VARIA by Elsa Garcia Novo
HAPPY 2022 ! οὐ γὰρ ἐγώ γέ τί φημι τέλος χαριέστερον εἶναι ἢ ὅτ' ἐϋφροσύνη μὲν ἔχῃ κάτα δῆμον ἅπα... more HAPPY 2022 ! οὐ γὰρ ἐγώ γέ τί φημι τέλος χαριέστερον εἶναι ἢ ὅτ' ἐϋφροσύνη μὲν ἔχῃ κάτα δῆμον ἅπαντα, δαιτυμόνες δ' ἀνὰ δώματ' ἀκουάζωνται ἀοιδοῦ ἥμενοι ἑξείης, παρὰ δὲ πλήθωσι τράπεζαι σίτου καὶ κρειῶν, μέθυ δ' ἐκ κρητῆρος ἀφύσσων οἰνοχόος φορέῃσι καὶ ἐγχείῃ δεπάεσσι• τοῦτό τί μοι κάλλιστον ἐνὶ φρεσὶν εἴδεται εἶναι.
μακάριος ὅστις εὐτυχῶν οἴκοι μένει Aesch. fr. 628a 5 (Mette) ἀλλ' εὐτυχοίης, καί σ' ἐποπτεύων πρό... more μακάριος ὅστις εὐτυχῶν οἴκοι μένει Aesch. fr. 628a 5 (Mette) ἀλλ' εὐτυχοίης, καί σ' ἐποπτεύων πρόφρων θεὸς φυλάσσοι καιρίοισι συμφοραῖς.
ΕΙΣ ΓΗΝ ΜΗΤΕΡΑ ΠΑΝΤΩΝ Γαῖαν παμμήτειραν ἀείσομαι, ἠϋθέμεθλον, πρεσβίστην, ἣ φέρβει ἐπὶ χθονὶ πάνθ... more ΕΙΣ ΓΗΝ ΜΗΤΕΡΑ ΠΑΝΤΩΝ Γαῖαν παμμήτειραν ἀείσομαι, ἠϋθέμεθλον, πρεσβίστην, ἣ φέρβει ἐπὶ χθονὶ πάνθ᾿ ὁπόσ᾿ ἐστίν, ἠμὲν ὅσα χθόνα δῖαν ἐπέρχεται ἠδ᾿ ὅσα πόντον ἠδ᾿ ὅσα πωτῶνται· τὰ δὲ φέρβεται ἐκ σέθεν ὄλβου. ἐκ σέο δ᾿ εὔπαιδές τε καὶ εὔκαρποι τελέθουσιν, πότνια, σεῦ δ᾿ ἔχεται δοῦναι βίον ἠδ᾿ ἀφελέσθαι θνητοῖς ἀνθρώποισιν· ὃ δ᾿ ὄλβιος, ὅν κε σὺ θυμῶι πρόφρων τιμήσηις, τῶι τ᾿ ἄφθονα πάντα πάρεστιν· βρίθει μέν σφιν ἄρουρα φερέσβιος, ἠδὲ κατ᾿ ἀγρούς κτήνεσιν εὐθηνεῖ, οἶκος δ᾿ ἐμπίμπλαται ἐσθλῶν· HH 30, 1-10 (West)
José Lasso de la Vega, in memoriam (✝ 1996) Fue José Lasso de la Vega sabio de atinada percepción... more José Lasso de la Vega, in memoriam (✝ 1996) Fue José Lasso de la Vega sabio de atinada percepción y reflexión pausada, en permanente búsqueda de la verdad y la belleza, como otrora el Sócrates del Fedro platónico.
Cuadernos de Filología Clásica, seerie griega e indoeuropea, 22, 2012, 10.
GREEK METRICS by Elsa Garcia Novo
Studia Philologica Valentina, 2016
Paper printed in Spanish (2016). New translation.
Taking into account the bases of functional met... more Paper printed in Spanish (2016). New translation.
Taking into account the bases of functional metre, I describe the structural pattern of the trochaic tetrameter, so-called catalectic, which, in my oppinion, presents a perfect alternating rhythm and is not catalectic (against the communis opinio). On the other hand, there is a complete iambic tetrameter (4ia) of perfect alternating rhythm, in the Satyr Drama. As for the comic iambic tetrameter (4iaΛ) I suggest that its structure is related to the choliambic (in fact Hipponax composed 4ia of the comic kind): while the choliambic alters the last four positions of the verse, the 4ia takes out the fourth, and lets three arrhythmic positions ending the line. That is not just a catalexis, but a complete transformation of the last segment.
It appeared in Spanish in: CFC segi 33, 2023
Taking into account the bases of functional metre, I emphasise that, in the archaic Greek poetry,... more Taking into account the bases of functional metre, I emphasise that, in the archaic Greek poetry, both the dactylic hexameter and the iambic trimeter respond to the same structure. These are spoken verses of twelve perfectly alternating components: six monosyllabic components (M) and six potentially disyllabic components (D), which have end-of-line marks, as well as positions in which the word ending is common (caesuras) and positions in which it is avoided (bridges). Each of them has a single rhythm (-v-or-vv-), which must appear at least once in each verse. The trochaic tetrameter is an extension of the iambic trimeter. All three lines necessarily end in a potentially disyllabic component (D), reduced to a single long syllable. A description of the elegiac distich is given, showing that its first verse is a spoken hexameter, while the second has a first series of perfect M/D alternation (MDMDM), but the second has a fixed scheme based on monosyllabic components, in the style of lyric poetry: MDMDM / MMMMMMM //. It thus serves as a bridge between spoken verse and lyric κῶλον.
Cuadernos de Filología Clásica, serie Gr. e Ide., 2000
The elegiac distich is composed by two periods. The first can be described as an alternating seri... more The elegiac distich is composed by two periods. The first can be described as an alternating series of six «Monosyllable-Components» (M) that always appear as a long syllable, and six «Potential Disyllable-Components», that are implemented either by a long syllable or by two short ones. It starts with an M Component and ends in a D Component, this last one being implemented by a long syllable, or by a short syllable (hard mark of the series end). Cf. Garcia Novo: 1996. The second period is formed by two κῶλα of different structure. The first keeps the structure of the preceding hexameter, closing with word-end after the fifth component: MDMDM /. The synapheia is not broken at its end. It can be implemented by five to seven syllables. The structure of the second κῶλον is rather different to that of the preceding, being nevertheless harmonic to it. This κῶλον contains seven Monosyllabic components of a fix type: three of them are long, and four are short. It is therefore isosyllabic: M- Mv Mv M- Mv Mv M-//
If both cola were variable (*M-DM-DM-/ M-DM-DM-/// ), the rhythm could not be perceived, because the fixed-long syllable (M-) would change its position in the series: 1, 3, 5, 6… In a given context this second κῶλον may be equal to the implementation of the first (when its two D Components are implemented by two short syllables ), but such line is not very common. At the end of the line, the last M Component may appear as a short syllable (brevis in longo), breaking the rhythm and producing a hard mark of verse end.
CFC (g): Est. grieg. e indoeurop. 33, 2023
Taking into account the bases of functional metre, I emphasise that, in the archaic Greek
poetry,... more Taking into account the bases of functional metre, I emphasise that, in the archaic Greek
poetry, both the dactylic hexameter and the iambic trimeter respond to the same structure. These
are spoken verses of twelve perfectly alternating components: six monosyllabic components (M)
and six potentially disyllabic components (D), which have end-of-line marks, as well as positions
in which the word ending is common (caesuras) and positions in which it is avoided (bridges).
Each of them has a single rhythm (– ⏑ – or – ⏑ ⏑ –), which must appear at least once in each verse.
The trochaic tetrameter is an extension of the iambic trimeter. All three lines necessarily end in
a potentially disyllabic component (D), reduced to a single long syllable. A description of the
elegiac distich is given, showing that its first verse is a spoken hexameter, while the second has
a first series of perfect M/D alternation (MDMDM), but the second has a fixed scheme based on
monosyllabic components, in the style of lyric poetry: MDMDM / MMMMMMM //. It thus serves
as a bridge between spoken verse and lyric κῶλον.
CFC serie griega 32, 2022
The second strophic pair of Oedipus the King’s Fourth Stasimon presents a metrical scheme
that fu... more The second strophic pair of Oedipus the King’s Fourth Stasimon presents a metrical scheme
that functions as a ritornello all through the songs, closing every κῶλον. It has five elements (- ⏑ - ⏑ -)
and appears as a part of iambic κῶλα in the first three lines, closes a dochmius plus a iambic metron in
the fourth, and stays by itself in the three next lines as a hypodochmius, where the stanzas reach their
climax at their centre. In the next lines the scheme gets increased its elements at the beginning, showing
a kaibelian dochmius and then iambo-choriambic κῶλα. The poet has assessed in a pentasyllable
scheme the horror of the Chorus before Oedipus, a ritornello that reappears in all the κῶλα, and that
synthesizes the message in the center of each song: the incest / the rejection.
Keywords: Oedipus the King, Greek Metre, Metrical ritornello, Hypodochmius.
DRAMATURGIAS, 2021
In the Persians Aeschylus characterises the chorus by means of the ionic meter.
Throughout the tr... more In the Persians Aeschylus characterises the chorus by means of the ionic meter.
Throughout the tragedy he “spoils” that meter in order to show the Persians’
defeat not just in the contents but in the meters as well. As the initial pure
ionics in the Parodos lose at times a position becoming anapaests, they suffer
different alterations and ambiguities along the stasima and amoibaia until
they disappear. In case we assign the κῶλα just one single name we may be
losing the intended ambiguity. On the other hand the poet utilizes a rather
interesting device to express different types of pathos: a series of short syllables
or a series of long syllables, thus introducing arrhythmic κῶλα to attract the
attention of the audience in special moments.
ΕΥΠΟΙΚΙΛΟΝ ΑΝΘΟΣ. Estudios sobre teatro griego en homenaje a Antonio Melero., Mar 31, 2017
I describe the structural pattern of the trochaic tetrameter that presents a perfect alternating ... more I describe the structural pattern of the trochaic tetrameter that presents a perfect alternating rhythm and is not catalectic (against the communis opinio). As for the comic iambic tetrameter I suggest that its structure is related with the choliambus (in fact Hipponax composed 4ia of the comic kind): while the choliambus alters the last four positions of the verse, the 4ia takes out the fourth, and lets three arrhythmic positions ending the line. That is not just a catalexis, but a complete transformation of the last segment. In fact there is a complete iambic tetrameter in the Satyr Drama, which I have described elsewhere.
ROSETTA 16, 2014 , 2014
On the basis of three linguistic features of Greek metre: syllabic quantity, synapheia and compon... more On the basis of three linguistic features of Greek metre: syllabic quantity, synapheia and components, I state the similarity between stichic verses and Lyric periods, and I define the general structure of Lyric Periods and the differences between them and the stichic verses. While stichic verses present a fixed structure, are composed of M- and D-components in perfect alternation, are never isosyllabic, belong to a single rhythm, end in a D-component, and appear in runs of the same structure, Lyric periods present a free structure, only M-components are obligatory, are usually isosyllabic, often present two rhythms, end with a long-M, and appear in groups of different periods, which compose stanzas of the same structure. I shall try to show how the structural approach that I have applied to stichic verses may be satisfactorily projected into Lyric periods. Firstly I will present the differential traits of this approach, and briefly remember the character of the most representative stichic verses.
Rendiconti dell'Accademia di Archeologia, Lettere e Belle Arti, 65 (Naples), 73-94, 1995
I intend to redefine the stichic verses at the level of structure ("Vers", as opposed to realizat... more I intend to redefine the stichic verses at the level of structure ("Vers", as opposed to realization, "Vortrag"), which in my opinion is the metrical counterpart to the level of "langue" (as opposed to realization, "parole"). I will speculate upon the basis of oral poetry. Quantity versus duration, element versus syllable, are the basis of structural metrics.
Starting from Maas' elementa, I define two kinds of Components: the Monosyllabic (M) and the Potentially Disyllabic (D).
The 6da, 3ia and 4tr are series of perfect alternation of the two components M/D. Both the 6da and the 3ia are rhythmic sequences of 12 components of this kind:
M D M D M / D M D M D M D//
In the hexameter M has a fixed quantity (always long), while D appears either as a long metrical syllable or as two short. M guides the rhythm, and D provides the rhythmic singularity when it happens as two short metrical syllables.
In the trimeter neither M nor D have a fixed quantity. D may occur as long or double-short, but in a given line all the D-components may be long. They rhythm is guided by them. The rhythmic singularity resides in the M-components, which offer two kinds of expression: short (Mv) and short/long (Mv/-).
The mark for verse-end in both verses is a variant of D that becomes fixed as monosyllabic. When a short syllable happens, the rhythm suffers a break: it is the brevis in longo, a hard mark of verse end.
All verses and periods must end in a component that admits a long syllable, but not a single-short. There is not a “prosodic neutrality” of the ending syllable. It must not be called anceps, because it is not. It is coherent that an Indo-European language marks its verses at the end, as it does in the language itself.
The 4tr just adds three components at the beginning of the 3ia. It keeps the same alternation.
D M D M D M D M / D M D M D M D//
It ends in a D fixed as monosyllabic. There is nothing missing at its end. Had it 16 components, the last would be a short/long (Mv/-), that would satisfy the structure as much by being short as by being long: it could not mark a verse-end. A “complete” 4tr could not form verses. The catalexis does not exist.
On the other hand, the main caesurae of the three stichic verses happen after a component contrary to that of verse-end: Caesura after M, verse-end after a monosyllabic D. Besides, in the 6da, the so-called trochaic caesura happens after the first short of a disyllabic D, while verse-end occurs after a monosyllabic D.
dRAMATURGIA E MESSA IN SCENA DEL DRAMMA ANTICO
A comparison is drawn between symmetry in Tragedy and in the Arts. Greek symmetry is artistic and... more A comparison is drawn between symmetry in Tragedy and in the Arts. Greek symmetry is artistic and alive: unlike the exact items produced by a machine, Greek people infused order and proportion to their compositions, avoiding a mechanical similarity. They introduce variation into symmetry. Between the two halves of a whole we may find several kinds of symmetrical structure: the type ABC CBA, and the type ABC ABC are rather common. The centre of the piece, be it an iambic trimeter or the sculpture of a kore or the fronton of a temple, is not in the exact centre. They are composed of two halves a bit different among themselves, so that one half needs the other. The centre is somehow displaced, providing the necessary variation to the whole. A rather interesting example is the sculpture of Kleobis and Biton, twins that Polyimides did not make perfectly alike, inspired by nature. Such structure may explain the irregularities of responsion in Greek Lyrics.
La cantidad silábica en el caso de sílaba abierta depende de la cantidad vocálica, y el acento gr... more La cantidad silábica en el caso de sílaba abierta depende de la cantidad vocálica, y el acento griego, por su parte, depende en buena medida de la cantidad vocálica de la ultima sílaba (ley de limitación, pandialectal). Puesto que en la poesía épica se producen en frontera de palabra fenómenos tales como la correptio épica, con la consiguiente alteración de una larga final de palabra, o el mantenimiento como sílaba larga para la métrica de finales que funcionan como breves para el acento (la lengua), el acento cambiaría teóricamente de posición o de naturaleza en la medida en que dependa de la cantidad del segmento vocálico final. Se han tipificado todos los fenómenos que producirían contradicción entre cantidad vocálica para el acento y cantidad silábica en un muestreo de la Iliada y de Hesiodo. Contando con las peculiaridades de la dichtersprache homérica y hesiodica, se plantean diversas explicaciones.
Synodia. Studi in onore di Antonio Garzya., 1997
While the Spartan PMG 856 and 857 are stichic anapaests that present alternating M- and D-compone... more While the Spartan PMG 856 and 857 are stichic anapaests that present alternating M- and D-components, the so-called anapaestic systems and the catalectic 4an in the Attic drama do not present an alternating rhythm, any of their components being potentially disyllabic. However the Attic poets draw a scheme that mimics the alternating rhythm by means of some peculiar devices.
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VARIA by Elsa Garcia Novo
GREEK METRICS by Elsa Garcia Novo
Taking into account the bases of functional metre, I describe the structural pattern of the trochaic tetrameter, so-called catalectic, which, in my oppinion, presents a perfect alternating rhythm and is not catalectic (against the communis opinio). On the other hand, there is a complete iambic tetrameter (4ia) of perfect alternating rhythm, in the Satyr Drama. As for the comic iambic tetrameter (4iaΛ) I suggest that its structure is related to the choliambic (in fact Hipponax composed 4ia of the comic kind): while the choliambic alters the last four positions of the verse, the 4ia takes out the fourth, and lets three arrhythmic positions ending the line. That is not just a catalexis, but a complete transformation of the last segment.
If both cola were variable (*M-DM-DM-/ M-DM-DM-/// ), the rhythm could not be perceived, because the fixed-long syllable (M-) would change its position in the series: 1, 3, 5, 6… In a given context this second κῶλον may be equal to the implementation of the first (when its two D Components are implemented by two short syllables ), but such line is not very common. At the end of the line, the last M Component may appear as a short syllable (brevis in longo), breaking the rhythm and producing a hard mark of verse end.
poetry, both the dactylic hexameter and the iambic trimeter respond to the same structure. These
are spoken verses of twelve perfectly alternating components: six monosyllabic components (M)
and six potentially disyllabic components (D), which have end-of-line marks, as well as positions
in which the word ending is common (caesuras) and positions in which it is avoided (bridges).
Each of them has a single rhythm (– ⏑ – or – ⏑ ⏑ –), which must appear at least once in each verse.
The trochaic tetrameter is an extension of the iambic trimeter. All three lines necessarily end in
a potentially disyllabic component (D), reduced to a single long syllable. A description of the
elegiac distich is given, showing that its first verse is a spoken hexameter, while the second has
a first series of perfect M/D alternation (MDMDM), but the second has a fixed scheme based on
monosyllabic components, in the style of lyric poetry: MDMDM / MMMMMMM //. It thus serves
as a bridge between spoken verse and lyric κῶλον.
that functions as a ritornello all through the songs, closing every κῶλον. It has five elements (- ⏑ - ⏑ -)
and appears as a part of iambic κῶλα in the first three lines, closes a dochmius plus a iambic metron in
the fourth, and stays by itself in the three next lines as a hypodochmius, where the stanzas reach their
climax at their centre. In the next lines the scheme gets increased its elements at the beginning, showing
a kaibelian dochmius and then iambo-choriambic κῶλα. The poet has assessed in a pentasyllable
scheme the horror of the Chorus before Oedipus, a ritornello that reappears in all the κῶλα, and that
synthesizes the message in the center of each song: the incest / the rejection.
Keywords: Oedipus the King, Greek Metre, Metrical ritornello, Hypodochmius.
Throughout the tragedy he “spoils” that meter in order to show the Persians’
defeat not just in the contents but in the meters as well. As the initial pure
ionics in the Parodos lose at times a position becoming anapaests, they suffer
different alterations and ambiguities along the stasima and amoibaia until
they disappear. In case we assign the κῶλα just one single name we may be
losing the intended ambiguity. On the other hand the poet utilizes a rather
interesting device to express different types of pathos: a series of short syllables
or a series of long syllables, thus introducing arrhythmic κῶλα to attract the
attention of the audience in special moments.
Starting from Maas' elementa, I define two kinds of Components: the Monosyllabic (M) and the Potentially Disyllabic (D).
The 6da, 3ia and 4tr are series of perfect alternation of the two components M/D. Both the 6da and the 3ia are rhythmic sequences of 12 components of this kind:
M D M D M / D M D M D M D//
In the hexameter M has a fixed quantity (always long), while D appears either as a long metrical syllable or as two short. M guides the rhythm, and D provides the rhythmic singularity when it happens as two short metrical syllables.
In the trimeter neither M nor D have a fixed quantity. D may occur as long or double-short, but in a given line all the D-components may be long. They rhythm is guided by them. The rhythmic singularity resides in the M-components, which offer two kinds of expression: short (Mv) and short/long (Mv/-).
The mark for verse-end in both verses is a variant of D that becomes fixed as monosyllabic. When a short syllable happens, the rhythm suffers a break: it is the brevis in longo, a hard mark of verse end.
All verses and periods must end in a component that admits a long syllable, but not a single-short. There is not a “prosodic neutrality” of the ending syllable. It must not be called anceps, because it is not. It is coherent that an Indo-European language marks its verses at the end, as it does in the language itself.
The 4tr just adds three components at the beginning of the 3ia. It keeps the same alternation.
D M D M D M D M / D M D M D M D//
It ends in a D fixed as monosyllabic. There is nothing missing at its end. Had it 16 components, the last would be a short/long (Mv/-), that would satisfy the structure as much by being short as by being long: it could not mark a verse-end. A “complete” 4tr could not form verses. The catalexis does not exist.
On the other hand, the main caesurae of the three stichic verses happen after a component contrary to that of verse-end: Caesura after M, verse-end after a monosyllabic D. Besides, in the 6da, the so-called trochaic caesura happens after the first short of a disyllabic D, while verse-end occurs after a monosyllabic D.
Taking into account the bases of functional metre, I describe the structural pattern of the trochaic tetrameter, so-called catalectic, which, in my oppinion, presents a perfect alternating rhythm and is not catalectic (against the communis opinio). On the other hand, there is a complete iambic tetrameter (4ia) of perfect alternating rhythm, in the Satyr Drama. As for the comic iambic tetrameter (4iaΛ) I suggest that its structure is related to the choliambic (in fact Hipponax composed 4ia of the comic kind): while the choliambic alters the last four positions of the verse, the 4ia takes out the fourth, and lets three arrhythmic positions ending the line. That is not just a catalexis, but a complete transformation of the last segment.
If both cola were variable (*M-DM-DM-/ M-DM-DM-/// ), the rhythm could not be perceived, because the fixed-long syllable (M-) would change its position in the series: 1, 3, 5, 6… In a given context this second κῶλον may be equal to the implementation of the first (when its two D Components are implemented by two short syllables ), but such line is not very common. At the end of the line, the last M Component may appear as a short syllable (brevis in longo), breaking the rhythm and producing a hard mark of verse end.
poetry, both the dactylic hexameter and the iambic trimeter respond to the same structure. These
are spoken verses of twelve perfectly alternating components: six monosyllabic components (M)
and six potentially disyllabic components (D), which have end-of-line marks, as well as positions
in which the word ending is common (caesuras) and positions in which it is avoided (bridges).
Each of them has a single rhythm (– ⏑ – or – ⏑ ⏑ –), which must appear at least once in each verse.
The trochaic tetrameter is an extension of the iambic trimeter. All three lines necessarily end in
a potentially disyllabic component (D), reduced to a single long syllable. A description of the
elegiac distich is given, showing that its first verse is a spoken hexameter, while the second has
a first series of perfect M/D alternation (MDMDM), but the second has a fixed scheme based on
monosyllabic components, in the style of lyric poetry: MDMDM / MMMMMMM //. It thus serves
as a bridge between spoken verse and lyric κῶλον.
that functions as a ritornello all through the songs, closing every κῶλον. It has five elements (- ⏑ - ⏑ -)
and appears as a part of iambic κῶλα in the first three lines, closes a dochmius plus a iambic metron in
the fourth, and stays by itself in the three next lines as a hypodochmius, where the stanzas reach their
climax at their centre. In the next lines the scheme gets increased its elements at the beginning, showing
a kaibelian dochmius and then iambo-choriambic κῶλα. The poet has assessed in a pentasyllable
scheme the horror of the Chorus before Oedipus, a ritornello that reappears in all the κῶλα, and that
synthesizes the message in the center of each song: the incest / the rejection.
Keywords: Oedipus the King, Greek Metre, Metrical ritornello, Hypodochmius.
Throughout the tragedy he “spoils” that meter in order to show the Persians’
defeat not just in the contents but in the meters as well. As the initial pure
ionics in the Parodos lose at times a position becoming anapaests, they suffer
different alterations and ambiguities along the stasima and amoibaia until
they disappear. In case we assign the κῶλα just one single name we may be
losing the intended ambiguity. On the other hand the poet utilizes a rather
interesting device to express different types of pathos: a series of short syllables
or a series of long syllables, thus introducing arrhythmic κῶλα to attract the
attention of the audience in special moments.
Starting from Maas' elementa, I define two kinds of Components: the Monosyllabic (M) and the Potentially Disyllabic (D).
The 6da, 3ia and 4tr are series of perfect alternation of the two components M/D. Both the 6da and the 3ia are rhythmic sequences of 12 components of this kind:
M D M D M / D M D M D M D//
In the hexameter M has a fixed quantity (always long), while D appears either as a long metrical syllable or as two short. M guides the rhythm, and D provides the rhythmic singularity when it happens as two short metrical syllables.
In the trimeter neither M nor D have a fixed quantity. D may occur as long or double-short, but in a given line all the D-components may be long. They rhythm is guided by them. The rhythmic singularity resides in the M-components, which offer two kinds of expression: short (Mv) and short/long (Mv/-).
The mark for verse-end in both verses is a variant of D that becomes fixed as monosyllabic. When a short syllable happens, the rhythm suffers a break: it is the brevis in longo, a hard mark of verse end.
All verses and periods must end in a component that admits a long syllable, but not a single-short. There is not a “prosodic neutrality” of the ending syllable. It must not be called anceps, because it is not. It is coherent that an Indo-European language marks its verses at the end, as it does in the language itself.
The 4tr just adds three components at the beginning of the 3ia. It keeps the same alternation.
D M D M D M D M / D M D M D M D//
It ends in a D fixed as monosyllabic. There is nothing missing at its end. Had it 16 components, the last would be a short/long (Mv/-), that would satisfy the structure as much by being short as by being long: it could not mark a verse-end. A “complete” 4tr could not form verses. The catalexis does not exist.
On the other hand, the main caesurae of the three stichic verses happen after a component contrary to that of verse-end: Caesura after M, verse-end after a monosyllabic D. Besides, in the 6da, the so-called trochaic caesura happens after the first short of a disyllabic D, while verse-end occurs after a monosyllabic D.
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Lasso se había aproximado al poeta desde todas las vertientes filológicas. La literaria, trabada con su expresión exquisita, ora arcaica y desusada, ora audazmente coloquial, que prende en su trama al lector. La crítica textual, tarea reposada del especialista, que ha de aunar todo lo que la filología aúna, y dar el salto genial de la oportuna conjetura.
Buceó en la recepción de Sófocles en señeros dramaturgos -Gide, Cocteau o Brecht-, quienes han mostrado que los personajes que creó el poeta son, como él, indemnes al paso del espacio y del tiempo.
Yo me detendré un instante en la métrica, en la que él se adentró con paso firme, conjugando el ritmo alado del poeta con el intenso sentido de sus canciones, mensaje y arrebato lírico. Lasso abjuraba de la métrica de lápiz y papel, tal la del malhadado Koster. Para estas lides, tomó como guía a Paul Maas -quién otro podría haber sido-, y a sus acertados seguidores, Bruno Snell, y Marjorie Dale. Como antes Schroeder, Dain, Kraus o Pohlsander, con diversa fortuna, hizo él hincapié en la periodología de su poeta, buscando la arquitectura de la estrofa en el equilibrio de sus períodos, atendiendo para ello a la colometría, a las variaciones rítmicas, recontando las theseis, señalando Kopf, al modo de Schroeder, o doble cláusula (pace Dale) donde era menester. Todo ello llevando a cabo una minuciosa revisión de todos y cada uno de los estudios precedentes, de forma exhaustiva. Ahora bien, para ello debía atender al léxico, a la sintaxis, a la crítica textual, a la lengua y estilo de la poesía, de la tragedia, y de su autor. Porque nunca dejó de lado, con Korzeniewski, la estrecha relación de fondo y forma, de metro y palabra y pensamiento, que todo junto y mucho más es un coro sofocleo.
Tal vez por eso su estudio del Himno al amor de la Antígona, en 1990, es un viaje al allí y entonces del teatro de Dioniso, acompañando paso a paso al Coro que danza eolocoriambos, y arañando una a una sus palabras, con el cincel del filólogo y del maestro, siempre atento a la belleza tanta del quehacer sofocleo.
Las partes líricas del Edipo rey, de 1971, vistas a través de sus ojos, estremecen como si se irguiera ante nosotros un Edipo nuevo que, reflejado en el son del coro, encuentra brutalmente su irrefrenable finitud. Los ritmos se suceden, se entrechocan, se quiebran, se sincopan (dáctilos, coriambos, jonios, docmios y yambos sincopados, dactiloepítritos, y de nuevo docmios), subrayando el temor desconcertado, la incertidumbre queda, el conocimiento que rasga al fin la niebla insostenible, y ya, el terror decidido al que es salvador y duelo de Tebas.
Quiero que sirva de cláusula a estas estrofas la que él mismo puso a su exposición del Himno al Amor: "Mi deseo ha sido mostrar, sobre un ejemplo concreto, el interés y la sugestión que emanan de tal enfrentamiento con unos textos, en los que también la perfecta mutualidad, la feliz y equilibrada conjugación de forma y contenido, que ambos se agremian en la unidad orgánica del poema, nos permiten fruir de aquella síntesis profunda y armonía inefable que, para muchos espíritus, es el ápice de la belleza." E. Garcia Novo.
Partiendo de διά + relativo generalizador ὅ τι > δι' ὅ τι (διότι) = a causa de lo cual, tenemos διότι relativo (valor 1).
Cuando pierde el vínculo de subordinación, se constituye el valor de resultado (2): por eso. Es un valor residual, habitualmente expresado por διό.
Los valores interrogativos arrancan de este modo: διά + interrogativo indirecto ὅ τι > δι' ὅ τι (διότι) = ¿a causa de qué?, ¿por qué? Valor 3: διότι interrogativo indirecto.
Se puede utilizar sin oración principal. διότι = ¿Por qué? Valor 4: διότι interrogativo directo.
Tras un verbo principal no-conocimiento, no-palabra, ὅτι causal es hipercaracterizado con διά causa > διότι porque, no ambiguo. Es el valor 5: διότι causal.
Más tarde se efectúa una analogía inconsciente: ὅτι completivo/causal :: διότι completivo/causal. Surge así el valor 6: διότι completivo, posterior a διότι causal.
El valor interrogativo indirecto y el causal se constituyen como funciones principales de διότι. Es muy importante el estudio de la incompatibilidad en un mismo autor, entre el valor de resultado (2), por eso, y el valor causal (3), porque, por ser expresiones contrarias. A, por eso B, ergo B porque A.
I have defined for the first time the six functions of διότι, their origin, and the incompatibility of two of them (result and causal) in the same treatise. This study is valid for the whole of Classical Greek. The author has analyzed the 140 examples provided by the Hippocratic collection and has proposed some text-critical conjectures, thanks to the consultation of manuscripts and the best editions of the texts, and thus presents an added value to improve the readings in some passages.
gynaecological diseases where ailments of the breast appear, mainly
related to gravidity and lactation; breast is mentioned in individual patients as well. Some changes in the breast along pregnancy could foretell health, disease and death of the foetus. Galen considered the design of the vessels that nurture breast and uterus, a wonderful achievement of Nature. Both of them have their origin in the same veins and are useful to eliminate excess and purify the body. When menstruation stops because of gravidity, there remains an excess in the vessels that is accumulated as milk in the upper part of the body, because the embryo pushes the vessels upwards. The genesis of milk had been earlier studied by the Hippocratics, Aristotle and Soranus. Men breasts were also considered. Paulus of Aegina explained the problem of men with gynecomastia, and explained the ways to eliminate it.
This first critical edition presents a continuous text (no chapters) and points to the internal structure created by the author in order to make his text readily accessible - and unforgettable. A thorough Introduction, explaining the textual transmission and the fundamental topics, is coupled by an ample Commentary that deals with alteration and pain, qualities and humours, inflammation and fevers, no less than with scribal errors and grammatical explanations.