Strophe
斯特羅夫

Strophe (from Greek στροφή, "turn, bend, twist") is a concept in versification which properly means a turn, as from one foot to another, or from one side of a chorus to the other.
Strophe（來自希臘語στροφή，“轉、彎、扭”）是詩歌中的一個概念，正確地表示轉身，例如從一隻腳到另一隻腳，或從合唱的一側到另一側。

In a more general sense, the strophe is a pair of stanzas of alternating form on which the structure of a given poem is based, with the strophe usually being identical to the stanza in modern poetry and its arrangement and recurrence of rhymes giving it its character.
在更一般的意義上，strophe 是一對交替形式的詩節，給定詩歌的結構基於它，strophe 通常與現代詩歌中的詩節相同，它的押韻安排和重複賦予了它個性。
But the Greeks called a combination of verse-periods a system, giving the name "strophe" to such a system only when it was repeated once or more in unmoved form.
但是希臘人把詩句的組合稱為一個系統，只有當它以不動的形式重複一次或多次時，才會給這樣的系統起個名字叫 「strophe」。。

A simple form of Greek strophe is the Sapphic strophe. Like all Greek verse, it is composed of alternating long and short syllables (symbolized by — for long, u for short and x for either long or short) in this case arranged in the following manner:^[1]
希臘語 strophe 的一種簡單形式是 Sapphic strophe。像所有的希臘詩歌一樣，它由交替的長音節和短音節組成（用 — 表示 long，u 表示 short，x 表示 long 或 short），在這種情況下，它按以下方式排列：^[1]

— u — x — u u — u — —

— u — x — u u — u — —

— u — x — u u — u — x — u u — —
— u — x — u u — u — u — x — u u — —

Far more complex forms are found in the odes of Pindar and the choral sections of Greek drama.
在 Pindar 的頌歌和希臘戲劇的合唱部分可以找到更複雜的形式。

In choral poetry, it is common to find the strophe followed by a metrically identical antistrophe, which may – in Pindar and other epinician poets – be followed in turn by a metrically dissimilar epode,^[2] creating an AAB form.
在合唱詩中，通常會發現 strophe 後跟一個格律相同的 antistrophe，在 Pindar 和其他 epinician 詩人中，它可能依次後跟一個格律不同的 epode^，[2] 從而形成一個 AAB 形式。

It is said^{[by whom?]} that Archilochus first created the strophe by binding together systems of two or three lines. But it was the Greek ode-writers who introduced the practice of strophe-writing on a large scale, and the art was attributed to Stesichorus, although it is likely that earlier poets were acquainted with it. The arrangement of an ode in a splendid and consistent artifice of strophe, antistrophe and epode was carried to its height by Pindar.
^據說 Archilochus 首先通過將兩行或三行系統結合在一起來創造 strophe。但是，希臘頌歌作者大規模地引入了 strophe-writing 的做法，這種藝術被認為是 Stesichorus 的功勞，儘管早期的詩人很可能熟悉它。一首頌歌以 strophe、antistrophe 和 epode 的華麗而一致的技巧編排，被 Pindar 帶到了頂峰。

With the development of Greek prosody, various peculiar strophe-forms came into general acceptance, and were made celebrated by the frequency with which leading poets employed them. Among these were the Sapphic, the Elegiac, the Alcaic, and the Asclepiadean strophe, all of them prominent in Greek and Latin verse. The briefest and the most ancient strophe is the dactylic distich, which consists of two verses of the same class of rhythm, the second producing a melodic counterpart to the first.
隨著希臘韻律的發展，各種奇特的 strophe-form 被普遍接受，並因主要詩人使用它們的頻率而受到慶祝。其中包括 Sapphic、Elegiac、Alcaic 和 Asclepiadean strophe，它們都在希臘語和拉丁語詩歌中佔有重要地位。最簡短和最古老的 strophe 是 dactylic distich，它由同一類節奏的兩節組成，第二節產生與第一節對應的旋律。

The forms in modern English verse which reproduce most exactly the impression aimed at by the ancient ode strophe are the elaborate rhymed stanzas of such poems as Keats' Ode to a Nightingale or Matthew Arnold's The Scholar-Gipsy.
現代英語詩歌的形式最準確地再現了古代頌歌所針對的印象，是濟慈的《夜鶯頌》或馬修·阿諾德的《學者-吉普賽人》等詩歌中精心押韻的詩節。

A strophic form of poetry called Muwashshah developed in Andalucia as early as the 9th century CE, which then spread to North Africa and the Middle East. Muwashshah was typically in classical Arabic, with the refrain sometimes in the local dialect.
早在西元 9 世紀，一種名為 Muwashshah 的詩歌形式在安達盧西亞發展起來，然後傳播到北非和中東。Muwashshah 通常使用古典阿拉伯文，副歌有時使用當地方言。

The term strophe is used in modern and post-modern criticism to indicate "long non-isomorphic units" of verse whereas the term "stanza [is used] for more regular ones".^[3]

• Strophic form

•   This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Strophe". Encyclopædia Britannica. Vol. 25 (11th ed.). Cambridge University Press. p. 1042.