From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001
From: Norbert Preining <norbert@preining.info>
Date: Mon, 2 Sep 2019 13:46:59 +0900
Subject: Initial commit

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 macros/latex/contrib/metre/greek1.tex | 296 ++++++++++++++++++++++++++++++++++
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+\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}
-- 
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