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EN
The article considers Czech translations of Greek and Latin hexameter and pentameter, in which the Czech alexandrine was used as the verse for translation, that is, iambic hexameter with a caesura in the middle. An analysis of material by Josef Jungmann, Ivan Bureš, Julie Nováková, Jiří Žáček, Milan Machovec shows how the rhythm of the verse changes depending on the times or the author or both. The analysis suggests possible ways to use this in the actual practice of translation. The article pays particular attention to Nováková and her translation of Musaeus’ epyllion, Hero and Leander: in keeping with her own intentions, Nováková has, by capturing the principal features of Mácha’s alexandrine, managed to evoke Mácha -like connotations in her translation, while completely suppressing connotations of French culture or Czech Decadence, which almost automatically accompany the Czech alexandrine.
EN
In the first phase of her translating career (1944–1950), influenced heavily by the Prague Linguistic Circle, Julie Nováková used four functional equivalents for the translation of the Greco-Latin dactylic hexameter into Czech: dactylic pentapody (Lucretius), alexandrine (Musaios), a meter “halfway between hexameter and alexandrine” (Vergil) and trochaic octosyllable (Hesiod). The article analyses the relation between the verse form and other formal elements (lexical choices, rhyme) in Nováková’s translations.
EN
In some editions of the Homeric Hymn to Demeter, the movable nu is added at the end of a verse when the next verse begins with a vowel and it is omitted when the next verse begins with a consonant. However, at verse 148 in almost all of the editions, the nu is added, even though the next verse (149) begins with a consonant: 148-149 'ferteroi eisin. | tauta de'. The author shows that there is no reason for accepting 'eisin' here in the editions.
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