859:) of the meter used in Book II of her poetry. However, the surviving poetry also abounds in fragments in other meters, both stanzaic and stichic, some of them more complicated or uncertain in their metrical construction. Some fragments use meters from non-Aeolic traditions (e.g. dactylic hexameter, or the
1246:
However, Hephaestion's analysis x β u β x x β u u β u β u β β (see
Sicking, p. 130) may be analyzed as anceps + cretic + a sequence whose acephalic variant x β u u β u β u β β is found in Sappho fr. 154 (cf. fr. 133) and may have been used stichically (ibid. p. 124). Others note that the verse may be
455:
give us a long list of names for various Aeolic lengths, to which modern scholars have added. For the most part, these names are arbitrary or even misleading, but they are widely used in scholarly writing. The following are the names for units with an unexpanded "choriambic nucleus" (i.e.: β u u β ):
904:
These connections justify the name "Aeolic" and clearly distinguish the mode from dactylo-epitrite (which does not use consecutive anceps syllables, and which combines double-short and single-short in a single verse, but not in a single metrical group). But there are several important innovations in
843:
Sappho and
Alcaeus' poetic practice had in common, not just the general principles sketched above, but many specific verse forms. For example, the Sapphic stanza, which represents such a large part of Sappho's surviving poetry, is also well represented in Alcaeus' work (e.g. Alcaeus frr. 34, 42, 45,
430:
In this analysis, a wide variety of Aeolic verses (whether in Sappho and
Alcaeus, or in later choral poetry) are analyzed as a choriambic nucleus (sometimes expanded, as just mentioned), usually preceded by anceps syllables and followed by various single-short sequences (e.g. u β , u β u β , and, by
899:
There are many metrical sequences formed by prolongation, including both double-short (as in the dactylic expansion discussed above) and single-short units together (mostly double-short before single-short, e.g. β u u β u β , but also the reverse, e.g. β u β u u β , which is uncharacteristic of
966:
love poem, "which is presumably an imitation of
Alcaeus and opens with a quotation from him," is in the same meter as Book II of Sappho. The other three poems are composed in the Greater Asclepiad meter (like Sappho, Book III). Also in the third century BC, a hymn by Aristonous is composed in
346:). (This forms an exception to the principle, otherwise observed in Greek verse, that two successive unmarked elements are not permitted. Lines beginning with multiple anceps syllables are also exceptional in not being classifiable as having rising or falling rhythm.)
887:
and "aeolic" types of composition. This later style of "aeolic" verse shows fundamental similarities to, but also several important differences from, the practice of the Aeolic poets. In common with Sappho and
Alcaeus, in the aeolic odes of Pindar and Bacchylides:
435:, u β u β β , u β β , β ), with various additional allowances to accommodate the practice of the later poets. (By also taking the cretic unit, mentioned above, into account, this analysis can also, for example, understand the third line of the
1287:
699:
edition of Sappho's works divided the poems into books mostly based on their meter, an overview of its contents is a convenient starting point for an account of the
Lesbian poets' meters.
851:
Many of the additional meters found in Sappho and
Alcaeus are similar to the ones discussed above, and similarly analyzable. For example, Sappho frr. 130 β 131 (and the final lines of
915:
Verse forms and sequences are more varied, so that description with reference to the earlier practice must speak of expansions, shortenings, acephalic verses, cholosis, etc.
1259:
uses the verse in an "aeolic" context (the strophe of Ode 6, where there is not only word-end between the "Anacreontic" lengths, but a line break in the papyrus text).
844:
308b, 362). Alcaeus frr. 38a and 141 use the same meter as Book II of Sappho, and
Alcaeus frr. 340 β 349 the Greater Asclepiad as in Book III. One notable form is the
927:
continued the use of Aeolic verse (and dactylo-epitrite, with the addition of other types) for their choral odes, with additional metrical freedoms and innovations.
357:, have seen in these principles and in other tendencies (the sequence ... β u u β u β ..., the alternation of blunt and pendant verses) conserved traces of
1088:
Especially through the influence of Horace, Aeolic forms have sometimes been employed in post-Classical poetry. For example, Asclepiads have been used by
884:
1011:
extended and standardized the use of
Aeolics in Latin, also using the Alcaic stanza, the Lesser Asclepiad, and hipponacteans. In the summing-up poem "
232:
1286:
The attribution of fr. 137 (the more substantial of the two fragments) to Sappho is doubted, based in part on the meter, by
Gregory Nagy, "
912:
Anceps syllables are mostly realized the same way in a given location (and the aeolic base is more limited in its possible realizations).
1505:
372:) figure importantly, and groups are sometimes joined (in what is probably a Greek innovation) by a link anceps. Aeolic poems may be
1298:
judges that "The application and at the very least the later part of are likely to be inauthentic, but are certainly as early as
439:βand other stanza lines as in Sappho frr. 96, 98, 99βas Aeolic in nature, and appreciate how the initial three syllables of the
793:
a short book, the fragmentary evidence for which is "nearly but not quite compatible with" β u u β β u u β β u u β u β β (
392:
One analysis of Aeolic verses' various forms identifies a choriambic nucleus ( β u u β ), which is sometimes subject to:
225:
1237:
First suggested by Eva-Maria Hamm in 1954; recently argued for by Lucia Prauscello (2016) and Luigi Battezzato (2018).
400:
preceding the choriamb, or "prolongation" of the pattern that alternates long elements with double-short elements);
342:
syllables may occur, especially at the beginning of the verse (where two initial anceps syllables are called the
358:
218:
1523:
1295:
892:
Two or more consecutive anceps syllables may occur at the beginning or middle of a verse (see e.g. Pindar,
364:
In Sappho and Alcaeus, the three basic metrical groups β u u β u β (dodrans or choriambo-cretic), β u u β (
1288:
Did Sappho and Alcaeus ever meet? Symmetries of myth and ritual in performing the songs of ancient Lesbos
1228:
Sometimes misleadingly called "Aeolic dactyls," but this is an unlikely interpretation (Sicking, p. 125).
963:
423:), and a glyconic with dactylic expansion produces the stichic length (x x β u u β u u β u u β u β , or
1144:
1105:
996:
848:(e.g. Alcaeus frr. 6, 129, 325 β 339), but this too is found in both poets (Sappho frr. 137 β 138).
1528:
452:
61:
999:(many compositions), the Greater Asclepiad (Catullus 30) and the Sapphic stanza (Catullus 11 and
440:
1499:
1294:, ed. Anton Bierl et al., Walter de Gruyter, 2007, who sees Alcaeus as "the notional composer."
785:
featuring the verse u β u β u β β u u β u β u β β (not usually analyzed by "Aeolic" principles)
1350:
76:
1393:
1369:
1117:
696:
22:
81:
1475:
8:
1113:
264:
1121:
909:
Verses are no longer isosyllabic (e.g., Pindar may use u u in place of β by resolution).
920:
809:
731:
408:
328:
186:
156:
111:
71:
41:
1219:"Dodrans" may also refer to the rarer "reversed dodrans" or "dodrans B": x x β u u β .
924:
332:
201:
181:
136:
1292:
Literatur und Religion 1: Wege zu einer mythisch-rituellen Poetik bei den Griechen
1125:
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66:
51:
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708:
320:
268:
253:
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referring to the distinct verse forms characteristic of the two great poets of
141:
116:
376:(with all lines having the same metrical form), or composed in more elaborate
319:
Sappho and Alcaeus' verses differ from most other Greek lyric poetry in their
1517:
1089:
1017:
984:
880:
845:
436:
161:
121:
36:
31:
1494:
1479:
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541) in Sapphic stanzas by "Melinno" (probably writing during the reign of
988:
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490:
272:
131:
56:
1439:
Sappho and Alcaeus: An Introduction to the Study of Ancient Lesbian Poetry
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Verses consist of a fixed number of syllables (thus, for example, no
206:
151:
271:. These verse forms were taken up and developed by later Greek and
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992:
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538:
412:
365:
146:
106:
101:
91:
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excelled in Alcaic and Asclepiadic odes. Hungarian poets such as
1077:
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758:
739:
615:
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381:
373:
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1008:
872:
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choriambic expansion ("juxtaposition" of additional choriambs).
377:
369:
339:
311:
260:
256:
176:
968:
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probably consisting of poems in various three-line stanzas
701:
458:
427:) in which Sappho composed the poems collected in Book II.
1304:
Greek Lyric Poetry: A Commentary on Selected Larger Pieces
995:
used glyconic-pherecratean stanzas (Catullus 34, 61), the
1182:
line, sometimes also given this name by association with
1251:
preceded by the shortened version found in Anacreon 429
958:
28 β 31, which also imitate the Archaic Aeolic dialect.
761:; the book may also have contained three-line stanzas.
1202:, fr. 1; also called (choriambic) enoplian (Dale), or
1021:
3.30), Horace makes the somewhat exaggerated claim:
1324:
Sicking, p. 181 (see further ibid., pp. 196 β 206).
690:
387:
631:Comparison, with "choriambic nucleus" emphasized:
905:the "aeolic" practice of Pindar and Bacchylides:
855:'s stanzas) are composed in a shortened version (
1515:
1042:I was able to be the first to bring Aeolian song
283:
967:glyconic-pherecratean stanzas, and Philodamus'
1068:was widely used by poets including writers of
1381:Philodamus of Scarphea, "Paean to Dionysus" (
939:each went his own way in developing Aeolics.
838:
226:
1255:, with the two units separated by word-end.
1080:) "is an isolated piece of antiquarianism."
685:
1509:. Vol. 6 (11th ed.). p. 269.
1083:
1059:
1029:
975:is partly analyzable by Aeolic principles.
1490:, a recent book on Pindar's choral Aeolics
983:Aeolic forms were included in the general
233:
219:
1116:have used the Sapphic stanza. In German,
446:
443:were not variable in Sappho's practice.)
829:unclassified fragments (frr. 118 β 213)
1476:A Comparative Survey of Pindar's Meters
1516:
942:
278:
1493:
824:, and less easily summarized lengths
461:
353:and later scholars, by comparison to
1023:
954:adaptation of Aeolic poetry in his
396:dactylic expansion (some number of
13:
1457:Handbuch der Altertumswissenschaft
749:x β u u β β u u β β u u β u β β (^
16:Class of Ancient Greek poetic form
14:
1540:
1463:
1031:princeps Aeolium carmen ad Italos
866:
1487:Pindaric Metre: "The Other Half"
1315:Sicking, pp. 167 β 168, 171, 175
978:
691:The meters of the Sapphic corpus
388:Choriambic nucleus and expansion
275:and some modern European poets.
1412:
1399:
1375:
1343:
1327:
1318:
1309:
1280:
1271:
1262:
1128:have also written in Alcaics.
757:by Hephaestion), marked off in
267:, who composed in their native
1349:Aristonous, "Hymn to Apollo" (
1240:
1231:
1222:
1213:
1188:
1172:
1163:
1154:
1137:
987:habit of using Greek forms in
1:
1428:
718:x x β u u β u u β u u β u β (
284:Essential features and origin
1446:Greek Metre: An Introduction
1340:II, Cambridge, 1965, p. 504.
1178:not to be confused with the
883:can largely be divided into
7:
1485:Review of Kiichiro Itsumi,
1470:Introduction to Greek Meter
1096:. Poets in English such as
1064:In later Greek poetry, the
950:provides an example of the
808:in other meters, including
451:Ancient metricians such as
415:with choriambic expansion (
10:
1545:
1354:
1106:Algernon Charles Swinburne
1074:Supplementum Hellenisticum
997:Phalaecian hendecasyllable
839:Sappho and Alcaeus' meters
705:Book I (fragments 1 β 42)
359:Proto-Indo-European poetic
250:Ancient Greek lyric poetry
991:. Among the lyric poets,
802:Book IX (frr. 104 β 117)
686:Sappho and Alcaeus' verse
464:
1500:"Choriambic Verse"
1355:αΌΟΟλλΟΞ½ΞΉ Ξ Ο
ΞΈΞ―αΏ³ Οα½ΈΞ½ α½ΞΌΞ½ΞΏΞ½
1306:, Oxford, 2001, p. 188).
1131:
1084:In post-Classical poetry
1060:In Imperial Greek poetry
727:Book III (frr. 53 β 57)
62:Latin rhythmic hexameter
1506:Encyclopædia Britannica
1409:, Oxford, 1982, p. 141.
1391:Collectanea Alexandrina
1367:Collectanea Alexandrina
766:Book V (frr. 92 β 101)
746:Book IV (frr. 58 β 91)
715:Book II (frr. 43 β 52)
441:Sapphic hendecasyllable
248:is a classification of
1386:
1362:
1040:
1030:
1027:
521:aristophanean (Latin:
507:hagesichorean (Latin:
447:Names of basic lengths
77:Metres of Roman comedy
1495:Gosse, Edmund William
1472:, by William S. Annis
1453:Griechische Verslehre
1044:to Italian measures.
871:The versification of
411:may be analyzed as a
23:Greek and Latin metre
1524:Ancient Greek poetry
900:Sappho and Alcaeus).
863:of Sappho fr. 134).
790:Book VIII (fr. 103)
555:telesillean (Latin:
480:no anceps syllables
82:Trochaic septenarius
1459:2.4), Munich, 1993.
1118:Friedrich HΓΆlderlin
1072:. The ode to Rome (
1053:βTrans. David West
1003:, an adaptation of
943:Hellenistic Aeolics
782:Book VII (fr. 102)
499:x x β u u β u β β (
279:General description
1363:Paean in Apollinem
810:dactylic hexameter
601:reizianum (Latin:
513:x β u u β u β β (^
470:x x (aeolic base)
331:, contraction, or
187:Resolution (meter)
157:Anaclasis (poetry)
112:Asclepiad (poetry)
72:Saturnian (poetry)
42:Dactylic hexameter
1387:Paean in Dionysum
1198:after its use in
1143:sometimes called
1057:
1056:
879:' 5th century BC
836:
835:
777:contents unknown
738:), marked off in
629:
628:
547:x x β u u β u β (
431:the principle of
243:
242:
1536:
1510:
1502:
1451:C.M.J. Sicking,
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1307:
1296:G. O. Hutchinson
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1170:
1169:Raven, Ch. VIII.
1167:
1161:
1160:Sicking, p. 135.
1158:
1152:
1141:
1122:DΓ‘niel Berzsenyi
1035:
1024:
1013:Exegi monumentum
925:Classical Athens
885:dactylo-epitrite
702:
561:x β u u β u β (^
459:
407:For example, an
290:In this article
235:
228:
221:
202:Arsis and thesis
182:Biceps (prosody)
137:Galliambic verse
19:
18:
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1539:
1538:
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1529:Types of verses
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1448:, London, 1962.
1441:, Oxford, 1955.
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1033:deduxisse modos
1032:
981:
945:
869:
841:
832:various meters
693:
688:
683:
593:x x β u u β β (
527:β u u β u β β
475:acephalous line
449:
433:brevis in longo
390:
351:Antoine Meillet
317:
316:
315:
286:
281:
239:
192:Brevis brevians
172:Brevis in longo
167:Metron (poetry)
87:Hendecasyllable
67:Iambic trimeter
52:Alcmanian verse
47:Elegiac couplet
17:
12:
11:
5:
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1464:External links
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444:
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437:Alcaic stanza
434:
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399:
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383:
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375:
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368:) and β u β (
367:
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162:Metrical foot
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138:
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122:Alcaic stanza
120:
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70:
68:
65:
63:
60:
58:
55:
53:
50:
48:
45:
43:
40:
38:
37:Latin prosody
35:
33:
32:Greek prosody
30:
29:
28:
27:
24:
21:
20:
1504:
1486:
1480:Gregory Nagy
1456:
1452:
1445:
1444:D.S. Raven,
1438:
1419:
1414:
1406:
1401:
1390:
1377:
1366:
1345:
1337:
1329:
1320:
1311:
1303:
1291:
1282:
1273:
1264:
1252:
1247:seen as the
1242:
1233:
1224:
1215:
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1190:
1174:
1165:
1156:
1139:
1114:James Wright
1087:
1073:
1063:
1041:
1028:
1016:
1012:
989:Latin poetry
982:
959:
955:
946:
921:tragic poets
918:
903:
893:
870:
856:
850:
842:
821:
817:
813:
794:
754:
750:
735:
719:
695:Because the
694:
679:
675:
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655:
651:
647:
643:
639:
635:
630:
623:
619:
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594:
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589:pherecrateus
588:
585:pherecratean
579:
572:
562:
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546:
542:
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526:
522:
514:
512:
509:octosyllabus
508:
500:
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494:
491:hipponactean
485:
465:verse-begin
450:
429:
424:
420:
416:
406:
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363:
349:
343:
338:Consecutive
318:
307:
302:indicates a
299:
294:indicates a
291:
246:Aeolic verse
245:
244:
197:Porson's Law
132:Anacreontics
97:Aeolic verse
96:
57:Archilochian
1420:Greek Metre
1407:Greek Metre
1405:M.L. West,
1257:Bacchylides
1249:Anacreontic
1098:Isaac Watts
952:Hellenistic
877:Bacchylides
861:Ionic meter
806:epithalamia
697:Alexandrian
624:β u u β β
557:telesilleus
453:Hephaestion
361:practices.
355:Vedic meter
344:aeolic base
273:Roman poets
127:Ionic metre
1518:Categories
1435:Denys Page
1429:References
1338:Theocritus
1334:A.S.F. Gow
1204:Achtsilber
1180:choliambic
1094:W.H. Auden
1066:phalaecian
964:pederastic
948:Theocritus
462:verse-end
335:elements).
329:resolution
1422:, p. 167.
1300:Aristotle
1196:M.L. West
1145:masculine
937:Euripides
933:Sophocles
929:Aeschylus
753:, called
732:Asclepiad
603:reizianus
543:glyconeus
409:Asclepiad
207:Catalexis
152:Lekythion
1497:(1911).
1184:Hipponax
1149:feminine
993:Catullus
973:Dionysus
894:Nemean 4
822:aristoph
795:aristoph
774:Book VI
759:distichs
755:aiolikon
740:distichs
730:Greater
662:u β (^
646:u β β (^
618:(Latin:
587:(Latin:
541:(Latin:
539:glyconic
493:(Latin:
413:glyconic
382:strophes
366:choriamb
321:metrical
147:Dochmiac
107:Glyconic
102:Choriamb
92:Choliamb
1394:pp. 165
1370:pp. 162
1078:Hadrian
1070:epigram
676:β u u β
668:β u u β
660:β u u β
654:u β (
652:β u u β
644:β u u β
642:) x
638:u β β (
636:β u u β
620:adoneus
616:adonean
570:dodrans
486:u β β
398:dactyls
378:stanzas
374:stichic
265:Alcaeus
254:Archaic
1418:West,
1290:," in
1200:Alcman
1112:, and
1090:Sidney
1009:Horace
962:29, a
956:Idylls
935:, and
873:Pindar
853:fr. 94
678:β (^
674:) x
666:) x x
658:) x
650:) x x
370:cretic
340:anceps
333:biceps
312:anceps
306:, and
296:longum
261:Sappho
257:Lesbos
177:Anceps
1478:, by
1396:-171.
1383:Latin
1372:-164.
1359:Latin
1208:Snell
1132:Notes
985:Roman
969:paean
960:Idyll
670:β (
534:u β
304:breve
1147:and
1124:and
1092:and
1018:Odes
919:The
875:and
818:pher
814:pher
751:hipp
680:pher
672:pher
648:hipp
640:hipp
634:x x
609:pher
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515:hipp
501:hipp
473:x ("
263:and
1389:),
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971:to
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300:u
234:e
227:t
220:v
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