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26-402: In classical Greek and Latin poetry a caesura is the juncture where one word ends and the following word begins within a foot. In contrast, a word juncture at the end of a foot is called a diaeresis . Some caesurae are expected and represent a point of articulation between two phrases or clauses. All other caesurae are only potentially places of articulation. The opposite of an obligatory caesura

52-530: A bar , or a beat divided into pulse groups , in musical notation . The English word "foot" is a translation of the Latin term pes , plural pedes , which in turn is a translation of the Ancient Greek πούς, pl. πόδες. The Ancient Greek prosodists, who invented this terminology, specified that a foot must have both an arsis and a thesis, that is, a place where the foot was raised ("arsis") and where it

78-530: A caesura mark in medieval manuscripts. The same mark separately developed as the virgule , the single slash used to mark line breaks in poetry. Caesurae were widely used in Greek poetry . For example, in the opening line of the Iliad : This line includes a masculine caesura after θεὰ, a natural break that separates the line into two logical parts. Homeric lines more commonly employ feminine caesurae; this preference

104-517: A fermata). A fermata may be placed over a caesura to indicate a longer pause. In musical notation , a caesura is marked by double oblique lines, similar to a pair of slashes ⟨//⟩ . The symbol is popularly called "tram-lines" in the UK and "railroad tracks" or "train tracks" in the US. The length of a caesura where notated is at the discretion of the musician. Foot (prosody) The foot

130-601: A punctuation mark called the danda is used to mark subdivisions in text, with single and double variants variously marking phrases, sentences, semi-verses, verses, or larger sections. An example of the use of danda as caesurae in Indian poetry is in the "dohas" or couplet poems of Sant Kabir Das , a 15th-century poet who was central to the Bhakti movement in Hinduism . Kabir employs the danda to mark semi-verse and verse, as in

156-521: A strong influence on Indian poetry. The poetry reflects diverse spiritual traditions within India. In particular, many Indian poets have been inspired by mystical experiences. Poetry is the oldest form of literature and has a rich written and oral tradition. There are very few literary awards in India for poetry alone. The prestigious awards like Jnanapeeth , Sahitya Akademi and Kalidas Samman etc. are given away to writers of both prose and poetry. Most of

182-400: Is a bridge where word juncture is not permitted. In modern European poetry, a caesura is defined as a natural phrase end, especially when occurring in the middle of a line. A masculine caesura follows a stressed syllable while a feminine caesura follows an unstressed syllable. A caesura is also described by its position in a line of poetry: a caesura close to the beginning of a line

208-437: Is called an initial caesura, one in the middle of a line is medial , and one near the end of a line is terminal. Initial and terminal caesurae are rare in formal, Romance , and Neoclassical verse , which prefer medial caesurae. In verse scansion , the modern caesura mark is a double vertical bar ⟨||⟩ or ⟨ ‖ {\displaystyle \|} ⟩, a variant of the single-bar virgula ("twig") used as

234-583: Is observed to an even higher degree among the Alexandrian poets. An example of a feminine caesura is the opening line of the Odyssey : Occasionally (about 1 line in 100) the caesura comes in the 4th foot only. Caesurae were widely used in Latin poetry , for example, in the opening line of Virgil 's Aeneid : This line uses caesura in the medial position. In dactylic hexameter, a caesura occurs any time

260-516: Is shared by most of the oldest Germanic languages , the caesura is an ever-present and necessary part of the verse form itself. The opening line of Beowulf reads: The basic form is accentual verse , with four stresses per line separated by a caesura. Old English poetry added alliteration and other devices to this basic pattern. William Langland 's Piers Ploughman : In the Brahmic scripts of South and Southeast Asia (e.g. Devanagari ),

286-696: Is short-long in classical meter, becomes unstressed-stressed, as in the English word "alone". Macron and breve notation: – = stressed/long syllable , ◡ = unstressed/short syllable Indian poetry Indian poetry and Indian literature in general, has a long history dating back to Vedic times. They were written in various Indian languages such as Vedic Sanskrit , Classical Sanskrit , Ancient Meitei , Modern Meitei , Telugu , Tamil , Odia , Maithili , Kannada , Bengali , Assamese , Hindi , Marathi and Urdu among other prominent languages. Poetry in foreign languages such as English also has

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312-455: Is the basic repeating rhythmic unit that forms part of a line of verse in most Indo-European traditions of poetry , including English accentual-syllabic verse and the quantitative meter of classical ancient Greek and Latin poetry . The unit is composed of syllables , and is usually two, three, or four syllables in length. The most common feet in English are the iamb , trochee , dactyl , and anapaest . The foot might be compared to

338-483: The ballad , Tom o' Bedlam ): In later and freer verse forms, the caesura is optional. It can, however, be used for rhetorical effect, as in Alexander Pope 's line: In music, a caesura denotes a brief, silent pause , during which metrical time is not counted . Similar to a silent fermata , caesurae are located between notes or measures (before or over bar lines ), rather than on notes or rests (as with

364-415: The common meter of the hymnodists (see also hymn ), is usually thought of as a line of iambic tetrameter followed by a line of trimeter , but it can also be considered a line of heptameter with a fixed caesura at the fourth foot. Considering the break as a caesura in these verse forms, rather than a beginning of a new line, explains how sometimes multiple caesurae can be found in this verse form (from

390-479: The Greek iambic trimeter , two feet are combined into a larger unit called a metron (pl. metra) or dipody. The foot is a purely metrical unit; there is no inherent relation to a word or phrase as a unit of meaning or syntax , though the interplay between these is an aspect of the poet's skill and artistry. Below listed are the names given to the poetic feet by classical metrics. The feet are classified first by

416-780: The Poetry Society (India) in collaboration with British Council and Ministry of Human Resource Development (India) : In the 19th century, American Transcendentalist writers and many German Romantic writers became interested in Indian poetry, literature and thought. In the 20th century, few Western poets became interested in Indian thought and literature, and the interest of many of those was minor: T. S. Eliot studied Sanskrit at Harvard, but later lost interest. Buddhism brought Allen Ginsberg and Gary Snyder to India, but they became more interested in Tibetan and Japanese forms of

442-541: The annual Ananda Puraskar for Bengali literature. There is also Rabindra Puraskar . But these awards have usually gone to novelists. The rare poets to have won these awards include Premendra Mitra for Sagar Theke Phera (1957), Buddhadeb Basu for Swagato Biday (1974), Aruna Mitra for Suddhu Rater Shabda (1979), Joy Goswami for Ghumeichho (1990), Srijato for Uranto Sab Joker (2004) and Pinaki Thakur for Chumbaner Kshato (2012). Sahitya Akademi gives away annual prizes for both original works of poetry in

468-927: The awards have gone to novelists. Few poets have received these awards. Some of the poets who have won the Jnanpith award for their poetry include: Viswanatha Satyanarayana for his Sreemadraamaayana Kalpavrukshamu in Telugu (1970), Mahadevi Varma in Hindi for her collection of poems Yama , Firaq Gorakhpuri for his Gul-e-Naghma (1969), Amrita Pritam for her Kagaz te Kanvas (1981), Qurratulain Hyder for her Akhire Sab ke Humsafar, Singireddi Narayana Reddi for his Viswambhara in Telugu (1988), O. N. V. Kurup for his contribution to Malayalam poetry (2007) and Ravuri Bharadhwaja for his novel Paakuduraallu ( Telugu ) (2012). Ananda Bazar Patrika have instituted

494-519: The caesura has come to represent a pronounced pause in order to emphasize lines in Old English poetry that would otherwise be considered to be a droning, monotonous line. This makes the caesura arguably more important to the Old English verse than it was to Latin or Greek poetry. In Latin or Greek poetry, the caesura could be suppressed for effect in any line. In the alliterative verse that

520-504: The ending of a word does not coincide with the beginning or the end of a metrical foot; in modern prosody , however, it is only called one when the ending also coincides with an audible pause in the line. The ancient elegiac couplet form of the Greeks and Romans contained a line of dactylic hexameter followed by a line of pentameter . The pentameter often displayed a clearer caesura, as in this example from Propertius : In Old English ,

546-559: The following couplet: Caesura is very important in Polish syllabic verse (as in French alexandrine ). Every line longer than eight syllables is divided into two half-lines. Lines composed of the same number of syllables with division in different place are considered to be completely different metrical patterns. For example, Polish alexandrine (13) is almost always divided 7+6. It has been very common in Polish poetry for last five centuries. But

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572-558: The metre 13(8+5) occurs only rarely and 13(6+7) can be hardly found. In Polish accentual-syllabic verse caesura is not so important but iambic tetrametre (very popular today) is usually 9(5+4). Caesura in Polish syllabic verse is almost always feminine, while in accentual-syllabic (especially iambic) verse it is often masculine: sSsSsSsS//sSsSsSsSs. There are also metrical patterns with two or three caesuras, for example 18[9(5+4)+9(5+4)]. Caesurae can occur in later forms of verse, where they are usually optional. The so-called ballad meter, or

598-517: The number of syllables in the foot ( disyllables have two, trisyllables three, and tetrasyllables four) and secondarily by the pattern of vowel lengths (in classical languages) or syllable stresses (in English poetry) which they comprise. The following lists describe the feet in terms of vowel length (as in classical languages). Translated into syllable stresses (as in English poetry), "long" becomes "stressed" (" accented "), and "short" becomes "unstressed" ("unaccented"). For example, an iamb , which

624-429: The occasion of its Golden Jubilee, Sahitya Akademi awarded the following prizes for outstanding works of poetry in translation from Indian languages. The Golden Jubilee Prize for Life Time Achievement was won by Namdeo Dhasal , Ranjit Hoskote , Neelakshi Singh , Abdul Rashid and Sithara S. The Poetry Society (India) gives annual awards solely for poetry. The following poets have won the annual prizes instituted by

650-1654: The recognised Indian languages, as well as outstanding works of translation of Indian poetry. The award winners for English poetry include Jayanta Mahapatra for Relationship (1981), Nissim Ezekiel for Latter-Day Psalms (1983), Keki N. Daruwalla for The Keeper of the Dead (1984), Kamala Das for Collected Poems (1985), Shiv K. Kumar for Trapfalls in the Sky (1987), Dom Moraes for Serendip (1994), A. K. Ramanujan for Collected Poems (1999) and Jeet Thayil for These Errors are Correct (1912). Prominent Akademi awardees for poetry in other Indian languages include H. S. Shivaprakash ( Kannada ) and K. Satchidanandan ( Malayalam ). Other eminent Sahitya Akademi award-winning poets include Amrita Pritam ( Punjabi ) for Sunehe (1956), V. K. Gokak ( Kannada ) for Divya Prithvi (1960), G. Sankara Kurup ( Malayalam ) for Viswadarshanam (1963), Makhanlal Chaturvedi for Him Tarangini in Hindi, Kusumagraj ( Marathi ) for Natsamrat (1974), Kaifi Azmi ( Urdu ) for Awara Sajde (1975), Sunil Gangopadhyay ( Bengali ) for Sei Somoy (1984), Kanhaiyalal Sethia ( Rajasthani ) for Lilatamsa (1984), Hiren Bhattacharyya ( Assamese ) for Saichor Pathar Manuh (1992), Gunturu Seshendra Sarma ( Telugu ) for Kaala Rekha (1994), Srinivas Rath ( Sanskrit ) for Tadaiva Gaganam Shaivadhara (1999) and Pratibha Satpathy ( Odia ) for Tanmaya Dhuli (2001). Eighteen poets have won Sahitya Akademi Awards in Telugu language . On

676-466: 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). Lines of verse are classified according to the number of feet they contain, e.g. pentameter . However some lines of verse are not considered to be made up of feet, e.g. hendecasyllable . In some kinds of metre, such as

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