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Idem. TIbi vetus a|ra calult a. bb\rigineo | tacello.
Horace made a peculiar alteration in this species of verse,
which is far from meriting the name of an improvement. In
the first measure he substituted for the choriambus, the second
epitrit--in other words, he made the first measure consist of
a trochee and a spondee, instead of a trochee and iambus; as,
Horat. Te Deos b\ro Sybarin J cur firofieraa | amando.
39- The Choriambic Asclepiadic Tetrameter, (invented by
the poet Asclepiades,) consists of a spondee, two choriambi,
and an iambus j as, '. -. . <
Horat. Mtece\nas alavis |] edite re\gibua.
Horace invariably adheres to this form, but other poets
sometimes, though very rarely, make the first foot a dactyl j
as,
Sen. EffugT|i<<n, et miseros || libera mora \ vocet.
Mart. Cap. Omnige|7zam genitor \\ regna movens \ Deum.
The Caesural pause takes place at the end of the first cho-
tiambus, a circumstance which renders it easy to scan this
species of verse as a Dactylic Pentameter Catalectic. Thus,
Mace\nds ata\vis || edite \ regibus.
This mode of scanning the line is condemned however by
Terentianus.
The Caesural pause falls inelegantly on the middle of a
word; as,
Horat. JVon %n\cendia C&r\\chaginis im\fiia.
Unless there be an ecthlipsis or synaloepha ; as,
Horat. Exe\gi monumen|jtum are fieren\nius.
Idem. Audi\tam modere|jre arboribus \ Jidem. . .
Or the word be a compound; as,
Horat. Dum Jla\grantia dc\\torguet ad os\cula.
These lines, afier all, however, are somewhat harsh, and
scarcely to be imitated.
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? OF TERSE. 111
40. The Choi-iambic Trimeter or Glyconic, (so named from
its inventor, the poet Glyco or Glycon,) consists of three
feet, a spondee, a choriambus, and an iambus; with the
Caesural pause after the first foot; as,
Horat. Sic te || Diva fiotens | Cyfiri:
Others scan it, when it has a spondee in the first place, by
a spondee and two dactyls, making it a dactylic trimeter; as,
? Sic te | Diva fio\tens Cyfiri.
The first foot is sometimes an iambus or a trochee; as,
Catul. Puel\l<e et fiueri in\tegri.
Idem. Magna Wfirdgenies \ Jovis.
Horace, who very frequently uses the Glyconic, invariably
has a spondee in the first place, except in a single instance,
Ignis [|jliacds \ damds. Od. I, 15,36.
He here admits the trochee. Cunningham, Sanadon, and
other editors, however, read on this very account, Pergameas
in place of Iliacas. To this perhaps may be added the twenty-
fourth line of the same ode, which according to old editions
runs thus:--?
Teucer \\ et Sthenelus \ sciens,
instead of the present reading, Teucer te, &c. or that of Bent-
ley and others, Teucerque, et, &c. c
41. The Choriambic Trimeter Catafectic or Pherecratic,
(so called from the poet Pherecrates,) is the Glyconic de-
prived of its final syllable, and consists of a spondee, a cho-
riambus, and a catalectic syllable ; as,
Horat. Gralo \ Pyrrha sub dn\tro.
The first foot was sometimes a trochee or an anapaest,
rarely an iambus; as,
Catul. Tecia \frugibus ex\files.
Boeth. Donrunis | firessus ini\quis.
c The change from Iliacas to Pergameas seems rather too violent.
Why mav not the final Bi llable of ignis be lengthened by the Caesura, to-
gether with that of Teucer in the old editions in which it occurs I Horace,
it is true, does not often indulge in such licenses, yet the following instance*
will show that he did not altogether avoid them: Od. t, 3, 36. --1,13, 6.
--S, 6, 14. --2,13, 16. --3, 24, 5.
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? 112 OF VERSE,
Catul. Vae\\lique cand\mus.
. The Pherecradc verse, when it has a spondee in the first
station, may be scanned as a Dactylic Trimeter.
When subjoined to the Glyconic, it produces what is com-
monly termed the Pnapean verse, which has already been
treated of under Dactylic Measures.
42. The Choriambic Dimeter consists of a choriambus and
a bacchius; as,
Horat. LydiiL die | fi$r omnia.
IONIC MEASURES.
The Ionic Measures are so called from the feet of which
they are composed- They are of two kinds, the Ionic a . ma-'
jore, and the Ionic a minore.
43. The pure Ionic a majore, Tetrameter, consists of four
greater Ionics; as, '
Scalig. Fecit salts | tegrum rabi\em qui domu\it feminx.
44. The impure Ionic a majore, or Sotadean, (so named
from the poet Sotades, who frequently used this measure,)'
consists of three great Ionics, and >> spondee; as,
Ter. Maur. Vocdlia \ quaddm memo\rdnt consona \ quSdam.
Under this form, the verse may be easily converted into,
and regarded as a species of Choriambic. Thus,
Vo\calia qua\ddm memorant \ consond qute\dam.
And by the addition of a syllable at each end, it becomes a
Choriambic Pentameter.
This kind of verse admits, in the third station, a ditrocheus
? ftener than a great Ionic; as,
Has cum gemi\nd comfiede | dedicat catenas,
Saturne, ti\bi Zo'ilus, | annulos pri|ores. Martial.
It is said also to admit, in all the places, except the last, not
only a ditrocheus, but also the second peeon, and the second
epitrit.
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? OF VERSE.
ita
Either of the long syllables moreover, in each of the three;
Ionic stations, may be resolved into two short quantities; which
was considered as an improvement: but both the long syllables
must not be thus resolved at the same time. Thu3,
Petron. Pede tendite, | cursum addite, | convolate | filanta.
Ter. Maur. Solet integer | anapaest us et | in fine lo\cari.
Petron. Ferrum timu\i, quod tre/ii\db male dabat | usum.
The Ionic a majore measure is not, like the Ionic a minorey
subject to the laws of Synapheia.
45. The Ionic a minore is so named, because in every place
it uses this foot. It is not confined to any definite number of
measures, but may, like the dimeter Anapaestics, be extended
to any length, provided that the final syllable of the spondee
in each measure, be either naturally long, or, influenced by
the laws of Synapheia, be made long by the concourse of con-
sonants ; and that each sentence or period terminate with a
complete measure, having the spondee for its close: rules ob-
served by Horace in his Ionic Ode, 8. 12.
This production of Horace consists of forty measures, and
has been divided by Cunningham and others into, ten tetra*
meters, like the following :
Miserarum est \ neque amori\dare ludum \ neque dulci.
Maid vino I lav ere; aut ex\3,nimari\ metuentes, &c.
Another mode of arranging them is, into stanzas of three-
lines each, the first and second, Trimeters, and the third a
Tetrameter, as follows . v--
Miserarum est, | neque dmori | dare ludiintf
Neque dulci \ mala vino | lav ere ; aut ex-
animari [metuentes \fiatrua ver\bera lingua*
They have likewise been arranged, in stanaas of four lines j
the first and second, Acatalectic Trimeters, the third a Cata*
lectic Trimeter,, and the fourth an. Adonic; as,
Miserarum est \ngqae dmdri \ dare ludum>
JVSque dulci | mala vino I lavere i aut ex-.
animari
Verberd
metue ntes\ fidtr%^
lingua. . .
Bentley however, following Victorinus, has arranged these
lines in his edition in such a manner that the first two become
tetrameters and the third a dimeter, although, he considered
K. a
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? 114
OF VERSE.
the ode as consisting properly of only four fines, each com-
posed of ten feet, or in other words, of four decapodia.
COMPOUND METRES.
46. The Dactylico-Iambic is a compound measure, con-
sisting of a Dactylic Trimeter Catalectic, and an Iambic Di-
meter; as,
Horat. Scribere | versicu\los, \\ dmo\re fier\cuhum \ gravi.
This measure occurs in the 11th Epode of Horace. In
most editions, the verses of which it is composed are given
separately, and the epode which contains them is made to
consist of stanzas, composed of three lines each. Bentley,
however, combats this arrangement, on the authority of He-
phwttion, Terentianus, and others of the ancient grammari-
ans, and gives the epode in stanzas of two lines each.
If Bentley's mode of arrangement be adopted, as it gene-
rally is in the best editions of Horace, and the two measures
be considered as uniting and forming one line, this line so
formed becomes what is called cunva^Tma;, or mixed, and has
in common with other mixed verses, the privilege of a double
final license, one namely at the end of each of the two com-
ponent measures. Hence it is easy to account for the final
short syllables being lengthened in furere, line 6--latere,
line 10--consilidy line 26--and also for the hiatus, in mero,
line 14--and mollitia. line 24, of the above mentioned epode j
for since these syllables stand respectively at the end . of a
measure, they become common by that position, as well as
uninfluenced by any initial vowel of the measure which suc-
ceeds, though in one and the same line with it.
47. The lambico-DactyKc consists of the same component
measures as the preceding, but in a reversed order; as,
Horat. Nlves^ug de\ducunt | Jovem : |J nunc mare,[
nunc silii\i.
The same observations respecting the arrangement of the
component measures, apply to this species of verse; and we
account in the same way as above for the final short syllables
being lengthened in vice, line 8--pectora, line 10--and flumi-
na, line 14, of the 13th epode of Horace, ia which this mixed,
measure occurs. .
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? OF VERSE. I 15
48. The Greater Alcaic is a compound of the simple Iambic
and the Choriambic. It consists of two feet, properly both
iambi, and a catalectic syllable, followed by a choriambus and
an iambus; as,
Horat. Fides | tit dl\td || stit nive cdn\didum.
But the first foot is alterable to a spondee; as,
Horat. O md\tre fiut\chrd \ filia fiul\chrior.
Horace has a spondee more frequently than an iambus in
the first station--Prudentius always a spondee.
The Alcaic may also be scanned after the following manner;
Fides | ut dl\td \\stet nivg \ cdndidum.
The Caesural pause in this species of verse, uniformly takes
place after the catalectic syllable; and in one instance in Ho-
race, it has the effect of retaining a vowel unelided; as,
Jam Da\dale\6 || 6cidrl\card. Od. 2, 20, 13.
Bentley, however, reads tutior in place of odor. .
Horace joins two Knes of this measure with an Iambic
Dimeter Hypermeter and a minor Alcaic, forming the Horar
tian, his favourite stanza.
49. The Dactylico-Trochaic Heptameter, commonly called
the Archilochian Heptameter, consists of the Dactylic Tetra-
meter a priore, followed by an Ithyphallic or Trochaic Dime-
ter Brachycatalectic; as,
Herat. Solvilur \ acris hy\ems grd\td vice \\veris | et Fd\
voni,
50. The Dactylico-Trochaic Tetrameter, or Minor Alcaic,
consists of two dactyls, followed by two trochees; as,
Horat. Livid \ fiersonu\ere | sdxd.
OF COMPOSITIONS IN WHICH THE VERSE IS VARIED.
When only one sort of verse is used in any ode or poem,
such ode of poem is called; Carmen Monocolon. 6 When more
d From t*tt>>(i solus, and Kft\>>, membrum.
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? 1'16 OF VERSE.
than one kind are used, the composition is termed Polycolon;
or more precisely, when there are two different kinds of verse
in a poem, it is styled Dicolon, or bimembre; if three, Trico-
lon, or trimembre.
There is likewise the term Tetracolon,
but the ancients did not advance farther than to Tritdlon.
When the Stanza or Strophe is composed of two verses, the
ode is denominated Distrophon ;e when of three, Tristrdphon ;
when of four, Tetrastrophon. Beyond the Tetrastrophon, the
Latin stanza seldom reached. Catullus, however, has written
one of five lines, consisting of four Glyconics and a Phere-
cratic.
By a combination of the preceding terms, a poem, in whkh
the stanza consists of two verses of different kinds, is named
Dicolon Distrophon ; when the stanza contains three verses,
but only of hco sortj, one sort' being repeated, it is named
Dicolon Tristrdphon; when the stanza has four verses, but
only of two sorts, one being thrice repeated, h is named
Dicolon Tetrastrophon ; when the stanza contains Jive lines,
of two sorts, one being four times repeated, it is named
Dicolon Pentastrophon ; when the poem contains three verses,
each of a different kind, in one stanza, it is termed Tricolon
Tristrdphon; and when in a stanza there are four verses,
but only of three different kinds, one verse being repeated,
Tricolon Tetrastrophon.
HORATIAN METRES.
The different species of metre, which occur in the lyric
compositions of Horace, are twenty, viz.
1. Dactylic Hexameter, No. J ; as,.
Lauddbunt alii cldram Rhodon, out Mitylenen.
2. Dactylic Tetrameter a posteriore, No. 8; as,
MoblUbiis fiomarld rifiis.
3. Dactylic Trimeter Catalectic, No. 13; as,
Flumina firettereunt.
e From fit, bis, and ffTgopn, versus*
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? 4. Adonic, No. 14; as,
Visere monies.
5. Iambic Trimeter, No. 20; as,
Bedtus ille quem firocul negotiis.
6. Iambic Trimeter Catalectic, No. 25; as,
Med renidet in d$nw lacunar.
7. Iambic Dimeter, No. 26; as,
Queruntur in sylvis aves.
&. Archilochian Iambic Dimeter Hypermeter, No. 27; as,
JLenesque sub noctem susurri.
9. Acephalous Iambic Dimeter, No. 28; as,
Won ebur neque aureum.
10. Sapphic, No. 32; as,
Jam satis terris nxvis alque dirte.
11. Choriambic Pentameter, No. 37; as,
Tu ne quisieris, scire nefds, quim mihi, quem tibi.
12. Choriambic Tetrameter, with a variation, No. 38; as,
Te deos ord, Sybarin cur firdperes amandd.
13. Choriambic Asclepiadic Tetrameter, No. 39; a>>,
Mtecinas atavis edits regibus.
14. Glyconic, No. 40; as,
Sic te Diva fiotens Cyfiri.
15. Pherecratic, No. 41; as,
Grdto Pyrrhd sub dntro.
16. Choriambic Dimeter, No. 42; as,
Lydia, die, fier omnes.
17- Ionic a minore, No. 45; as,
Miterdrum est neque amori dare ludum nequeduki.
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? 118
OF VERSE.
18. Greater Alcaic, TVo. 48; as,
6 matre fiulchrd filld, fiulchrior.
19. Archilochian Heptameter, No. 49; as,
Solvitur acrit hyima grata vice verts et Favdiii.
20. Minor Alcaic, No. 50; as,
Nec veigret agltantur ortvL
METRICAL INDEX
TO
THE LYRIC COMPOSITIONS OF HORACE.
The numeral characters refer to the gtntral Hit of metres.
. S3li vetusto, . . .
^fi^nam memento,
AIln, ne doleas,
Altera jam, . . .
Angustam amici, .
At, O Deorum, .
Audiverc Ljee,
Bacchum in, . .
Beatus Hie
Coelo supinas, . .
Ccelo toniintem,
Cum tu Ly dia, . .
Cm* me querelis, .
Delicta majorum, ,
Dtscende coelo,
Dianam tenei-se,
Dift'ugere nives,
Dive tiuem, . . .
Sit is orte, . . .
Donarem pater as,
Donee gr;itus, . .
Eheu fugaces, . .
Est mihi iionum, .
Et thui'e et, . . .
Ex egi monumentum,
Extrcmum Tanaim,
Faune Nyrupharum,
48, 48,
48, 48,
39, 39,
1, 2a
48, 48,
20, 26.
30, 88,
48, 48,
20, 28.
48, 48,
48, 48,
40,39
48, 48,
48, 48,
48, 48,
39, . 19,
1, 13.
32, 32,
39, 39,
39-
40, 39.
48, 48,
32, 32,
40, 39.
39-
39, 39,
32, 32,
27, 50.
27, 50.
39, 40.
? ? 27, 50.
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? metrical index to Horace's lyric bompositions. 119
Montium custos, .
Motum ex, . . .
Musis amicus, . .
Natis in usum, . .
forte credas, .
Ne sit ancilUe, . .
NoHs longa ferx, .
Nondum subacta, ,
Non ehur neque,
Nntl ann>> : -- t--
32,
48,
48,
48,
48,
82,
89,
48,
*8,
32, 32,
48, 27,
48, 27,
48, ar,
48, 27,
32, 32,
39, 39,
48,27,
25.
48, 27,
48, 27,
32, 32,
<<-TM cuur neque, . 28,
*<<on semper irabres, 48,
JJon usiiata, . . . 48,
Non vides quanto, 32,
JNox erst, . . . 1,540.
NullamVare, . . 37.
Nullus argento, . 32, 32, 32, 14.
<<unc est Iribendum, 48, 48, 27, 50.
U crudelis adhuc, . 37.
O diva grstum, ? ? 48, 48, 27, 50.
J* ions Blandusise, 39, 39, 41, 40.
O niatre pulchra, . 48, 48, 27, 50.
O nata raecum, . 48, 48, 27. 50.
O navis referent, . 39, 39, 41, 40.
<< WBpe mecum, . 48, 48, 27, 50.
O Venus regina, . 32, 32, 32, 14.
Odi profanum, . . 48, 48, 27, 50.
Otium divos, . . 32, 32, 32, 14.
Parcius junctas, . 32, 32, 32, 14.
Parous deorum, . 48, 48, 27, 50.
Parentis olim, . . 20, 26. -
Pastor quum traheret,39, <<9, 39, 40.
Persieos odi, . . 32, 3'2, 32, 14.
g Petti nihil me, . 20, 46.
Pho;be sylvarumque, 32, 32, 32, 14.
Phccbus volentem, 48, 48, 27, 50.
Pindarum quisquis,
Poscimur: si quid,
Quae cuia Patrum,
Qualem rainistrum,
Quando repostum,
Quantum distet,
38,
32,
48,
48,
20,
? ?