A Latin Grammar for Schools and Colleges

Chapter XXVI: Part 26

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[Erratum:
2617 ... [⏑ ⏑́ ⏑] | [⏑ ⏑̇ ⏑] | ⏑ ⏑́ ⏑] |
line printed as shown, with mismatched bracket]

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.

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 (_Metrik_^2, 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.

[Erratum:
2628 ... the tribrach ⏑́ ⏑, the irrational spondee
⏑́ ⏑ the]

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:--

“Comrades, leave me here a little, while as yet ’tis early morn.”
(Tennyson.)

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:--

Over stream and mount and valley sweeps the merry, careless rover,
Toying with the fragrant blossoms, beating down the heads of clover.

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:--

Sil|vaé la|bōran|tḗs ge|lūque. (H. 1, 9, 3.)

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:--

Básili|c(ō) accipi|ḗre | vīctū
⏑́ ⏑ | -̇ ⏑ | -́ ⏑ | -̇ ⏑

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:--

Aút un|d(e) auxili|úm pe|tam (T. _Ph._ 729).

Nṓn e|bur ne|qu(e) aúre|um (H. 2, 18, 1).

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:--

Haú bonŭm | teneō | sérvom
-́ ⏑ | ⏑̇ ⏑ > | -́ ⏑ (Pl. _Most._ 721).

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:--

Qu(ī) ímpi|ger fu|ī́
-́ ⏑ | -̇ ⏑ | -́ ⌃ (Pl. _R._ 925).

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:--

Térruit | úrbem (H. 1, 2, 4).

Rā́ra iu|véntus (H. 1, 2, 24).

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:--

Quíd latet | út ma|rī́nae (H. 1, 8, 13).

Fū́nera | nḗ vi|rī́lis (H. 1, 8, 15).

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:--

Grā́tō, | Pýrrha, sub | ántrō (H. 1, 5, 3).

With initial trochee: Lū́te|úmve pa|pā́ver (Cat. 61, 195).

With initial iambus: Púel|laéque ca|nā́mus (Cat. 34, 4).

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:--

Quém mor|tís ‖ timu|ít gra|dúm (H. 1, 3, 17).

With initial trochee: Mónti|úm ‖ domi|n(a) út fo|rḗs (Cat. 34, 9).

With initial iambus: Púel|l(ae) ét ‖ pue|r(ī) ínte|grī́ (Cat. 34, 2).

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:--

Flū́mina | cṓnstite|rínt a|cūtō (H. 1, 9, 4).

Móntibus | ét Tibe|rím re|vértī (H. 1, 29, 12).

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:--

Cúius | vī́s fie|rī́ li|bélle | mū́nus (Mart. 3, 2, 1).

With initial trochee: Dḗ di|ḗ faci|tís me|ī́ so|dā́lēs (Cat. 47, 6).

With initial iambus: Ágit | péssimus | ómni|úm po|ḗta (Cat. 49, 5).

Compare in English:--

“Look, I come to the test, a tiny poem
All composed in a metre of Catullus.” (Tennyson.)

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.

[Erratum:
2664 ... -́ > | -́ ⏑⏑ | -́ ⏑ | -́ ⏑ | - ⏑
_printed as shown: expected -́ in last foot_]

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:--

With masculine caesura: Iám sa|tís ter|rī́s ‖ nivis | átque | dī́rae
(H. 1, 2, 1).

With feminine caesura: Phoébe | sílvā|rúmque ‖ po|tḗns Di|ā́na
(H. _C. S._ 1).

With trochee in second foot: Seú Sa|cā́s sa|gíttife|rṓsve | Párthōs
(Cat. 11, 6).

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:--

Ō | mā́tre | púlchrā # fī́lia | púlchri|ór (H. 1, 16, 1).

Vi|dḗs ut | áltā # stét nive | cándi|dúm (H. 1, 9, 1).

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:--

Maécē|nā́s ata|vī́s # ḗdite | rḗgi|bús (H. 1, 1, 1).

Quís dē|sī́deri|ṓ # sít pudor | aút mo|dús (H. 1, 24, 1).

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:--

Tḗ de|ṓs ō|rṓ ‖ Syba|rín # cū́r prope|rḗs a|mán|dṓ (H. 1, 8, 2).

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:--

-́ ⏖ | ⏗́ | -́ ⏖ | ⏗́ | -́ ⏖ | -́ ⏑ | ⏗́ | -́ ⌃, e.g.

δεῦτέ νιν ἅβραι Χάριτες καλλίκομοί τε Μοῖσαι

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:--

Volucér | pede cor|pore púl|cher (Ausonius).

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:--

Út malīs | gaúdeant # átqu(e) ex in|cómmodīs (T. _Andr._ 627).

Dé͡ind(e) uter|qu(e) ímperā|tṓr ‖ in medi|(um) éxeunt (Pl. _Am._ 223).

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.

[Errata:
2694 ... Dé͡ind(e) uter|qu(e) ímperā|tṓr ‖ in medi|(um) éxeunt
_The word “Deinde” may not display as intended. The accent should
appear over the letters “ei”, which are tied together._]

THE CRETIC TETRAMETER CATALECTIC.

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

⏔́ ⏑͐ ⏔̇ | ⏔́ ⏑ -̇ # ⏔́ ⏑͐ ⏔̇ | ⏔́ ⏑ ⌅

Examples are:--

Sī́ cadēs,| nṓn cadēs # quī́n cadam| tḗcum (Pl. _Most._ 329).

Nṓv(ī) eg(o) hoc| saéculum # mṓribus| quíbŭs sit (Pl. _Tri._ 283).

OTHER CRETIC VERSES.

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

Iám revor|tár. diūst| i(am) íd mihī (Pl. _Most._ 338).

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

⏔́ ⏑͐ ⏔̇ | ⏔́ ⏑ -̇

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

Hóc ub(ī̆) Am|phítru(ō) erus # cṓnspi|cā́tus | ést (Pl. _Am._ 242),

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:--

Habénd(um) et | ferúnd(um) hoc # onúst cum | labṓre (Pl. _Am._ 175).

At támen ubi | fidḗs? ‖ sī | rogḗs nīl | pudént hīc (T. _Andr._ 637).

Vetulaé sunt | min(ae) ámb(ae). At # bonā́s fu͡is|se crḗdō
(Pl. _B._ 1129).

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:--

Ad aétā|t(em) agúndam (Pl. _Tri._ 232).

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

Rerī́n tēr | in ánnō # t(ū) hās tṓn|sitā́|rī́? (Pl. _B._ 1127).

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:--

σείων μελί|ην Πηλίαδα | δεξιὸν κατ’ | ὦμον (Sotades).

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:--

⏕ ⏕́ [⏓] | [⏕] ⏑ [⏑] - # ⏕ ⏕́ [⏓] | [⏑] ⏑ ⏓́ ⌅

[Transcriber’s Note:
For brackets, see below, after § 2717.]

Examples are:--

Ades, ínquit, | Ō Cybḗbē, ‖ fera mónti|um deá (Maecenas).

⏑ ⏑ -́ ⏑ | - ⏑ -́ - # ⏑ ⏑ - ⏑ | - ⏑ ⏓́ ⌅

Super álta | vectus Áttis ‖ celerī́ ra|te mariá (Catullus 63, 1).

⏑ ⏑ -́ ⏑ | - ⏑ -́ - # ⏑ ⏑ -́ ⏑ | ⏑ ⏑ ⏑ ⏓́ ⌅

Quō nṓs de|cet citā́tīs # celerā́re | tripudiī́s (_Id._ 63, 26).

- -́ ⏑ | - ⏑ -́ - # ⏑ ⏑ -́ ⏑ | ⏑ ⏑ ⏑ -́ ⌅

Ego iúvenis, | eg(o) adulḗscēns # eg(o) ephḗbus,| ego puér
(_Id._ 63, 63).

⏑ ⏑ ⏑́ ⏑ ⏑ | ⏑ ⏑ ⏑ -́ - # ⏑ ⏑ -́ ⏑ | ⏑ ⏑ ⏑ ⏓́ ⌅

Tibi týpana | nōn inā́nī ‖ sonitū́ mā|tri’ deúm
(Varro, _Sat. Men._ 132 Buech.).

⏑ ⏑ ⏑́ ⏑ ⏑ | - ⏑ -́ - # ⏑ ⏑ -́ - | ⏑ ⏑ ⏓́ ⌅

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:--

Γαλλαὶ μη|τρὸς ὀρείης| φιλόθυρσοι| δρομάδες

and in English:--

“Perished many a maid and matron, many a valorous legionary,
Fell the colony, city and citadel, London, Verulam, Camuloduné.”
(Tennyson).

2717. Horace (3, 12) employs a system of ten pure Ionics _ā minōre_, e.g.:--

There is generally a diaeresis after each foot.

[Errata:
2714 ... ⏕ ⏕́ [⏓] | [⏕] ⏑ [⏑] - # ⏕ ⏕́ [⏓] | [⏑] ⏑ ⏓́ ⌅
The notations in brackets represent:
⏕ ⏕́ [1] | [2] ⏑ [3] - # ⏕ ⏕́ [1] | [4] ⏑ ⏓́ ⌅
1: breve over bracketed long line
2: pair of breves over long line over bracketed breve
3: accented long line over bracketed pair of breves
4: pair of breves over bracketed breve over bracketed long line ]

#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):--

⏑͐ -́ | ⏑ -̇ | ⏑͐ ‖ -́ | ⏑ -̇ | ⏑͐ -́ | ⏑ -̇
⏑͐ -́ | ⏑ -̇ | ⏑͐ -́ | ⏑ -̇
_Epodes_ 1-10.

So in Archilochus, e.g.:--

Ὦ Ζεῦ πάτερ, Ζεῦ, σὸν μὲν οὐρανοῦ κράτος,
σὺ δ’ ἔργ’ ἐπ’ ἀνθρώπων ὁρᾷς. (Fr. 88, Bergk).

2721. (III.) The HIPPONACTEAN or TROCHAIC STROPHE, a trochaic dimeter catalectic (2644) followed by an iambic trimeter catalectic (2601):--

-́ ⏑ | -̇ ⏑ | -́ ⏑ | -̇ ⌃
⏑͐ -́ | ⏑ -̇ | ⏑͐ ‖ -́ | ⏑ -̇ | ⏑ ⏗́ -̇
_C._ 2, 18.

2722. (IV.) The FIRST PYTHIAMBIC STROPHE, a dactylic hexameter (2556) followed by an iambic dimeter acatalectic (2617):--

-́ ⏔ | -́ ⏔ | -́ ‖ ⏔ | -́ ⏔ | -́ ⏑ ⏑ | -́ ⏔
⏑͐ -́ | ⏑ -̇ | ⏑͐ -́ | ⏑ -̇
_Epodes_ 14 _and_ 15.

So in Archilochus, e.g.:--

ἄψυχος, χαλεπῇσι θεῶν ὀδυνῇσιν ἕκητι
πεπαρμένος δι’ ὀστέων. (Fr. 84, Bergk).

[Transcriber’s note:
In nos. 2723 and 2724, the notation [⏔] represent a bracketed long
line over a pair of breves.]

2723. (V.) The SECOND PYTHIAMBIC STROPHE, a dactylic hexameter (2556) followed by a pure iambic trimeter (2594):--

-́ ⏔ | -́ ⏔ | -́ ‖ ⏔ | -́[⏔] | -́ ⏔
⏑ -́ | ⏑ -̇ | ⏑ ‖ -́ | ⏑ -̇ | ⏑ -́ | ⏑ -̇
_Epode_ 16.

So the Greek epigrammatists, e.g.:--

Οἶνός τοι χαρίεντι πέλει ταχὺς ἵππος ἀοιδῷ;
ὕδωρ δὲ πίνων οὐδὲν ἂν τέκοι σοφόν. (Nicaenetus).

2724. (VI.) The ALCMANIAN STROPHE, a dactylic hexameter (2556) followed by a dactylic tetrameter catalectic (2578):--

-́ ⏔ | -́ ⏔ | -́ ‖ ⏔ | -́ [⏔] | -́ ⏔
-́ ⏔ | -́ ⏔ | -́ [⏔] | -́ ⏑ ⌃
_C_. 1, 7, 28; _Epode_ 12.

2725. (VII.) The FIRST ARCHILOCHIAN STROPHE, a dactylic hexameter (2556) followed by a Lesser Archilochian (2579):--

-́ ⏔ | -́ ⏔ | -́ ‖ ⏔ | -́ ⏑ ⏑ | -́ ⏔
-́ ⏑ ⏑ | -́ ⏑ ⏑ | -́ ⌅
_C._ 4, 7.

2726. (VIII.) The SECOND ARCHILOCHIAN STROPHE, a dactylic hexameter (2556) followed by an iambelegus (2678):--

-́ ⏔ | -́ ⏔ | -‖ ⏔ | -́ ⏔ | -́ ⏑ ⏑ | -́ ⏔
⏑͐⁞-́ ⏑ | -́ ⏑͐ | -́ ⏑ | -̇ ⌃ # -́ ⏑ ⏑ | -́ ⏑ ⏑ | -́ ⌅
_Epode_ 13.

2727. (IX.) The THIRD ARCHILOCHIAN STROPHE, an iambic trimeter (2592) followed by an elegiambus (2680):--

⏑͐ -́ | ⏑ -̇ | ⏑͐ ‖ -́ | ⏑ -̇ | ⏑͐ -́ | ⏑ -̇
-́ ⏑ ⏑ | -́ ⏑ ⏑ | -́ ⌅ # ⏑͐ ⁞ -́ ⏑ | -̇ ⏑͐ | -́ ⏑ | -̇ ⌃
_Epode_ 11.

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

ἀλλά μ’ ὁ λυσιμελής, ὦ ’ταῖρε, δάμναται πόθος.

2728. (X.) The FOURTH ARCHILOCHIAN STROPHE, a Greater Archilochian (2677) followed by an iambic trimeter catalectic (2601):--

-́ ⏔ | -́ ⏔ | -́ ‖ ⏔ | -́ ⏑ ⏑ # -́ ⏑ | -́ ⏑ | -́ ⏑
⏑͐ -́ | ⏑ -̇ | ⏑͐ ‖ -́ | ⏑ -̇ | ⏑ ⏗́ -̇
_C._ 1, 4.

So Archilochus, e.g.:--

τοῖος γὰρ φιλότητος ἔρως ὑπὸ καρδίην ελυσθεὶς
πολλὴν κατ’ ἀχλὺν ὀμμάτων ἔχευεν (Fr. 103, Bergk).

See, however, 2677 _ad fin._

2729. (XI.) The LESSER ASCLEPIADEAN METRE, a series of Lesser Asclepiadeans (2669) employed stichically (2546):--

-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
_C._ 1, 1; 3, 30; 4, 8.

So Alcaeus, e.g.:--

ἦλθες ἐκ περάτων γᾶς ἐλεφαντίναν
λάβαν τῶ ξίφεος χρυσοδέταν ἔχων (Fr. 33, Bergk).

2730. (XII.) The GREATER ASCLEPIADEAN METRE, a series of Greater Asclepiadeans (2670) employed stichically (2546):--

-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -⌃
_C._ 1, 11, 18; 4, 10.

So Alcaeus, e.g.:--

μηδὲν ἄλλο φυτεύσῃς πρότερον δένδριον ἀμπέλω (Fr. 44, Bergk).

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):--

-́ > | -́ ⏖ | -́ ⏑ | -́ ⌃
-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
_C._ 1, 3, 13, 19, 36; 3, 9, 15, 19, 24, 25, 28; 4, 1, 3.

Cf. Alcaeus:--

νῦν δ’ [αὖτ’] οὗτος ἐπικρέτει
κινήσαις τὸν ἀπ’ ἴρας πύματον λίθον. (Fr. 82, Bergk).

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):--

-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
-́ > | -́ ⏖ | -́ ⏑ | -́ ⌃
_C._ 1, 6, 15, 24, 33; 2, 12; 3, 10, 16; 4, 5, 12.

2733. (XV.) The THIRD ASCLEPIADEAN STROPHE, two Lesser Asclepiadeans (2669), a Pherecratean (2659) and a Glyconic (2660):--

-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
-́ > | -́ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | -́ ⌃
-́ > | -́ ⏖ | -́ ⏑
-́ > | -́ ⏖ | -́ ⏑ | -́ ⌃
_C._ 1, 5, 14, 21, 23; 3, 7, 13; 4, 13.

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

λάταγες ποτέονται
κυλιχνᾶν ἄπο Τηΐαν. (Fr. 43, Bergk).

2734. (XVI.) The GREATER SAPPHIC STROPHE, an Aristophanic (2658) followed by a Greater Sapphic (2671):--

-́ ⏖ | -́ ⏑ | -́ ⏑
-́ ⏑ | -́ > | -́ ‖ ⏖ | ⏗́ # -́ ⏖ | -́ ⏑ | ⏗́ | -́ ⌃
_C._ 1, 8.

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:--

φαίνεταί μοι κῆνος ἴσος θέοισιν
ἔμμεν ὤνερ ὄστις ἐναντίος τοι
ἰζάνει καὶ πλασίον ἆδυ φωνεύ-
σας ὑπακούει (Fr. 2, Bergk).

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):--

⏑͐ ⁞ -́ ⏑ | -́ > # -́ ⏖ | -́ ⏑ | -́ ⌃
⏑͐ ⁞ -́ ⏑ | -́ > # -́ ⏖ | -́ ⏑ | -́ ⌃
⏑͐ ⁞ -́ ⏑ | -́ > | -́ ⏑ | -́ ⏑
-́ ⏖ | -́ ⏖ | -́ ⏑ | -́ ⏑

_C._ 1, 9, 16, 17, 26, 27, 29, 31, 34, 35, 37; 2, 1, 3, 5, 7, 9, 11, 13, 14, 15, 17, 19, 20; 3, 1, 2, 3, 4, 5, 6, 17, 21, 23, 26, 29; 4, 4, 9, 14, 15.

So Alcaeus:--

Ἀσυνέτημι τῶν ἀνέμων στάσιν·
τὸ μὲν γὰρ ἔνθεν κῦμα κυλίνδεται,
τὸ δ’ ἔνθεν· ἄμμες δ’ ἂν τὸ μέσσον
νᾶϊ φορήμεθα σὺν μελαίνᾳ. (Fr. 18, Bergk).

In the Greek poets the last two lines are sometimes joined by _synapheia_ (2510), and Horace has elision at the end of the third verse in 2, 3, 27; 3, 29, 35. But he frequently admits hiatus in that place.

2737. (XIX.) The IONIC SYSTEM, a system of ten pure Ionics _ā minōre_ (see 2717):--

⏑ ⏑ -́ - | ⏑ ⏑ -́ - | ⏑ ⏑ -́ - | ⏑ ⏑ -́ -
⏑ ⏑ -́ - | ⏑ ⏑ - - | ⏑ ⏑ -́ - | ⏑ ⏑ -́ -
⏑ ⏑ -́ - | ⏑ ⏑ -́ -
_C._ 3, 12.

[Erratum:
2736 ... τὸ δ’ ἔνθεν· ἄμμες δ’ ἂν τὸ μέσσον
text has ἀν without accent]

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A Latin Grammar for Schools and CollegesChapter XXVI: Part 26

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