From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Mon, 2 Sep 2019 13:46:59 +0900 Subject: Initial commit --- macros/latex/contrib/metre/greek1.tex | 296 ++++++++++++++++++++++++++++++++++ 1 file changed, 296 insertions(+) create mode 100644 macros/latex/contrib/metre/greek1.tex (limited to 'macros/latex/contrib/metre/greek1.tex') diff --git a/macros/latex/contrib/metre/greek1.tex b/macros/latex/contrib/metre/greek1.tex new file mode 100644 index 0000000000..08532d8b8f --- /dev/null +++ b/macros/latex/contrib/metre/greek1.tex @@ -0,0 +1,296 @@ +\documentclass[11pt]{report} +\usepackage[polutonikogreek,english]{babel} +\usepackage{metre} +\textwidth 5in +\topsep 0pt +\partopsep 0pt +\pagestyle{empty} +\Magnitudo{+1} +\newcommand{\Greek}[1]{\foreignlanguage{polutonikogreek}{#1}} +% +% shorthands for the `metrike' environment +% +\renewcommand{\(}{\begin{metrike}} +\renewcommand{\)}{\end{metrike}} +% +% some convenient shorhands for metres +% +\newcommand{\dactyl}{\metra{\m\b\b}} +\newcommand{\spondee}{\metra{\m\m}} +\newcommand{\enoplion}{\metra{\m\m\b\b\m\b\m\m}} +% +\begin{document} +% +\hrule height 1.5pt \vspace{1ex} +{\large From D.L. Page's commentary to \textit{Medea} (1st ed.), pp.~182-183.}\par +\vspace{1ex} +Copyright Oxford University Press.\par +Reproduced by permission of Oxford University Press.\par +\vspace{1ex} \hrule height 1.5pt +\vspace{5ex} +{\noindent\textit{The Parodos.}}\par +\vspace{1ex} +As in Aeschylus' \textit{Septem} and Euripides' \textit{Bacchae}, the +Chorus begins with a short lyric to which there is no antistrophic +reply, \oldstylenums{131} sqq.\,:\par +% +% +\begin{tabbing} +% +% defining the tab stops (note \kill at the end) +% +\hspace*{2em}\oldstylenums{131}\hspace{.25em}% +\=\metra{\b\b\m}\hspace{.25em}% +\=\metra{\m\m}\hspace{.25em}% +\=\metra{\b\b\m}\hspace{.25em}% +\=\metra{\b\bm}\hspace{2em}% +\=Anapaests\kill% +% +\oldstylenums{131}% +\>\metra{\b\b\m}% +\>\metra{\m\m}% +\>\metra{\b\b\m}% +\>\metra{\b\b\m}% +\>Anapaests\\% +% +\>\metra{\m\m}% +\>\metra{\m\m}% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>Anapaests\\% +% +\>\metra{\m\b\b}% +\>\metra{\m\m}% +\>\metra{\m\m}% +\>\metra{\m}% +\>Paroemiac\\% +% +% redefining the tab stops (note \kill at the end) +% +\oldstylenums{131}\hspace{.25em}% +\=\metra{\m\b\b}\hspace{.25em}% +\=\metra{\m\b\b}\hspace{.25em}% +\=\metra{\m\b\b}\hspace{.25em}% +\=\metra{\m\b\b}\hspace{.25em}% +\=\metra{\m\b\m}\hspace{2em}% +\=Lyric dactyl\kill% +% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>\metra{\m\b\m}% +\>Lyric dactyl\\% +% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>\metra{\m\b\b}% +\>\metra{\m\b\m}% +\>Lyric dactyl\\% +% +\>% +\>\metra{\m\b\b}% +\>\metra{\b\m\c\m\b\m\c\b\m\m}% +\>% +\>% +\>Iamb.\\% +\end{tabbing}\par +At \oldstylenums{148} the Chorus begins a strophe which opens with +anapaests:\par +\vspace{1ex} +{% here we use the TeX primitive \halign +\tabskip .2em % +\halign {% +\hspace*{2em}#\hspace*{4em}&&#\hfill\cr% the pattern +\oldstylenums{148}&\dactyl &\spondee &\spondee &\spondee \cr +&\spondee &\spondee &\spondee &\spondee\cr +&\spondee &\spondee \cr +}% \halign +} + +Three enoplia follow:{\obeylines +\hspace{6.25em}\enoplion +\hspace{6.25em}\enoplion +\hspace{6.25em}\enoplion +} +Then a reizianum, which is similar in scansion to the enoplion +for the first six syllables:{\obeylines +\hspace{6.25em}\metra{\m\m\b\b\m\m} +} + +Then comes a trochaic metron:{\obeylines +\hspace{6.25em}\metra{\m\b\m\b} +}\noindent followed by three more enoplia{\obeylines +\hspace{6.25em}\enoplion +\hspace{6.25em}\enoplion +\hspace{6.25em}\enoplion +}\noindent then a molossus:{\obeylines +\hspace{6.25em}\metra{\m\m\m} +} + +And the strophe is closed by a line which is similar in scansion to +the enoplia, being in fact a glyconic followed by a spondee:{\obeylines +\hspace{6.25em}\metra{\m\m\m\b\b\m\b\m\m\m} +} + +The Parodos is ended by a short choral lyric to which there is no +antistrophic reply, \oldstylenums{204} sqq.\,:\par +\vspace{1ex} +%\Elevatio{.5}% +% +{% here we use the TeX primitive \halign +\tabskip 1em plus 2em minus .5em% +\halign to \hsize{% +#\hfill&#\hfill&\quad\quad#\hfill\cr% the pattern +\oldstylenums{204}&\(\=aq\=an \=a-\)\-&molossus\cr +&\-\(-\-i\=on p\-ol\=u\C st\-on\=on g\-o\=wn\)&iambic\cr +&\(l\-ig\-ur\-a d \-aq\-e\-a\c m\-og\-er\-a b\-o\={a|}\)&iambic\cr +% +\noalign{Then another iambic metron leads to a reizianum, similar in +scansion to a dactylo-epitrite:} +% +&\(t\-on \=en l\-eqe\=i\c pr\-od\-ot\=an k\-ak\-on\=umf\=on\)\cr +% +\noalign{Then follow two more iambic metra:} +% +&\(j\-e\=okl\-ute\=i\c d \-ad\-ik\-a p\-ajo\=usv\C\-a\)\cr +% +\noalign{Then another quasi-dactylo-epitrite:} +% +&\(t\=an Z\=hn\-os \=or\C k\-i\=an J\-em\-in \=a n\-in \-eb\=asv\-en\)\cr +% +\noalign{\noindent followed by a hemiepes, repeating the scansion of +% +\-\-\ \(-\=an J\-em\-in \=a n\-in \-eb\=a-\)\ \-\-\,:} +&\(\=Ell\-ad \-es \=ant\-ip\-or\=on\)\cr +% +\noalign{Then a return to the opening iambic rhythm:} +% +&\(d\-i \-al\-a n\-uq\-i\-on\c \-ef \=alm\-ur\=an\)\cr +% +\noalign{\noindent and finally a pherecratean clausula:} +% +&\(P\=onto\=u kl\={h|}d> \-ap\-er\=ant\=on\)\cr +}% halign +}% +\vspace{5ex} +\hrule height 1.5pt \vspace{1ex} +{\large From E.R. Dodds' commentary to \textit{Bacchae} (2nd ed.), pp.~72-73.}\par +\vspace{1ex} +Copyright Oxford University Press 1960.\par +Reproduced by permission of Oxford University Press.\par +\vspace{1ex} \hrule height 1.5pt +\vspace{5ex} +\Greek{pros'imion} and \Greek{str}+\Greek{>ant.\,a$^\prime$}: ionics +\textit{a minore}. This is the characteristic metre of the +\textit{Bacchae}. Its use was doubtless traditional for Dionysiac +plays, since it is proper to Dionysiac cult-hymns; it appears +in the refrain of Philodamos' Delfic hymn to Dion. and in the +Iacchos-hymn of the \textit{Frogs} (\oldstylenums{324} ff.). +The standard line consists of two \Greek{m'etra} (\oldstylenums{65} +and \oldstylenums{69} have three), either + +\begin{list}{}{} +% +\item[(\textit{a})] `straight' form, \metra{\b\b\m\m \c \b\b\m\m} +(Hor., \textit{Odes} \oldstylenums{3}, \oldstylenums{12} is composed +entirely in this form), +% +\item[or (\textit{b})] `anaclastic' or broken form (anacreontics), +\metra{\b\b\m\b\c\m\b\m\m}. +\end{list} +% +(\textit{b}) yields a swifter and more emotional rhythm than +(\textit{a}). Both forms are illustrated by Kipling's line:\par +\begin{metrica} +\-And th\-e s\='unsh\=ine\c \-and th\-e p\='almtre\=es \-and th\-e +t\=inkl\-y t\=empl\-e b\=ells\ \metra[\m{-2}\ss{1.225}\ms{st}]{\K\m}% +\end{metrica}\par +Variations include (\oldstylenums{1}) `catal\=exis', suppressing the +last syllable of the second \Greek{m'etron} and occasionally of the +first (\oldstylenums{64} = \metra{\b\b\m\k\m \c \b\b\m\k\m}); +(\oldstylenums{2}) `syncopation', suppressing a short syllable within +the \Greek{m'etron} (\oldstylenums{71} = \metra{\b\b\m\b\c\m\p\m\m}); +(\oldstylenums{3}) `resolution' of either long into two shorts +(\oldstylenums{79} = \metra{\b\b\bb\m\c\b\b\m\m}); (\oldstylenums{4}) +the reverse substitution of a long for two shorts +(\oldstylenums{81} = \metra{\m\m\m\c\b\b\m\m}).\ [\ldots] + +\Greek{str.}+\Greek{>ant.\,b$^\prime$}. In \oldstylenums{105}% +-\oldstylenums{10} = \oldstylenums{120}-\oldstylenums{5} the first element +is a choriambus \metra{\m\b\b\m} (resolved in +\oldstylenums{107}-\oldstylenums{122} into \metra{\bb\b\b\bb}); the +second is either an iambic \Greek{m'etron} +(\oldstylenums{109}-\oldstylenums{124}, with the last long resolved) +or a bacchius \metra{\b\m\m} (perhaps equivalent to a syncopated +iambic \Greek{m'etron} \metra{\b\m\p\m}). + +In the remainder, ionics (\oldstylenums{113}-\oldstylenums{14}) +are mixed with glyconics (see on stasimon \oldstylenums{1}, +\oldstylenums{402} ff., which for the beginner forms a +better introduction to the metre) and dactyls. The last +named describe the rush of the dancers to the mountains +(\oldstylenums{116}-\oldstylenums{17}); and in general the excited and +swiftly changing rhythms seem to reflect, as Deichgr\"aber observes, +the Dionysiac unrest. +\strut\strut\par +Scheme: +\begin{tabbing} +% +% defining the tab stops (note \kill at the end) +% +\oldstylenums{115}-\oldstylenums{130}\hspace{2em} +\=\metra{\m\b\b\bbm}% +\=\metra{\b\m\s\b\b\m}\hspace{3em}% +\=? glyc. with trisillabic close. \kill +% +\oldstylenums{105}-\oldstylenums{120}% +\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}% +\>chor{.}+ba.\\ +% +\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}% +\>chor{.}+ba.\\ +% +\>\>\metra{\bb\b\b\bb}\'\metra{\b\m\m}% +\>chor{.}+ba.\\ +% +\>\>\metra{\m\b\b\bbm}\'\metra{\b\m\m}% +\>chor{.}+ba.\\ +% +\>\>\metra{\m\b\b\m}\'\metra{\b\m\b\bb}% +\>chor{.}+iamb.\\ +% +\oldstylenums{110}-\oldstylenums{125}% +\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}% +\>chor{.}+ba.\\ +% +\>\metra{\m\m\s\m\b\b\m\s\b\m}% +\>\>glyc.\\ +% +\>\metra{\bb\b\s\m\b\b\m\s\b\b\m}% +\>\>? glyc. with trisillabic close. \\ +% +\>\metra{\m\m\m\s\b\b\m\m\s\b\b\m\m}% +\>\>\oldstylenums{3} ion.\\ +% +\>\metra{\bb\m\m\s\b\b\m\m\s\b\b\m\m}% +\>\>\oldstylenums{3} ion.\\ +% +\oldstylenums{115}-\oldstylenums{130}% +\>\metra{\bb\b\s\m\b\b\m\s\b\b\m}% +\>\>? glyc. with trisillabic close. \\ +% +\>\metra{\m\b\b\s\m\b\b\s\m\b\b\s\m\K\m}% +\>\>\oldstylenums{4} dact.\\ +% +\>\metra{\m\b\b\s\m\b\b}% +\>\>\oldstylenums{2} dact.\\ +% +\>\metra{\b\m\s\m\b\b\m\s\b\m}% +\>\>glyc.\\ +% +\>\metra{\m\m\s\m\b\b\m\s\m}% +\>\>pher.\\ +\end{tabbing} +\end{document} -- cgit v1.2.3