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"metrically" Definitions
  1. in a manner relating to or based on the metric system
  2. with regard to rhythmic meter
  3. with regard to measurement
"metrically" Synonyms
rhythmically measuredly periodically throbbingly liltingly flowingly musically regularly repeatedly evenly harmoniously melodiously steadily uniformly consistently constantly systematically unfalteringly sustainedly deliberately

260 Sentences With "metrically"

How to use metrically in a sentence? Find typical usage patterns (collocations)/phrases/context for "metrically" and check conjugation/comparative form for "metrically". Mastering all the usages of "metrically" from sentence examples published by news publications.

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Chopin designed an étude to teach pianists how to become metrically ambidextrous.
As matters proceed, however, the dances grow a great deal more metrically intricate.
Always it forms a rich counterpoint to the stage action, which is often metrically fast when the accompaniment feels slow.
If results were reported both metrically and in feet and inches "to where the fans understand it better, I don't see any problem with it," he added.
And just as I was feeling that, for all the wonderful speed of this genre, everything was too metrically regular, a number of solos confounded me, with effects of complexity and syncopation that astounded.
There seems no uncertainty at all about any of the first dances: they're metrically regular, with end-stopped phraseology, and their vocabulary looks strongly derivative of that of Mark Morris, with whom Mr. Heginbotham danced for many years.
If page upon page of metrically stringent and dutifully rhymed lines with clunky allusions to Wittgenstein, Derrida, Mallarmé, Althusser, Joyce, Marx, Brecht, Benjamin, Adorno and Badiou — to name a few — strikes you as illuminating, then you'll enjoy this book.
But what distinguished him even more than his prodigious output (more than 220,000 comments since 2008) was the form those comments took: verse — mostly limericks — perfectly rhymed, (usually) metrically impeccable and always germane to whatever recent news item had caught his eye.
This is actually a full-bodied dance involving head, legs and arms, but what's startling is how much detail Mr. Sciscione (who danced this work in a 2017 program at the Joyce Theater) brings into play between shoulders and hips, all metrically responding to the keyboard.
There's little doubt that a number of lines are metrically incomplete, a fact that dovetails with what we know about the poet's working method: he liked to joke that, in order to preserve his momentum while writing, he'd put in temporary lines to serve as "struts" until the "finished columns" were ready.
It can also derive metrically accurate trajectories for each one of them.
However, the only obvious imperfections are a few lines of verse that are metrically unfinished (i.e. not a complete line of dactylic hexameter). Some scholars have argued that Virgil deliberately left these metrically incomplete lines for dramatic effect.Miller, F. J. 1909.
Otherwise, Peire was influenced metrically and rhythmically by the works of Giraut de Bornelh.
This line is apparently imperfect, metrically, for the second hemistich seems to be wanting.
Several typefaces have been created to be metrically compatible with widely used proprietary typefaces to allow the editing of documents set in such typefaces in digital typesetting environments where these typefaces are not available. For instance, the free and open-source Liberation fonts and Croscore fonts have been designed as metrically compatible substitutes for widely used Microsoft fonts.
Sonnet 31 is a typical English or Shakespearean sonnet, with three quatrains followed by a final couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like other Shakespearean sonnets it is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line. Metrically the sonnet is fairly regular, but demands several syllabic contractions and expansions. The first two lines each contain one expansion (marked with è below): × / × / × / × × / / Thy bosom is endearèd with all hearts, × / × / × / × / × / Which I by lacking have supposèd dead; (31.1-2) :/ = ictus, a metrically strong syllabic position.
Suppose that is a pseudometric space and . We say that is metrically bounded or -bounded if there exists a real number such that for all ; the smallest such is then called the diameter or -diameter of . If is bounded in a pseudometrizable TVS then it is metrically bounded; the converse is in general false but it is true for locally convex metrizable TVSs.
Normally, only long vowels in a metrically indeterminate position are marked. are still concerned with indicating only the length (weight) of syllables; that is why most still do not indicate the length of vowels in syllables that are otherwise metrically determined. Many textbooks about Ancient Rome and Greece use the macron, even if it was not actually used at that time.
Line 3 exemplifies a regular iambic pentameter: × / × / × / × / × / But not to tell of good, or evil luck, (14.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Metrically and rhythmically, Raimon imitated the Apres mon vers vueilh sempr'ordre of Raimbaut d'Aurenga in his own Ar es dretz q'ieu chan e parlle.
Its main rules are as follows (examples are taken from the Kalevala): Syllables fall into three types: strong, weak, and neutral. A long syllable (one that contains a long vowel or a diphthong, or ends in a consonant) with a main stress is metrically strong, and a short syllable with a main stress is metrically weak. All syllables without a main stress are metrically neutral. A strong syllable can only occur in the rising part of the second, third, and fourth foot of a line: A weak syllable can only occur in the falling part of these feet: Neutral syllables can occur at any position.
Ramsey, p. 153 It is convenient to scan the first four lines: / × × / × / × × / / When in disgrace with Fortune and men's eyes, × / × / × / × / × / I all alone beweep my outcast state, × / × / / × × / × / And trouble deaf heaven with my bootless cries, × / × / × / × / × / And look upon myself and curse my fate, (29.1-4) :/ = ictus, a metrically strong syllabic position. × = nonictus. Lines two and four are metrically regular, but alternate with lines (one and three) which are more metrically complex, a tendency that continues throughout the poem The first line has an initial reversal, and concludes with the fourth ictus moving to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic).
The book ends in a burst of flamboyant versification, with the full list of little cats arranged into a metrically perfect rhymed quatrain, reciting the alphabet.
Housman (1916), p. xix.Housman (1903), p. xxi. The poem, while metrically correct, has been noted for its technical language and unusual word choices.Hatch (2007), p. 735.
Sonnet 34 is an English or Shakespearean sonnet, composed of three quatrains and a final couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line 12 exemplifies a regular iambic pentameter: × / × / × / × / × / To him that bears the strong offence's loss. :/ = ictus, a metrically strong syllabic position.
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.
Sonnet 100 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 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / Return, forgetful Muse, and straight redeem (100.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 36 is a typical English or Shakespearean sonnet, constructed from three quatrains and a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / Although our undivided loves are one: (36.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
The first two lines contrast metrically: × / × / × / × / × / If thou survive my well-contented day, × × / / × / × / × /(×) When that churl Death my bones with dust shall cover (32.1-2) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. While the first is quite regular, the second has a final extrametrical syllable or feminine ending, as well as its initial ictus moved to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic).
Sonnet 92 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, ' and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / Then need I not to fear the worst of wrongs, (92.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 2 is an English or Shakespearean sonnet, which consists of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like all but one sonnet in the sequence, it is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions: × / × / × / × / × / How much more praise deserved thy beauty's use, (2.9) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 55 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, 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 fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / When wasteful war shall statues overturn, (55.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 66 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 tenth line exemplifies a regular iambic pentameter: × / × / × / × / × / And folly doctor-like controlling skill, (66.10) :/ = ictus, a metrically strong syllabic position.
In 2016, PT Astra Sans and PT Astra Serif fonts were developed for distribution with the Russian Astra Linux operating system. Both fonts are metrically compatible with Times New Roman.
Lines two, three, four, eight, and fourteen all begin with an initial reversal. / × × / × / × / × / (×) Suns of the world may stain when heaven's sun staineth. (33.14) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Using lower and upper Hausdorff uniformity we can also define the so-called upper and lower semicontinuous maps in the sense of Hausdorff (also known as metrically lower / upper semicontinuous maps).
Cullen, Kristin. Layout Workbook: A Real-World Guide to Building Pages in Graphic Design, Jul 2005: 92 The height of the ascender can have a dramatic effect on the readability and appearance of a font. The ratio between the x-height and the ascent or cap height often serves to characterize typefaces. Typefaces that can be substituted for one another in a document without changing the document's text flow are said to be "metrically identical" (or "metrically compatible").
Sonnet 112 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 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / Which vulgar scandal stamped upon my brow; (112.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 67 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 third line exemplifies a regular iambic pentameter: × / × / × / × / × / That sin by him advantage should achieve (67.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 123 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: × / × / × / × / × / To me are nothing novel, nothing strange; (123.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 62 is an English or Shakespearean sonnet, with three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is composed in a type of poetic metre known as iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / No shape so true, no truth of such account, (62.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 69 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 fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / Thy outward thus with outward praise is crown'd; (69.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 44 is an English or Shakespearean sonnet, which contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / No matter then although my foot did stand (44.5) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 22 is a typical English or Shakespeare sonnet. Shakespearean sonnets consists of three quatrains followed by a couplet, and follow the form's rhyme scheme: ABAB CDCD EFEF GG. They are written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / My glass shall not persuade me I am old, (22.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 60 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme, abab cdcd efef gg and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The thirteenth line exemplifies a regular iambic pentameter: × / × / × / × / × / And yet to times in hope my verse shall stand, (60.13) :/ = ictus, a metrically strong syllabic position.
Sonnet 105 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: × / × / × / × / × / Since all alike my songs and praises be (105.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 109 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 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / To leave for nothing all thy sum of good; (109.12) :/ = ictus, a metrically strong syllabic position.
Sonnet 110 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 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / These blenches gave my heart another youth, (110.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 150 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 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / With others thou shouldst not abhor my state: (150.12) :/ = ictus, a metrically strong syllabic position.
Sonnet 127 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 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / And beauty slander'd with a bastard shame: (127.4) :/ = ictus, a metrically strong syllabic position.
Sonnet 129 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 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / On purpose laid to make the taker mad: (129.8) :/ = ictus, a metrically strong syllabic position.
Sonnet 128 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 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / Upon that blessed wood whose motion sounds (128.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 143 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 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / To follow that which flies before her face, (143.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 140 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: × / × / × / × / × / Lest sorrow lend me words, and words express (140.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 139 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: × / × / × / × / × / Dear heart, forbear to glance thine eye aside: (139.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 137 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 5th line exemplifies a regular iambic pentameter: × / × / × / × / × / If eyes, corrupt by over-partial looks, (137.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 136 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 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / In things of great receipt with ease we prove (136.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 71 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 first line exemplifies a regular iambic pentameter: × / × / × / × / × / No longer mourn for me when I am dead (71.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 91 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 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Of more delight than hawks and horses be; (91.11) :/ = ictus, a metrically strong syllabic position.
Sonnet 153 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 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And thither hied, a sad distemper'd guest, (153.12) :/ = ictus, a metrically strong syllabic position.
Sonnet 117 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: × / × / × / × / × / Forgot upon your dearest love to call, (117.3) :/ = ictus, a metrically strong syllabic position.
Sonnet 122 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: × / × / × / × / × / Thy gift, thy tables, are within my brain (122.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 101 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 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / To make him much outlive a gilded tomb (101.11) :/ = ictus, a metrically strong syllabic position.
Sonnet 134 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: × / × / × / × / × / So, now I have confess'd that he is thine (134.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 95 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 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Where beauty's veil doth cover every blot (95.11) :/ = ictus, a metrically strong syllabic position.
Sonnet 138 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: × / × / × / × / × / Although she knows my days are past the best, (138.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 154 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: × / × / × /× / × / The little Love-god lying once asleep (154.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 57 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, 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 sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / Whilst I, my sovereign, watch the clock for you, (57.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 59 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / If there be nothing new, but that which is (59.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 53 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of this form, abab cdcd efef gg and is composed in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The seventh line exemplifies a regular iambic pentameter: × / × / × / × / × / On Helen's cheek all art of beauty set, (53.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 68 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 second line exemplifies a regular iambic pentameter: × / × / × / × / × / When beauty lived and died as flowers do now, (68.2) :/ = ictus, a metrically strong syllabic position.
Two lines have a final extrametrical syllable or feminine ending, as exemplified by line eight: × / × / × / × / × / (×) The spirit of love, with a perpetual dulness. (56.8) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
Sonnet 16 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet. It follows the English sonnet's typical rhyme scheme: ABAB CDCD EFEF GG. The sonnet is written in iambic pentameter, a type of metre in which each line is based on five pairs of metrically weak/strong syllabic positions. The fifth line exhibits a regular iambic pattern: × / × / × / × / × / Now stand you on the top of happy hours, (16.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 38 is an English or Shakespearean sonnet, composed of three quatrains and a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG. Like other Shakespearean sonnets the poem is composed in a type of poetic metre known as iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The final line exemplifies a regular iambic pentameter: × / × / × / × / × / The pain be mine, but thine shall be the praise. (38.14) :/ = ictus, a metrically strong syllabic position.
Sonnet 24 is an English or Shakespearean sonnet. English sonnets contain fourteen lines, including three quatrains and a final couplet. It follows the typical rhyme scheme of the form ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. Line ten exemplifies a regular iambic pentameter: × / × / × / × / × / Mine eyes have drawn thy shape, and thine for me (24.10) :/ = ictus, a metrically strong syllabic position.
Sonnet 19 is a typical English or Shakespearean sonnet. The English sonnet consists of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: ABAB CDCD EFEF GG. Like all but one of Shakespeare's sonnets, Sonnet 19 is written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The eighth line exemplifies a regular iambic pentameter: × / × / × / × / × / But I forbid thee one most heinous crime: (19.8) :/ = ictus, a metrically strong syllabic position.
Sonnet 106 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 4th line famously exemplifies a regular iambic pentameter: × / × / × / × / × / Of hand, of foot, of lip, of eye, of brow, (106.4) :/ = ictus, a metrically strong syllabic position.
Sonnet 7 is a typical English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a couplet, and follows the form's rhyme scheme: abab cdcd efef gg. The sonnet is written in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions per line, as exemplified in line five (where "heavenly" is contracted to two syllables): × / × / × / × / × / And having climbed the steep-up heavenly hill, (7.5) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 37 is an English or Shakespearean sonnet. The English sonnet is constructed with three quatrains and a final rhyming couplet. The poem follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and like other Shakespearean sonnets is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The second line exemplifies a regular iambic pentameter: × / × / × / × / × / To see his active child do deeds of youth, (37.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 130 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: × / × / × / × / × / My mistress' eyes are nothing like the sun; / × × / × / × / × / Coral is far more red than her lips' red: (130.1-2) :/ = ictus, a metrically strong syllabic position.
Sonnet 144 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 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / The worser spirit a woman colour'd ill. × / × / × / × / × /(×) To win me soon to hell, my female evil (144.4-5) :/ = ictus, a metrically strong syllabic position.
Sonnet 97 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: × / × / × / × / × / The teeming autumn, big with rich increase, / × × / × / × / × / Bearing the wanton burden of the prime, (97.6-7) :/ = ictus, a metrically strong syllabic position.
The modern pronunciation was, in all likelihood, established in the Hellenistic age and may have already been a common practice in Classical Attic; for example, it could count as one or two consonants metrically in Attic drama.
Sonnet 20 is a typical English or Shakespearean sonnet, containing three quatrains and a couplet for a total of fourteen lines. It follows the rhyme scheme of this type of sonnet, ABAB CDCD EFEF GG. It employs iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. "Only this sonnet about gender has feminine rhymes throughout." The first line exemplifies regular iambic pentameter with a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) A woman's face with nature's own hand painted, (20.1) :/ = ictus, a metrically strong syllabic position.
Sonnet 145 is — in most respects — a fairly typical English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme of the form ABAB CDCD EFEF GG. However this sonnet is unique in the collection because, instead of iambic pentameter, it is written in iambic tetrameter, a poetic metre based on four (rather than five) pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic tetrameter: × / × / × / × / Those lips that Love's own hand did make (145.1) :/ = ictus, a metrically strong syllabic position.
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.
Sonnet 114 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 7th line exemplifies a regular iambic pentameter: ×/ × / × / × / × / Creating every bad a perfect best, (114.7) Lines 6, 8, 9, and 11 have a final extrametrical syllable or feminine ending: × / × / × × / / × / (×) Such cherubins as your sweet self resemble, (114.6) :/ = ictus, a metrically strong syllabic position.
Sonnet 46 is an English or Shakespearean sonnet, composed of three quatrains followed by a final rhyming couplet, written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Mine eye and heart are at a mortal war, (46.1) :/ = ictus, a metrically strong syllabic position. × = nonictus. While this sonnet (like others) is based on an ABAB CDCD EFEF GG rhyme scheme, here rhymes f and g are identical—which, as critic Philip C. McGuire writes, is unusual in an English sonnet.
Sonnet 40 is an English or Shakespearean sonnet, composed of three quatrains followed by a final couplet. It follows the typical rhyme scheme of the English sonnet, ABAB CDCD EFEF GG. It is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. Line four exemplifies a regular iambic pentameter: × / × / × / × / × / All mine was thine, before thou hadst this more. (40.4) All four lines in the second quatrain have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But yet be blam'd, if thou thy self deceivest (40.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 152 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 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / Or made them swear against the thing they see; (152.12) The 2nd line has a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) But thou art twice forsworn, to me love swearing; (152.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 135 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. Nominally, it follows the rhyme scheme of the form ABAB CDCD EFEF GG, although (unusually) rhymes a, e, and g feature the same sound. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / And "Will" to boot, and "Will" in overplus; / × × / × / × / × / More than enough am I that vex thee still, (135.2-3) :/ = ictus, a metrically strong syllabic position.
Sonnet 58 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter; the second adds a final extrametrical syllable or feminine ending: × / × / × / × / × / That God forbid, that made me first your slave, × / × / × / × / × / (×) I should in thought control your times of pleasure, (58.1-2) :/ = ictus, a metrically strong syllabic position.
Sonnet 61 is an English or Shakespearean sonnet, containing three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, 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 seventh line exemplifies a regular iambic pentameter: × / × / × / × / × / To find out shames and idle hours in me, (61.7) The first and third lines have a final extrameterical syllable or feminine ending: × / × / × / × / × /(×) Dost thou desire my slumbers should be broken, (61.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 118 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, with the characteristic rhyme scheme ABAB CDCD EFEF GG. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 13th line exemplifies a regular iambic pentameter: × / × / × / × / × / But thence I learn, and find the lesson true, (118.13) Lines 5, 6, 7, and 8 each have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) To bitter sauces did I frame my feeding; (118.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
More generally, any quadratically closed subfield of or will suffice for this purpose (e.g., algebraic numbers, constructible numbers). However, in the cases where it is a proper subfield (i.e., neither nor ), even finite- dimensional inner product spaces will fail to be metrically complete.
The carol is metrically bistable, and a listener can focus on either meter or switch between them. It has been performed in many genres: classical, metal, jazz, country music, rock, and pop. The piece has also been featured in films, television shows, and parodies.
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.
Sonnet 75 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 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / As 'twixt a miser and his wealth is found. (75.4) The 6th line exhibits two common variations: an initial reversal and a final extrametrical syllable or feminine ending: / × × / × / × / × / (×) Doubting the filching age will steal his treasure; (75.6) :/ = ictus, a metrically strong syllabic position.
In the analysis of 18th- and 19th-century Western music, an elision, overlap, or rather reinterpretation (Umdeutung), is the perception, after the fact, of a (metrically weak) cadential chord at the end of one phrase as the (metrically strong) initial chord of the next phrase. Two phrases may overlap, making the beginning and ending of both happen at the same moment in time, or both phrases and hypermeasures may overlap, making the last bar in the first hypermeasure and the first in the second. Charles Burkhart uses overlap and reinterpretation to distinguish between the overlap of phrases and of both phrase and measure-group, respectively.Stein, Deborah (2005).
Sonnet 119 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: × /× / × / × / × / Applying fears to hopes and hopes to fears, (119.3) An unusual number of lines (5, 6, 7, 8, 10, and 12) feature a final extrametrical syllable or feminine ending, as for example: / × × / / × × / × / (×) How have mine eyes out of their spheres been fitted, (119.7) :/ = ictus, a metrically strong syllabic position.
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.
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.
Sonnet 133 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: × / × / × / × / × / Beshrew that heart that makes my heart to groan (133.1) Line 5 exhibits two common metrical variations: an initial reversal, and a final extrametrical syllable or feminine ending: / × × / × /× / × /(×) Me from myself thy cruel eye hath taken, (133.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 142 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: × / × / × / × / × / By self-example mayst thou be denied! (142.14) The 2nd line contains three common metrical variants: an initial reversal, a mid-line reversal, and a final extrametrical syllable or feminine ending: / × × / / × × / × /(×) Hate of my sin, grounded on sinful loving: (142.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 121 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: × / × / × / × / × / 'Tis better to be vile than vile esteem'd, (121.1) Four lines (2, 4, 9, and 11) have a final extrametrical syllable or feminine ending, as for example: / × × / × / × / × /(×) Not by our feeling, but by others' seeing: (121.4) :/ = ictus, a metrically strong syllabic position.
Cambridge: Harvard University Press. Lines nine through fourteen form a rhetorical sestet concerning the decay of the beloved. The first line is often cited as (appropriately) displaying a metronomic regularity: × / × / × / × / × / When I do count the clock that tells the time, :/ = ictus, a metrically strong syllabic position. × = nonictus.
Cambridge, Massachusetts: Belknap of Harvard UP, 1997. Print, pg. 50. The first line illustrates a regular iambic pentameter, and the seventh illustrates a variation: an initial reversal. × / × / × / × / × / From fairest creatures we desire increase, (1.1) / × × / × / × / × / Making a famine where abundance lies, (1.7) :/ = ictus, a metrically strong syllabic position.
Preminger, Alex and T. Brogan. The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University Press, 1993. pg. 894 The couplet's first line exemplifies a regular iambic pentameter rhythm: × / × / × / × / × / So long as men can breathe or eyes can see, (18.13) :/ = ictus, a metrically strong syllabic position.
The 6th line exemplifies a regular iambic pentameter: × / × / × / × / × / Lose all, and more, by paying too much rent, × / × / × /× / × /(×) For compound sweet forgoing simple savour, (125.6-7) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. Lines 7 (scanned above) and 5 each have a final extrametrical syllable or feminine ending.
A catalectic line is a metrically incomplete line of verse, lacking a syllable at the end or ending with an incomplete foot. One form of catalexis is headlessness, where the unstressed syllable is dropped from the beginning of the line. A line missing two syllables is called brachycatalectic.
Sonnet 42 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. Line 10 exemplifies a regular iambic pentameter: × / × / × / × / × / And losing her, my friend hath found that loss; (42.10) The first three lines may be scanned: × / × / × × / / × / That thou hast her it is not all my grief, × / × / × / × / × / (×) And yet it may be said I loved her dearly; × / × / × / × / × / That she hath thee is of my wailing chief, (42.1-3) :/ = ictus, a metrically strong syllabic position.
Shakespeare's sonnets conform to the English or Shakespearean sonnet form. The form consists of fourteen lines structured as three quatrains and a couplet, rhyming abab cdcd efef gg and written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. While Shakespeare's versification maintains the English sonnet form, Shakespeare often rhetorically alludes to the form of Petrarchan sonnets with an octave (two quatrains) followed by a sestet (six lines), between which a "turn" or volta occurs, which signals a change in the tone, mood, or stance of the poem. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Those pretty wrongs that liberty commits, (41.1) :/ = ictus, a metrically strong syllabic position.
October is metrically complex, switching frequently between , , , and times. While common time () is the primary meter, many sections stay in the same metre for as little as one measure. This switching between metres is less difficult than it might be, because the division of the beat remains the same.Bluestine, Eric.
Line 4 contains two of the most common: an initial reversal and a final extrametrical syllable or feminine ending: / × × / × / × / × / (×) Weeds among weeds, or flowers with flowers gather'd. (124.4) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable. Line 2 (as required by the rhyme scheme) also has a feminine ending.
Medially hy and hw are long consonants in Parmaquesta (not colloquially in Tarquesta) and a vowel before them is held to constitute a metrically long syllable. Quenya has also a secondary accent. The placement of stress and the distinction between heavy and light syllables is important in Quenya verse.J. R. R. Tolkien.
Sonnet 26 is a typical English or Shakespearean sonnet, formed of three quatrains and a couplet, having a rhyme scheme of ABAB CDCD EFEF GG. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The seventh line exemplifies a regular iambic pentameter line. The next contains a final extrametrical syllable or feminine ending, of which this sonnet has six; it also exhibits an ictus moved to the right (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): But that I hope some good conceit of thine In thy soul's thought, all naked, will bestow it: (26.7-8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 87 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 2nd line exemplifies a regular iambic pentameter: × / × / × / × / × / And like enough thou know'st thy estimate, (87.2) However, (along with Sonnet 20) Sonnet 87 is extraordinary in Shakespeare's insistent use of final extrametrical syllables or feminine endings, which occur in all but lines 2 and 4; for example, in the first line: × / × / × / × / × / (×) Farewell! thou art too dear for my possessing, (87.1) :/ = ictus, a metrically strong syllabic position.
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\.
Its first line begins Un dolz dezirs amorous and it is metrically, but not rhymewise, identical to A vos, bona don'e pros which is attributed by some manuscripts to Raimbaut de Vaqueiras and by others left unattributed, leading subsequent scholars to suggest that it was the work of either Aimeric de Pegulhan or Formit.
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.
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.
If not through you Sarastro will turn pale! Hear, gods of revenge, hear the mother's oath! Metrically, the text consists of a quatrain in iambic pentameter (unusual for this opera which is mostly in iambic tetrameter), followed by a quatrain in iambic trimeter, then a final pentameter couplet. The rhyme scheme is [ABAB][CCCD][ED].
In contrast, all finite-dimensional inner product spaces over or , such as those used in quantum computation, are automatically metrically complete (and hence Hilbert spaces). In some cases, one needs to consider non-negative semi- definite sesquilinear forms. This means that is only required to be non- negative. Treatment for these cases are illustrated below.
Analytical Studies in World Music p. 102. Oxford University Press. Three-beat cycle bell patterns There is a category of bell patterns based on "slow" cycles of three cross-beats across four or eight main beats. Three-over-eight (3:8) is one of the most metrically contradictive, and extraordinarily dynamic cross-rhythms found in African music.
The text is one of the longest and most elaborate pieces of graffiti to survive from Pompeii. Though inscribed over seven lines of text, the poem is metrically nine verses long, with the final verse unfinished. It is unknown why the poem ends mid-verse: perhaps the author was interrupted, or could not remember the end of the poem.
It may be regular (apart from the feminine ending) — or it may suggest a rightward movement of an ictus (resulting in a four- position figure, `× × / /`, sometimes referred to as a minor ionic), but if so, it is not clear which: × × / / × /(×) × / × × / /(×) × / × / × / × / × /(×) Which hath not figured to thee my true spirit? (108.2) :/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
The assumption of local convexity for the ambient space is necessary, because constructed a counter-example for the non-locally convex space where . Linearity is also needed, because the statement fails for weakly compact convex sets in CAT(0) spaces, as proved by . However, proved that the Krein–Milman theorem does hold for metrically compact CAT(0) spaces.
Chalkboard is a font released by Apple in 2003. It was released as part of Mac OS X v10.3 and the 10.2.8 update. It is regularly compared to Microsoft's Comic Sans font, which has shipped with Mac OS since Mac OS 8.6 in 1999, although it is not a perfect substitute font since the two are not metrically compatible.
Sonnet 141 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 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / Who leaves unsway'd the likeness of a man, (141.11) Line 5 (potentially) exhibits all three of iambic pentameter's most common metrical variants: an initial reversal, the rightward movement of the third ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic), and a final extrametrical syllable or feminine ending: / × × / × × / / × / (×) Nor are mine ears with thy tongue's tune delighted; (141.5) :/ = ictus, a metrically strong syllabic position.
In some cases a short vowel in a word may be metrically Weak in a particular variant of a word (and hence deleted) or it may be metrically strong and hence retained. However, in certain words a short vowel may be in a position where it would always be Weak and therefore always deleted. For such words, it cannot be deduced from synchronic Ottawa language material which of the short vowels /i, a, o/ was present in the historical pre-Syncope form of the word. Here, the quality of the vowel can only be determined by examining the form of the word in other dialects of Ojbwe that have not been affected by Syncope, or by referring to earlier sources for Ottawa, such as Baraga's late nineteenth-century dictionary.
Sonnet 23 is considered an English or Shakespearean Sonnet. It contains 14 iambic pentameter lines. The rhyme scheme is ABAB CDCD EFEF GG. The form consists of three quatrains and a couplet. All of the lines, including the fifth line are examples of iambic pentameter: × / × / × / × / × / So I, for fear of trust, forget to say (23.5) :/ = ictus, a metrically strong syllabic position.
The rhyme scheme of the sonnet is abab cdcd efef gg, the typical rhyme scheme for an English or Shakespearean sonnet. There are three quatrains and a couplet which serves as an apt conclusion. The fourth line exemplifies a regular iambic pentameter line: × /× / × / × / × / And being frank, she lends to those are free (4.4) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 25 is an English or Shakespearean sonnet, formed of three quatrains and a final couplet in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And all the rest forgot for which he toil'd: (25.12) :/ = ictus, a metrically strong syllabic position. × = nonictus. The 10th line begins with a common metrical variant, the initial reversal: / × × / × / × / × / After a thousand victories once foil'd, (25.10) The 6th line also has a potential initial reversal, as well as the rightward movement of the fourth ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic): / × × / × / × × / / But as the marigold at the sun's eye, (25.6) Potential initial reversals also occur in lines 1 and 11, with line 8 potentially exhibiting both an initial and midline reversal.
Sonnet 99 is one of only three irregular sonnets in Shakespeare's sequence (the others being Sonnet 126 which structurally is not a sonnet at all but rather a poem of six pentameter couplets, and Sonnet 145 which has the typical rhyme scheme but is written in iambic tetrameter). Whereas a typical English or Shakespearean sonnet has three quatrains, followed by a final rhyming couplet, with the rhyme scheme ABAB CDCD EFEF GG, this sonnet begins with a quintain yielding the rhyme scheme ABABA CDCD EFEF GG. Like the other sonnets (except Sonnet 145) it is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / The roses fearfully on thorns did stand, (99.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Polyrhythm 3:4 If every other cross-beat is sounded, the three-against-four (3:4) cross-rhythm is generated. The "slow" cycle of three beats is more metrically destabilizing and dynamic than the six beats. The Afro-Cuban rhythm abakuá (Havana-style) is based on the 3:4 cross-rhythm. The three-beat cycle is represented as half-notes in the following example for visual emphasis.
Tempo is varied throughout the piece and is marked by the terms accelerandi and ritenuti. Some sections have notated tempo, for example 60 bpm during some energetic passages. The lento passages are pulseless, hence, creating contrast between the sections where pulse is evident and the ones where it is not. Dectuplets, syncopations between septuplets and quintuplets and grace notes are used in the metrically active sections.
In 1915 Granados adapted the music to form a soprano aria for the third scene of his opera Goyescas. His librettist Fernando Periquet y Zuaznabar provided a metrically suitable Spanish text which begins "¿Por qué entre sombras el ruiseñor?" While the piano version is a standard part of the repertoire for that instrument, the opera is not often performed, perhaps because of the deficiencies of the libretto.
The conversion did not happen, though. The Didot point was metrically redefined as m (≈ 0.376 mm) in 1879 by Berthold. The advent and success of desktop publishing (DTP) software and word processors for office use, coming mostly from the non-metric United States, basically revoked this metrication process in typography. DTP commonly uses the PostScript point, which is defined as of an inch (352.
Sonnet 17 is an English or Shakespearean sonnet, consisting of three quatrains followed by a couplet. It follows the form's typical rhyme scheme: abab cdcd efef gg. Sonnet 17 is written in iambic pentameter, a form of meter based on five pairs of metrically weak/strong syllabic positions. The sonnet's fourth line exemplifies a regular iambic pentameter: × / × / × / × / × / Which hides your life, and shows not half your parts.
Manilius frequently imitates Lucretius. Although his diction presents some peculiarities, the style is metrically correct, and he could write neat and witty hexameters. The astrological systems of houses, linking human affairs with the circuit of the zodiac, have evolved over the centuries, but they make their first appearance in Astronomica. The earliest datable surviving horoscope that uses houses in its interpretation is slightly earlier, c.
The 4-CD recording is of harp music without vocals, but the book includes the sheet music for interested singers. The book also includes an English interpretation for each of Carolan's 72 Irish song lyrics. Five of these interpretations take the form of new English lyrics set metrically to the sheet music of 'Hewlett', 'Colonel John Irwin', 'John O'Connor', 'Kean O'Hara (3rd Air)' and 'Sheebeg and Sheemore'.
Sonnet 52 is an English or Shakespearean sonnet. It contains three quatrains followed by a final rhyming couplet. It follows the typical rhyme scheme of the English sonnet, 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 twelfth line exemplifies a regular iambic pentameter: × / × / × / × / × / By new unfolding his imprison'd pride.
Sonnet 111 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 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / Than public means which public manners breeds.
The stanza is ascribed to Þorbjörn Hornklofi in Heimskringla (Haraldar saga) ch. 21 and Flateyjarbók, but to Þjóðólfr of Hvinir later on in Flateyjarbók. In the Flateyjarbók, it is preceded by another stanza which refers to the "handmaidens of Ragnhildr" (ambáttir Ragnhildar) as witnesses of the event. However, it is uncertain whether her name was already in the original composition, as another manuscript reading has the metrically regular ambáttir Danskar.
The words of Sacred Harp music tend to be older than the music. While some composers wrote both tune and lyrics for their songs, a very frequent practice was (and is) to rely for words on the work of earlier, mostly English, hymnodists. The composer would select hymn lyrics that metrically fit the tune. The lyrics of Isaac Watts were used for this purpose more than any other.
Sonnet 45 is an English or Shakespearean sonnet. The Shakespearean sonnet contains three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. The final line exemplifies a regular iambic pentameter: × / × / × / × / × / I send them back again, and straight grow sad.
Sonnet 35 is an English or Shakespearean sonnet. The English sonnet has fourteen lines, divided into three quatrains and a final rhyming couplet. It follows the form's rhyme scheme: ABAB CDCD EFEF GG, and is written in a type of metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. Line four exemplifies a regular iambic pentameter × / × / × / × / × / And loathsome canker lives in sweetest bud.
Sonnet 70 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 fourth line exemplifies a regular iambic pentameter: × / × / × / × / × / A crow that flies in heaven's sweetest air.
Sonnet 125 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, although (as discussed below) in this case the f rhymes repeat the sound of the a rhymes. It is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions.
Sonnet 146 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: × / × / × / × /× / And Death once dead, there's no more dying then.
Sonnet 107 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: × / × / × / × / × / When tyrants' crests and tombs of brass are spent.
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.
Sonnet 147 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 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / Desire is death, which physic did except.
Sonnet 102 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 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / And stops her pipe in growth of riper days.
Sonnet 98 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 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / That heavy Saturn laugh'd and leap'd with him.
Possible feet are listed below. The first two-foot types are iambic, alternating weak-strong. :Weak- Strong (both syllables have short vowels): asin ('stone') :Weak-Strong (first vowel short, second vowel long): apii ('time when') :Strong (long vowel not preceded by a metrically Weak short vowel): jiimaan (both syllables strong) :Strong (long vowel in last syllable of a word, vowel length irrelevant): waagosh ('fox') Weak vowels are subject to syncope.
Examples of reconstructions include the funeral music for Prince Leopold and the St Mark Passion (BWV 247) where Bach's music can be reconstructed because it is known to have been used in surviving pieces. Bach sometimes returned to compositions commissioned for one-off occasions and recycled the music. Picander was able to help the composer in this process by providing metrically similar new texts, effectively setting words to Bach's music.
Sonnet 120 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 4th line exemplifies a regular iambic pentameter: × / × / × / × / × / Unless my nerves were brass or hammer'd steel.
The first line can be scanned as a regular iambic pentameter. × / × / × / × / × / As fast as thou shalt wane, so fast thou grow'st (11.1) The tenth-line irregularity alluded to by Atkins consists of two quite ordinary pentameter variations: a midline reversal, and a final extrametrical syllable (or feminine ending). However, their coincidence, together with their context, makes them stand out: × / × / × / / × × /(×) Harsh, featureless, and rude, barrenly perish: (11.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Joan's work is pious and religious, but metrically complex, with difficult strophes (Lo senhor qu'es guitz being an example). He wrote three pastorelas, all following Guiraut Riquier in style. His indiscreet cansos are dominated by courtly love, wherein the object of his affection is a woman known as Bel rai ("beautiful sunbeam"). He is not a typical southern troubadour in that he was thoroughly Gallicised and his sympathies were for the French.
Sonnet 104 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 8th line exemplifies a regular iambic pentameter: × / × / × / × / × / Since first I saw you fresh, which yet are green.
A Selection of Aesop's Fables: Metrically Translated from the Greek Original, fable 2 Boothby's contemporary, H.Steers, agrees: ::The world no greater scoundrel bears ::Than one who sets folk by the ears.Aesop’s Fables new versified, Hull 1803, p.144 Another poet of that decade, the moralistic Fortescue Hitchins, devotes no less than fourteen lines to drawing the fable's lesson, applying it in addition to grumblers and gossips.The Sea Shore with other poems, Sherborne 1810, p.
Sonnet 96 is an English or Shakespearean sonnet, which is composed of three quatrains, and a final rhyming couplet. The poem's lines follow the rhyme scheme ABAB CDCD EFEF GG, and are written in iambic pentameter: Five feet, each with two syllables accented weak/strong. The 3rd line is an example of a regular iambic pentameter: × / × / × / × / × / Both grace and faults are lov'd of more and less: (96.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Tristan Jehan, Creating Music by Listening. PhD Thesis, MIT 2005, section 3.4.3 The tatum allows a musician's deviation from an ensemble's tempo (which may be implied or explicitly played) to be quantified: mathematically, "a deviation function determines the amount of time that an event metrically falling on a particular tatum should be shifted when performed". The existence of the tatum allowed human perception of music to be more closely modelled by algorithms.
220px Liquid marbles are non-stick droplets (normally aqueous) wrapped by micro- or nano-metrically scaled hydrophobic, colloidal particles (Teflon, polyethylene, lycopodium powder, carbon black, etc.); representing a platform for a diversity of chemical and biological applications. Liquid marbles are also found naturally; aphids convert honeydew droplets into marbles. A variety of non-organic and organic liquids may be converted into liquid marbles. Liquid marbles demonstrate elastic properties and do not coalesce when bounced or pressed lightly.
By far the most tonally and metrically traditional movement, O Albion is slow, quiet and nostalgic. The main focus is a 'sighing' motif, which is passed around the quartet, before the music comes to rest with a gently unresolved perfect cadence. The final movement is named after the river of oblivion in Greek mythology. Short, soft, high-pitched figures are played by the violins and the viola, with many harmonics, whilst the cello plays a high and lyrical melody.
In linguistics, ductus is the qualities and characteristics of speaking or writing instantiated in the act of speaking or the flow of writing the text. For instance, in writing, ductus includes the direction, sequencing, and speed with which the strokes making up a character are drawn. Unlike rhythm, ductus is the performative quality that emerges by actuating the metrically arranged language in voice. It is then the specific style and character of the language as it exists within time.
The sonnet is quite regular metrically (for example, a three-syllable "injurious" maintains regularity in line two), but implements a few variations, for example in the first and last lines: × × / / × / × / × / If the dull substance of my flesh were thought, (44.1) × / × / / × × / × / But heavy tears, badges of either's woe. (44.14) ...which contain, respectively, a rightward movement of the first ictus (resulting in a four-position figure, `× × / /`, sometimes referred to as a minor ionic), and a mid-line reversal ("badges").
Sonnet 39 is an English or Shakespearean sonnet, composed of three quatrains and a final rhyming couplet for a total of fourteen lines. It follows the rhyme scheme ABAB CDCD EFEF GG. It is written in iambic pentameter, a metre based on five pairs of syllables accented weak/strong. The second line is one example of a line of regular iambic pentameter: × / × / × / × / × / O, how thy worth with manners may I sing :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 27 is an English or Shakespearean sonnet, which consists of three quatrains followed by a final couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is written in iambic pentameter, a metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter including line three: × / × / × / × / × / But then begins a journey in my head (27.3) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Another American poem in ballad metre is Ernest Thayer's "Casey at the Bat": A modern example of ballad metre is the theme song to Gilligan's Island, infamously making it possible to sing any other ballad to that tune. The first two lines actually contain anapaests in place of iambs. This is an example of a ballad metre which is metrically less strict than common metre. Another example is the folk song "House of the Rising Sun".
If X is a Riemannian manifold and G its full group of isometry, then a (G,X)-structure is complete if and only if the underlying Riemannian manifold is geodesically complete (equivalently metrically complete). In particular, in this case if the underlying space of a (G,X)-manifold is compact then the latter is automatically complete. In the case where X is the hyperbolic plane the developing map is the same map as given by the Uniformisation Theorem.
Sonnet 79 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 2nd line: × / × / × / × / × / My verse alone had all thy gentle grace; (79.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 80 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 10th line: × / × / × / × / × / Whilst he upon your soundless deep doth ride; (80.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 82 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 2nd line: × / × / × / × / × / And therefore mayst without attaint o'erlook (82.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
The poem takes the form of a Shakespearean sonnet: fourteen decasyllabic, iambic pentameter lines, that form three quatrains and a concluding rhyming couplet. It follows the form's rhyme scheme: ABAB CDCD EFEF GG. Each line of the first quatrain of Sonnet 3 exhibits a final extrametrical syllable or feminine ending. The first line additionally exhibits an initial reversal: / × × / × / × / × / (×) Look in thy glass and tell the face thou viewest (3.1) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 103 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 7th line exemplifies a regular iambic pentameter: × / × / × / × / × / That over-goes my blunt invention quite, / × × / × /× / × / Dulling my lines, and doing me disgrace.
Sonnet 74 is an English or Shakespearean sonnet, which contains three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a poetic metre in which each line has five feet, and each foot is a pair of weak/strong syllables. The tenth line exemplifies a regular iambic pentameter line: × / × / × / × / × / The prey of worms, my body being dead; (74.10) :/ = ictus, a metrically strong syllabic position. × = nonictus.
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.
A strong pause at the close of each quatrain is usual for Shakespeare. While he suggests Petrarchan form by placing the chief pause after the eighth line in about 27 or so of the sonnets, in over two thirds of his sonnets he places the chief pause after the twelfth line instead. Iambic pentameter is used in almost all the sonnets, as it is here. This is a metre based on five pairs of metrically weak/strong syllabic positions.
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.
While often translated from verse, sagas in this genre almost never quote verse, and when they do it is often unusual in form: for example, Jarlmanns saga ok Hermanns contains the first recorded quotation of a refrain from an Icelandic dance-song,Aðalheiður Guðmundsdóttir, 'How Icelandic Legends Reflect the Prohibition on Dancing', ARV, 61 (2006), 25–52. and a metrically irregular riddle in Þjalar-Jóns saga.'Þjalar-Jóns saga', trans. by Philip Lavender, Leeds Studies in English, n.s.
This is done by capitalization and by placing the text in two distinct columns. In later editions of Historia the hymn is laid out with each verse's first capital written in red, and the end of each verse written in a lighter color. The lighter ink expresses a caesura in the text while the darker ink shows a terminal punctuation. Despite the differences in the Hymn found in the Old English manuscripts, each copy of the hymn is metrically, semantically, and syntactically correct.
Microsoft also has a current up-to-date > license that allows us to distribute certain Frutiger fonts in connection > with Microsoft products including Office and Windows. There are distinct > differences between Segoe and Frutiger. Additionally, unlike clone > typefaces, the Segoe family of fonts are not metrically compatible with > Frutiger so cannot be used as replacements. Under United States copyright law, the abstract letter shapes of functional text fonts cannot be copyrighted; only the computer programming code in a font is given copyright protection.
Sonnet 78 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter, a metre based on five feet in each line, and two syllables in each foot, accented weak/strong. Most of the lines are regular iambic pentameter, including the 5th line: × / × / × / × / × / Thine eyes, that taught the dumb on high to sing (78.5) :/ = ictus, a metrically strong syllabic position.
Sonnet 33 is a typical English or Shakespearean sonnet, composed of three quatrains followed by a final couplet. Its rhyme scheme, ABAB CDCD EFEF GG, is typical for the form. Like other Shakespearean sonnets, it is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. A regular example is: × / × / × / × / × / Anon permit the basest clouds to ride (33.5) The lines of the couplet have a final extrametrical syllable or feminine ending.
Sonnet 21 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, nominally rhyming abab cdcd efef gg — though this poem has six rhymes instead of seven because of the common sound used in rhymes c and f in the second and third quatrains: "compare", "rare", "fair", and "air". The sixth line exemplifies a regular iambic pentameter: × / × / × / × / × / With sun and moon, with earth and sea's rich gems, (21.6) :/ = ictus, a metrically strong syllabic position. × = nonictus.
This implies that the "standard plenoptic camera" may be intended for close range applications as it exhibits increased depth resolution at very close distances that can be metrically predicted based on the camera's parameters.Light field geometry estimator In 2004, a team at Stanford University Computer Graphics Laboratory used a 16-megapixel camera with a 90,000-microlens array (meaning that each microlens covers about 175 pixels, and the final resolution is 90 kilopixels) to demonstrate that pictures can be refocused after they are taken.
Proper names sometimes take forms to fit the meter, for example Pouludamas instead of the metrically unviable Poludamas. Some lines require a knowledge of the digamma for their scansion, e.g. Iliad I.108 "you have not yet spoken a good word nor brought one to pass": : Here the word was originally in Ionian; the digamma, later lost, lengthened the last syllable of the preceding and removed the apparent defect in the meter. A digamma also saved the hiatus in the third foot.
Sonnet 90 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 10th line exemplifies a regular iambic pentameter: × / × / × / × / × / When other petty griefs have done their spite, (90.10) Lines 5 and 7 have a final extrametrical syllable or feminine ending.
" 'Bracketing' mismatches occur when the two patterns of W and S agree but the brackets to each pattern are out of sync — as with trochaic words in an iambic line."Brogan 1993, p 452. (These only render the line more complex.) The most essential test of metricality is "that the more closely an S-syllable in W-position is bound (in the Liberman-Prince tree-notation) to the syllable that precedes it, the more metrically disruptive it is."Groves 1998, p 91.
Sonnet 76 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter, a type of metre based on five feet in each line, and each foot composed of a pair of syllables accented weak/strong. The 7th line is an example of a regular iambic pentameter: × / × / × / × / × / That every word doth almost tell my name, (76.7) :/ = ictus, a metrically strong syllabic position.
Sonnet 77 is an English or Shakespearean sonnet. The English sonnet contains three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG, and is composed in iambic pentameter lines, a type of poetic metre in which each line as five feet, each foot has two syllables, and each syllable is accented weak/strong. Most of the lines are regular iambic pentameter including the first: × / × / × / × / × / Thy glass will show thee how thy beauties wear :/ = ictus, a metrically strong syllabic position.
Sonnet 15 is typical of an English (or "Shakespearean") sonnet. Shakespeare's sonnets "almost always consist of fourteen rhyming iambic-pentameter lines",(Cohen 1745) arranged in three quatrains followed by a couplet, with the rhyme scheme abab cdcd efef gg.(Cohen 1746) Sonnet 15 also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain. The first line of the couplet exemplifies a regular iambic pentameter: × / × / × / × / × / And all in war with Time for love of you, (15.13) :/ = ictus, a metrically strong syllabic position.
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.
This book includes an instance of each of Carolan's undisputed surviving lyrics and metrically sets the lyrics note-for-note to the sheet music airs. Each of the 226 harp settings in this book are played by the author on a neo-Irish harp (book and 4-CD set). This is the first time that all of Carolan's lyrics have been set to the airs and has been welcomed as "a task that has needed doing for many years".An Píobaire 9 (2013) 1 (Feabhra / February).
Sonnet 54 is an English or Shakespearean sonnet. The English sonnet contains three quatrains followed by a final rhyming couplet. This poem follows the rhyme scheme of the English sonnet, abab cdcd efef gg and is composed in iambic pentameter, a type of metre in which each line has five feet, and each foot has two syllables that are accented weak/strong. The fifth line exemplifies a regular iambic pentameter: × / × / × / × / × / The canker blooms have full as deep a dye :/ = ictus, a metrically strong syllabic position.
Polyrhythm 4:1.5 Even more metrically destabilizing and dynamic than 3:4, is the one and a half beat-against-four (1.5:4) cross-rhythm. Another way to think of it is as three "very slow" cross-beats spanning two main beat cycles (of four beats each), or three beats over two periods (measures), a type of macro "hemiola." In terms of the beat scheme comprising the complete 24-pulse cross-rhythm, the ratio is 3:8. The three cross-beats are shown as whole notes below for visual emphasis.
130 f. According to Bruno Migliorini, the poet also hailed from the Marche, and according to its first editor, Gianfranco Contini, the Ritmo is composed in "a koiné of East Central Italy, whose cultural capital was undoubtedly Montecassino." It has thus many affinities with the Ritmo cassinese: written about the same time (broadly) in the same region, metrically and linguistically similar, Benedictine in religion, and both monastic in provenance and giullaresco in style, designed for popular audience and public performance. The Ritmo is divided into twenty-seven stanzas of varied length.
The form generally consists of 18 to 24 metrically identical stanzas called oikoi (“houses”), preceded, in a different meter, by a short prelude, called a koukoulion (cowl) or prooimoion. The first letters of each of the stanzas form an acrostic, which frequently includes the name of the poet. For example, Romanos' poems often include the acrostic "Of the Humble Romanos" or "The Poem of the Humble Romanos". The last line of the prelude introduces a refrain called “ephymnion”, which is repeated at the end of all the stanzas.
Sonnet 73 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme of the English sonnet form, ABAB CDCD EFEF GG. It is composed in iambic pentameter, a poetic metre that has five feet per line, and each foot has two syllables accented weak then strong. Almost all of the lines follow this without variation, including the second line: × / × / × / × / × / When yellow leaves, or none, or few, do hang (73.2) :/ = ictus, a metrically strong syllabic position.
Sonnet 83 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 7th line: × / × / × / × / × / How far a modern quill doth come too short, / × × / × / × / × / Speaking of worth, what worth in you doth grow. (83.7-8) :/ = ictus, a metrically strong syllabic position.
Sonnet 131 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 10th line exemplifies a regular iambic pentameter: × / × / × / × / × / A thousand groans, but thinking on thy face, (131.10) Booth and Kerrigan agree that lines 2 and 4 should be construed as having a final extrametrical syllable or feminine ending.
In mathematics, a completely metrizable spaceWillard, Definition 24.2 (metrically topologically complete spaceKelley, Problem 6.K, p. 207) is a topological space (X, T) for which there exists at least one metric d on X such that (X, d) is a complete metric space and d induces the topology T. The term topologically complete space is employed by some authors as a synonym for completely metrizable space,e. g. Steen and Seebach, I §5: Complete Metric Spaces but sometimes also used for other classes of topological spaces, like completely uniformizable spacesKelley, Problem 6.
The Rex caeli sequence from the Bamberg Manuscript of the treatise Musica enchiriadis, (2nd half of the 9th century, Germany) With the writing of the Alleluia final melismas ( classical sequence ), the history of the sequence begins around 850. Until the 12th century, the rhyme sequence, which is independent of the alleluia, emerges with the rhymes and rhythms. It leads to the large-scale stop rhythms of the 13th century (significant authors being Thomas of Celano and Thomas Aquinas). Rhyme sequences have the developed structure with multiple tropes, are metrically ordered, and rhyming.
The Type 97-1 looks almost identical to the American models Remington 870 (with which many parts are interchangeable), and is significantly cheaper. These shotguns are all chambered in 12 gauge, however, the internal barrel diameter is typically denoted metrically (18.4mm) in China. The civilian, and all other variants are capable of firing powerful 3 inch shotgun shells (76 mm), but can also fire shorter and weaker shells. Shells are loaded into a 5+1 internal under-barrel tube, and there is a heat shroud over the barrel. The civilian models are 35 inches (900 mm) long.
Visarga ḥ is an allophone of r and s, and anusvara ṃ, Devanagari of any nasal, both in pausa (i.e., the nasalised vowel). The exact pronunciation of the three sibilants may vary, but they are distinct phonemes. Voiced sibilants, such as z , ẓ , and ź as well as its aspirated counterpart źh , were inherited by Proto-Indo-Aryan from Proto-Indo-Iranian but lost around or after the time of the Rigveda, as evidenced due to ḷh (an aspirated retroflex lateral consonant) being metrically a cluster (that was most likely of the form ẓḍh; aspirated fricatives are exceedingly rare in any language).
The source is attributed to the letter written by a father of an English soldier and politician Algernon Sidney: "It is said that the University of Copenhagen brought their album unto you, desiring you to write something therein; and that you did scribere in albo these words: 'Manus haec inimica tyrannis ense petit placidam sub libertate quietem'". (Translated, this means "This hand of mine, which is hostile to tyrants, seeks by the sword quiet peace under liberty.") The last words were then written in Sidney's "Book of Mottoes", particularly favored by some in the American colonies. Metrically, the motto is dactylic hexameter.
Coon described two hominid remains from the site, a maxilliary upper incisor and a radius shaft fragment, both from a Layer designated F+. These remains were listed by never described fully for the palaeontological community. When they were finally reexamined four decades later, and the incisor was found to be bovid in origin, rather than hominin. The radius fragment was found to show Neanderthal affinities, as it is mediolaterally expanded at the interosseus crest. Metrically, it is outside the range of variation of early anatomically modern humans, but in the range of Neanderthals and early Upper Paleolithic humans.
Sonnet 113 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 11th line exemplifies a regular iambic pentameter: × / × / × / × / × / The mountain or the sea, the day or night, (113.11) Indeed, all fourteen lines may be scanned regularly, excepting the final extrametrical syllables or feminine endings in lines 10 and 12: × / × / × / × / × / (×) The crow, or dove, it shapes them to your feature.
As a poet and musician, Gautier demonstrates skill and originality in his handling of traditional themes, especially metrically. He experiments with asymmetry and lengthiness. Melodically, he is highly individual. Four of his melodies are non-repetitive; in two the musical phrase lengths differ from the lyric phrase lengths, and in all of his surviving pieces he is not constrained to an octave. One melodic setting of his song "Se j’ai esté lonc tens hors du päis" has the largest range of any surviving medieval lyric, the highest note lying a full two octaves above the final.
Typically 8 minutes long, the opening movement is presented as a waltz with specific gypsy influences evident melodically, through the use of various modes and non-traditional scales, and rhythmically, through the use of irregularly placed accents and extended syncopated rhythms. Metrically, the movement is set in shifting, regular compound meters that at times evoke both a clear or equally murky beat placement. The movement is presented in standard Sonata form in conjunction with Bartók's attempt at a neoclassical work. Bartók's homage to the Baroque period is clear in his treatment of orchestration in this movement.
The Chrome OS core fonts, also known as the Croscore fonts, are a collection of three TrueType font families: Arimo (sans-serif), Tinos (serif) and Cousine (monospace). These fonts are metrically compatible with Monotype Corporation’s Arial, Times New Roman, and Courier New, the most commonly used fonts on Microsoft Windows, for which they are intended as open-source substitutes. Google licenses these fonts from Ascender Corporation under the Apache License 2.0. The fonts were originally developed by Steve Matteson as Ascender Sans and Ascender Serif, and were also the basis for the Liberation fonts licensed by Red Hat under another open source license.
Sonnet 43 is an English or Shakespeare sonnet. English sonnets contain three quatrains, followed by a final rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions per line. The first line of the couplet exemplifies a regular iambic pentameter: × / × / × / × / × / All days are nights to see till I see thee, (43.13) The second and fourth lines have a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) And darkly bright, are bright in dark directed.
Sonnet 81 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 5th line: × / × / × / × / × / Your name from hence immortal life shall have, (81.5) The 2nd and 4th lines feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) Or you survive when I in earth am rotten; (81.2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 84 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 11th line: × / × / × / × / × / And such a counterpart shall fame his wit Line 12 has a variation in the first foot – a reversal of the accent: / × × / × / × / × / Making his style admired every where. (84.11-12) :/ = ictus, a metrically strong syllabic position.
Berenguier de Poizrengier or Peizrenger (floruit after 1195) was a minor troubadour or jongleur, the author of one cobla esparsa, "Mal'aventura do Deus a mas mas", about some bad luck in a game of dice, and some corresponding good fortune in love. Metrically it is modelled off of "Bon'aventura do Deus als Pizans" by Peire Vidal, which can be confidentially dated to 1195. It was probably composed in Languedoc, because of a reference to cen solz de Malgoires. The cobla is preserved only in the chansonnier known as H, where the poet is named as berengiers d(e) peiz renger in the rubric.
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.
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.
Priestly texts that were collections of prayers were sometimes called precationes.Jerzy Linderski, "The Augural Law", Aufstieg und Niedergang der römischen Welt II.16 (1986), p. 2246. Two late examples of the precatio are the Precatio Terrae Matris ("The Prayer of Mother Earth") and the Precatio omnium herbarum ("Prayer of All the Herbs"), which are charms or carmina written metrically,A.A. Barb, "Animula Vagula Blandula ... Notes on Jingles, Nursery-Rhymes and Charms with an Excursus on Noththe's Sisters", Folklore 61 (1950), p. 23; Maarten J. Vermaseren and Carel C. van Essen, The Excavations in the Mithraeum of the Church of Santa Prisca on the Aventine (Brill, 1965), pp. 188–191.
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.
Index listings include tunes alphabetically, tunes metrically, composers and sources, tempo indications, authors and sources, and first lines. Found in the Supplement section are the hymns, I Need Thee Every Hour, I'm a Pilgrim and I'm a Stranger, and Eternity, which were originally included in the hymnal at the request of Eddy. The 1932 version became the standard through the present day, typically in first blue, then brown cover, with an octagonal emboss of the Original Mother Church tower and Extension dome. It has been translated into numerous languages; the tunes and hymn numbers are maintained, joined to the vernacular versions of the texts.
During the whole of the second iconoclast period—nearly thirty years—they suffered at various times exile, imprisonment and torture. Under the succeeding emperor, Michael II (820-29), they were brought into the monastery of Sosthenes on the Bosphorus. Michael's successor, the tyrannical and Iconoclastic Theophilos (829-42), exiled them again, but recalled them in 836 to the capital, had them scourged several times, and had twelve lines of verse cut into their skin (hence the nickname "written upon"). Theophilus beat them with his own hand and ordered that they be branded on their faces with twelve lines of ‘badly composed’— the emperor’s own words —, if metrically correct, quantitative iambic verses.
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.
He wrote hymns on the Passion of the Lord, on the betrayal by Judas, Peter's denial, Mary before the Cross, the Ascension, the Ten Virgins, and the Last Judgment, while his Old Testament themes mention the history of Joseph and the three young men in the fiery furnace. He is said to have composed about a thousand hymns, of which only eighty have survived, evidently because in the 9th century the so-called canones, linguistically and metrically more artistic in form, replaced much of his work in the Greek Liturgy. Thenceforth his hymns held their own in only a few of the remoter monasteries.
Sonnet 28 is an English or Shakespearean sonnet. It consists of 14 lines arranged by the rhyme scheme to form three quatrains (lines 1–12) and a couplet (lines 13–14). The rhyme scheme is ABAB CDCD EFEF GG. It is written in iambic pentameter, a metre based on five feet in each line, with each foot containing two syllables accented weak/strong: × / × / × / × / × / But day by night and night by day oppressed, (28.4) The two lines of the couplet, and perhaps lines ten and twelve, each has a final extra syllable or feminine ending: × / × / × / × / × / (×) But day doth daily draw my sorrows longer, (28.13) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 88 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme, abab cdcd efef gg and is composed in iambic pentameter lines, which is a poetic metre in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter, including the first line: × / × / × / × / × / When thou shalt be disposed to set me light, (88.1) Each line of the second quatrain ends with an extra syllable known as a feminine ending: × / × / × / × / × / × That thou in losing me shalt win much glory (88.8) :/ = ictus, a metrically strong syllabic position. × = nonictus.
Sonnet 85 is an English or Shakespearean sonnet, which has three quatrains, followed by a final rhyming couplet. It follows the rhyme scheme ABAB CDCD EFEF GG and is composed in iambic pentameter, a metre of five feet per line, with two syllables in each foot accented weak/strong. Most of the lines are examples of regular iambic pentameter, including the 1st line: × / × / × / × / × / My tongue-tied Muse in manners holds her still This is followed in line 2) by a reversal of the accents in the word "richly": × / × / × / / × × / While comments of your praise richly compiled (85.1-2) :/ = ictus, a metrically strong syllabic position. × = nonictus.
200px Snooker balls, like the balls for all cue sports, are typically made of phenolic resin, and are smaller than American pool balls. Regulation snooker balls (which are specified in metric units) are nominally 52.5 mm (approximately inches) in diameter, though many sets are actually manufactured at 52.4 mm (about in). No weight for the balls is specified in the rules, only that the weight of any two balls should not differ by more than 0.5 g. Some recreational sets (which are usually not measured metrically) are in (about 54 mm) up to as large as pool balls, at in (about 57.2 mm); larger ball size requires wider pocket openings.
During the eighteenth century the colony of Brazil began to contribute to Portuguese letters. Manuel da Costa wrote a number of Petrarchian sonnets, Manuel Inácio da Silva Alvarenga showed himself an ardent lyricist and cultivator of form, Tomás António Gonzaga became famous by the harmonious verses of his love poem "Marília de Dirceu", while the "Poesias sacras" of António Pereira Sousa Caldas have a certain mystical charm though metrically hard. In epic poetry the chief name is that of Basílio da Gama, whose "O Uraguai" deals with the struggle between the Portuguese and the Paraguay Indians. It is written in blank verse and has some notable episodes.
Retrieved 25 February 2013. The shepherdess' reply in the tornada: "and some will gawk before a painting / while others wait to see real manna."In the original Provençal: Que tals bad' en la peintura / Qu'autre n'espera la mana. From Marcabru, "L'Autrier jost'una sebissa" ("The other day, along a hedgerow"), translated by James H. Donaldson. Retrieved 25 February 2013. serves to "[create] some tension with the enigma she seems to introduce suddenly at the end."Koelb 2008 p. 54. In the original Occitan model, the tornada was a stanza that metrically replicated the second half (sirima) of the preceding strophe (a structural division of a poem containing stanzas of varying length).
The Ottawa writing system described in Modern orthography is used to write Ottawa words, with transcriptions in the International Phonetic Alphabet (IPA) used as needed. Significant innovations in Ottawa phonology differentiate it from other dialects of Ojibwe. It is characterized by a pervasive pattern of vowel syncope, by which short vowels are completely deleted or in certain circumstances reduced to schwa , when they appear in metrically defined Weak syllables. The notable effects of Syncope are: #Syncope increases the distinctiveness of Ottawa relative to other dialects of Ojibwe, as syncope makes the pronunciation and representation of many Ottawa words significantly different from those of other dialects of Ojibwe.
Arial, sometimes marketed or displayed in software as Arial MT, is a sans- serif typeface and set of computer fonts in the neo-grotesque style. Fonts from the Arial family are packaged with all versions of Microsoft Windows from Windows 3.1 onwards, some other Microsoft software applications, Apple's macOS and many PostScript 3 computer printers. The typeface was designed in 1982, by Robin Nicholas and Patricia Saunders, for Monotype Typography. It was created to be metrically identical to the popular typeface Helvetica, with all character widths identical, so that a document designed in Helvetica could be displayed and printed correctly without having to pay for a Helvetica license.
An anacrusis may also be evoked solely metrically (non-rhythmically ), i. e. tonally, that is, without the downbeat perception enforced by a relative long value. Although the anacrusis is integrated in a musical phrase gestalt (grouped to it), it is not located in the perceived 'body' of the phrase (which is spanning from its first downbeat to its ending beat), but before the phrase (hence the German term "Auftakt"; literally: "upbeat"). In this respect -in a sequence of phrases- the anacrusis also may be perceived 'between' two phrases, neither being perceived as part of the ending of a former one, nor being located in the following one.
Formally, the poem is an unusual mix of genres: the sections dealing with Tsar Peter are written in a solemn, odic, 18th-century style, while the Evgenii sections are prosaic, playful and, in the latter stages, filled with pathos.See V. Ia. Briusov's 1929 essay on "The Bronze Horseman", available here (in Russian). This mix of genres is anticipated by the title: "The Bronze Horseman" suggested a grandiose ode, but the subtitle "A Petersburg Tale" leads one to expect an unheroic protagonistRosenshield, p. 91. Metrically, the entire poem is written in using the four-foot iamb, one of Pushkin's preferred meters, a versatile form which is able to adapt to the changing mood of the poem.
The first known instances of parallel syntax can be traced back to Aristotle in his book Rhetoric. Aristotle underlines the fact that it is very useful in persuasion to pair multiple sentences, each with very similar clauses and phrases to the point that they are equal or nearly equal in syllable count; Aristotle perfected this art by creating various examples to be cited in a very metrically organized way. However, although Aristotle did provide examples and a definition, there is evidence to support that he was simply not comfortable with the amount of power tied to the styling of sentences; with a proper design of sentence, Aristotle believed that one can wield incredible amounts of persuasive power.
Sonnet 14 is an English or Shakespearean sonnet, which consists of three quatrains followed by a couplet. It follows the traditional rhyme scheme of the form: ABAB CDCD EFEF GG. Like many of the others in the sequence, it is written in a type of metre called iambic pentameter, which is based on five pairs of metrically weak/strong syllabic positions per line. Typically English sonnets present a problem or argument in the quatrains, and a resolution in the final couplet. This sonnet suggests this pattern, but its rhetorical structure is more closely modeled upon the older Petrarchan sonnet which arranges the octave (the first eight lines) in contrast to the sestet (the final six lines).
Shakespeare's Sonnets. Bloomsbury, New York. 96-97. Print. This is shown when the speaker moves from speaking about the young man's loss of identity to age with words like "hold in lease" and "yourself's decease" before the end of the octave to speaking about the regenerative nature of husbandry and the duty to one's parents to continue the line with words such as "Who lets so fair a house fall to decay" and "dear my love you know: / You had a father; let your son say so." Line eleven may be taken as an example of regular iambic pentameter: × / × / × / × / × / Against the stormy gusts of winter's day (13.11) :/ = ictus, a metrically strong syllabic position.
The Tolkien scholar Dimitra Fimi writes that Tolkien is clearly setting Frodo's song apart as a performance of a traditional work. She states that readers quickly appreciate that Frodo's performance of an entertaining but "ridiculous song", supposedly written by his cousin Bilbo, is evidently "a highly sophisticated and literary derivative of the 'real world' nursery rhyme 'The Cat and the Fiddle'". This stands in sharp contrast with Sam Gamgee's recital of "The Stone Troll", at once amusing and "metrically intricate", which the other hobbits make clear is new, and that Sam, despite his basic education, must have created it, with the "the rare quality of impromptu improvisation modelled upon traditional forms, a quality that many traditional folksingers display".
While "sonnet" originally referred to any short lyric, the English (or Surreyan or Shakespearean) sonnet has a definite form. The English sonnet contains three quatrains followed by a rhyming couplet. It follows the form's typical rhyme scheme, ABAB CDCD EFEF GG, and is written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The fourth line exemplifies a regular iambic pentameter: × / × / × / × / × / To-morrow sharpened in his former might: (56.4) The meter demands a few variant pronunciations: Line six's "even" functions as one syllable, line eight's "spirit" as one and "perpetual" as three, line nine's "interim" as two, and line thirteen's "being" as one.
Ottawa has seventeen consonants and seven oral vowels; there are also long nasal vowels whose phonological status is unclear.See e.g. Nichols, John and Earl Nyholm, 1995, for the segmental inventories of Southwestern Ojibwe, and Todd, Evelyn, 1970 for Severn Ojibwe In this article, Ottawa words are written in the modern orthography described below, with phonetic transcriptions in brackets using the International Phonetic Alphabet (IPA) as needed.See Valentine, J. Randolph, 2001, pp. 29–32 for a discussion of the relationship between sounds and orthography The most prominent feature of Ottawa phonology is vowel syncope, in which short vowels are deleted, or in certain circumstances reduced to schwa , when they appear in metrically defined weak syllables. Notable effects of syncope are:Valentine, J. Randolph, 2001, pp.
Thoroughly educated and with a keen understanding of literary tradition, Mahon came out of the tumult of Northern Ireland with a formal, moderate, even restrained poetic voice. In an era of free verse, Mahon has often written in received forms, using a broadly applied version of iambic pentameter that, metrically, resembles the "sprung foot" verse of Gerard Manley Hopkins. Some poems rhyme. Even the Irish landscape itself is never all that far from the classical tradition, as in his poem "Achill": :Croagh Patrick towers like Naxos over the water ::And I think of my daughter at work on her difficult art :And wish she were with me now between thrush and plover, ::Wild thyme and sea-thrift, to lift the weight from my heart.
Let us write for . In 1995, Luis Rodríguez-Piazza proved that the isometry can be chosen so that every non-zero function in the image is nowhere differentiable. Put another way, if consists of functions that are differentiable at at least one point of , then can be chosen so that This conclusion applies to the space itself, hence there exists a linear map that is an isometry onto its image, such that image under of (the subspace consisting of functions that are everywhere differentiable with continuous derivative) intersects only at : thus the space of smooth functions (with respect to the uniform distance) is isometrically isomorphic to a space of nowhere-differentiable functions. Note that the (metrically incomplete) space of smooth functions is dense in .
Van Swieten was evidently not a fully fluent speaker of English, and the metrically-matched English version of the libretto suffers from awkward phrasing that fails to fit idiomatic English text onto Haydn's music. For example, one passage describing the freshly minted Adam's forehead ended up, “The large and arched front sublime/of wisdom deep declares the seat”. Since publication, numerous attempts at improvement have been made, but many performances in English- speaking countries avoid the problem by performing in the original German. The discussion below quotes the German text as representing van Swieten's best efforts, with fairly literal renderings of the German into English; for the full versions of both texts see the links at the end of this article.
See Van den Boogert (1997:244–245). Four consonants have each two corresponding geminate or long consonants, one phonetically identical and one different: ::ḍ : ḍḍ and ṭṭ ::w : ww and ggʷ ::ɣ : ɣɣ and qq ::ɣʷ : ɣɣʷ and qqʷ In the oldest layers of the morphology, ḍ, w, ɣ, ɣʷ always have ṭṭ, ggʷ, qq, qqʷ as geminated or long counterparts: ::ɣrs "slaughter", ar iqqrs "he is slaughtering" (compare krz "plough", ar ikkrz "he is ploughing") ::izwiɣ "be red", izggʷaɣ "it is red" (compare isgin "be black", isggan "it is black") Whether a non-single consonant is realized as geminated or as long depends on the syllabic context. A geminated consonant is a sequence of two identical consonants /CC/, metrically counting as two segments, and always separated by syllable division, as in tamdda [ta.md.da.] "sparrowhawk".
This enables a much more fine-grained study of path integration, since it is possible to manipulate movement information and see how place and head direction cells respond (a much simpler procedure than training an animal, which is very slow). The third finding was that neurons in the dorso-medial entorhinal cortex, which feeds information to the place cells in the hippocampus, fire in a metrically regular way across the whole surface of a given environment. The activity patterns of these grid cells looks very much like a hexagonally organized sheet of graph paper, and suggest a possible metric system that place cells can use to compute distances. Whether place and grid cells actually compute a path integration signal remains to be seen, but computational models exist suggesting this is plausible.
Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.Inst. 1,7,2s: adponere apicem ... interim necessarium, cum eadem littera alium atque alium intellectum, prout correpta vel producta est, facit: ut 'malus' arborem significet an hominem non bonum apice distinguitur, 'palus' aliud priore syllaba longa, aliud sequenti significat, et cum eadem littera nominativo casu brevis, ablativo longa est, utrum sequamur plerumque hac nota monendi sumus. Pilate stone (1st century AD?) with a large apex mark. In modern Latin orthography, long vowels are sometimes marked by a macron, a sign that had always been used, and still is, to mark metrically long syllables (more recently called heavy syllables).
In addition, the verse is often metrically composed with an exact number of syllables or morae - such as with Greek and Latin prosody and in Chandas found in Hindu and Buddhist texts. The verses of the epic or text are typically designed wherein the long and short syllables are repeated by certain rules, so that if an error or inadvertent change is made, an internal examination of the verse reveals the problem. Oral Traditions are able to be passed on through means of plays and acting which can be shown in the modern day Cameroon by the Graffis or Grasslanders who act out and deliver speeches to spread their history in the manner of Oral Tradition. Such strategies help facilitate transmission of information from individual to individual without a written intermediate, and they can also be applied to oral governance.
Debates in Parliament, Samuel Johnson. Columbia and an early rendition of Uncle Sam in an 1869 Thomas Nast cartoon having Thanksgiving dinner with a diverse group of immigrants An 1872 painting titled American Progress which depicts Columbia as the Spirit of the Frontier, carrying telegraph lines across the Western frontier to fulfill manifest destiny By the time of the Revolution, the name Columbia had lost the comic overtone of its Lilliputian origins and had become established as an alternative, or poetic name for America. While the name America is necessarily scanned with four syllables, according to 18th-century rules of English versification Columbia was normally scanned with three, which is often more metrically convenient. For instance, the name appears in a collection of complimentary poems written by Harvard graduates in 1761 on the occasion of the marriage and coronation of King George III.
Occurring after much metrical tension throughout the quatrains, the couplet exhibits a quite regular iambic pentameter pattern: × / × / × / × / × / But if the while I think on thee, dear friend, × / × / × / × / × / All losses are restored and sorrows end. (30.13-14) :/ = ictus, a metrically strong syllabic position. × = nonictus. The first line is a frequent target for metrists, possibly because of the ease with which the initial triple rhythm can be carried right through the line, producing this unmetrical reading: / × × / × × / × × / When to the sessions of sweet silent thought (30.1) Differences in scansion, however, tend to be conditioned more by metrists' theoretical preconceptions than by differences in how they hear the line. Most interpretations start with the assumption that the syllables in the sequence "-ions of sweet si-" increase in stress or emphasis thus: 1 2 3 4 When to the sessions of sweet silent thought :1 = least stress or emphasis, and 4 = most.
The sub-sections of the first movement are all constructed around compositional devices from the keyboard works of Régnier's contemporary, Girolamo Frescobaldi, organist of St. Peter's in Rome. Occasionally motifs are inverted, reversed, metrically distorted, superimposed as plainchant. In the central section in recitative style (accompanied by clarinet multiphonics, ‘cello harmonics, and various vibrato and glissando effects in harp and accordion), fragments from four of Frescobaldi’s Arie musicali of 1628–30 are fitted by the soprano to the last Ming emperor’s suicide speech of April 1644, which translates: > I am not the prince of a fallen kingdom, but ye are her subjects all. Though > I have not been ungenerous to thee, why then, now that we are come to such a > pass, is there not one of my ministers here to attend me? The symphony is named after the pioneering ‘Cabinet of Curiosities’ (Kunstkammer) assembled by another Roman contemporary, the German Jesuit Athanasius Kircher.
For the purpose of metrically scanning Classical Chinese verse, the basic unit corresponds to a single character, or what is considered one syllable: an optional consonant or glide (or in some versions of reconstructed Old or Middle Chinese a consonantal cluster), an obligatory vowel or vowel cluster (with or without glides), and an optional final consonant. Thus a seven-character line is identical with a seven-syllable line; and, barring the presence of compound words, which were rare in Classical Chinese compared to Modern Chinese (and even people's names would often be abbreviated to one character), then the line would also be a seven words itself. Classical Chinese tends toward a one-to-one correspondence between word, syllable, and a written character. Counting the number of syllables (which could be read as varying lengths, according to the context), together with the caesuras, or pauses within the line, and a stop, or long pause at the end of the line, generally established the meter.
The earliest example of hexameter in Latin poetry is the Annales of Ennius, which established it as the standard for later Latin epics. Later Republican writers, such as Lucretius, Catullus and even Cicero, wrote hexameter compositions, and it was at this time that many of the principles of Latin hexameter were firmly established, and followed by later writers such as Virgil, Ovid, Lucan, and Juvenal. Virgil's opening line for the Aeneid is a classic example:: : :"I sing of arms and the man, who first from the shores of Troy..." As in Greek, lines were arranged so that the metrically long syllables—those occurring at the beginning of a foot—often avoided the natural stress of a word. In the earlier feet of a line, meter and stress were expected to clash, while in the later feet they were expected to resolve and coincide—an effect that gives each line a natural "dum-ditty-dum- dum" ("shave and a haircut") rhythm to close.
Ottawa (and Eastern Ojibwa) are characterized by a pervasive pattern of vowel syncope, whereby short vowels are completely deleted or in certain circumstances reduced to schwa [ə], when they appear in metrically defined Weak syllables, discussed below. Syncope sharply distinguishes Ottawa and Eastern Ojibwa from other dialects of Ojibwe, although related patterns of syncope primarily affecting word-initial syllables have also been recorded for Ojibwe communities along the north shore of Lake Superior, between Thunder Bay and Sault Ste. Marie. Syncope has had far-reaching effects in Ottawa, resulting in significant changes in the pronunciation and representation of words, prefixes, and suffixes, and increasing the distinctiveness of Ottawa relative to other dialects of Ojibwe. Syncope has also resulted in the introduction of new forms for person prefixes on nouns and verbs, and the deletion of vowels between consonants has resulted in new secondary consonant sequences, which in some cases results in further adjustments in the pronunciation of consonant sequences.
Although the origin of the Tamil language dates back to antiquity, the first regular lexicon of the language, with words arranged alphabetically, did not appear until the eighteenth century. Lexicons of the earlier period were not arranged alphabetically but metrically, on the basis of the first-letter rhyme, a characteristic of Tamil poetry. Agaraadhi Nigandu was the first alphabetically arranged lexicon published in 1594. Several dictionaries followed suit, including those by the foreign missionaries, such as Palporut Choolaamani, Podhigai Nigandu, Tamil–Portuguese Dictionary of Fr. Antem de Proenca, Dictionarium Tamulicum, Chathur Agaraadhi, Fabricius's Tamil–English Dictionary, Manual Dictionary of the Tamil Language (The Jaffna Dictionary), Oru Sor Pala Porul Vilakkam, Rottler's Tamil–English Dictionary, Winslow's Tamil–English Dictionary, Pope's Compendious Tamil–English Dictionary, Classical Tamil–English Dictionary, Tamil Pocket Dictionary, Tranquebar Dictionary, N. Kadhirvel Pillai's Dictionary, Sangam Dictionary, and Ilakkiya Sol Agaraadhi. When the 67,542-words Winslow's Tamil–English Dictionary, which was sourced on the unpublished work of Rev.
Coon who excavated Bisitun Cave described two hominid remains from the site, a maxilliary upper incisor and a radius shaft fragment, both from a Layer designated F+. These remains were listed but never described fully for the palaeontological community. When they were finally reexamined four decades later, the incisor was found to be of bovine, rather than hominid origin. The radius fragment was found to show Neanderthal affinities, as it is mediolaterally expanded at the interosseus crest. Metrically, it is outside the range of variation of early anatomically modern humans, but in the range of Neanderthals and early Upper Paleolithic humans.Trinkaus, E and F. Biglari (2006) Middle Paleolithic Human Remains from Bisitun Cave, Iran, Paleorient: 32.2: 105- 111 The radius fragment also showed signs of scavenging carnivores or rodents, such as jackal and fox, the remains of which were also found at the site. Wezmeh Child or Wezmeh 1 represented by an isolated unerupted human maxillary right premolar tooth (P3 or possibly P4) of an individual between 6–10 years old.
The discussion of human virtues and value systems is carried in two parts of the Upanishad, once in chapter 8 and then again in chapters 62 and 63, but explained with different details. The last chapter of the text, in different versions of the manuscript is a poem of reverence for those who renounce for their journey of knowledge, metrically describing how the life of this sannyasi (monk) is an act of worship in itself. He is a man of knowledge, asserts the Upanishad, whose faith is his wife, whose body is the sacred fuel, his chest is the sacrificial place, his tuft of hair is his sacrificial broom, his love is the sacred ghee (clarified butter), his speech is the Hotr priest, his breath is the Udgatr priest, his eyes are the Adhvaryu priest, his mind the object of his worship, his knowledge is his sacrifice. This chapter of the Mahanarayana Upanishad has been called by the French Indologist Jean Varenne as a Sannyasa Upanishad by itself.
Early music (vocal church music), as far back as the 5th century, required some central direction from a leader in the coordination of singers in their delivery of melodic lines of mostly free rhythm. Traced back to early Egyptian performances through hieroglyphic documentation (etchings in stone depicting a leader employing hand signals to indicate pitch and rhythm details for wind instrument players), this form of conducting seems to predate Guido of Arezzo's designation of joints of the fingers for indicating pitches, and seems to have offered more than limited pitch instruction. These early leaders, or cheironomers, though possessing none of the modern conducting skills developed in the 17th century, using a form of choreographed hand signals, adeptly controlled the movement of the melodic lines, producing incredibly well-synchronized performances. Cheironomy, though not a commonly used term in today's reference to conducting, serves, as it did in early music, as the model for the motions necessary to direct some modern music which require individualized direction to specific players, within less metrically structured musical compositions.
In Homeric verse, for example, a phrase like eos rhododaktylos ("rosy fingered dawn") or oinops pontos ("winedark sea") occupy a certain metrical pattern that fits, in modular fashion, into the six-colon Greek hexameter, and aid the aioidos or bard in extempore composition. Moreover, phrases of this type 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 Hektor"). Parry and Lord observed that the same phenomenon was apparent in the Old English alliterative line: :Hrothgar mathelode helm Scildinga ("Hrothgar spoke, protector of the Scildings") :Beowulf mathelode bearn Ecgtheowes ("Beowulf spoke, son of Ecgtheow") and in the junacki deseterac (heroic decasyllable) of the demonstrably oral poetry of the Serbs: :a besjedi od Orasca Tale ("But spoke of Orashatz Tale") :a besjedi Mujagin Halile ("But spoke Mujo's Halil") In Parry's view, formulas were not individual and idiosyncratic devices of particular artists, but the shared inheritance of a tradition of singers. They were easily remembered, making it possible for the singer to execute an improvisational composition-in-performance.
The inscription is composed in dactylic hexameters (lines 1-6), with scriptio plena (line 3 δὲ ἐπάτησα Ἀπολλωνίαν = δ' ἐπάτησ' Ἀπολλωνίαν) and containing some awkward or missing features (particularly in line 3, where apparent short υ is to be read in Δυρράχιν unless emended as below to omit καὶ and read Δυρράχιον; and short o with long ι in Ἀπολλωνίαν, so emended below to Ἀπολωνίαν). There are missing syllables in line 5 (either u u - immediately before or after τὸ φάος, or at the end of the line as shown below). There is an apparent attempt at ending the verse with an elegiac couplet (6-7, dactylic hexameter followed by dactylic pentameter), but this would only be metrically successful and preserve the intended sense with deletions as shown below; as it stands the dactylic pentameter is distorted by the addition of a medial choriamb (τῷ θανάτῳ). With metrical division of the lines, the inscription may be laid out as follows: χοῖρος ὁ πᾶσι φίλος, τετράπους νέος, ἐνθάδε κεῖμαι Δαλματίης δάπεδον προλιπὼν δῶρον προσενεχθείς, [καὶ] Δυρράχιν δ' ἐπάτησ' Ἀπολ[λ]ωνίαν τε ποθήσας καὶ πᾶσαν γαίην διέβην ποσὶ μοῦνος ἄλιπτος νῦν δὲ τροχοῖο βίῃ τὸ φάος προλέλοιπα < u - -> (5) Ἠμαθίην δὲ ποθῶν κατιδεῖν φαλλοῖο δὲ ἅρμα [ἐνθάδε] νῦν κεῖμαι [τῷ] θανάτῳ μηκέτ’ ὀφειλόμενος.

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