βαρεῖα

From the adjective βᾰρῠ́ς (barús, “low in pitch”): as a noun, a substantivisation of its feminine forms, in elliptical usage for ἡ βᾰρεῖᾰ προσῳδῐ́ᾱ (hē bareîa prosōidíā, “the grave accent”); as an adjective, regularly declined forms.

βᾰρεῖᾰ • (bareîa) f (genitive βᾰρείᾱς); first declension

1. baria (the grave accent, indicating low or normal 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

   • 367–322 BC, Aristotle (author), Sir William David Ross (editor), Ῥητορική in Ars Rhetorica (1959), book III, chapter i, § 4:

     ἔστιν δὲ αὕτη μὲν ἐν τῇ φωνῇ, πῶς αὐτῇ δεῖ χρῆσθαι πρὸς ἕκαστον πάθος, οἷον πότε μεγάλῃ καὶ πότε μικρᾷ καὶ μέσῃ, καὶ πῶς τοῖς τόνοις, οἷον ὀξείᾳ καὶ βαρείᾳ καὶ μέσῃ, καὶ ῥυθμοῖς τίσι πρὸς ἕκαστα.

     éstin dè haútē mèn en têi phōnêi, pôs autêi deî khrêsthai pròs hékaston páthos, hoîon póte megálēi kaì póte mikrâi kaì mésēi, kaì pôs toîs tónois, hoîon oxeíāi kaì bareíāi kaì mésēi, kaì rhuthmoîs tísi pròs hékasta.

     (please add an English translation of this quotation)

   • 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

• (προσῳδίαι ἑλληνικαί) προσῳδία; βαρεῖα ⟨ ` ⟩, βραχεῖα ⟨ ˘ ⟩, δασεῖα ⟨ ῾ ⟩, διαίρεσις ⟨ ¨ ⟩, κορωνίς ⟨ ᾽ ⟩, μακρά ⟨ ¯ ⟩, ὀξεῖα ⟨ ´ ⟩, περισπωμένη ⟨ ῀ ⟩, προσγεγραμμένη ⟨ ι ⟩, ὑπογεγραμμένη ⟨ ͺ ⟩, ψιλή ⟨ ᾿ ⟩ ^{(Category: grc:Diacritical marks)}

• ὀξῠ́βᾰρις (oxúbaris)

• English: baria
• Russian: вари́я (varíja)

• “βᾰρύς III.1”, in Liddell & Scott (1940) A Greek–English Lexicon, Oxford: Clarendon Press

βᾰρεῖᾰ • (bareîa)

1. nominative feminine singular of βᾰρῠ́ς (barús)
2. vocative feminine singular of βᾰρῠ́ς (barús)