All of the clues — every single one in this puzzle — are written using a double dactylic meter.
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The "Iliad" and "Odyssey" are composed in a long dactylic line (tumpety-tumpety-tum) that's poorly suited to the natural rhythms of English.
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As such, it's particularly difficult to adapt to dactylic hexameter, the waltzlike, oom-pah-pah meter of epic poetry, which the Romans inherited from the Greeks.
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After Wright's death, Gander's memories revolve around objects, landscapes, work, and routines—symbols that become nearly sentient in their embodiment of his pain: The cabinet door's squeaky dactylic remark: Hap-pi-ness?
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The Victory Stele of Naram-Sin, which shows that Mesopotamian king putting some unfortunate mountain men to the spear, dates from 33 BC. The ancient Assyrians in particular excelled at the depiction of combat, doing in limestone what Homer would later do in dactylic hexameter.
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Alcmanian verse refers to the dactylic tetrameter in Greek and Latin poetry.
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Dactylic hexameter has proved more successful in German than in most modern languages. Friedrich Gottlieb Klopstock's epic Der Messias popularized accentual dactylic hexameter in German. Subsequent German poets to employ the form include Goethe (notably in his Reineke Fuchs) and Schiller.
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To judge from his larger fragments, Alcman's poetry was normally strophic: Different metres are combined into long stanzas (9-14 lines), which are repeated several times. One popular metre is the dactylic tetrameter (in contrast to the dactylic hexameter of Homer and Hesiod).
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Common metrical patterns in both poetry and music are iambic, trochaic, dactylic, amphibrachic, anapaestic, spondaic, and tribrachic.
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Horace composed some poems in the Alcmanian strophe or Alcmanian system, a couplet consisting of a dactylic hexameter followed by a dactylic tetrameter a posteriore (so called because it ends with a spondee, thus resembling the last four feet of the hexameter). Examples are Odes I.7 and I.28, and Epode 12 ("Quid tibi vis, mulier nigris dignissima barris? / munera quid mihi quidve tabellas"). Later Latin poets use the dactylic tetrameter a priore as the second verse of the Alcmanian strophe.
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An anapestic or dactylic trimetrical line will have nine syllables, and a trisyllabic tetrametrical line will have twelve syllables.
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It has also been translated into English literally by Vladimir Nabokov and into the original dactylic meter by Watson Kirkconnell.
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Dactylic hexameter (also known as "heroic hexameter" and "the meter of epic") is a form of meter or rhythmic scheme in poetry. It is traditionally associated with the quantitative meter of classical epic poetry in both Greek and Latin and was consequently considered to be the grand style of Western classical poetry. Some premier examples of its use are Homer's Iliad and Odyssey, Virgil's Aeneid, and Ovid's Metamorphoses. Hexameters also form part of elegiac poetry in both languages, the elegiac couplet being a dactylic hexameter line paired with a dactylic pentameter line.
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Today, the modern Latin poets who use the dactylic hexameter are generally as faithful to Virgil as Rome's Silver Age poets.
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The poem was widely anthologised, and recognised for its direct attack. One editor wrote: Another wrote that the verses "have more bad feeling than poetry". Stephen Fry quotes the poem as an example of the use of dactylic metre to great effect, creating verse with "great rhythmic dash and drive". The poem is not in pure dactylic tetrameter, but catalectic.
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The adjective elegiac has two possible meanings. First, it can refer to something of, relating to, or involving, an elegy or something that expresses similar mournfulness or sorrow. Second, it can refer more specifically to poetry composed in the form of elegiac couplets. An elegiac couplet consists of one line of poetry in dactylic hexameter followed by a line in dactylic pentameter.
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Kinsella has predominantly used anapaestic and dactylic metrical feet, a technique which evokes both the sea's rhythmic, repeated pattern and its maelstrom of clashing forces.
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Appropriately for its subject, the Ars amatoria is composed in elegiac couplets, rather than the dactylic hexameters, which are more usually associated with the didactic poem.
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On the other hand, the language is full of unique metaphors, personifications, analogies, and hyperbolas which make it highly poetical. It is in quantitative dactylic hexameters as often used for Latin and Ancient Greek poetry, but due to the nature of the Lithuanian language it has far fewer dactyls than in Virgil or Homer, and in more than half of the lines the only dactylic foot is the 5th.
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Indiana University Press. . These madrigal rhythms may themselves derive from the dactylic hexameter of the epic poetry of ancient Greece and Rome.Geoffrey Chew and Owen Jander (2001). Pastoral. Grove Music Online. .
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He identified with, among others, Sappho and Alcaeus of Mytilene, composing Sapphic and Alcaic stanzas, and with Archilochus, composing poetic invectives in the Iambus tradition (in which he adopted the metrical form of the epode or "iambic distich"). Horace also wrote verses in dactylic hexameter, employing a conversational and epistolary style. Virgil, his contemporary, composed dactylic hexameters on light and serious themes and his verses are generally regarded as "the supreme metrical system of Latin literature".Richard F. Thomas, Virgil: Georgics Vol.
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Courtship of Miles Standish is written in dactylic hexameter, the same meter used in classical epic poetry such as Homer's Iliad and Odyssey and Vergil's Aeneid. Longfellow used the same meter in his poem Evangeline.
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The term "Alcmanian" is sometimes applied to modern English dactylic tetrameters (e.g. Robert Southey's "Soldier's Wife": "Wild-visaged Wanderer, ah, for thy heavy chance!"), or to poems (e.g. in German) that strictly imitate Horace's meters.
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Biceps is a point in a metrical pattern where a pair of short syllables can freely be replaced by a long one. In Greek and Latin poetry, it is found in the dactylic hexameter and the first half of a dactylic pentameter, and also in anapaestic metres. It is not to be confused with resolution, which is a phenomenon where a normally long syllable in a line is sometimes replaced by two shorts. Resolution is typically found in an iambic metre such as the iambic trimeter.
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The dactyl "out of the..." becomes a pulse that rides through the entire poem, often generating the beginning of each new line, even though the poem as a whole, as is typical for Whitman, is extremely varied and "free" in its use of metrical feet. Dactyls are the metrical foot of Greek and Latin elegiac poetry, which followed a line of dactylic hexameter with dactylic pentameter. In Joyce's Ulysses opening chapter Buck Mulligan quips that his own name is a dactyl. Mull-i-gan.
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Fyodor Bronnikov, Pythagoreans' Hymn to the Rising Sun, 1869. Oil on canvas. The Golden Verses (, , ; ) are a collection of moral exhortations comprising 71 lines written in dactylic hexameter. They are traditionally but falsely attributed to Pythagoras.
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A dactyl (; , dáktylos, “finger”) is a foot in poetic meter. In quantitative verse, often used in Greek or Latin, a dactyl is a long syllable followed by two short syllables, as determined by syllable weight. In accentual verse, often used in English, it is a stressed syllable followed by two unstressed syllables—the opposite is the anapaest (two unstressed followed by a stressed syllable). An example of dactylic meter is the first line of Henry Wadsworth Longfellow's poem Evangeline, which is in dactylic hexameter: :This is the / forest prim- / eval.
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The principal theorist of rhythmic genera was Aristides Quintilianus, who considered there to be three: equal (dactylic or anapestic), sesquialteran (paeonic), and duple (iambic and trochaic), though he also admitted that some authorities added a fourth genus, sesquitertian .
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Upon his death in 1934, Smith left a partial translation of Homer's Iliad. This work was completed by his old Tulane colleague Walter Miller and when published in 1944 was the first English translation in the original dactylic hexameter.
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However, the only obvious imperfections are a few lines of verse that are metrically unfinished (i.e. not a complete line of dactylic hexameter). Some scholars have argued that Virgil deliberately left these metrically incomplete lines for dramatic effect.Miller, F. J. 1909.
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Because dactylic hexameter is used throughout epic poetry, and because the elegiac form was always considered "lower style" than epic, elegists, or poets who wrote elegies, frequently wrote with epic poetry in mind and positioned themselves in relation to epic.
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The inscription is composed in dactylic hexameters (lines 1-6), with scriptio plena (line 3 δὲ ἐπάτησα Ἀπολλωνίαν = δ' ἐπάτησ' Ἀπολλωνίαν) and containing some awkward or missing features (particularly in line 3, where apparent short υ is to be read in Δυρράχιν unless emended as below to omit καὶ and read Δυρράχιον; and short o with long ι in Ἀπολλωνίαν, so emended below to Ἀπολωνίαν). There are missing syllables in line 5 (either u u - immediately before or after τὸ φάος, or at the end of the line as shown below). There is an apparent attempt at ending the verse with an elegiac couplet (6-7, dactylic hexameter followed by dactylic pentameter), but this would only be metrically successful and preserve the intended sense with deletions as shown below; as it stands the dactylic pentameter is distorted by the addition of a medial choriamb (τῷ θανάτῳ). With metrical division of the lines, the inscription may be laid out as follows: χοῖρος ὁ πᾶσι φίλος, τετράπους νέος, ἐνθάδε κεῖμαι Δαλματίης δάπεδον προλιπὼν δῶρον προσενεχθείς, [καὶ] Δυρράχιν δ' ἐπάτησ' Ἀπολ[λ]ωνίαν τε ποθήσας καὶ πᾶσαν γαίην διέβην ποσὶ μοῦνος ἄλιπτος νῦν δὲ τροχοῖο βίῃ τὸ φάος προλέλοιπα < u - -> (5) Ἠμαθίην δὲ ποθῶν κατιδεῖν φαλλοῖο δὲ ἅρμα [ἐνθάδε] νῦν κεῖμαι [τῷ] θανάτῳ μηκέτ’ ὀφειλόμενος.
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Its hero is a thirteen years old Jewish girl Ryfka, who dies together with Jesus Christ shot by the Nazis. Broniewski was conservative regarding poetic form. He used classical forms of verse, traditional metres and stanzas. He often employed the dactylic metre.
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The language of the poem is essentially the everyday Munster Irish of the time, the vernacular of County Clare during the 18th century. The meter is the rarely used Dactylic Trimeter followed by a single Trochaic foot. The end rhymes are all feminine.
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The Seasons (Metai) by Kristijonas Donelaitis is a famous Lithuanian poem in quantitative dactylic hexameters. Because of the nature of Lithuanian, more than half of the lines of the poem are entirely spondaic save for the mandatory dactyl in the fifth foot.
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Idyll VI, otherwise known as Bucolic poem 6, was written by Theocritus in dactylic hexameter. The exact date of its composition is unknown. It references characters that have appeared in other works of literature such as Homer's Odyssey, Ovid's Metamorphoses, and Theocritus' Idyll XI.
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Samuel Richards's painting "Evangeline Discovering Her Affianced in the Hospital" The poem is written in unrhymed dactylic hexameter, possibly inspired by Greek and Latin classics, including Homer, whose work Longfellow was reading at the time he was writing Evangeline. He also had recently, in 1841, translated "The Children of the Lord's Supper", a poem by Swedish writer Esaias Tegnér, which also used this meter. Evangeline is one of the few nineteenth-century compositions in that meter which is still read today. Some criticized Longfellow's choice of dactylic hexameter, including poet John Greenleaf Whittier, who said the poem would have been better in a prose style similar to Longfellow's Hyperion.
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Shairi (Georgian: შაირი, ), also known as Rustavelian Quatrain, is a monorhymed quatrain used by Shota Rustaveli in The Knight in the Panther's Skin. It consists of four 16-syllable lines, with a caesura between syllables eight and nine. While there are stanzas with as many as five syllables rhyming, generally shairi uses either feminine or dactylic rhyme. It is worth noticing that despite the feminine and dactylic forms of rhyme, in Georgian shairi stress is very weak due to the nature of the Georgian language, which is characterized by dynamic and very weak stress placed on antepenultimate syllable in words longer than two syllables and on penultimate in two syllable words.
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The "dactyl," as a foot, is — u u; the name comes from the Greek for "finger," because it looks like the three bones of a finger, going outward from the palm. The principal colon of dactylic verse is the "hemiepes" or "half-epic" colon, — u u — u u — (sometimes abbreviated D). The two short syllables (called a biceps element) may generally be contracted, but never in the second half of a pentameter, and only rarely in the fifth foot of a hexameter. The long syllable (the princeps element) may never be resolved. Roman poets use two dactylic forms, the hexameter and the elegiac couplet.
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Throughout the poem Abbo employs a dactylic hexameter, though with the occasional fault. This metre helps to underpin the epic nature of the poem, a conscious aim of Abbo. The purpose of the work was both scholarly and hortative, warning future generations of the Viking menace.MacLean, 55.
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The iambic family has short syllables one at a time, not in pairs like the dactylic family, and it allows resolution of long elements. In this family there may also be anceps positions, that is, positions in which either a long or a short syllable is allowed.
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Heroic verse consists of the rhymed iambic line or heroic couplet. The term is used in English exclusively. In ancient literature, heroic verse was synonymous with the dactylic hexameter. It was in this measure that those typically heroic poems, the Iliad and Odyssey and the Aeneid were written.
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Other books cannot be dated with any precision. The poem is divided into 17 books and is composed in dactylic hexameter. It has been thought that the poem was initially planned in hexads and that the original intent was to round off the composition in 18 books.von Albrecht, p.
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The Annales was written by the Roman poet Ennius (likely pictured, Roman bust in the Ny Carlsberg Glyptotek) in the 2nd century BC. Whereas Ennius's contemporaries like Livius Andronicus and Gnaeus Naevius wrote in Saturnian verse, Ennius eschewed this style. Instead he penned Annales in dactylic hexameter, in imitation of the works of Homer; according to Alison Keith, by doing this, "Ennius acknowledged the importance of Greek culture in contemporary Rome". Because of Ennius's decision, dactylic hexameter became the standard metre for subsequent Latin epic poetry.Keith (2013), p. xiv. But in addition to what Alison Sharrock and Rihannon Ashley call the "Romanisation of Greek poetic sophistication",Sharrock and Ashley (2013), p. 174.
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Other epic poets followed Naevius. Quintus Ennius wrote a historical epic, the Annals (soon after 200 BC), describing Roman history from the founding of Rome to his own time. He adopted Greek dactylic hexameter, which became the standard verse form for Roman epics. He also became famous for his tragic dramas.
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The Punica is a Latin epic poem in seventeen books in dactylic hexameter written by Silius Italicus (c. 28 – c. 103 AD) comprising some twelve thousand lines (12,202, to be exact, if one includes a probably spurious passage in book 8). It is the longest surviving Latin poem from antiquity.
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In the 1830s, the novella was translated into Russian dactylic hexameter verse by the Romantic poet Vasily Zhukovsky. This verse translation became a classic in its own right and later provided the basis for the libretto to Tchaikovsky's operatic adaptation. The novella has since inspired numerous similar adaptions in various genres and traditions.
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The Thebaid (; ) is a Latin epic in 12 books written in dactylic hexameter by Publius Papinius Statius (AD c. 45 – c. 96). The poem deals with the Theban cycle and treats the war of the Seven against Thebes, who were seven champions who led an Archive army against the city of Thebes.
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Petrarch, for example, devoted much time to his Africa, a dactylic hexameter epic on Scipio Africanus, but this work was unappreciated in his time and remains little read today. In contrast, Dante decided to write his epic, the Divine Comedy in Italian—a choice that defied the traditional epic choice of Latin dactylic hexameters—and produced a masterpiece beloved both then and now. With the New Latin period, the language itself came to be regarded as a medium only for "serious" and learned expression, a view that left little room for Latin poetry. The emergence of Recent Latin in the 20th century restored classical orthodoxy among Latinists and sparked a general (if still academic) interest in the beauty of Latin poetry.
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Various Verses (στίχοι διάφοροι) is the title of his collection of 145 poems, which covers a wide range of genres and topics. The collection seems to have been arranged chronologically. The text of many poems is severely damaged. The metre of most poems is the dodecasyllable, but for some Christopher uses the dactylic hexameter.
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Ennius's list appears in poetic form, and the word order may be dictated by the metrical constraints of dactylic hexameter. The Dii Consentes are sometimes seen as the Roman equivalent of the Greek Olympians. The meaning of Consentes is subject to interpretation, but is usually taken to mean that they form a council or consensus of deities.
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Gilles de Corbeil (Latin: Egidius de Corbolio or Egidius Corboliensis; also Aegidius) was a French royal physician, teacher, and poet. He was born in approximately 1140 in Corbeil and died in the first quarter of the 13th century. He is the author of four medical poems and a scathing anti-clerical satire, all in Latin dactylic hexameters.
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After going to Leipzig in 1747, he recast the prose into dactylic hexameters. In 1748, this verse for the first three cantos appeared anonymously in the Bremer Beiträge ("Bremen Contributions"). The next two cantos appeared in 1750, and the next five appeared in 1755. Ten more cantos appeared substantially later: five in 1768 and five in 1773.
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Simeon Solomon, Erinna Taken from Sappho (1865). In the 19th century, the poet Erinna was believed to be a contemporary of Sappho. Here she is shown leaving Sappho, just as the woman in fragment 94 does. The poem is composed in stanzas of three lines, the first two glyconic and the third glyconic with dactylic expansion.
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The 644-line poem, like all Ovid's extant work except the Metamorphoses,The Metamorphoses is written in dactylic hexameter; the first line of a Latin elegiac couplet is dactylic hexameter, however, so the Metamorphoses itself is not a metrical exception in Ovid's extant work. His lost tragedy Medea presumably used other measures. is written in elegiac couplets. It is thus an unusual, though not unique, example of invective poetry in antiquity written in elegiac form rather than the more common iambics or hendecasyllabics. The incantatory nature of the curses in the Ibis has sometimes led to comparisons with curse tablets (defixiones), though Ovid's are elaborately literary in expression;Gareth D. Williams, "On Ovid's Ibis: A Poem in Context," in Oxford Readings in Ovid (Oxford University Press, 2006), p.
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Similar laws which have been discovered in the dactylic hexameter are that if a word ends the fifth or fourth foot it is almost never, or only rarely, a spondee (– –). The philologist W. Sidney Allen suggested an explanation for all these laws in that it is possible that the last long syllable in any Greek word had a slight stress; if so, then to put a stress on the first element of the last iambic metron, or the second element of the 4th or fifth dactylic foot in a hexameter, would create an undesirable conflict of ictus and accent near the end of the line.W. Sidney Allen (1974) Vox Graeca (2nd edition), pp. 120-123. An alternative hypothesis, supported by Devine and Stephens in their book The Prosody of Greek Speech,A.
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The poem's meter is the glyconic with double dactylic expansion (gl2d) – each line is of the form "xx -uu -uu -uu- ux".Voigt, E. M. Sappho et Alcaeus. Polak & Gennep: Amsterdam, 1971. pg. 18 In the Alexandrian edition of Sappho's poems, it was included in Book II.Campbell, David A. Greek Lyric I: Sappho and Alcaeus. Harvard University Press: Harvard, Massachusetts, 1982. pg. 53.
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De rerum natura (; On the Nature of Things) is a first-century BC didactic poem by the Roman poet and philosopher Lucretius ( – c. 55 BC) with the goal of explaining Epicurean philosophy to a Roman audience. The poem, written in some 7,400 dactylic hexameters, is divided into six untitled books, and explores Epicurean physics through poetic language and metaphors.Greenblatt (2011).
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409 online. In his Life of Terence, Suetonius preserves six lines of dactylic hexameter by Caesar praising the Roman playwright, along with a more lukewarm assessment by Cicero.Suetonius, Life of Terence 7. These two verse passages, with their similarity of purpose and wording, may have resulted from a school assignment, since both men studied with the teacher and grammarian Gnipho.
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The Pig War (original Latin title: Pugna Porcorum) is a Latin poem written by John Placentius (Jan Leo Struyven), a Flemish Dominican monk, under the pseudonym Publius Porcius. The text was first printed in Antwerp in 1530. The poem consists of 248 dactylic hexameters, every single word of them beginning with the letter p. As such, the poem is a tautogram.
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Even after several centuries, with the advent of printing, it appeared in countless editions in Italy, Germany and France. It was based on the older works of Donatus and Priscian. Alexander also wrote a short tract on arithmetic called Carmen de Algorismo--the Poem about Arithmetic, which also achieved a wide distribution.While the Doctrinale was in leonine verse, the Carmen in dactylic hexameters.
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Tiresias appears to Odysseus during the nekyia of Odyssey xi, in this watercolor with tempera by the Anglo-Swiss painter Johann Heinrich Füssli, c. 1780-85 Published around 30 BCE, the second book of Satires is a series of poems composed in dactylic hexameter by the Roman poet Horace. Satires 2.5 stands out in the work for its unique analysis of legacy hunting.
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219–226 Because of a reference to a recent political figure, his fifth and final surviving book must date from after 127. Juvenal wrote at least 16 poems in the verse form dactylic hexameter. These poems cover a range of Roman topics. This follows Lucilius--the originator of the Roman satire genre, and it fits within a poetic tradition that also includes Horace and Persius.
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Every critic sufficiently acquainted with his lyrical compositions has rendered justice to their merit. From the romance of Galatea, Cervantes must have composed in all the various kinds of syllabic measure used in his time. He even occasionally adopted the old dactylic stanza. He appears to have experienced some difficulty in the metrical form of the sonnet, but his poems in Italian octaves display great facility.
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Borrèia in Auvernia, early 20th century People dancing bourrée in a folk ball The bourrée (;Son d'Aquí. . also in England, borry or bore) is a dance of French origin and the words and music that accompany it.Scholes, Percy, The Oxford Companion to Music, OUP, 1970, article; Bourrée. The bourrée resembles the gavotte in that it is in double time and often has a dactylic rhythm.
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The poem consists of 19,458 dactylic hexameters, as compared with the 15,693 of Homer's Iliad. At Schulpforta, the classical school Klopstock attended 1739–1745, the plan for the poem was formulated. The project reflected the influence of Johann Jakob Bodmer's translation of John Milton's Paradise Lost, which Klopstock had read at the school. After developing his plan, Klopstock wrote a prose version of the first three cantos.
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Others included Science, Geography, Mathematics, Philosophy, and especially Art, Drama, and inspiration. In the archaic period, before the widespread availability of books (scrolls), this included nearly all of learning. The first Greek book on astronomy, by Thales, took the form of dactylic hexameters, as did many works of pre-Socratic philosophy. Both Plato and the Pythagoreans explicitly included philosophy as a sub-species of mousike.
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In 1910, he received his doctorate from Otto Crusius in Munich with a thesis on the use of the dactylic hexameter in the ancient Greek comedy.Hermann Unger:Untersuchungen zur altattischen Komödie I. Der Gebrauch des daktylischen Hexameters Noske on WorldCat Borna-Leipzig 1911. In 1913 Unger came to Cologne as editor of the Rheinische Musik- und Theater-Zeitung. During World War I, he first came to Champagne.
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A mosaic of Dionysus from Antioch. Nonnus' principal work is the 48-book epic Dionysiaca, the longest surviving poem from antiquity.Hopkinson, N. Studies in the Dionysiaca of Nonnus (Cambridge, 1994) pp.1–4. It has 20,426 lines composed in Homeric dialect and dactylic hexameters, the main subject of which is the life of Dionysus, his expedition to India, and his triumphant return to the west.
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Engraved frontispiece of George Sandys’s 1632 London edition of Ovid's Metamorphoses Englished. The Metamorphoses, Ovid's most ambitious and well-known work, consists of a 15-book catalogue written in dactylic hexameter about transformations in Greek and Roman mythology set within a loose mytho-historical framework. The word "metamorphoses" is of Greek origin and means "transformations". Appropriately, the characters in this work undergo many different transformations.
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In 1944 in his capacity as a professor emeritus at Missouri and at age 80, he completed the translation of Homer's Iliad in the English equivalent of the Greek poet's original dactylic hexameter. It was the first such work ever published. Begun by Tulane colleague William Benjamin Smith this work was hailed as a "triumph of ingenuity." Five years later Miller died in Columbia, Missouri, one of the last of his generation of U.S classicists.
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Monument to Acadians, St. Martinville, Louisiana Evangeline, A Tale of Acadie is an epic poem by the American poet Henry Wadsworth Longfellow, written in English and published in 1847. The poem follows an Acadian girl named Evangeline and her search for her lost love Gabriel, set during the time of the Expulsion of the Acadians. The idea for the poem came from Longfellow's friend Nathaniel Hawthorne. Longfellow used dactylic hexameter, imitating Greek and Latin classics.
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Brevis in longo is possible in various classical metres that require a long syllable at the end of a line, including dactylic hexameters and iambic trimeters. However, it does not seem to be found in every metre. For example, in Greek, in ionic metres ending in u u – –, there do not seem to be any examples. A similar phenomenon is found in other languages whose poetic metres are quantitative, such as Arabic, Persian, and Sanskrit.
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The Iliad (;"Iliad". Random House Webster's Unabridged Dictionary. , ', ; sometimes referred to as the Song of Ilion or Song of Ilium) is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy (Ilium) by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
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Ordo Urbium Nobilium is a Latin poem in dactylic hexameter by Decimus Magnus Ausonius.Chris Wickham, The Inheritance of Rome, p. 24 It was written after a journey Ausonius took through the Roman Empire between the years 388 and 390 AD. The poem lists brief descriptions of the major cities of the Roman Empire and ranks them from the most important to the least important. The ranking is as follows: 1\. Roma (Rome). 2\.
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Like Little Miss Muffet and Little Jack Horner the verse is an example of a nursery rhyme that contains six dactylic lines. The most common modern version of the lyrics is: :Little Poll Parrot :Sat in his garret :Eating toast and tea; :A little brown mouse :Jumped into the house, :And stole it all away.I. Opie and P. Opie, The Oxford Dictionary of Nursery Rhymes (Oxford University Press, 1951, 2nd edn., 1997), p. 353.
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Jean-Antoine de Baïf elaborated a system which used original graphemes for regulating French versification by quantity on the Greco-Roman model, a system which came to be known as vers mesurés, or vers mesurés à l'antique, which the French language of the Renaissance permitted. In works like his Étrénes de poézie Franzoęze an vęrs mezurés (1574)See, for example, Au Roi. or Chansonnettes he used dactylic hexameter, Sapphic stanzas, etc., in quantitative meters.
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The sonnets are also all metered, but their meters vary more greatly between poems; dactylic and trochaic are the most common feet, with line length varying greatly, sometimes even within a particular sonnet. Due to the frequent use of enjambment Rilke even breaks through the verse structure. Difficulties in understanding the text arise from pronouns lacking clear reference. So begins, for example, the third sonnet of the first part: > Ein Gott vermags.
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Pre-order packages were announced on May 16, and included a download of the first single, "Stranger Ways", which was also streamed exclusively on Billboard.com the same day. According to Christian, the song "embodies a lot of what Anberlin will be remembered for; the 80's influence, dark dactylic lyrics, and intriguing melodies and music", but warned that the song "is not the embodiment of the record", assuring fans that the entire album is not as somber.
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Paul sees the church as a 'meadow' of many-coloured marbles, and helps us to imagine the church before its many subsequent remodellings. The poem was probably commissioned by Justinian himself, and Paul had to read verses to the emperor through the inauguration. It consists of 1029 verses in Greek, starting with 134 lines of iambic trimeter, with the remainder in the classical meter of epic, dactylic hexameter. He also wrote a poem about the hot springs at Pythia.
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The double amphibrach is a variation of the double dactyl, similar to the McWhirtle but with stricter formal requirements. Meter and lineation are consistently amphibrachic (da DA da) rather than dactylic (DA da da), and the shortened fourth and eighth lines rhyme. In narrative sequences, the requirements that the first line be nonsense syllables and second line be a proper name are sometimes waived, but the sixth line requires a single diamphibrachic word (e.g. discriminatory, hallucinogenic, personification).
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Idyll XI, otherwise known as Bucolic poem 11, was written by Theocritus in dactylic hexameter. Its main character, the Cyclops Polyphemus, has appeared in other works of literature such as Homer's Odyssey, and Theocritus' Idyll VI. Idyll XI is written in the Doric dialect of ancient Greek. In that dialect, the Cyclops' name is "Polyphamos." The more familiar "Polyphemos" is the form in which he is known in the Odyssey, which is written in the Ionic dialect.
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First page of the Donelaitis' manuscript for the part "Spring Joys" The Seasons () is the first Lithuanian poem written by Kristijonas Donelaitis around 1765–1775. It is in quantitative dactylic hexameters as often used for Latin and Ancient Greek poetry. It was published as "Das Jahr" in Königsberg, 1818 by Ludwig Rhesa, who also named the poem and selected the arrangement of the parts. The German translation was included in the first edition of the poem.
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Later Ovid produced his Metamorphoses, written in dactylic hexameter verse, the meter of epic, attempting a complete mythology from the creation of the earth to his own time. He unifies his subject matter through the theme of metamorphosis. It was noted in classical times that Ovid's work lacked the gravitas possessed by traditional epic poetry. Catullus and the associated group of neoteric poets produced poetry following the Alexandrian model, which experimented with poetic forms challenging tradition.
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Lesser hendecasyllables often have an accent on the seventh syllable ("fàtta di giòco in figùra d'amóre"). Such a line is called dactylic (dattilico) and its less pronounced rhythm is considered particularly appropriate for representing dialogue. Another kind of greater hendecasyllable has an accent on the third syllable ("Se Mercé fosse amìca a' miei disìri") and is known as anapestic (anapestico). This sort of line has a crescendo effect and gives the poem a sense of speed and fluidity.
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The metrics of Nonnus have been widely admired by scholars for the poet's careful handling of dactylic hexameter and innovation.See Fornaro, col.813–814 While Homer has 32 varieties of hexameter lines, Nonnus only employs 9 variations, avoids elision, employs mostly weak caesurae, and follows a variety of euphonic and syllabic rules regarding word placement. It is especially remarkable that Nonnus was so exacting with meter because the quantitative meter of classical poetry was giving way in Nonnus' time to stressed meter.
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With the development of Greek prosody, various peculiar strophe-forms came into general acceptance, and were made celebrated by the frequency with which leading poets employed them. Among these were the Sapphic, the Elegiac, the Alcaic, and the Asclepiadean strophe, all of them prominent in Greek and Latin verse. The briefest and the most ancient strophe is the dactylic distych, which consists of two verses of the same class of rhythm, the second producing a melodic counterpart to the first.
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He argued that there were only two forms of verse capable of achieving the grand style. The first, he said, was heroic couplet or blank verse (The former consists of pairs of rhymed lines, while the latter is unrhymed. Both comprise lines ten syllables long, typically in iambic pentameter.Robert Burns Shaw, Blank Verse: A Guide to its History and Use (Ohio University Press, 2007), page 1) The second form he stated was dactylic hexameter (the form employed by Homer and Virgil).
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In composing this poem Lovato at times experienced difficulties mastering the language in describing his thoughts, which explains why certain passages sounded more like prose. The biblical references used were said to have tainted the classicising character of the poem. The second poem to Campagnino discussing about his plan to marry was in dactylic hexameter. The vocabulary Lovato employed in his poems at this time was generally classical in character, as well as displaying accurate use of metrics coherent with ancient models.
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London: Faber & Faber. Virgil worked on the Aeneid during the last eleven years of his life (29–19 BC), commissioned, according to Propertius, by Augustus. The epic poem consists of 12 books in dactylic hexameter verse which describe the journey of Aeneas, a warrior fleeing the sack of Troy, to Italy, his battle with the Italian prince Turnus, and the foundation of a city from which Rome would emerge. The Aeneid's first six books describe the journey of Aeneas from Troy to Rome.
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While in his capacity of teacher he was held in high repute, as historian he suffered much criticism. His first known work, written while he was in Cologne, was a poem in dactylic hexameters, Brevis descriptio belli Monasteriensis contra anabaptistica monstra gesti. His principal work deals with the same subject, Historia Anabaptistarum Monasteriensium (History of the Anabaptists of Munster). It was written on a broad scale, forming a history of the whole city from 1524 to 1554, including many eyewitness accounts.
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The triumph of Dionysus, depicted on a 2nd-century Roman sarcophagus. Dionysus rides in a chariot drawn by panthers; his procession includes elephants and other exotic animals. The Dionysiaca (, Dionysiaká) is an ancient Greek epic poem and the principal work of Nonnus. It is an epic in 48 books, the longest surviving poem from antiquity at 20,426 lines, composed in Homeric dialect and dactylic hexameters, the main subject of which is the life of Dionysus, his expedition to India, and his triumphant return to the west.
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Developed over centuries, pastoral elegies mourn a subject by representing the mourner and the subject as shepherds. Shakespeare and his contemporaries were known to imitate some of the conventions of traditional pastoral poetry, and many hundreds of years later, the pastoral elegy was still practiced by 19th- century Romantic and Victorian poets. History of elegies In classic literature, an elegy was simply any poem written in elegiac meter and was not restricted by its subject. Elegiac meter was considered alternating lines of dactylic hexameter and pentameter.
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Like the limerick, the double dactyl has a fixed structure, is usually humorous, and is rigid in its prosodic structure. The double dactyl's prosodic requirements are more strenuous due to its increased length, and its specific requirements as to subject matter and word choice much more rigid, making it significantly more difficult to write. There must be two stanzas, each comprising three lines of dactylic dimeter ( ¯ ˘ ˘ ¯ ˘ ˘ ) followed by a line consisting of just a choriamb ( ¯ ˘ ˘ ¯ ). The last lines of these two stanzas must rhyme.
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His third book on poetry is particularly valuable, containing extracts from Suetonius's De poetica. This book contains one of the most complete lists of types of dactylic hexameters in antiquity, including the teres versus, which may (or may not) be the so-called "golden line." Diomedes wrote about the same time as Charisius and used the same sources independently. The works of both grammarians are valuable, but whereas much of Charisius has been lost, the Ars of Diomedes has come down to us complete (although probably abridged).
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The Achilleid () is an unfinished epic poem by Publius Papinius Statius that was intended to present the life of Achilles from his youth to his death at Troy. Only about one and a half books (1,127 dactylic hexameters) were completed before the poet's death. What remains is an account of the hero's early life with the centaur Chiron, and an episode in which his mother, Thetis, disguised him as a girl on the island of Scyros before he joined the Greek expedition against Troy.
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Waltharius is a Latin epic poem founded on German popular tradition relating the exploits of the Visigothic hero Walter of Aquitaine. While its subject matter is taken from early medieval Germanic legend, the epic stands firmly in the Latin literary tradition in terms of its form and the stylistic devices used. Thus, its 1456 verses are written in dactylic hexameter (the traditional meter of Latin epic poetry) and the poem includes copious references to (and phrases borrowed from) various Latin epics of antiquity, especially Vergil's Aeneid.
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Theodore Metochites (1270–1332) was a Byzantine author and philosopher. His extant works comprises 20 Poems in dactylic hexameter, 18 orations (Logoi), Commentaries on Aristotle’s writings on natural philosophy, an introduction to the study of Ptolemaic astronomy (Stoicheiosis astronomike), and 120 essays on various subjects, the Semeioseis gnomikai. Mondino de Liuzzi (c. 1270-1326) was an Italian physician, surgeon, and anatomist from Bologna who was one of the first in Medieval Europe to advocate for the public dissection of cadavers for advancing the field of anatomy.
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The Cabinet of Folksongs, a collection of almost 218,000 Latvian folksongs texts at the National Library of Latvia A daina or tautas dziesma is a traditional form of music or poetry from Latvia. Lithuanian dainos share common traits with them, but have been more influenced by European folk song traditions. Latvian dainas often feature drone vocal styles and pre-Christian themes and legends, and can be accompanied by musical instruments such as Baltic psalteries (e.g. kokles). Dainas tend to be very short (usually four- liners) and are usually in a trochaic or a dactylic metre.
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III, page 133 The dream motif was borrowed by Aeschylus for his own version of the Clytemnestra character in Libation Bearers.G. Massimilla, Un sogno di Giocasta in Stesicoro? The fragment also has implications for our understanding of ancient scholarship, especially the manner in which poetic texts were transmitted. It was usual in ancient times for uniform verses to be written out in lines, as for example lines of dactylic hexameter in epic verse and iambic trimeter in drama, but lyric verses, which feature varying metrical units or cola, were written out like prose.
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Following his initial success with the "Elegy", he was especially admired for his first-rate melodious translations of German and English ballads. Among these, the ballad "Ludmila" (1808) and its companion piece "Svetlana" (1813) are considered landmarks in the Russian poetic tradition. Both are free translations of Gottfried August Burger's well-known German ballad "Lenore", although each renders the original in a completely different way. Characteristically, Zhukovsky later translated "Lenore" yet a third time as part of his lifelong effort to develop a natural-sounding Russian dactylic hexameter.
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The symbol ":" is used as punctuation. The second and third lines are in dactylic hexameter. The form of the first line is less certain: it has been read as prose, iambic trimeter, catalectic trochaic trimeter, or a lyric meter. The interpretation of the inscription depends on a lacuna in the first line: depending on how it is restored, the inscription may be contrasting the cup from Pithekoussai with the legendary cup of Nestor described in the Iliad (Iliad 11.632 ff.), or identifying the cup as one owned by Nestor.
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Joan Webber argues that these lines constitute a poem, in dactylic hexameter; David Novarr disputes this, arguing that Stationes "has none of Donne's customary wit, drama, and imagination". Instead, it represents the Stations of the Cross, or supplicatio stativa. Mary Arshagouni, writing in Modern Philology, argues that the stationes indeed constitute a poem – or, at least, something more than a mere table of contents. The Latin lines play off the English translations, and contain nuanced meaning not found in the English that better represents the sections to which they refer.
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Friedrich von Hausen is one of the earliest of the minnesingers who are known to have imitated French models, with which he became acquainted on his travels through Burgundy and Provence. Together with Heinrich von Veldeke he introduced the Romance element into the minnesong. The Provençal influence is especially evident in the dactylic rhythm of his verses, which resulted from the adoption into German of a Romance ten-syllable line with four or five stresses. His rhymes are still occasionally imperfect and his songs contain more than one strophe.
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The poem relies heavily on the theme of nostalgia as Catullus reflects on what he believes are better times in Roman history. He wrote the poem during a time of civil war in Rome, even referencing brothers' blood being drenched in brothers' blood in line 399. He looks back on the wedding of Peleus and Thetis as a time where Gods may come to a wedding, unlike the modern times he lived in. The meter of the poem is dactylic hexameter, the meter of epic poetry, such as Homer's Iliad and Odyssey and Virgil's Aeneid.
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The poem is written in 343 lines of dactylic hexameter, a poetic scheme often found in epic poetry of the period. It is written in Homeric Greek, with Christian or vernacular parts in later dialects of Koine Greek and incorporating many Latin loanwords.; Many expressions in the poem are conspicuously borrowed from Homer's own usage in the Illiad and Odyssey, alongside quotations from Hesiod and Apollonius of Rhodes' Argonautica.; The poetry includes many metric errors (with elongations and depressions in the poem, where the poet incorrectly identified vowel lengths).
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Her Books of Legends or Carmina liber primus was written in the 950s or 960s and was written in honor of Abbess Gerberga. It contains eight legends written in dactylic hexameter. Her most popular work was The Book of Drama, or Liber Secundus, which offered a Christian alternative to the work of the Roman playwright Terence. In contrast to Terence, who told stories about women who were weak and morally corrupt, Hrothsvitha stories were about virtuous virgins with a strong connection to God and who persevered through adversity.
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Annales (; Annals) is the name of a fragmentary Latin epic poem written by the Roman poet Ennius in the 2nd century BC. While only snippets of the work survive today, the poem's influence on Latin literature was significant. Although written in Latin, stylistically it borrows from the Greek poetic tradition, particularly the works of Homer, and is written in dactylic hexameter. The poem was significantly larger than others from the period, and eventually comprised 18 books. The subject of the poem is the early history of the Roman state.
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These works form the basis of the epic genre in Western literature. Nearly all of Western epic (including Virgil's Aeneid and Dante's Divine Comedy) self- consciously presents itself as a continuation of the tradition begun by these poems. Classical epic poetry employs a meter called dactylic hexameter and recounts a journey, either physical (as typified by Odysseus in the Odyssey) or mental (as typified by Achilles in the Iliad) or both. Epics also tend to highlight cultural norms and to define or call into question cultural values, particularly as they pertain to heroism.
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Many verse forms have been used in epic poems through the ages, but each language's literature typically gravitates to one form, or at least to a very limited set. Ancient Sumerian epic poems did not use any kind of poetic meter and lines did not have consistent lengths; instead, Sumerian poems derived their rhythm solely through constant repetition, with subtle variations between lines. Indo- European epic poetry, by contrast, usually places strong emphasis on the importance of line consistency and poetic meter. Ancient Greek and Latin poems were written in dactylic hexameter.
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The dividing of verse into long and short syllables and analysis of the metrical family or pattern is called 'scanning' or 'scansion.' The names of the metrical families come from the names of the cola or feet in use, such as iambic, trochaic, dactylic and anapaestic meters. Sometimes meter is named after the subject matter (as in epic or heroic meter), sometimes after the musical instrument that accompanied the poetry (such as lyric meter, accompanied by the lyre), and sometimes according to the verse form (such as Sapphic, Alcaic and elegiac meter).
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According to Strabo,xiii. p. 618 he increased the number of strings in the lyre from four to seven; others take the fragment of Terpander on which Strabo bases his statement to mean that he developed the citharoedic nomos (sung to the accompaniment of the cithara or lyre) by making the divisions of the ode seven instead of four. The seven-stringed lyre was probably already in existence. Terpander is also said to have introduced several new rhythms in addition to the dactylic and to have been famous as a composer of drinking-songs (skolia).
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The Aeneid, like other classical epics, is written in dactylic hexameters: each line consists of six metrical feet made up of dactyls (one long syllable followed by two short syllables) and spondees (two long syllables). This epic consists of twelve books, and the narrative is broken up into three sections of four books each, respectively addressing Dido; the Trojans' arrival in Italy; and the war with the Latins. Each book has roughly 700–900 lines. The Aeneid comes to an abrupt ending, and scholars have speculated that Virgil died before he could finish the poem.
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He wrote in the Doric dialect but the metre he chose was the dactylic hexameter associated with the most prestigious form of Greek poetry, epic. This blend of simplicity and sophistication would play a major part in later pastoral verse. Theocritus was imitated by the Greek poets Bion and Moschus. The Roman poet Virgil adapted pastoral into Latin with his highly influential Eclogues. Virgil introduces two very important uses of pastoral, the contrast between urban and rural lifestyles and political allegoryArticle on "Bucolic poetry" in The Oxford Companion to Classical Literature (1989) most notably in Eclogues 1 and 4 respectively.
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The source is attributed to the letter written by a father of an English soldier and politician Algernon Sidney: "It is said that the University of Copenhagen brought their album unto you, desiring you to write something therein; and that you did scribere in albo these words: 'Manus haec inimica tyrannis ense petit placidam sub libertate quietem'". (Translated, this means "This hand of mine, which is hostile to tyrants, seeks by the sword quiet peace under liberty.") The last words were then written in Sidney's "Book of Mottoes", particularly favored by some in the American colonies. Metrically, the motto is dactylic hexameter.
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The diverse body types, races, and sexualities are partly because of Fraction wanting to write characters his daughter could look up to, but they also function to ground the fanciful story in humanity. While doing research for the book, Fraction was most influenced by Odysseus in America by Jonathan Shay, Margaret Atwood's The Penelopiad, and Herodotus's The Histories. Other influences on the development of the comic include Barbarella, Jodorowsky, Heavy Metal comics, Cirque du Soleil, burlesque, and fetish. Most of the comic is written in dactylic hexameter like the original, but two issues are written entirely in limerick.
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Cúirt An Mheán Oíche was never written down by its author and was preserved, like much Irish and Scottish Gaelic poetry, by being memorized by successive generations of local seanchaithe. It was eventually written down and published in 1850, by the Irish language poetry collector John O'Daly. In the 20th century, a number of translations were produced. Translators have generally rendered Cúirt An Mheán Óiche into iambic pentameter and heroic couplets. Ciarán Carson, however, chose to closely reproduce Merriman's original dactylic meter, which he found very similar to the 6/8 rhythm of Irish jigs, and heavy use of alliteration.
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His forceful version is freer, with shorter lines that increase the sense of swiftness and energy. Robert Fagles (Penguin Classics, 1990) and Stanley Lombardo (1997) are bolder than Lattimore in adding dramatic significance to Homer's conventional and formulaic language. Rodney Merrill's translation (University of Michigan Press, 2007) not only renders the work in English verse like the dactylic hexameter of the original, but also conveys the oral- formulaic nature of the epic song, to which that musical meter gives full value. Barry B. Powell's translation (Oxford University Press, 2014) renders the Homeric Greek with a simplicity and dignity reminiscent of the original.
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The Gashlycrumb Tinies (1963) The Gashlycrumb Tinies: or, After the Outing is an abecedarian book written by Edward Gorey that was first published in 1963. Gorey tells the tale of 26 children (each representing a letter of the alphabet) and their untimely deaths in rhyming dactylic couplets, accompanied by the author's distinctive black-and-white illustrations. It is one of Edward Gorey's best-known books, and is the most notorious amongst his roughly half- dozen mock alphabets. It has been described as a "sarcastic rebellion against a view of childhood that is sunny, idyllic, and instructive".
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Following their declared wish to awaken boys' metrical sense, the editors grouped their selections into seven sections, the heroic couplet, the octosyllabic couplet, the sonnet, the trochaic metre, the dactylic or anapaestic metre, classical metres, and miscellaneous.Alington and Lyttelton, p. xv The sections, and the poems within them, are introduced with brief background notes, putting them in context. ;The heroic couplet This section begins with excerpts from Chaucer's The Canterbury Tales and continues with works or parts of works from the sixteenth to the twentieth centuries, ending with two anonymous parodies, possibly written by one or both of the editors.
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Homeric Greek is the form of the Greek language that was used by Homer in the Iliad and Odyssey and in the Homeric Hymns. It is a literary dialect of Ancient Greek consisting mainly of Ionic and Aeolic, with a few forms from Arcadocypriot, and a written form influenced by Attic. It was later named Epic Greek because it was used as the language of epic poetry, typically in dactylic hexameter, by poets such as Hesiod and Theognis of Megara. Compositions in Epic Greek may date from as late as the 3rd century BC, but it disappeared with the rise of Koine Greek.
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The Annales was an epic poem in fifteen books, later expanded to eighteen, covering Roman history from the fall of Troy in 1184 BC down to the censorship of Cato the Elder in 184 BC. It was the first Latin poem to adopt the dactylic hexameter metre used in Greek epic and didactic poetry, leading it to become the standard metre for these genres in Latin poetry. The Annals became a school text for Roman schoolchildren, eventually supplanted by Virgil's Aeneid. About 600 lines survive. A copy of the work is among the Latin rolls of the Herculaneum library.
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A treatise on poetry by Diomedes Grammaticus is a good example, as this work (among other things) categorizes dactylic hexameter verses in ways that were later interpreted under the golden line rubric. Independently, these two trends show the form becoming highly artificial—more like a puzzle to solve than a medium for personal poetic expression. By the Middle Ages, some writers adopted more relaxed versions of the meter. Bernard of Cluny, for example, employs it in his De Contemptu Mundi, but ignores classical conventions in favor of accentual effects and predictable rhyme both within and between verses, e.g.
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Nonnus of Panopolis (, Nónnos ho Panopolítēs) was a Greek epic poet of Hellenized Egypt in the Imperial Roman era. He was a native of Panopolis (Akhmim) in the Egyptian Thebaid and probably lived in the 5th century AD. He is known as the composer of the Dionysiaca, an epic tale of the god Dionysus, and of the Metabole, a paraphrase of the Gospel of John. The epic Dionysiaca describes the life of Dionysus, his expedition to India, and his triumphant return to the west, it was written in Homeric dialect and in dactylic hexameter, and it consists of 48 books at 20,426 lines.
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32, No. 2, pp. 281-297. Catalectic endings are particularly common where the rhythm of the verse is dactylic ( – u u ), trochaic ( – u ), or anapestic ( u u – ); they tend to be associated with the end of a strophe or period, so much so that it can almost be said that acatalectic forms cannot end a period. In classical verse, the final syllable of a line always counted as long, so that if a dactyl ( – u u ) is made catalectic, it becomes a spondee ( – – ). Ancient poetry was often performed to music, and the question arises of what music accompanied a catalectic ending.
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BC) further refined the borrowings from the Greek stage and the prosody of their verse is substantially the same as for classical Latin verse.R.H. Martin, Terence: Adelphoe, Cambridge University Press (1976), pages 1 and 32. Ennius (239-169 BC), virtually a contemporary of Livius, introduced the traditional meter of Greek epic, the dactylic hexameter, into Latin literature; he substituted it for the jerky Saturnian meter in which Livius had been composing epic verses. Ennius moulded a poetic diction and style suited to the imported hexameter, providing a model for "classical" poets such as Virgil and Ovid.
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The words of Amazing Grace can therefore be set to any tune that has the 8.6.8.6 metre, for example The House of the Rising Sun. Conventionally most hymns in this 86.86 pattern are iambic (weak- strong syllable pairs). By contrast most hymns in an 87.87 pattern are trochaic, with strong-weak syllable pairs: :Love divine, all loves excelling, :joy of heav'n to earth come down,... In practice many hymns conform to one of a relatively small number of metres (syllable patterns), and within the most commonly used ones there is a general convention as to whether its stress pattern is iambic or trochaic (or perhaps dactylic).
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In Greek sources, the noun is mostly attested as (Makedôn) with two exceptions: the poetic form (Makêdôn) in Hesiod with long medial vowel serving the metrical feet of dactylic hexameter and (Mákednos) or latinicized Macednus with barytonesis and apophony in Apollodorus. The recessive accent is reminiscent of two Macedonian barytonized personal names, (Koînos) and (Bálakros) (Attic/Greek adjectives:koinós, phalakrós), but whether Makedôn or Mákednos is the original spelling presumably cannot be proven. Moreover, the suffix -dnos, either as the "Dorian Makednón ethnos" of Herodotus or makednós, a rare poetic epithet denoting tall, seems not to be attested in epigraphy, or used by Macedonians themselves. In Latin sources the noun is Macedo.
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The Homeric poems were composed in unrhymed dactylic hexameter; ancient Greek metre was quantity-based rather than stress-based. Homer frequently uses set phrases such as epithets ('crafty Odysseus', 'rosy-fingered Dawn', 'owl-eyed Athena', etc.), Homeric formulae ('and then answered [him/her], Agamemnon, king of men', 'when the early-born rose-fingered Dawn came to light', 'thus he/she spoke'), simile, type scenes, ring composition and repetition. These habits aid the extemporizing bard, and are characteristic of oral poetry. For instance, the main words of a Homeric sentence are generally placed towards the beginning, whereas literate poets like Virgil or Milton use longer and more complicated syntactical structures.
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Imminet imminet, ut mala terminet, æqua coronet, Recta remuneret, anxia liberet, æthera donet. ::(These current days are the worst of times: let us keep watch. Behold the menacing arrival of the Supreme Judge. He is coming, He is coming to end evil, crown the just, reward the right, set the worried free and grant eternal life.) As this example of tripartiti dactylici caudati (dactylic hexameter rhyming couplets divided into three) shows, the internal rhymes of leonine verse may be based on tripartition of the line (as opposed to a caesura in the center of the verse) and do not necessarily involve the end of the line at all.
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The Bacidae 1883 by Sarah Paxton Ball Dodson (two priestesses of Bacis in a prophetic ecstasy reading chicken entrails). The first Bakis, a native of Eleon in Boeotia, who was the most famous, was said to have been inspired by the nymphs of the Corycian Cave. His oracles, of which specimens are extant in Herodotus and Pausanias, were written in hexameter verse, and were considered to have been strikingly fulfilled. Apocryphal oracular pronouncements in dactylic hexameters circulated under his name during times of stress, such as the Persian and Peloponnesian Wars.Pausanias, Description of Greece, 4. 27. 4; 9. 17. 5; 10. 12. 11; 10. 14. 6; 10. 32.
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Whoever he was, the author says in the concluding verses of his poem that he was not yet twenty years old. The work, comprising 261 dactylic hexameters, has come down via a single manuscript once preserved in the monastery of Lorsch, and now lost; although sizable portions were also preserved in several medieval florilegia, the manuscripts of which are still extant. The editio princeps is in J. Sichard's edition of Ovid, Basel, 1527, and the work has seen about a dozen editions over the centuries, having drawn the attention of Joseph Scaliger and Emil Baehrens among others. A restoration of the archetype of the florilegia was published by Berthold Ullman.
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Franz Liszt in Thuringia The music of Hungary includes traditional Hungarian folk music and music by prominent composers such as Franz Liszt, Franz Schmidt, Ernő Dohnányi, Béla Bartók, Zoltán Kodály, György Ligeti and Miklós Rózsa. Traditional Hungarian music tends to have a strong dactylic rhythm due to the Hungarian language consistently putting stress on the first syllable of each word. Hungary has a number of internationally known composers of contemporary classical music, including György Kurtág, Péter Eötvös and Zoltán Jeney, among others. Franz Liszt spoke no Hungarian until 1870 when he started to learn the language, but clearly identified himself as Hungarian and founded the Academy of Music.
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In English, however, it was not enough to designate a single line of iambic pentameter (an iambic line of five beats) as heroic verse, because it was necessary to distinguish blank verse from the distich, which was formed by the heroic couplet. In French the has long been regarded as the heroic measure of that language. The dactylic movement of the heroic line in ancient Greek, the famous ρυθμός ἥρώος, or "heroic rhythm", of Homer, is expressed in modern Europe by the iambic movement. The consequence is that much of the rush and energy of the antique verse, which at vigorous moments was like the charge of a battalion, is lost.
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In Hesiod's Theogony, kings and poets receive their powers of authoritative speech from their possession of Mnemosyne and their special relationship with the Muses. Zeus, in a form of a mortal shepherd, and Mnemosyne slept together for nine consecutive nights, thus conceiving the nine Muses. Mnemosyne also presided over a poolRichard Janko, "Forgetfulness in the Golden Tablets of Memory", Classical Quarterly 34 (1984) 89–100; see article "Totenpass" for the reconstructed devotional which instructs the initiated soul through the landscape of Hades, including the pool of Memory. in Hades, counterpart to the river Lethe, according to a series of 4th-century BC Greek funerary inscriptions in dactylic hexameter.
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Polyxena Sarcophagus in Troy Museum, named after the depiction of the sacrifice of Polyxena, the last act of the Greeks at Troy. Map of the Troad, including the site of Troy Homeric Troy refers primarily to the city described in the Iliad, one of the earliest literary works in Europe. This is a long originally oral poem in its own dialect of ancient Greek in dactylic hexameter, in tradition composed by a blind poet of the Anatolian Greek coast, Homer. It covers the 10th year of a war against Troy conducted by a coalition of Achaean, or Greek, states under the leadership of a high king, Agamemnon of Mycenae.
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The work in its fullest form is divided into nine books. The first three and the sixth are the work of the anonymous, while the fourth and fifth contain material from both poets. The final three are from the pen of Gilo. The work is structured as follows: #Council of Clermont (1095) #Peasants' Crusade (1096) #Princes' Crusade at Constantinople (1097) #Siege of Nicaea (1097) #First siege of Antioch (1097–1098) #Establishment of the county of Edessa (1098) #Second siege of Antioch (1098) #Capture of Bara, Maʿarrat an- Nuʿman and Tartus (1098–1099) #Capture of Jerusalem (1099) The Historia is composed in dactylic hexameters with the occasional Leonine rhyme.
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Aeneas Flees Burning Troy, by Federico Barocci (1598). Galleria Borghese, Rome, Italy Map of Aeneas's journey The Aeneid ( ; ) is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. It comprises 9,896 lines in dactylic hexameter. The first six of the poem's twelve books tell the story of Aeneas's wanderings from Troy to Italy, and the poem's second half tells of the Trojans' ultimately victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed.
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Gerrit Engelke is best known for his anti-war poem An die Soldaten Des Grossen Krieges ("To the Soldiers of the Great War"), a poem in rhymed dactylic hexameter modeled after the Neo- Classical odes of Friedrich Hölderlin. In the ode, Engelke urges the soldiers of all the combatant nations to join hands together in universal brotherhood. An English translation exists by Patrick Bridgwater. Walter Flex Walter Flex, who is best known as the author of the war poem Wildgänse rauschen durch die Nacht and the novella Der Wanderer zwischen Beiden Welten, was a native of Eisenach, in the Grand Duchy of Saxe-Weimar-Eisenach, and had attended the University of Erlangen.
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The classical Greek writer Aristophanes, devoted an entire comedy, the Lysistrata, to a strike organised by military wives where they withhold sex from their husbands to prevent them from going to war. The Iliad, an ancient Greek epic poem in dactylic hexameters traditionally attributed to Homer, is set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek states, and tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles. The Odyssey, also ascribed to Homer, is, in part, a sequel to the Iliad, and is fundamental to the modern Western canon.D.C.H. Rieu's introduction to The Odyssey (Penguin, 2003), p.
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Centuries later in 29 BC, the Roman poet Vergil, writing in Latin while taking his inspiration in part from Hesiod, published the Georgics, a work whose ostensible purpose was to provide advice on agriculture. Ovid, writing a generation later for an audience to whom the Georgics were well known, used Vergil's sober language to instruct girls on "what care can enhance your looks, and how your beauty may be preserved".Medicamina Faciei Femineae 1–2 Rather than using the dactylic hexameters of Hesiod and Vergil, Ovid casts his advice in elegiac couplets, the traditional meter of love poetry. The contrast of serious tone and light- hearted meter transforms the Medicamina Faciei Femineae into a parody of Vergil's Georgics.
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An epyllion is, in its most basic definition, a narrative poem written in dactylic hexameters that is comparatively short. There is disagreement about whether the term should also be applied to works written in elegiac couplets. notes with incredulity that "some scholars even apply the term 'epyllion' to elegiac poems!" believes the common modern usage includes elegiacs and counts the Acontius and Cydippe episode of Callimachus' Aetia as an epyllion. The exact meaning of "comparatively short" varies among modern scholars, with some considering Theocritus, Idyll 13 (75 lines) an epyllion, while Eratosthenes' Hermes is commonly classed as an example, even though at some 1,600 lines it would probably have taken up two papyrus rolls.
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The English word "foot" is a translation of the Latin term pes, plural pedes, which in turn is a translation of the Ancient Greek ποῦς, pl. πόδες. The Ancient Greek prosodists, who invented this terminology, specified that a foot must have both an arsis and a thesis,Pearson, Lionel (1990) Aristoxenes: Elementa Rhythmica (Oxford), p. 29. that is, a place where the foot was raised ("arsis") and where it was put down ("thesis") in beating time or in marching or dancing. The Greeks recognised three basic types of feet, the iambic (where the ratio of arsis to thesis was 1:2), the dactylic (where it was 2:2) and the paeonic (where it was 3:2).
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Iamblicus also attributes to Abaris a special expertise at extispicy, the art of predicting future events through the examination of anomalies in the entrails of animals."... and instead of divining by the entrails of beasts, he [Pythagoras] revealed to him the art of prognosticating by numbers conceiving this to be a method purer, more divine and more kindred to the celestial numbers of the Gods." from Iamblichus' Vita Pythagorica (trans. K. S. Guthrie). The Suda attributes a number of books to Abaris, including a volume of Scythian Oracles in dactylic hexameter, a prose theogony, a poem on the marriage of the river Hebrus, a work on purifications, and an account of Apollo's visit to the Hyperboreans.
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The metre of this poem is no less remarkable than its diction; it is a dactylic hexameter in three sections, with mostly bucolic caesura alone, with tailed rhymes and a feminine leonine rhyme between the two first sections; the verses are technically known as leonini cristati trilices dactylici, and are so difficult to construct in great numbers that the writer claims divine inspiration (the impulse and inflow of the Spirit of Wisdom and Understanding) as the chief agency in the execution of so long an effort of this kind. The poem begins: :Hora novissima, tempora pessima sunt -- vigilemus. Ecce minaciter imminet arbiter ille supremus. Imminet imminet ut mala terminet, æqua coronet, Recta remuneret, anxia liberet, æthera donet.
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Based on Statius' own testimony, the Thebaid was written c. 80 – c. 92 AD, beginning when the poet was around 35, and the work is thought to have been published in 91 or 92.Feeney, Dennis The Oxford Classical Dictionary (Oxford, 1996) pg.1439 The poem is divided into twelve books in imitation of Virgil's Aeneid and is composed in dactylic hexameter.Shackleton Bailey, D.R. Statius' Thebaid 1–7 (Cambridge, 2003) pg.3 In the Silvae, Statius speaks of his extensive work in polishing and revising the Thebaid and his public recitations of the poem.Silv. 5.2.161 From the epilogue it seems clear that Statius considered the Thebaid to be his magnum opus and believed that it would secure him fame for the future.
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"Fee-fi-fo-fum" is the first line of a historical quatrain (or sometimes couplet) famous for its use in the classic English fairy tale "Jack and the Beanstalk". The poem, as given in Joseph Jacobs' 1890 rendition, is as follows: Illustration by Arthur Rackham in English Fairy Tales by Flora Annie Steel, 1918 > Fee-fi-fo-fum, I smell the blood of an Englishman, Be he alive, or be he > dead I'll grind his bones to make my bread. Though the rhyme is tetrametric, it follows no consistent metrical foot; however, the lines correspond roughly to a monosyllabic tetrameter, a dactylic tetrameter, a trochaic tetrameter, and an iambic tetrameter respectively. The poem has historically made use of assonant half rhyme.
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Valerius Flaccus' only surviving work, the Argonautica, was dedicated to Vespasian on his setting out for Britain. It was written during the siege, or shortly after the capture, of Jerusalem by Titus in 70 AD. As the eruption of Vesuvius in 79 AD is alluded to, its composition must have occupied him a long time. The Argonautica is an epic poem probably intended to be in eight books (though intended totals of ten and twelve books, the latter corresponding to Virgil's Aeneid, an important poetic model, have also been proposed) written in traditional dactylic hexameters, which recounts Jason's quest for the Golden Fleece. The Argonautica was lost until 1411, when the first 4½ volumes were found at St Gall in 1417 and published at Bologna in 1474.
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That agrees with metrical evidence in the Iliad that the name ᾽Ιλιον (Ilion) for Troy was formerly Ϝιλιον (Wilion) with a digamma."Metrical evidence" is a specialized term from the study of Greek poetry. Where English poetry constructs its metric feet from emphasized and unemphasized syllables:"Listen my children and you shall hear ...," ancient Greek uses long and short syllables, the length being determined according to the sequence of long and short vowels and clusters of consonants. Homer wrote his poetry in dactylic hexameter: "Menin aeide thea ...." From the fact that some syllables are treated as long when they should be short leads the linguists to conclude that an initial "w" was dropped at some time after composition: Ilion for former Wilion.
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R. H. Martin, Terence: Adelphoe, Cambridge University Press (1976), page 1 The principles of scansion observed by Plautus and Terence (i.e. the rules for identifying short and long syllables, the basis of Greek and Latin meter) are mostly the same as for classical Latin verses.Two significant differences are that word-final s may not be counted as making a heavy syllable, and mute-plus-liquid combinations never make a syllable heavy. R. H. Martin, Terence: Adelphoe, Cambridge University Press (1976), page 32 Livius, a versatile author, also translated Homer's Odyssey into a rugged native meter known as Saturnian, but it was his near contemporary, Ennius (239–169 BC), who introduced the traditional meter of Greek epic, the dactylic hexameter, into Latin literature.
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Latin reading of De Rerum Natura by Lucretius A manuscript of De Rerum Natura in the Cambridge University Library collection De rerum natura (1570) His poem, De rerum natura (usually translated as "On the Nature of Things" or "On the Nature of the Universe"), transmits the ideas of Epicureanism, which includes atomism and cosmology. Lucretius was the first writer known to introduce Roman readers to Epicurean philosophy. The poem, written in some 7,400 dactylic hexameters, is divided into six untitled books, and explores Epicurean physics through richly poetic language and metaphors. Lucretius presents the principles of atomism, the nature of the mind and soul, explanations of sensation and thought, the development of the world and its phenomena, and explains a variety of celestial and terrestrial phenomena.
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The Epic Cycle (, Epikos Kyklos) was a collection of Ancient Greek epic poems, composed in dactylic hexameter and related to the story of the Trojan War, including the Cypria, the Aethiopis, the so-called Little Iliad, the Iliupersis, the Nostoi, and the Telegony. Scholars sometimes include the two Homeric epics, the Iliad and the Odyssey, among the poems of the Epic Cycle, but the term is more often used to specify the non-Homeric poems as distinct from the Homeric ones. Unlike the Iliad and the Odyssey, the cyclic epics survive only in fragments and summaries from Late Antiquity and the Byzantine period. The Epic Cycle was the distillation in literary form of an oral tradition that had developed during the Greek Dark Age, which was based in part on localised hero cults.
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The poem consists of six untitled books, in dactylic hexameter. The first three books provide a fundamental account of being and nothingness, matter and space, the atoms and their movement, the infinity of the universe both as regards time and space, the regularity of reproduction (no prodigies, everything in its proper habitat), the nature of mind (animus, directing thought) and spirit (anima, sentience) as material bodily entities, and their mortality, since, according to Lucretius, they and their functions (consciousness, pain) end with the bodies that contain them and with which they are interwoven. The last three books give an atomic and materialist explanation of phenomena preoccupying human reflection, such as vision and the senses, sex and reproduction, natural forces and agriculture, the heavens, and disease. Venus (center), urging her to pacify her lover, Mars (right).
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Like other lyric poets in late Archaic Greece, Simonides made notable use of compound adjectives and decorative epithets yet he is also remarkable for his restraint and balance. His expression was clear and simple, relying on straightforward statement. An example is found in a quote by StobaeusSimonides 521 PMG, Stobaeus 4.41, cited David A. Campbell, Greek Lyric Poetry, Bristol Classical Press (1982), page 90 paraphrased here to suggest the original Aeolic verse rhythms, predominantly choriambic ( ¯˘˘¯, ¯˘˘¯ ), with some dactylic expansion (¯˘˘¯˘˘¯) and an iambic close (˘¯,˘¯): The only decorative word is 'long-winged' (), used to denote a dragonfly, and it emerges from the generalized meanings of the passage as an 'objective correlative' for the fragility of the human condition.Charles Segal, 'Choral lyric in the fifth century', P. Easterling and B. Knox (ed.
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Further, the first line of the first stanza is repetitive nonsense, and the second line of the first stanza is the subject of the poem, which in the purest instances of the form is a double-dactylic proper noun. (Hecht and other poets sometimes bent or ignored this rule, as in the Robison poem below.) There is also a requirement for at least one line, preferably the second line of the second stanza, to be entirely one double dactyl word. Some purists still follow Hecht and Pascal's original rule that no single six-syllable word, once used in a double dactyl, should ever be knowingly used again. An example by John Hollander: Higgledy piggledy, Benjamin Harrison, Twenty-third president Was, and, as such, Served between Clevelands and Save for this trivial Idiosyncrasy, Didn't do much.
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Aesop Dress'd, or a collection of fables writ in familiar verse, p.4 This is written in octosyllabic couplets whose aim is to characterise the "Self conceited Country Bumkin” of the fable. La Fontaine's starting point is deferred by his interpreter to the six-line moral drawn at the end, beginning ::The World's vast Fabrick is so well ::Contrived by its Creator's Skill; ::There's nothing in't, but what is good. William Trowbridge Larned's version for children is written in four regularly rhymed six-lined stanzas in dactylic metre and tries to give a sense of La Fontaine's light heartedness. Its resulting colloquiality makes the protagonist a little too rustic, replacing as it does the original's simple exclamation “Oh! Oh!” with “Gosh!” and having him refer to himself as “Clever me".
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Minne is experienced partly as a magical, pathological, even fatal power, but also as a religious and mystical experience. In form and content the poems are influenced by the Provençal troubadour lyric: dactylic rhythms and through-rhymes (Durchreimung) occur frequently. Motifs in the content have also been taken over from the same source: for example, the motif, otherwise rare in German Minnesang, of the "notice of termination of the service of love" (Lied XXVII), the roots of which are to be found in classical literature (for example Ovid). An introduction often attributed to Heinrich is the Wechsel or exchange (where the two parties speak alternately, but not directly to each other) in the Tagelied, although the device may be found in the poems of Dietmar von Aist, who is believed to be earlier.
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Bodmer dubbed the Nibelungenlied the "German Iliad" ("deutsche Ilias"), a comparison that skewed the reception of the poem by comparing it to the poetics of classical epic. Bodmer attempted to make the Nibelungenlied conform more closely to these principles in his own reworkings of the poem, leaving off the first part in his edition, titled Chriemhilden Rache, in order to imitate the in medias res technique of Homer. He later rewrote the second part in dactylic hexameter under the title Die Rache der Schwester (1767). Bodmer's placement of the Nibelungenlied in the tradition of classical epic had a detrimental effect on its early reception: when presented with a full edition of the medieval poem by Christoph Heinrich Myller, King Frederick II famously called the Nibelungenlied "not worth a shot of powder" ("nicht einen Schuß Pulver werth").
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First page of the Bodmer Papyrus of the Vision of Dorotheus, containing lines 1–41 The Vision of Dorotheus or Dorotheos () is an autobiographical Homeric Greek poem, composed in 343 lines of dactylic hexameter and attributed to "Dorotheus, son of Quintus the Poet". The poem chronicles a vision, wherein the author is transported to the Kingdom of Heaven and finds himself in its military hierarchy. He is conscripted into and deserts his post, only to receive punishment, be forgiven, and rediscover his Christian faith. The poem, penned sometime in the 4th-century, depicts the Kingdom of Heaven in an Imperial fashion; Christ is enthroned as emperor, surrounded by angels bearing Roman military and official titles (such as domestikos, praipositos, primikerios, and ostiarios), with the military structures of the Kingdom of Heaven modelled on those of Rome.
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The Political verse characterizes traditional Greek poetry, especially between 1100 and 1850. It is the verse in which most Greek folk songs are written, including such temporally distant works as the medieval Cretan romance "Erotokritos" and the 3rd draft of Dionysios Solomos' "The Free Besieged", considered the masterpiece of modern Greek poetry. It is thought that the political verse replaced, in popularity and also in use, the famous dactylic hexameter of the ancient Greeks (also known as "heroic hexameter") in later Greek poetry, from the time of the early modern Greek, following the loss of ancient prosody and pitch accent, being ideally suited to its replacement, stress accent. This metric form comes "natural" in modern Greek (that is the common Greek, spoken after the 9th or 10th century to the present day), and it is extremely easy to form a "poem" or a "distich" in political verse, almost without a thought.
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C.O.Pavese, Tradizione e generi poetici della Graecia arcaica, Rome (1972), cited by C.Segal, The Cambridge History of Greek Literature, page 187 Moreover, the versatility of lyric meter is suited to solo performance with self-accompaniment on the lyreM.L.West, 'Stesichorus', Classical Quarterly 21 (1971) pages 302–14, cited by D.Campbell in Greek Lyric III, page 5 – which is how Homer himself delivered poetry. Whether or not it was a choral technique, the triadic structure of Stesichorean lyrics allowed for novel arrangements of dactylic meter – the dominant meter in his poems and also the defining meter of Homeric epic – thus allowing for Homeric phrasing to be adapted to new settings. However, Stesichorus did more than recast the form of epic poetry – works such as the Palinode were also a recasting of epic material: in that version of the Trojan War, the combatants fought over a phantom Helen while the real Helen either stayed home or went to Egypt (see a summary below).
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L.P. Wilkinson, Golden Latin Artistry, Cambridge (1963), page 94 Here, for example, is dactylic verse from Virgil's Georgics when the words are given their natural stress: :quíd fáciat laétas ségetes, quó sídere térram, and here is the same verse when the metrical pattern is allowed to determine the stress: :quíd faciát laetás segetés, quo sídere térram. Possibly the rhythm was held in suspense until stress and meter happened to coincide (as in "sídere térram" above).William Sidney Allen, Vox Latina: a Guide to the Pronunciation of Classical Latin, 2nd edition, Cambridge University Press (2003) , pages 83-88 English-speaking, as opposed to e.g. German-speaking, readers of Latin tend to observe the natural word stress, an approach to Latin verse that was also practised in ancient times (a 5th-century AD papyrus shows hexameter verse with accents recorded separately from the meter), yet there is also an ancient precedent for letting the meter produce an artificial stress accent.
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The / murmuring / pines and the / hemlocks, The first five feet of the line are dactyls; the sixth a trochee. Stephen Fry quotes Robert Browning's The Lost Leader as an example of the use of dactylic metre to great effect, creating verse with "great rhythmic dash and drive": : Just for a handful of silver he left us : Just for a riband to stick in his coat The first three feet in both lines are dactyls. A dactyl is like a finger, having one long syllable followed by two short syllables. Another example: the opening lines of Whitman's "Out of the Cradle Endlessly Rocking" (1859), his poem about the birth of his poetic voice: : Out of the cradle, endlessly rocking [a dactyl, followed by a trochee ('cradle'); then another dactyl followed by a trochee ('rocking')] : Out of the mockingbird's throat, the musical shuttle [2 dactyls, then a trochee ('throat, the'); then another dactyl, followed by a trochee] : . . .
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Moschus (), ancient Greek bucolic poet and student of the Alexandrian grammarian Aristarchus of Samothrace, was born at Syracuse and flourished about 150 BC. Aside from his poetry, he was known for his grammatical work, nothing of which survives. His few surviving works consist of an epyllion, the Europa, on the myth of Europa, three bucolic fragments and a whole short bucolic poem Runaway Love, and an epigram in elegiac couplets. His surviving bucolic material (composed in the traditional dactylic hexameters and Doric dialect) is short on pastoral themes and is largely erotic and mythological; although this impression may be distorted by the paucity of evidence, it is also seen in the surviving bucolic of the generations after Moschus, including the work of Bion of Smyrna. Moschus' poetry is typically edited along with other bucolic poets, as in the commonly used Oxford text by A. S. F. Gow (1952), but the Europa has often received separate scholarly editions, as by Winfried Bühler (Wiesbaden 1960) and Malcolm Campbell (Hildesheim 1991).
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