--In its application to
single feet, the Caesura has already been explained ; it only
remains to consider it with reference to whole verses, in
which acceptation it may be styled, for distinction sake, the
Caesural pause.
single feet, the Caesura has already been explained ; it only
remains to consider it with reference to whole verses, in
which acceptation it may be styled, for distinction sake, the
Caesural pause.
Latin - Elements of Latin Prosody and Metre Compiled with Selections
.
88
SYNOPSIS OF POETIC LICENSES, &C.
--EO--
Aur(ei)s
Aur(ei)s
Ferr(ei)
Aur(ei)s
Balt(ei)
Er(ti)
(eo)dem
Alv(eoJ
Mnestb(eo)
Alv(eo)^
Eurysth(eo) ?
Anr(eo) .
Alv(eo) . .
Typho(eo) .
Aur(eo) .
MnesthCeo)
(eo)dem . .
--I equivalent to
f Fluv(io)rum
Ste<<(i'e)<<
g Par(i)etibus
Ab(i)ete .
Par(i)etibus
Ar(i)<"te .
Par(i)etibus
Ab(i)ete .
Ar(i)ete .
Ab(i)ete .
Ab(i)etibus
Ar(i)etat .
JR.
JE.
M,
M.
JE.
I, 726
5, 352
6, 280
7, 609
8, 553
i? . 10, 496
JE. 12, 541
E.
6.
JE.
8, 81
2. 453
5, 184
JE. 6, 412
JE. 7, 33
. 303
. 436
JE. 8, 292
. 372
JE. 9, 32
. 716
JE. 10, 116
. 129
JE. 12, 847
Jor Y--
6.
G.
1,482
4, 243
297
2, 16
? ? 442
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? SYNOPSIS OF POETIC LICENSES, &C.
83
Ten(u)is
Ten(u)ia
Gen(u)a
Gen(u)a
S(ua)
G. 2, 180
G. 4, 38
JE. 5,432
12, 905
--UA--
E. 7, 54
--UE--
Suesco, and its compounds, every
. where in Virgil, have Sue a
single syllable.
Curr(uu)ra
--UU-
M. 6,6$
Instances in which the Diphthong YI occursk
Orith(yi)a
Harp(yi)ae |
Harp (yi) as
G. 4,463
JE. 3,212
. 226
. 249
Harp(yi)a
Harp(yi)s
Orith(yi)a
JE. 3, 365
6,289
K. 12, 8y
Aula-v
Aura-'i
Diuresis.
3, 354 | Picta-'i
JE. 6,747
, JE. 9, 2>
Grav' olentia
Sem' ustum
Sen)' animem
Sem' usta .
Sem* hominia
JE.
JE
Elision.
G. 4,270
JE. 3, 578
- 4, 686
5, 697
JE, 8, 194
Sem' amines
Sem' animis
Sem' amines
Ant' irent
Sem' animi
JE. 10, 39S
. 404
JE. 11, 635
. (E. 12, 84
. 356
TulSrunt .
Miscufirunt
Miscufirunt
Steterunt ,
Systole.
E. 4, 61
? ? G. 2, 129
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? go
SYNOPSIS OF POETIC LICENSES, 8cC.
Ferarum(que
Totas(que
Sulfu(ra .
Locorum(que
Nex*(que
Deorutn (que
Colorem(que
i\fepotes(que
Lacertos(que
O.
JE.
S. .
M.
3, 242
377
449
l,33i
448
2,745
4, 558
4, 629
5, 422
Rudentes(que
Cadenti(que
Latino (rum
Lat'mis(que
Omnem(que
L'olorem (que
Coelum(que
Latini(que
Frementes(que
m.
JE.
5,753
6,602
7, 160
470
8, 228
9, 650
JE. 10, 781
. 895
M. 11, 609
JE.
IE.
SECT. XXV-I.
OF METRE.
METRE, in its general sense, means an arrangement of
syllables and feet in verse, according to certain rules; and
in this sense applies not only to an entire verse, but to a part
of a verse, or any number of verses. But a metre, in a spe-
cific sense, means a combination of two feet, and sometimes
one foot only.
The metres employed in Latin poetry are the Dactylic,
the Anapiestic, the Iambic, the Trochaic, the Choriambic,
and the Ionic measures.
These have received their respective names, from the
frequent occurrence in them of some particular foot; and it
is supposed that each species was originally composed of
those feet only from which it is denominated, but that others,
equal in time, were afterwards admitted under certain re-
strictions. They are, however, often called after the name of
some celebrated poet, who used a particular species of verse,
as Safifihic, Alcaic, Anacreontic, Hififionactic, &c. and they
are sometimes also classed according to the number of feet
or measures which they contain, as Octonarius, Senarius,
Hexameter, Pentameter, Tetrameter, Trimeter, Dimeters
^tonometer.
? ? In Anapaestic, Iambic, and Trochaic verse, a metre con-
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? OF METRE.
91
latter includes both the time and order of syllables, and does
not admit the same interchange of feet as rhythm.
If in the following dactylic line for example,
Panditur \ intere\a domus | omnifio\tentis 0\lymfii. .
the dactyls be confounded in this manner,
Qmnifio\tentis 0\lymfii\fianditur\intere\a domus.
the metre will be entirely destroyed, inasmuch as its laws'
require a dactyl in the fifth, and a spondee in the sixth
places, and we shall have an anapaestic line in its stead, but
the rhythm will still remain the same, there being an equal
number of times contained in the anapaest and in the dactyl.
SECT. XXVII.
OF VERSE.
A Verse is a certain number of feet disposed in a regular
order, and forming a line of poetry. 1
A Hemistich is, properly speaking, a half verse; the name
however is commonly applied to either portion of an hexa-
meter line divided at the penthemimeris; as,
Mre ciere vires, \\ Martemque accendere cantu.
ScanningTM is the dividing of a verse into the feet of which
it is composed, and the assigning of their proper quantity to
the respective syllables of each foot.
Verses are denominated acatalcctic, catalectic, brachyca-
talectic, hypercatalectic or hypermeter, and acephalous. 0
I The term verse {versus) is derived irom the verb vertere, to turn, be-
cause verses being arranged in lines, when the reader reaches the end of
one, he must turn necessarily to the beginning of another. The Greeks
term it n-i^oc, oriio, on account of the arrangement of the lines; and
from i(*i<Tvs, dimidius, and crT/^ct, ordo vel versus, comes Ufiia-tt^w,
hemistichium, a hemistich or half verse.
m Scansio, from scandere, to climb--as if ascending a ladder, step by
step. Vide Ctaudian, Epig. 29. " In podagrum. "
n Acatalectic (stxctTstMucnsor) from a, priv. and <<<<t<<M}<<v, desi-
nere; denoting a verse that prnceeds onwards to its destined end without
stopping. Citalectic (xaTaMxTixot) one that stops by the way. Bra-
chycatalectic (/Sgot^vxit'raMx'nxoj) from fi^X"1' brevis, and
ym ; a verse which not only stops before it reaches its true destination, but
is curtailed still more, and rendered still shorter, than the catalectic. Hyper-:
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? OF VERSE.
An acatalectic verse is that, which contains its exact num-
ber of feet and syllables; as the following, which is Iambic
dimeter acatalectic.
Must e | Jovis | sunt fi\He. \
A catalectic verse is that, which wants one syllable at the
end to complete the measure; as the following, which is
Iambic dimeter catalectic.
Must e | Jovem | cane\bdnt. --\
A brachycatalectic verse is that, which wants two syllables
at the end to complete the measure; as the following, which
is Iambic dimeter brachycatalectic.
Must e | Jovis | gnalt e J --? --|
A hypercatalectic or hypermeter verse is that, which has
something more than its just measure, whether this surplus
be a syllable, as in the following line,
Must e | sord\res sunt \Miner\va.
or whether it be an entire foot, as in the following,
Must e | soro\res Pal\ladis | litgint.
These lines are called Iambic dimeter hypercatalectic or
hypermeter.
An acephalous verse is that, which wants a syllable at the
beginning; as the following, which is called Acephalous
Iambic dimeter.
JVon | ebur \ necjue au\reum\
DACTYLIC MEASURES.
1. The principal dactylic measure is the Heroic or Hexa-
meter,0 consisting of six feet, whereof the fifth is a dactyl and
? atalectic (i/sregsatTaMixT/xot) from iirn> super, &c. ; denoting a verse
which has something more than its true measure, or the end where it ought
to terminate. Hypermeter (i/ir>>g^<*rgo{) from vfri$, super, and f*fr$ov,
mensuru ; a verse that has something b. -yiind the true measure. Acepha-
lous (amfithoi) from a, priv. and mfctxn, caput; a verse wanting a
head, that is, an initial syllable.
o The term hexameter is derived from <f > sex, and ^e-rjov, mensura:.
The student will remember, that in At>apa? stic, Iambic, and rrochaic verse,
a metre is equivalent to two feet, but that in the rest, one foot constitutes a
metre.
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? OF VERSE;
93
the sixth a spondee, while each of the other four feet may be
either a dactyl or spondee, at the pleasure of the writer; as-,
Virg. Sic abe\unt rede\untqui me\i vart\antque ti\mdres.
Catul. Et gittim\vis te\cum mui\to c6n\jung&rer \ wu.
Sometimes however, in a solemn, majestic, or mournful
description, or in expressing astonishment, consternation,
vastness of size, Sec. a spondee is admitted in the fifth foot,
and the line is thence denominated Spondaic ; as,
Virg. Cara deum sobolea, magnum Jovis | \r\cch\mentum.
Idem. Consticit, atque oculis Phrygia agmiiia | circum|
sfiexie.
Catul. JEquorecc monstrum Nereides | a. dtm\rantes.
Manil. Scorfiius ingentem fierterruit | Qn\ona.
Spondaic lines should be used sparingly and with caution,
as their too frequent recurrence is disagreeable and tiresome.
They ought also to have the fourth foot a dactyl, or the line
will be too prosaic.
According to some prosodians, the proceleusmatic and
anapaest are occasionally admitted into the hexameter. It
is more correct however, in all such cases, to resort to
Synaeresis.
The beauty and harmony of hexameter verse, depend in
a very great degree upon the Caesura.
--In its application to
single feet, the Caesura has already been explained ; it only
remains to consider it with reference to whole verses, in
which acceptation it may be styled, for distinction sake, the
Caesural pause.
The Caesural pause most approved of in heroic poetry,
was that which took place after the penthemimeris. This
was particularly distinguished as THE Heroic Caesural
pause. Thus,
Virg. At dnmus | interi\or || regali sfilendida luxu.
Idem. Julius | a mag\no || demissum nomeri lulo.
Instead however of the Caesural pause at the exact pen-
themimeris, a different division was equally admitted as he-
roic, which took place after a trochee in the third foot; as,
Virg. Effigi\em #tatu\ere, || nefas quae triste fiiaret.
Idem. Tecta me\tu fleti\ev<3, |) ruunt de montibus amnes.
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? 94
OF VERSEv
The Caesural pause after the hephthemimeris was also
approved of as heroic. Thus,
Virg. Arbori\busque sa\tisque ^Vo|tus, || fiecorique sinister.
Idem. Haud mora \ firosilu\ere su\is: \\ferit athera clamor.
In some instances we find lines with a Caesural pause at
the triemimeris, and another at the hephthemimeris--the
first slighter than the second, but both combined producing
a beautiful effect; as,
Tibul. Di fiatrii,\\fiurgamus agros,\\fiurgamus agrestes.
Virg. Prima tenet,\\fuausuquevolat,\\fremituque secundo.
The Caesural pause the least approved of in heroic poetry,
was that which divided the verse exactly into halves, since it
gave the line an undignified air, and degraded it to a Pria-
pean; as,
Virg. Cut non | dictus Hy\las finer, \\ el Latonia Delos:
Idem. Exfde\ri men\tem nequit, || ardescitque tuendo.
The Caesural pause between the fourth and fifth feet, was
considered by grammarians as peculiarly adapted to pastoral
poetry, more especially when the fourth foot was a dactyl;
and it was termed from this circumstance, the Bucolic Cae-
sural pause ; as,
Calpurn. Idas \ lanige\ri domi\nus gregls, [| Astaeus horti.
Auson. Commu\nis Pafihi\e dea ( sideris \\ et dca Jioris.
Hexameter verse is the roost ancient, as well as the most
dignified and harmonious, of all poetic measures. It is ge-
nerally employed in the recital of great and splendid'actions,
though capable of being adapted with great success even to
subjects of a familiar nature, as has been strikingly illus-
trated in the neglected hexameters of Horace. The Satires
and Epistles of this poet, do not indeed possess the majesty
and cadence of Virgilian versification, and yet are marked
by numerous and peculiar beauties, directly resulting from
the studied negligence of their composition, and equally in-
dicative of the abilities of the poet, and the variety and
powers of the language in which they are written.
2. The Hexameter Meiurus,P is a defective hexameter,
having an Iambus in the sixth foot instead of a spondee ; as,
p Meiurus, from fxnov^t, mi Cauda diminuta est et truncata. The
hexameter meiurus does not deserve the name of a distinct species, of versc^
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? OP VERSE.
Liv. Andron. Dirige o\doris\equos ad \ certa cu\bilia [canes.
3. The Priapean is also usually accounted a species of
hexameter, so constructed, as to be divisible into two por-
tions of three feet each, having a trochee generally in the
first and fourth feet, and sometimes an amphimacer in the
third; as,
Catul. O co\lonia \ gua c&fiis \\fidnte | ludere f longo.
A preferable mode of scanning it however is, to make the
first hemistich a Glyconic, and the second a Pherecratic
verse, and thus to consider the line, not as forming one dac-
tylic verse, but as composed of two Choriambics.
4. The Pentameteri consists of five feet, whereof the first
and second may be either a dactyl or spondee at pleasure,
the third must always be a spondee, the fourth and fifth,
anapaests; as,
Tibul. Te tene\dm mori\ens de\ficien\te manu.
Ovid. Et mul\tda il\lic Hec\t6ras es\se fiutd.
The more usual, though not the more correct mode of
scanning the pentameter, is this: to make, first, two feet, as
in the former case, then a long syllable, and finally two dac-
tyls followed by another long syllable ; as,
Te tene\dm mort\ens \\defin\ente ma\nu.
Et mul\tds il\llc \\ ffectdras \ esse fiu\td.
The only advantage attending this latter mode is, that it
diminishes, in a very great degree, the risk of neglecting
the penthemimeral caesural pause, in the composition of
Latin pentameters.
The pentameter must always be so constructed as to have
the Caesural pause after the penthemimeris, and thus be
divisible into two equal portions of two feet and a half each,
the middle spondee being composed of a semifoot remaining
at the end of a preceding word, and a semifoot from the be-
it should rather be regarded as a vicious and defective hexameter. Livius
AndronTcus is said to have composed such lines, which he mixed alternately
with perfect hexameters. Only two of them remain.
q From vivrt, quinqne, and /usfjen, mensura. The very name shows
the inaccuracy of that mode of scanning the verse, by which it is divided into
only four feet. In defence of the other mode, the authority of Quintiliaa
may be cited, who mentions the spondee as the middle foot, and the ana-
past as terminating the line, (9,4. )
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? 96 OF VERSE.
ginning of the following word s unless this be done, it will
not be a legitimate pentameter. Hence the following line
has been justly condemned :--
Inter nostros gentlfta oberrat equus.
Pentameter verses are rarely used alone. They are most
commonly joined in alternate succession with hexameters,
forming what is termed Elegiac1 verse
5. The ^lolic Pentameter consists of four dactyls, pre-
ceded by a spondee, a trochee, or an iambus; as,
Terentian. JEdi\dii tuba | terribi\lem soni\tum firocul.
This measure is so called from the jEolian poetess Sappho,
who invented it. Sometimes the first foot was a dactyl.
6. The Phalsecian Pentameter consists of a dactylic pen-
themimeris, followed by a dactyl and a spondee; as,
Boeth. Vise\bdt geli\de \ siderd \ brume.
This measure, like the -fliolic pentameter, admits a tro-
chee in the first place; and besides the trochee, Boethius
uses the iambus in the first and second places; as,
Hie e\nim cau\sds \ cernere | firomfitum est.
Illic | la'en\tes \ fidctdra | lurbant.
Stuflet | cum subi\tis \ mobile | vulgus. Boethius.
This measure derives its name from the poet Pbalaecus,
who invented it. It is also, though less correctly, called
Phaleucian.
7. The Tetrameter a firiore, or Alcmanian dactylic tetra-
meter, consists of the first four feet of an hexameter, with
merely this difference, that the fourth foot is always a dactyl;
as,
Boeth. Desufier | in ter\ram n6x \ funditur.
This measure was frequently used in tragic choruses.
r Elegiac verse, was so called from the Greek <<x<<j/e;<<xofj which is de-
rived from i^^>oc, lamentatio, and this last is said to come, a*>> tob, i I
MyW) " from the weeping of mourners. " Hence the well known lines of
Ovid--
" Flebilis indignos Elege'ia solve capilloQ
lieu nimie ex vera nunc tibi nomen erit. m
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? OF VERSE. 97
8. The Tetrameter a fiosteriore, or Spondaic tetrameter,
consists of the last four feet of an hexameter; as,
Horat. Cirtiis e\nim fird\misit J\fi6lld.
Sometimes, as in the hexameter, a spondee occupies the
last place but one; in which case, the preceding foot ought
to be a dactyl, or the line will be too heavy; as,
Horat- Menso\rem cohi\bBnt Ar\chyta.
9. The Tetrameter Meiurus or Faliscan, consists of the
last four feet of the hexameter meiurus; as,
Boeth. Fdlce ru\bds fUt\cemgue re\secdt.
10. The Tetrameter Acephalous, is the tetrameter a fios-
teriore, wanting the first semifoot; as,
Boeth. Qui | si volet \ esse fio\tintem.
This measure, however, may perhaps be more properly
regarded as Anapaestic dimeter catalectic.
11. The Tetrameter Catalectic, is the tetrameter a firiore,
wanting the last semifoot; as,
Prudent. JVdstrd de\us canel | harmoni\d.
Boeth. Hie cluu\sit mem\bris dni\mds.
Boethius, in this measure, mixes spondees with the dactyls ;
but it was more usual to employ all dactyls.
12. The Dactylic Trimeter, consists of the last three feet
of an hexameter; as,
Horat. Grdtd \ Pyrrha sub | dntrd.
But the lines which are usually thus denominated, are
with greater propriety included in the class of Choriambics,
and ranked under Pherecratics.
13. The Trimeter Catalectic, or Archilochian penthemi-
meris, is an heroic penthemimeris, or the first five half feet of
an hexameter; as,
Horat. Arbori\busque co\mit.
Horace uniformly observes this construction, viz. two dac-
tyls and a semifoot. Ausonius, however, sometimes makes
the first foot a spondee, and twice uses a spondee in the se-
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? 98 ? >> VERSE.
cond place; but the spondee injures the harmony of the
verse.
14. The Dactylic Dimeter, or Adonic, consists of two feet,
a dactyl and a spondee ; as,
Horat. Rlsit jj\fldlld.
This measure was called Adonic, because used in the
lamentations for Adonis. --Sappho is said to have written
entire poems in it, now lost. --Boethius has a piece of thirty-
one Adonic lines, Lib. 1, metr. 7J
ANAPiESTIC MEASURES.
15. The Anapaestic Monometer, or anapjestic measure,
consists of two anapaests; as,
ululda\se cants. Seneca.
But the first foot was very frequently changed to a dactyl,
often to a spondee; and the second foot, often to a spondee,
and in a few instances to a dactyl; as,
Fundite \Jletii3,
JSdite | fildnctus.
Fingite \ luctus.
Resonet \ tristi
Cldm6\rS Jorum. Seneca.
16. The Anapaestic Dimeter consists of two anapaestic
measures, or four feet; as,'
JPharetrte\qug graves |] date sa\vd fero.
Qudnti | cdaua || humd\nd rotdnt I Seneca.
17. The Anapaestic Dimeter Catalectic, consists of three
feet, properly anapaests, followed by a catalectic syllable.
s See remarks upon the " Sapphic" measure, 31.
t No Latin poet ever wrote anapasatics necessarily consisting of four
anapaests (with the exception of a few in Seneca and Ausonius), but they all
appear tR>> have intended their anupa>>tics for single measures or mono*
meters, leaving the reader to connect or disjoin them as the sense might
require, or his own judgement dictate. Convenience in printing however is
answered by the division into dimeters, and hence they are generally ex-
hibited in this forni, in editions of ancient authors.
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? OF VERSE.
99
The Spondee however was admissible into the first and se-
cond places; as,
Utindm | modi). not\tra redi\rent
In mo\res tem\fidra firis\cos. Boeth.
18. The Archebulic Anapaestic" (so named from its in-
ventor Archebiilus) consists of four anapaests, followed by a
bacchius; as,
T%bi na$\citur 6m\ne fiecus, [tibi cres\cit hadus.
19. The AnapsesticTetrameter Catalectic, consists of seven
feet (properly anapaests) and a catalectic syllable. The ana-
paest however is every where alterable to a spondee or dac-
tyl, and sometimes to a proceleusmatic. This measure is
sometimes termed Aristophanic, because frequently used in
Greek by the poet Aristophanes. No examples of this spe-
cies of verse occur in Latin; it may be formed however, by
prefixing to the common dactylic hexameter, a foot and a
half; as,
Rapidis | sima. qua\drufieddn\tit fiutrcm j sonitu \ quatit un\
gula cum\fium,
Pulcher|iTm& re\gia S6\lis erdt \ sy,bll\mibus al\ta colum\
nls.
With regard to the Anapaestic verse it may be observed,
that Monometers and Dimeters are generally so constructed
es to allow of their being read in lines of two, four, or more
feet, without the division of a word, through the difference
of arrangement. The Tragic Anapsestics, however, do not
seem to have been confined to a definite length, but to have
been extended by Synapheia, to whatever length suited the
poet's convenience; suddenly breaking off at the close of a
period, or pause in the sense, and leaving at the end a single
foot or half-foot; afterwards beginning a new series or para-
graph, running on and terminating as before ; but in such a
manner, that in the course of each series or paragraph, the
final syllable of every anapaest, if not naturally long, is, un-
der the influence of synapheia, rendered long by the con-
course of consonants. For the anapaest consisting of two
. u There are no poems now extant in this measure. The line given
above, is one framed by Terentianiis Maurus, te exemplify this species of
versa.
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SYNOPSIS OF POETIC LICENSES, &C.
--EO--
Aur(ei)s
Aur(ei)s
Ferr(ei)
Aur(ei)s
Balt(ei)
Er(ti)
(eo)dem
Alv(eoJ
Mnestb(eo)
Alv(eo)^
Eurysth(eo) ?
Anr(eo) .
Alv(eo) . .
Typho(eo) .
Aur(eo) .
MnesthCeo)
(eo)dem . .
--I equivalent to
f Fluv(io)rum
Ste<<(i'e)<<
g Par(i)etibus
Ab(i)ete .
Par(i)etibus
Ar(i)<"te .
Par(i)etibus
Ab(i)ete .
Ar(i)ete .
Ab(i)ete .
Ab(i)etibus
Ar(i)etat .
JR.
JE.
M,
M.
JE.
I, 726
5, 352
6, 280
7, 609
8, 553
i? . 10, 496
JE. 12, 541
E.
6.
JE.
8, 81
2. 453
5, 184
JE. 6, 412
JE. 7, 33
. 303
. 436
JE. 8, 292
. 372
JE. 9, 32
. 716
JE. 10, 116
. 129
JE. 12, 847
Jor Y--
6.
G.
1,482
4, 243
297
2, 16
? ? 442
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? SYNOPSIS OF POETIC LICENSES, &C.
83
Ten(u)is
Ten(u)ia
Gen(u)a
Gen(u)a
S(ua)
G. 2, 180
G. 4, 38
JE. 5,432
12, 905
--UA--
E. 7, 54
--UE--
Suesco, and its compounds, every
. where in Virgil, have Sue a
single syllable.
Curr(uu)ra
--UU-
M. 6,6$
Instances in which the Diphthong YI occursk
Orith(yi)a
Harp(yi)ae |
Harp (yi) as
G. 4,463
JE. 3,212
. 226
. 249
Harp(yi)a
Harp(yi)s
Orith(yi)a
JE. 3, 365
6,289
K. 12, 8y
Aula-v
Aura-'i
Diuresis.
3, 354 | Picta-'i
JE. 6,747
, JE. 9, 2>
Grav' olentia
Sem' ustum
Sen)' animem
Sem' usta .
Sem* hominia
JE.
JE
Elision.
G. 4,270
JE. 3, 578
- 4, 686
5, 697
JE, 8, 194
Sem' amines
Sem' animis
Sem' amines
Ant' irent
Sem' animi
JE. 10, 39S
. 404
JE. 11, 635
. (E. 12, 84
. 356
TulSrunt .
Miscufirunt
Miscufirunt
Steterunt ,
Systole.
E. 4, 61
? ? G. 2, 129
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? go
SYNOPSIS OF POETIC LICENSES, 8cC.
Ferarum(que
Totas(que
Sulfu(ra .
Locorum(que
Nex*(que
Deorutn (que
Colorem(que
i\fepotes(que
Lacertos(que
O.
JE.
S. .
M.
3, 242
377
449
l,33i
448
2,745
4, 558
4, 629
5, 422
Rudentes(que
Cadenti(que
Latino (rum
Lat'mis(que
Omnem(que
L'olorem (que
Coelum(que
Latini(que
Frementes(que
m.
JE.
5,753
6,602
7, 160
470
8, 228
9, 650
JE. 10, 781
. 895
M. 11, 609
JE.
IE.
SECT. XXV-I.
OF METRE.
METRE, in its general sense, means an arrangement of
syllables and feet in verse, according to certain rules; and
in this sense applies not only to an entire verse, but to a part
of a verse, or any number of verses. But a metre, in a spe-
cific sense, means a combination of two feet, and sometimes
one foot only.
The metres employed in Latin poetry are the Dactylic,
the Anapiestic, the Iambic, the Trochaic, the Choriambic,
and the Ionic measures.
These have received their respective names, from the
frequent occurrence in them of some particular foot; and it
is supposed that each species was originally composed of
those feet only from which it is denominated, but that others,
equal in time, were afterwards admitted under certain re-
strictions. They are, however, often called after the name of
some celebrated poet, who used a particular species of verse,
as Safifihic, Alcaic, Anacreontic, Hififionactic, &c. and they
are sometimes also classed according to the number of feet
or measures which they contain, as Octonarius, Senarius,
Hexameter, Pentameter, Tetrameter, Trimeter, Dimeters
^tonometer.
? ? In Anapaestic, Iambic, and Trochaic verse, a metre con-
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? OF METRE.
91
latter includes both the time and order of syllables, and does
not admit the same interchange of feet as rhythm.
If in the following dactylic line for example,
Panditur \ intere\a domus | omnifio\tentis 0\lymfii. .
the dactyls be confounded in this manner,
Qmnifio\tentis 0\lymfii\fianditur\intere\a domus.
the metre will be entirely destroyed, inasmuch as its laws'
require a dactyl in the fifth, and a spondee in the sixth
places, and we shall have an anapaestic line in its stead, but
the rhythm will still remain the same, there being an equal
number of times contained in the anapaest and in the dactyl.
SECT. XXVII.
OF VERSE.
A Verse is a certain number of feet disposed in a regular
order, and forming a line of poetry. 1
A Hemistich is, properly speaking, a half verse; the name
however is commonly applied to either portion of an hexa-
meter line divided at the penthemimeris; as,
Mre ciere vires, \\ Martemque accendere cantu.
ScanningTM is the dividing of a verse into the feet of which
it is composed, and the assigning of their proper quantity to
the respective syllables of each foot.
Verses are denominated acatalcctic, catalectic, brachyca-
talectic, hypercatalectic or hypermeter, and acephalous. 0
I The term verse {versus) is derived irom the verb vertere, to turn, be-
cause verses being arranged in lines, when the reader reaches the end of
one, he must turn necessarily to the beginning of another. The Greeks
term it n-i^oc, oriio, on account of the arrangement of the lines; and
from i(*i<Tvs, dimidius, and crT/^ct, ordo vel versus, comes Ufiia-tt^w,
hemistichium, a hemistich or half verse.
m Scansio, from scandere, to climb--as if ascending a ladder, step by
step. Vide Ctaudian, Epig. 29. " In podagrum. "
n Acatalectic (stxctTstMucnsor) from a, priv. and <<<<t<<M}<<v, desi-
nere; denoting a verse that prnceeds onwards to its destined end without
stopping. Citalectic (xaTaMxTixot) one that stops by the way. Bra-
chycatalectic (/Sgot^vxit'raMx'nxoj) from fi^X"1' brevis, and
ym ; a verse which not only stops before it reaches its true destination, but
is curtailed still more, and rendered still shorter, than the catalectic. Hyper-:
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? OF VERSE.
An acatalectic verse is that, which contains its exact num-
ber of feet and syllables; as the following, which is Iambic
dimeter acatalectic.
Must e | Jovis | sunt fi\He. \
A catalectic verse is that, which wants one syllable at the
end to complete the measure; as the following, which is
Iambic dimeter catalectic.
Must e | Jovem | cane\bdnt. --\
A brachycatalectic verse is that, which wants two syllables
at the end to complete the measure; as the following, which
is Iambic dimeter brachycatalectic.
Must e | Jovis | gnalt e J --? --|
A hypercatalectic or hypermeter verse is that, which has
something more than its just measure, whether this surplus
be a syllable, as in the following line,
Must e | sord\res sunt \Miner\va.
or whether it be an entire foot, as in the following,
Must e | soro\res Pal\ladis | litgint.
These lines are called Iambic dimeter hypercatalectic or
hypermeter.
An acephalous verse is that, which wants a syllable at the
beginning; as the following, which is called Acephalous
Iambic dimeter.
JVon | ebur \ necjue au\reum\
DACTYLIC MEASURES.
1. The principal dactylic measure is the Heroic or Hexa-
meter,0 consisting of six feet, whereof the fifth is a dactyl and
? atalectic (i/sregsatTaMixT/xot) from iirn> super, &c. ; denoting a verse
which has something more than its true measure, or the end where it ought
to terminate. Hypermeter (i/ir>>g^<*rgo{) from vfri$, super, and f*fr$ov,
mensuru ; a verse that has something b. -yiind the true measure. Acepha-
lous (amfithoi) from a, priv. and mfctxn, caput; a verse wanting a
head, that is, an initial syllable.
o The term hexameter is derived from <f > sex, and ^e-rjov, mensura:.
The student will remember, that in At>apa? stic, Iambic, and rrochaic verse,
a metre is equivalent to two feet, but that in the rest, one foot constitutes a
metre.
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? OF VERSE;
93
the sixth a spondee, while each of the other four feet may be
either a dactyl or spondee, at the pleasure of the writer; as-,
Virg. Sic abe\unt rede\untqui me\i vart\antque ti\mdres.
Catul. Et gittim\vis te\cum mui\to c6n\jung&rer \ wu.
Sometimes however, in a solemn, majestic, or mournful
description, or in expressing astonishment, consternation,
vastness of size, Sec. a spondee is admitted in the fifth foot,
and the line is thence denominated Spondaic ; as,
Virg. Cara deum sobolea, magnum Jovis | \r\cch\mentum.
Idem. Consticit, atque oculis Phrygia agmiiia | circum|
sfiexie.
Catul. JEquorecc monstrum Nereides | a. dtm\rantes.
Manil. Scorfiius ingentem fierterruit | Qn\ona.
Spondaic lines should be used sparingly and with caution,
as their too frequent recurrence is disagreeable and tiresome.
They ought also to have the fourth foot a dactyl, or the line
will be too prosaic.
According to some prosodians, the proceleusmatic and
anapaest are occasionally admitted into the hexameter. It
is more correct however, in all such cases, to resort to
Synaeresis.
The beauty and harmony of hexameter verse, depend in
a very great degree upon the Caesura.
--In its application to
single feet, the Caesura has already been explained ; it only
remains to consider it with reference to whole verses, in
which acceptation it may be styled, for distinction sake, the
Caesural pause.
The Caesural pause most approved of in heroic poetry,
was that which took place after the penthemimeris. This
was particularly distinguished as THE Heroic Caesural
pause. Thus,
Virg. At dnmus | interi\or || regali sfilendida luxu.
Idem. Julius | a mag\no || demissum nomeri lulo.
Instead however of the Caesural pause at the exact pen-
themimeris, a different division was equally admitted as he-
roic, which took place after a trochee in the third foot; as,
Virg. Effigi\em #tatu\ere, || nefas quae triste fiiaret.
Idem. Tecta me\tu fleti\ev<3, |) ruunt de montibus amnes.
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? 94
OF VERSEv
The Caesural pause after the hephthemimeris was also
approved of as heroic. Thus,
Virg. Arbori\busque sa\tisque ^Vo|tus, || fiecorique sinister.
Idem. Haud mora \ firosilu\ere su\is: \\ferit athera clamor.
In some instances we find lines with a Caesural pause at
the triemimeris, and another at the hephthemimeris--the
first slighter than the second, but both combined producing
a beautiful effect; as,
Tibul. Di fiatrii,\\fiurgamus agros,\\fiurgamus agrestes.
Virg. Prima tenet,\\fuausuquevolat,\\fremituque secundo.
The Caesural pause the least approved of in heroic poetry,
was that which divided the verse exactly into halves, since it
gave the line an undignified air, and degraded it to a Pria-
pean; as,
Virg. Cut non | dictus Hy\las finer, \\ el Latonia Delos:
Idem. Exfde\ri men\tem nequit, || ardescitque tuendo.
The Caesural pause between the fourth and fifth feet, was
considered by grammarians as peculiarly adapted to pastoral
poetry, more especially when the fourth foot was a dactyl;
and it was termed from this circumstance, the Bucolic Cae-
sural pause ; as,
Calpurn. Idas \ lanige\ri domi\nus gregls, [| Astaeus horti.
Auson. Commu\nis Pafihi\e dea ( sideris \\ et dca Jioris.
Hexameter verse is the roost ancient, as well as the most
dignified and harmonious, of all poetic measures. It is ge-
nerally employed in the recital of great and splendid'actions,
though capable of being adapted with great success even to
subjects of a familiar nature, as has been strikingly illus-
trated in the neglected hexameters of Horace. The Satires
and Epistles of this poet, do not indeed possess the majesty
and cadence of Virgilian versification, and yet are marked
by numerous and peculiar beauties, directly resulting from
the studied negligence of their composition, and equally in-
dicative of the abilities of the poet, and the variety and
powers of the language in which they are written.
2. The Hexameter Meiurus,P is a defective hexameter,
having an Iambus in the sixth foot instead of a spondee ; as,
p Meiurus, from fxnov^t, mi Cauda diminuta est et truncata. The
hexameter meiurus does not deserve the name of a distinct species, of versc^
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? OP VERSE.
Liv. Andron. Dirige o\doris\equos ad \ certa cu\bilia [canes.
3. The Priapean is also usually accounted a species of
hexameter, so constructed, as to be divisible into two por-
tions of three feet each, having a trochee generally in the
first and fourth feet, and sometimes an amphimacer in the
third; as,
Catul. O co\lonia \ gua c&fiis \\fidnte | ludere f longo.
A preferable mode of scanning it however is, to make the
first hemistich a Glyconic, and the second a Pherecratic
verse, and thus to consider the line, not as forming one dac-
tylic verse, but as composed of two Choriambics.
4. The Pentameteri consists of five feet, whereof the first
and second may be either a dactyl or spondee at pleasure,
the third must always be a spondee, the fourth and fifth,
anapaests; as,
Tibul. Te tene\dm mori\ens de\ficien\te manu.
Ovid. Et mul\tda il\lic Hec\t6ras es\se fiutd.
The more usual, though not the more correct mode of
scanning the pentameter, is this: to make, first, two feet, as
in the former case, then a long syllable, and finally two dac-
tyls followed by another long syllable ; as,
Te tene\dm mort\ens \\defin\ente ma\nu.
Et mul\tds il\llc \\ ffectdras \ esse fiu\td.
The only advantage attending this latter mode is, that it
diminishes, in a very great degree, the risk of neglecting
the penthemimeral caesural pause, in the composition of
Latin pentameters.
The pentameter must always be so constructed as to have
the Caesural pause after the penthemimeris, and thus be
divisible into two equal portions of two feet and a half each,
the middle spondee being composed of a semifoot remaining
at the end of a preceding word, and a semifoot from the be-
it should rather be regarded as a vicious and defective hexameter. Livius
AndronTcus is said to have composed such lines, which he mixed alternately
with perfect hexameters. Only two of them remain.
q From vivrt, quinqne, and /usfjen, mensura. The very name shows
the inaccuracy of that mode of scanning the verse, by which it is divided into
only four feet. In defence of the other mode, the authority of Quintiliaa
may be cited, who mentions the spondee as the middle foot, and the ana-
past as terminating the line, (9,4. )
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? 96 OF VERSE.
ginning of the following word s unless this be done, it will
not be a legitimate pentameter. Hence the following line
has been justly condemned :--
Inter nostros gentlfta oberrat equus.
Pentameter verses are rarely used alone. They are most
commonly joined in alternate succession with hexameters,
forming what is termed Elegiac1 verse
5. The ^lolic Pentameter consists of four dactyls, pre-
ceded by a spondee, a trochee, or an iambus; as,
Terentian. JEdi\dii tuba | terribi\lem soni\tum firocul.
This measure is so called from the jEolian poetess Sappho,
who invented it. Sometimes the first foot was a dactyl.
6. The Phalsecian Pentameter consists of a dactylic pen-
themimeris, followed by a dactyl and a spondee; as,
Boeth. Vise\bdt geli\de \ siderd \ brume.
This measure, like the -fliolic pentameter, admits a tro-
chee in the first place; and besides the trochee, Boethius
uses the iambus in the first and second places; as,
Hie e\nim cau\sds \ cernere | firomfitum est.
Illic | la'en\tes \ fidctdra | lurbant.
Stuflet | cum subi\tis \ mobile | vulgus. Boethius.
This measure derives its name from the poet Pbalaecus,
who invented it. It is also, though less correctly, called
Phaleucian.
7. The Tetrameter a firiore, or Alcmanian dactylic tetra-
meter, consists of the first four feet of an hexameter, with
merely this difference, that the fourth foot is always a dactyl;
as,
Boeth. Desufier | in ter\ram n6x \ funditur.
This measure was frequently used in tragic choruses.
r Elegiac verse, was so called from the Greek <<x<<j/e;<<xofj which is de-
rived from i^^>oc, lamentatio, and this last is said to come, a*>> tob, i I
MyW) " from the weeping of mourners. " Hence the well known lines of
Ovid--
" Flebilis indignos Elege'ia solve capilloQ
lieu nimie ex vera nunc tibi nomen erit. m
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? OF VERSE. 97
8. The Tetrameter a fiosteriore, or Spondaic tetrameter,
consists of the last four feet of an hexameter; as,
Horat. Cirtiis e\nim fird\misit J\fi6lld.
Sometimes, as in the hexameter, a spondee occupies the
last place but one; in which case, the preceding foot ought
to be a dactyl, or the line will be too heavy; as,
Horat- Menso\rem cohi\bBnt Ar\chyta.
9. The Tetrameter Meiurus or Faliscan, consists of the
last four feet of the hexameter meiurus; as,
Boeth. Fdlce ru\bds fUt\cemgue re\secdt.
10. The Tetrameter Acephalous, is the tetrameter a fios-
teriore, wanting the first semifoot; as,
Boeth. Qui | si volet \ esse fio\tintem.
This measure, however, may perhaps be more properly
regarded as Anapaestic dimeter catalectic.
11. The Tetrameter Catalectic, is the tetrameter a firiore,
wanting the last semifoot; as,
Prudent. JVdstrd de\us canel | harmoni\d.
Boeth. Hie cluu\sit mem\bris dni\mds.
Boethius, in this measure, mixes spondees with the dactyls ;
but it was more usual to employ all dactyls.
12. The Dactylic Trimeter, consists of the last three feet
of an hexameter; as,
Horat. Grdtd \ Pyrrha sub | dntrd.
But the lines which are usually thus denominated, are
with greater propriety included in the class of Choriambics,
and ranked under Pherecratics.
13. The Trimeter Catalectic, or Archilochian penthemi-
meris, is an heroic penthemimeris, or the first five half feet of
an hexameter; as,
Horat. Arbori\busque co\mit.
Horace uniformly observes this construction, viz. two dac-
tyls and a semifoot. Ausonius, however, sometimes makes
the first foot a spondee, and twice uses a spondee in the se-
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? 98 ? >> VERSE.
cond place; but the spondee injures the harmony of the
verse.
14. The Dactylic Dimeter, or Adonic, consists of two feet,
a dactyl and a spondee ; as,
Horat. Rlsit jj\fldlld.
This measure was called Adonic, because used in the
lamentations for Adonis. --Sappho is said to have written
entire poems in it, now lost. --Boethius has a piece of thirty-
one Adonic lines, Lib. 1, metr. 7J
ANAPiESTIC MEASURES.
15. The Anapaestic Monometer, or anapjestic measure,
consists of two anapaests; as,
ululda\se cants. Seneca.
But the first foot was very frequently changed to a dactyl,
often to a spondee; and the second foot, often to a spondee,
and in a few instances to a dactyl; as,
Fundite \Jletii3,
JSdite | fildnctus.
Fingite \ luctus.
Resonet \ tristi
Cldm6\rS Jorum. Seneca.
16. The Anapaestic Dimeter consists of two anapaestic
measures, or four feet; as,'
JPharetrte\qug graves |] date sa\vd fero.
Qudnti | cdaua || humd\nd rotdnt I Seneca.
17. The Anapaestic Dimeter Catalectic, consists of three
feet, properly anapaests, followed by a catalectic syllable.
s See remarks upon the " Sapphic" measure, 31.
t No Latin poet ever wrote anapasatics necessarily consisting of four
anapaests (with the exception of a few in Seneca and Ausonius), but they all
appear tR>> have intended their anupa>>tics for single measures or mono*
meters, leaving the reader to connect or disjoin them as the sense might
require, or his own judgement dictate. Convenience in printing however is
answered by the division into dimeters, and hence they are generally ex-
hibited in this forni, in editions of ancient authors.
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? OF VERSE.
99
The Spondee however was admissible into the first and se-
cond places; as,
Utindm | modi). not\tra redi\rent
In mo\res tem\fidra firis\cos. Boeth.
18. The Archebulic Anapaestic" (so named from its in-
ventor Archebiilus) consists of four anapaests, followed by a
bacchius; as,
T%bi na$\citur 6m\ne fiecus, [tibi cres\cit hadus.
19. The AnapsesticTetrameter Catalectic, consists of seven
feet (properly anapaests) and a catalectic syllable. The ana-
paest however is every where alterable to a spondee or dac-
tyl, and sometimes to a proceleusmatic. This measure is
sometimes termed Aristophanic, because frequently used in
Greek by the poet Aristophanes. No examples of this spe-
cies of verse occur in Latin; it may be formed however, by
prefixing to the common dactylic hexameter, a foot and a
half; as,
Rapidis | sima. qua\drufieddn\tit fiutrcm j sonitu \ quatit un\
gula cum\fium,
Pulcher|iTm& re\gia S6\lis erdt \ sy,bll\mibus al\ta colum\
nls.
With regard to the Anapaestic verse it may be observed,
that Monometers and Dimeters are generally so constructed
es to allow of their being read in lines of two, four, or more
feet, without the division of a word, through the difference
of arrangement. The Tragic Anapsestics, however, do not
seem to have been confined to a definite length, but to have
been extended by Synapheia, to whatever length suited the
poet's convenience; suddenly breaking off at the close of a
period, or pause in the sense, and leaving at the end a single
foot or half-foot; afterwards beginning a new series or para-
graph, running on and terminating as before ; but in such a
manner, that in the course of each series or paragraph, the
final syllable of every anapaest, if not naturally long, is, un-
der the influence of synapheia, rendered long by the con-
course of consonants. For the anapaest consisting of two
. u There are no poems now extant in this measure. The line given
above, is one framed by Terentianiis Maurus, te exemplify this species of
versa.
? ? Generated for (University of Chicago) on 2014-12-26 11:29 GMT / http://hdl. handle. net/2027/njp.
