From 007f67a693e4d031fd3d792df8e4d5f43e2cb2e7 Mon Sep 17 00:00:00 2001 From: Karl Berry Date: Mon, 9 Jan 2006 00:49:07 +0000 Subject: doc/latex git-svn-id: svn://tug.org/texlive/trunk@84 c570f23f-e606-0410-a88d-b1316a301751 --- Master/texmf-dist/doc/latex/metre/demo.pdf | Bin 0 -> 79970 bytes Master/texmf-dist/doc/latex/metre/demo.tex | 180 ++++++++++++++++ Master/texmf-dist/doc/latex/metre/greek1.tex | 296 +++++++++++++++++++++++++ Master/texmf-dist/doc/latex/metre/greek2.tex | 70 ++++++ Master/texmf-dist/doc/latex/metre/greek3.tex | 110 ++++++++++ Master/texmf-dist/doc/latex/metre/igreek1.tex | 298 ++++++++++++++++++++++++++ Master/texmf-dist/doc/latex/metre/igreek2.tex | 65 ++++++ Master/texmf-dist/doc/latex/metre/igreek3.tex | 111 ++++++++++ Master/texmf-dist/doc/latex/metre/metre.pdf | Bin 0 -> 266941 bytes 9 files changed, 1130 insertions(+) create mode 100644 Master/texmf-dist/doc/latex/metre/demo.pdf create mode 100644 Master/texmf-dist/doc/latex/metre/demo.tex create mode 100644 Master/texmf-dist/doc/latex/metre/greek1.tex create mode 100644 Master/texmf-dist/doc/latex/metre/greek2.tex create mode 100644 Master/texmf-dist/doc/latex/metre/greek3.tex create mode 100644 Master/texmf-dist/doc/latex/metre/igreek1.tex create mode 100644 Master/texmf-dist/doc/latex/metre/igreek2.tex create mode 100644 Master/texmf-dist/doc/latex/metre/igreek3.tex create mode 100644 Master/texmf-dist/doc/latex/metre/metre.pdf (limited to 'Master/texmf-dist/doc/latex/metre') diff --git a/Master/texmf-dist/doc/latex/metre/demo.pdf b/Master/texmf-dist/doc/latex/metre/demo.pdf new file mode 100644 index 00000000000..a0942d7eb5b Binary files /dev/null and b/Master/texmf-dist/doc/latex/metre/demo.pdf differ diff --git a/Master/texmf-dist/doc/latex/metre/demo.tex b/Master/texmf-dist/doc/latex/metre/demo.tex new file mode 100644 index 00000000000..8d60b12c482 --- /dev/null +++ b/Master/texmf-dist/doc/latex/metre/demo.tex @@ -0,0 +1,180 @@ +\documentclass[12pt]{report} +\usepackage{metre} +%\usepackage[T1]{fontenc} +\Magnitudo{0} +\parindent 0pt +\parskip 0pt +% +\newenvironment{MetricalScheme}{% + \let\par=\cr \obeylines % + \halign to \hsize \bgroup + \quad\quad\oldstylenums{##}\quad\quad\hfill&% + ##\hfill&% + \tabskip 0pt plus 5em minus 5em\quad\quad##\hfill +}{\egroup} +% +\newcommand{\strophe}[1]{% + \noalign{% + \vspace*{4ex} + \quad\quad + \textit{#1} + \vspace*{2ex} + }% +} +% +\begin{document} +{\large\textbf{From:} \textsc{Angelo Paredi} \textit{Thesaurus}}\par +\vspace{5ex} +\textbf{Il giamb\`elego.} \`E un verso composto da un dimetro giambico +e da un trimetro dattilico catalettico \textit{in syllabam}.\par +\vspace{2ex} +Schema:\ \ \metra{\mb\M\s\b\M\s\bm\M\s\b\Bm\c\M\b\b\s\M\b\b\s\Bm}\par +\vspace{2ex} +Preceduto dall'esametro forma la strofa chiamata metro +\textbf{archilocheo secondo}. Orazio lo usa una sola volta +nell'epodo \oldstylenums{13}. Per esempio: +\begin{verse} +\begin{metrica} +H\='orr\-id\-a t\='emp\=est\='a c\={ae}l\='um c\=ontr\='ax\-it \-et \='imbr\=es\\ +\quad n\-iv\='esqu\-e d\='ed\=uc\='unt I\-ov\='em;\c n\='unc m\-ar\-e n\='unc s\-il\-u\='{ae}\\ +Thr\='e\-ic\-i\='o \-Aqu\-il\='on\-e s\-on\='ant. R\-ap\-i\='am\-us, \-am\='ic\=i,\\ +\quad \=occ\='as\-i\='on\=em d\='e d\-i\='e,\c d\='umqu\-e v\-ir\='ent g\-en\-u\='a\\ +\='et d\-ec\-et, \='obd\=uct\='a s\=olv\='at\=ur fr\='ont\-e s\-en\='ect\=us.\\ +\quad T\=u v\='in\-a T\='orqu\=at\='o m\-ov\='e\c c\='ons\-ul\-e pr\='ess\-a m\-e\='o.\\ +\end{metrica} +\end{verse} +% +\vspace{3ex} +% +\begin{verse} +\begin{metrica} \Translatio{.125} \it +H\='orr\-id\-a t\='emp\=est\='a c\={ae}l\='um c\=ontr\='ax\-it \-et \='imbr\=es\\ +\quad n\-iv\='esqu\-e d\='ed\=uc\='unt I\-ov\='em;\c n\='unc m\-ar\-e n\='unc s\-il\-u\='{ae}\\ +Thr\='e\-ic\-i\='o \-Aqu\-il\='on\-e s\-on\='ant. R\-ap\-i\='am\-us, \-am\='ic\=i,\\ +\quad \=occ\='as\-i\='on\=em d\='e d\-i\='e,\c d\='umqu\-e v\-ir\='ent g\-en\-u\='a\\ +\='et d\-ec\-et, \='obd\=uct\='a s\=olv\='at\=ur fr\='ont\-e s\-en\='ect\=us.\\ +\quad T\=u v\='in\-a T\='orqu\=at\='o m\-ov\='e\c c\='ons\-ul\-e pr\='ess\-a m\-e\='o.\\ +\end{metrica} +\end{verse} +% +\newpage +% +% +\FaciesSiglorum{} % suppress the use of italics +\MetraStyle{en} +{\large\textbf{From:} \textsc{Pindaro} \textit{Le Pitiche}}, Fondazione Lorenzo Valla\par +\vspace{5ex} +\begin{center} +\textsc{Pitica VII}\par +\vspace*{1ex} +{\large Schema metrico}\par +\end{center} +\vspace*{15ex} +Metro: strutture miste coriambico-giambiche\par +\begin{MetricalScheme} + \strophe{Strofe antistrofe}% +1& \metra{\m\m\b\m\b\b\b\b\b\b\b\m\m\Cc\S H}& \sigla{3ia_} +2& \metra{\b\m\b\b\m\s\s\s\m\b\m\s\s\s\bm\m\b\m\b\b\m\C}&% + \sigla{_>_<>_<>_<\D{}k cr\cc}\\ +10& \metra{\b\m\m\s\b\m\b\m\s\bb\b\m\cc}& \sigla{ba ia cr\cc}\\ +11& \metra{\n{80}{\mb}\m\b\bb\s\m\b\m\b\m}&\sigla{ia (hypo<<)>\d\ccc}\\ +\end{tabular} +\vspace*{2\bigskipamount} + +ep.\vspace*{\bigskipamount} + +\begin{tabular}{rlr} +1& \metra{\b\m\b\bb\s\m\b\m\s\m\bb\m\s\b\m\m\s\b\m\b\m\cc}&\sigla{ia cr + cho ba ia\cc}\\ +2&\metra{\b\m\m\b\b\m\m\c\bb\d{\bb}\m\b\m\cc}&\sigla{pher + \d\cc}\\ +3&\metra{\m\b\m\b\m\b\m\s\bb\m\m\b\m\cc}&\sigla{lec (= cr ia) + \d\cc}\\ +4&\metra{\b\m\m\b\m\s\m\bb\m\b\m\s\b\m\bb\m\m\cc}&\sigla{3\,\d\cc}\\ +5&\metra{\b\b\m\b\s\m\b\b\m\s\s\m\b\m\b\m\cc}&\sigla{wilamow (hypo<<)>\d\cc}\\ +6&\metra{\m\m\bb\m\b\m\s\m\b\m\b\m\cc}&\sigla{telesil (= _gl) (hypo<<)>\d\cc}\\ +7&\metra{\b\b\b\s\m\b\b\m\s\s\m\b\m\cc}&\sigla{wilamow cr\cc}\\ +8&\metra{\b\m\m\s\b\m\m\b\b\m\b\m\s\m\b\b\m\s\b\m\m\ccc}&\sigla{ba gl + cho ba\ccc}\\ +\end{tabular} +\end{center} +\end{document} + diff --git a/Master/texmf-dist/doc/latex/metre/greek1.tex b/Master/texmf-dist/doc/latex/metre/greek1.tex new file mode 100644 index 00000000000..08532d8b8f3 --- /dev/null +++ b/Master/texmf-dist/doc/latex/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} diff --git a/Master/texmf-dist/doc/latex/metre/greek2.tex b/Master/texmf-dist/doc/latex/metre/greek2.tex new file mode 100644 index 00000000000..d5d9c386e98 --- /dev/null +++ b/Master/texmf-dist/doc/latex/metre/greek2.tex @@ -0,0 +1,70 @@ +\documentclass[11pt]{article} +\usepackage[polutonikogreek,german]{babel} +\usepackage{metre} +\DeclareTextFontCommand{\textgreek}{\selectlanguage{polutonikogreek}} +\thispagestyle{empty} +\begin{document} +\begin{center} +{\Large\bf Metrische Formen in Archilochos' Fragmenten}\\ +\vspace{2ex} +{\small Rainer Thiel, 2. Dezember 2000} +\end{center} +\begin{enumerate} +\item Elegisches Distichon (\sigla{6da_\cc hem\c hem}, +frgg.~1--17\,W.):\\ + \metra{\n1\m\mbb\n2\m\mbb\n3\m\mbb\n4\m\mbb\n5\m\mbb\n6\m\a\cc} + \metra{\m\mbb\m\mbb\m\c\m\bb\m\bb\m} +\item Iamb. Trimeter, stichisch (\sigla{3ia}, frgg. 18--87): + \metra{\a\m\b\n1\m\s\a\m\b\n2\m\s\a\m\b\n3\m}\\ (Horazens Epodisches \glq + System\grq\ VII, Hor. epod. 17) +\item Troch. Tetrameter, stichisch (\sigla{4tr_}, frgg. 88--167):\par% +\metra{\m\b\m\a\s\m\b\m\a\c\m\b\m\a\s\m\b\m} + +\item In Archilochos' Epoden-Fragmenten vorfindliche Systeme: + +\begin{enumerate} +\item \sigla{enopl\c ith} (frgg. 168--171): + \metra{\bbmb\m\bbmb\m\bbmb\m\bm\c\m\b\m\b\m\bm} + +\item \sigla{3ia\cc 2ia} (frgg. 172--181): + \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\a\m\b\m\s\a\m\b\m}\\( + Horazens Epodisches System I, vgl. Hor. epod. 1--10) + +\item \sigla{3ia\cc hem} (frgg. 182--187): % + \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m} + +\item \sigla{alcm\c ith\cc 3ia_} (frgg. 188--192):\par% +\metra{\m\mbb\m\mbb\m\mbb\m\mbb\c\m\b\m\b\m\bm\cc\a\m\b\m\s\a\m\b\m\s\b\m\m} + +\item \sigla{6da_\cc 2ia} (frg. 193, evtl. frg. 194):\par% +\metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a\cc\a\m\b\m\s\a\m\b\m}\\ +(Horazens Epodisches System V, vgl. Hor. epod. 14. 15) + +\item \sigla{6da_\cc alcm_} (frg. 195, nicht ganz sicher): + \\\metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a} +\metra{\m\mbb\m\mbb\m\bb\m\m} \\(vgl. Horazens Epodisches System III, +Hor. epod. 12) +\item +\begin{enumerate} +\item \sigla{hem 2ia} (evtl. nur ein Teil von + \addtocounter{enumiii}{1}(\roman{enumiii})\addtocounter{enumiii}{-1}; + frg. 196)\par Heph. 19,9, p. 50, 14--17:\par \textgreek{{\small Tr'iton d'e + >estin par`a >Arqil'oqw| >asun'arthton \textit{>ek daktuliko~u + penj\-hmi\-me\-ro~us} (\metra{\m\bb\m\bb\m}) \textit{ka`i + >iambiko~u dim'etrou >akatal'hktou} +(\metra{\a\m\b\m\s\a\m\b\m});}\\ + >all`a m'' wta~ire, d'amnatai p'ojos.} + +\item K\"olner Epodenfragment (frg. 196\,a): \sigla{3ia\cc hem\cc 2ia}\\ +\metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m\cc\a\m\b\m\s\a\m\b\m}\\ +(Horazens Epodisches System II, vgl. Hor. epod. 11) + +\end{enumerate} +\item \sigla{3tr_} (frg. 197): +\metra{\m\b\m\a\s\m\b\m\a\s\m\b\m} + +\end{enumerate} +\end{enumerate} + +\end{document} + diff --git a/Master/texmf-dist/doc/latex/metre/greek3.tex b/Master/texmf-dist/doc/latex/metre/greek3.tex new file mode 100644 index 00000000000..5100c23cb5d --- /dev/null +++ b/Master/texmf-dist/doc/latex/metre/greek3.tex @@ -0,0 +1,110 @@ +\documentclass[11pt]{report} +\usepackage[polutonikogreek,english]{babel} +\usepackage{metre} +\textwidth 5in +\topsep 0pt +\partopsep 0pt +\pagestyle{empty} +\Magnitudo{+1} +\begin{document} +\vspace{5ex} +\hrule height 1.5pt \vspace{2ex} +\selectlanguage{english} +{\large Examples of Greek text typeset with \texttt{Babel} and % + \texttt{metre}} +\vspace{2ex} +\hrule height 1.5pt +\selectlanguage{polutonikogreek} +\vspace{7ex} +{\obeylines\everypar{\quad} +ka`i g`ar a>i fe'ugei, taq'ews di'wxei, +a>i d`e d~wra m`h d'eket'', >all`a d'wsei, +a>i d`e m`h f'ilei, taq'ews fil'hsei +ko>uk >ej'eloisa.\linea* +>'elje moi ka`i n~un, qal'epan d`e l~uson +>ek mer'imnan, >'ossa d'e moi t'elessai +j~umos >im'errei, t'eleson, s`u d'' a>'uta +s'ummaqos >'esso.\geminata* +} +\vspace{5ex} +\begin{verse} +tejn'akhn d'' >ad'olws j'elw;\\ +>'a me yisdom'ena katel'impanen\linea +p'olla ka`i t'od'' >'eeip\punctum\lbrack\\ +>'wim'' >ws de~ina pep['onj]amen;\\ +Y'apf'', >~h m'an s'' >a'ekois'' >apulimp'anw.\linea +t`an d'' >'egw t'ad'' >ameib'oman;\\ +qa'irois'' >'erqeo k>'amejen\\ +m'emnais''; o>~isja g`ar >'ws se ped'hpomen.\linea +a>i d`e m'h, >all'a s'' >'egw j'elw\\ +>'omnaisai\lbrack\punctum[3]\Punctum\rbrack% + \lbrack\punctum[2]\Punctum\rbrack\punctum[2]ai\\ + \punctum[2]\lbrack\kern 6.5em\rbrack% + ka`i k'al'' >ep'asqomen;\linea +\end{verse} +\vspace{5ex} +{\obeylines\everypar{\quad} +Sikel'ia t' a>uto~u pi'ezei +st'erna laq\positio n'aenta; k'iwn d'' o>uran'ia sun'eqei, +nif'oess' A'>itna, p'anetes +qi'onos er'eugontai m`en >ap\positio l'atou pur`os >ag\positio n'otatai +>ek muq~wn paga'i; potamo`i +\quad d'' 'ijwn''; +} +\newpage +{\obeylines\everypar{\quad} +o>ud`e e<~is [se m'em]yetai plhs'ion qroso~u +st~asan o>u[d`e] \dubia{>e}[xel]'egxei se qrus'os, >all`a +dio'iseis a>ut'on;\,{\fontseries{b}\selectfont % +o>u g`ar polup'hnwn K'a-}\bifida*[.1] +\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont +\tiny\,]}% +{\fontseries{b}\selectfont % +la]isos >an`er ped'' >andr~wn o>u[d''] >'agrios;} >e[k- +to~u >enant'iou t`o >enant'ion; o>uk >est`i polup'h- +mwn a]ll'' e>uda'imwn o>ud'' '>agrios +>all`a ''iones t~w da'imonos}\bifida*[.1] +\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont +\tiny\,]}% +'ar'istan;}\,Lewtuq'idas +L]akedai[mon'i]\dubiae{wn} basile'us. '>adhlon d`e +\leavevmode\kern 7em j]ug'athr e\dubiae{oik}en}\bifida*[.1] +\leavevmode\kern 7.5em{\fontseries{b}\selectfont p]aid`i xanj~wi Polud'w[r]w[} +\leavevmode\kern 8em] Lewtuq'ida uesti to~u +Lakedaimon'iwn] basil'e[w]s; [to]~u d'' E'uru\dubia{k}[r]\dubia{'a}- +tous uesti) +D'uma[inai, <~wn p'a]tra Dum~a[nes;] +} +\vspace{5ex} +{\obeylines\everypar{\quad} +fhsi kokut`o\dubia{n} [\linea* +to'utwi ul'ogws h par\punctum[2]\lbrack +\dubia{t}on >ejr'hnoun >epio\punctum\lbrack +'>eoiken daimoni\punctum\lbrack +} +\vspace{5ex} +{\obeylines\everypar{\quad} +\leavevmode\kern 7.5em k'alliston m'artur >'ejento p'onwn +qrouso~u tim'hentos >e\semi]n a>ijer\semi[i; ka'i sfin >a'exei +\leavevmode\kern 4em a>ut~wn t'' e>urei~an kl\semi]hd'on\semi[a ka`i pat'erwn. +\leavevmode\kern 11em]\dubia{p}ol\dubia{u}[ +} +\vspace{5ex} +\Lineola[-.3]{mr\gravis[.5]s}\ \ \ % +>'eq\structa[.1]{oi}{\tiny oisv}\ \ \ % +>amfi\acutus[.3]{{\metrike\=a}}rewn\ \ \ % +>a\erasa{}x'ewn\ \ \ % +-\structa[.25]{ai}{\tiny \kern .05em h}si +\end{document} diff --git a/Master/texmf-dist/doc/latex/metre/igreek1.tex b/Master/texmf-dist/doc/latex/metre/igreek1.tex new file mode 100644 index 00000000000..eaaad0f96e1 --- /dev/null +++ b/Master/texmf-dist/doc/latex/metre/igreek1.tex @@ -0,0 +1,298 @@ +\documentclass[11pt]{report} +\usepackage{ibycus4} +\usepackage[en]{metre} +\textwidth 5in +\topsep 0pt +\partopsep 0pt +\pagestyle{empty} +\Magnitudo{+1} +\newcommand{\Greek}[1]{\bgroup\fontencoding{OT1}\greek #1\egroup} +% +% 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} + +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}&\(\=ax\=an \=a-\)\-&molossus\cr +&\(-\-i\=on p\-ol\=u\C s|t\-on\=on g\-o\=wn\)&iambic\cr +&\(l\-ig\-ur\-a d \-ax\-e\-a\c m\-og\-er\-a b\-o\={a|}\)&iambic\cr +% +\noalign{Then another iambic metron leads to a reizianum, similar in +scansion to a dactylo-epitrite:} +% +&\(t\-on \=en l\-exe\=i\c pr\-od\-ot\=an k\-ak\-on\=umf\=on\)\cr +% +\noalign{Then follow two more iambic metra:} +% +&\(q\-e\=okl\-ute\=i\c d \-ad\-ik\-a p\-aqo\=us|\C\-a\)\cr +% +\noalign{Then another quasi-dactylo-epitrite:} +% +&\(t\=an Z\=hn\-os \=or\C k\-i\=an Q\-em\-in \=a n\-in \-eb\=as|\-en\)\cr +% +\noalign{\noindent followed by a hemiepes, repeating the scansion of +% +\ \(-\=an Q\-em\-in \=a n\-in \-eb\=a-\)\ \-\-\,:} +&\(\=Ell\-ad \-es \=ant\-ip\-or\=on\)\cr +% +\noalign{Then a return to the opening iambic rhythm:} +% +&\(d\-i \-al\-a n\-ux\-i\-on\c \-ef \=alm\-ur\=an\)\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{prosi'mion} and \Greek{str}+\Greek{a)nt.\,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{me'tra} (\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{me'tron} 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{me'tron} (\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{a)nt.\,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{me'tron} +(\oldstylenums{109}-\oldstylenums{124}, with the last long resolved) +or a bacchius \metra{\b\m\m} (perhaps equivalent to a syncopated +iambic \Greek{me'tron} \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\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} + + diff --git a/Master/texmf-dist/doc/latex/metre/igreek2.tex b/Master/texmf-dist/doc/latex/metre/igreek2.tex new file mode 100644 index 00000000000..a2db904cb2e --- /dev/null +++ b/Master/texmf-dist/doc/latex/metre/igreek2.tex @@ -0,0 +1,65 @@ +\documentclass[11pt]{article} +\usepackage{ibycus4} +\usepackage{metre} +\thispagestyle{empty} +\begin{document} +\begin{center} +{\Large\bf Metrische Formen in Archilochos' Fragmenten}\\ +\vspace{2ex} +{\small Rainer Thiel} +\end{center} +\vspace{2ex} +\begin{enumerate} +\item Elegisches Distichon (\sigla{6da_\cc hem\c hem}, frgg.~1--17\,W.):\\ + \metra{\n1\m\mbb\n2\m\mbb\n3\m\mbb\n4\m\mbb\n5\m\mbb\n6\m\a\cc} + \metra{\m\mbb\m\mbb\m\c\m\bb\m\bb\m} + +\item Iamb. Trimeter, stichisch (\sigla{3ia}, frgg. 18--87): + \metra{\a\m\b\n1\m\s\a\m\b\n2\m\s\a\m\b\n3\m}\\ + (= Horazens Epodisches System VII, Hor. epod. 17) +\item Troch. Tetrameter, stichisch \sigla{4tr_}, frgg. 88--167):\par + \metra{\m\b\m\a\s\m\b\m\a\c\m\b\m\a\s\m\b\m} +\item In Archilochos' Epoden-Fragmenten vorfindliche Systeme: +\begin{enumerate} +\item \sigla{enopl\c ith} (frgg. 168--171): + \metra{\bbmb\m\bbmb\m\bbmb\m\bm\c\m\b\m\b\m\bm} +\item \sigla{3ia\cc 2ia} (frgg. 172--181): + \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\a\m\b\m\s\a\m\b\m}\\ + (= Horazens Epodisches System I, vgl. Hor. epod. 1--10) +\item \sigla{3ia\cc hem} (frgg. 182--187): % + \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m} +\item \sigla{alcm\c ith\cc 3ia_} (frgg. 188--192):\par +\metra{\m\mbb\m\mbb\m\mbb\m\mbb\c\m\b\m\b\m\bm\cc\a\m\b\m\s\a\m\b\m\s\b\m +\m} +\item \sigla{6da_\cc 2ia} (frg. 193, evtl. frg. 194):\par + \metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a\cc\a\m\b\m\s\a\m\b\m}\\ +(= Horazens Epodisches System V, vgl. Hor. epod. 14. 15) +\item \Angus\sigla{6da_\cc<<}\Angud\sigla{alcm_} (frg. 195, nicht ganz + sicher):\\\Angus\metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a}\Angud + \metra{\m\mbb\m\mbb\m\bb\m\m} \\(vgl. Horazens Epodisches System + III, Hor. epod. 12) +\item +\begin{enumerate} +\item \sigla{hem 2ia} (evtl. nur ein Teil von + \addtocounter{enumiii}{1}(\roman{enumiii})\addtocounter{enumiii}{-1}; + frg. 196)\par Heph. 19,9, p. 50,14--17:\par {\greek {\small Tri'ton de' + e)stin para` )Arxilo'xw| a)suna'rthton \textit{e)k daktulikou= + penq\-hmi\-me\-rou=s} (\metra{\m\bb\m\bb\m}) \textit{kai` + i)ambikou= dime'trou a)katalh'ktou} +(\metra{\a\m\b\m\s\a\m\b\m});}\\ + a)lla' m' o( lusimelh's, w)tai=re, da'mnatai po'qos.} + +\item K\"olner Epodenfragment (frg. 196\,a): \sigla{3ia\cc hem\cc2ia}\\ +\metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m\cc\a\m\b\m\s\a +\m\b\m}\\ (= Horazens Epodisches System II, vgl. Hor. epod. 11) + +\end{enumerate} +\item \sigla{3tr_} (frg. 197): +\metra{\m\b\m\a\s\m\b\m\a\s\m\b\m} + +\end{enumerate} +\end{enumerate} + +\end{document} + + diff --git a/Master/texmf-dist/doc/latex/metre/igreek3.tex b/Master/texmf-dist/doc/latex/metre/igreek3.tex new file mode 100644 index 00000000000..4eac22f6dc1 --- /dev/null +++ b/Master/texmf-dist/doc/latex/metre/igreek3.tex @@ -0,0 +1,111 @@ +\documentclass[11pt]{report} +\usepackage{ibycus4} +\usepackage{metre} +\textwidth 5in +\topsep 0pt +\partopsep 0pt +\pagestyle{empty} +\Magnitudo{+1} +\begin{document} +\vspace{2ex} +\hrule height 1.5pt \vspace{2ex} +{\large Examples of Greek text typeset with \texttt{Ibycus4} and % + \texttt{metre}} +\vspace{2ex} +\hrule height 1.5pt +\vspace{7ex} +\fontencoding{OT1}\fontfamily{ibycus}\selectfont +{\obeylines\everypar{\quad} +kai` ga`r ai) feu'gei, taxe'ws diw'cei, +ai) de` dw=ra mh` de'ket', a)lla` dw'sei, +ai) de` mh` fi'lei, taxe'ws filh'sei +kou)k e)qe'loisa.\linea* +e)'lqe moi kai` nu=n, xale'pan de` lu=son +e)k meri'mnan, o)'ssa de' moi te'lessai +qu=mos i)me'rrei, te'leson, su` d' au)'ta +su'mmaxos e)'sso.\geminata* +} +\vspace{5ex} +\begin{verse} +teqna'khn d' a)do'lws qe'lw;\\ +a)' me yisdome'na kateli'mpanen\linea +po'lla kai` to'd' e)'eip\punctum\lbrack\\ +w)'im' w)s dei=na pep[o'nq]amen;\\ +Ya'pf', h)= ma'n s' a)e'kois' a)pulimpa'nw.\linea +ta`n d' e)'gw ta'd' a)meibo'man;\\ +xai'rois' e)'rxeo ka)'meqen\\ +me'mnais'; oi)=sqa ga`r w)'s se pedh'pomen.\linea +ai) de` mh', a)lla' s' e)'gw qe'lw\\ +o)'mnaisai\lbrack\punctum[3]\Punctum\rbrack% + \lbrack\punctum[2]\Punctum\rbrack\punctum[2]ai\\ + \punctum[2]\lbrack\kern 6.5em\rbrack% + kai` ka'l' e)pa'sxomen;\linea +\end{verse} +\vspace{5ex} +{\obeylines\everypar{\quad} +Sikeli'a t' au)tou= pie'zei +ste'rna lax\positio na'enta; ki'wn d' ou)rani'a sune'xei, +nifo'ess' Ai)'tna, pa'netes +xio'nos o(cei'as tiqh'na;\lunata*[.1] +ta=s e)reu'gontai me`n a)p\positio la'tou puro`s a)g\positio no'tatai +e)k muxw=n pagai'; potamoi` +\quad d' a(me'raisin me`n proxe'onti r(o'on kap\Positio nou~ +ai)'qwn'; +} +\newpage +{\obeylines\everypar{\quad} +ou)de` ei)=s [se me'm]yetai plhsi'on xrosou= +sta=san ou)[de`] \dubia{e)}[cel]e'gcei se xruso's, a)lla` +dioi'seis au)to'n;\,{\fontseries{b}\selectfont % +ou) ga`r poluph'nwn Ka'-}\bifida*[.1] +\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont +\tiny\,]}% +{\fontseries{b}\selectfont % +la]isos a)ne`r ped' a)ndrw=n ou)[d'] a('grios;} e)[k- +tou= e)nanti'ou to` e)nanti'on; ou)k e)sti` poluph'- +mwn o( Ka'laiso[s a)]ll' eu)dai'mwn ou)d' a)'grios +a)lla` h('meros.\ {\fontseries{b}\selectfont % +nu=n d' i)'ones tw= dai'monos}\bifida*[.1] +\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont +\tiny\,]}% +e('w{((}s{))} tou= % +{\fontseries{b}\selectfont pai[dw=n] a)ri'stan;}\,Lewtuxi'das +L]akedai[moni']\dubiae{wn} basileu's. a)'dhlon de` +\leavevmode\kern 7em q]uga'thr h( Timasimbro'ta +\leavevmode\kern 7.5em]\punctum ai t\dubia{i}nos. {\fontseries{b}\selectfont % +fua`n d' e)'\dubiae{oik}en}\bifida*[.1] +\leavevmode\kern 7.5em{\fontseries{b}\selectfont p]aidi` canqw=i Poludw'[r]w[} +\leavevmode\kern 8em] Lewtuxi'da ui(o's e)sti tou= +Lakedaimoni'wn] basile'[w]s; [to]u= d' Eu'ru\dubia{k}[r]\dubia{a'}- +tous ui(o`s Polu'd]wros kai Tim[asim]bro'ta +quga'[thr. {\fontseries{b}\selectfont% +Mw=]\dubiae{{s|}a} li'ssomai' t[e si]w=n ma'-\coronis* +lista} [; ta`s Mo]u'sas u(per \punctum\lbrack\kern 3em]\punctum atros +th=s t[\kern 5em]ntidwn fu\dubia{l}[\kern 5.5em x]oro's (e)sti{))} +Du'ma[inai, w)=n pa']tra Duma=[nes;] +} +\vspace{5ex} +{\obeylines\everypar{\quad} +fhsi kokuto`\dubia{n} [\linea* +tou'twi o( Sim\dubia{w}[ni'des +noito peri` tou[\punctum]\dubiae*{ou}[ +\margini[-2.5em]{\Obelus*}\punctum n eu)lo'gws h par\punctum[2]\lbrack +\dubia{t}on e)qrh'noun e)pio\punctum\lbrack +e)'oiken daimoni\punctum\lbrack +} +\vspace{5ex} +{\obeylines\everypar{\quad} +\leavevmode\kern 7.5em ka'lliston ma'rtur e)'qento po'nwn +xrousou= timh'entos e)\semi]n ai)qer\semi[i; kai sfin a)e'cei +\leavevmode\kern 4em au)tw=n t' eu)rei=an kl\semi]hdo'n\semi[a kai` pate'rwn. +\leavevmode\kern 11em]\dubia{p}ol\dubia{u}[ +} +\vspace{5ex} +\Lineola[-.3]{mr\gravis[.5]s}\ \ \ % +e)'x\structa[.1]{oi}{\tiny ois|}\ \ \ % +a)mfi\acutus[.3]{{\metrike\=a}}rewn\ \ \ % +a)\erasa{}xe'wn\ \ \ % +-\structa[.25]{ai}{\tiny \kern .05em h}si +\end{document} + + diff --git a/Master/texmf-dist/doc/latex/metre/metre.pdf b/Master/texmf-dist/doc/latex/metre/metre.pdf new file mode 100644 index 00000000000..ee832a505bb Binary files /dev/null and b/Master/texmf-dist/doc/latex/metre/metre.pdf differ -- cgit v1.2.3