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Synizesis
Synizesis () is a sound change (metaplasm) in which two originally syllabic vowels (hiatus) are pronounced instead as a single syllable. In poetry, the vowel contraction would often be necessitated by the metrical requirements of the poetic form. Synizesis is also understood to occur as a natural product in the evolution of a language over time. A tie may be used to represent this pronunciation: ''dē͡hinc'' (i.e., ''deinc''). Definition ''Synizesis'' comes from the Greek (''synízēsis'', "a sitting together") from (''syn'', "with") and (''hizō'', "I sit"). The term was used to describe this vowel change as early as the 2nd century CE, by the Alexandrian grammarian, Hephaestion. Ancient grammarians, such as Hephaestion, defined synizesis broadly as the “σύλληψις” (''syllepsis'', “a taking together (of sounds)”) of any two syllables. More contemporary scholarship has, however, recognised that, when so constructed, synizesis is given an unjustifiably bro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metaplasm
A metaplasm is generic term for almost any kind of alteration, whether intentional or unintentional, in the pronunciation or the orthography of a word. The change may be phonetic only, such as pronouncing ''Mississippi'' as ''Missippi'' in English, or acceptance of a new word structure, such as the transformation from ''calidus'' in Latin to ''caldo'' (hot) in Italian. Orthographic metaplasms have been used in philosophy to advance humanity's conceptual terrain, such as when Derrida adapted Heidegger's Destruktion into deconstruction or the French term ''différence'' into différance. Changes at either level may or may not be recognized in standard spelling, depending on the orthographic traditions of the language in question. Originally the term referred to techniques used in Ancient Greek and Latin poetry, or processes in those languages' grammar. Sound change Many phonological changes found frequently in the natural development of languages are metaplasms: * Epenthesis, ad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Synalepha
A synalepha or synaloepha is the merging of two syllables into one, especially when it causes two words to be pronounced as one. The original meaning in Ancient Greek is more general than modern usage and includes coalescence of vowels within a word. Similarly, synalepha most often refers to elision (as in English contraction), but it can also refer to coalescence by other metaplasms: synizesis, synaeresis or crasis. W. Sidney Allen, ''Vox Graeca'', chart of "Types of vowel-junction", p. 98. Examples {{Original research, date=January 2022, section Spanish, Portuguese and Italian use synalepha, which is important in counting syllables in poetry. An example is in this hendecasyllable (11-syllable line) by Garcilaso de la Vega: : ''Los cabellos que al oro oscurecían.'' :: The hair that endarkened the gold. The words ''que'' and ''al'' form one syllable in counting them because of synalepha. The same thing happens with ''-ro'' and ''os-'' and so the line has eleven syllables ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prosody (Greek)
Prosody (from Middle French , from Latin , from Ancient Greek (), "song sung to music; pronunciation of syllable") is the theory and practice of versification. Prosody Greek poetry is based on syllable length, not on syllable stress, as in English. The two syllable lengths in Greek poetry are long and short. It is probable that in the natural spoken language there were also syllables of intermediate length, as in the first syllable of words such as τέκνα /''tékna''/ 'children', where a short vowel is followed by a plosive + liquid combination; but for poetic purposes such syllables were treated as either long or short. Thus in the opening speech of the play '' Oedipus Tyrannus'', Sophocles treats the first syllable of τέκνα /''tékna''/ as long in line 1, but as short in line 6. Different kinds of poetry use different patterns of long and short syllables, known as meters (UK: metres). For example, the epic poems of Homer were composed using the pattern , – u u , ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hiatus (linguistics)
In phonology, hiatus, diaeresis (), or dieresis describes the occurrence of two separate vowel sounds in adjacent syllables with no intervening consonant. When two vowel sounds instead occur together as part of a single syllable, the result is called a diphthong. Preference Some languages do not have diphthongs, except sometimes in rapid speech, or they have a limited number of diphthongs but also numerous vowel sequences that cannot form diphthongs and so appear in hiatus. That is the case of Japanese, Nuosu, Bantu languages like Swahili, and Lakota. Examples are Japanese () 'blue/green', and Swahili 'purify', both with three syllables. Avoidance Many languages disallow or restrict hiatus and avoid it by deleting or assimilating the vowel or by adding an extra consonant. Epenthesis A consonant may be added between vowels ( epenthesis) to prevent hiatus. That is most often a semivowel or a glottal, but all kinds of other consonants can be used as well, depending ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Attic Tragedy
Greek tragedy is a form of theatre from Ancient Greece and Greek inhabited Anatolia. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy. Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of Dionysus, and it heavily influenced the theatre of Ancient Rome and the Renaissance. Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles, and Euripides. These tragedians often explored many themes around human nature, mainly as a way of connecting with the audience but also as way of bringing the audience into the play. Etymology Aristotelian hypothesis The origin of the word ''tragedy'' has been a matter of discussion from ancient times. The primary source of knowledge on the question is the '' Poetics'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iambic Trimeter
The Iambic trimeter is a meter of poetry consisting of three iambic units (each of two feet) per line. In ancient Greek poetry and Latin poetry, an iambic trimeter is a quantitative meter, in which a line consists of three iambic ''metra''. Each ''metron'' consists of the pattern , x – u – , , where "–" represents a long syllable, "u" a short one, and "x" an ''anceps'' (either long or short). Resolution was common, especially in the first two metra of the line, so that any long or ''anceps'' syllable except the last could be replaced by two short syllables (see for example Euripides#Chronology), making a total of 13 or more syllables. It is the most common meter used for the spoken parts (as opposed to the sung parts) of Ancient Greek tragedy, comedy, and satyr plays. It is also common in iambus or 'blame poetry', although it is not the only meter for that genre. In the accentual-syllabic verse of English, German, and other languages, however, the iambic trimeter is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arsis And Thesis
In music and prosody, arsis (; plural arses, ) and thesis (; plural theses, ) are respectively the stronger and weaker parts of a musical measure or poetic foot. However, because of contradictions in the original definitions, writers use these words in different ways. In music, arsis is an unaccented note (upbeat), while the thesis is the downbeat. However, in discussions of Latin and modern poetry the word arsis is generally used to mean the stressed syllable of the foot, that is, the ictus. Since the words are used in contradictory ways, the authority on Greek metre Martin West recommends abandoning them and using substitutes such as ''ictus'' for the downbeat when discussing ancient poetry. However, the use of the word ''ictus'' itself is very controversial. Greek and Roman definitions Earliest use The ancient Greek writers who mention the terms arsis and thesis are mostly from rather a late period (2nd-4th century AD), but it is thought that they continued an earlier trad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Foot (prosody)
The foot is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry, including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry. The unit is composed of syllables, and is usually two, three, or four syllables in length. The most common feet in English are the iamb, trochee, dactyl, and anapest. The foot might be compared to a bar, or a beat divided into pulse groups, in musical notation. The English word "foot" is a translation of the Latin term ''pes'', plural ''pedes'', which in turn is a translation of the Ancient Greek ποῦς, pl. πόδες. The Ancient Greek prosodists, who invented this terminology, specified that a foot must have both an arsis and a thesis, that is, a place where the foot was raised ("arsis") and where it was put down ("thesis") in beating time or in marching or dancing. The Greeks recognised three basic types of feet, the iambic (where ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sound Change
A sound change, in historical linguistics, is a change in the pronunciation of a language. A sound change can involve the replacement of one speech sound (or, more generally, one phonetic feature value) by a different one (called phonetic change) or a more general change to the speech sounds that exist ( phonological change), such as the merger of two sounds or the creation of a new sound. A sound change can eliminate the affected sound, or a new sound can be added. Sound changes can be environmentally conditioned if the change occurs in only some sound environments, and not others. The term "sound change" refers to diachronic changes, which occur in a language's sound system. On the other hand, " alternation" refers to changes that happen synchronically (within the language of an individual speaker, depending on the neighbouring sounds) and do not change the language's underlying system (for example, the ''-s'' in the English plural can be pronounced differently depending ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theseus
Theseus (, ; grc-gre, Θησεύς ) was the mythical king and founder-hero of Athens. The myths surrounding Theseus his journeys, exploits, and friends have provided material for fiction throughout the ages. Theseus is sometimes described as the son of Aegeus, King of Athens, and sometimes as the son of the god Poseidon. He was raised by his mother, Aethra, and, upon discovering his connection to Aegeus, travels overland to Athens, having many adventures on the way. When he reaches Athens, he finds that Aegeus is married to Medea (formerly wife of Jason), who plots against him. The most famous legend about Theseus is his slaying of the Minotaur, half man and half bull. He then goes on to unite Attica under Athenian rule: the '' synoikismos'' ('dwelling together'). As the unifying king, he is credited with building a palace on the fortress of the Acropolis. Pausanias reports that after ''synoikismos'', Theseus established a cult of Aphrodite ('Aphrodite of all the P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pindar Statue
Pindar (; grc-gre, Πίνδαρος , ; la, Pindarus; ) was an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable." His poems can also, however, seem difficult and even peculiar. The Athenian comic playwright Eupolis once remarked that they "are already reduced to silence by the disinclination of the multitude for elegant learning". Some scholars in the modern age also found his poetry perplexing, at least until the 1896 discovery of some poems by his rival Bacchylides; comparisons of their work showed that many of Pindar's idiosyncrasies are typical of archaic genres rather than of only the poet himsel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anapaest
An anapaest (; also spelled anapæst or anapest, also called antidactylus) is a metrical foot used in formal poetry. In classical quantitative meters it consists of two short syllables followed by a long one; in accentual stress meters it consists of two unstressed syllables followed by one stressed syllable. It may be seen as a reversed dactyl. This word comes from the Greek , ''anápaistos'', literally "struck back" and in a poetic context "a dactyl reversed". Because of its length and the fact that it ends with a stressed syllable and so allows for strong rhymes, anapaest can produce a very rolling verse, and allows for long lines with a great deal of internal complexity. Apart from their independent role, anapaests are sometimes used as substitutions in iambic verse. In strict iambic pentameter, anapaests are rare, but they are found with some frequency in freer versions of the iambic line, such as the verse of Shakespeare's last plays, or the lyric poetry of the 19th century ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
