Part 2 — APPENDIX. (continued 2)

The name Thesis originally referred to the setting down of the foot in beating time or marching, or to the movement of the leader’s hand in making the downward beat; and Arsis in like manner meant the raising of the foot or hand. But the Roman grammarians misunderstood the Greek terms, supposing them to refer to the lowering and raising of the voice, and so interchanged them. Hence many modern writers prefer to use Arsis to denote the accented, and Thesis the unaccented, part of the foot.

KINDS OF FEET.

2521. The feet in common use are the following:—

Feet of Three Morae.

Name. Sign. Musically. Example.

Trochee – ⏑ ♩♪ dūcit

Iambus ⏑ – ♪♩ legunt

Tribrach ⏑ ⏑ ⏑ ♪♪♪ hominis

Feet of Four Morae.

Dactyl – ⏑ ⏑ ♩♪♪ dūcimus

Anapaest ⏑ ⏑ – ♪♪♩ regerent

Spondee – – ♩♩ fēcī

Proceleusmatic ⏑ ⏑ ⏑ ⏑ ♪♪♪♪ hominibus

Feet of Five Morae.

Cretic – ⏑ – ♩♪♩ fēcerint

First Paeon – ⏑ ⏑ ⏑ ♩♪♪♪ lēgeritis

Fourth Paeon ⏑ ⏑ ⏑ – ♪♪♪♩ celeritās

Bacchīus ⏑ – – ♪♩♩ regēbant

Feet of Six Morae.

Choriambus – ⏑ ⏑ – ♩♪♪♩ horribilēs

Ionic ā māiōre – – ⏑ ⏑ ♩♩♪♪ dēdūcimus

Ionic ā minōre ⏑ ⏑ – – ♪♪♩♩ relegēbant

2522. Other feet mentioned by the ancient grammarians are:—

Name. Sign.

Pyrrhic ⏑ ⏑

Amphibrach ⏑ – ⏑

Antibacchīus or Palimbacchīus – – ⏑

Molossus – – –

Dispondee – – – –

Ditrochee – ⏑ – ⏑

Diiambus ⏑ – ⏑ –

Antispast ⏑ – – ⏑

Second Paeon ⏑ – ⏑ ⏑

Third Paeon ⏑ ⏑ – ⏑

First Epitrite ⏑ – – –

Second Epitrite – ⏑ – –

Third Epitrite – – ⏑ –

Fourth Epitrite – – – ⏑

But these are of little practical importance, as most of them never are employed in Latin poetry, and the few which do occur are used only as substitutes for other feet.

Cyclic Feet.

2523. A dactyl occurring in 3/8 time did not have the value of 2 morae + 1 + 1, but was given instead that of 1½ + ¾ + ¾; in other words both arsis and thesis suffered correption (2517), but the ratio between them remained unchanged. Such a dactyl is called cyclic, and is marked – ⏖, or musically There is also a cyclic anapaest, marked ⏖ – or

Some scholars, however, hold that the cyclic dactyl had approximately the value 1½ + ½ + 1, or , and mark it –⏑ ⏑. In like manner they mark the cyclic anapaest ⏑ ⏑–. The true nature of these cyclic feet is very uncertain.

Irrational Syllables and Feet.

2524. A long syllable sometimes stands in place of a short. A syllable thus used is called irrational (marked >) because it destroys the normal ratio between arsis and thesis. The foot which contains such a syllable is itself called irrational. The most common irrational foot is the irrational spondee (– > when it stands for a trochee; >– when it replaces an iambus), which is found in iambic, trochaic, and logaoedic rhythms.

Probably the irrational long suffered a slight correption (2517), so that its duration was between that of the ordinary long and that of a short syllable.

Rhythms.

2525. The different rhythms or metres are named trochaic, iambic, &c., according to their fundamental feet.

2526. Much of the Latin poetry (though not by any means all) was written to be sung. The Greeks and Romans employed in their music not only common (or 2/4) time and triple (3/8, 3/4) time, but also 5/8 time, which last is very rarely used in modern music.

2527. The Greek and Roman metricians divided the rhythms into three classes, according to the ratio between arsis and thesis in their fundamental feet. These classes were:— (a.) the Equal Class (γένος ἴσον, genus pār) in which thesis and arsis are equal in duration, as in dactylics, anapaestics, &c.; (b.) the Double Class (γένος διπλάσιον, genus duplex) in which the thesis has twice the duration of the arsis, as in trochaics, iambics, &c.; (c.) the Hemiolic Class (γένος ἡμιόλιον, genus sēscuplex) in which the thesis has one and a half times the duration of the arsis, as in bacchiacs, cretics, etc.

2528. Ascending and Descending Rhythms. Rhythms in which the thesis follows the arsis (as in iambics) are called ascending; those in which it precedes the arsis (as in trochaics) are termed descending.

Anacrusis.

2529. The ancients recognized both ascending and descending rhythms (2528), and regarded the former class as at least equal in importance to the latter; but many modern scholars since the time of Bentley have preferred to treat all rhythms as descending, regarding the first arsis of an ascending rhythm as merely answering to a preliminary upward beat in music. Such an initial arsis was named by Gottfried Hermann Anacrūsis (Gr. ἀνάκρουσις, a striking up).

Scholars have been influenced to adopt the anacrustic theory in its widest extent largely by the fact that in most modern music a measure must commence with a downward beat, a rule which did not hold in ancient music. By this theory an iambic verse becomes trochaic with anacrusis, an anapaestic verse dactylic with anacrusis, &c. But in many cases those kinds of verse which begin with an arsis were subject to different rules of construction from those which begin with a thesis. Hence it seems best to restrict anacrusis to logaoedic verse, in which it undoubtedly occurs.

2530. The anacrusis may be a long syllable, a short syllable, or two shorts (but not two longs). It is often irrational (2524). In metrical schemes it is often set off from the rest of the verse by a vertical row of dots: thus, ⁝

Groups of Feet.

2531. A group of two feet is called a dipody, one of three a tripody, one of four a tetrapody, one of five a pentapody, and one of six a hexapody. The dipody is the measure of trochaic, iambic, and anapaestic verse. Other kinds of verse are measured by the single foot.

A single foot is sometimes called a monopody. A group of three half feet, i.e. a foot and a half, is sometimes called a trithemimeris, one of two and a half feet a penthemimeris, one of three and a half a hephthemimeris, &c.

2532. A Rhythmical Series, Rhythmical Sentence, or Colon is a group of two or more feet (but not more than six) which are united into a rhythmic whole by strengthening one of the ictuses, so that it becomes the principal or dominant ictus of the whole group.

2533. The Verse. A rhythmical series, or group of two (or even three) series, which forms a distinct and separate whole is called a Verse. The final syllable of a verse must terminate a word (except in cases of synapheia, see 2510), and may be either long or short (whence it is termed syllaba anceps) without regard to the rhythm. Hiatus (2474) is freely allowed at the end of a verse (though in rare cases elision occurs before a vowel at the beginning of the following verse; see 2492 and 2568).

A verse is generally (but not always) written as one line. Hence, the words “verse” and “line” are often used as synonyms.

Syllaba Anceps.

2534. In the present work, the final syllable of each verse is marked long or short as the rhythm may require, without reference to its quantity in a given example; and in the general schemes it is to be understood that the final syllable is syllaba anceps (2533) unless the contrary is expressly stated.

2535. Dicolic and Asynartetic Verses. A verse which consists of two rhythmical series (or cola) is called dicolic. If the series of which the verse is made up are quasi-independent of each other, so that hiatus or syllaba anceps occurs in the caesura, the verse is styled asynartetic (Gr. ἀσυνάρτητος, not joined together).

2536. Names of Verses. Verses are called trochaic, iambic, dactylic, &c., according to their fundamental (or characteristic) feet. A verse which contains one foot (or one dipody if iambic, trochaic, or anapaestic; see 2531) is called a monometer, one of two a dimeter, one of three a trimeter, one of four a tetrameter, one of five a pentameter, and one of six a hexameter.

Trochaic, iambic, and anapaestic verses are often named by Latin adjectives in -ārius (used as nouns) denoting the number of feet. Thus, such a verse of eight feet is called an octōnārius, one of seven a septēnārius, one of six a sēnārius, &c. A short verse which is employed to close a system (2547), or to mark a metrical or musical transition between longer verses, is called a clausula.

Catalexis, Pause, Syncope.

2537. Catalexis. A verse, the last foot of which is incomplete, is said to suffer Catalexis (Gr. κατάληξις, a stopping short) or to be catalectic; one of which the last foot is complete is called acatalectic.

It is usually the last part of the foot that is omitted; but (according to the theory now generally accepted) in catalectic iambic verses it is the last arsis that is omitted, the preceding thesis being protracted (2516) to compensate for the loss, thus: ⏑ ⏗́ –́

2538. A verse in which both the last arsis and the next to the last are suppressed, so that a whole foot appears to be wanting, is called brachycatalectic.

2539. A verse is said to be catalectic in syllabam, in disyllabum, or in trisyllabum, according to the number of syllables remaining in the last foot. Thus, the dactylic tetrameter – ⏑ ⏑ | – ⏑ ⏑ | – ⏑ ⏑ | – is catalectic in syllabam, but – ⏑ ⏑ | – ⏑ ⏑ | – ⏑ ⏑ | – ⏑ is catalectic in disyllabum.

2540. Pauses. Theoretically all the feet (or dipodies; see 2531) into which a verse is divided must be equal in duration. Hence, when a final syllable (or two final syllables) is lost by catalexis, compensation is made for the loss by a pause at the end of the verse. Such a pause, which serves to fill out the last measure, answers to a rest in music.

A pause of one mora is often indicated by the sign ⌃, and one of two morae by ⌅.

2541. Syncope is the omission of one or more arses in the body of a verse. Compensation is made for the suppression of an arsis by protracting (2516) the preceding thesis.

Caesura.

2542. Caesura and Diaeresis. A Caesūra (literally a cutting, from caedo, I cut) is the break in a verse produced by the ending of a word within a foot. When the end of a word coincides with the end of a foot, the break is called a Diaeresis (Gr. διαίρεσις, a separating). A caesura is marked ‖, a diaeresis #.

The word caesura is often loosely used to include both caesura proper and diaeresis.

2543. Strictly speaking, there is a caesura (or diaeresis, as the case may be) wherever a word ends within a verse; but the main incision in the verse is so much more important than the rest that it is often called the principal caesura, or simply the caesura.

2544. Caesuras are named according to their position in the verse; thus a caesura after the third half-foot (i.e. in the second foot) is called trithemimeral (from Gr. τριθημιμερής, containing three halves), one after the fifth half-foot (i.e. in the third foot) penthemimeral (Gr. πενθημιμερής, consisting of five halves), one after the seventh half-foot (i.e. in the fourth foot) hephthemimeral (Gr. ἑφθημιμερής), &c.

The Latin names caesūra sēmiternāria (= the trithemimeral caesura), sēmiquīnāria (= the penthemimeral), sēmiseptēnāria (= the hepthemimeral), &c., are sometimes used. For the masculine and feminine caesuras, see 2557.

Strophe. System.

2545. The Strophe. A fixed number of verses recurring in a regular order is called a Strophe. A strophe commonly contains verses of different kinds, but some strophes are composed of verses which are all alike. The most common strophes in Latin poetry are either distichs (i.e. groups of two lines each), tristichs (of three lines each), or tetrastichs (of four).

Strophes and verses are frequently named after some poet who made use of them. So the Alcaic strophe (named after Alcaeus), the Sapphic strophe (named after Sappho), the Glyconic verse (named after Glycon), the Asclepiadean (after Asclepiades), the Phalaecean (after Phalaecus), the Pherecratean (after Pherecrates), &c.

2546. A Stichic Series is a series of verses of the same kind not combined into strophes.

2547. The System. A group of rhythmical series (see 2532) which is of greater extent than a verse is called a System. Long systems, such as are common in Greek poetry, are comparatively rare in Latin verse.

Few verses have more than two rhythmical series; none more than three.

2548. Although in all probability the Latin accent was mainly one of stress rather than of pitch, it seems to have been comparatively weak. Hence, when it conflicted with the metrical ictus, it could be the more easily disregarded. But accentual or semi-accentual poetry seems to have existed among the common people even in the Augustan age, and even in classical Latin verse in certain cases (as in the last part of the dactylic hexameter) conflict between ictus and accent was carefully avoided. After the third century A.D. the accent exerted a stronger and stronger influence upon versification, until in the Middle Ages the quantitative Latin verse was quite supplanted by the accentual.

NUMERI ITALICI.

2549. Some of the earliest remains of Latin literature are believed to show a rhythmical structure. These are chiefly prayers, imprecations, sacred songs and the like, couched in a set form of words. Of the rules according to which these carmina were composed, almost nothing is known. According to one theory, they are wholly accentual, and are composed of rhythmical series, each series containing four theses. Frequently an arsis is suppressed, and compensation for the omission is made by dwelling longer upon the thesis. As an example is given the prayer in Cato, Dē Rē Rūsticā, 141:

THE SATURNIAN.

2550. The Saturnian is the best known and most important of the old Italian rhythms; but its nature long has been, and still is, matter of high dispute. There are two principal theories as to its character, the quantitative and the accentual, each of which is advocated by many distinguished scholars.

2551. (1.) The Quantitative Theory. According to this theory, the Saturnian is a verse of six feet, with an anacrusis (2529). There is a break after the fourth arsis, or more rarely after the third thesis. Each thesis may be either a long syllable or two shorts; each arsis may be a short syllable, a long, or two shorts, but an arsis is not resolved before the principal break or at the end of the verse. Hiatus is common, especially at the principal break in the verse. A short final syllable may be lengthened by the influence of the verse-ictus. An arsis is frequently suppressed, especially the penultimate arsis. Two arses are never suppressed in the same half-verse, and rarely two in the same verse. Examples of the Saturnian, measured quantitatively, are:

Compare in English: “The queén was ín the párlour, éating bréad and hóney.”

2552. Most of the Roman grammarians who discussed the nature of the Saturnian seem to have regarded it as quantitative. In modern times the quantitative theory has been advocated by Ritschl, Buecheler, Havet, Christ, Lucian Mueller, W. Meyer, Reichardt and many others.

2553. (2.) The Accentual Theory. According to this theory, the Saturnian is an accentual verse, constructed without regard to quantity. It is divided by the principal break into two halves, the first of which has three theses. The second half usually has three, but may have only two, in which case it is usually preceded by an anacrusis (2529). Two accented syllables are regularly separated by an unaccented syllable, but in strictly constructed Saturnians the second and third unaccented syllables are regularly separated by two unaccented ones. Hiatus was at first freely admitted, but in the Saturnians of the second century B.C. occurs only at the principal break. Examples of the Saturnian, measured according to this theory, are:

2554. The accentual theory was held by the scholiast on V. G. 2, 385, and in modern times has been upheld (in one form or another) by O. Keller, Thurneysen, Westphal, Gleditsch, Lindsay and others. The brief statement given above agrees essentially with that of O. Keller. Gleditsch holds that each half-verse has four accents, as: Dábunt málum Métellī́ ‖ Naéviṓ poḗtaé; Lindsay that the first hemistich has three accents and the second two, as: Dábunt málum Metéllī ‖ Naéviō poḗtae. The whole question is still far from its final settlement.

DACTYLIC RHYTHMS.

2555. These are descending rhythms belonging to the Equal Class (see 2527). In them the fundamental foot is the dactyl (–́ ⏑ ⏑), for which its metrical equivalent, the spondee (–́ –), is frequently substituted.

The Dactylic Hexameter.

2556. The Dactylic Hexameter is the verse regularly employed in epic, didactic, and bucolic poetry, and is used by the Latin writers oftener than any other measure. It consists of six feet, the last of which is a spondee (but with the privilege of syllaba anceps; see 2534). The fifth foot is usually a dactyl; but sometimes a spondee is employed, in which case the verse is called spondaic. In each of the other four feet either a dactyl or a spondee may be used. The scheme is therefore:

2557. A caesura which comes immediately after the thesis of a foot is called masculine; one which falls in the middle of the arsis (i.e. after the first short of a dactyl) is termed feminine. The Roman writers show a strong preference for masculine principal caesuras, and in general their treatment of the caesura is more strict than that of the Greek poets.

2558. The principal caesura in the Latin hexameter is most frequently the penthemimeral (2544): as in:

Next in order of frequency stands the hephthemimeral, which is usually accompanied by a secondary trithemimeral, and in many cases also by a feminine caesura in the third foot: as in the verse,

If the secondary trithemimeral caesura is lacking, the penthemimeral is usually accompanied by a feminine caesura in the second foot. Sometimes, though more rarely, the principal break in the line is the feminine caesura in the third foot (often called the “caesura after the third trochee”), as in the verse

2559. The diaeresis (see 2542) after the fourth foot (often called “bucolic diaeresis” from its use by pastoral writers) sometimes occurs, but is much less common in Latin hexameters than in Greek. An example is

This diaeresis, though common in Juvenal, is rare in most of the Latin poets (even the bucolic), and when it does occur, it is usually accompanied by a penthemimeral caesura. Lucian Mueller and others deny that the bucolic diaeresis ever forms the principal break in a line.

2560. When a line has several caesuras, it is often hard to determine which is the principal one. In general, masculine caesuras out-rank feminine; the penthemimeral takes precedence over the hephthemimeral, and the latter over all other caesuras. But if the hephthemimeral, or even one of the minor caesuras, coincides with an important pause in the sentence, it may out-rank the penthemimeral. Thus in the verse

the principal caesura is after terrae, not adnābam.

Lines without a principal caesura are rare. An instance is

2561. The great flexibility of the hexameter makes it an admirable vehicle of poetic expression. Accumulated spondees give the verse a slow and ponderous movement: as in the line

The multiplication of dactyls imparts to the verse a comparatively rapid and impetuous motion, as in the famous verse

But even when dactyls are numerous, the Latin hexameter, “the stateliest measure ever moulded by the lips of man,” should not be read with the jerky 3/8 movement which is characteristic of the English hexameter.

2562. The following passage may serve to illustrate the movement of the hexameter, and to show how the use of the different caesuras imparts variety to the measure:

Compare in English:

Notes on the Hexameter.

2563. (1.) In all probability, the hexameter was originally a composite verse, made up of two tripodies, or of a tetrapody and a dipody. Hence hiatus in the principal caesura is not very rare, even in the Augustan poets. The stress upon the first and fourth theses was probably stronger than that upon the other four.

2564. (2.) In the second half of the hexameter, particularly in the fifth and sixth feet, verse-ictus and word-accent show a strong tendency to coincide.

2565. (3.) A monosyllable rarely stands before the principal caesura or at the end of the verse. When the verse ends in a monosyllable, the thesis of the last foot is generally a monosyllable also, as in the line

Exceptions to this rule sometimes occur when the poet wishes to produce a particular effect, as in

2566. (4.) A hexameter generally ends in a word of two or three syllables, almost never in one of four, rarely in one of five. But spondaic verses (2556) generally end with a word of four syllables, more rarely with one of three, almost never with one of two.

2567. (5.) Spondaic verses are comparatively rare in Ennius and Lucretius, but become more frequent in Catullus. They are not common in Vergil, Horace, Propertius and Ovid, and do not occur at all in Tibullus. Persius has one spondaic verse, Valerius Flaccus one, Claudian five, Silius Italicus six, Statius seven. Ennius has lines composed entirely of spondees, and so in one instance (116, 3) Catullus. Ennius also resolves the thesis of a dactyl in a few cases.

2568. (6.) A verse which is connected with the following one by elision (2492) is called hypermetrical. Such verses are rare, and usually end with the enclitics -que or -ve.

2569. (7.) The dactylic hexameter was introduced into Latin literature by Ennius, and was further perfected by Lucilius, Lucretius, and Cicero, who took him as their model. Catullus and the group to which he belonged followed Alexandrian models more closely, while the great poets of the Augustan age carried the technique of the hexameter to its highest perfection. Horace in his lyric poetry treats the hexameter with great strictness; but in the Satires and Epistles he handles it with much freedom, imparting to the measure a more colloquial character by the frequent use of spondees and by less rigorous treatment of the caesura.

The Dactylic Pentameter.

2570. The Dactylic Pentameter is a verse consisting of two catalectic dactylic tripodies, separated by a fixed diaeresis. Spondees are admitted in the first tripody, but not in the second. The final thesis of the first tripody is protracted to a tetraseme (2516) to compensate for the omission of the arsis. The scheme is therefore

2571. (1.) The verse is not asynartetic (2535), neither syllaba anceps nor hiatus being allowed at the end of the first tripody.

2572. (2.) This verse is known as the pentameter because the ancient grammarians measured it

2573. The pentameter is rarely used except in combination with the hexameter, with which it forms the so-called Elegīac Distich:

2574. The Elegiac Distich is used chiefly in elegiac poetry (whence the name), in amatory verse and in epigrams. The end of the pentameter generally coincides with a pause in the sense. As examples of the Elegiac Distich, the following may serve:

Compare in English (but see 2561 ad fin.):

2575. The Elegiac Distich was introduced into Roman poetry by Ennius, who used it in epigrams. Varro employed it in his Saturae, and Catullus seems to have been the first of the Latins who used it in Elegiac poetry. The elegiac and amatory poets of the Augustan age, especially Ovid, perfected it, and wielded it with unequalled grace and ease.

2576. Ovid nearly always closes the pentameter with a disyllabic word; but earlier poets, especially Catullus, are less careful in this regard. Elision is less frequent in the pentameter than in the hexameter. It sometimes occurs in the main diaeresis of the pentameter, though rarely.

The Dactylic Tetrameter Acatalectic (or Alcmanian).

2577. This verse is chiefly used in composition with a trochaic tripody to form the Greater Archilochian verse (2677); but it occurs alone once in Terence (Andria 625), and is employed in stichic series (2546) by Seneca. The scheme is:

An example is:

This verse is often called Alcmanian because it was used by the Greek poet Alcman.

The Dactylic Tetrameter Catalectic (or Archilochian).

2578. This verse consists of four dactylic feet, the last one being incomplete. The scheme is:

An example is:

This verse differs from the preceding in that the last foot is always a trochee or spondee, never a dactyl. It is used only in the Alcmanian strophe (2724).

The Dactylic Trimeter Catalectic (or Lesser Archilochian).

2579. This verse has the scheme:

An example is:

It is used chiefly in the First Archilochian Strophe (see 2725). In form it is the same as the second half of the pentameter (2570).

2580. These verses (2578, 2579) are often called Archilochian because they were first used by the Greek poet Archilochus.

IAMBIC RHYTHMS.

2581. These are ascending rhythms (2528) in 3/8 time. The fundamental foot is the Iambus (⏑ –́), for which its metrical equivalent the tribrach ⏑ ⏑́ ⏑, the irrational spondee > –́, the irrational dactyl > ⏑́ ⏑, the cyclic anapaest ⏑ ⏑ –́, or the proceleusmatic ⏑ ⏑ ⏑́ ⏑ is sometimes substituted.

2582. The Greek poets excluded all feet except the iambus and tribrach, and in comedy the anapaest, from the even places in iambic verse. The Latin poets were not so strict: but when one of the even feet was formed by a word or a word-ending, they did not usually allow the foot to be a spondee or an anapaest, but required it to be an iambus.

The Iambic Trimeter Or Senarius.

2583. The Iambic Trimeter is the verse most frequently used by the Roman dramatists. It consists of six iambic feet, or three iambic dipodies. The ictus on the second thesis of each dipody was probably weaker than that upon the first thesis. Some ancient authorities, however, held that the ictus on the second thesis was the stronger. The last foot is always an iambus. The normal scheme is therefore:

Some prefer (see 2529) to regard this verse as a trochaic trimeter catalectic with anacrusis. The normal scheme will then be:

2584. The Latin poets differ widely in their treatment of the Senarius, some (especially Plautus, Terence, and the other early dramatists) handling it with great freedom, while others (especially Phaedrus and Publilius Syrus) conform more closely to Greek models. We may therefore distinguish two periods:

(A.) Early Period.

2585. Any one of the substitutions enumerated in 2581 is admitted in any foot except the last. The scheme is therefore:

⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑ –̇

⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑

> ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ [> ⏑́ ⏑]

⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́

⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑

The main caesura is usually penthemimeral (2544); but it is sometimes hephthemimeral, in which case there is generally a secondary caesura in, or diaeresis after, the second foot.

The following passage may serve to show the rhythm:

⏑ ⏑ –́ ⏑ –̇ > ‖ –́ ⏑ –̇ > –́ ⏑ –̇

⏑ ⏑ –́ > –̇ ⏑ ‖ –́ ⏑ ⏑̇ ⏑ ⏑ –́ ⏑ –̇

> ⏑́ ⏑ > –̇ > –́ ⏑ ‖ –̇ ⏑ ⏑ –́ ⏑ –̇

⏑ ⏑ ⏑́ ⏑ ⏑ –̇ > ‖ –́ ⏑ –̇ > –́ ⏑ –̇

> –́ > ⏑̇ ⏑ ⏑ ‖ –́ > ⏑̇ ⏑ > –́ ⏑ –̇

> ⏑́ ⏑ > –̇ > ‖ –́ > –̇ > –́ ⏑ –̇

⏑ ⏑ –́ > –̇ > ‖ –́ > –̇ > ⏑́ ⏑ ⏑ –̇

2586. (1.) In the early dramatists, substitutions are very numerous, and lines which follow the normal scheme are rare. Substitutions are most frequent in the first foot.

2587. (2.) Four shorts rarely stand in succession unless they belong to the same foot. Hence a dactyl or tribrach is seldom followed by an anapaest.

2588. (3.) The dactyl and proceleusmatic are rare in the fifth foot. The proceleusmatic occurs chiefly in the first foot.

2589. (4.) The fifth foot is very often a spondee. It must not be a pure iambus except (a.) when the line ends with a polysyllable of four or more syllables; (b.) when it ends with a word which forms a Cretic (2521); (c.) when it ends with an iambic word preceded by one which forms a Fourth Paeon (2521), or by an anapaestic word which is itself preceded by a final short syllable; (d.) when there is a change of speakers before the last foot; (e.) when elision occurs in the fifth or sixth foot.

2590. (5.) The main caesura is rarely preceded by a monosyllable.

2591. (6.) In the Senarius, and in the other iambic and trochaic verses of the early dramatists, a resolved arsis or thesis is usually placed so that its first syllable begins a word, or so that the two shorts of the resolved arsis or thesis are enclosed by other syllables belonging to the same word. Hence a dactylic word with the ictus on the penult or ultima (e.g. tempóre) rarely occurs. But there are occasional exceptions to the rule, especially in the case of words that are closely connected (e.g. a preposition with its case).

(B.) Later Period.

2592. Later writers conform more closely to Greek usage, but differ from one another in the degree of strictness with which they follow it. The general scheme is:

⏑͐ –́ ⏑ –̇ ⏑͐ ‖ –́ ⏑ –̇ ⏑͐ –́ ⏑ –̇

⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ‖ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑

> ⏑́ ⏑ > ‖ ⏑́ ⏑

[⏑ ⏑ –́] [⏑ ⏑ –̇]

[⏑ ⏑ ⏑́ ⏑]

The main caesura is usually the penthemimeral (2544). The hephthemimeral sometimes occurs, but usually in connection with the penthemimeral, or with a diaeresis after the second foot. If the hephthemimeral is used without either of these, the second and third trochees of the line must form one word, as in

2593. (1.) The anapaest is rare in nearly all classical writers; Catullus does not admit it at all, and Horace only five times in all. The proceleusmatic is admitted in the first foot by Seneca, the author of the Octāvia, Phaedrus, Publilius Syrus and Terentianus Maurus; other writers exclude it altogether. Catullus keeps the fifth foot pure, and Horace does not admit the tribrach in the fifth foot.

2594. (2.) Catullus (4 and 29), Horace (Epod. 16), Vergil (Cat. 3, 4, 8), and the authors of the Priāpēa sometimes use the pure iambic trimeter, without resolutions or substitutions.

2595. (3.) Phaedrus follows in part the earlier usage, admitting the spondee, dactyl, and anapaest, in every foot except the last. The dactyl he employs chiefly in the first, third, and fifth feet, the anapaest in the first and fifth. The proceleusmatic he admits only in the first.

2596. The rhythm of the Senarius may be illustrated by the following lines:

The Choliambus (or Scazon).

2597. The Choliambus is an iambic trimeter in which a trochee has been substituted for the final iambus. The penultimate syllable is therefore long instead of short. The caesura is generally the penthemimeral (2544). If it is hephthemimeral, there is regularly a diaeresis after the second foot. The scheme is:

⏑͐ –́ ⏑ –̇ ⏑͐ –́ ⏑ –̇ ⏑ –́ –́ ⏑

[⏑ ⏑́ ⏑] ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑

> ⏑́ ⏑ > ⏑́ ⏑

⏑ ⏑ –́

An example is:

2598. (1). The anacrustic scheme (see 2529) of the choliambus is:

⏑ ⏑̆͐ –́ ⏑ –̇ ⏑͐ –́ ⏑ –̇ ⏑ ⏗́ –́ ⏑

⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑

i.e. trochaic trimeter with anacrusis (2529), syncope (2541), and protraction (2516).

2599. (2.) Resolutions and substitutions are less common in the choliambus than in the ordinary trimeter. No monosyllable except est is admitted at the end of the line. The tribrach in the first foot is rare, and the fifth foot is regularly an iambus.

2600. (3). The verse is named Choliambus (i.e. “lame” or “limping iambus”) or Scazon (“hobbler”) from its odd, limping movement. It is sometimes called Hipponactean from its inventor Hipponax, and is chiefly used to produce a satiric or ludicrous effect. It was introduced into Roman poetry by Cn. Mattius, and was employed by Varro, Catullus, Persius, Petronius, Martial, and others.

The Iambic Trimeter Catalectic.

2601. The Iambic Trimeter Catalectic occurs in Horace (1, 4 and 2, 18). The caesura is regularly penthemimeral (2544). Resolutions are not admitted, except in one doubtful case, rēgumque puerīs (2, 18, 34), where pu͡erīs may be read (with synizesis: see 2499). The scheme is:

⏑͐ –́ ⏑ –̇ ⏑͐ ‖ –́ ⏑ –̇ ⏑ ⏗́ –̇

[⏑ ⏑̇ ⏑]

Examples are:

2602. (1.) The anacrustic scheme is:

i.e. trochaic trimeter catalectic with anacrusis (2529), syncope (2541), and protraction (2516).

2603. (2.) Horace seems to have changed his practice with reference to the first foot. In 1, 4 the first foot is a spondee in nine lines out of ten; in 2, 18, it is a spondee in only two lines out of twenty.

The Iambic Tetrameter Acatalectic (or Octonarius).

2604. This verse consists of four iambic dipodies, or eight complete iambic feet. The substitutions enumerated in 2581 are admitted in the first seven feet; but the last foot is always an iambus. The principal break in the line is usually a diaeresis after the fourth foot (which in that case must be a pure iambus), or a caesura after the arsis of the fifth. The full scheme is:

⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑ –̇

⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑

> ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑

⏖ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́

⏖ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑

2605. The following lines are examples of this metre:

⏖ –́ > –̇ ⏑ –́ ⏑ –̇ # > ⏑́ ⏑ > ⏑̇ ⏑ > –́ ⏑ –̇

> –́ > –̇ > ⏑́ ⏑ ⏑ –̇ # > –́ ⏑ –̇ > –́ ⏑ –̇

> –́ > –̇ > –́ ⏑ –̇ | > ‖ –́ ⏑ –̇ > –́ ⏑ –̇

2606. Compare in English:

2607. (1.) The iambic octonarius is chiefly a comic verse. Terence has about eight hundred lines in this measure, Plautus only about three hundred, Varro a few.

2608. (2.) Substitutions are much less common than in the senarius, especially in the even feet.

2609. (3.) When there is a diaeresis after the fourth foot, so that the line is divided into two equal halves, the verse is asynartetic (2535). There seems, however, to be no certain instance of hiatus in the diaeresis in the Terentian plays.

Iambic Septenarius.

(A.) Early Usage.

2610. The Iambic Septenarius consists of seven and a half iambic feet. In any of the complete feet the substitutes mentioned in 2581 are admitted. There is usually a diaeresis after the fourth foot, which in that case must be a pure iambus. If there is not such a diaeresis, there is generally a caesura after the arsis of the fifth foot. The scheme of substitution is:—

⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ ⌅

⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑

> ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑

⏖ –́ ⏖ –̇ ⏖ –́ ⏖ –̇ ⏖ –́ ⏖ –̇ ⏖ –́

⏖ ⏑́ ⏑ ⏖ ⏑̇ ⏑ ⏖ ⏑́ ⏑ ⏖ ⏑̇ ⏑ ⏖ ⏑́ ⏑ ⏖ ⏑̇ ⏑ ⏖ ⏑́ ⏑

2611. Examples of the Septenarius are the lines:

> –́ > –̇ > ⏑́ ⏑ ⏑ –̇ ⏑ –́ > –̇ > ⏑́ ⏑ > ⌅

> –́ ⏑ –̇ > –́ ⏑ –̇ > –́ > –̇ > –́ ⏑ ⌅

> –́ ⏑ –̇ > –́ ⏑ –̇ > ⏑́ ⏑ > –̇ > –́ > ⌅

Compare in English:

2612. (1.) The Iambic Septenarius of the early comedy is not properly a “tetrameter catalectic” like the Greek, for the penultimate syllable is sometimes resolved, which is never the case in the Greek catalectic tetrameter. For the same reason the ordinary anacrustic (2529) scheme of the early Septenarius is erroneous; for a triseme cannot be resolved.

2613. (2.) When there is a diaeresis after the fourth foot, the verse is asynartetic (see 2535).

2614. (3.) The Septenarius seems not to have been used in tragedy.

(B.) Later Usage.

2615. Varro and Catullus (25) employ a form of the Septenarius which conforms more closely to Greek models, keeping the arses of the even feet pure and rarely admitting resolutions. There is regularly a diaeresis after the fourth foot. The scheme is:—

or anacrustically (2529)

2616. Catullus does not admit resolutions at all, save in one very doubtful case (25, 5). Varro seems to admit them in the first foot only.

Iambic Dimeter Acatalectic (or Quaternarius).

2617. The Iambic Dimeter Acatalectic consists of two complete iambic dipodies or four iambic feet. In the first three feet the tribrach, irrational spondee, irrational dactyl and cyclic anapaest are admitted; but the proceleusmatic is very rare, except in the first foot of the Versus Reizianus (2625), (of which a Quaternarius forms the first colon). The scheme for substitution is:

⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑ –̇

⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑

> ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑

⏖ –́ ⏖ –̇ ⏖ –́

[⏖ ⏑́ ⏑] [⏖ ⏑̇ ⏑] ⏖ ⏑ ⏑́ ⏑]

Examples are:

2618. (1.) The verse may also be regarded as a trochaic dimeter catalectic with anacrusis (2529), with the normal scheme:

2619. (2.) Horace admits resolutions only four times, the tribrach once in the second foot and the dactyl thrice in the first.

2620. (3.) Plautus (except in a few instances), Terence, and Horace employ the dimeter only as a clausula (2536) to longer verses. Petronius, Seneca, and Prudentius use it to form systems (2547); but it is rarely so employed by earlier writers.

The Iambic Dimeter Catalectic (or Ternarius).

2621. This is like the preceding verse, except that the last foot is incomplete. Examples are:—

2622. (1.) The verse may also be regarded as a syncopated catalectic trochaic dimeter with anacrusis (2529). The normal scheme will then be:—

2623. (2.) Plautus and Terence use this verse as a clausula (2536). Petronius is the first who employs it to form systems (2547).

Other Iambic Verses.

2624. Other short iambic verses, the acatalectic dipody (e.g. eg(o) ĭllūm | famē, | eg(o) ĭllúm | sitī, Pl. Cas. 153), and the catalectic tripody (e.g. inóps | amā́|tor, Pl. Tri. 256) sometimes occur, but are rare.

The Versus Reizianus.

2625. This is a composite verse, consisting of two cola, an iambic dimeter acatalectic and an iambic tripody catalectic. The scheme is therefore,

⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑ –̇ # ⏑͐ –́ ⏑͐ –́ ⏑ ⌅

⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ [⏑ ⏑́ ⏑] ⏑ ⏑́ ⏑

> ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑́ ⏑ > ⏑́ ⏑

⏖ –́ ⏖ –̇ ⏖ –́ ⏖ –́ ⏖ –́

⏖ ⏑́ ⏑ [⏖ ⏑̇ ⏑] [⏖ ⏑́ ⏑] ⏖ ⏑́ ⏑ ⏖ ⏑́ ⏑

Examples are:—

2626. The nature of the second colon of this verse has long been disputed. Reiz and Christ treat it substantially as above; Studemund regards it as a syncopated iambic dimeter catalectic (⏑ – ⏑ ⏗ – ⏑), Spengel and Gleditsch as anapaestic, Leo as logaoedic, Klotz as sometimes logaoedic and sometimes anapaestic! The view of Christ (Metrik², p. 348) seems, on the whole, the most reasonable, though the question cannot be said to be fully decided. The tribrach is rare in the second colon, but there seems to be a case in Plautus, R. 675 b.

2627. For other iambic verses and combinations of verses, see special editions of the dramatists.

TROCHAIC RHYTHMS.

2628. These are descending rhythms in 3/8 time. The fundamental foot is the trochee –́ ⏑, for which its metrical equivalent the tribrach ⏑́ ⏑ ⏑, the irrational spondee –́ >, the cyclic dactyl –́ ⏑ ⏑, the irrational anapaest ⏑́ ⏑ >, and (rarely) the proceleusmatic ⏑́ ⏑ ⏑ ⏑, are sometimes substituted.

The Trochaic Tetrameter Catalectic (or Septenarius).

2629. The Trochaic Tetrameter Catalectic is, next to the iambic trimeter, the verse most frequently used by the early Roman dramatists. It consists of seven and a half trochaic feet, or four trochaic dipodies (the last one being incomplete). The ictus on the second thesis of each dipody was probably weaker than that on the first thesis. The normal scheme is:—

As in the case of the senarius, we may distinguish two periods in the usage:—

(A.) Early Period.

2630. The tribrach is admitted in any of the complete feet, and the irrational spondee, cyclic dactyl, and irrational anapaest in any of the first six feet. Terence does not admit the proceleusmatic in the Septenarius (nor in any other kind of trochaic verse), but Plautus admits it in the first foot. The seventh foot of the Septenarius is usually a trochee, but the tribrach sometimes occurs there. The principal break in the line is usually a diaeresis after the fourth foot (which in that case must not be a dactyl), often accompanied by a secondary diaeresis after the second foot. Sometimes, however, the principal break is a diaeresis after the fifth foot, in which case there is generally a secondary diaeresis after the third foot or a caesura in the fourth. The full scheme of substitutions is:—

–́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑ –̇ ⌃

⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑

–́ ⏖ –̇ ⏖ –́ ⏖ –̇ ⏖ –́ ⏖ –̇ ⏖ [–́ ⏖]

⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ >

[⏑́ ⏑ ⏖]

The following lines are examples of the Septenarius:—

⏑́ ⏑ ⏑ –̇ ⏖ –́ > ⏑̇ ⏑ > # –́ > –̇ > –́ ⏑ –̇ ⌃

–́ ⏖ ⏑̇ ⏖ –́ ⏑ –̇ > # –́ > –̇ > –́ ⏑ –̇ ⌃

–́ ⏑ –́ ⏖ –́ > –̇ > # ⏑́ ⏑ > –̇ ⏑ ⏑ –́ ⏑ –̇ ⌃

–́ > ⏑̇ ⏑ > –́ > –̇ > # –́ > –̇ > –́ ⏑ –̇ ⌃

2631. (1.) When there is a diaeresis after the fourth foot, the verse is asynartetic (2535). In Plautus hiatus in the diaeresis is not rare; but there seems to be no certain instance of it in Terence (see Ph. 528, Ad. 697).

2632. (2.) An anapaest is not allowed to follow a dactyl.

2633. (3.) The seventh foot is usually a trochee; rarely a tribrach or dactyl. The tribrach and dactyl are seldom found in the fourth foot.

(B.) Later Usage.

2634. The later and stricter form of the Septenarius keeps the arses of the odd feet pure, and regularly shows a diaeresis after the fourth foot.

Resolutions occur, but are far less common than in the earlier form of the verse. The strict form of the Septenarius is found in Varro, Seneca, and often in late poets (as Ausonius, Prudentius, &c.).

2635. The rhythm of the Septenarius may be illustrated by this line:—

The Trochaic Tetrameter Acatalectic (or Octonarius).

2636. The Trochaic Tetrameter Acatalectic is chiefly confined to the lyrical portions of the early comedy. It consists of four complete trochaic dipodies or eight trochaic feet. The tribrach, irrational spondee, irrational anapaest and cyclic dactyl may stand in any foot save the last. The last foot is regularly a trochee or a tribrach, though (the last syllable being syllaba anceps, 2533) an apparent spondee or anapaest, but not a dactyl, may arise. The principal break in the line is regularly a diaeresis after the fourth foot (which in that case must not be a dactyl). Occasionally, however, there is instead a caesura in the fourth or fifth foot. The scheme is:—

–́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐ –́ ⏑͐ –̇ ⏑͐

⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑́ ⏑ ⏑ [⏑̇ ⏑ ⏑]

–́ ⏖ –̇ ⏖ –́ ⏖ –̇ ⏖ –́ ⏖ –̇ ⏖ –́ ⏖

⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > ⏑̇ ⏑ > ⏑́ ⏑ > [⏑̇ ⏑ >]

Example:—

Compare in English:—

2637. (1.) When there is a diaeresis after the fourth foot, the verse is asynartetic (2535).

2638. (2.) The Octonarius is essentially a lyric metre, and is much less common than the Septenarius.

The Trochaic Tetrameter Claudus (or Scazon).

2639. This verse is a trochaic tetrameter acatalectic, with syncope and protraction in the seventh foot. The normal scheme is:

An example is:—

2640. (1.) Substitutions are much rarer in this verse than in the ordinary trochaic octonarius.

2641. (2.) The Scazon was introduced among the Greeks by Hipponax, whence it is sometimes called the Hipponactean. Varro seems to be the only Roman poet who uses it.

The Nine-syllabled Alcaic.

2642. This verse consists of two complete trochaic dipodies, with anacrusis. The second foot is always an irrational spondee. The scheme is:—

An example is:—

This verse occurs only in Horace, where it forms the third line of the Alcaic Strophe (see 2736).

The Trochaic Dimeter Acatalectic (or Quaternarius).

2643. This verse consists of two complete trochaic dipodies. It is very rare, but there are probably a few instances of it in Plautus, e.g. Per. 31:—

The Trochaic Dimeter Catalectic (or Ternarius).

2644. This consists of two trochaic dipodies, the second being incomplete. It occurs in the early dramatists and in Horace. The scheme for Plautus and Terence is:—

–́ ⏑͐ –̇ ⏑͐ –́ ⏑ –̇ ⌃

⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑ [⏑́ ⏑ ⏑]

–́ ⏖ –̇ ⏖

⏑́ ⏑ > ⏑̇ ⏑ >

The Horatian scheme is:—

Examples are:—

2645. (1.) This is sometimes called the Euripidean verse, from its use by Euripides. The tribrach in the third foot is rare, and is not found in Terence. Horace keeps all the feet pure.

2646. (2.) Plautus and Terence often use this verse between trochaic tetrameters, but sometimes employ several Ternarii in succession, as in Plaut. E. 3-6, Cas. 953-6, Ps. 211-13.

The Trochaic Tripody Acatalectic.

2647. This verse is confined to the early drama, where it is employed as a clausula (2536), especially with Cretics. It consists of three complete trochaic feet. The same substitutions are admitted in every foot that are allowed in the first two feet of the Ternarius (2644). An example is:—

This verse is sometimes called the Ithyphallic.

The Trochaic Tripody Catalectic.

2648. This verse is employed by the early dramatists, usually either as a clausula (2536) or in groups of two lines each. Terence generally uses it in the former way, Plautus in the latter. The scheme of substitutions is:—

–́ ⏑͐ –̇ ⏑͐ –́ ⌃

⏑́ ⏑ ⏑ ⏑̇ ⏑ ⏑

–́ ⏖ –̇ ⏖

⏑́ ⏑ > ⏑̇ ⏑ >

Example:—

In one instance (R. 924 ff.) Plautus has six catalectic tripodies in succession.

Other Trochaic Verses.

2649. The Trochaic Monometer Acatalectic is sometimes used by Plautus as a clausula (2536) to Cretic tetrameters., It consists of one complete trochaic dipody, e.g. nímis in|epta’ s, R. 681. iū́re in|iūstās, Am. 247. Terence uses the catalectic monometer twice (Eu. 292, Ph. 485) at the beginning of a scene, e.g. Dṓri|ō, Ph. 485. Plautus has a few other trochaic verses and combinations of verses, for which see special editions of his plays.

LOGAOEDIC RHYTHMS.

2650. Logaoedic verse consists of dactyls and trochees combined in the same metrical series. The dactyls are “cyclic” (see 2523), occupying approximately the time of trochees, and hence the verse moves in 3/8 time. Except in the “Lesser Alcaic” verse (2663), only one dactyl may stand in a single series; and a dactyl must not occupy the last place in a line.

2651. (1.) The name “logaoedic” (Gr. λογαοιδικός, from λόγος, speech, prose, and ἀοιδή, song) may refer to the apparent change of rhythm (due to the mixture of dactyls and trochees), in which logaoedic verse resembles prose; but this is a disputed point.

2652. (2.) In the logaoedic verses of Horace, an irrational spondee almost always takes the place of a trochee before the first dactyl; and if an apparent choriambus (–́ ⏑ ⏑ | ⏗́; see 2521) is followed by another apparent choriambus in the same verse, the two are regularly separated by a caesura. These rules are not observed by Catullus.

2653. (3.) Anacrusis (2529) and syncope (2541) are very common in logaoedic verse.

2654. The following are the principal logaoedic rhythms:—

DIPODY.

The Adonic.

2655. This is a logaoedic dipody, with the scheme:—

Examples are:—

2656. (1.) Some regard the Adonic as a syncopated catalectic tripody:

2657. (2.) A Latin Adonic should consist of a disyllable + a trisyllable, or the reverse. This rule did not hold in Greek, where such lines occur as ὦ τὸν Ἄδωνιν. Elision is not allowed in the Latin Adonic. Late Latin poets (like Terentianus) sometimes employ the Adonic in stichic series (2546).

TRIPODIES.

The Aristophanic.

2658. This is a logaoedic tripody acatalectic, with a dactyl in the first place. The scheme is therefore:—

There is no fixed caesura. Examples are:—

Some authorities write the scheme as:

i.e. a syncopated logaoedic tetrapody catalectic.

The Pherecratean (or Pherecratic).

2659. This verse is used by Catullus (34, 61), and by Horace (as the third line of the Third Asclepiadean Strophe: see 2733). It is a logaoedic tripody, with the dactyl in the second place. The scheme is:—

[–́ ⏑]

–́ > –́ ⏖ –́ ⏑

[⏑́–]

The trochee and iambus are admitted in the first foot by Catullus, but not by Horace. The iambus is very rare. There is no fixed caesura. Examples are:—

Some authorities prefer to regard the Pherecratean as a syncopated logaoedic tetrapody catalectic, with the scheme:—

[–́ ⏑]

–́ > –́ ⏖ ⏗́ –́ ⌃

[⏑́–]

TETRAPODIES.

The Glyconic.

2660. This verse is used by Catullus (34, 61), by Horace (in the First, Second, and Third Asclepiadean Strophes: see 2731, 2732, 2733), and by Seneca and other later writers. It is a logaoedic tetrapody catalectic, with a dactyl in the second place. The scheme is:—

[–́ ⏑]

–́ > –́ ⏖ –́ ⏑ –́ ⌃

[⏑́–]

The trochee and iambus in the first foot occur in Catullus, but not in Horace (except in the doubtful case, 1, 15, 36). There is generally a trithemimeral caesura; more rarely one in the arsis of the second foot. Examples are:—

2661. (1.) This verse in composition with the Pherecratean forms the Priapean (2674).

2662. (2.) In admitting the trochee and iambus in the first foot, Catullus follows Greek models, while Horace adheres to the stricter Roman usage, as laid down by the grammarians of his own day. Seneca observes the same rule as Horace, but some of the later writers (e.g. Terentianus) revert to the earlier and freer usage.

The Lesser (or Decasyllabic) Alcaic.

2663. This verse is a logaoedic tetrapody acatalectic, with dactyls in the first and second places. The scheme is:—

There is no fixed caesura, though there is frequently a break after the thesis, or in the arsis, of the second foot. Examples are:—

PENTAPODIES.

The Phalaecean (or Hendecasyllable).

2664. This verse is a logaoedic pentapody with the dactyl in the second place. The Greek poets admitted the trochee and iambus, as well as the spondee, in the first foot, and Catullus followed their example; but in Petronius, Martial, and the Priāpēa the first foot is always a spondee, and in later writers nearly always. Horace does not use the Phalaecean. There is no fixed caesura, though the penthemimeral is often found. The scheme is:—

[–́ ⏑]

–́ > –́ ⏖ –́ ⏑ –́ ⏑ – ⏑

[⏑́–]

Examples are:—

Compare in English:—

2665. The Phalaecean is a favourite metre in epigrams. It was used by Sappho, Phalaecus (from whom it took its name), and other Greek poets, and was introduced into Roman poetry by Laevius and Varro. It is a favourite metre with Catullus, and is found in the fragments of Cinna, Cornificius and Bibaculus, in the Priāpēa, in Petronius, Statius, Martial, &c. In Catullus 55, a spondee is often employed instead of the dactyl, the two kinds of feet alternating in the latter verses of the poem; but this innovation seems not to have found favour.

The Lesser Sapphic.

2666. This verse is a logaoedic pentapody acatalectic, with the dactyl in the third place. The scheme is:—

–́ ⏑ –́ > [–́ ⏑] –́ ‖ ⏖ –́ ⏑ –́ ⏑

The trochee in the second foot was admitted by Alcaeus and Sappho, and occurs in Catullus, but not in Horace. In Horace the caesura regularly falls after the thesis, or (less frequently) in the arsis, of the dactyl; but in Catullus, as in Sappho and Alcaeus, it has no fixed position. Examples of this verse are:—

The Greater (or Hendecasyllabic) Alcaic.

2667. This verse is a logaoedic pentapody catalectic, with anacrusis and with the dactyl in the third foot. The scheme is:—

There is nearly always a diaeresis after the second foot. Examples are:—

2668. Alcaeus admitted a trochee in the second foot, and allowed the anacrusis to be either long or short; but Horace admitted only the spondee in the second foot, and usually (in Bk. 4 always) employed a long anacrusis. Horace also differed from his predecessor in assigning a fixed place to the caesura, which in Alcaeus has no regular position.

COMPOSITE LOGAOEDIC VERSES.

The Lesser Asclepiadean.

2669. This is a composite verse, consisting of two series, a syncopated logaoedic tripody + a logaoedic tripody catalectic. There is regularly a diaeresis between the two series. The scheme is:—

Examples are:—

The Greater Asclepiadean.

2670. This is a composite verse, consisting of three series. It differs from the preceding (2669) in having a syncopated logaoedic dipody (–́ ⏑ ⏑ | ⏗́) inserted between the two tripodies. The three series are regularly separated by diaeresis. The scheme is therefore:—

Examples are:—

The Greater Sapphic.

2671. This is a composite verse, consisting of a syncopated logaoedic tetrapody + a syncopated logaoedic tetrapody catalectic. There is regularly a diaeresis between the two series, and a caesura after the thesis of the first dactyl. The scheme is:—

An example is:—

2672. (1.) The second series has the same form as the Aristophanic, if the latter be written as a tetrapody (see 2658 ad fin.).

2673. (2.) Horace (1, 8) is the only Latin poet who makes use of the Greater Sapphic. It seems to be an imitation of the Greek Sapphic:—

but if so, the imitation is not exact.

The Priapean.

2674. This verse is employed by Catullus (17) and in the Priāpēa (86). It consists of a syncopated logaoedic tetrapody + a syncopated logaoedic tetrapody catalectic. There is regularly a diaeresis between the two parts, but hiatus and syllaba anceps are not allowed at the end of the first series. The scheme is:—

Examples are:—

The first series has the same form as the Glyconic (2660), and the second series has the same form as the Pherecratean, if the latter be written as a tetrapody (see 2659 ad fin.).

DACTYLO-TROCHAIC RHYTHMS.

2675. Dactylo-Trochaic verse, like logaoedic, is composed of dactyls and trochees; but whereas in logaoedic verse the dactyls and trochees occur within the same metrical series, in dactylo-trochaic they always form separate series. Hence dactylo-trochaic verses are always composite, consisting of two or more series in combination.

2676. It is uncertain whether the dactyls in dactylo-trochaic verse were cyclic (2523) or whether there was a change of time in the middle of the verse.

The Greater Archilochian.

2677. This verse is composed of a dactylic tetrameter acatalectic + a trochaic tripody. There is regularly a diaeresis after the first colon, and a caesura after the third thesis. The fourth foot is always a pure dactyl. The third foot is very often a spondee. The scheme is:—

An example is:—

In Archilochus the verse is said to have been asynartetic (2535); but Horace and Prudentius do not allow hiatus or syllaba anceps in the diaeresis, and Prudentius sometimes neglects the diaeresis altogether.

The Iambelegus.

2678. This verse consists of a trochaic dimeter catalectic with anacrusis + a Lesser Archilochian (2579). No resolutions are allowed in the first colon, and the dactyls in the second colon are never replaced by spondees. There is regularly a diaeresis between the two cola. The scheme is:—

An example is:—

2679. This verse occurs only in the Second Archilochian Strophe (2726) of Horace. Some authorities treat the first colon as an iambic dimeter. The name Iambelegus was given to the verse because the ancient grammarians regarded it as a dactylic pentameter for the first half of which an iambic colon had been substituted.

The Elegiambus.

2680. This verse consists of the same cola as the Iambelegus (2678), but in reverse order. Spondees are not admitted in the first colon, and no resolutions occur in the second colon. There is regularly a diaeresis between the cola. The scheme is:—

An example is:—

2681. This verse occurs only in the Third Archilochian Strophe (2727) of Horace. The name Elegiambus is given to it as being the reverse of the Iambelegus (see 2679).

ANAPAESTIC RHYTHMS.

2682. In these the fundamental foot is the anapaest ⏑ ⏑ –́, for which its metrical equivalents the spondee —́, dactyl – ⏑́ ⏑ and proceleusmatic ⏑ ⏑ ⏑́ ⏑ are sometimes substituted.

2683. The anapaestic verse of the early Latin comedy is extremely irregular, and its limits are often hard to define. Spondees and apparent bacchii (reduced to anapaests by the law of iambic shortening; see 2470) are extremely common, and metrical irregularities of various kinds abound. The Latin language has so few anapaestic words that it does not lend itself readily to this rhythm. Terence wisely abstained altogether from anapaestic verse. Varro, Seneca, and Prudentius and other late writers wrote anapaests conforming more closely to Greek models.

The Anapaestic Tetrameter Acatalectic (or Octonarius).

2684. This consists of four anapaestic dipodies or eight complete anapaestic feet. There is regularly a diaeresis after the fourth foot, and the last thesis of the line is never resolved. Hiatus and syllaba anceps sometimes occur in the diaeresis, the verse being asynartetic (2535). The scheme is:—

⏖ –́ ⏖ –̇ ⏖ –́ ⏖ –̇ # ⏖ –́ ⏖ –̇ ⏖ –́ ⏑ ⏑ –̇

– –́ – –̇ – –́ – –̇ # – –́ – –̇ – –́ – –̇

– ⏑́ ⏑ – ⏑̇ ⏑ – ⏑́ ⏑ – ⏑̇ ⏑ # – ⏑́ ⏑ – ⏑̇ ⏑ – ⏑́ ⏑

⏖ ⏑́ ⏑ ⏖ ⏑̇ ⏑ ⏖ ⏑́ ⏑ [⏖ ⏑̇ ⏑] # ⏖ ⏑́ ⏑ ⏖ ⏑̇ ⏑ ⏖ ⏑́ ⏑

Examples are:—

2685. The proceleusmatic is very rare in the fourth foot, but the spondee is very common there. Some editors divide the anapaestic octonarii into dimeters (or quaternarii) and write them as such.

The Anapaestic Tetrameter Catalectic (or Septenarius).

2686. This is like the preceding, except that the last foot is incomplete. The seventh thesis may be resolved. There is regularly a diaeresis after the fourth foot, and hiatus and syllaba anceps sometimes occur in the diaeresis. The scheme is:—

⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́ ⏑ ⏑ –̇ # ⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́ ⏑ ⌅

– –́ – –̇ – –́ – –̇ # – –́ – –̇ – –́

– ⏑́ ⏑ – ⏑̇ ⏑ – ⏑́ ⏑ – ⏑̇ ⏑ # – ⏑́ ⏑ – ⏑̇ ⏑ – ⏑́ ⏑

⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑ [⏑ ⏑ ⏑̇ ⏑] # ⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑

Examples are:—

The Anapaestic Dimeter Acatalectic (or Quaternarius).

2687. This verse consists of two anapaestic dipodies, or four complete anapaestic feet. There is generally a diaeresis after the second foot, and the fourth thesis is not resolved. The scheme is:—

⏑ ⏑ –́ ⏑ ⏑ –̇ # ⏑ ⏑ –́ ⏑ ⏑ –̇

– –́ – –̇ # – –́ – –̇

– ⏑́ ⏑ – ⏑̇ ⏑ # – ⏑́ ⏑

⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ # ⏑ ⏑ ⏑́ ⏑

Examples are:—

This verse is often used to form systems, which frequently end in a paroemiac (see 2688).

The Anapaestic Dimeter Catalectic (or Paroemiac).

2688. This verse consists of two anapaestic dipodies or four anapaestic feet, the last foot being incomplete. The third thesis is sometimes resolved. There is no fixed caesura. The scheme is:—

⏑ ⏑ –́ ⏑ ⏑ –̇ ⏑ ⏑ –́ ⏑ ⌅

– –́ – –̇ – –́

– ⏑́ ⏑ – ⏑̇ ⏑ – ⏑́ ⏑

⏑ ⏑ ⏑́ ⏑ ⏑ ⏑ ⏑̇ ⏑ ⏑ ⏑ ⏑́ ⏑

Examples are:—

2689. (1.) The Paroemiac is generally used to close a system of acatalectic anapaestic dimeters; but sometimes several paroemiacs in succession form a system (as in the second example above), especially in Ausonius, Prudentius, and other late poets.

2690. (2.) Other anapaestic verses sometimes occur, especially in the early comedy, but they are rare.

CRETIC RHYTHMS.

2691. These are rhythms of the Hemiolic class (2527), in 5/8 time. The fundamental foot is the Cretic (–́ ⏑ –̇).

Either (but not both) of the two longs of a Cretic is sometimes resolved (giving the First Paeon –́ ⏑ ⏑̇ ⏑ or the Fourth Paeon ⏑́ ⏑ ⏑ –̇); but there is rarely more than one resolution in a single verse. The middle short is sometimes replaced by an irrational long (giving –́ > –̇, or if there is resolution, ⏑́ ⏑ > –̇ or –́ > ⏑̇ ⏑); but this never occurs in the last foot of a verse, and but rarely when the middle syllable is the penult of a spondaic word (e.g. nṓs nostrās).

2692. (1.) The ictus on the first long of the Cretic was probably (at least in most cases) stronger than that on the second. The first long and the short form the thesis, the second long the arsis, –́ ⏑ | –̇

2693. (2.) The impetuous, swinging movement of the Cretic rhythm fits it for the expression of passionate emotion.

The Cretic Tetrameter Acatalectic.

2694. This verse consists of four complete Cretic feet. There is usually a diaeresis after the second foot, but sometimes there is instead a caesura after the first long of the third foot. Resolution is not admitted before the diaeresis or the end of the line. The irrational long middle syllable is admitted in the first and third feet. The scheme is:—

Examples are:—

2695. This verse is common in the cantica of the early drama, and is often repeated to form systems. Hiatus and syllaba anceps sometimes occur in the diaeresis.

The Cretic Tetrameter Catalectic.

2696. This is similar to the preceding, except that the last foot is incomplete. The scheme is:—

Examples are:—

Other Cretic Verses.

2697. The Cretic trimeter acatalectic sometimes occurs, though rarely: e.g.

More frequent is the dimeter acatalectic, which has the scheme:—

This is often compounded with a trochaic tripody catalectic: e.g.

and sometimes with a trochaic tripody acatalectic (e.g. Pl. Ps. 1248), a trochaic dipody acatalectic (e.g. Pl. Cap. 214), or a Thymelicus – ⏑ ⏑ ⏑ – (e.g. Pl. Am. 245). For other kinds of Cretic verses, see special editions of the early dramatists.

BACCHĪAC RHYTHMS.

2698. These are rhythms of the Hemiolic class (2527), in 5/8 time. The fundamental foot is the Bacchīus (⏑ –́ –̇). Either (or both) of the two longs of a bacchīus is sometimes resolved. For the initial short syllable an irrational long is sometimes substituted. Occasionally two shorts are so substituted, especially in the first foot of a verse.

2699. (1.) The ictus on the first long of the bacchīus was probably stronger than that on the second long.

2700. (2.) The bacchiac rhythm, like the Cretic, has an impetuous and passionate character.

The Bacchiac Tetrameter Acatalectic.

2701. This verse consists of four complete bacchiac feet. There is generally a caesura after the first long of the second or third foot, or (more rarely) a diaeresis after the second foot. An irrational long (or two shorts) may be substituted for the initial short only in the first and third feet. Resolution is not allowed before the caesura or the end of the verse. The scheme is:—

Examples are:—

2702. (1.) There are seldom more than two resolutions in the same verse, and never more than three. Bacchiac tetrameters are often repeated to form systems.

2703. (2.) According to some authorities, bacchiac tetrameters catalectic sometimes occur, e.g. Pl. Cas. 656, 867, Men. 969, 971, Most. 313, Poen. 244.

Other Bacchiac Verses.

2704. (1.) Bacchiac dimeters are occasionally found, especially as clausulae to bacchiac systems. An example is:—

An acatalectic dimeter is not seldom compounded with a catalectic iambic tripody: e.g.

2705. (2.) Bacchiac hexameters occur in a few instances, as:—

2706. (3.) Hypermetrical combination of bacchii into a system appears to occur in Varro, Sat. Men. fr. 405 Buech.

CHORIAMBIC RHYTHMS.

2707. In these, the fundamental foot is the choriambus (–́ ⏑ ⏑ –̇). True choriambic verse is very rare in Latin poetry, though apparent choriambi of the form –́ ⏖ | – or –́ ⏖ | ⏗́ are common in logaoedic verse (2652).

Apparently, however, in Terence, Ad. 611-13,

there are three choriambic trimeters, the first two with iambic close, the third with trochaic. In the second line there is syllaba anceps at the end of the second choriambus. In Plautus, Casina 629, Menaechmi 110, and perhaps Asinaria 133, we have a choriambic dimeter + an acatalectic trochaic dipody.

Owing to the frequent occurrence of the apparent choriambus in certain kinds of logaoedic verse, the metricians of Horace’s day regarded them as really choriambic. Hence the rule mentioned in 2652, a rule unknown to Greek writers of logaoedic verse.

IONIC RHYTHMS.

2708. In these, the fundamental foot is the Ionic, of which there are two forms, the Ionic ā māiōre –́ –̇ ⏑ ⏑, so called because it begins with the greater part (i.e. the thesis) of the foot, and the Ionic ā minōre ⏑ ⏑ –́ –̇, which receives its name from the fact that it begins with the less important part of the foot (i.e. the arsis).

2709. (1.) Ionics ā minōre are often treated as Ionics ā māiōre with anacrusis, ⏖ | –́ –̇ ⏖, &c. See 2529 ad fin.

2710. (2.) Ionic verse shows numerous resolutions and irrational longs, especially in early Latin. The accumulation of short syllables imparts to the verse a wild and passionate character.

2711. (3.) Anaclăsis (Gr. ανακλασις, “a bending back”) is an exchange of place between a short syllable and the preceding long (e.g. –́ ⏑ –̇ ⏑ for –́ –̇ ⏑ ⏑ or ⏑ ⏑ –́ ⏑ | –̇ ⏑ –́ –̇ for ⏑ ⏑ –́ –̇ | ⏑ ⏑ –́ –̇), and is very frequent in Ionic verse.

The Ionic ā māiōre Tetrameter Catalectic (or Sotadean).

2712. This verse consists of four Ionic ā māiōre feet, the last foot being incomplete. In the early Latin poets, beginning with Ennius, the Sotadean is treated with much freedom: resolution, contraction (2518), anaclasis (2711), and irrational longs are freely admitted. Examples are:—

–́ – ⏑ ⏑ ⏑ –́ ⏑ ⏑ ⏑ ⏑ –́ ⏑ – > –́ – ⌅

–́ ⏑ – > –́ – ⏑ ⏑ ⏑́ ⏑ ⏑ – > –́ – ⌅

Compare in Greek:—

2713. Later poets (Petronius, Martial, Terentianus Maurus) are more strict in their usage, admitting (with very few exceptions) only the forms ⏑́ ⏑ – ⏑ ⏑, –́ ⏑ ⏑ ⏑ ⏑, –́ ⏑ – ⏑ besides the normal –́ – ⏑ ⏑. Hence their scheme is:—

–́ – ⏑ ⏑ –́ – ⏑ ⏑ –́ – ⏑ ⏑ –́ – ⌅

⏑́ ⏑ – ⏑ ⏑ ⏑́ ⏑ – ⏑ ⏑ ⏑́ ⏑ – ⏑ ⏑

–́ ⏑ ⏑ ⏑ ⏑ –́ ⏑ ⏑ ⏑ ⏑ –́ ⏑ ⏑ ⏑ ⏑

–́ ⏑ – ⏑ –́ ⏑ – ⏑ –́ ⏑ – ⏑

Examples are:—

Laevius and Varro employ Ionic ā māiōre systems of considerable length.

The Ionic ā minōre Tetrameter Catalectic (or Galliambic.)

2714. This consists of four Ionic ā minōre feet, the last one incomplete. Anaclasis, resolution, and contraction are extremely common, and the multiplication of short syllables gives the verse a peculiarly wild and frenzied movement. Catullus very rarely admits Ionics that are not anaclastic (never in the first half of the verse, except the doubtful cases 63, 18; 54; 75); but Varro is less strict in this regard. The penultimate long is nearly always resolved. There is rarely more than one resolution in the same half-verse. A diaeresis regularly occurs after the second foot. The scheme is:—

Examples are:—

2715. It has been suggested that Catullus probably felt the rhythm not as Ionic, but as trochaic or logaoedic:—

or the like.

This view has much in its favour; but the true nature of the rhythm is still matter of dispute.

2716. Compare the Greek:—

and in English:—

2717. Horace (3, 12) employs a system of ten pure Ionics ā minōre, e.g.:—

There is generally a diaeresis after each foot.

Lyric Metres of Horace.

2718. The following is a list of the Horatian lyric metres:—

2719. (1.) The Iambic Trimeter (see 2592 ff.). Epode 17.

2720. (II.) The Iambic Strophe, an iambic trimeter (2592) followed by an iambic dimeter acatalectic (2617):—

So in Archilochus, e.g.:—

2721. (III.) The Hipponactean or Trochaic Strophe, a trochaic dimeter catalectic (2644) followed by an iambic trimeter catalectic (2601):—

2722. (IV.) The First Pythiambic Strophe, a dactylic hexameter (2556) followed by an iambic dimeter acatalectic (2617):—

So in Archilochus, e.g.:—

2723. (V.) The Second Pythiambic Strophe, a dactylic hexameter (2556) followed by a pure iambic trimeter (2594):—

So the Greek epigrammatists, e.g.:—

2724. (VI.) The Alcmanian Strophe, a dactylic hexameter (2556) followed by a dactylic tetrameter catalectic (2578):—

2725. (VII.) The First Archilochian Strophe, a dactylic hexameter (2556) followed by a Lesser Archilochian (2579):—

2726. (VIII.) The Second Archilochian Strophe, a dactylic hexameter (2556) followed by an iambelegus (2678):—

2727. (IX.) The Third Archilochian Strophe, an iambic trimeter (2592) followed by an elegiambus (2680):—

Compare Archilochus fr. 85, Bergk (elegiambus; the trimeter is lost):—

2728. (X.) The Fourth Archilochian Strophe, a Greater Archilochian (2677) followed by an iambic trimeter catalectic (2601):—

So Archilochus, e.g.:—

See, however, 2677 ad fin.

2729. (XI.) The Lesser Asclepiadean Metre, a series of Lesser Asclepiadeans (2669) employed stichically (2546):—

So Alcaeus, e.g.:—

2730. (XII.) The Greater Asclepiadean Metre, a series of Greater Asclepiadeans (2670) employed stichically (2546):—

So Alcaeus, e.g.:—

Many editors hold (with Meineke) that the Horatian odes were written in tetrastichs (2545), and hence that this metre and the preceding were employed by Horace in strophes of four lines each. Catullus (30) seems to use the Greater Asclepiadean by distichs, and so apparently Sappho (fr. 69, Bergk). But as to these points there is still much dispute.

2731. (XIII.) The First Asclepiadean Strophe, a Glyconic (2660) followed by a Lesser Asclepiadean (2669):—

Cf. Alcaeus:—

In one instance, C. 4, 1, 35, elision occurs at the end of the Glyconic.

2732. (XIV.) The Second Asclepiadean Strophe, three Lesser Asclepiadeans (2669) followed by a Glyconic (2660):—

2733. (XV.) The Third Asclepiadean Strophe, two Lesser Asclepiadeans (2669), a Pherecratean (2659) and a Glyconic (2660):—

Compare Alcaeus (Pherecratean followed by Glyconic; apparently two Lesser Asclepiadeans preceded, but they are lost):—

2734. (XVI.) The Greater Sapphic Strophe, an Aristophanic (2658) followed by a Greater Sapphic (2671):—

2735. (XVII). The Sapphic Strophe, three Lesser Sapphics (2666) and an Adonic (2655):—

C. 1, 2, 10, 12, 20, 22, 25, 30, 32, 38; 2, 2, 4, 6, 8, 10, 16; 3, 8, 11, 14, 18, 20, 22, 27; 4, 2, 6, 11; Carmen Saeculare. Also in Catullus 11 and 51.

So Sappho:—

Sappho apparently treated the third Sapphic and the Adonic as continuous; but Horace and Catullus allow syllaba anceps (and Horace in four cases, 1, 2, 47; 1, 12, 7, and 31; 1, 22, 15, hiatus) at the end of the third line. On the other hand, both Catullus and Horace sometimes join the third line to the fourth (by dividing a word, Hor. 1, 2, 19; 25, 11; 2, 16, 7; Cat. 11, 11; by elision Hor. 4, 2, 23; Car. Saec. 47; Cat. 11, 19), and in a few instances the second to the third (Hor, 2, 2, 18; 16, 34; 4, 2, 22; Cat. 11, 22, all by elision) by synapheia (see 2510). In Horace, the last foot of the third line is nearly always an irrational spondee.

2736. (XVIII.) The Alcaic Strophe, two Greater Alcaics (2667), a nine-syllabled Alcaic (2642) and a Lesser Alcaic (2663):—