Search

Alexander Schulz: De rege Henrico - a Condensed Mirror for Princes for Henry the Young King (1155 - 1183)? Oxford, Bodleian Library, MS Rawl. C 568 contains an unedited poem of one hundred leonine hexameters that has previously been read in the light of King Henry II's death (1133 - 1189). However, it is much more likely that the poem celebrates the birth of the heir apparent, Henry the Young King (1155 - 1183). Probably composed around 1157/1158 at St Albans Abbey, it encourages the future king to rule in justice, obey the church, and lead an exemplary life. Previous speculations that the poem may have been written by John de Cella are not convincing. It is tempting to think that this condensed mirror for princes might reflect England's hopes for dynastic stability after the years of the Anarchy (1135 - 1153). [ABSTRACT FROM AUTHOR]

This article discusses the issue of applicability of Milman Parry's principles of economy and extension to Homer and other epic traditions. By addressing the objections raised by scholars in various fields, it argues that the presence of formulae is in itself not enough for either proving or disproving a given text's orality. Only economy and extension embodied in the systems of formulae can serve as such a proof. Application of this criterion to various epic traditions shows that, although economy and extension cannot be considered universal indices of orality, they do fulfil this function in Homer and early Greek epic. [ABSTRACT FROM AUTHOR]

The article focuses on the reinterpretation of the theory of caesura in Anglo-Saxon dactylic hexameter. Topics include the historical development of the theory, the classifications of caesuras, and the influence of ancient sources, with a particular emphasis on the debate between two classifications involving the fourth trochaic caesura. The author examines how these theories persisted from late Antiquity to the early Middle Ages and explores the works of various authors.

This note argues that the Lucretian hexameter-final monosyllable Arcadius sus (5.25) stands at the beginning of a Roman hexameter tradition of satiric final-monosyllable animals, echoed by Vergil's exiguus mus at Georgics 1.181 and Horace's ridiculus mus at Ars poetica 139. Lucretius' sus , in context, deflates and deglamorizes the boarish Labor of Hercules; Vergil's mus makes the satiric subtext explicit, and playfully suggests that pest control is a Herculean task; Horace's mus folds the satiric epic pattern in on itself, by using it to satirize epic. [ABSTRACT FROM AUTHOR]

The paper is focused on the problem of translating the difficult fragment of Ex P. IV 12 where the name of the addressee Tuticanus gives the obstacles because of the form of his name. The paper proposes three trials of showing the sense and humor inserted in the text. [ABSTRACT FROM AUTHOR]

Обсуждается методология количественной оценки и формального описания применительно к древнегреческому стиху гекзаметру. В центре внимания «базисный тембр»: единица оценивания, предлагаемая к использованию при оценке метро-звукового уровня стиха, находящегося на стыке фонетики (исследования аллитерации, ассонанса и внутренних рифм) и метрики. На основе классических принципов анализа античной метрики строится новый метод описания разновидностей «базисного тембра», выделяются подвиды: сильный, слабый, анафорический, катафорический, закрепленный, незакрепленный. Приводятся примеры анализа элегий Солона и результаты оценки их формальных особенностей. Количественные оценки частотности БТ даются на основе строгих математических методов сравнения величин с применением обыкновенных арифметических дробей.

The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.

This paper considers the nature of time and temporality in Homer. It argues that any exploration of narrative and time must, as its central tenet, take into account the irreducible plurality and interconnectedness of memory, the event, and experienced time. Drawing on notions of complexity, emergence, and stochastic behavior in science as well as phenomenological traditions in the discussion and analysis of time, temporality, and change, and offering extensive readings of Homer, of Homeric epithets and formulae, and of key passages in the Iliad and Odyssey, the paper argues against chronological notions of linear ("numbered") time and progression and in favor of a complex, dynamic temporal "geometries" of Homeric temporality. The paper concludes by briefly extending the argument to the wider domain of ancient time in general. Homer is a fundamental point of reference in the ancient world. Thus, Homeric temporality--irreducibly complex--affects the cognition and perception of time throughout the whole of antiquity. [ABSTRACT FROM AUTHOR]

This article discusses the hexameter piece in Aeschylus' fragments 168–168b Radt (probably from Semele or Water-bearers), a hymn to the nymphs of Argos sung by Hera while disguised as a wandering priestess. First I detail the way in which the text evokes and adapts the tradition of hymnic poetry in hexameters (instantiated, among others, by the Homeric Hymns) in both content and form. Then I argue that Aeschylus performs an exercise in generic archaeology, recreating an archetypal stage of the hymnic tradition in the fitting context of a mythical episode. [ABSTRACT FROM AUTHOR]

The aim of this paper is to give an account of verse forms in David Hilchen’s poetry. In the paper the metrical structures and rhythmic regularities in poems gathered from different periods of his creation are studied and the results are compared with the data from ancient Latin authors. Some aspects of the prosodic features in Hilchen’s verse are discussed as well. The paper will demonstrate the prosodic and rhythmic variety of the metres used, which resembles the rhythmic preferences of ancient models and early modern verse.

Anyone interested in the colometry or "inner metrics" of the Homeric hexameter is confronted with a wide variety of different approaches, favouring two-, three- or four-colon verses or any combination of these. This article builds on Egbert Bakker's interpretation of Homeric discourse as a succession of intonation / information units (IUs). Its aim is to provide more secure cognitive-linguistic criteria for determining caesura positions and the resulting cola / IUs. [ABSTRACT FROM AUTHOR]

Word-final syllables consisting of a short vowel or a short vowel followed by a single consonant sometimes scan as heavy in Latin hexameter poetry, a feature known as 'irrational lengthening', lengthening in arsis, diastole etc. We examine the contexts in which this occurs in the poetry of Virgil. It is widely acknowledged that this phenomenon is based on a similar licence in earlier Greek and Roman models for Virgil, but it has also been argued that other, metrical or phonological, aspects may have been relevant to the use of lengthening. We examine these environments, and, where possible, carry out statistical analysis. We conclude that, while some of these are descriptively true, the position of lengthened words is primarily due to the constraints that Virgil applied to the construction of his hexameter rather than any other explanation. [ABSTRACT FROM AUTHOR]

The article focuses on the poet Vladimir Nabokov's interest in the Russian dactylic hexameter and elegiac distich along with his classical imitations in Early Poetry. It mentions the thematic focus of the poem of the ekphrastic poems from the Greek Anthology that describe the statues of athletes; and also highlights the challenges to modernizing tendency in the poem along with the interest of Nabokov's towards anthological poetry and the hexameter.

In this article, I analyze the use and absence of the augment in the 3rd singular forms ἔθηκε(ν) and θῆκε(ν) in the Iliad and try to determine the value of the transmitted forms. In doing so I first analyze the forms by checking permitted elisions and by applying metrical laws, bridges and caesurae. The forms that can be analyzed by those criteria are of type A (metrically secure). I then proceed to the forms whose value cannot be established by these metrical criteria and check if an "internal reconstruction" can solve the issue. The method I use is based on Barrett's metrical and morphological analyses of the augment in Euripides and Taida's analyses on the augment in the Homeric Hymns. This method analyzes the metrically insecure forms by looking at their position in the verse, the passages in which they appear, and by comparing them to the metrically secure forms in the same paradigm. The forms that can be analyzed by this method are catalogued type B; the forms that cannot are of type C. The forms of type A and type B will be the basis for subsequent syntactic and semantic analyses of the augment use in these forms in the Iliad (elsewhere in this journal). [ABSTRACT FROM AUTHOR]

The article explores the possible common source of Saint Aldhelm's treatise "De metris" and the anonymous text "Caesurae uersuum" (Cu) which involves the classification of Latin hexameters. Topics discussed include the linking of Cu to a metrical treatise of the same title by Saint Boniface, the lines of the Karlsruhe codex covered by Cu, and the distinction between the types of verse caesura observed in Cu such as the disjointed line and the priapeius line.

Bald's Leechbook, the most famous of the Old English medical collections, derives its name from a colophon in Latin hexameter verse that occurs on the final folio of the collection. Previous scholarly attention to the colophon has been nearly entirely directed at discerning the relationship of two named figures (Bald and Cild) and their role (if any) in the creation of Bald's Leechbook. Yet given the rarity of verse colophons in Anglo-Saxon manuscripts and the unusual placement of this text at the end of a technical work in Old English, these verses also deserve study for their place within the larger genre of poetic colophons and framing texts from Anglo-Saxon England. This article examines for the first time the form of the colophon and its character as a work of Anglo-Latin verse as well as its relationship with the vernacular prefatory tradition associated with King Alfred. [ABSTRACT FROM AUTHOR]

The goal of this paper is to present an accentual rule for a combination of locations of the Homeric hexameter, the fourth and the sixth metra. The author shows that, when there is a trochaic word ending in the fourth trochee, the location of Hermann's bridge, there is a change in the distribution of accent types in the sixth metron, favoring what he calls "barytone falls", that is, post-acute long syllables. After presenting the regular distribution of accents in the sixth metron, the author shows how that distribution is modified when there is a trochaic ending word in the fourth trochee. The results are later revised for possible formulaic interferences. Finally, he considers the implications of this phenomenon for the interpretation of Hermann's law and speculates on its influence on current explanations of that rule. [ABSTRACT FROM AUTHOR]

The article discusses women poets and the origin of the Greek hexameter. Topics include a woman poet named Boio and a native of Delphi, who composed a hymn for the Delphians, few of her poems such as "Ornithogonia" or "The Birth of the Birds," and eight women poets including Anyte, Telesilla and Corinna.

This article analyses the use and absence of the augment in the Homeric Hymn to Demeter (HH 2). This is done in three steps: first, a corpus of forms with a metrically secure presence or absence of the augment is established based on metrical bridges and caesurae. Then, the forms without a secure augment are analysed and an attempt is made to determine the augment presence or absence in those forms via internal reconstruction and comparison. After establishing a corpus of forms with and without an augment, the article proceeds to analyse the use and absence of the augment, based on previous scholarship. The article will show that the function of the augment is determined by an interaction of different metrical, morphological, syntactic and semantic factors, and it confirms the augment as focus marker or emphasising tool for recent and new information. [ABSTRACT FROM AUTHOR]

ABSTRACT Homer's Iliad lists 1,186 Greek ships that sailed to Troy, and a first-century ad Latin rendition of Homer, the so-called Ilias Latina, offers a mathematical and logical puzzle on the subject. This article provides the Latin text, English translation, and mathematical commentary of the relevant section of the Latin poem to enable a variety of readers to tackle this delightful puzzle for themselves. [ABSTRACT FROM AUTHOR]

In 2014, the project CEILE (Corpus Electronicum Inscriptionum Latinarum Estoniae, EKKM 14-364) was launched within the framework of the program “Estonian language and cultural memory”, in order to systematically map and study the Latin inscriptions created before 1918 and stored in Estonian Lutheran and Catholic churches. As of 2018, the database contains more than 300 inscriptions. Although the proportion of verse texts is not high (13 entries), the fact that the material (totalling 175 verses) has survived almost completely, part of them in situ and partly in transcriptions, and contains several lengthier texts, allows us to make certain generalizations about their metrical and prosodic structure. In this paper, we will give an overview of the chronology and sites of inscriptions and describe the metrical, rhythmical and prosodic structure of the verse texts, addressing also the conjectural role of meter and prosody in our work. We will also dwell on the metrical and prosodic correctness of the texts and will take a separate look at the prosodic licences and errors which occur in the verse texts of the corpus.

Metres are typically classified as being accentual (mapping stress, as in English) or quantitative (mapping weight, as in Sanskrit). This article treats the less well-studied typology of hybrid accentual-quantitative metres, which fall into two classes. In the first, stress and weight map independently onto the same metre, as attested in Latin and Old Norse. In the second, stress and weight interact, such that weight is regulated more strictly for stressed than unstressed syllables, as illustrated here by new analyses of Dravidian and Finno-Ugric metres. In both of these latter cases (as well as in Serbo-Croatian), strictness of weight-mapping is modulated gradiently by stress level. [ABSTRACT FROM PUBLISHER]

In this article, I explore the figure of the mortal theomachos in archaic Greek hexameter poetry. In particular, I examine how the Iliad and the Hesiodic Aspis construct Diomedes and Heracles respectively in their capacity to fight and wound divine opponents. Through a careful study of these two figures, I argue that they are emblematic of the heroic generations they belong to. [ABSTRACT FROM AUTHOR]

A cubic nanocage (O symmetry) that exhibits inherent chirality and has a covalent, rigid skeleton with molecule-sized entrance portals was obtained by means of dynamic covalent chemistry using a reaction between aldehyde-functionalized resorcin[4]arene and hydrazine. [ABSTRACT FROM AUTHOR]

In the Spanisch language there are no long and short vowels with qualitative differencesof timbre as in Greek and Latin, but rather strong and weak vowels, that R. D. its equates withlong and short ones. The poet obtains an meterlessaccentual verse of six internal accents that he tries adjust with the own accents of each word. This is not a classical hexameter or pentameter, but his achievement extended the metrical borders of the verse in our language until unforeseen limits for a generic epic-lyrical expression, suitable to his civic and political concerns. [ABSTRACT FROM AUTHOR]