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This is made ui of the Alcaic Hendecasyllabic No. 25), the Enneasyllabic ia), and the Decasyllabic 26), and is characteriged by force and energy. There sore it is Horace 'ssavorite metre, and employed by him speciali in des spolitica and mora content, though also in hos treatingos eroti and convivia subjecis It is the metre os 37
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III. 9. 5. 9. 24. 25. 28 IV. . . Elision a the endos a verse CCur in IV. I. 35.
8 Fisth Asclepiadean Strophe used by Sappho and Catullus, but in Coupleis : -
Made ut o Greater Asclepiade in verses ai) I. II. 8;
11 Thir I Archilochian Strophe used in Archilochus
combination os the Trochaic Dimeter Catalecti 15)and the Iambi Trimeter Catalecties ii) II. 18. 13 Strophe of Ionici a minori:
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THE structure of the verse is determined by xed laws, WhiCh however, are Sometimes negleCted or evade l. Stili suci exceptions are almos neve arbitrar in the Classica writers rathe do they too sal unde definiteriales, hicli are os ni les Wide application than thegenera law of the verse. The are, o to Peah diSSO- nances resolved into a igher OnSOnan Ce.
The metrica licenses and peculiarities os the poets cant, reducet to ight CaSeM: - 1 The eginning of ver metrica series has reater Deedom than the nil of the series formed ithe by the
a Lon verses enjo greater reedom than Shori Solon Poena offer greater opportunit sor metrica licenses than horter ones hicli must e speciali Characteriged by elegance and beaut os orna. 3 Variation os subject- matter osten introduces variation os metrical a s, speciali among the Greelis Thus epi Poetry, as et a di lactic, satirical, and elegiac, has Certatim peculiari soritas is thes Hexameter In thoe sanae
way, thes lyrici versification hac iis leculiarities, and thatos comed osten differs widely rom that os tragedy.
4 Further, it is clea that the inventor O a metre Orone ho introduces innovations therein, reat it more freel than ater riters ho solio the path hich he has opened p. The exameter os Ennius differs idely romthat os Vergit the lyric measiares of Horace rom hos os Seneca In generat, it is true that the more frequenti any metre is sed the more exaCt i ii StruCture. 5 The later ork of an author are usuali more polished than the earlier. For instance, the exametersos Horace' Episties are more caresuli sormed than hoseos the SatireS. 6 A the metrica ar of the amous poets of antiquitycontinuet to e the standari sor those ho Came later, o atteas exercised great influenCe on them, it is ver importantio observe hat mode os versification acti poet has sol-lowed. The exameter of the PoSt-AuguStan Oet Varyaccordita a the folio Vergi or vid. 7 Frequently the metrica licenses os a verse an beexplained by the occurrenCe in the verse of rOPer ameS, or in Latin os Gree wor is, speciali immediatet besore SuCh or is sor proper ames annot be arbitrarilyrewritte or altered It is to e remembered, too that theancient poets employed these ames much more frequently than hos os modern times. Moreover, Greeli OrdSappea in Latin verse to justis of thenaseives, at the Same time, the metrica licenses borrowed rom the Greeks. Indi lacti poetry the so-called fermini Iechnici, in the Christian writer sacred ord a spiritus, eccDSia, Sualty iVeris to metrica licenses for these ord approaCh neariyto proper nantes In the famae Class. 'oo, sali sometimes
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8 Finali metrica licenses are o Seldom occasione li, an impassionei movenient of the an age hicli ho sitsel in rhetorica figures, speciali in the repetition of the sanie orit anaphorahi in antithesis.
It is osten triae that severat of these reasons Combine to explain a single Case of metrica liCense. In Gree poetr metrica licenses are muCh more requent than in Latin although there are Cases here Severatos them occur in a single Latin exameter heia Some os the bove-mentioned XCuses are present. Thus the verSe os Vergil:
Nereidum matri et eptuno Aegaeo,
Contain clino Cases of hiatus - a sponde in the fifth Mot, and a violation os the rhythmica law of this sanae Mot.
ON THE RHYTHMICAL STRUCTU RE OF THE VERSE.
1 As poetry, at eas in iis igher forins seelis to differentiate isel a widely a possibi froni the ordinar methodsos expression in prose, the poet avoid alio in the rhythmo the verse to coincide illi the prose CCent of the ordS,a sar ascit is at ali practi able. It is likewis considere limpropero introduCe a Verse into PrOSC. The sirst laru then, is that there hali e the reatest possibi difference et veen the metrica rhythm and the prose accent This a naturali has the east orce in those paris of the verse hicli admit the realest reedom os Structure a at the eginia in os a metrica series, at thebeginning of the verse, O after the peSura, Meg. in Vergil:
Ii ora, multum ille et terris jactatus et alto. ipse hostis Teucros i insigni laude serebat.
This a is surther modisied by the ollowin ruleS. 2 A the verse ecomes in the fit si instance a Work of art by the clos and harmoniolis combinatio of theseet, it is no usual, at eas in the longe verSeS, O allOWsingle eet to consist os single ords. ConSequenti thesollo in Hexameter rom Ennius is ad
sparsis hostis longis campus splendet et horret.
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In orde there fore that the verse a no sal a pari, theindividua seet must uia into acti ther a much a PoSSi-ble, and this result is obtained mos essectuali by the greates possibi difference etween the Compas of the individual ord and of the single Dei. 3 Finalty the nil os ver metrica series, e it atthe caesura or at the end of the verse, must aithfullyrepresent the rhythm os the oot illi hicli it en is, eg. the anapaesti rhythm at the Penthemimera Caesura of the Dactylic exameter, and the trochai at the end of the
Sinc it is the rs law of ancient versification that themetrica rhythm hali differ a sar a possibi storii heprose accent, it is Considerei leS objectionabie heia, at the nil os a metrica series, the origina rhythm is violated in such a way that the poetica rhythm does notharmonige illi the prose accent, than heia the opposite is true. his an e observet in the rhythmica law of
At the caesura pause, the nil os the metrica series, the rhythm os hicli must be hept pure, Consist of ne Mot; at the lose of longe verse of ne and a at o two Dei, and at the lose of horte verse os one. It is, o ever, Clear that his ut is principali applicabie to poetr written κατὰ στίχον, ando Such system asare not united by Synapheia, as eg the Dactyli Distichan the ambic pode. Where Synapheia an or must OCCur, and the single verses orna Properi oni SeCtions of Single metri ali harmoniolas hole, violations of the rulein question are more frequent anil more easti Pardone l. Above ali, the occurreno os a monosyllabi at the endos a metrica series is to e voided, excepi here another Straιctlιres of m melcr and Pentamesur I9 monosyllabi precedes, and this ut is o much the moret be observed the longe the prece ling ord is and thegreater the number of morti that it has There re theleast unpleasant esseCt i produCed here a pyrrhi Word precede the monosyllabie. Heiace the verses froni Vergilare adci
et cum frigida mo=ta anima eduxerit artuS. dat latus insequitur cumulo PraeruPtu aquae monS.
The reason sor his is that a monosyllabie, on CCOunt of iis mali Compass, has no the force neCeSSar to draWtoward itfel a polysyllabie, and the Consequenc is that in verses like hos just quoted the nil of the metrical
and o do his by illustration rom the Latin poet sortite developed the single metres Speciali a regariis rhythm more Caresuli than the Greelis, aemembering thatnearly the fame rhythmical laws are valid also sor Greeh
V conside sirs the Dactyli Hexameter.
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et cum frigoda mors anima seduxerit artus. Per conubia noStra, Per incePlo hymenaeos.
Stili orse is his stor Ennius:
ore Ceraexus arcu Tu litano collega.
ille autem: neque teri Phoebi cortina sesellit.
O quoties et quae t nobis Galatea locutast. simplicior iιis et est i qualem me Saepe libenter.
at Boreae de parte trucis cum ulminat et cum.
The thesis of the fifth Mot cara te a monosyllabie is pyrrhi Word o tW monosyllabies sollo
nam neque Parnasi vobis iuga, nam neque Pindi. cederet aut quarta socialiter hic et in Acci.
Structur of H ametor and culametcr. iBut a monosyllabi is disagreeable in the fifth thesis flaword os more than wo Syllabies sollOWS. In the Same way the fifth thesis cannot e the nil os a polysyllabie, o insuch a caseoliis thesis becomes anapaesti through it close connection illi the arsis os the Murth Mot, hile it is separate loroin the fifth arsis hicli elong to it by theend of the word Consequenti verses ke the solio ingseldom OCCur: fixerit aeripedem cervam licet aut Eumanthi. tres Antenorida Cererique sacrum Postphoeun.
divisit medium sortissima TFndaridarum.
in nova sert animus mutatas dicere formas. insignem pietate virum tot adire labores.
arma virumque cano, Troiae qui primus ab orti.
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monosyllabi in the si xth Mot prece led by a Polysyllabie occur more than sori times in Vergit in Ovid onlyeleven times. Vergi violates the rhythmica law of the fifth Mot bout ne hundred and went times; vid onlyeight times Many of the later riter are stili more StriCt. HoraCe, on the ther and is es strict in the Hexameter of the Satires and Episties. The exceptions Mund in Vergi and Ovid re almost alway occasioned by one os the reasons noted in Section . Moreover, Vergit ahes admirabie se os discordant verSe-en ling in orde to express by the rhythm lself,hatis readsul, eird, or neXPeCted
vertitur interea caelum et ruit Oceano nox. et nunc ille Paris cum Semiviro comitatu.
tum variae illudant estes Saepe exiguu muS.
To excuse the licens os a sponde in the fifth Mot, the poets Sed mos frequently a Word of Mur syllabies, orsonaetimes a trisyllabie; ut in his alter case anotherword is ab least three syllabies ordinarit prece led aliis trisyllabi :
armatumque auro circumspicit Oriona. perque hiemes aestuSque et inaeqrtales autumnos.
It is neve the case in Latin that a spondat verse has dissyllabi in the fifth o fixit place. At these laws, with the exception os the se os sive- syllabled ord at the end of the verse, re quali valid
spondat verse illi a dissyllabi in the fifth o fixili
Mot neve OCCur in Homer. The rhythmica law of the Pentameter are Stili more strict than those of the exameter. In the Latin writer considered here, a daCtyli O SPOn-daic ord neve occurs in the seCond Mot, and ni once
Ovid, Pont. I. 6, 26 at the end of the verse do e sinda monosyllabi encliti Word illi recedin pyrrhiC. Here, too the Greelis are es Strict than the Romans, ut much stricter than in the HeXameter. The Greelis and many Roman are on to Clos the Pentameter illi an polysyllabie, ut the mos Caresul Romans Tibullus, Propertius in ks. IV. and V., and Ovidii mos of his os exigi an Poetr and always in his re- Hyan close his verse illi a dissyllabi precedet bya ord illi trochai en ling - evidenti in orde in his Way to mali iis termination like that os a exameterendin with a trisyllabie. 26 Rhythmicat Structure of the Remaining etres. The rhythmica law of the Iambi Trimeter re preciSelythe fame a those of the exameter Consequently thoSeverSe cannot be approved hicli ave at the Penthemime-
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regnante te vides ut imperium cadat. sed simplici carmen Per omne Vecto St.
For in these cases the verse is dividet into two equalhalves, and the Hephthemimera Caesura oses almos ali iis force. Such verSe never CCur in Horace and Phaedrus, ver seldom in the Gree tragedians, ut more osten in the Gree ComedianS. Phaedrus, in orde noto dim the origina iambic character of hi verSe, neve places a Word hicli iiset has a Spondat o anapaesti endita at the nil of the econit, third, o Murth Mot. monosyllabie illi precedin polysyllabi at the nil os verse is ad utiles this monosyllabi is enclitic, as in
Horace avoid even his, ut the Gree tragedians CCasionali admit monosyllabies at the nil of the verse henthe are no at ali encliti c. A regariis system and strophes in hicli Synapheia is allowed. that is in the olic, Doric, and dramatio. it is clea that the rhythmical a s sor caesura and verse-en lingS must e les stricti observet at the time heia the appreciation of the origina metrica unit of the individua paris Structurae of thes cmaining Mestires.
os system and strophe is stili lively. Henc even Horace has Sometimes a monosyllabie illi precedin polysyllableat the nil os a toga indi VerSe, S:
alme Sol, curru nitido diem qui. audivere, Lyce, di mea vola, i.
est ut viro vir latius ordinet.
nos convivia, nos i proelia virginum.
In generat, hereve the strophe were ni mechanicallysormed, o the verses ritten κατὰ στίχον, the rule WeremuCh more Stricti observed a is hown in the tragedies os
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I. orde 'o correcti emplo the aules at ready iven, iti. necessar t, observae the aules of Enclisis and 'mesis. B Enclisis the en litic ord ose iis own individualit anilis merget in to the receding, so that o monosyllabi reatly concludes the verse, as in the ollowing Xample
αλλ' οὐδ' ἰς ἐτάρους ἐρρυσατο, ιεμενος περ- pectora quorum inter fluctu arrecta abaeique.
I. B Tmesis, in Homer and the tragedians the reposition os a compound veri, is frequently separated stomit veri, generali by the interpoSition Os ne, o tW Or
galem Sors dierum cumque dabit.
Mihi cumque Od. I. 32, 13 is a Corrupi reading. Note the passage in Vergil, Georg. III. 38 I, essem sub cIa Irioni, hicli as imitated by Ovid, et I 64,
circum Spectemus vacuam Romanis vatibus aedem.
Vergil, however, sollowing the example os the olde poets, has Ecl. VIII 17; n. IX. 288 X. 794 prae, and thenegative in always illi a solio in que thus Separate l; and Ovid imitates him in Met XII. 497.
H. nother in t os mesis, no expressed in the texi, OCCurs hen the monosyllabi preposition or negative in os a compound word is sor metrica reason attractet to the Precedin WOrd.