Tripadi ( Kannada , lit. tri : three, pad or "adi": feet) is a native metre in the Kannada language dating back to c. 700 CE.
31-641: The tripadi consists of three lines, each differing from the others in the number of feet and moras ( Sanskrit matras ), but in accordance with the following rules: − ⌣ o r ⌣ ⌣ ⌣ o r − − o r ⌣ ⌣ − {\displaystyle -\smile \ \mathrm {or} \ \smile \smile \smile \ \mathrm {or} \ --\ \mathrm {or} \ \smile \smile -\ \ } where ⌣ {\displaystyle \smile } ( breve ) denotes
62-829: A h m a ⏞ F o o t V I | ⌣ ⌣ − ⌣ ⏞ F o o t 7 | − ⌣ ⌣ ⌣ ⏞ F o o t 8 {\displaystyle \overbrace {\smile \smile \smile \smile } ^{\mathrm {Foot5} }|\overbrace {\underbrace {-\smile } _{\mathrm {Brahma} }} ^{\mathrm {FootVI} }|\overbrace {\smile \smile -\smile } ^{\mathrm {Foot7} }|\overbrace {-\smile \smile \smile } ^{\mathrm {Foot8} }} (Line 2: 17 moras in 4 feet) ⌣ ⌣ − ⌣ ⏞ F o o t 9 | − ⌣ ⏟ B r
93-813: A h m a ⏞ F o o t V I | ⌣ ⌣ ⌣ − ⏞ F o o t 7 | ⌣ ⌣ ⌣ ⌣ ⏞ F o o t 8 {\displaystyle \overbrace {\smile \smile \smile \smile } ^{\mathrm {Foot5} }|\overbrace {\underbrace {--} _{\mathrm {Brahma} }} ^{\mathrm {FootVI} }|\overbrace {\smile \smile \smile -} ^{\mathrm {Foot7} }|\overbrace {\smile \smile \smile \smile } ^{\mathrm {Foot8} }} (Line 2: 17 moras in 4 feet) ⌣ ⌣ ⌣ ⌣ ⏞ F o o t 9 | − − ⏟ B r
124-489: A h m a ⏞ F o o t X | ⌣ ⌣ ⌣ − ⏞ F o o t 11 | | {\displaystyle \overbrace {\smile \smile -\smile } ^{\mathrm {Foot9} }|\overbrace {\underbrace {-\smile } _{\mathrm {Brahma} }} ^{\mathrm {FootX} }|\overbrace {\smile \smile \smile -} ^{\mathrm {Foot11} }||} (Line 3: 13 moras in 3 feet) A well-known example of
155-1434: A h m a ⏞ F o o t X | ⌣ ⌣ ⌣ − ⏞ F o o t 11 | | {\displaystyle \overbrace {\smile \smile \smile \smile } ^{\mathrm {Foot9} }|\overbrace {\underbrace {--} _{\mathrm {Brahma} }} ^{\mathrm {FootX} }|\overbrace {\smile \smile \smile -} ^{\mathrm {Foot11} }||} (Line 3: 13 moras in 3 feet) Another example ( Kittel 1875 , p. 99) is: ⌣ ⌣ − ⌣ ⏞ F o o t 1 | − − ⌣ ⏞ F o o t 2 ⋆ ⌣ ⌣ − ⌣ ⏞ F o o t 3 | − ⌣ − ⏞ F o o t 4 {\displaystyle \overbrace {\smile \smile -\smile } ^{\mathrm {Foot1} }|\overbrace {--\smile } ^{\mathrm {Foot2} }\star \overbrace {\smile \smile -\smile } ^{\mathrm {Foot3} }|\overbrace {-\smile -} ^{\mathrm {Foot4} }} (Line 1: 20 moras in 4 feet) ⌣ ⌣ ⌣ ⌣ ⏞ F o o t 5 | − ⌣ ⏟ B r
186-476: A geminate consonant . For example, the Japanese name for Japan , 日本 , has two different pronunciations, one with three morae ( Nihon ) and one with four ( Nippon ). In the hiragana spelling, the three morae of Ni-ho-n are represented by three characters ( にほん ), and the four morae of Ni-p-po-n need four characters to be written out as にっぽん . The latter can also be analysed as Ni-Q-po-n , with
217-436: A long vowel (the others being short). Thus, a short vowel contains one mora and is called monomoraic , while a long vowel contains two and is called bimoraic . Extra-long syllables with three morae ( trimoraic ) are relatively rare. Such metrics based on syllables are also referred to as syllable weight . In Japanese, certain consonants also stand on their own as individual morae and thus are monomoraic. The term comes from
248-501: A + i , or one long and one short vowel, ā + i ) is assigned a value of two mātrā s. In addition, there is pluta (trimoraic) and dīrgha pluta ('long pluta ' = quadrimoraic). Sanskrit prosody and metrics have a deep history of taking into account moraic weight, as it were, rather than straight syllables, divided into laghu ( लघु , 'light') and dīrgha / guru ( दीर्घ / गुरु , 'heavy') feet based on how many morae can be isolated in each word. Thus, for example,
279-538: A couple of extreme examples, namely コーン茶 and チェーン店 ), the drop in pitch of a word (so-called "downstep") cannot come after any of these "special mora," a useful tidbit for language learners trying to learn word pitch accents. In Luganda , a short vowel constitutes one mora while a long vowel constitutes two morae. A simple consonant has no morae, and a doubled or prenasalised consonant has one. No syllable may contain more than three morae. The tone system in Luganda
310-400: A foot must have both an arsis and a thesis, that is, a place where the foot was raised ("arsis") and where it 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
341-411: A moraic system of writing. For example, in the two-syllable word mōra , the ō is a long vowel and counts as two morae. The word is written in three symbols, モーラ , corresponding here to mo-o-ra , each containing one mora. Therefore, the 5/7/5 pattern of the haiku in modern Japanese is of morae rather than syllables. The Japanese syllable-final n is also moraic, as is the first part of
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#1732851392010372-405: A short syllable, and − {\displaystyle -} ( macron ) a long one. Line 1 20 moras in four feet Line 2 17 moras in four feet Line 3 13 moras in three feet. An example, of a possible scansion (metrical structure) of a tripadi, is given in ( Kittel 1875 , p. 98), where it is also stressed that it is not the form of the moras, but the number that
403-505: A short vowel or the last mora of a long vowel ( é , eé ). A circumflex ( ῆ ) represents high pitch on the first mora of a long vowel ( ée ). Gilbertese , an Austronesian language spoken mainly in Kiribati , is a trimoraic language. The typical foot in Gilbertese contains three morae. These trimoraic constituents are units of stress in Gilbertese. These "ternary metrical constituents of
434-526: A syllable would have more than four otherwise. In the Old English period, all content words (as well as stressed monosyllables) had to be at least two morae long. In Sanskrit , the mora is expressed as the mātrā . For example, the short vowel a (pronounced like a schwa ) is assigned a value of one mātrā , the long vowel ā is assigned a value of two mātrā s, and the compound vowel (diphthong) ai (which has either two simple short vowels,
465-463: Is a theoretical or perceptual smallest unit of timing , equal to or shorter than a syllable , that exists in some spoken languages in which phonetic length (such as vowel length ) matters significantly. For example, in the Japanese language , the name of the city Ōsaka ( おおさか ) consists of three syllables ( O-sa-ka ) but four morae ( O-o-sa-ka ), since the first syllable, Ō , is pronounced with
496-642: Is based on morae. See Luganda tones and Luganda grammar . In Old English, short diphthongs and monophthongs were monomoraic, long diphthongs and monophthongs were bimoraic, consonants ending a syllable were each one mora, and geminate consonants added a mora to the preceding syllable. If Modern English is analyzed in terms of morae at all, which is contentious, the rules would be similar, except that all diphthongs would be considered bimoraic. Probably in Old English, like in Modern English, syllables could not have more than four morae, with loss of sounds occurring if
527-655: 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 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
558-975: Is important. (Here * denotes a caesura ) ⌣ ⌣ ⌣ − ⏞ F o o t 1 | ⌣ ⌣ ⌣ − ⏞ F o o t 2 ⋆ ⌣ ⌣ ⌣ − ⏞ F o o t 3 | − ⌣ − ⏞ F o o t 4 {\displaystyle \overbrace {\smile \smile \smile -} ^{\mathrm {Foot1} }|\overbrace {\smile \smile \smile -} ^{\mathrm {Foot2} }\star \overbrace {\smile \smile \smile -} ^{\mathrm {Foot3} }|\overbrace {-\smile -} ^{\mathrm {Foot4} }} (Line 1: 20 moras in 4 feet) ⌣ ⌣ ⌣ ⌣ ⏞ F o o t 5 | − − ⏟ B r
589-405: Is not always equal to the number of graphemes when written in kana; for example, even though it has four morae, the Japanese name for Tōkyō ( とうきょう ) is written with five graphemes, because one of these graphemes ( ょ ) represents a yōon , a feature of the Japanese writing system that indicates that the preceding consonant is palatalized . The "contracted sound" ( 拗音 ) is represented by
620-465: Is said to have the property of quantity sensitivity. For the purpose of determining accent in Ancient Greek , short vowels have one mora, and long vowels and diphthongs have two morae. Thus long ē ( eta : η ) can be understood as a sequence of two short vowels: ee . Ancient Greek pitch accent is placed on only one mora in a word. An acute ( έ , ή ) represents high pitch on the only mora of
651-785: The Latin word for 'linger, delay', which was also used to translate the Greek word χρόνος : chrónos ('time') in its metrical sense. The general principles for assigning moras to segments are as follows (see Hayes 1989 and Hyman 1985 for detailed discussion): In general, monomoraic syllables are called "light syllables", bimoraic syllables are called "heavy syllables", and trimoraic syllables (in languages that have them) are called "superheavy syllables". Some languages, such as Old English and potentially present-day English, can have syllables with up to four morae. A prosodic stress system in which moraically heavy syllables are assigned stress
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#1732851392010682-406: The tripadi is the third stanza in the inscription of Kappe Arabhatta (here the symbol | denotes the end of a line, and || , the end of the tripadi): Sādhuge Sādhu mādhuryange mādhuryam | bādhippa kalige kaliyuga viparītan | mādhavan ītan pe r an alla || The literal translation of the tripadi is: To the good people, good; to the sweet, sweetness; | causing distress to
713-400: The Q representing a full mora of silence. In this analysis, っ (the sokuon ) indicates a one-mora period of silence. Similarly, the names Tōkyō ( To-u-kyo-u , とうきょう ), Ōsaka ( O-o-sa-ka , おおさか ), and Nagasaki ( Na-ga-sa-ki , ながさき ) all have four morae, even though, on this analysis, they have two, three and four syllables, respectively. The number of morae in a word
744-524: 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 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 Mora (linguistics) A mora (plural morae or moras ; often symbolized μ )
775-428: The first, a restriction not found with other vowel sequences such as io. That is, there is a distinction between oi, a bimoraic syllable, and io, which is two syllables. Most dialects of Japanese , including the standard, use morae, known in Japanese as haku ( 拍 ) or mōra ( モーラ ), rather than syllables, as the basis of the sound system. Writing Japanese in kana ( hiragana and katakana ) demonstrates
806-461: 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 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
837-451: The kali age, an exceptional man in Kaliyuga , | Madhava (or Vishnu ) this man, another is not || Foot (prosody) The foot 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
868-401: The kana for n ( ん ), the "geminate consonant" ( 促音 ) represented by the small tsu ( っ ), the "long sound" ( 長音 ) represented by the long vowel symbol ( ー ) or a single vowel which extends the sound of the previous mōra ( びょ「う」いん ) and the "diphthong" ( 二重母音 ) represented by the second vowel of two consecutive vowels ( ばあ「い」 ). This set also has the peculiarity that, (barring only
899-421: 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 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
930-473: The sort found in Gilbertese are quite rare cross-linguistically, and as far as we know, Gilbertese is the only language in the world reported to have a ternary constraint on prosodic word size." In Hawaiian , both syllables and morae are important. Stress falls on the penultimate mora, though in words long enough to have two stresses, only the final stress is predictable. However, although a diphthong , such as oi, consists of two morae, stress may fall only on
961-525: The three small kana for ya ( ゃ ), yu ( ゅ ), yo ( ょ ). These do not represent a mora by themselves and attach to other kana; all the rest of the graphemes represent a mōra on their own. Most dialects of Japanese are pitch accent languages, and these pitch accents are also based on morae. There is a unique set of mōra known as "special mora" ( 特殊拍 ) which cannot be pronounced by itself but still counts as one mora whenever present. These consist of "nasal sound" ( 撥音 ) represented by