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Iambic Tetrameter
Iambic tetrameter is a poetic meter in ancient Greek and Latin poetry; as the name of ''a rhythm'', iambic tetrameter consists of four metra, each metron being of the form , x – u – , , consisting of a spondee and an iamb, or two iambs. There usually is a break in the centre of the line, thus the whole line is: , x – u – , x – u – , , x – u – , , x – u – , ("x" is a syllable that can be long or short, "–" is a long syllable, and "u" is a short one.) In modern English poetry, it refers to a line consisting of four iambic feet. The word "tetrameter" simply means that there are four feet in the line; ''iambic tetrameter'' is a line comprising four iambs, defined by accent. The scheme is thus: x / x / x / x / Some poetic forms rely upon the iambic tetrameter, for example triolet, Onegin stanza, In Memoriam stanza, long measure (or long meter) ballad stanza. Quantitative verse In Medieval Latin The term iambic tetrameter originally appl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meter (poetry)
In poetry, metre ( Commonwealth spelling) or meter (American spelling; see American and British English spelling differences#-re, -er, spelling differences) is the basic rhythm, rhythmic structure of a verse (poetry), verse or Line (poetry), lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as prosody. (Within linguistics, "Prosody (linguistics), prosody" is used in a more general sense that includes not only poetic metre but also the rhythmic aspects of prose, whether formal or informal, that vary from language to language, and sometimes between poetic traditions.) Characteristics An assortment of features can be identified when classifying poetry and its metre. Qualitative versus quantitative metre The metre of most poetry of the Western world and elsewhere is based on patterns of syllables of particular typ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plautus
Titus Maccius Plautus (; c. 254 – 184 BC), commonly known as Plautus, was a Roman playwright of the Old Latin period. His comedies are the earliest Latin literary works to have survived in their entirety. He wrote Palliata comoedia, the genre devised by the innovator of Latin literature, Livius Andronicus. The word Plautine refers to both Plautus's own works and works similar to or influenced by his. Biography Not much is known about Titus Maccius Plautus's early life. It is believed that he was born in Sarsina, a small town in Emilia Romagna in northern Italy, around 254 BC.''The Concise Oxford Companion to Classical Literature'' (1996) Ed. M.C. Howatson and Ian Chilvers, Oxford University Press, Oxford Reference Online According to Morris Marples, Plautus worked as a stage-carpenter or scene-shifter in his early years. It is from this work, perhaps, that his love of the theater originated. His acting talent was eventually discovered; and he adopted the names "Maccius" (a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Syllable Weight
In linguistics, syllable weight is the concept that syllables pattern together according to the number and/or duration of segments in the rime. In classical Indo-European verse, as developed in Greek, Sanskrit, and Latin, distinctions of syllable weight were fundamental to the meter of the line. Linguistics A heavy syllable is a syllable with a branching nucleus or a branching rime, although not all such syllables are heavy in every language. A branching nucleus generally means the syllable has a long vowel or a diphthong; this type of syllable is abbreviated as CVV. A syllable with a branching rime is a ''closed syllable'', that is, one with a coda (one or more consonants at the end of the syllable); this type of syllable is abbreviated CVC. In some languages, both CVV and CVC syllables are heavy, while a syllable with a short vowel as the nucleus and no coda (a CV syllable) is a light syllable. In other languages, only CVV syllables are heavy, while CVC and CV syllables are l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adon Olam
Adon Olam ( he, אֲדוֹן עוֹלָם; "Eternal Lord" or "Sovereign of the Universe") is a hymn in the Jewish liturgy. It has been a regular part of the daily and Shabbat (Sabbath) liturgy since the 15th century.Nulman, Macy, ''Encyclopedia of Jewish Prayer'' (1993, NJ, Jason Aronson) page 7. Origin Its authorship and origin are uncertain. It is sometimes attributed to Solomon ibn Gabirol (1021–1058), who is known for his Hebrew poetry, although there is no solid evidence for this, and the regular metric structure does not seem to accord with his other compositions. John Rayner, in his notes to the Siddur Lev Chadash, suggests it was written in the thirteenth or fourteenth century in Spain, noting its absence from the prayer book Sefer Abudarham c. 1340. It has also been attributed to Hai Gaon (939–1038) and even to the Talmudic sage Yohanan ben Zakkai. Although its diction indicates antiquity, it did not become part of the morning liturgy until the 15th century. Text T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Magic Flute
''The Magic Flute'' (German: , ), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a ''Singspiel'', a popular form during the time it was written that included both singing and spoken dialogue. The work premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death. Still a staple of the opera repertory, its popularity was reflected by two immediate sequels, Peter Winter's ''Das Labyrinth oder Der Kampf mit den Elementen. Der Zauberflöte zweyter Theil'' (1798) and a fragmentary libretto by Johann Wolfgang von Goethe titled ''The Magic Flute Part Two''. The allegorical plot was influenced by Schikaneder and Mozart's interest in Freemasonry and concerns the initiation of Prince Tamino. Enlisted by the Queen of the Night to rescue her daughter Pamina from the high priest Sarastro, Tamino comes to a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emanuel Schikaneder
Emanuel Schikaneder (born Johann Joseph Schickeneder; 1 September 1751 – 21 September 1812) was a German impresario, dramatist, actor, singer, and composer. He wrote the libretto of Wolfgang Amadeus Mozart's opera ''The Magic Flute'' and was the builder of the Theater an der Wien. Peter Branscombe called him "one of the most talented theatre men of his era". Aside from Mozart, he worked with Salieri, Haydn and Beethoven. Early years Schikaneder was born in Straubing in Bavaria to Joseph Schickeneder and Juliana Schiessl. Both of his parents worked as domestic servants and were extremely poor.Dent (1956, 16) They had a total of four children: Urban (born 1746), Johann Joseph (died at age two), Emanuel (born 1751 and also originally named Johann Joseph), and Maria (born 1753). Schikaneder's father died shortly after Maria's birth, at which time his mother returned to Regensburg, making a living selling religious articles from a wooden shed adjacent to the local cathedral. S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dies Bildnis Ist Bezaubernd Schön
"" ("This image is enchantingly lovely") is an aria from Wolfgang Amadeus Mozart's 1791 opera ''The Magic Flute''. The aria takes place in act 1, scene 1, of the opera. Prince Tamino has just been presented by the Three Ladies with an image of the princess Pamina, and falls instantly in love with her. Libretto The words of "Dies Bildnis" were written by Emanuel Schikaneder, a leading man of the theater in Vienna in Mozart's time, who wrote the libretto of the opera as well as running the troupe that premiered it and playing the role of Papageno. There are fourteen lines of poetry, which Peter Branscombe described as "a very tolerable sonnet." Dies Bildnis ist bezaubernd schön, wie noch kein Auge je gesehn! Ich fühl' es, wie dies Götterbild, mein Herz mit neuer Regung füllt. Dies Etwas kann ich zwar nicht nennen, doch fühl' ich's hier wie Feuer brennen, soll die Empfindung Liebe sein? Ja, ja, die Liebe ist's allein. O wenn ich sie nur finden könnte, O wenn sie doch schon vor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Passionate Shepherd To His Love
"The Passionate Shepherd to His Love" (1599), by Christopher Marlowe, is a pastoral poem from the English Renaissance (1485–1603). Marlowe composed the poem in iambic tetrameter (four feet of one unstressed syllable followed by one stressed syllable) in six stanzas, and each stanza is composed of two rhyming couplets; thus the first line of the poem reads: "Come live with me and be my love". The poem “The Passionate Shepherd to His Love” (1599) by Christopher Marlowe (1564–1593) Come live with me, and be my love; And we will all the pleasures prove That hills and valleys, dales and fields, Woods, or steepy mountain yields. And we will sit upon the rocks, Seeing the shepherds feed their flocks By shallow rivers to whose falls Melodious birds sing madrigals. And I will make thee beds of roses, And a thousand fragrant posies; A cap of flowers, and a kirtle Embroidered all with leaves of myrtle; A gown made of the finest wool Which from our pretty lambs we pull; Fai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christopher Marlowe
Christopher Marlowe, also known as Kit Marlowe (; baptised 26 February 156430 May 1593), was an English playwright, poet and translator of the Elizabethan era. Marlowe is among the most famous of the Elizabethan playwrights. Based upon the "many imitations" of his play ''Tamburlaine,'' modern scholars consider him to have been the foremost dramatist in London in the years just before his mysterious early death. Some scholars also believe that he greatly influenced William Shakespeare, who was baptised in the same year as Marlowe and later succeeded him as the pre-eminent Elizabethan playwright. Marlowe was the first to achieve critical reputation for his use of blank verse, which became the standard for the era. His plays are distinguished by their overreaching protagonists. Themes found within Marlowe's literary works have been noted as humanistic with realistic emotions, which some scholars find difficult to reconcile with Marlowe's "anti-intellectualism" and his caterin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accentual-syllabic Verse
Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus one can speak about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another. Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brevis In Longo
In Greek and Latin metre, ''brevis in longo'' (; ) is a short syllable at the end of a line that is counted as long. The term is short for , meaning "a short yllablein place of a long lement" Although the phenomenon itself has been known since ancient times, the phrase is saidcf. West, M. L."Three Topics in Greek Metre" ''The Classical Quarterly'', Vol. 32, No. 2 (1982), pp. 281-297; p. 288. to have been invented by the classical scholar Paul Maas. ''Brevis in longo'' is possible in various classical metres that require a long syllable at the end of a line, including dactylic hexameters and iambic trimeters. It can also be found in the centre of a line in some metres, before a dieresis (e.g. in the iambic octonarius). However, it does not seem to be found in every metre. For example, in Greek, in ionic metres ending in u u – –, there do not seem to be any examples. A similar phenomenon is found in other languages whose poetic metres are quantitative, such as Arabic, Persi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Catalectic
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. In English Poems can be written entirely in catalectic lines, or entirely in acatalectic (complete) lines, or a mixture, as the following carol, composed by Cecil Frances Alexander in 1848: :Once in Royal David's city (8 syllables) : Stood a lowly cattle shed, (7 syllables) :Where a mother laid her Baby (8 syllables) : In a manger for His bed: (7 syllables) :Mary was that mother mild, (7 syllables) :Jesus Christ her little Child. (7 syllables) It has been argued that across a number of Indo-European languages, when the two types of line are mixed in this way, the shorter line tends to be used as a coda at the end of a period or stanza. Blunt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
