A Latin Grammar for Schools and Colleges

Chapter XXV: Part 25

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2498. SYNALOEPHA (Greek συναλοιφή, _a smearing together_) is a general term used to denote the means of avoiding hiatus. It includes elision and synizesis, though some grammarians use it in the same sense as synizesis.

2499. #Synizesis# (Greek συνίζεσις, _a settling together_). Two vowels (or a vowel and a diphthong) which belong to different syllables sometimes coalesce so as to form one syllable. This is called _Synizesis_, and is especially common in the early dramatists. Examples are: #me͡o#, #e͡adem#, #cu͡ius#, #aure͡i#. See 117.

Some grammarians would include under Synizesis only cases in which a short vowel is subordinated to a following long; as #tu͡o#.

2500. The term _Synaeresis_ (Greek συναίρεσις, _a taking together_) is sometimes used as a synonym for Synizesis. The ancient grammarians, however, used it in the sense of Contraction (118).

2501. DIALYSIS (Greek διάλυσις, _a breaking up_). Conversely, two vowels which usually form a diphthong are sometimes separated so as to form two syllables: as #coëpī# (Lucr.) for #coepī#.

This, however, is really the survival of the original forms (120).

2502. The name DIAERESIS (Greek διαίρεσις, _a separating_) is sometimes used as a synonym for Dialysis; but it is better to restrict it to the meaning defined in 2542.

2503. HARDENING. A vocalic #i# or #u# is sometimes made consonantal before another vowel: as, #abi͡ete#, #ari͡ete# (Verg.); #cōnsili͡um# (Hor.); #omni͡a# (Lucr.). See 117 and 83.

This usage is sometimes included under Synizesis (2499), while some grammarians term it Synaeresis (2500).

2504. SOFTENING. Conversely, a consonantal #i# or #u# sometimes becomes vocalized before a vowel, thus giving an additional syllable: as, #silüae# for #silvae# (Hor.); #ēvolüisse# for #ēvolvisse# (Ov.). See 52.

This usage is sometimes included under the name Dialysis (2501).

2505. DIASTOLÉ (Greek διαστολή, _a drawing asunder_). A syllable which in verse of the classical period is generally short is sometimes used as long for metrical convenience. The syllable so employed generally falls under the verse-ictus, and in most cases is immediately followed by the principal caesura, or by a pause in the sense. Examples are:

terga fatīgāmūs hastā, nec tarda senectus,
V. 9, 610.
tum sīc Mercurium adloquitūr ac tālia mandat,
V. 4, 222.
caeca timēt aliunde fāta,
H. 2, 13, 16.

In many such cases this lengthening is not arbitrary, but the “lengthened” syllable is one that was originally long (see 132).

2506. The enclitic #-que# is sometimes lengthened under the ictus when another #-que# precedes or follows in the arsis: as, #cālōnēs famulīque metallīquḗ caculaeque# (Accius).

2507. SYSTOLÉ (Greek συστολή, _a drawing together_). Conversely a syllable which in verse is regularly long is sometimes shortened for metrical convenience: as, #dedĕrunt# (Hor.), #nūllĭus# (Hor.), imperat. #commodă# (Cat.).

In most cases this shortening is not arbitrary, but represents a pronunciation which was in actual use, especially among the common people.

2508. SYNCOPÉ (Greek συγκοπή, _a cutting short_). A short vowel is often dropped between two consonants: as, #surpite# for #surripite# (Hor.), #repostum# for #repositum# (Verg.).

This usage doubtless reflects the common pronunciation; see 110, 111.

2509. TMESIS (Greek τμῆσις, _a cutting_) is the separation of the parts of a word: as, #septem subiecta triōnī# = #septemtriōnī subiecta# (Verg.).

This usually occurs only in compounds; but early poets sometimes divided other words: as, #saxō cere comminuit brum# for #saxō cerebrum comminuit# (Ennius).

2510. SYNAPHEIA (Greek συνάφεια, _a joining together_) is the linking together of two verses belonging to the same system. Here elision or word division may occur at the end of the first verse: as,

Iōve nōn probante u-
xōrius amnis,
H. 1, 2, 19.

Iam licet veniās marīt(e),
uxor in thalamō tibī̆ est,
Cat. 61, 191.

[Errata:
2496 ... as #homo’s#, #adeptus’#
text unchanged; error for adeptu’s (adeptus es)?
2499. #Synizesis#
printed as shown: expected small capitals instead of boldface]

III. VERSIFICATION.

BY HERMAN W. HAYLEY, PH.D.

2511. RHYTHM (Gr. ῥυθμός, from ῥεῖν, _to flow_) is the effect of regularity produced by the discrimination of a movement or sound into uniform intervals of time. It is often marked by a stress or _ictus_ recurring at fixed intervals.

Rhythm is by no means confined to verse. Music, dancing, and even the regular beat of a trip-hammer, have rhythm. Particular kinds of movement are often called rhythms, as anapaestic rhythms, dactylic rhythms, &c.

2512. METRE (Gr. μέτρον, _a measure_) is the definite measurement of verse by feet, lines, strophes, systems, &c.

2513. Latin verse is quantitative, the rhythm depending upon the quantity of the syllables (but see 2548). The ictus naturally falls upon a long syllable (or its equivalent). English verse, on the other hand, is accentual, its rhythm depending upon the accent of words.

QUANTITY.

2514. SIGNS OF QUANTITY. A long syllable is indicated by -, a short one by ⏑. A syllable which varies in quantity, being sometimes long, sometimes short, is indicated by ⏓ or ⏒.

In the following metrical schemes, ⏓ indicates that the long is more usual or more strictly in accordance with the rhythm than the short. The reverse is indicated by ⏒.

2515. The UNIT OF MEASURE is the duration of a short syllable and is called a _Time_, _Tempus_, or _Mora_. The _mora_ did not have an absolute length, but varied with the nature of the rhythm. For greater convenience, however, it is assumed that its length was uniform, and equalled that of an eighth note ♪ A long syllable, being equal to two shorts, has a length of two _morae_, which is assumed to be the same as that of our quarter-note ♩ Hence in notation ⏑ = ♪ and - = ♩

2516. PROTRACTION. A long syllable may be prolonged (_Protraction_) so as to have a length of three _morae_, in which case it is called a _triseme_ (marked ⏗), or of four _morae_, when it is termed a _tetraseme_ (marked ⏘). See 2537 and 2541.

2517. CORREPTION. A long or short syllable may be shortened so as to occupy less than its normal time. This is called _Correption_ (Lat. _correptiō_, _a shortening_). See 2523 and 2524.

2518. RESOLUTION AND CONTRACTION. In some kinds of verse a long syllable may be, as it were, broken up (_Resolution_) into the equivalent two shorts; and conversely two short syllables may in some cases be united (_Contraction_) into the equivalent long.

FEET.

2519. FEET. Latin verse (like English) is measured by groups of syllables called _Feet_. Each of these groups has a definite length of so many _morae_ (2515).

It is theoretically more accurate to make the foot purely a time-division, as some authorities do; but the definition given above is sanctioned by established usage.

2520. ARSIS and THESIS. Every complete foot consists of two parts, an accented and an unaccented. The part on which the rhythmical accent or _ictus_ falls is called the _Thesis_ (Gr. θέσις, _a setting down_). The unaccented part of the foot is termed the _Arsis_ (Gr. ἄρσις, _a raising_).

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.

[Transcriber’s Note:
In this section, forms such as {8} or {16.} represent musical notes:
eighth note, dotted sixteenth and similar.]

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 {8.} {16.} {16.} There is also a _cyclic anapaest_, marked ⏖ - or {16.} {16.} {8.}

Some scholars, however, hold that the cyclic dactyl had approximately the value 1½ + ½ + 1, or {8.} {16} {8}, 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.

[Transcriber’s Note:
In this section, a free-standing # represents the “diaeresis” symbol
as described in the text.]

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:

Mā́rs páter tḗ précor | quaésṓque útī síēs | vólēns própítiús
míhī́ dómṓ | fámiliaéque nóstraé, &c.

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:

Dabúnt malúm Metéllī # Naéviṓ poḗtae.
Novém Iovís concórdēs # fī́liaé sorṓrēs. (Naevius.)

Virúm mihī́, Camḗna, # ī́nsecḗ versū́tum. (Livius Andronicus.)

E͡ōrúm sectám sequóntur # múltī mórtā́lēs. (Naevius.)

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:

Dábunt málum Metéllī # Naéviṓ poḗtae.
Nóvem Ióvis concórdēs # fī́liaé sorṓrēs. (Naevius.)

Vírum míhi, Camḗna, # ī́nsecḗ versū́tum. (Livius Andronicus.)

E͡ōrum séctam sequóntur # múltī mórtā́lēs. (Naevius.)

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:

-́ ⏔ | -́ ⏔ | -́ ⏔ | -́ ⏔ | -́ ⏔ | -́ ⏔

[In the final (fifth) ⏔, the long-syllable line is in brackets.]

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:

Arma virumque canō ‖ Troiae quī prīmus ab ōrīs (V. 1, 1).

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,

Īnsīgnem ‖ pietāte ‖ virum ‖ tot adīre labōrēs (V. 1, 10).

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

Spargēns ūmida mella ‖ sopōriferumque papāver (V. 4, 486).

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

Dīc mihi, Dāmoetā, ‖ cuium pecus? # An Meliboeī? (V. _E._ 3, 1).

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

Paulāt(im) adnābam ‖ terrae; ‖ iam tūta tenēbam (V. 6, 358),

the principal caesura is after #terrae#, not #adnābam#.

Lines without a principal caesura are rare. An instance is

Nōn quīvīs videt inmodulāta poēmata iūdex (H. _AP._ 263).

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:

Rolls and rages amain the restless, billowy ocean,
While with a roar that soundeth afar the white-maned breakers
Leap up against the cliffs, like foemen madly rejoicing.

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

Crīspīnus minimō mē prōvocat; accipe, sī vīs (H. _S._ 1, 4, 14).

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

Parturient montēs, nāscētur rīdiculus mūs (H. _AP._ 139).

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._):

“These lame hexameters the strong-winged music of Homer!
No--but a most burlesque, barbarous experiment . . .
Hexameters no worse than daring Germany gave us,
Barbarous experiment, barbarous hexameters.” (TENNYSON).

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:

hocine | crēdibi|l(e) aut memo|rābile (T. Andr. 625).

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:

-́ ⏔ | -́ ⏔ | - ⏔ | -́ ⏑ ⌃

[In the final ⏔, the long-syllable line is in brackets.]

An example is:

Cármine | pérpetu|ṓ cele|brā́r(e) et (H. 1, 7, 6).

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:

Árbori|búsque co|maé (H. 4, 7, 2).

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.

[Erratum:
Árbori|búsque co|maé (H. 4, 7, 2).
Árbori|búsque co | maé (H. 4, 7, 2).]

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:

T. _Hau._ 275.

⏑ -́ | ⏑ -̇ | > ‖ -́ | ⏑ -̇ | > -́ | ⏑ -̇
⏑ -́ | > -̇ | ⏑ ‖ -́ | ⏑̇ ⏑ | ⏑ -́ | ⏑ -̇
> ⏑́ ⏑ | > -̇ | > -́ | ⏑ ‖ -̇ | ⏑ -́ | ⏑ -̇
⏑ ⏑́ ⏑ | ⏑ -̇ | > ‖ -́ | ⏑ -̇ | > -́ | ⏑ -̇
> -́ | > ⏑̇ ⏑ | ⏑ ‖ -́ | > ⏑̇ ⏑ | > -́ | ⏑ -̇
> ⏑́ ⏑ | > -̇ | > ‖ -́ | > -̇ | > -́ | ⏑ -̇
⏑ -́ | > -̇ | > ‖ -́ | > -̇ | > ⏑́ ⏑ | ⏑ -̇

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:

But one amid the throng of eager listeners,
A sable form with scornful eye and look averse,
Out-stretched a lean fore-finger and bespake Haroun.

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:

Meā́ | renī|det ‖ ín | domō | lacū́|nar. (H. 2, 18, 2.)
⏑ -́ | ⏑ -̇ | ⏑ ‖ -́ | ⏑ -̇ | ⏑ ⏗́ -̇

Seu pó|scit a|gnā sī́|ve mā|lit haé|dō. (H. 1, 4, 12.)
> -́ | ⏑ -̇ | > ‖ -́ | ⏑ -̇ | ⏑ ⏗́ -̇

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:

He smote the rock, and forth a tide of crystal waters streamed amain;
Up sprang the flowrets from the ground, and Nature smiled o’er all
the plain.

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:

“Now who be ye would cross Lochgyle, this dark and stormy water?”
(Campbell.)

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:

Rogitā́|re quasi | diffíci|le sit
⏖ -́ | ⏑̇ ⏑ | > ⏑́ ⏑ | ⏑ -̇ (T. _Eu._ 209).

Perū́n|xit hōc | Iā́|sonem
⏑ -́ | ⏑ -̇ | ⏑ -́ | ⏑ -̇ (H. _Epod._ 3, 12).

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.

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A Latin Grammar for Schools and CollegesChapter XXV: Part 25

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