Etymology
From the adjective ὀξῠ́ς (oxús): as a noun, a substantivisation of its feminine forms, in elliptical usage for ἡ ὀξεῖᾰ προσῳδῐ́ᾱ (hē oxeîa prosōidíā, “the acute accent”); as an adjective, regularly declined forms.
Pronunciation
- IPA(key): /ok.sêː.a/ → /okˈsi.a/ → /okˈsi.a/
Noun
ὀξεῖᾰ • (oxeîa) f (genitive ὀξείᾱς); first declension
- oxia (the acute accent, indicating high or rising pitch)
- (Can we find and add a quotation of Apollonius Dyscolus to this entry?)
- 388–380 BC, Plato (author), John Burnet (editor), Κρατύλος in Platonis Opera (1903), 399α–β:
Σωκράτης: οἷον ‘Διὶ φίλος’ — τοῦτο ἵνα ἀντὶ ῥήματος ὄνομα ἡμῖν γένηται, τό τε ἕτερον αὐτόθεν ἰῶτα ἐξείλομεν καὶ ἀντὶ ὀξείας τῆς μέσης συλλαβῆς βαρεῖαν ἐφθεγξάμεθα.- Sōkrátēs: hoîon ‘Diì phílos’ — toûto hína antì rhḗmatos ónoma hēmîn génētai, tó te héteron autóthen iôta exeílomen kaì antì oxeías tês mésēs sullabês bareîan ephthenxámetha.
- Socrates: Take, for instance, Διὶ φίλος; to change this from a phrase to a name, we took out the second iota and pronounced the middle syllable with the grave instead of the acute accent (Diphilus). ― translation from: Harold N. Fowler, Plato in Twelve Volumes, volume XII (1921), “Cratylus”, 399b
- 2nd C. BC, Dionysius Thrax, Τέχνη Γραμματική, § iii: «Περὶ Τόνου»:
τόνος ἐστὶν ἀπήχησις φωνῆς ἐναρμονίου, ἡ κατὰ ἀνάτασιν ἐν τῇ ὀξείᾳ, ἡ κατὰ ὁμαλισμὸν ἐν τῇ βαρείᾳ, ἡ κατὰ περίκλασιν ἐν τῇ περισπωμένῃ.- tónos estìn apḗkhēsis phōnês enarmoníou, hē katà anátasin en têi oxeíāi, hē katà homalismòn en têi bareíāi, hē katà períklasin en têi perispōménēi.
- Tone is the resonance of a voice endowed with harmony. It is heightened in the acute, balanced in the grave, and broken in the circumflex. ― translation from: Thomas Davidson, The Grammar of Dionysios Thrax (1874), § iii: “On Tone”, page 4
- late 1st C. BC, Dionysius of Halicarnassus, Περὶ Συνθέσεως Ὀνομάτων in The Critical Essays II (Loeb Classical Library № 466, 1985), American →ISBN, British →ISBN, chapter xi, paragraph 4 (page 80, lines 5–12):
σῖγα σῖγα, λευκὸν ἴχνος ἀρβύλης // τίθετε, μὴ κτυπεῖτ᾽· // ἀποπρὸ βᾶτ᾽ ἐκεῖσ᾽, ἀποπρό μοι κοίτας. // ἐν γὰρ δὴ τούτοις τὸ ‛σῖγα σῖγα λευκὸν’ ἐφ᾽ ἑνὸς φθόγγου μελῳδεῖται, καίτοι τῶν τριῶν λέξεων ἑκάστη βαρείας τε τάσεις ἔχει καὶ ὀξείας. καὶ τὸ ‛ἀρβύλης’ τῇ μέσῃ συλλαβῇ τὴν τρίτην ὁμότονον ἔχει, ἀμηχάνου ὄντος ἓν ὄνομα δύο λαβεῖν ὀξείας.- sîga sîga, leukòn íkhnos arbúlēs // títhete, mḕ ktupeît᾽; // apoprò bât᾽ ekeîs᾽, apopró moi koítas. // en gàr dḕ toútois tò ‛sîga sîga leukòn’ eph᾽ henòs phthóngou melōideîtai, kaítoi tôn triôn léxeōn hekástē bareías te táseis ékhei kaì oxeías. kaì tò ‛arbúlēs’ têi mésēi sullabêi tḕn trítēn homótonon ékhei, amēkhánou óntos hèn ónoma dúo labeîn oxeías.
- Be silent! Silent! Let the sandal’s tread // Be light, no jarring sound. // Depart ye hence afar, and from his bed withdraw. // In these lines the words σῖγα σῖγα λευκόν are sung on one note; and yet each of the three words has both low and high pitch. And the word ἀρβύλης has its third syllable sung in the same pitch as its middle syllable, although it is impossible for a single word to carry two acute accents. ― translation from: Stephen Usher, opere citato LCL 466 (1985), chapter xi, paragraph 4, page 81, lines 5–13
- ante AD 210, Sextus Empiricus (author), August Immanuel Bekker (editor), Πρὸς Μαθηματικούς in Sextus Empiricus ex recensione Immanuelis Bekkeri (1842), book I (Α′), § 113 (page 624, lines 13–18):
- ἀλλ᾽ ἐπεὶ οὐ δύο μόνον ὑπειλήφασιν εἶναι προσῳδίας γραμματικῶν παῖδες, τήν τε μακρὰν καὶ βραχεῖαν, ἀλλὰ καὶ ὀξεῖαν βαρεῖαν περισπωμένην δασεῖαν ψιλήν, ἕκαστον τῶν ὑποδεδειγμένων φωναέντων ἔχον τινὰ τούτων κατ᾽ ἰδίαν προσῳδίαν γενήσεται στοιχεῖον·
Declension
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Coordinate terms
- (προσῳδίαι ἑλληνικαί) προσῳδία; βαρεῖα ⟨ ` ⟩, βραχεῖα ⟨ ˘ ⟩, δασεῖα ⟨ ῾ ⟩, διαίρεσις ⟨ ¨ ⟩, κορωνίς ⟨ ᾽ ⟩, μακρά ⟨ ¯ ⟩, ὀξεῖα ⟨ ´ ⟩, περισπωμένη ⟨ ῀ ⟩, προσγεγραμμένη ⟨ ι ⟩, ὑπογεγραμμένη ⟨ ͺ ⟩, ψιλή ⟨ ᾿ ⟩ (Category: grc:Diacritical marks)