This means, among other things, that there is always a line-end pause before an enjambed word. I give each line 8 beats, so the rhythm is perfectly stichic, however the caesura is treated. The basic rhythmic framework of my reading has some major assumptions. ![]() It may not be necessary to be, but we’ll see. I’ve not been consistent in those decisions so far. elision, lengthening and hiatus at the caesura all require decisions about pronunciation.phrasing of enjambment and treatment of caesura seem to me to be linked.In any case, it’s linked to the next one: It may represent a useful intuition, or it may just be a bad habit. I’m averse to 4th foot caesuras, generally opting to read without pause or to pause at a weak 3rd foot word break rather than observe them.If you’ve been listening, you’ll have noticed a few things about the way I treat caesuras.Or I may need to decide if I’m reading an 8th century poem or a 3rd century text. Consistency may not be necessary, but there may be some patterns to be discovered here. The more I read, the less I pronounced them, but a few still seemed necessary. I’m inconsistent on digamma pronunciation.I’m probably also letting the stress accent come through too much. I have no plans to go full Daitz on this. I’m getting better at the pitch accent (I think), but it would be good to do some more work on it before restarting.It still seems to me that Homer’s audience would have appreciated a little variety of pace, so I’ll see if I can revisit that. I abandoned this quickly for the sake of simplicity, and because I wasn’t happy with the way I was doing it. with a few early books of the Iliad I experimented with varying the pace of reading. ![]() Before I move on to the Odyssey, however, I need to meditate on some slightly less basic things, do a few experiments, and see if I can produce something a bit more sophisticated. a tolerable effort at reconstructed pronunciation (to the extent that it exists for Homeric Greek) with a very conservative pitch accent, and with my instinctive stress accent restrained to the best of my ability.a recognizable, consistent hexameter rhythm.Accordingly I’ve tried to follow only a couple of very basic requirements: The aim so far has been to produce, in a reasonable time period, a free, accessible, spoken version, with moderately good audio quality and linked to a metrically tagged text. Virgil, Aeneid 1.1–11 (Dryden's translation), read by Kathleen M.These are also posted to in various downloadable formats. But throughout his journey Aeneas encounters so much wrath, ira, both from mortals (Dido, Turnus, Mezentius) and immortals (Juno, Aeolus' winds, Allecto) that this violent, intemperate force threatens to color darkly our view of the poem. It is true enough that the story of Aeneas may be seen as a triumphant tale: Aeneas founds the city that shall, in time, become the most powerful in the western world. The final line: "can immortal souls indeed harbor such terrible wrath?" is a novel twist to a prologue, a sudden anxious query on the part of the narrator about the ramifications of the story which he causing to be told. Vergil singles out Juno, queen of the gods, as the impetus for the events leading to both Aeneas' fantastic voyage and subsequent warfare it is her wounded numen, her injured sense of self as a goddess and supernatural being, that spurs her vendetta against the mortal Aeneas, and which turns the wheels of the divine machinery omnipresent in the epic. Line 8: The invocation of the Muse is a traditional but powerful trope, as Vergil enlists the muse of Epic, Calliope, as a companion in the enterprise of recalling Aeneas' story. ![]() The battle scenes are particularly resonant of the mighty clashes in the Iliad of Homer. The last six books, concern the bloodshed and battle-"weapons"-which greet Aeneas in his quest to found a new city on the coast of Italy. The first 6 books, roughly, of the Aeneid relate Aeneas's-"the man's"-wanderings after the fall of Troy, just as Homer's Odyssey narrates Odysseus's various peregrinations on his return voyage home. The first two words, arma (meaning "weapons") and virum (meaning "man"), indicate the overall structure of the epic, though (in terms of broad sweep) one encounters the two themes in reverse. Summary: The famous and oft-quoted prologue to Vergil's Roman epic. Tantaene animis caelestibus irae? Notes by Thomas Jenkins Insignem pietate virum, tot adire labores 10 ![]() Quidve dolens, regina deum tot volvere casus Musa, mihi causas memora, quo numine laeso, Inferretque deos Latio, genus unde Latinum,Īlbanique patres, atque altae moenia Romae. Multa quoque et bello passus, dum conderet urbem, 5 Vi superum saevae memorem Iunonis ob iram Litora, multum ille et terris iactatus et alto Arma virumque cano, Troiae qui primus ab oris
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