Amphimacer
or Crelic
18.
18.
Latin - Elements of Latin Prosody and Metre Compiled with Selections
To
these add exHis, subtilis ; and names of months, as Afirilis,
Quinctilis, Sextilis : except humilis, fiarilis, and also simi-
lis. But all adjectives in ATILIS are short; as versatilis,
volatilis, umbraiilis, Sec.
7. Adjectives in INUS, derived from inanimate things, as
plants, trees, stones, &c. also from adverbs of time, or from
substantives denoting the four seasons of the year, shorten
the penult; as amaracinus, crocinus, hyactnthinus; cedri-
nus, Jaginuty oleaginus; adamantinus, crystallinus, sma-
ragdinus; crastinus, diutlnus, serotinus; earinus, ofiori-
nus, chimerinus, therinus i also annotlnus, hornotinus. To
which add bombycinus, elefihaniinus, which seem to refer
rather to the silk and ivory, than to the animals themselves.
8. Adjectives in INUS, derived from living things, also
numeral distributives, proper names, and gentile nouns,
lengthen the penult; as agninus, caninus, lefiorinus; binus,
trinus, quinus; Albinus, Cratinus, Justinus; Alexandri-
nus, Latinus, Venusinus, &c. To which add adjectives of
place; as collinus, marinus, vicinus; and those derived
from nouns denoting time; as malutinus, vesfiertinus ; to-
gether with all other adjectives in INUS not included in
the preceding rule; as festinus, libertinus, inofilnus, fiere-
grinus, aufiinus, &c.
9. Diminutives in OLUS, OLA, OLUM, and ULUS,
ULA, ULUM, always shorten the penult; as urceolus,
Jiliola, mustedium ; lectulus, ratiuncula, corculum, 8ec.
10. Adverbs in TIM, lengthen the penult; as ofifiiddtim,
viritim, Iributim. Except affdtim, flerfietim, and statim *
It. Desideratives in URIO shorten the antepenultima,
which in the second or third person is the penult; as esurio,
esuris, esurit. But other verbs in URIO lengthen that
syllable; as ligurio, hguris ; scatiirio, scaturit. -.
e But etdtim, signifying, " on the spot," " steadily," " constantly," has
the penult long. It occurs in Plautus, Amp*. 1, 1, 84. Ib. 120. and in
Terence, Phorm. 5, 3, 7. It is said to be derived, in common with st&tin,
from the same verb, Sto. Sec page 12. note a.
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? ( 61 )
SECT. XXIV.
OF FEET.
A Foot is a combination of two or more syllables,' with
due regard to their times or quantities.
Feet in metre are so called, because, by their aid, the
voice, as it were, moves along through the verse, in a mea-
sured pace.
Feet are divided into simple and compound. Of the
simple feet, four are of two, and eight of three syllables.
The compound feet are sixteen in number3 and contain each
four syllables.
SIMPLE FEET OF TWO SYLLABLES.
J. The Spondee, Sfiondaus, consists of two long syllables,
as omnes ; and derives its name from <nrov3v>, libatio, from
its being particularly used in the measure employed at sa-
crifices, on account of its majestic gravity.
2. The Pyrrhic, Pyrrichius, consists of two short syllables,
as Deus; and is so called, according to Hesychius, from
the Tlvfrxn ofxm;, or Pyrrhic dance, in the measure adapted
to which, this fool was predominant.
3- The Trochee, Trochteus, consists of one long and one
short syllable, as servdt; and takes its name from the verb
>>? >>Jf>>>>> currere, because it moves quickly. But Cicero,
Quintilian, and Terentianus, call it Choreus, from the word
chorus, because it is well adapted to dancing and music.
4. The Iambus, Iambus, consists of one short and one long
syllable, as fiids; and is so denominated from the verb
laffTEiy, maledkere, this foot having been at first peculiarly
appropriated to satyrical compositions
f Not more than three according to Quintilian, 9, 4. There can in
strictness be no feet of four syllables, since no word over three syllables can
be found which is not formed by the union of simple feet.
g According to some, the name is derived from iu. f*Gi? uv> maledicere,
hut this is rather a derivation itself from u(tCtt. According to others, it
comes from IttftCn, a young female, who having been severely attacked
in some satyrical verses, put an end to her existence: and on this account
they suppose that the Iambus consists of a short and a long, quod i i/'fj/s
e parvo orta principio, in magnum malum desinat,"
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? OF FEET
SIMPLE FEET OF THREE SYLLABLES.
1. The Molossus, Molossus, consists of three long syl-
lables, as delectdnt; and takes its name from the Molossi, a
people of Epirus, with whom it was a favourite foot.
2. The Tribrac, Tribrdchys, consists of three short syl-
lables, as melius ; whence its name is derived, being com-
posed of t{? >>j, /res, and fy*xvU brevis. But Quintilian ge-
nerally calls it Trochteusfi
3. The Dactyl, Dactyhts, consists of one long and two
short syllables, as cdrmina; and derives its name from &*x-
tiAo? , digitus, the comparative length of its three syllables
resembling that of the three joints which compose the finger,
the first being longer than either of the other two. Cicero
calls this foot Herous, from its being particularly made use
of in relating the exploits of heroes.
4. The Anapaest, Anafiastus, consists of two short syl-
lables and one long, as animos; and is thus denominated
from the verb u>><xita. iuv, refiercutere, because those who
danced according to the cadence of this foot, used to beat
the ground in a manner directly contrary to that which was
observed in the Dactyl.
5. The Bacchic, Bacchiusj consists of one short syllable
and two long, as dolores ; and is so called from its having,
been frequently used in the hymns of Bacchus.
6. The Antibacchic, Antibacchius, consists of txvo long
syllables and one short, as fiettuntur; and takes its name
from its opposition to the Bacchic.
7. The Ampbimacer or Cretic, Amfihim&cer sive Creticus,
is composed of one short syllable between two long, as cds-
litem. Both these names are mentioned in Quintilian, who
makes the latter the more usual one. The first comes from
a/iifi, utrinque, and juaxjo;, longus; and the latter is owing
to the circumstance of its having been a favourite foot with
the people of Crete,
h The Trochseus anil the Tribrac, are in fact /ro^jovs/, or interchange-
able ip metre, the long syllable of the former being equal in time to the
first and second syllables of the latter, taken together.
i Terentisnus Maurns reverses the names of the Bacchic and Anti-
bacchic. The common distinction however has the authority of Quintilian
(9, 4. ) in its favour.
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? OF FEET.
63
8. The Amphibrac, AmfMbrachys, consists of one long
syllable between two short, as amdre ; and is so called from
utrinque, and B^x^i brevis.
COMPOUND FEET.
1. The double Spondee, Disfiond&us, is composed of four
long syllables, as infinitis, that is, of two Spondees put to-
gether.
2. The Proceleusmatic, Proceleusmaticus, consists of two
Pyrrhics, that is, of four short syllables, as hominibus. It is
said to have taken its name from xEXiuayxa, " hortamentum
quod remigibus datur," being well adapted by its celerity to
sudden and unexpected occasions.
3. The double Iambus, DHambus, consists of two Iam-
buses, as severitds.
4. The double Trochee or double Choree, Dilrochxus
sive Dichorxus, consists of two Trochees, as fiermanire.
5. The greater Ionic, Ionicus major, sive a mq/ore, consists
of a Spondee and a Pyrrhic, that is, of two long and two
short syllables, as cdlcdribus.
6. The smaller Ionic, Ionicus minor, sive a minore, consists
of a Pyrrhic and a Spondee, that is, of two short and two
long syllables, as firdfierdbdnt.
These two feet are called Ionic, from their having been
used chiefly by the Ionians. One is called Ionicus majort
sive a majore, because it begins with the greater quantity,
that is, with two long syllables: and the other is termed
Ionicus minor, sive a minore, because it begins with the
less quantity, that is, with two short syllables. k
7. The Choriambus, Choriambus, consists of a Choree, or
Trochee, and an Iambus, that is, of two short syllables be-
tween two long, as nobilitas.
8. The Antispast, Antisfiastus, consists of an Iambus and
a Trochee, that is, of two long syllables between two short,
as secunddre. It derives its name from the verb amoTrowrflaj,
in contrariam trdhi, because it passes from a short to a long,
and then, reversing the order, from a long to a short. .
k Marius Victorious reverses the names of those two feet.
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? 64
OF FEET.
9. The first Ephrit, Efiitritus firimus, is composed of an
Iambus and a Spondee, and consists of. one short syllable and
three long, as sdlutdntes.
10. The second Epitrit, Efiitritus secundum, is composed
of a Trochee and a Spondee, and consists of a long, a short,
and then two long syllables, as concVdti.
11. The third Epitrit, Efiitritus tertius, is composed of a
. Spondee and an Iambus, and consists of two long syllables,
followed by a short and a long, as communicant.
12. The fourth Epitrit, Efiitritus quartus, is composed of
a Spondee and a Trochee, and consists of three long syllables
and one short, as incdntdre.
These four last feet derive their name from the word
nrirgiros, which denotes a proportion, containing some cer-
tain number together with a third part thereof. This third
part in the present instance is the additional short syllable
which is joined to the three long, and from its relative
position in each, the feet are styled first, second, third, and
fourth Epitrits. 1
13. The first Paeon, Paon firimus, is composed of a
Trochee and a Pyrrhic, and consists of one long syllable
and three short, as conflcere.
14. The second Paeon, Paon secundus, is composed of an
Iambus and a Pyrrhic, and consists of a short and a long,
and then two short syllables, as resolvere.
15. The third Paeon, Paon tertius, is composed of a
Pyrrhic and a Trochee, and consists of two short syllables,
followed by a long and a short, as socldre.
16. The fourth Paeon, Paon quartus, is composed of a
Pyrrhic and an Iambus, and consists of three short syllables
and one long, as celerltds.
The Paeon may also be called Paean, these words differ-
ing only in dialect. The foot was so denominated, from its
having been particularly used in the Hymns to Apollo. --
The Paeon is directly opposed to the Epitrit. In the lat-
ter, there is one short with three long--in the former, one
long with three short. --The first, second, third, and fourth
Paeons, are so named from the relative situation of the
long syllable in each.
1 The second Epitrit was also called Kag/xo;, the third 'VnStttt and the
fourth Mwyntit) according to Hephsestion.
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? OF FEET.
65
To the list of compound feet, are sometimes added the
two following:--
The Dochmius,m composed of an Iambus and Amphima-
cer, and consisting of five syllables, viz. a short, two long, a
short and a long, as dberrdverdnt.
The Mesomacer," composed of a Pyrrhic and a Dactyl,
and containing also five syllables, viz. two short, a long, and
two short, as firdhlbebimus.
The following Table exhibits the Feet, both simfile and
comfiound, in the order in which they have just been
described. "
SIMPLE FEET OF TWO SYLLABLES.
C1 . Spondee . . ? . - -
(2. Pyrrhic . . . . >> <<
S 3. Trochee or Choree . . - -
1 4. Iambus . . . . << _
SIMPLE FEET OF THREE SYLLABLES.
5 1. Molossus
? 2. Tribrac
5 3. Dactyl
I 4. Anapxst
S 5. Bacchic
l 6. Antibacchic
( 7.
Amphimacer or Crelic
18. Amphibrac . . *
m The Dochmius is derived from ^oYy-iot, obliqmts. It ia sometimes,
though, incorrectly, termed Dochimus, Vide Cic. Qrat- 64- ed* Ernesti,j2>>
iiotis.
n From /itiiroc, medius, and jtutsgof, Itmgut, the name b' inc derived]
from the position of, the long syllable, i,n the middle, between two short on
each side.
o With regard to feet m generat, the student wiH do 'well to reraem ber,
? what has been already briefly alluded to in a preceding note, thai, correctly
speaking, the only real feet are the twelve simple ones, and that the others
are more preDeriy measures, or combinations of the simple feet,
F2
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? , or FEET.
COMPOUND FEET.
FOUR OF THE SAME FOOT DOUBLED.
1. Double Spondee . ? *
2. Proceleusmatic . ? <<
3. Double Trochee .
4. Double Iambus
FOUR OF CONTRARY FEET.
1. Greater Ionic
2. Smaller Ionic
3. Choriambus
4. Antispast. . .
FOUR FEET, IN WHICH LONG TIMES EXCEED.
5 1. First Epitrit . . - - -
? 2. Second Epitrit . . - - -
5 3. Third Epitrit . . - - -
14. Fourth Epitrit . . , - -
FOUR FEET, IN WHICH SHORT TIMES EXCEED.
5 1. First Pseon . . . . -
12. Second Paeon . . >> - -
C 3. Third Pseon , . * - -
14. Fourth Pseon . . - . -
TWO OTHER COMPOUND FEET, OF FIVE SYLLABLES
1. Dochmius , . . . - - x
>>, Mesomacer . . <<. -. -<<
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? ( er )
SECT. XXV.
FIGURES OF PROSODY.
1. CJESURA.
Part 1.
THE term Caesura is used in two different senses by pro-
sodians ; first, with reference to whole verses; and secondly,
as regards single feet.
In the former acceptation, it means the division of a verse
into two portions or members, affording a short pause or
rest for the voice, in some convenient part, where that pause
may take place without injury to the sense, or the harmony
of the line ; as,
Virg. Tanta molis erat || Romanam condere gentem.
Idem. Errabant actifatia \\ maria omnia circum. .
In this sense however, it is usually, for distinction sake,
styled the canural fiause, and is chiefly connected with the
consideration of Hexameter verse. It will be treated of
more at large under that head.
In its application to single feet, the Caesura means the
division or separation which takes place in a foot, on account
of the syllables which compose that foot, belonging to differ-
ent words; as,
Virg. Pasto\res ovi\um tene\vo& de\fielltre\fxtus.
In this verse, the Caesura, in its second acceptation, occurs
three times, viz. in the second foot, between res and ovi--in
the third, between um and tene---and in the fourth, between
ros and de,p
There are three kinds of Caesura, the syllabic, the tro-
chaic, and the monosyllabic.
The Syllabic Csesura is that, in which the first part of the
divided foot consists of the last syllable of a word ; as,
Virg. jSi7ff<<|trem tenu\\ m<<|sam medi\taris a\vena.
p The term cissura, is derived from cado, to cut off. --Some give the
name to the final long syllable which remains after the completion of a pre-
ceding foot, as res, um, and ros, in the line given above. The best proso-
dians however consider it more accurate to confine the term to the separa-
tion or division which takes place in a foot, and to call the residuary long
syllable, simply a long syllable, or a semifoot. ' "
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? ? g8 FIGURES OF PROSODY.
The syllabic Caesura may take place in a heroic verse, at
the triemimeris, penthemimeris, hephthemimeris, and some-
times at the ennehemimeris ;i as,
35 7
Virg. Si canz'|mus syl\vas, *yZ|vae sint | consule I digna.
367 9
Idem, llle /c|tus nive\um mot\\\ ful\tns hya\cintho.
The Trochaic Caesura is that, in which the first part of the
divided foot consists either of a long and short syllable re-
maining at the end of a word, or of an entire word, comprised
of one long and one short syllable; as,
Virg. Fortu\f\&\\is et | llle, de\os qui | novit a\grestes.
The trochaic Caesura may take place in either of the first
five feet of a verse; as,
Virg. Arma firo\cul Cttr|rusque vi\rum mi|raiur i\nanes.
Idem. Talia \ voce re\fert, o\ terque s^alterque be\ati.
Two successive trochees however, in the second and third
feet, must be avoided, since they give the verse a flippant
and undignified air; as,
Ennius. Ergo ? <<aIgisque ma|gTsqup Vi\ri nunc | gloria |
claret.
Propert. Et gravida re|pendit in\iquis | pensa qua\sillis.
In the third and fourth, they are nearly as disagreeable ;r
Ennius. Pruden\tem, 5TM/|multa Zo|quIve ta\cereve\ fiosset.
q These terms owe their origin to the practice generally adopted by the
old grammarians, of measuring lines by half feet. Thus the triemimeris is
that portion of a verse (counted or measured from the beginning of a line)
which contains three half parts, i. e. three half fe<<t, or a foot and a half--
the penthemimeris, five half feet, or two feet and a half--the hephthemi-
merin, seven half feet, or three feet and a half--the ennehemimeris, nine
half feet, or four feet and a half. The term triemimeris, is derived from
T? tH, tres, Hpio-us, ilimidius, and ,Megit> pars. The derivation of the
rest is similar, the numerals wsvts, Wto. , and aim, being merely substi-
tuted in succession, in plaee of Tji/t.
r In Homer however, we have two remarkable instances of the use of
successive trochees in producing a beautiful onomatopoeia.
no*. ** f otviavra, K*T]<<VT<t, irtL^nntt. ts, | toy/titt I t' >>*6ov.
11. 4,116.
AtfTK <<>>! <</t* m\tcitt n. \i\\iitiro | Knits a. i\a. it>is. Od. A, 597.
The following striking passage also may be cited from Virgil, JEn. 1, 85,.
Una . Eujrusque ^Vettusque ru{unt cre|berque pro\cettisr
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? FIGURES OF PROSODY.
But two successive trochees may agreeably occur in thd
first and second feet; as,
Virg. Mre ei|ere vi\ro*, Mar\temque ac\cendere\cantu.
Or in the fourth and fifth; as,
Virg. Et glau\cas sali\ces casi[amque cro|cumque ru]
bentem.
The Monosyllabic Caesura is that, in which the first syllable
of the divided foot is a monosyllable ; as,
Virg. Hie vir hie \ est tibi | quern firv\mitti \ stefiius \ audis.
Of the three kinds of Caesura which have been enumer-
ated, the syllabic seems to have been the principal-one in
Latm versification; and but few harmonious lines can be
found, in which it is not introduced. Next in metrical effect
is the Trochaic.
On the Caesura, depend, in a very great degree, the beauty
and melody of verse. While its presence serves to give ani-
mation to the line, and by connecting together the different
words of which it is composed, imparts to it gracefulness
and ease, its absence is marked by a total want of poetic har-
mony. A line, in which the Caesura is either wholly omitted
or in a great measure neglected, has in fact little to distin-
guish it from common prose, and can only be admissible
into Latin poetry, on occasions in which harmony is pur-
posely avoided, as in many of the neglected hexameters of
Horace.
The following lines may serve to show the uncouthness
and inelegance attendant upon the neglect of the Caesura:
Ennius. Sfiarsis | hastis \ late \ camfius | sfilendet et \ horret.
Idem. Disfier\ge hostes, | distrafie \ diduc | divide | differ.
Propert. JVbn me | moribus | ilia sed | herbis \ imfiroba \ vicit.
A Caesura however is not indispensably requisite in every
foot of a verse. Although the most melodious lines are cer-
tainly those in which the Caesura is frequently introduced,
. still a long uninterrupted series of them, would have any
other than a pleasing effect; and therefore it becomes ad-
visable occasionally to omit the Caesura in one or more of
the feet, and in this way to produce an agreeable variety.
The following rules have been laid down on this subject, and
deserve attention :s
s Bradley's Latin Prosody, p. 49--51.
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? 70 FIGURES OF PROSODY.
1. Iii the first foot of a verse, the Csesura may generally
be omitted ; as,
Virg. Pauperis | et tugu\ri con\gestum \ cesfiite \ culmen.
2. In the second foot, the Csesura is often omitted; but
when this omission takes place, the word which begins the
foot is generally of sufficient length to complete it, and leave
a Csesural syllable in the next foot; as,*
Virg. Sguamea | convol| vens sub\lato \ fiectore | terga.
3.
these add exHis, subtilis ; and names of months, as Afirilis,
Quinctilis, Sextilis : except humilis, fiarilis, and also simi-
lis. But all adjectives in ATILIS are short; as versatilis,
volatilis, umbraiilis, Sec.
7. Adjectives in INUS, derived from inanimate things, as
plants, trees, stones, &c. also from adverbs of time, or from
substantives denoting the four seasons of the year, shorten
the penult; as amaracinus, crocinus, hyactnthinus; cedri-
nus, Jaginuty oleaginus; adamantinus, crystallinus, sma-
ragdinus; crastinus, diutlnus, serotinus; earinus, ofiori-
nus, chimerinus, therinus i also annotlnus, hornotinus. To
which add bombycinus, elefihaniinus, which seem to refer
rather to the silk and ivory, than to the animals themselves.
8. Adjectives in INUS, derived from living things, also
numeral distributives, proper names, and gentile nouns,
lengthen the penult; as agninus, caninus, lefiorinus; binus,
trinus, quinus; Albinus, Cratinus, Justinus; Alexandri-
nus, Latinus, Venusinus, &c. To which add adjectives of
place; as collinus, marinus, vicinus; and those derived
from nouns denoting time; as malutinus, vesfiertinus ; to-
gether with all other adjectives in INUS not included in
the preceding rule; as festinus, libertinus, inofilnus, fiere-
grinus, aufiinus, &c.
9. Diminutives in OLUS, OLA, OLUM, and ULUS,
ULA, ULUM, always shorten the penult; as urceolus,
Jiliola, mustedium ; lectulus, ratiuncula, corculum, 8ec.
10. Adverbs in TIM, lengthen the penult; as ofifiiddtim,
viritim, Iributim. Except affdtim, flerfietim, and statim *
It. Desideratives in URIO shorten the antepenultima,
which in the second or third person is the penult; as esurio,
esuris, esurit. But other verbs in URIO lengthen that
syllable; as ligurio, hguris ; scatiirio, scaturit. -.
e But etdtim, signifying, " on the spot," " steadily," " constantly," has
the penult long. It occurs in Plautus, Amp*. 1, 1, 84. Ib. 120. and in
Terence, Phorm. 5, 3, 7. It is said to be derived, in common with st&tin,
from the same verb, Sto. Sec page 12. note a.
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? ( 61 )
SECT. XXIV.
OF FEET.
A Foot is a combination of two or more syllables,' with
due regard to their times or quantities.
Feet in metre are so called, because, by their aid, the
voice, as it were, moves along through the verse, in a mea-
sured pace.
Feet are divided into simple and compound. Of the
simple feet, four are of two, and eight of three syllables.
The compound feet are sixteen in number3 and contain each
four syllables.
SIMPLE FEET OF TWO SYLLABLES.
J. The Spondee, Sfiondaus, consists of two long syllables,
as omnes ; and derives its name from <nrov3v>, libatio, from
its being particularly used in the measure employed at sa-
crifices, on account of its majestic gravity.
2. The Pyrrhic, Pyrrichius, consists of two short syllables,
as Deus; and is so called, according to Hesychius, from
the Tlvfrxn ofxm;, or Pyrrhic dance, in the measure adapted
to which, this fool was predominant.
3- The Trochee, Trochteus, consists of one long and one
short syllable, as servdt; and takes its name from the verb
>>? >>Jf>>>>> currere, because it moves quickly. But Cicero,
Quintilian, and Terentianus, call it Choreus, from the word
chorus, because it is well adapted to dancing and music.
4. The Iambus, Iambus, consists of one short and one long
syllable, as fiids; and is so denominated from the verb
laffTEiy, maledkere, this foot having been at first peculiarly
appropriated to satyrical compositions
f Not more than three according to Quintilian, 9, 4. There can in
strictness be no feet of four syllables, since no word over three syllables can
be found which is not formed by the union of simple feet.
g According to some, the name is derived from iu. f*Gi? uv> maledicere,
hut this is rather a derivation itself from u(tCtt. According to others, it
comes from IttftCn, a young female, who having been severely attacked
in some satyrical verses, put an end to her existence: and on this account
they suppose that the Iambus consists of a short and a long, quod i i/'fj/s
e parvo orta principio, in magnum malum desinat,"
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? OF FEET
SIMPLE FEET OF THREE SYLLABLES.
1. The Molossus, Molossus, consists of three long syl-
lables, as delectdnt; and takes its name from the Molossi, a
people of Epirus, with whom it was a favourite foot.
2. The Tribrac, Tribrdchys, consists of three short syl-
lables, as melius ; whence its name is derived, being com-
posed of t{? >>j, /res, and fy*xvU brevis. But Quintilian ge-
nerally calls it Trochteusfi
3. The Dactyl, Dactyhts, consists of one long and two
short syllables, as cdrmina; and derives its name from &*x-
tiAo? , digitus, the comparative length of its three syllables
resembling that of the three joints which compose the finger,
the first being longer than either of the other two. Cicero
calls this foot Herous, from its being particularly made use
of in relating the exploits of heroes.
4. The Anapaest, Anafiastus, consists of two short syl-
lables and one long, as animos; and is thus denominated
from the verb u>><xita. iuv, refiercutere, because those who
danced according to the cadence of this foot, used to beat
the ground in a manner directly contrary to that which was
observed in the Dactyl.
5. The Bacchic, Bacchiusj consists of one short syllable
and two long, as dolores ; and is so called from its having,
been frequently used in the hymns of Bacchus.
6. The Antibacchic, Antibacchius, consists of txvo long
syllables and one short, as fiettuntur; and takes its name
from its opposition to the Bacchic.
7. The Ampbimacer or Cretic, Amfihim&cer sive Creticus,
is composed of one short syllable between two long, as cds-
litem. Both these names are mentioned in Quintilian, who
makes the latter the more usual one. The first comes from
a/iifi, utrinque, and juaxjo;, longus; and the latter is owing
to the circumstance of its having been a favourite foot with
the people of Crete,
h The Trochseus anil the Tribrac, are in fact /ro^jovs/, or interchange-
able ip metre, the long syllable of the former being equal in time to the
first and second syllables of the latter, taken together.
i Terentisnus Maurns reverses the names of the Bacchic and Anti-
bacchic. The common distinction however has the authority of Quintilian
(9, 4. ) in its favour.
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? OF FEET.
63
8. The Amphibrac, AmfMbrachys, consists of one long
syllable between two short, as amdre ; and is so called from
utrinque, and B^x^i brevis.
COMPOUND FEET.
1. The double Spondee, Disfiond&us, is composed of four
long syllables, as infinitis, that is, of two Spondees put to-
gether.
2. The Proceleusmatic, Proceleusmaticus, consists of two
Pyrrhics, that is, of four short syllables, as hominibus. It is
said to have taken its name from xEXiuayxa, " hortamentum
quod remigibus datur," being well adapted by its celerity to
sudden and unexpected occasions.
3. The double Iambus, DHambus, consists of two Iam-
buses, as severitds.
4. The double Trochee or double Choree, Dilrochxus
sive Dichorxus, consists of two Trochees, as fiermanire.
5. The greater Ionic, Ionicus major, sive a mq/ore, consists
of a Spondee and a Pyrrhic, that is, of two long and two
short syllables, as cdlcdribus.
6. The smaller Ionic, Ionicus minor, sive a minore, consists
of a Pyrrhic and a Spondee, that is, of two short and two
long syllables, as firdfierdbdnt.
These two feet are called Ionic, from their having been
used chiefly by the Ionians. One is called Ionicus majort
sive a majore, because it begins with the greater quantity,
that is, with two long syllables: and the other is termed
Ionicus minor, sive a minore, because it begins with the
less quantity, that is, with two short syllables. k
7. The Choriambus, Choriambus, consists of a Choree, or
Trochee, and an Iambus, that is, of two short syllables be-
tween two long, as nobilitas.
8. The Antispast, Antisfiastus, consists of an Iambus and
a Trochee, that is, of two long syllables between two short,
as secunddre. It derives its name from the verb amoTrowrflaj,
in contrariam trdhi, because it passes from a short to a long,
and then, reversing the order, from a long to a short. .
k Marius Victorious reverses the names of those two feet.
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? 64
OF FEET.
9. The first Ephrit, Efiitritus firimus, is composed of an
Iambus and a Spondee, and consists of. one short syllable and
three long, as sdlutdntes.
10. The second Epitrit, Efiitritus secundum, is composed
of a Trochee and a Spondee, and consists of a long, a short,
and then two long syllables, as concVdti.
11. The third Epitrit, Efiitritus tertius, is composed of a
. Spondee and an Iambus, and consists of two long syllables,
followed by a short and a long, as communicant.
12. The fourth Epitrit, Efiitritus quartus, is composed of
a Spondee and a Trochee, and consists of three long syllables
and one short, as incdntdre.
These four last feet derive their name from the word
nrirgiros, which denotes a proportion, containing some cer-
tain number together with a third part thereof. This third
part in the present instance is the additional short syllable
which is joined to the three long, and from its relative
position in each, the feet are styled first, second, third, and
fourth Epitrits. 1
13. The first Paeon, Paon firimus, is composed of a
Trochee and a Pyrrhic, and consists of one long syllable
and three short, as conflcere.
14. The second Paeon, Paon secundus, is composed of an
Iambus and a Pyrrhic, and consists of a short and a long,
and then two short syllables, as resolvere.
15. The third Paeon, Paon tertius, is composed of a
Pyrrhic and a Trochee, and consists of two short syllables,
followed by a long and a short, as socldre.
16. The fourth Paeon, Paon quartus, is composed of a
Pyrrhic and an Iambus, and consists of three short syllables
and one long, as celerltds.
The Paeon may also be called Paean, these words differ-
ing only in dialect. The foot was so denominated, from its
having been particularly used in the Hymns to Apollo. --
The Paeon is directly opposed to the Epitrit. In the lat-
ter, there is one short with three long--in the former, one
long with three short. --The first, second, third, and fourth
Paeons, are so named from the relative situation of the
long syllable in each.
1 The second Epitrit was also called Kag/xo;, the third 'VnStttt and the
fourth Mwyntit) according to Hephsestion.
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? OF FEET.
65
To the list of compound feet, are sometimes added the
two following:--
The Dochmius,m composed of an Iambus and Amphima-
cer, and consisting of five syllables, viz. a short, two long, a
short and a long, as dberrdverdnt.
The Mesomacer," composed of a Pyrrhic and a Dactyl,
and containing also five syllables, viz. two short, a long, and
two short, as firdhlbebimus.
The following Table exhibits the Feet, both simfile and
comfiound, in the order in which they have just been
described. "
SIMPLE FEET OF TWO SYLLABLES.
C1 . Spondee . . ? . - -
(2. Pyrrhic . . . . >> <<
S 3. Trochee or Choree . . - -
1 4. Iambus . . . . << _
SIMPLE FEET OF THREE SYLLABLES.
5 1. Molossus
? 2. Tribrac
5 3. Dactyl
I 4. Anapxst
S 5. Bacchic
l 6. Antibacchic
( 7.
Amphimacer or Crelic
18. Amphibrac . . *
m The Dochmius is derived from ^oYy-iot, obliqmts. It ia sometimes,
though, incorrectly, termed Dochimus, Vide Cic. Qrat- 64- ed* Ernesti,j2>>
iiotis.
n From /itiiroc, medius, and jtutsgof, Itmgut, the name b' inc derived]
from the position of, the long syllable, i,n the middle, between two short on
each side.
o With regard to feet m generat, the student wiH do 'well to reraem ber,
? what has been already briefly alluded to in a preceding note, thai, correctly
speaking, the only real feet are the twelve simple ones, and that the others
are more preDeriy measures, or combinations of the simple feet,
F2
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? , or FEET.
COMPOUND FEET.
FOUR OF THE SAME FOOT DOUBLED.
1. Double Spondee . ? *
2. Proceleusmatic . ? <<
3. Double Trochee .
4. Double Iambus
FOUR OF CONTRARY FEET.
1. Greater Ionic
2. Smaller Ionic
3. Choriambus
4. Antispast. . .
FOUR FEET, IN WHICH LONG TIMES EXCEED.
5 1. First Epitrit . . - - -
? 2. Second Epitrit . . - - -
5 3. Third Epitrit . . - - -
14. Fourth Epitrit . . , - -
FOUR FEET, IN WHICH SHORT TIMES EXCEED.
5 1. First Pseon . . . . -
12. Second Paeon . . >> - -
C 3. Third Pseon , . * - -
14. Fourth Pseon . . - . -
TWO OTHER COMPOUND FEET, OF FIVE SYLLABLES
1. Dochmius , . . . - - x
>>, Mesomacer . . <<. -. -<<
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? ( er )
SECT. XXV.
FIGURES OF PROSODY.
1. CJESURA.
Part 1.
THE term Caesura is used in two different senses by pro-
sodians ; first, with reference to whole verses; and secondly,
as regards single feet.
In the former acceptation, it means the division of a verse
into two portions or members, affording a short pause or
rest for the voice, in some convenient part, where that pause
may take place without injury to the sense, or the harmony
of the line ; as,
Virg. Tanta molis erat || Romanam condere gentem.
Idem. Errabant actifatia \\ maria omnia circum. .
In this sense however, it is usually, for distinction sake,
styled the canural fiause, and is chiefly connected with the
consideration of Hexameter verse. It will be treated of
more at large under that head.
In its application to single feet, the Caesura means the
division or separation which takes place in a foot, on account
of the syllables which compose that foot, belonging to differ-
ent words; as,
Virg. Pasto\res ovi\um tene\vo& de\fielltre\fxtus.
In this verse, the Caesura, in its second acceptation, occurs
three times, viz. in the second foot, between res and ovi--in
the third, between um and tene---and in the fourth, between
ros and de,p
There are three kinds of Caesura, the syllabic, the tro-
chaic, and the monosyllabic.
The Syllabic Csesura is that, in which the first part of the
divided foot consists of the last syllable of a word ; as,
Virg. jSi7ff<<|trem tenu\\ m<<|sam medi\taris a\vena.
p The term cissura, is derived from cado, to cut off. --Some give the
name to the final long syllable which remains after the completion of a pre-
ceding foot, as res, um, and ros, in the line given above. The best proso-
dians however consider it more accurate to confine the term to the separa-
tion or division which takes place in a foot, and to call the residuary long
syllable, simply a long syllable, or a semifoot. ' "
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? ? g8 FIGURES OF PROSODY.
The syllabic Caesura may take place in a heroic verse, at
the triemimeris, penthemimeris, hephthemimeris, and some-
times at the ennehemimeris ;i as,
35 7
Virg. Si canz'|mus syl\vas, *yZ|vae sint | consule I digna.
367 9
Idem, llle /c|tus nive\um mot\\\ ful\tns hya\cintho.
The Trochaic Caesura is that, in which the first part of the
divided foot consists either of a long and short syllable re-
maining at the end of a word, or of an entire word, comprised
of one long and one short syllable; as,
Virg. Fortu\f\&\\is et | llle, de\os qui | novit a\grestes.
The trochaic Caesura may take place in either of the first
five feet of a verse; as,
Virg. Arma firo\cul Cttr|rusque vi\rum mi|raiur i\nanes.
Idem. Talia \ voce re\fert, o\ terque s^alterque be\ati.
Two successive trochees however, in the second and third
feet, must be avoided, since they give the verse a flippant
and undignified air; as,
Ennius. Ergo ? <<aIgisque ma|gTsqup Vi\ri nunc | gloria |
claret.
Propert. Et gravida re|pendit in\iquis | pensa qua\sillis.
In the third and fourth, they are nearly as disagreeable ;r
Ennius. Pruden\tem, 5TM/|multa Zo|quIve ta\cereve\ fiosset.
q These terms owe their origin to the practice generally adopted by the
old grammarians, of measuring lines by half feet. Thus the triemimeris is
that portion of a verse (counted or measured from the beginning of a line)
which contains three half parts, i. e. three half fe<<t, or a foot and a half--
the penthemimeris, five half feet, or two feet and a half--the hephthemi-
merin, seven half feet, or three feet and a half--the ennehemimeris, nine
half feet, or four feet and a half. The term triemimeris, is derived from
T? tH, tres, Hpio-us, ilimidius, and ,Megit> pars. The derivation of the
rest is similar, the numerals wsvts, Wto. , and aim, being merely substi-
tuted in succession, in plaee of Tji/t.
r In Homer however, we have two remarkable instances of the use of
successive trochees in producing a beautiful onomatopoeia.
no*. ** f otviavra, K*T]<<VT<t, irtL^nntt. ts, | toy/titt I t' >>*6ov.
11. 4,116.
AtfTK <<>>! <</t* m\tcitt n. \i\\iitiro | Knits a. i\a. it>is. Od. A, 597.
The following striking passage also may be cited from Virgil, JEn. 1, 85,.
Una . Eujrusque ^Vettusque ru{unt cre|berque pro\cettisr
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? FIGURES OF PROSODY.
But two successive trochees may agreeably occur in thd
first and second feet; as,
Virg. Mre ei|ere vi\ro*, Mar\temque ac\cendere\cantu.
Or in the fourth and fifth; as,
Virg. Et glau\cas sali\ces casi[amque cro|cumque ru]
bentem.
The Monosyllabic Caesura is that, in which the first syllable
of the divided foot is a monosyllable ; as,
Virg. Hie vir hie \ est tibi | quern firv\mitti \ stefiius \ audis.
Of the three kinds of Caesura which have been enumer-
ated, the syllabic seems to have been the principal-one in
Latm versification; and but few harmonious lines can be
found, in which it is not introduced. Next in metrical effect
is the Trochaic.
On the Caesura, depend, in a very great degree, the beauty
and melody of verse. While its presence serves to give ani-
mation to the line, and by connecting together the different
words of which it is composed, imparts to it gracefulness
and ease, its absence is marked by a total want of poetic har-
mony. A line, in which the Caesura is either wholly omitted
or in a great measure neglected, has in fact little to distin-
guish it from common prose, and can only be admissible
into Latin poetry, on occasions in which harmony is pur-
posely avoided, as in many of the neglected hexameters of
Horace.
The following lines may serve to show the uncouthness
and inelegance attendant upon the neglect of the Caesura:
Ennius. Sfiarsis | hastis \ late \ camfius | sfilendet et \ horret.
Idem. Disfier\ge hostes, | distrafie \ diduc | divide | differ.
Propert. JVbn me | moribus | ilia sed | herbis \ imfiroba \ vicit.
A Caesura however is not indispensably requisite in every
foot of a verse. Although the most melodious lines are cer-
tainly those in which the Caesura is frequently introduced,
. still a long uninterrupted series of them, would have any
other than a pleasing effect; and therefore it becomes ad-
visable occasionally to omit the Caesura in one or more of
the feet, and in this way to produce an agreeable variety.
The following rules have been laid down on this subject, and
deserve attention :s
s Bradley's Latin Prosody, p. 49--51.
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? 70 FIGURES OF PROSODY.
1. Iii the first foot of a verse, the Csesura may generally
be omitted ; as,
Virg. Pauperis | et tugu\ri con\gestum \ cesfiite \ culmen.
2. In the second foot, the Csesura is often omitted; but
when this omission takes place, the word which begins the
foot is generally of sufficient length to complete it, and leave
a Csesural syllable in the next foot; as,*
Virg. Sguamea | convol| vens sub\lato \ fiectore | terga.
3.
