One unstressed beat is the — — — ∪ ∪ ∪ ∪ ∪ τῆς — — — only difference between the ∪ ∪ ∪ ∪ ὑποστάσεως two. αὐτοῦ τῆς δυνάμεως αὐτοῦ The inconsistencies are due to — ∪ ∪ ∪ ∪ ∪ ὃς ὢν — — minor, barely pronounced ∪ ∪ ∪ ∪ ἀπαύγασμα syllables like the at the –μα φέρων τε τὰ end of ἀπαύγασμα. πάντα The opening of the book are an indication not only of the author’s interest in rhythm but also of his inventiveness with the convention. with its rhythmic pattern of is a —, Πολυμερῶς, ∪ ∪ ∪ paeon—a pattern of any combination of four syllables, three unstressed and one stressed. Aristotle suggests the use of a paeon for the opening of a rhythmic passage. But Aristotle suggested a paeon with the opposite pattern of for opening a phrase, the one — ∪ ∪ ∪ our author uses for a To emphasize the point closing that the author of Hebrews was interested in doing something out of the ordinary, he repeats the pattern in the second word of the opening pair and throws in some alliteration for good To demonstrate the principle of variation mentioned above, Moffatt points out that our author might begin a period with any number of combinations of anapests, trochees, and Another favorite use of rhythm surfaces in the author’s penchant for beginning a new sentence, or even a new paragraph, with the same rhythmical structure with which he ended the last, contributing to the sense of smoothness for which he is A good example of this occurs at the end of Heb. 4:11 and the beginning of
τῆς ὑποστάσεως αὐτοῦ τῆς δυνάμεως αὐτοῦ — ∪ ∪ — ∪ ∪ ∪ — — ∪ — ∪ ∪ ∪ — One unstressed beat is the only difference between the two. ὃς ὢν ἀπαύγασμα φέρων τε τὰ πάντα ∪ ∪ ∪ — ∪ ∪ — ∪ ∪ ∪ — ∪ The inconsistencies are due to minor, barely pronounced syllables like the –μα at the end of ἀπαύγασμα. The opening of the book are an indication not only of the author’s interest in rhythm but also of his inventiveness with the convention. Πολυμερῶς, with its rhythmic pattern of ∪ ∪ ∪ —, is a paeon—a pattern of any combination of four syllables, three unstressed and one stressed. Aristotle suggests the use of a paeon for the opening of a rhythmic passage. But Aristotle suggested a paeon with the opposite pattern of — ∪ ∪ ∪ for opening a phrase, the one our author uses for closing a To emphasize the point that the author of Hebrews was interested in doing something out of the ordinary, he repeats the pattern in the second word of the opening pair and throws in some alliteration for good To demonstrate the principle of variation mentioned above, Moffatt points out that our author might begin a period with any number of combinations of anapests, trochees, and Another favorite use of rhythm surfaces in the author’s penchant for beginning a new sentence, or even a new paragraph, with the same rhythmical structure with which he ended the last, contributing to the sense of smoothness for which he is A good example of this occurs at the end of Heb. 4:11 and the beginning of