Michele di Bartolomeo degli Odasi (c. 1450–1492), pen name Tifi ( dagli ) Odasi ( Latinized as Tifetus or Typhis Odaxius ), was an Italian poet and author of macaronic verse. Very little is known of his biography, apart that he was born and died at Padua .
134-427: Tifi Odasi is best known as the author of Macaronea , a burlesque poem mixing Latin and Italian dialects ( Tuscan and Venetian of Padua). Some scholars conjecture that Tifi Odasi was the author of Nobile Vigoncae opus ("The Work of Noble Vigonza"), another work in macaronic Latin. The attribution is not widely accepted, however. Macaronea or Carmen Macaronicum de Patavinisis ("Macaronic Song from Padua")
268-491: A logosyllabic script comprising several hundred signs. Rosengarten (1967) lists 468 signs used in Sumerian (pre- Sargonian ) Lagash . The cuneiform script was adapted to Akkadian writing beginning in the mid-third millennium. Over the long period of bi-lingual overlap of active Sumerian and Akkadian usage the two languages influenced each other, as reflected in numerous loanwords and even word order changes. Depending on
402-802: A nationalistic flavour. Attempts have been made without success to link Sumerian with a range of widely disparate groups such as Indo-European languages , the Austroasiatic languages , Dravidian languages , Uralic languages such as Hungarian and Finnish , Sino-Tibetan languages and Turkic languages (the last being promoted by Turkish nationalists as part of the Sun language theory ). Additionally, long-range proposals have attempted to include Sumerian in broad macrofamilies . Such proposals enjoy virtually no support among modern linguists, Sumerologists and Assyriologists and are typically seen as fringe theories . It has also been suggested that
536-622: A synonym (a metonym ) for poetry. Poetry has a long and varied history , evolving differentially across the globe. It dates back at least to prehistoric times with hunting poetry in Africa and to panegyric and elegiac court poetry of the empires of the Nile , Niger , and Volta River valleys. Some of the earliest written poetry in Africa occurs among the Pyramid Texts written during
670-400: A characteristic metrical foot and the number of feet per line. The number of metrical feet in a line are described using Greek terminology: tetrameter for four feet and hexameter for six feet, for example. Thus, " iambic pentameter " is a meter comprising five feet per line, in which the predominant kind of foot is the " iamb ". This metric system originated in ancient Greek poetry , and
804-435: A common meter alone. Other poems may be organized into verse paragraphs , in which regular rhymes with established rhythms are not used, but the poetic tone is instead established by a collection of rhythms, alliterations, and rhymes established in paragraph form. Many medieval poems were written in verse paragraphs, even where regular rhymes and rhythms were used. In many forms of poetry, stanzas are interlocking, so that
938-549: A critique of poetic tradition, testing the principle of euphony itself or altogether forgoing rhyme or set rhythm. Poets – as, from the Greek , "makers" of language – have contributed to the evolution of the linguistic, expressive, and utilitarian qualities of their languages. In an increasingly globalized world, poets often adapt forms, styles, and techniques from diverse cultures and languages. A Western cultural tradition (extending at least from Homer to Rilke ) associates
1072-577: A definition that could encompass formal differences as great as those between Chaucer's Canterbury Tales and Matsuo Bashō 's Oku no Hosomichi , as well as differences in content spanning Tanakh religious poetry , love poetry, and rap . Until recently, the earliest examples of stressed poetry had been thought to be works composed by Romanos the Melodist ( fl. 6th century CE). However, Tim Whitmarsh writes that an inscribed Greek poem predated Romanos' stressed poetry. Classical thinkers in
1206-430: A detailed and readable summary of the decipherment of Sumerian in his Sumerian Mythology . Friedrich Delitzsch published a learned Sumerian dictionary and grammar in the form of his Sumerisches Glossar and Grundzüge der sumerischen Grammatik , both appearing in 1914. Delitzsch's student, Arno Poebel , published a grammar with the same title, Grundzüge der sumerischen Grammatik , in 1923, and for 50 years it would be
1340-435: A detour in understanding the language – a Paris -based orientalist , Joseph Halévy , argued from 1874 onward that Sumerian was not a natural language, but rather a secret code (a cryptolect ), and for over a decade the leading Assyriologists battled over this issue. For a dozen years, starting in 1885, Friedrich Delitzsch accepted Halévy's arguments, not renouncing Halévy until 1897. François Thureau-Dangin working at
1474-403: A few common graphic forms out of many that may occur. Spelling practices have also changed significantly in the course of the history of Sumerian: the examples in the article will use the most phonetically explicit spellings attested, which usually means Old Babylonian or Ur III period spellings. except where an authentic example from another period is used. Modern knowledge of Sumerian phonology
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#17327655562601608-727: A given foot or line and to avoid boring repetition. For example, the stress in a foot may be inverted, a caesura (or pause) may be added (sometimes in place of a foot or stress), or the final foot in a line may be given a feminine ending to soften it or be replaced by a spondee to emphasize it and create a hard stop. Some patterns (such as iambic pentameter) tend to be fairly regular, while other patterns, such as dactylic hexameter, tend to be highly irregular. Regularity can vary between language. In addition, different patterns often develop distinctively in different languages, so that, for example, iambic tetrameter in Russian will generally reflect
1742-401: A key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur. This can be compared to an ornamental use of alliteration in most Modern European poetry, where alliterative patterns are not formal or carried through full stanzas. Alliteration is particularly useful in languages with less rich rhyming structures. Assonance, where
1876-416: A meaning separate from the repetitive sound patterns created. For example, Chaucer used heavy alliteration to mock Old English verse and to paint a character as archaic. Rhyme consists of identical ("hard-rhyme") or similar ("soft-rhyme") sounds placed at the ends of lines or at locations within lines (" internal rhyme "). Languages vary in the richness of their rhyming structures; Italian, for example, has
2010-528: A non-Semitic language had preceded Akkadian in Mesopotamia, and that speakers of this language had developed the cuneiform script. In 1855 Rawlinson announced the discovery of non-Semitic inscriptions at the southern Babylonian sites of Nippur , Larsa , and Uruk . In 1856, Hincks argued that the untranslated language was agglutinative in character. The language was called "Scythic" by some, and, confusingly, "Akkadian" by others. In 1869, Oppert proposed
2144-453: A number of suffixes and enclitics consisting of /e/ or beginning in /e/ are also assimilated and reduced. In earlier scholarship, somewhat different views were expressed and attempts were made to formulate detailed rules for the effect of grammatical morphemes and compounding on stress, but with inconclusive results. Based predominantly on patterns of vowel elision, Adam Falkenstein argued that stress in monomorphemic words tended to be on
2278-674: A number of poets, including William Shakespeare and Henry Wadsworth Longfellow , respectively. The most common metrical feet in English are: There are a wide range of names for other types of feet, right up to a choriamb , a four syllable metric foot with a stressed syllable followed by two unstressed syllables and closing with a stressed syllable. The choriamb is derived from some ancient Greek and Latin poetry . Languages which use vowel length or intonation rather than or in addition to syllabic accents in determining meter, such as Ottoman Turkish or Vedic , often have concepts similar to
2412-403: A poem. For example, the strophe , antistrophe and epode of the ode form are often separated into one or more stanzas. Sumerian language Sumerian (Sumerian: 𒅴𒂠 , romanized: eme-gir 15 , lit. '' native language '' ) was the language of ancient Sumer . It is one of the oldest attested languages , dating back to at least 2900 BC. It
2546-420: A process known as lineation . These lines may be based on the number of metrical feet or may emphasize a rhyming pattern at the ends of lines. Lines may serve other functions, particularly where the poem is not written in a formal metrical pattern. Lines can separate, compare or contrast thoughts expressed in different units, or can highlight a change in tone. See the article on line breaks for information about
2680-473: A regularity in the use of accents to reinforce the meter, which does not occur, or occurs to a much lesser extent, in English. Some common metrical patterns, with notable examples of poets and poems who use them, include: Rhyme, alliteration, assonance and consonance are ways of creating repetitive patterns of sound. They may be used as an independent structural element in a poem, to reinforce rhythmic patterns, or as an ornamental element. They can also carry
2814-489: A relation to the Sumerian language. Around 2600 BC, cuneiform symbols were developed using a wedge-shaped stylus to impress the shapes into wet clay. This cuneiform ("wedge-shaped") mode of writing co-existed with the proto-cuneiform archaic mode. Deimel (1922) lists 870 signs used in the Early Dynastic IIIa period (26th century). In the same period the large set of logographic signs had been simplified into
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#17327655562602948-693: A resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses , in their patterns of rhyme or rhythm. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante , Goethe , Mickiewicz , or Rumi may think of it as written in lines based on rhyme and regular meter . There are, however, traditions, such as Biblical poetry and alliterative verse , that use other means to create rhythm and euphony . Much modern poetry reflects
3082-430: A rich rhyming structure permitting maintenance of a limited set of rhymes throughout a lengthy poem. The richness results from word endings that follow regular forms. English, with its irregular word endings adopted from other languages, is less rich in rhyme. The degree of richness of a language's rhyming structures plays a substantial role in determining what poetic forms are commonly used in that language. Alliteration
3216-520: A richer vowel inventory by some researchers. For example, we find forms like 𒂵𒁽 g a -kaš 4 "let me run", but, from the Neo-Sumerian period onwards, occasional spellings like 𒄘𒈬𒊏𒀊𒋧 g u 2 -mu-ra-ab-šum 2 "let me give it to you". According to Jagersma, these assimilations are limited to open syllables and, as with vowel harmony, Jagersma interprets their absence as the result of vowel length or of stress in at least some cases. There
3350-408: A second vowel harmony rule. There also appear to be many cases of partial or complete assimilation of the vowel of certain prefixes and suffixes to one in the adjacent syllable reflected in writing in some of the later periods, and there is a noticeable, albeit not absolute, tendency for disyllabic stems to have the same vowel in both syllables. These patterns, too, are interpreted as evidence for
3484-414: A sentence without putting the sound only at the front of a word. Consonance provokes a more subtle effect than alliteration and so is less useful as a structural element. In many languages, including Arabic and modern European languages, poets use rhyme in set patterns as a structural element for specific poetic forms, such as ballads , sonnets and rhyming couplets . However, the use of structural rhyme
3618-468: A series of more subtle, more flexible prosodic elements. Thus poetry remains, in all its styles, distinguished from prose by form; some regard for basic formal structures of poetry will be found in all varieties of free verse, however much such structures may appear to have been ignored. Similarly, in the best poetry written in classic styles there will be departures from strict form for emphasis or effect. Among major structural elements used in poetry are
3752-460: A spoken language in nearly all of its original territory, whereas Sumerian continued its existence as a liturgical and classical language for religious, artistic and scholarly purposes. In addition, it has been argued that Sumerian persisted as a spoken language at least in a small part of Southern Mesopotamia ( Nippur and its surroundings) at least until about 1900 BC and possibly until as late as 1700 BC. Nonetheless, it seems clear that by far
3886-604: A survey of the field could not be considered complete. The primary institutional lexical effort in Sumerian is the Pennsylvania Sumerian Dictionary project, begun in 1974. In 2004, the PSD was released on the Web as the ePSD. The project is currently supervised by Steve Tinney. It has not been updated online since 2006, but Tinney and colleagues are working on a new edition of the ePSD, a working draft of which
4020-407: A text may not even have been meant to be read in Sumerian; instead, it may have functioned as a prestigious way of "encoding" Akkadian via Sumerograms (cf. Japanese kanbun ). Nonetheless, the study of Sumerian and copying of Sumerian texts remained an integral part of scribal education and literary culture of Mesopotamia and surrounding societies influenced by it and it retained that role until
4154-454: A vowel quality opposite to the one that would have been expected according to this rule, which has been variously interpreted as an indication either of the existence of additional vowel phonemes in Sumerian or simply of incorrectly reconstructed readings of individual lexemes. The 3rd person plural dimensional prefix 𒉈 -ne- is also unaffected, which Jagersma believes to be caused by the length of its vowel. In addition, some have argued for
Tifi Odasi - Misplaced Pages Continue
4288-410: Is a comical poem by Tifi Odasi. The poem tells of a prank played on an apothecary by a band of university students called macaronea secta . It is written in a mix of Latin and Italian, in hexameter verse (as would befit a classical Latin poem). It reads as a satire of the bogus humanism and pedantism of doctors, scholars and bureaucrats of the time. The year of first printing is not indicated on
4422-534: Is a local language isolate that was spoken in ancient Mesopotamia , in the area that is modern-day Iraq . Akkadian , a Semitic language , gradually replaced Sumerian as the primary spoken language in the area c. 2000 BC (the exact date is debated), but Sumerian continued to be used as a sacred, ceremonial, literary, and scientific language in Akkadian-speaking Mesopotamian states such as Assyria and Babylonia until
4556-472: Is also relevant in this context that, as explained above , many morpheme-final consonants seem to have been elided unless followed by a vowel at various stages in the history of Sumerian. These are traditionally termed Auslauts in Sumerology and may or may not be expressed in transliteration: e.g. the logogram 𒊮 for /šag/ > /ša(g)/ "heart" may be transliterated as šag 4 or as ša 3 . Thus, when
4690-600: Is also the Old Akkadian period (c. 2350 BC – c. 2200 BC), during which Mesopotamia, including Sumer, was united under the rule of the Akkadian Empire . At this time Akkadian functioned as the primary official language, but texts in Sumerian (primarily administrative) did continue to be produced as well. The first phase of the Neo-Sumerian period corresponds to the time of Gutian rule in Mesopotamia ;
4824-404: Is an attempt to render the beautiful or sublime without the burden of engaging the logical or narrative thought-process. English Romantic poet John Keats termed this escape from logic " negative capability ". This "romantic" approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic. This approach remained influential into
4958-459: Is available online. Assumed phonological and morphological forms will be between slashes // and curly brackets {}, respectively, with plain text used for the standard Assyriological transcription of Sumerian. Most of the following examples are unattested. Note also that, not unlike most other pre-modern orthographies, Sumerian cuneiform spelling is highly variable, so the transcriptions and the cuneiform examples will generally show only one or at most
5092-457: Is called a poem and is written by a poet . Poets use a variety of techniques called poetic devices, such as assonance , alliteration , euphony and cacophony , onomatopoeia , rhythm (via metre ), and sound symbolism , to produce musical or other artistic effects. Most written poems are formatted in verse : a series or stack of lines on a page, which follow a rhythmic or other deliberate structure. For this reason, verse has also become
5226-593: Is considered to be one of the official Confucian classics . His remarks on the subject have become an invaluable source in ancient music theory . The efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in " poetics "—the study of the aesthetics of poetry. Some ancient societies, such as China's through the Shijing , developed canons of poetic works that had ritual as well as aesthetic importance. More recently, thinkers have struggled to find
5360-434: Is evidence of various cases of elision of vowels, apparently in unstressed syllables; in particular an initial vowel in a word of more than two syllables seems to have been elided in many cases. What appears to be vowel contraction in hiatus (*/aa/, */ia/, */ua/ > a , */ae/ > a , */ie/ > i or e , */ue/ > u or e , etc.) is also very common. There is some uncertainty and variance of opinion as to whether
5494-475: Is flawed and incomplete because of the lack of speakers, the transmission through the filter of Akkadian phonology and the difficulties posed by the cuneiform script. As I. M. Diakonoff observes, "when we try to find out the morphophonological structure of the Sumerian language, we must constantly bear in mind that we are not dealing with a language directly but are reconstructing it from a very imperfect mnemonic writing system which had not been basically aimed at
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5628-473: Is little speculation as to the affinities of this hypothetical substratum language, or these languages, and it is thus best treated as unclassified . Other researchers disagree with the assumption of a single substratum language and argue that several languages are involved. A related proposal by Gordon Whittaker is that the language of the proto-literary texts from the Late Uruk period ( c. 3350–3100 BC)
5762-451: Is most often founded on the pattern of stressed and unstressed syllables (alone or elided ). In the classical languages , on the other hand, while the metrical units are similar, vowel length rather than stresses define the meter. Old English poetry used a metrical pattern involving varied numbers of syllables but a fixed number of strong stresses in each line. The chief device of ancient Hebrew Biblical poetry , including many of
5896-645: Is not universal even within the European tradition. Much modern poetry avoids traditional rhyme schemes . Classical Greek and Latin poetry did not use rhyme. Rhyme entered European poetry in the High Middle Ages , due to the influence of the Arabic language in Al Andalus . Arabic language poets used rhyme extensively not only with the development of literary Arabic in the sixth century , but also with
6030-529: Is perceived. Languages can rely on either pitch or tone. Some languages with a pitch accent are Vedic Sanskrit or Ancient Greek. Tonal languages include Chinese, Vietnamese and most Subsaharan languages . Metrical rhythm generally involves precise arrangements of stresses or syllables into repeated patterns called feet within a line. In Modern English verse the pattern of stresses primarily differentiate feet, so rhythm based on meter in Modern English
6164-490: Is really an early extinct branch of Indo-European language which he terms "Euphratic" which somehow emerged long prior to the accepted timeline for the spread of Indo-European into West Asia, though this is rejected by mainstream opinion which accepts Sumerian as a language isolate . Pictographic proto-writing was used starting in c. 3300 BC. It is unclear what underlying language it encoded, if any. By c. 2800 BC, some tablets began using syllabic elements that clearly indicated
6298-601: Is the first one from which well-understood texts survive. It corresponds mostly to the last part of the Early Dynastic period (ED IIIb) and specifically to the First Dynasty of Lagash , from where the overwhelming majority of surviving texts come. The sources include important royal inscriptions with historical content as well as extensive administrative records. Sometimes included in the Old Sumerian stage
6432-485: Is the king's house" (compare liaison in French). Jagersma believes that the lack of expression of word-final consonants was originally mostly a graphic convention, but that in the late 3rd millennium voiceless aspirated stops and affricates ( /pʰ/ , /tʰ/ , /kʰ/ and /tsʰ/ were, indeed, gradually lost in syllable-final position, as were the unaspirated stops /d/ and /ɡ/ . The vowels that are clearly distinguished by
6566-409: Is the repetition of letters or letter-sounds at the beginning of two or more words immediately succeeding each other, or at short intervals; or the recurrence of the same letter in accented parts of words. Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry. The alliterative patterns of early Germanic poetry interweave meter and alliteration as
6700-407: Is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading ). Some scholars believe that the art of poetry may predate literacy , and developed from folk epics and other oral genres. Others, however, suggest that poetry did not necessarily predate writing. The oldest surviving epic poem,
6834-414: Is widely accepted to be a local language isolate . Sumerian was at one time widely held to be an Indo-European language , but that view has been universally rejected. Since its decipherment in the early 20th century, scholars have tried to relate Sumerian to a wide variety of languages. Because Sumerian has prestige as the first attested written language, proposals for linguistic affinity sometimes have
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#17327655562606968-587: The Epic of Gilgamesh , dates from the 3rd millennium BCE in Sumer (in Mesopotamia , present-day Iraq ), and was written in cuneiform script on clay tablets and, later, on papyrus . The Istanbul tablet#2461 , dating to c. 2000 BCE, describes an annual rite in which the king symbolically married and mated with the goddess Inanna to ensure fertility and prosperity; some have labelled it
7102-590: The Behistun inscription , a trilingual cuneiform inscription written in Old Persian , Elamite and Akkadian . (In a similar manner, the key to understanding Egyptian hieroglyphs was the bilingual [Greek and Egyptian with the Egyptian text in two scripts] Rosetta stone and Jean-François Champollion's transcription in 1822.) In 1838 Henry Rawlinson , building on the 1802 work of Georg Friedrich Grotefend ,
7236-554: The Old Persian alphabet which was used to write the eponymous language . The impact was perhaps the greatest on Akkadian, whose grammar and vocabulary were significantly influenced by Sumerian. The history of written Sumerian can be divided into several periods: The pictographic writing system used during the Proto-literate period (3200 BC – 3000 BC), corresponding to the Uruk III and Uruk IV periods in archeology,
7370-528: The Semitic Akkadian language , which were duly deciphered. By 1850, however, Edward Hincks came to suspect a non-Semitic origin for cuneiform. Semitic languages are structured according to consonantal forms , whereas cuneiform, when functioning phonetically, was a syllabary , binding consonants to particular vowels. Furthermore, no Semitic words could be found to explain the syllabic values given to particular signs. Julius Oppert suggested that
7504-703: The Tamil language , had rigid grammars (to the point that they could be expressed as a context-free grammar ) which ensured a rhythm. Classical Chinese poetics , based on the tone system of Middle Chinese , recognized two kinds of tones: the level (平 píng ) tone and the oblique (仄 zè ) tones, a category consisting of the rising (上 sháng ) tone, the departing (去 qù ) tone and the entering (入 rù ) tone. Certain forms of poetry placed constraints on which syllables were required to be level and which oblique. The formal patterns of meter used in Modern English verse to create rhythm no longer dominate contemporary English poetry. In
7638-591: The West employed classification as a way to define and assess the quality of poetry. Notably, the existing fragments of Aristotle 's Poetics describe three genres of poetry—the epic, the comic, and the tragic—and develop rules to distinguish the highest-quality poetry in each genre, based on the perceived underlying purposes of the genre. Later aestheticians identified three major genres: epic poetry, lyric poetry , and dramatic poetry , treating comedy and tragedy as subgenres of dramatic poetry. Aristotle's work
7772-519: The psalms , was parallelism , a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three. Parallelism lent itself to antiphonal or call-and-response performance, which could also be reinforced by intonation . Thus, Biblical poetry relies much less on metrical feet to create rhythm, but instead creates rhythm based on much larger sound units of lines, phrases and sentences. Some classical poetry forms, such as Venpa of
7906-608: The scanning of poetic lines to show meter. The methods for creating poetic rhythm vary across languages and between poetic traditions. Languages are often described as having timing set primarily by accents , syllables , or moras , depending on how rhythm is established, although a language can be influenced by multiple approaches. Japanese is a mora -timed language. Latin , Catalan , French , Leonese , Galician and Spanish are called syllable-timed languages. Stress-timed languages include English , Russian and, generally, German . Varying intonation also affects how rhythm
8040-437: The "a-bc" convention, such as the ottava rima and terza rima . The types and use of differing rhyming schemes are discussed further in the main article . Poetic form is more flexible in modernist and post-modernist poetry and continues to be less structured than in previous literary eras. Many modern poets eschew recognizable structures or forms and write in free verse . Free verse is, however, not "formless" but composed of
8174-538: The 1st century AD. Thereafter, it seems to have fallen into obscurity until the 19th century, when Assyriologists began deciphering the cuneiform inscriptions and excavated tablets that had been left by its speakers. In spite of its extinction, Sumerian exerted a significant impact on the languages of the area. The cuneiform script , originally used for Sumerian, was widely adopted by numerous regional languages such as Akkadian , Elamite , Eblaite , Hittite , Hurrian , Luwian and Urartian ; it similarly inspired
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#17327655562608308-514: The 2004 The Cambridge Encyclopedia of the World's Ancient Languages has also been recognized as a good modern grammatical sketch. There is relatively little consensus, even among reasonable Sumerologists, in comparison to the state of most modern or classical languages. Verbal morphology, in particular, is hotly disputed. In addition to the general grammars, there are many monographs and articles about particular areas of Sumerian grammar, without which
8442-519: The 20th century. During the 18th and 19th centuries, there was also substantially more interaction among the various poetic traditions, in part due to the spread of European colonialism and the attendant rise in global trade. In addition to a boom in translation , during the Romantic period numerous ancient works were rediscovered. Some 20th-century literary theorists rely less on the ostensible opposition of prose and poetry, instead focusing on
8576-428: The 21st century have switched to using readings from them. There is also variation in the degree to which so-called "Auslauts" or "amissable consonants" (morpheme-final consonants that stopped being pronounced at one point or another in the history of Sumerian) are reflected in the transliterations. This article generally used the versions with expressed Auslauts. The key to reading logosyllabic cuneiform came from
8710-850: The 25th century BCE. The earliest surviving Western Asian epic poem , the Epic of Gilgamesh , was written in the Sumerian language . Early poems in the Eurasian continent evolved from folk songs such as the Chinese Shijing as well as from religious hymns (the Sanskrit Rigveda , the Zoroastrian Gathas , the Hurrian songs , and the Hebrew Psalms ); or from a need to retell oral epics, as with
8844-638: The Egyptian Story of Sinuhe , Indian epic poetry , and the Homeric epics, the Iliad and the Odyssey . Ancient Greek attempts to define poetry, such as Aristotle 's Poetics , focused on the uses of speech in rhetoric , drama , song , and comedy . Later attempts concentrated on features such as repetition , verse form , and rhyme , and emphasized aesthetics which distinguish poetry from
8978-597: The Indian Sanskrit -language Rigveda , the Avestan Gathas , the Hurrian songs , and the Hebrew Psalms , possibly developed directly from folk songs . The earliest entries in the oldest extant collection of Chinese poetry , the Classic of Poetry ( Shijing ), were initially lyrics . The Shijing, with its collection of poems and folk songs, was heavily valued by the philosopher Confucius and
9112-722: The Louvre in Paris also made significant contributions to deciphering Sumerian with publications from 1898 to 1938, such as his 1905 publication of Les inscriptions de Sumer et d'Akkad . Charles Fossey at the Collège de France in Paris was another prolific and reliable scholar. His pioneering Contribution au Dictionnaire sumérien–assyrien , Paris 1905–1907, turns out to provide the foundation for P. Anton Deimel's 1934 Sumerisch-Akkadisches Glossar (vol. III of Deimel's 4-volume Sumerisches Lexikon ). In 1908, Stephen Herbert Langdon summarized
9246-606: The Neo-Sumerian and especially in the Old Babylonian period. Conversely, an intervocalic consonant, especially at the end of a morpheme followed by a vowel-initial morpheme, was usually "repeated" by the use of a CV sign for the same consonant; e.g. 𒊬 sar "write" - 𒊬𒊏 sar-ra "written". This results in orthographic gemination that is usually reflected in Sumerological transliteration, but does not actually designate any phonological phenomenon such as length. It
9380-522: The Sumerian language descended from a late prehistoric creole language (Høyrup 1992). However, no conclusive evidence, only some typological features, can be found to support Høyrup's view. A more widespread hypothesis posits a Proto-Euphratean language family that preceded Sumerian in Mesopotamia and exerted an areal influence on it, especially in the form of polysyllabic words that appear "un-Sumerian"—making them suspect of being loanwords —and are not traceable to any other known language family. There
9514-444: The Sumerian site of Tello (ancient Girsu, capital of the state of Lagash ) in 1877, and published the first part of Découvertes en Chaldée with transcriptions of Sumerian tablets in 1884. The University of Pennsylvania began excavating Sumerian Nippur in 1888. A Classified List of Sumerian Ideographs by R. Brünnow appeared in 1889. The bewildering number and variety of phonetic values that signs could have in Sumerian led to
9648-656: The Thursday, the proper day for witchcraft . Herodes 's wife was horse-riding that night, and with her went the witches, and with her the Abyss . So he waited that night, already savoring the duck. Poetry This is an accepted version of this page Poetry (from the Greek word poiesis , "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry
9782-459: The above cases, another stress often seemed to be present as well: on the stem to which the suffixes/enclitics were added, on the second compound member in compounds, and possibly on the verbal stem that prefixes were added to or on following syllables. He also did not agree that the stress of monomorphemic words was typically initial and believed to have found evidence of words with initial as well as with final stress; in fact, he did not even exclude
9916-399: The adaptation of Akkadian words of Sumerian origin seems to suggest that Sumerian stress tended to be on the last syllable of the word, at least in its citation form. The treatment of forms with grammatical morphemes is less clear. Many cases of apheresis in forms with enclitics have been interpreted as entailing that the same rule was true of the phonological word on many occasions, i.e. that
10050-449: The book itself, but is believed to be 1488 or 1489. The author's pen name is given as "Tifi" in the frontispice, and as "Tifetus" in an acrostic that precedes the text. The title of the poem is thought to come from maccerone , a kind of pasta or dumpling eaten by peasants at the time. The poem was a success; it was reprinted several times, and inspired many other Macaronea in the following decades. The following excerpt describes
10184-504: The case of free verse , rhythm is often organized based on looser units of cadence rather than a regular meter. Robinson Jeffers , Marianne Moore , and William Carlos Williams are three notable poets who reject the idea that regular accentual meter is critical to English poetry. Jeffers experimented with sprung rhythm as an alternative to accentual rhythm. In the Western poetic tradition, meters are customarily grouped according to
10318-608: The complex cultural web within which a poem is read. Today, throughout the world, poetry often incorporates poetic form and diction from other cultures and from the past, further confounding attempts at definition and classification that once made sense within a tradition such as the Western canon . The early 21st-century poetic tradition appears to continue to strongly orient itself to earlier precursor poetic traditions such as those initiated by Whitman , Emerson , and Wordsworth . The literary critic Geoffrey Hartman (1929–2016) used
10452-437: The context, a cuneiform sign can be read either as one of several possible logograms , each of which corresponds to a word in the Sumerian spoken language, as a phonetic syllable (V, VC, CV, or CVC), or as a determinative (a marker of semantic category, such as occupation or place). (See the article Cuneiform .) Some Sumerian logograms were written with multiple cuneiform signs. These logograms are called diri -spellings, after
10586-537: The critiques put forward by Pascal Attinger in his 1993 Eléments de linguistique sumérienne: La construction de du 11 /e/di 'dire ' ) is the starting point of most recent academic discussions of Sumerian grammar. More recent monograph-length grammars of Sumerian include Dietz-Otto Edzard 's 2003 Sumerian Grammar and Bram Jagersma's 2010 A Descriptive Grammar of Sumerian (currently digital, but soon to be printed in revised form by Oxford University Press). Piotr Michalowski's essay (entitled, simply, "Sumerian") in
10720-401: The cuneiform script are /a/ , /e/ , /i/ , and /u/ . Various researchers have posited the existence of more vowel phonemes such as /o/ and even /ɛ/ and /ɔ/ , which would have been concealed by the transmission through Akkadian, as that language does not distinguish them. That would explain the seeming existence of numerous homophones in transliterated Sumerian, as well as some details of
10854-444: The division between lines. Lines of poems are often organized into stanzas , which are denominated by the number of lines included. Thus a collection of two lines is a couplet (or distich ), three lines a triplet (or tercet ), four lines a quatrain , and so on. These lines may or may not relate to each other by rhyme or rhythm. For example, a couplet may be two lines with identical meters which rhyme or two lines held together by
10988-548: The eclipse of the tradition of cuneiform literacy itself in the beginning of the Common Era . The most popular genres for Sumerian texts after the Old Babylonian period were incantations, liturgical texts and proverbs; among longer texts, the classics Lugal-e and An-gim were most commonly copied. Of the 29 royal inscriptions of the late second millennium BC 2nd dynasty of Isin about half were in Sumerian, described as "hypersophisticated classroom Sumerian". Sumerian
11122-471: The extremely detailed and meticulous administrative records, there are numerous royal inscriptions, legal documents, letters and incantations. In spite of the dominant position of written Sumerian during the Ur III dynasty, it is controversial to what extent it was actually spoken or had already gone extinct in most parts of its empire. Some facts have been interpreted as suggesting that many scribes and even
11256-506: The first half of the 20th century coincided with a questioning of the purpose and meaning of traditional definitions of poetry and of distinctions between poetry and prose, particularly given examples of poetic prose and prosaic poetry. Numerous modernist poets have written in non-traditional forms or in what traditionally would have been considered prose, although their writing was generally infused with poetic diction and often with rhythm and tone established by non-metrical means. While there
11390-426: The first syllable and that there was generally stress on the syllable preceding a (final) suffix/enclitic, on the penultimate syllable of a polysyllabic enclitic such as -/ani/, -/zunene/ etc., on the last syllable of the first member of a compound, and on the first syllable in a sequence of verbal prefixes. However, he found that single verbal prefixes received the stress just as prefix sequences did, and that in most of
11524-411: The first syllable, and that the same applied without exception to reduplicated stems, but that the stress shifted onto the last syllable in a first member of a compound or idiomatic phrase, onto the syllable preceding a (final) suffix/enclitic, and onto the first syllable of the possessive enclitic /-ani/. In his view, single verbal prefixes were unstressed, but longer sequences of verbal prefixes attracted
11658-461: The first to span a greater variety of genres, including not only administrative texts and sign lists, but also incantations , legal and literary texts (including proverbs and early versions of the famous works The Instructions of Shuruppak and The Kesh temple hymn ). However, the spelling of grammatical elements remains optional, making the interpretation and linguistic analysis of these texts difficult. The Old Sumerian period (2500-2350 BC)
11792-501: The first, second and fourth lines of a quatrain rhyme with each other and the third line do not rhyme, the quatrain is said to have an AA BA rhyme scheme . This rhyme scheme is the one used, for example, in the rubaiyat form. Similarly, an A BB A quatrain (what is known as " enclosed rhyme ") is used in such forms as the Petrarchan sonnet . Some types of more complicated rhyming schemes have developed names of their own, separate from
11926-457: The format of more objectively-informative, academic, or typical writing, which is known as prose . Poetry uses forms and conventions to suggest differential interpretations of words, or to evoke emotive responses. The use of ambiguity , symbolism , irony , and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, figures of speech such as metaphor , simile , and metonymy establish
12060-502: The glottal stop even serving as the first-person pronominal prefix. However, these unwritten consonants had been lost by the Ur III period according to Jagersma. Very often, a word-final consonant was not expressed in writing—and was possibly omitted in pronunciation—so it surfaced only when followed by a vowel: for example the /k/ of the genitive case ending -ak does not appear in 𒂍𒈗𒆷 e 2 lugal-la "the king's house", but it becomes obvious in 𒂍𒈗𒆷𒄰 e 2 lugal-la-kam "(it)
12194-414: The iamb and dactyl to describe common combinations of long and short sounds. Each of these types of feet has a certain "feel," whether alone or in combination with other feet. The iamb, for example, is the most natural form of rhythm in the English language, and generally produces a subtle but stable verse. Scanning meter can often show the basic or fundamental pattern underlying a verse, but does not show
12328-418: The language. Actual rhythm is significantly more complex than the basic scanned meter described above, and many scholars have sought to develop systems that would scan such complexity. Vladimir Nabokov noted that overlaid on top of the regular pattern of stressed and unstressed syllables in a line of verse was a separate pattern of accents resulting from the natural pitch of the spoken words, and suggested that
12462-447: The late Middle Babylonian period) and there are also grammatical texts - essentially bilingual paradigms listing Sumerian grammatical forms and their postulated Akkadian equivalents. After the Old Babylonian period or, according to some, as early as 1700 BC, the active use of Sumerian declined. Scribes did continue to produce texts in Sumerian at a more modest scale, but generally with interlinear Akkadian translations and only part of
12596-667: The length of the vowels in most Sumerian words. During the Old Sumerian period, the southern dialects (those used in the cities of Lagash , Umma , Ur and Uruk ), which also provide the overwhelming majority of material from that stage, exhibited a vowel harmony rule based on vowel height or advanced tongue root . Essentially, prefixes containing /e/ or /i/ appear to alternate between /e/ in front of syllables containing open vowels and /i/ in front of syllables containing close vowels; e.g. 𒂊𒁽 e-kaš 4 "he runs", but 𒉌𒁺 i 3 -gub "he stands". Certain verbs with stem vowels spelt with /u/ and /e/, however, seem to take prefixes with
12730-403: The line, the stanza or verse paragraph , and larger combinations of stanzas or lines such as cantos . Also sometimes used are broader visual presentations of words and calligraphy . These basic units of poetic form are often combined into larger structures, called poetic forms or poetic modes (see the following section), as in the sonnet . Poetry is often separated into lines on a page, in
12864-611: The literature known in the Old Babylonian period continued to be copied after its end around 1600 BC. During the Middle Babylonian period, approximately from 1600 to 1000 BC, the Kassite rulers continued to use Sumerian in many of their inscriptions, but Akkadian seems to have taken the place of Sumerian as the primary language of texts used for the training of scribes and their Sumerian itself acquires an increasingly artificial and Akkadian-influenced form. In some cases
12998-514: The logogram 𒋛𒀀 DIRI which is written with the signs 𒋛 SI and 𒀀 A . The text transliteration of a tablet will show just the logogram, such as the word dirig , not the separate component signs. Not all epigraphists are equally reliable, and before publication of an important treatment of a text, scholars will often arrange to collate the published transliteration against the actual tablet, to see if any signs, especially broken or damaged signs, should be represented differently. Our knowledge of
13132-523: The major American verse of the twenty-first century, may yet be seen as what Stevens called 'a great shadow's last embellishment,' the shadow being Emerson's." In the 2020s, advances in artificial intelligence (AI), particularly large language models , enabled the generation of poetry in specific styles and formats. A 2024 study found that AI-generated poems were rated by non-expert readers as more rhythmic, beautiful, and human-like than those written by well-known human authors. This preference may stem from
13266-401: The majority of scribes writing in Sumerian in this point were not native speakers and errors resulting from their Akkadian mother tongue become apparent. For this reason, this period as well as the remaining time during which Sumerian was written are sometimes referred to as the "Post-Sumerian" period. The written language of administration, law and royal inscriptions continued to be Sumerian in
13400-520: The most important sources come from the autonomous Second Dynasty of Lagash, especially from the rule of Gudea , which has produced extensive royal inscriptions. The second phase corresponds to the unification of Mesopotamia under the Third Dynasty of Ur , which oversaw a "renaissance" in the use of Sumerian throughout Mesopotamia, using it as its sole official written language. There is a wealth of texts greater than from any preceding time – besides
13534-507: The much older oral poetry, as in their long, rhyming qasidas . Some rhyming schemes have become associated with a specific language, culture or period, while other rhyming schemes have achieved use across languages, cultures or time periods. Some forms of poetry carry a consistent and well-defined rhyming scheme, such as the chant royal or the rubaiyat , while other poetic forms have variable rhyme schemes. Most rhyme schemes are described using letters that correspond to sets of rhymes, so if
13668-477: The name "Sumerian", based on the known title "King of Sumer and Akkad", reasoning that if Akkad signified the Semitic portion of the kingdom, Sumer might describe the non-Semitic annex. Credit for being first to scientifically treat a bilingual Sumerian-Akkadian text belongs to Paul Haupt , who published Die sumerischen Familiengesetze (The Sumerian family laws) in 1879. Ernest de Sarzec began excavating
13802-616: The overwhelming majority of surviving manuscripts of Sumerian literary texts in general can be dated to that time, and it is often seen as the "classical age" of Sumerian literature. Conversely, far more literary texts on tablets surviving from the Old Babylonian period are in Sumerian than in Akkadian, even though that time is viewed as the classical period of Babylonian culture and language. However, it has sometimes been suggested that many or most of these "Old Babylonian Sumerian" texts may be copies of works that were originally composed in
13936-444: The phenomena mentioned in the next paragraph. These hypotheses are not yet generally accepted. Phonemic vowel length has also been posited by many scholars based on vowel length in Sumerian loanwords in Akkadian, occasional so-called plene spellings with extra vowel signs, and some internal evidence from alternations. However, scholars who believe in the existence of phonemic vowel length do not consider it possible to reconstruct
14070-564: The phrase "the anxiety of demand" to describe the contemporary response to older poetic traditions as "being fearful that the fact no longer has a form", building on a trope introduced by Emerson. Emerson had maintained that in the debate concerning poetic structure where either "form" or "fact" could predominate, that one need simply "Ask the fact for the form." This has been challenged at various levels by other literary scholars such as Harold Bloom (1930–2019), who has stated: "The generation of poets who stand together now, mature and ready to write
14204-480: The place of stress. Sumerian writing expressed pronunciation only roughly. It was often morphophonemic , so much of the allomorphic variation could be ignored. Especially in earlier Sumerian, coda consonants were also often ignored in spelling; e.g. /mung̃areš/ 'they put it here' could be written 𒈬𒃻𒌷 mu-g̃ar-re 2 . The use of VC signs for that purpose, producing more elaborate spellings such as 𒈬𒌦𒃻𒌷𒌍 mu-un-g̃ar-re 2 -eš 3 , became more common only in
14338-443: The poet as simply one who creates using language, and poetry as what the poet creates. The underlying concept of the poet as creator is not uncommon, and some modernist poets essentially do not distinguish between the creation of a poem with words, and creative acts in other media. Other modernists challenge the very attempt to define poetry as misguided. The rejection of traditional forms and structures for poetry that began in
14472-412: The possibility that stress was normally stem-final. Pascal Attinger has partly concurred with Krecher, but doubts that the stress was always on the syllable preceding a suffix/enclitic and argues that in a prefix sequence, the stressed syllable wasn't the first one, but rather the last one if heavy and the next-to-the-last one in other cases. Attinger has also remarked that the patterns observed may be
14606-399: The preceding Ur III period or earlier, and some copies or fragments of known compositions or literary genres have indeed been found in tablets of Neo-Sumerian and Old Sumerian provenance. In addition, some of the first bilingual Sumerian-Akkadian lexical lists are preserved from that time (although the lists were still usually monolingual and Akkadian translations did not become common until
14740-402: The preparation for a magical rite where a duck would be served: Original text Mercurio fuerat lux illa sacrata, sed ille ad strigariam zobiam spectaverat aptam. Illa etiam nocte coniunx cavalcabat Herodis et secum strige, secum caminat et Orcus; Hanc expectavit tamen, oca tirante la gola. English translation That day was sacred to Mercury , but he waited for
14874-461: The production of poetry with inspiration – often by a Muse (either classical or contemporary), or through other (often canonised) poets' work which sets some kind of example or challenge. In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker , distinct from the poet (the author ). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it
15008-520: The rapid expansion in knowledge of Sumerian and Akkadian vocabulary in the pages of Babyloniaca , a journal edited by Charles Virolleaud , in an article "Sumerian-Assyrian Vocabularies", which reviewed a valuable new book on rare logograms by Bruno Meissner. Subsequent scholars have found Langdon's work, including his tablet transcriptions, to be not entirely reliable. In 1944, the Sumerologist Samuel Noah Kramer provided
15142-544: The readings of Sumerian signs is based, to a great extent, on lexical lists made for Akkadian speakers, where they are expressed by means of syllabic signs. The established readings were originally based on lexical lists from the Neo-Babylonian Period , which were found in the 19th century; in the 20th century, earlier lists from the Old Babylonian Period were published and some researchers in
15276-463: The relative simplicity and accessibility of AI-generated poetry, which some participants found easier to understand. Prosody is the study of the meter, rhythm , and intonation of a poem. Rhythm and meter are different, although closely related. Meter is the definitive pattern established for a verse (such as iambic pentameter ), while rhythm is the actual sound that results from a line of poetry. Prosody also may be used more specifically to refer to
15410-586: The rendering of morphophonemics". Early Sumerian is conjectured to have had at least the consonants listed in the table below. The consonants in parentheses are reconstructed by some scholars based on indirect evidence; if they existed, they were lost around the Ur III period in the late 3rd millennium BC. The existence of various other consonants has been hypothesized based on graphic alternations and loans, though none have found wide acceptance. For example, Diakonoff lists evidence for two lateral phonemes, two rhotics, two back fricatives, and two g-sounds (excluding
15544-482: The result in each specific case is a long vowel or whether a vowel is simply replaced/deleted. Syllables could have any of the following structures: V, CV, VC, CVC. More complex syllables, if Sumerian had them, are not expressed as such by the cuneiform script. Sumerian stress is usually presumed to have been dynamic, since it seems to have caused vowel elisions on many occasions. Opinions vary on its placement. As argued by Bram Jagersma and confirmed by other scholars,
15678-400: The result of Akkadian influence - either due to linguistic convergence while Sumerian was still a living language or, since the data comes from the Old Babylonian period, a feature of Sumerian as pronounced by native speakers of Akkadian. The latter has also been pointed out by Jagersma, who is, in addition, sceptical about the very assumptions underlying the method used by Krecher to establish
15812-420: The rhyming scheme or other structural elements of one stanza determine those of succeeding stanzas. Examples of such interlocking stanzas include, for example, the ghazal and the villanelle , where a refrain (or, in the case of the villanelle, refrains) is established in the first stanza which then repeats in subsequent stanzas. Related to the use of interlocking stanzas is their use to separate thematic parts of
15946-541: The royal court actually used Akkadian as their main spoken and native language. On the other hand, evidence has been adduced to the effect that Sumerian continued to be spoken natively and even remained dominant as an everyday language in Southern Babylonia, including Nippur and the area to its south By the Old Babylonian period (c. 2000 – c. 1600 BC), Akkadian had clearly supplanted Sumerian as
16080-564: The standard for students studying Sumerian. Another highly influential figure in Sumerology during much of the 20th century was Adam Falkenstein , who produced a grammar of the language of Gudea 's inscriptions. Poebel's grammar was finally superseded in 1984 on the publication of The Sumerian Language: An Introduction to its History and Grammatical Structure , by Marie-Louise Thomsen . While there are various points in Sumerian grammar on which Thomsen's views are not shared by most Sumerologists today, Thomsen's grammar (often with express mention of
16214-431: The stress could be shifted onto the enclitics; however, the fact that many of these same enclitics have allomorphs with apocopated final vowels (e.g. / ‑ še/ ~ /-š/) suggests that they were, on the contrary, unstressed when these allomorphs arose. It has also been conjectured that the frequent assimilation of the vowels of non-final syllables to the vowel of the final syllable of the word may be due to stress on it. However,
16348-531: The stress to their first syllable. Jagersma has objected that many of Falkenstein's examples of elision are medial and so, while the stress was obviously not on the medial syllable in question, the examples do not show where it was . Joachim Krecher attempted to find more clues in texts written phonetically by assuming that geminations, plene spellings and unexpected "stronger" consonant qualities were clues to stress placement. Using this method, he confirmed Falkenstein's views that reduplicated forms were stressed on
16482-534: The term "scud" be used to distinguish an unaccented stress from an accented stress. Different traditions and genres of poetry tend to use different meters, ranging from the Shakespearean iambic pentameter and the Homeric dactylic hexameter to the anapestic tetrameter used in many nursery rhymes. However, a number of variations to the established meter are common, both to provide emphasis or attention to
16616-410: The training of scribes. The next period, Archaic Sumerian (3000 BC – 2500 BC), is the first stage of inscriptions that indicate grammatical elements, so the identification of the language is certain. It includes some administrative texts and sign lists from Ur (c. 2800 BC). Texts from Shuruppak and Abu Salabikh from 2600 to 2500 BC (the so-called Fara period or Early Dynastic Period IIIa) are
16750-503: The undoubtedly Semitic-speaking successor states of Ur III during the so-called Isin-Larsa period (c. 2000 BC – c. 1750 BC). The Old Babylonian Empire , however, mostly used Akkadian in inscriptions, sometimes adding Sumerian versions. The Old Babylonian period, especially its early part, has produced extremely numerous and varied Sumerian literary texts: myths, epics, hymns, prayers, wisdom literature and letters. In fact, nearly all preserved Sumerian religious and wisdom literature and
16884-421: The use of similar vowel sounds within a word rather than similar sounds at the beginning or end of a word, was widely used in skaldic poetry but goes back to the Homeric epic. Because verbs carry much of the pitch in the English language, assonance can loosely evoke the tonal elements of Chinese poetry and so is useful in translating Chinese poetry. Consonance occurs where a consonant sound is repeated throughout
17018-437: The varying degrees of stress , as well as the differing pitches and lengths of syllables. There is debate over how useful a multiplicity of different "feet" is in describing meter. For example, Robert Pinsky has argued that while dactyls are important in classical verse, English dactylic verse uses dactyls very irregularly and can be better described based on patterns of iambs and anapests, feet which he considers natural to
17152-597: The velar nasal), and assumes a phonemic difference between consonants that are dropped word-finally (such as the g in 𒍠 zag > za 3 ) and consonants that remain (such as the g in 𒆷𒀝 lag ). Other "hidden" consonant phonemes that have been suggested include semivowels such as /j/ and /w/ , and a glottal fricative /h/ or a glottal stop that could explain the absence of vowel contraction in some words —though objections have been raised against that as well. A recent descriptive grammar by Bram Jagersma includes /j/ , /h/ , and /ʔ/ as unwritten consonants, with
17286-979: The world's oldest love poem. An example of Egyptian epic poetry is The Story of Sinuhe (c. 1800 BCE). Other ancient epics includes the Greek Iliad and the Odyssey ; the Persian Avestan books (the Yasna ); the Roman national epic , Virgil 's Aeneid (written between 29 and 19 BCE); and the Indian epics , the Ramayana and the Mahabharata . Epic poetry appears to have been composed in poetic form as an aid to memorization and oral transmission in ancient societies. Other forms of poetry, including such ancient collections of religious hymns as
17420-402: Was a substantial formalist reaction within the modernist schools to the breakdown of structure, this reaction focused as much on the development of new formal structures and syntheses as on the revival of older forms and structures. Postmodernism goes beyond modernism's emphasis on the creative role of the poet, to emphasize the role of the reader of a text ( hermeneutics ), and to highlight
17554-591: Was able to decipher the Old Persian section of the Behistun inscriptions, using his knowledge of modern Persian. When he recovered the rest of the text in 1843, he and others were gradually able to translate the Elamite and Akkadian sections of it, starting with the 37 signs he had deciphered for the Old Persian. Meanwhile, many more cuneiform texts were coming to light from archaeological excavations, mostly in
17688-677: Was influential throughout the Middle East during the Islamic Golden Age , as well as in Europe during the Renaissance . Later poets and aestheticians often distinguished poetry from, and defined it in opposition to prose , which they generally understood as writing with a proclivity to logical explication and a linear narrative structure. This does not imply that poetry is illogical or lacks narration, but rather that poetry
17822-405: Was still so rudimentary that there remains some scholarly disagreement about whether the language written with it is Sumerian at all, although it has been argued that there are some, albeit still very rare, cases of phonetic indicators and spelling that show this to be the case. The texts from this period are mostly administrative; there are also a number of sign lists, which were apparently used for
17956-416: Was used by poets such as Pindar and Sappho , and by the great tragedians of Athens . Similarly, " dactylic hexameter ", comprises six feet per line, of which the dominant kind of foot is the " dactyl ". Dactylic hexameter was the traditional meter of Greek epic poetry , the earliest extant examples of which are the works of Homer and Hesiod . Iambic pentameter and dactylic hexameter were later used by
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