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29-513: Not to be confused with prosody . Prosodion (Greek: προσόδιον ) in ancient Greece was a processional song to the altar of a deity, mainly Apollo or Artemis , sung ritually before the Paean hymn. It is one of the earliest musical types used by the Greeks. The prosodion was accompanied by the aulos , whereas the associated paean (performed while standing)

58-423: A bayt ( بيت "tent"), is composed of two half-lines or hemistichs , each of which is known as a miṣrāʿ ( مصراع "door-flap"). The first half-line is called the ṣadr ( صَدْر , literally "forepart"), and the other is called the ʿajuz ( عَجُز , literally "rear"). The ṣadr and the ʿajuz have two parts each: The last consonant of the ḍarb and the vowel that comes after it are called

87-639: A short syllable, x = either long or short, uu = 1 long or two shorts. The meters most commonly used are those of circles 1 and 2 (apart from the madīd , which is rare). Those meters marked with an asterisk (*) are mainly theoretical, and in practice rarely used by poets. Sequences of three short syllables are not found in any Arabic meter, except occasionally in a variation of the rajaz meter, in which | x – u – | may sometimes be replaced by | x u u – |. Analysis of anthologies of classical Arabic poetry shows that some of these meters are much more common than others. The most common meter by far in early poetry

116-439: A verse, an Arab prosodist begins by rewriting the line phonetically, that is, as it is actually pronounced. Doubled letters are written twice and silent letters, such as the alif of the article when it follows a vowel, are omitted. Thus the word اَلْكَرِيم , al-karīm in ʿarūḍ writing is written phonetically as " لكريم ". In a word like al-shams ( اَلْشَّمْس , pronounced (a)š-šams , meaning "the sun"), where

145-399: Is a sequence of two syllables, usually short + long (u –) (a watid majmūʿ  ); but occasionally in the rarely used metres of circle 4, long + short (– u) (a watid mafrūk ). A "cord" is a short syllable (u), long syllable (–), or two shorts (u u). Surprisingly, al-Khalil's system makes no use of the concept of the syllable as such. The watid is repeated at fixed points along

174-524: Is different from Wikidata All article disambiguation pages All disambiguation pages Arabic prosody Following al-Khalil, the Arab prosodists scan poetry not in terms of syllables but in terms of vowelled and unvowelled letters, which were combined into larger units known as watid or watad "peg" (pl. awtād ) and sabab "cord" (pl. asbāb ). These larger units make up feet ( rukn , pl. arkān ). Western prosodists, on

203-455: Is the ṭawīl ; the kāmil , wāfir , and basīṭ are also fairly common; the rajaz/sarīʿ (which are sometimes considered to be variants of the same meter) and the mutaqārib occur occasionally; and the others are rarely found. Thus in Vadet's (1955) corpus of Bedouin poetry of the 1st–3rd century AD, containing nearly 2,300 poems and fragments, the ṭawīl is used in 50% of

232-420: Is the most common), the kāmil , the wāfir and the basīṭ . Rhyme is an important part of classical Arabic poetry. Almost all Arabic poetry is composed in couplets and the same rhyme is used in the second half of each couplet throughout the poem. The feet of an Arabic poem are traditionally represented by mnemonic words called tafāʿīl ( تفاعيل ). In most poems there are eight of these: four in

261-410: The rawiyy ( رويّ ) and its last two sākin s, all the mutaḥarrik letters that are in between, and the last mutaḥarrik before them, is called the qāfīyah ( قَافِيَّة ) or 'rhyme'. Khalil noticed that the metres can be divided into different groups. If a meter is written out in a circle, then by starting in different places on the circle it is possible to derive the other meters of

290-464: The "l" of the article is assimilated to the first consonant of the noun, the actual sound is written instead; so in ʿarūḍ writing, this is written ششمس ( ššms ). Then each mobile letter is represented by a vertical line (ا), known as mutaḥarrik , and each quiescent letter by a small circle (ه), known as sukūn . Thus a watid will be represented in the scansion by two mutaḥarrik symbols and one sukūn . A line of poetry, known as

319-576: The 1385 short poems included in the Arabian Nights , ṭawīl is used in 24%, basīṭ 24%, kāmil 23%, wāfir 10%, ramal 2%, rajaz 2%, xafīf 5%, sarīʿ 4%, munsarih 1%, mujtatt 1%, and mutaqārib 3%. The madīd and the hazaj almost never occur, and the mutadārik , muḍāri' , and muqtaḍab do not occur at all. These last three were usually regarded as artificial meters. The mutadārik breaks almost all regular rules of meter, however it

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348-488: The Middle Ages , by Thomas J. Mathiesen (Lincoln and London: University of Nebraska Press) Pages 81–83 ISBN   0-8032-3079-6 (1999) Retrieved from " https://en.wikipedia.org/w/index.php?title=Prosodion&oldid=1175875219 " Category : Hymns in ancient Greek Hidden category: Articles containing Ancient Greek (to 1453)-language text Prosody (disambiguation) From Misplaced Pages,

377-653: The Science of Poetry Semantic prosody , the way neutral words can be perceived as positive or negative Emotional prosody , perception of emotion in speech Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Prosody . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Prosody&oldid=952549082 " Category : Disambiguation pages Hidden categories: Short description

406-414: The end of the line is shortened by one syllable. A whole series of Arabic technical terms exists to describe these variations. Minor variations which affect the cords only are known as ziḥāfāt (singular: ziḥāf ); major variations which affect the beginning or end of a line are known as ʿilal (singular ʿilla ). There are 14 possible ziḥāfāt and 34 possible ʿilal . For example, if

435-463: The first half of the verse and four in the second; in other cases, there will be six of them, meaning three in the first half of the verse and three in the second. The buḥūr ( بحور ) (meters) (sg. baḥr بحر ), identified according to the traditional method, are the following. Underneath each meter is its scansion by the European method (read from left to right), where – = a long syllable, u =

464-468: The foot mustafʿilun (– – u –) is replaced by mafāʿilun (u – u –), it is said to be maxbūn , that is, it has undergone the ziḥāf known as xabn "hemming" or "shortening". If the line-ending mustafʿilun (– – u –) is replaced by mustafʿil (– – –) that is, if the line is catalectic, the meter is said to be maqṭūʿ , that is, it has undergone the ʿilla known as qaṭʿ "cutting" or "curtailment". A full description of all

493-533: The 💕 (Redirected from Prosody (disambiguation) ) [REDACTED] Look up prosody  or prosodic in Wiktionary, the free dictionary. Prosody may refer to: Prosody (Sanskrit) , the study of poetic meters and verse in Sanskrit and one of the six Vedangas, or limbs of Vedic studies Prosody (Greek) , the theory and practice of Greek versification Prosody (Latin) ,

522-540: The line and is generally unchanging, while the asbāb or cords are the syllables in between which could be modified. A peg and either one or two cords makes a rukn (pl. arkān ) "tent pole or support" or what in European terms is called a foot. Thus a half-line of the ṭawīl metre ( faʿūlun mafāʿīlun faʿūlun mafāʿilun , | u – x | u – x – | u – x | u – u – |) is analysed as PK PKK PK PKK. A complete line of poetry usually consists of either six or eight feet, but sometimes shorter lines are found. When analysing

551-409: The meters of circle 5 have short feet of PK PK or KP KP. The above meters are given in their tetrameter form, but some (such as the madīd ) are generally found with only three feet per hemistich . As Stoetzer (1982) points out, the anceps syllables (x) in tables such as the above are in many cases not really anceps , but merely an abstraction to make it seem that two different meters belong to

580-413: The other hand, usually analyse the meters in terms of syllables, which can be long (–), short (u) and anceps (x), that is, a syllable which can be optionally long or short. Certain meters also have biceps positions where a pair of short syllables can optionally be replaced by a long one. The great majority (85-90%) of early classical Arabic poetry is composed in just four meters: the ṭawīl (which

609-401: The poems, the kāmil in 18%, the wāfir in 14%, and the basīṭ in 11%. The rajaz/sarī' make 3%, mutaqārib 2.4%, and all the rest together about 2%. In Stoetzer's (1986) corpus of 130 poems of the 8th century, the ṭawīl accounts for 35% of the poems, kāmil 20%, wāfir 14%, basīṭ 13%, rajaz/sarīʿ 3%, mutaqārib 7%, and the rest about 6%. Among

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638-723: The prosodia by Alcman, Pindar, Simonides, and Bacchylides was written in the Dorian tonos "because of its grandeur and dignity". The only complete surviving prosodion (part of the Second Delphic Hymn by Limenius), however, is composed in the Lydian tonos . References [ edit ] ^ literally, "activity having to do with the Muses Apollo's Lyre: Greek Music and Music Theory in Antiquity and

667-408: The same circle have similar features. For example, the meters in circle 1 all make use of feet of 3 syllables alternating with feet of 4 syllables. Both meters in circle 2 make use of biceps elements, in which a pair of short syllables can be replaced by a long one ( uu ); meters of circle 4 all have one place in the hemistich (half-line) where the watid is a trochee (– u) instead of an iamb (u –);

696-473: The same circle. For example, the penultimate syllable of the Ṭawīl (the 13th) in practice is always short, while the corresponding syllable in Basīṭ (the 8th) is always long. Variations of these meters can be found. Some exist in shorter or longer forms, for example with either three or four feet in each half-line (known as trimeter and tetrameter respectively). Some meters have a catalectic variation, in which

725-426: The same group. Expressed in terms of syllables rather than Khalil's silent and moving letters, the different circles can be tabulated as follows. The columns marked P are the "pegs" ( awtād ), while between each peg and the next are either one or two "cords" ( asbāb ). The order of metres is the one traditionally used by poets such as Al-Maʿarri , who arranged his poems not only by rhyme by also metrically. Meters in

754-529: The study of Latin versification and its laws of meter Prosody (linguistics) , the suprasegmental characteristics of speech Prosody (music) , the manner of setting words to music Prosody (software) , a cross-platform XMPP server written in Lua Metre (poetry) , the rhythmic structure of versed text See also [ edit ] Arabic prosody , study of poetic meters in Arabic; sometimes called

783-404: The terms ḥarf mutaḥarrik "mobile letter" (i.e. one followed by a vowel) and ḥarf sākin "quiescent letter" (i.e. one not followed by a vowel) to build up larger prosodic units, which he called "peg" ( watid or watad , pl. awtād ) and "cord" or "guy-rope" ( sabab , pl. asbāb ). In European descriptions, these are conventionally abbreviated "P" and "K" respectively. A "peg"

812-411: Was accompanied by the kithara . Prosodia were composed by Alcman , Pindar , Simonides of Ceos , Bacchylides , Eumelus of Corinth , and Limenius (whose prosodion follows its paean, rather than preceding it), as well the various winners in art competitions (Mouseia). The etymology of the word is related to ὁδός hodos road and not with ᾠδή ôidê song. According to Soterichus, the music of

841-508: Was highly regarded by Arabic Grammarians in the 10th century CE, and was noted for its eloquence. Its earliest attestation is in the 7th century CE by Amr Bin Jabir Al Jani in a poem for praise of the prophet : أشَجاكَ تَشَتُّتُ شِعْبِ الحَيِّ == فأنْتَ لَهُ أرِقٌ وَصِبُ The collated figures can be expressed in a table as follows: Al-Khalil was primarily a grammarian and using the grammatical terminology of his day he made use of

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