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Nex solio ved the satiris Lucilius, ho employed the hexameter principally besides the ther metres sed by Ennius, in his Satires, though e dis lained the Sotadic. He marks an advance in metrica ari, although there is nolack of harsh sages Malch re partiali excused by thelight colloquia tone of Satire. Accius, in his non- dramaticpoetry, solio ed the metrica principies os Ennius.
Unti the time o Cicero the dactyli poets Contente liliemselves illi the metres employed by Ennius; ut theygealoiast furthered thei artisti developinent. The ostpersect example of this est Ort i the poena os Lucretius, Composed CorreCil and a Cordin to rute, ut ithout grace and variet os rhythm. The bounge Contemporaries Cicero, Hed 'L Laevius, like Catullus, Calvus, and others, dis lained that Simplicity, and introduceil int, Roman poeir great number os metres, mostly holly borro ed irona alis Alexandrians, and whicli the used in generat illi reat hill courseth hexameter a no neglecte M CL Varro Atacinus), ut thes distich re mained indevelope l. Catullus was the irstamong the Roman to lio attention to the Eoli Poetry, by imitatini Sappho I possibi: also that in assonaewhab influenCed in Anacreon Thes Horatian podewas o unknown to this period in the Contrary, in imitation of the Alexandrians, poets atready forme in iambic and trochaici metres various linil according the strictinetrica law of the Greelis indeed, pure iambic lines illi Complete exclusion os very ther Mot. Hipponactean Iambic and Mendecasyllabic Phahaeceans
Between Lucretius and Catullus, eside Laevius, stood Varro Reatinus, ho hows in his Satires, in imitation os the Alexandrians, great hil together illi great varietyos versification He also employed ambiC, trochalc, and Sotadio verses illi the reedom os Ennius and Lucilius. The verse-system Mund in Catullus are the wo-lined Asclepiadean, the four-lined Sapphic, and wo Glyconicsclosing ith a Pherecratean, ne Mur-lined, and ne Onsistin os three and wo lines. Catullus versification ad imitator and riend even in the Augustan Age, and in the sit si Centvry A.D. His reat variet os metres id not meet illi genera approva l. 'e Phalae rean continue. to e popular uiati the nil os Romanliterature, and the Hipponactean tanti the time os ra)an, though both were more stricti treated.
levetopinent os Roman metre to a Close.
not holi eliminate the licenses hich the olde Romans, especiali Ennius; ad alio vel in respect to the rhythmicallaws of the hexameter, harsh elision and hiatus, SyniZeSiS, tengthening os a final syllabies in the thesis etc. But heused them raret and moderately usuali oni to pariat thesiluation by the rhythm of the verse, an ar in hicli eis a master Unfortunately, iis versification SometimeSdisfigure i i pedantic imitation the olexandrian philologisis here the had mistin terstood Homeri verses. Ovid diminished stili more in number os licenses hic hVergil ad allowed, o that, although the hexameter os the
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Metamorphoses are Some hat reer than the elegiacs, his verses, Considered ingly, are the mos beauti sui modet os harmon and metrical kili. Is read sor an tengili os time, however, the gro tire- Some ecause of thei to great Similarity, speciali asOvid Comparativel feldom mahes se of that rhythmicalportrai ture in hic li Vergit a so kil fui. In the hexameter os Satire, hicli a distinguished romthe prose language of the educated only b iis metre, Horace reserved the licenses of Lucilius, ut essened his harshness. The verse of the Episties, speciali of theseCond book is Considerabi more polished than that os the Satires. As ould e expeCted in his ori os Poetry, the licenses borrowed rom the Greelis by poets of thehigher style, eg hiatus and a sponde in the fifth oot arealmost holi avoide l.
The distich also, hicli in Catullus stili appeared rude, was persected by Tibullus by Propertius in his later orks, and particulari by Ovid, although the alter, in the works vrittera durin his exile, dropped omething of the metrical
stricines stlown in his eroti Poetry. Horace introduced the epodi versification o Archilochus into Roman Poetry, and also the lyrica mea sures of then oli poets Alcaeus and Sappho Archilochus and Anacreon also may have ad sonae influenc on the versificationo the des It is no certain hether the wo metres no met illi in ree Od. I. 8 Ep. 3), ere invented by Horace or not also hether the division os the strophes into Mur lines, hicli is the universa rule in the des, ior Od. IV. 8 is interpola ted - was borrowed Trom Alcaeus or
os the strophes o Horace, ori account of the os of his Gree modeis and the ContradiCtor State ments of the Latin
On the ther and Horace pati sui regard to the spirito the Latin language, parti by Setting Side, and parilyb reducin to a very mali number, hos licenses hic lithe oli poets ad alio ved thenaseives in respect to Caesura and FVaba anceps, and OnSe luently his metres becam more qua and dignisied Thus, o instance, the Asclepiad and the eleven-Syllabled Alcaic and Sapphios received a firmi fixei caesura. In the Asclepiad the basis Wa alWay a Spondee, and the Alcai and Sapphic verses had a sponde always e fore the caesura. Stili Horace has more Cases of elision in his lyrica measu res than theiragedian Seneca, and further allows monosyllabi Conjunctions and repositions at the caesura and at the nil of the
made by the Roman beyond the lyrica versification os HoraCe. The attempt, Condemned by Horace, ut madet, his Contemporaries, o imitate the des o Pindar, Mundn SymPathy. In the time of Augustus, trage ly, hicli ad been eal-ousi Cultivated in opposition to Comedy, a emanCipate lsrom the metrica traditions os the Republic, and iis iambicsand troChatCs ere Constructed a Cordin to the mode of the Gree tragedians, and the rule adopted rom the Alexandrians that the oot precedin the las iambus in theiambic trimeter and trochai tetrameter CataleCti must necessarii be a sponde or an anapaest. In generat, muChgreater Deedom as allowed the anapaest in iambic trimeter
in Latin trage ly than in reel . A the sanae time thechorus as introduCed - that is in the anne o Euripides, -
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with a oos relation to the action os the drama rom hichwas ahen oni a Poliat os de Parture so genera descrip
the dactylic and logacedi metres illustrated in Seneca.
The res centur aster Christ, uiati Hadrian ii 7),
represent the Alexandri in period o Roman versification. No further enrichment a made, and there e re ut se vallem pis to emplo a reat number os metreS. Oet Contented thenaseives illi a Consistent and astes ut though notini requently Pedanti improvenient of the metres atready in
The grammarians ere responsibi sor mala salse explanations of the metrica peculiarities of Vergil, ho asstud ted illi qua geat, and enjoyed the Same authorityamong the Roman as Homer among the Greelis, althoughthei erroneous theories exercised litti influence ver thebetier poets even to the nil of the ourth century, a isShown by Claudianus and Rutilius amatianus in the timeo Honorius Moreover, t was unfortunate that the aste for the Mur-lined strophes o Horace, illi the exception
choruse of SeneCa prove Instead poets egan to Se thelyrica mea sures of Horace in Oetr Written κατα στίχον. In a very peculiar anne SeneCa, in Wo tragedies Agamemnon and Edipus , combine i ree Choria Songsout of the hori verses o portions os verse of OraCe. In the last centuries this custom of akin ne verSe Outos paris of Horatian metres beCame more Common. Inother respeCt the metriCal ari a very Caresuli developed
in the mos minute delatis, o that licenses hicli ere common in the Augustan poets beCame rare, and those whicli ere infrequent in the Augustan Poetr Were almOSt
them, o his influence a very Considerable on the formo the the dactylic and loga edic metres. In ther lines Horace' lyrica and satirica metres ere modeis. Remarhlias atready been made bout Catullus influen e CL 11). Here, too, must e mentioned that tendenCy, notice latready mong the later Greelis, toWard playing illi orils and flectations, hicli ecam Stronge and Stronger, themore the want of ea substanc in poetry a seli ThemOS remarhable example, unique in iis init, of this
Aster the time o Hadrian and Fronto an antiquariantendeno made iis influence et in Roma poetry, to-gether illi the stead imitation o Augustan versification, so that occasionali not ni iambi and trochai verses were ritten illi the metrical no prosodicat licenses of Plautus, ut also poets returnei to the metrica varietyos Laevius an Catullus a is seen in Septimius Serenus and Terentianus Maurus, poets of the thiri century. Their example a sollowed by the Christian writer aster thes rili Centvry, although the also employed the verse os Horace in their Oet .
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1II. 15. Fina State of Greela an Roma versifiCation. The state of both Gree and Roman versification aster the third centur is so early the fame that the Subjectcan e reate lis One. In both languages the mos Common metres Continue ito e the dactylic hexameter and Pentameter, a Weli Suartous iambic and trochai verses in re e the iambictrimeter, in Latin the trochai tetrameter Catalecti and the iambi dimeter, parti κατὰ στίχον, parti in StroPheS. As is hown by the latest ancient and by the mediaevalGree and Roma poets, ali appreciation of the strophewhicli, in ancient times, ad represented the harmoniolis combination os different verses into ne artisti Whole, had vanished. At combinations os like or unlike VerSes, repeated in the sanae succession os verses and in thesam numbers, is ni the had a decidei stop at theend were Considerei a Strophes Such Strophes V ereespeciali used sor religiolis Purposes Christian hymias). In the truCtur of these hymias, among the Greelis aster Gregorius Nagiangeniis 36o), the mos serviCeable metrewas the iambic trimeter, and ometimes the Catalecticiambic dimeter and Anacreontic among the Roman themost Sed metres ere the iambic dimeter and thecatalecti trochai tetrameter. At his fame time en egan to os the XaCt appreciation os the peculiar appropriatenes of ea Ch metre. Fromthe third centur Roman poets Alfius Avitus, and later Festus Avienus had employed iambic metres in epicrepreSentation, and the fame hin was done in ree in the Seventi, centur in Georgius lisides On the therhanil aster the sanie date, Latin tragedies Medea and Orestes had been written in hexameter So, Oo, in lyricpoeir litue aste as hown in the ChoiCe of metres, as v se in the Case Ausonius and Prudentius inbout
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Tu euphon os the classica langvage depends, in prose,upon the Rhythm numerus); that S upon a roupin os the word of the sentence, speciali at iis e nnin andend whicli is harmoniolis an pleasin to the ear. In poetr it depentis pota the Metre; that is, the artistic combination os long and hori Syllabies in verSe System,
In olden times, in the structure os verse, the princi eo quandi as the only one considere M that is, theword mahing up the verse ere meaSured accordin tolli tengiliis thei voWeis. The prose accent, as et a thelogica importance of the ordS, o paris os ordS, a nottaken into consideration. The combination o a aisin and a lowering of the voice
The poets, too sollowed the rules os rhythm parti by Causing the accentuatio of the verse-seet to var a muChas possibi stoin the prose pronunciation os the woriis, parti by harmoniolasty oining the paris os the verse Sotha the compas of the individual ord might differ asmuch as possibii stom that in the single verse-seet, and
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Bacchiusi Antibacchius talimbacchiuS
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ao Genera Introductisu. The combination o tW see is calle a Dipody'. Iambic, Trochaic, an Anapaesti verse, ut o the Dactylic, is measured by Dipodies. The Iambi verse, containing ix se et is there fore calle a Trimeter. The realest tres os the metrica Ictus is lai upo the rs par of the Dipody, consequently on the odi seel. Basis is the term applied by later riter o metre to thedissyllabi prelude at the eginning os Phatacean, Phere- Cratean, Asclepiadean, and ther verses, hicli in Greehpoeir consist os a Trochee, Spondee, Iambus, o Pyrrhic. Anacrusis is the nam given to the monosyllabi preludebesore the rs thesis os the Alcaic Hendecasyllabi and Enneasyllabic, and ther verses his syllabi is ither long
Verse is a metrica series consistin os like o disserent laet whicli ho ever, are not combine arbitrarii or mechani- catly, ut accordin to the la os Symmetr and Euphony, as it present iiset to the artistic sense os the poet. Verse mus no number ver hirt morta a mora. Sthe uni os measure, the time os ne hor syllabie, a pinmusic) although in lyric poeir an in the choruses os the Gree dram there are soland longe combinations So-Called Periods, os hicli io in count cis 'Aen in the solio ing
quantityis the syllabies, the strict exclusion os est illegitimate laet was a matter os coum in the old poet unti thedegeneration os Latin and Gree literature; ut metrices com ecines by no means mahes a verse a or os ut, andit ecomes such ni by an exactoeepin os the laws os rhythm, speciali a the lose os a metrica series More-
over, a longe verse eed a least ne definite division Caesura), hici allo soli voice to est, an divides the verse symmetricali an harmoniouSty. Again, it is a la os euphon that the fame lette musino recur to frequently in the Same verse, a in Ennius:
O Tite tute tibi tanta tyranne tulisti.
Iustis much to e voide are ord of the Same numberos syllabies, o those hicli are to long a in Ennius and
NamatianuS: sparsis hastis longis campus splendet et horret. Bellerophonteis sollicitudinibus.
O the contrary there must be a proper inglin os
verse os hicli the las Mot is incomplete is called Ialectio. Is this incomplete Mot contains ne syllabie, itis callex Catalecticus in sy Eabam two. Catalecdicus indis yllabum. verse can e calle Hy perca alecti is it has one ortwo aries after the las Complete Mol. A verse is calle Simple is it consist of the seel; Compound is it consist os unlike eet.
verse in hicli Dactyis and Trochees are sed togetheris calle Logaordic. Verses made u of two disserent metrica series are called Asy narure A the en os therars series hiatus an sy Zabaanceps are generali allo ed. In te os the reat artistic aste os the Greelis andRomans, and the ighi finished state os their an ages, it an e assume that thei mos usual verse-seet erealso the mos persect As such, the Dactyli Hexameter
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Gesuerat Introductiou. an Pentameter, in Iambicorimeter, the Trochai Tetrameter Catalectic the Anapaesti Di meter and Tetrameter Catalectic the Glyconi and Asclepiadem meaSures, and the Alcai and Sapphic Strophes are speciali re mactabie.
In orde to ive the voice a rest, verse os more than tensvllabies have usuali one or two divisions Gesura, τομη); ut this est o paus is horte than at the nil of the verSe. Sometimes here is besides the rimar Caesura a SecondaryCaesura, as g. in the Dactylic Hexameter e nil the rarae mimeres caesura aster the third alse Mot), together illi the Heth hemimeres caesura aster the evenili alLMot). The division os the paris os the verse by the caesura sno accidental or mechanical, ut depend upon the la os Symmetr and Euphony. Heiace it osten appens that heparis of the verse ad by the caesura also called Metrical Series V else here appea a independent verses Thi isalso surther explained by the ac that the caesura usuallyoccurs abolit in the mi lille os the verse. The origina metre is requently ut in No by the Caesura. So eo the Penthemimera and Hephthemimera Caesura mih Dactylic Hexameter sal upon an Anapaest in the ambic Trimeter, pon a Troche e. The reates stres os the metrica ictus est o the firs hal of the verse a sar a the
The Fina 'Valis os the verse is common that is, itcan e either long r hori. Compare o. For his syllabi the lis os Hiatus is not miling. Elisionand the Apostrophe are o allowed a the endis the verse excepi hen severa verses are united by Synapheta In his Θstem, Strophe, and 'ode.
case either Syllaba Anceps normiatus is admitted; ut Elision, and ometimes the division os a Wor at the end
It is no necessary, and indeed quit Seldoin appens, that the paris of a System os verses hould e nitet toeach ther l, Synapheta. I such a System is repeated one or more timeS, it Scalled a Strophe. In Dori and dramati lyrica poetry the even Second, Murth, etc. Strophe are Called Antistrophes. Epode Nodus, επωδός, sem gen. is the nam appliedio the Verse-System hicli, in Dori lyri poetr and in the choruses of trage ly, follows the Antistrophe and closes his and thes Strophe. Epode epodus, επωδός, maSc. gen. i HS the ameapplied to a horte or even a longer Synariete Hor. Epod. II, 3 verse, hicli is combined illi the preced- in into a System Again the Combination o tW such verses, illi the exception of the Elegia Distich, is calle lan podes Horace). The repetition is Dactylic Distiches Epodes notconsideredos a Strophi Structure.
Since the Verse, the paris os the Verse produced by the CaeSura, and the Verse-Systems, rare meret a resul os the
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i CatulluS: quid non est homo bellus inquies est. an in Horace scitari libet ex ipso, quodcumque refers. dic,
Stili, thes destre o mahae thoe metrical innilings, marhedout by the caesura and lose of the verse, coincide illi thedivision os the sentence, as et a to void arsh discordS, is o deepi implanted in ur poetic instinet, that, at eaSti verses hicli are not united in system Strophe, the poets early a. Homer silows, directed their attention tothis potnt heresores it seldom happens ulside of the Strophe, speciali among the Greeks that the las syllableo the las Mot os a verse elong to the solio in sentence. In the fame Way a sui stop aster the sirst syllabi or the
is no to e commended, although here the arshnes is diminished by the logica importance of the sirsi or and by the elision. Vergit omelime so the ahe of effect en is a rather long speech ith an initia dactyl. n. IV. IO:
semina. sic satus nocti se inmiscuit atrae.
hic currus fuit hoc regnum dea gentibus esse.
pulverulentus eque t furis. omnes arma requirunt.
Stili, the tragedians, speciali aster Sophocles, allo them-Selves much reedom illi respect to the disagreement os metre and punctuation, in orde to increas the effect fpassages in the dialogue hicli are expressive os ostypassion Iuch mores reedom does Horace allo himself
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in his satiric exameter Moreover, many the PoetS among the Romans are accustomedo Place monosyllabic Conjunctions or reposition in the Caesura os the exameter, speciali When elision occurs, a Vergil:
si genus humanun e mortalia temnitis arma.
κακον ad κα- ἐν μέρα γνοίης μια. There re ord like με, δε γάρ, is enim, utcm, Perse, whicli do no stando the eginning of the Sentence, areno usuali solando the egi nning of the verse. Since angvages, illi increa Sin age, at ab S a more regardo logic, in the poets since the Christian era it is the rule that the nil os a Strophe like the Elegia Distichshali coincide illi a sui stop and theSe Oet alSΟ, eventhe Romans, at eas a the nil of the verse, avoidharsh discor is etween the nil os a metrica Series and the punctuation o logica Connection. s. Rhyme Alliteration. In orde to emphasige oriis Connected or relatet to achother by a similar ound and ecause his ounded et tothem, the Greelis and Romans osten placet in the caesura and at the nil of the verse ord havin a similar en ling rhyme, homoeo eleuton), Speciali a noui and adjective, Orappositive, o that usuali the last ne, ut omelimes thelast two syllabies of eaChoord ad the Same ound.
quot caelum fellas, tot habet tua Roma puellas.
Especiali frequent is his assonance in the Caesura anda the end of the verse of the dactylic Pentameter and the
asclepiadeu minor c. g. et teneat custi jugera multa soli terrarum donii nos evehit ad deos.
The law of hyme in later poetr have been developedfroni hi USage. The Same purpos is serve by Viueraclion Le a similarbeginning Consistin os ne or even two letterS, o tW Ormore ord whicli solio each ther. Among the Roman Alliteration appears frequently stomthe earlies time unti Lucretius Later, unde the influenceos the Greelis, ho, illi the exception os the Comedians, were o Mnd of it, se instances occur, and these so themost par in single formulaS, S aDr patriin, more modoque, etc., or in very artificia verses in Vergi occasionalty in imitation o Ennius.y
The relative merit and present relation o Gree an Romanversification re discussed in the Introduction.