
Contents
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A THE LORD OF THE DANCE A THE LORD OF THE DANCE
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B PROSODIC AGREEMENT B PROSODIC AGREEMENT
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C THREE PRINCIPLES C THREE PRINCIPLES
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1. One syllable one step 1. One syllable one step
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2. Dactyl and cretic 2. Dactyl and cretic
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3. Accentual determination of ictus 3. Accentual determination of ictus
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D PERIOD AND STROPHE D PERIOD AND STROPHE
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E Epiphany E Epiphany
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Cite
Abstract
This chapter applies the new theory of the accent in a choral analysis of lyric verse. The first section, ‘The Lord of the Dance’, calls attention to a new relationship between the poet and his orchestra in lyric as against epic, and the implications of this new relationship for lyric usage and its interpretation. Gone is the evocative music of the noun-and-epithet phrases in favour of adjectival predication. A section on ‘Prosodic Agreement’ showcases accentual rhyme in the strophic systems of Pindar’s Olympian 1 and three heuristic principles for the choreographic analysis of lyric verse, each discussed in theory and practice: (i) ‘one syllable one step’; (ii) the dactyl as the fundamental element of all lyric rhythm in relation to the cadential cretic; and (iii) the accentual determination of ictus (distinguished from the ictual determination of quantity and accent, more characteristic of epic). A discussion of ‘period’ and ‘strophe’, highlighting the remarkable isochrony of both ancient and modern Greek dance, leads to a discussion and demonstration of the kind of poetic epiphany that choral verse can achieve.
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