # The process by which oral poets improvise poetry. # The reasons for orally improvised poetry (or written poetry deriving from traditions of oral improvisation) having the characteristics that it does. The key idea of the theory is that poets have a store of formulas (a formula being 'an expression that is regularly used, under the same metrical conditions, to express a particular essential idea')Milman Parry, L’epithèt traditionnelle dans Homère (Paris, 1928), p.
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In Homeric verse, a phrase like eos rhododaktylos ("rosy fingered dawn") or oinops pontos ("winedark sea") occupies a certain metrical pattern that fits, in modular fashion, into the six-colon Greek hexameter, which aids the aoidos or bard in extemporaneous composition. Moreover, such phrases would be subject to internal substitutions and adaptations, permitting flexibility in response to narrative and grammatical needs: podas okus axilleus ("swift footed Achilles") is metrically equivalent to koruthaiolos ektor ("glancing-helmed Hector"). Formulas can also be combined into type-scenes, longer, conventionalised depictions of generic actions in epic like the steps taken to arm oneself or to prepare a ship for sea.
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Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980). Johann Gottfried Walther in the Musicalisches Lexicon (Leipzig, 1732), wrote that the rhythm of the courante is "absolutely the most serious one can find." During the Baroque era there were two types of courante; the French and the Italian. The French type is usually notated in , but employing rhythmic and metrical ambiguities (especially hemiola), and had the slowest tempo of all French court dances, described by Mattheson, Quantz and Rousseau as grave and majestic,Meredith Ellis Little and Suzanne G. Cusick, "Courante", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
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In Greek sources, the noun is mostly attested as (Makedôn) with two exceptions: the poetic form (Makêdôn) in Hesiod with long medial vowel serving the metrical feet of dactylic hexameter and (Mákednos) or latinicized Macednus with barytonesis and apophony in Apollodorus. The recessive accent is reminiscent of two Macedonian barytonized personal names, (Koînos) and (Bálakros) (Attic/Greek adjectives:koinós, phalakrós), but whether Makedôn or Mákednos is the original spelling presumably cannot be proven. Moreover, the suffix -dnos, either as the "Dorian Makednón ethnos" of Herodotus or makednós, a rare poetic epithet denoting tall, seems not to be attested in epigraphy, or used by Macedonians themselves. In Latin sources the noun is Macedo.
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King Deva Raya II was a poet and authored, in Kannada, the Sobagina Sone, a collection of romantic stories in the form of a narration by the author to his wife.Sinopoli (2003) p 131 Manjaraja I a Jain authored a book on toxicology called Khagendramanidarpana, Abhinava Chandra wrote on veterinary sciences in Asva-vaidya, Sridharadeva wrote a medical work called Vaidyamrita, Deparaja a Virashiava wrote a collection of romances called Sobagina-sone, Brahmin poet Manjaraja II wrote Manjaraja-Nighantu (1398) was a metrical lexicon giving Kannada meanings of Sanskrit words, Lingamantri authored the lexicon Kabbigarakaipidi, Viarkta Tontadarya wrote the lexicon Karnatakasabdamanjari, Devottama a Jain wrote a lexicon Nanartharatnakara.
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Sonnet 115 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter: × / × / × / × / × / Those lines that I before have writ do lie, (115.1) This sonnet contains examples of all three metrical variations typically found in literary iambic pentameter of the period. Lines 2 and 4 feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) My most full flame should afterwards burn clearer.
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Norris was in "very great favour with the King," but he was about to be accused of treason because the Queen misinterpreted his feelings, which coloured the testimonies they were both later forced to give.Cavendish, Metrical Visions; Weir, The Lady, p.102, 120 Madge seems to be a faithful servant, yet fearfully duped by her mother Lady Shelton's spying, determined as she was to bring down Norris and Weston for using her daughter.Weir, The Lady, p.138-9 Unfortunately Mrs Coffin had already been groomed as a spy when the Queen inadvertently told her of Sir Francis Weston's flirtations with Madge, of which she reproved.
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Written as though it were a note left on a kitchen table, Williams's poem appears to the reader like a piece of found poetry. Metrically, the poem exhibits no regularity of stress or of syllable count. Except for lines two and five (each an iamb) and lines eight and nine (each an amphibrach), no two lines have the same metrical form. The consonance of the letters "Th" in lines two, three, and four, as well the consonance of the letter "F" in lines eight and nine, and the letter 'S' in lines eleven and twelve give rise to a natural rhythm when the poem is read aloud.
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However, such evidence from skeletal remains was brushed aside as a new movement developed in archaeology from the 1960s, which stressed cultural continuity. Anti-migrationist authors either paid little attention to skeletal evidence or argued that differences could be explained by environmental and cultural influences. Margaret Cox and Simon Mays sum up the position: "Although it can hardly be said that craniometric data provide an unequivocal answer to the problem of the Beaker folk, the balance of the evidence would at present seem to favour a migration hypothesis." Non-metrical research concerning the Beaker people in Britain also cautiously pointed in the direction of immigration.
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Press, 1989 () Based on their physical similarities, Negritos were once considered a single population of related people, but the appropriateness of using the label 'Negrito' to bundle together peoples of different ethnicity based on similarities in stature and complexion has been challenged. Recent research suggests that the Negritos include several separate groups, as well as demonstrating that they are not closely related to the Pygmies of Africa.S. Noerwidi, "Using Dental Metrical Analysis to Determine the Terminal Pleistocene and Holocene Population History of Java", in: Philip J. Piper, Hirofumi Matsumura, David Bulbeck (eds.), New Perspectives in Southeast Asian and Pacific Prehistory (2017), p. 92. According to Vishwanathan et al.
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T.V.F. Brogan issues a stern warning about the temptations of overly detailed scansion: > Since meter is a system of binary oppositions in which syllables are either > marked or unmarked (long or short; stressed or unstressed), a binary code is > all that is necessary to transcribe it. . . . It is natural to want to > enrich scansion with other kinds of analyses which capture more of the > phonological and syntactic structure of the line . . . But all such efforts > exceed the boundary of strict metrical analysis, moving into descriptions of > linguistic rhythm, and thus serve to blur or dissolve the distinction > between meter and rhythm. Strictly speaking, scansion marks which syllables > are metrically prominent – i.e.
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C. Segal, Archaic choral lyric, 186 The fragment is a narrative treatment of a popular myth, involving the family of Oedipus and the tragic history of Thebes, and thus it sheds light on other treatments of the same myth, such as by Sophocles in Oedipus TyrannosR. Martin, The Voices of Jocasta and Aeschylus in Seven Against Thebes.W. Thalmann, The Lille Stesichorus and the "Seven Against Thebes" The fragment is significant also in the history of colometry since it includes lyric verses that have been divided into metrical cola, a practice usually associated with the later career of Aristophanes of Byzantium.D. Kovacs, Text and Transmission, 385E.
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The main programme offered by the Academy, which is held from the beginning of October up to the end of June, mainly aims to provide male students with a strong experience in the domain of the Humanities. The subjects of the courses are principally Ancient Greek philosophy, Latin literature, Renaissance literature, Ancient Greek language and literature and Roman History. The course of History of poetry and ancient prosody combines ancient verses with music, in order to explain their metrical structure in a more efficient way. The choir of the Academy, Tyrtarion (from the names of Tyrtaeus and Arion), has already become well known in the domain of Latin and Greek poetry.
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Ainsworth also wrote reply to John Smyth, who has been called "the first Baptist", entitled Defence of Holy Scripture, Worship and Ministry used in the Christian Churches separated from Antichrist, against the Challenges, Cavils and Contradictions of Mr Smyth (1609). Of Smyth's progression to becoming a Baptist, Ainsworth said he 'had gone ‘from error to error, and now at last to the abomination of Anabaptism’, which ‘in him was the worship … of the devil’. His scholarly works include his Annotations—on Genesis (1616); Exodus (1617); Leviticus (1618); Numbers (1619); Deuteronomy (1619); Psalms (including a metrical version, 1612); and the Song of Solomon (1623). These were collected in folio in 1627.
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Concerning the earlier translations of the hymns and later translations in Russia, we can observe two different approaches to translation, one which favours the musical and metrical structure and another which favours the literal translation of the hymns. The school represented by Kliment of Ohrid, Naum, or Constantine of Preslav endeavoured to match the Greek text in the number of syllables in the hymns and to preserve the verse structure indicated by the corresponding neumes, but the resulting meaning of the hymns could change so considerably that, in certain cases, the only aspect the original and the translation had in common was the prescribed music, i.e., the indicated melos and echos.
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Mary Jones' Bible Two of Mary Jones' bibles are known, supporting the version of the story where she buys three books from Thomas Charles. One Bible is in the British and Foreign Bible Society's Archives in Cambridge University LibraryCanton (1904), 466–470 and one in the National Library of Wales. They are copies of the 1799 edition of the Welsh Bible, ten thousand copies of which were printed at Oxford for the Society for the Propagation of Christian Knowledge. In addition to the Old and New Testaments and the Apocrypha, the volume contains the Book of Common Prayer (in Welsh) and Edmwnd Prys's Welsh metrical Psalms.
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These constraints liberated rather than inhibited Hollander's imagination, giving a fusion of metaphors that enabled Hollander to conceive this work as "a perpetual calendar".Lehman, David - article in Newsweek, January 23, 1984. Hollander also composed poems as "graphematic" emblems (Type of Shapes, 1969) and epistolary poems exampled in (Reflections on Espionage, 1976)Hollander, John - interview by email with Paul Devlin March/April 2003. and, as a critic (in Vision and Resonance: Two Senses of Poetic Form, 1975), offered telling insights into the relationship between words and music and sound in poetry, and in metrical experimentation,Attridge, Dennis, Review of Vision and Resonance: Two senses of Poetic Form, MLR, vol.
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Helman, "The Devils of Loudun," 83. While the smaller ensembles predominate through the work, Penderecki resources to the full ensemble resonance for dramatic effect, emphasizing this way the most emotionally charged scenes, such as the exorcisms of the Ursuline nuns and the death of Grandier. The orchestration is written in cut-out score format, that is with very little metrical guidelines, very few rests, and includes some aleatory effects of notes and tone-clouds in approximate pitches. Penderecki's work- method at the time was to develop his musical ideas in various colored pencils and inks, although the final score does not use color-coding.
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Her poems which have survived, however, appear to the modern reader as being too syrupy for comfort, too sentimental to the point of mawkishness, and utterly devoid of form. Fr. Justo Claudio Fojas, an Ilokano secular priest who wrote novenas, prayerbooks, catechism, metrical romances, dramas, biographies, a Spanish grammar and an Iloko-Spanish dictionary, was Leona Florentino's contemporary. Isabelo de los Reyes, Leona's son, himself wrote poems, stories, folklore, studies, and seemingly interminable religious as well as political articles. The achievement of both Claudio Fojas and de los Reyes is possibly more significant than the critical reader of Iloko literature today is ready to admit.
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As son of the Dagda, Aed, described as "faultless" and a bright faced youth was reportedly killed on Benn Bain Baith by Corrgend of Cruach, and buried at Ailech of Imchell. Corrgend killed Aed for having an affair with Corrgend's wife Tethra.The Metrical Dindsenchas, poem 23 "Ailech II" Corrgend is described as a hero swift of hand and every man's foe who could not find rest and refuge in fields, wood, or sea or anywhere under the white sun after killing Aed. The Dagda cursed Corrgend, so that he could not remove Aed's body from his back until he found an appropriate stone to mark Aed's grave.
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A phorminx The epinikion was performed not at the games, but at the celebration surrounding the champion's return to his hometown or perhaps at the anniversary of his victory. The odes celebrate runners, pentathletes, wrestlers, boxers, and charioteers; Pindar usually narrates or alludes elaborately to a myth connected to the victor's family or birthplace. The Pindaric ode has a metrical structure rivaled in its complexity only by the chorus of Greek tragedy, and is usually composed in a triadic form comprising strophe, antistrophe, and epode. The odes were performed by a chorus that sang and danced to the musical accompaniment of the phorminx or aulos.
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Iphigenia in Tauride, decoration in Pompeii The exact date of Iphigenia in Tauris is unknown. Metrical analysis by Zielinski indicated a date between 414 and 413 BCE, but later analysis by Martin Cropp and Gordon Fick using more sophisticated statistical techniques indicated a wider range of 416 to 412 BCE. The plot of Iphigenia in Tauris is similar to that of Euripides' Helen and Andromeda, both of which are known to have been first performed in 412. This has often been taken as a reason to reject 412 as the date for Iphigenia in Tauris, since that would mean three similar plays would have been performed in the same trilogy.
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Isaac Samuel Reggio (1784–1855) Isaac Samuel Reggio (YaShaR) (Hebrew: , ) (August 15, 1784 – August 29, 1855) was an Austro-Italian scholar and rabbi. He was born and died in Gorizia. Reggio studied Hebrew and rabbinics under his father, Abraham Vita, later rabbi of Gorizia, acquiring at the same time in the gymnasium a knowledge of secular science and languages. Reggio's father, one of the liberal rabbis who supported Hartwig Wessely, paid special attention to the religious instruction of his son, who displayed unusual aptitude in Hebrew, and at the age of fourteen wrote a metrical dirge on the death of Moses Ḥefeẓ, rabbi of Gorizia.
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As an interpreter of the prophets, Newcome followed Robert Lowth. His ‘Attempt towards an Improved Version, a Metrical Arrangement, and an Explanation of the Twelve Minor Prophets,’ &c.;, 1785 was reissued, with additions from Samuel Horsley and Benjamin Blayney, Pontefract, 1809. In his version he claims to give ‘the critical sense ... and not the opinions of any denomination.’ In his notes he makes frequent use of the manuscripts of Thomas Secker. It was followed by ‘An Attempt towards an Improved Version ... of ... Ezekiel,’ &c.;, Dublin, 1788 (reprinted 1836). These were parts of a larger plan, set forth in ‘An Historical View of the English Biblical Translations,’ &c.
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More than this, he flung the ashes into the nearest river, for he feared that there might be danger even in them. So venomous were they that the river boiled up and slew every living creature in it, and therefore it has been called the River Barrow, the ‘Boiling’ ever since. According to the Metrical Dindsenchas: > No motion it made The ashes of Meichi the strongly smitten: The stream made > sodden and silent past recovery The fell filth of the old serpent. Three > turns the serpent made; It sought the soldier to consume him; It would have > wasted by its doing the kine; The fell filth of the old serpent.
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Scholarly consensus places the arising of the first tantric cults about a thousand years later, and no corroborating evidence has been found, whether textual or otherwise, of earlier sanguinary tantric practices. Though Gombrich argues that there other, similar antinomian practices (going against moral norms) which are only mentioned once in Buddhist scriptures and for which no evidence can be found outside of the scriptures, Buddhist Studies scholars Mudagamuwa and Von Rospatt dismiss these as incorrect examples. They also take issue with Gombrich's metrical arguments, thus disagreeing with Gombrich's hypotheses with regard to Aṅgulimāla. They do consider it possible, however, that Angulimāla's violent practices were part of some kind of historical cult.
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In addition to the ballads culled and compiled by Percy and Child, the folio contains an alliterative poem in Middle English entitled Death and Liffe and Scottish Feilde, which is a poem on the Battle of Flodden. The manuscript contains ballads, for the most part, but also metrical romances such as Sir Degaré and The Squire of Low Degree. There are several Arthurian texts, including King Arthur and King Cornwall, Sir Lancelott of Dulake, The Marriage of Sir Gawen and Dame Ragnell, Merline, Carle off Carlile, The Grene Knight Boy and Mantle and The Turke and Gowin. The last three narratives are entirely unknown outside the Percy Folio.
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Isaac of Antioch, one of the stars of Syriac literature, is the reputed author of a large number of metrical homilies,The fullest list, by Gustav Bickell, contains 191 which are extant in MSS. many of which are distinguished by an originality and acumen rare among Syriac writers. The trustworthy Chronicle of Edessa gives his date as 451-452 (Hallier, No. lxvii); and the Chronicle of Michael the Syrian makes him contemporary with Nonus, who became the 31st bishop of Edessa in 449. He is to be distinguished from Isaac of Nineveh, a Nestorian writer on the ascetic life who belongs to the second half of the 7th century.
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Kudrun washes clothes at the seashore. From Die Gartenlaube (1899) The Kudrun is widely seen as a deliberate reversal of the situation of the Nibelungenlied: the poem cites the Nibelungenlied in its metrical form, in its use of âventiuren (chapters, literally "adventures") to distinguish individual episodes, and its use of allusions and direct citations of lines of the other poem. Kudrun herself is seen as a reversal of Kriemhild in the Nibelungenlied: instead of revenge and destruction, Kudrun brings about peace and reconciliation. Gerlint, however, receives Kriemhild's epithet vâlentinne (Kudrun 629,4; "she-devil"), while Wate seems to combine features of the Nibelungenlied's portrayal of Hagen and Hildebrand.
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The sonnet exhibits a few variations of the meter, some of which will depend on interpretation. The following lines may be read with metrical regularity, but also may be read with a rightward movement of the first ictus in line 4 (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic); and an initial reversal in line 5: × × / / × / × / × / Of their fair subject, blessing every book. / × × / × / × / × / Thou art as fair in knowledge as in hue, (82.4-5) A reversal and minor ionic may be found in lines 6 and 8, respectively. The meter calls for line 10's "strainèd" to be pronounced with 2 syllables.
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It is assumed that many of the latest texts date to the time of King Ang Duong (1789–1859), to whom is attributed the cbap srei ("Conduct for Ladies"). Analysis of metrical rhymes in the cbap literature indicated that among the earliest cbap were the ker kala and kuna cau which could have dated from the early middle period. Much of the phonological changes that mark Middle Khmer were already established and many others were well underway by the time of Late Middle Khmer and the processes occurring in the early period oftentimes must be inferred by comparing Late Old Khmer with the language of later Middle Khmer texts.
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Sonnet 94 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / And husband nature's riches from expense; (94.6) The 7th line exhibits two fairly common metrical variations: an initial reversal, and a final extrametrical syllable or feminine ending: / × × / × / × / × /(×) They are the lords and owners of their faces, (94.7) :/ = ictus, a metrically strong syllabic position.
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During the period of the English Reformation, many other poets besides Sternhold and Hopkins wrote metrical versions of some of the psalms. The first was Sir Thomas Wyatt, who in around 1540 made verse versions of the six penitential Psalms. His version of Psalm 130, the famous De profundis clamavi, begins: :From depth of sin and from a deep despair, :From depth of death, from depth of heart's sorrow :From this deep cave, of darkness deep repair, :To thee have I called, O Lord, to be my borrow. :Thou in my voice, O Lord, perceive and hear :My heart, my hope, my plaint, my overthrow.
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Sonnet 151 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter: × / × / × / × / × / Then, gentle cheater, urge not my amiss, (151.3) The 8th line features two common metrical variations: an initial reversal and a final extrametrical syllable or feminine ending: /× × / × / × / × / (×) Triumph in love; flesh stays no farther reason, (151.8) :/ = ictus, a metrically strong syllabic position.
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It is in Patrologia Latina, LXXXVIII, 829 sqq. One of its best manuscripts, the tenth-century Vallicellianus (Rome), has a note in which Cresconius is declared the author of a metrical poem called "Bella et victorias" by the "Patricius" Johannes in Africa about the Saracens. This was formerly interpreted to mean the African victory of the Byzantine Patricius Johannes in 697, hence the usual date of Cresconius. Some, however, hold that the poem in question is the Johannis of Flavius Cresconius Corippus, a Latin poet of about 550, and on this basis identify him with the canonist, thus placing the latter in the sixth century.
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The Metrical Dindshenchas, or Lore of Places, a Middle Irish collection of poetry purporting to explain the origins of Irish place names, claims that Mullaghmast is named for Maistiu, wife of Dáire Derg, who was killed by the sorcery of the malicious faery Gris, who was in turned killed by Dáire Derg.Gwynn; MacKillop, "Mullaghmast". MacKillop notes that Dáire Derg may be a double of Goll mac Morna. A standing stone from Mullaghmast, decorated with a triskele, thought to belong to the very end of the prehistoric period, or perhaps to the early Christian period, is now in the National Museum of Ireland in Dublin.
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Sonnet 126 has been dubbed the envoi to the "Fair Youth" sonnets. An envoy or envoi, as defined by the Oxford English Dictionary is "The action of sending forth a poem; hence, the concluding part of a poetical or prose composition; the author's parting words; a dedication, postscript. Now chiefly the short stanza which concludes a poem written in certain archaic metrical forms." Sethna has argued that Sonnet 126 was handed to William Herbert (the "Fair Youth" in his view) just before his 27th birthday, completing the period of their 9-year friendship with words that were clear, allusive, highly emotional and deeply pensive.
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