No More Learning

t Written in Greek with an w, and consequently long by nature, it is here
shortened by the figure.
t From StacTTo\fi, "an extension," or "lengthening. "
? From eKTdois, the same.
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? 7s figures of prosody.
7. -- Synapheia. *
Copvlat irrupto versus Synapheia tenore.
Synapheia connects verses together, in such a manner
as to make them run on uninterruptedly, as if not divided
into separate lines or verses. By this mode of connect-
ing lines together-- irrupto te? wre -- the initial syllable of
a succeeding verse has an influence on the final syllable
of the preceding, -- affecting it by the concourse of con-
sonants, by ecthlipsis, and by synaloepha. The use of sy-
napheia was however confined principally to anapaestic
verse and the Ionic a minore. In other species of verse,
it was rarely introduced by any of the great poets.
The following anapaestic lines are examples of Syna-
pheia :
Prceceps\sylvas\\montes\que fugit\\
Citus Act\ceon,\\agilis\que magis\\
Pede per\sdltus\\et sax\a vagiis\\
Metuit | mot as || Zephyr is plumas. || Seneca.
By reading these lines -- continuo carmine -- the natu-
rally short final syllables of fugit, magis, and vagus, re-
spectively become long by position before their own fi-
nal, and the initial consonants in the lines immediately
succeeding.
Virgil's hexameters also furnish some examples ; as --
Jactemur, doceas : ignari hominumque locorum\q}ie
Erramus, vento hue et vastis fiuctibus acti.
In this example the first line ends with rum, the
superfluous syllable que at the termination, combines
with Er the first syllable in the second line, and thence
by Synapheia and Synalaspha, produces QiCerra, -- as a
spondee, to commence the second line. *
* From aviHKpeia, " a conjunction, or joining together. "
t The celebrated Bentley, in his Dissertation upon Phalaris, had the merit
of discovering the law of Synapheia.
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? figures of prosody. 79
8. -- Prosthesis. * 9. -- Aphjeresis. !
Principium apponit Prosthesis, quod Aphaeresis aufert.
Prosthesis adds a letter or syllable to the beginning of
a word ; while Aphceresis takes away a letter or syllable
from it. Examples of Prosthesis -- Gnatm for Natus ;
Tetuli for Tuli : -- of Aphceresis -- 'st for est, Camander
and Maragdus for Scamander and Smaragdus.
EXAMPLES IN COMPOSITION OF APH^RESIS.
Tu poteras virides pennis hebetare smaragdos. l Ovid.
10. -- Syncope. $ 11. -- Epenthesis. II
Syncope de medio tollit, quod Epenthesis addit.
Syncope takes away a letter or syllable from the mid-
dle of a word, while Epenthesis adds it. Examples of
Syncope. -- Periclum (for Periculum), Pasnum (for Pos-
7iorum), aspris (for asperis), audiit (for audivit) : -- of
Epenthesis. -- Redeo (for re-eo), seditio (for se-itio), pluvi
(iox plui).
EXAMPLES IN COMPOSITION OF SYNCOPE.
Cingite fronde comas, et pocula porgitelf dextris. Virg.
12. -- Apocope. ** 13. -- Paragoge. -M"
Apocope demit finem, quern dot Paragoge.
Apocope strikes off, while Paragoge adds, a final letter
or syllable.
Examples of Apocope. Men 1 (for mene), tuguri (for
* From itpooBcoiq, "an addition. "
t From dcpaipeatg, "a taking away. "
% Where the initial s is not pronounced.
6 From avyxdrrTi, "a cutting away. "
f| From tTtivQcaig, "an insertion. "
\ Porgite-- for porrigite.
*'* From drroK6rrr] i "a cutting off. "
f\ From naaaywyfi, "a bringing into. "
8*
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? so
FIGURES OF PROSODY.
tugurii), neu (for neve) : -- of Paragoge--Deludier (for
deludi, legier (for legi), amarier (for amari).
EXAMPLES IN COMPOSITION OF PARAGOGE.
At Venulus, dicto parens, ita farier* in/it. Virg. i
14. -- Tmesis. I
Pei' Tmesim inseritur medio vox altera vocis.
Tmesis is the separation of a word into two parts, for
the insertion of another word between the parts divided.
examples by single words.
Qui te cumque (for quicunque te), Septem subjecta
Trioni (for Septemtrioni).
EXAMPLES IN COMPOSITION.
Talis Hyperboreo Septem subjecta trioni. Virg.
15. -- Antithesis. X 16. -- Metathesis. ^
Nonnunquam Antithesi mufatur liter a, ut olli;
Cum propria migrat de sede, Metathesis esto.
Antithesis substitutes one letter for another ; as olli for
illi: while Metathesis changes the order of the letters in
a word ; as, Thymbre for Thymber.
EXAMPLES BY SINGLE WORDS.
Of Antithesis. -- Faciundum for faciendum, Publicus for
Poplicus -- Populicus, Vult, for volt, adsum for assum, &c. :
of Metathesis -- Corcodilus for Crocodilus, extremus for ex-
terrimus -- by syncope, exter'mus, svpremus for superrimiis
-- by syncope, supefmus, &c.
* For far i.
t From TfAJjais, "a cutting or incision. "
t From dvriOccris, "a substitution. "
? From f. urade<Tis, " a transposition. "
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? VERSIFICATION. 81
EXAMPLES IN COMPOSITION -- OF METATHESIS.
Tu quoque cognosces in me, Meleagre,* sororem. Ovid.
OBSERVATIONS.
Although most of the foregoing figures of Prosody may
be considered imaginary, being, in reality, nothing more
than so many Archaisms, Anomalies, or Poetic Licenses,
still it was deemed necessary, in compliance with custom --
Quern penes arbitrium est, et jus et norma loquendi --
to give them place, as conducive to the perfection of the
plan proposed in this little work ; particularly, as the
curious reader will, in the course of his studies, find
these figures, on most occasions, treated of under their
proper appellations by the most learned Grammarians,
Prosodians, and Commentators.
SECTION VI.
OF VERSIFICATION.
1. Poems (carmina) are composed of verses or lines ;
verses are composed of feet,t and feet of syllables. A
* For Meleager.
t Feet in metre are thus denominated, because the voice appears by their aid,
? to move along in measured pace, through the verse. Foot as applied to poetry
may also be thus derived : -- According to Marius Victorinus, arsis was the noise*
less raising of the foot-- Sublatio pedis sine sono, -- while thesis was the dropping
of it, audibly striking the ground-- positio pedis cum sono : -- observing also, that
it was not so much by the number of syllables, as by the time, the arsis and
thesis were regulated. Horace himself, and after him Terentianus Maurus,
allude to this method of distinguishing the feet : keeping time according to the
arsis and thesis, by the tapping of the thumb or the beating of the foot --
Lesbium servate pedem, meique
Pollicis ictum. Lib. iv. Ode vi.
Verse ; is so called from turning back (vertendo) ; because when the line is com-
pleted by the requisite number of syllables, we turn back to the beginning of
another line. By the Greeks, it was called vrixos, "order" or "rank/' from the
disposition of the lines. From ari\oq. and riptavs, "the half," comes hemistich,
? or half <<verse. The term hemistich is also usually applied to either portions of a
line orvverse divided at the penthemimeris ; as, --
JEre ciere viros\\Martemque accendere cantu. Virg.
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? 82
VERSIFICATION.
foot, then, is a combination of syllables employed in
measuring verse.
2. Feet are either simple or compound. Simple feet
consist of two or three syllables ; compound feet are
formed by joining together two simple feet.
3. All the possible combinations of two syllables are
four ; -- of three syllables, eight ; -- and of four syllables,
sixteen : making twenty-eight different kinds. To these
some Prosodians add two other compound feet of five
syllables; viz. , -- the Dochimus or Dochmius, and Meso-
macer : making thirty in all.
SIMPLE FEET OF TWO SYLLABLES.
1. The Spondee* (Spondceus) consists of two long syl-
lables ; as, bmnes.
2. The PyrrhichI' (Pyrrkichius) consists of two short
syllables ; as, deus.
3. The Trochee^ ( Trochoms) consists of one long and
one short syllable ; as, servat.
4. The Iambus^ (Iambiis) consists of one short and one
long syllable ; as, pios.
simple feet of three syllables.
1. The MolossusII (Molossus) consists of three long
syllables ; as, delect ant.
* Derived from oirouSfi, " a libation," being originally used from its majestic
gravity, in the slow solemn chant at sacrifices.
t So called, from nvppixn, u & martial dance" performed by armed men, in
which this quick and lively measure was predominant. Some derive it from
Pyrrhus, son of Achilles, as the inventor; while others attribute it to Pyrrhicus.
the Cydonian.
% Supposed to be derived from Tpixzw, "to run," -- Tpo%og, "awheel," from its
lively movement. By the Greeks it was also called xoptloq, (from xfyoj, "a
dance") and by the Latins Choraus, from its adaptation for dancing.
? From iaiTTCiv, "to rail against; because this] foot was first used in satirical
compositions. Others derive it from the nymph Iambe, by whom it was used in
singing for Ceres to alleviate her grief for the loss of Proserpina.
|| After Molossus, son of Pyrrhus and Andromache, who used to sing hymns
composed in this metre, before the shrine of Dodona; or, as others say, from its
being used in the war songs of the Molossi, a people of Epirus.
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? VERSIFICATION. 83
2. The Tribrach* ( Tribrachys) consists of three short
syllables ; as, melius.
3. The Dactyl! (Dactylics) consists of one long and
two short ; as carrriina.
4.
The Anap^stJ (Anapmstus) consists of two short
syllables and one long one ; as, dnimos.
5. The Bacchius? (Buxxewg) consists of one short syl-
lable followed by two long ones ; as, dolbres.
6. The AntibacchiusI! (fJrnflaMffUe) consists of two
long syllables followed by a short one ; as, pe/luntur.
7. The AmphimacerU (^/uqitftuxgog) consists of one
short syllable between two long ones ; as, castitas.
8. The Amphibrach** (Amphibrachys) consists of one
long syllable between two short ones ; as, amare.
COMPOUND FEET.
1. The Dispondjeus, or Double Spondee, is composed
of four long syllables, or two spondees ; as, infinltis.
2. The PROcELEusMATicustt is composed of two pyr-
rhichs, or four short syllables ; as, hominibus.
* From rpets, "three" and Ppaxvs, "short. " It is also called Choreus, and
by Quintilian, Trochaus.
t From 6&ktv\os, "a finger;" which has one long joint and two short ones.
Some derive it ab Idais Dactylis, by whom this metre was used in the songs and
music played and sung to drown the cries of the infant Jupiter, while being con-
cealed on Ida from the child-devouring Saturn. By others it was called Herous,
from its use in describing heroic achievements.
t From avanaioi, " I strike or beat in reverse order ;" because those who danced
aecor ling to the cadence of this foot, used to beat the ground in a manner differ-
ent from those observing the dactylic movement. Hence it was also called ' Avti-
d&KTvXos (Antidactylus) by the Greeks, and Retroaclus by the Latins.
5 So called from its frequent use in hymns to Bacchus.
|j From its being used in opposition to the Bacchius ; in the same way probably
as the Anapast and the Dactyl
IT From d/i^f, "on both sides," and pmp6g, "long. " 03*- This foot is also
called Crbtic ; (Creticus) and is then derived from the fancied similarity be-
tween this measure and the time observed by the Corybantes of Crete when
striking on their shields or cymbals to drown the cries of the infant Jupiter; as
Already mentioned in the note on the Dactyl.
** From dficpi, "on both sides," and /3pa\v^, "short. "
? ft From Kl\ev(Tpa, " the word of command " given by the leader of a choir or
dance, which was performed in double quick time. Others derive it from the
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? 84
VERSIFICATION.
3. The Diiambus, or Double Iambus, consists of two
iambi ; as, severitas.
4. The Ditrochjeus, or Dichorseus, consists of two
trochees ; as, pcrmanere.
5. The IonIcus Major (or a Major e) consists of a
spondee and a pyrrhic -- two long and two short ; as,
calcaribus.
6. The IonIcus Minor (or a Minore) consists of a
pyrrhich and a spondee -- two short and two long ; as,
proper ab ant . ^
7. The Choriambus consists of a choraeus or trochaeus,
and an iambus -- two short between two long ; as, riobi-
Utas.
8. The AntispastI (Antispastus) consists of an iambus
and a trochee -- two long between two short ; as, secundaria
9. The Epitritus Primus, or First Epitrit, consists of
an iambus and a spondee -- one short and three long ; as,
salutantes.
10. The Epitritus Secundus, or Second Epitrit, con-
sists of a trochee and a spondee -- a long, a short, and two
long ; as, concitatu
11. The Epitritus Tertius, or Third Epitrit, consists
of a spondee and an iambus -- two long with a short and
a long ; as, communicant.
12. The Epitritus Quartus,J or Fourth Epitrit, con-
word given out by the master or captain of a vessel to encourage his crew to
greater exertion and celerity.
* These two are called Ionic, from their use among the Ionians. One is called
a majore, because it begins with the greater quantity -- two long : the other is
called a minore, because it begins with the less, that is, with two short syllables.
Some authors think these measures were so called from Ion, their inventor.
t From avTiciracdai, "to be drawn asunder;" two long syllables being sepa-
rated or drawn asunder by two short ones.
t These four derive their name from ini," beyond," and rpiros, "the third;"
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? VERSIFICATION. 85
sists of a spondee and a trochee -- three long and one short;
as, incantdre.
13. The PjEon Primus, or First Paeon, consists of a
trochee and a pyrrhich -- one long and three short ; as,
conficere.
14. The P^on Secundus, or Second Paeon, consists of
an iambus and a pyrrhich -- a short, a long, and two short;
as, resolvere. >>
15. The PjEon Tertius, or Third Paeon, consists of a
pyrrhich and a trochee -- two short, a long and a short ;
as, sociare.
16. The PjEon Quartus,* or Fourth Paeon, consists of
a pyrrhich and an iambus -- three short and one long ; as,
celeritas.
1. The DocHMiust (46xt*iog) consists of an Antispast
and a long syllable -- a short, two long, a short and a long ;
as, aberr aver ant.
2. The Mesomacer$ (Meadfiocxgog) consists of a pyrrhich
and a dactyl -- two short, a long, and two short ; as, dvi-
dissimus.
because they have three measures and something more ; then they are called first,
second, third, and fourth, from the relative situation of the short syllable.
* The name of these four is, by some authors, derived from P&on, its inventor.
Others, however, with more plausibility, derive it from Apollo; to whose honour,
hymns were composed and sung in this measure. Similar to other metres, the
Paeon is the opposite to the Epitrit ; whereas in the latter there is one short with
three long, but in the former there is one long with three short. Thus, also, the
first, second, third, and fourth Paeons are so named from the relative position of
the long syllable in each.
t From ddxniog, "oblique or irregular," on account of its irregularity and devi-
ation from the customary laws of metre.
% From fjieao-g, "middle," and ftaKpos, "from the position of the long in the
midst of two short on each side.
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? 88 VERSIFICATION.
OF FEET CALLED ISOCHRONOUS.
1. Feet that are in metre, considered interchangeable
or convertible, have been called Isochronous* For in-
stance, as a long syllable contains two times, while a short
syllable contains but one time, the Spondee consisting of
two long syllables is Isochronous, or of equal-time, with
the Anapaest consisting of two short and one long ; -- with
the Dactyl consisting of one long and two short ; -- or with
the Proceleusmatic consisting of four short syllables : and
vice versa : as in the following scheme : --
The Spondee -
The Anapaest ^ ^
The Dactyl
The Proceleusmatic *-* -
thus the long or double time of the first member or first
half of the Spondee, is equivalent to, or convertible into
the two single times of the Anapaest, while the double
time of the second member or second half, is equivalent
to, or convertible into, the two single times of the Dactyl :
-- and the double time of either member of the Spondee,
answers a similar purpose for either half of the Proceleus-
matic : and so again the times of each of the three, are
resolvable into those of the Spondee. t But of the other
feet, the Iambus is not substituteable for the Trochee ;
nor is the Spondee for the Amphibrach.
* That is, even or equal-timed; from "cog, "equal ; " and xP^og, "time. "
t The young Prosodian must beware of misconception on this subject 5 because,
critically speaking, no feet are Isochronous, unless they are so in their separate
members, as the four above compared: whose first and second members consist
of equal times. Therefore neither a Trochee nor an Amphibrach is Isochronous
with any of the four just mentioned. Of this any one may be convinced by pro-
nouncing the words reclude, resume, repclle, -- three Amphibrachic feet -- and
comparing them with three Dactyls, tludere, sitmere, pellere; the voice requiring
more time for the distinct enunciation of the three former than of the three latter ;
because the voice dwells longer on each of the short syllables when separate, than
when following each other consecutively.
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? METRE. 89
2. The arsis* is naturally assigned to the long syllable
of every foot : in the iambus to the second syllable ; in
the trochee to the first, while on the spondee and tribrach,
the position of the arsis must depend on circumstances :
because as the predominant foot and metre always deter-
mine the position for the subordinate feet, the spondee
when intoduced into iambic or anapaestic verse, has the
arsis on the second syllable, but in trochaic or dactylic
verse on the first : so the tribrach introduced in iambic
verse, has the arsis on the third, and when in trochaic,
on \\\e first.
SECTION VII.
OF METRE.
1. Metre is most commonly used to signify a combi-
nation of verses succeeding each other in regular order :
thus Dactylic metre. Iambic metre, Trochaic metre, are
synonymous with Dactylic, Iambic, Trochaic verse.
2. Metre is also used in a more restricted sense to
signify either a single foot or a combination of feet in
poetry, and in this sense, it is technically called " a
metre. 19
3. The metres employed in Latin poetry, are six :
viz. , -- 1. the Dactylic; 2. the Anapcestic ; 3. the Iambic;
4. the Trochaic ; 5. the Choriambic ; 6. the Ionic :t to
which may be added another, irreducible to any of these
six, under the head of Compound Verses, as the 7th kind.
* See pp. 2, 74, and 81, for an account of the arsis.
t These metres are thus designated from their predominance in some particu-
lar foot; as each species had been originally composed of those feet only, whence
the name was given: but other feet of equal time, were afterwards occasionally
substituted, according as the taste of the poet or the necessity of the verse re-
quired. Metres are not unfrequently denominated after some celebrated poet
who composed in this particular species : as the Alcaic, the Anacreontic, the
Happhic, &c. , &c.
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