If the Adonius has a basis prefixed it is called a Pherecrateus; as The Glyconic verse is used by Catullus with a Pherecrateus after every third (34 [32]) or fifth line (61 [59]). 243 (d) Choriambic Verse. The dactyl and long syllable, which form the end of the pentameter, appear as a catalectic dipodia by the side of complete pairs of feet. Thus, in the lesser Asclepiadean verse, we have two dipodia with the basis prefixed, the former dipodia appearing as a trihemimer or choriambus; and in the great Asclepiadean verse the complete dipodia is preceded by two choriambi, or catalectic dimeters. Examples: Tû në | quaesiĕ|rīs || scirě ně | fās || quém mìhĩ | quēm tìbì||. The shorter Asclepiadean is used by itself, or alternately with Glyconei (Hor. 1 Carm. III.), or with a Glyconeus after every third line (Hor. 4 Carm. XII.), or in couplets followed by a Pherecrateus (245, Obs.) and Glyconeus (Hor. 1 Carm. v.), between which hiatus is not allowable. 244 There are other kinds of dactylic verse, which are less common; thus, we have the Tetrameter; as Aut Epheson bimă|risvě Că|rinthi||. Mēnsō|rēm cõhi|bēnt Ār|chÿtā||. And the penthemimer occurs as a separate verse; Púlvis ět | úmbră să|mūs||. B. Anapaestic Verse. 245 (a) Anapaestic Dimeter. The commonest anapæstic system is the dimeter, which consists of successive pairs of feet, the whole system being counted as one line until it is broken by a basis, or by a catalectic dimeter, which is termed a paroemiac. The dactyl and spondee may take the place of the anapæst, except in the last foot of the dimeter, where the dactyl is not used by Seneca. Example: D. L. G. 29 Unde ig|ni' cluēt || mōrtá|lībŭ' clām|| Clepsi||sse dolō||, põenās|qué Jõvi|| Fāto expendi||sse suprē|mō||. Obs. The Pherecrateus was formed by omitting two morae at the beginning of the parœmiac (see Theatre of the Greeks, Ed. VII. 170). 246 (b) Ionic a minore. If the thesis in the anapæstic dipodia is represented by a single long syllable, it is usual to term this metre Ionicus a minore, in contradistinction to a certain form of the choriambic rhythm cum anacrusi, which was called the Ionicus a majore. Four of these imperfect anapastic dipodiæ form a verse in Horace; thus, Misĕrā|rum ēst || něc ămó|ri || dărě lú|dūm || nèqué dú|lci||. § 3. Double Rhythms. A. Trochaic Verse. 247 (a) Ithyphallic Metre. The trochee is a dactyl with the last mora omitted. The simplest and oldest form of the trochaic metre is the ithyphallicus, or tripudiatio, generally called the Saturnian verse, in which the ictus occurred thrice. This metre always appears in two sets of three feet with an anacrusis. It was very rude, and the substitutions for the trochee were extremely arbitrary, as the following examples will show: Dà|būnt mă|lúm Mě|télli || Náevisō põ|ētāe||. 248 (b) Hipponactean Verse. The trochaic metre is generally counted by pairs of feet, each having but one ictus, i.e. on the first syllable. If a long syllable is added to a trochee, the trihemimer which results is called dimeter catalectic, and is also designated as a creticus; as crédi|di|l. When the last syllable is resolved, it is termed paeon primus, as divitibus; if the first syllable is resolved, it is called paeon quartus, as mārīti|mōs|]. The paeon secundus, as ămābimus, and the paeon tertius, as stīmuļātūs, correspond in the number of morae, but not in rhythm, to the true cretic measure. The Greeks considered the Cretic and Paeonic metres as constituting a special class of rhythms, which they designated as hemiolian, i.e. 'one and half,' because the ratio of the arsis to the thesis was &: and the Cretic, and, by implication, the trochaic dipodia, were reckoned as equivalent rhythmically to the dactyl, because, at the end of a line, uu. The trochaic dipodia, which plays an important part in metrical systems, is generally regarded as trochee + spondee by the Augustan poets. If the ithyphallic is increased by a long syllable, the verse is called dimeter catalectic; as = Truditur diés difēll. And if an ithyphallic, added to a trochaic dipodia cum anacrusi, follows this dimeter, the metre is termed Hipponactean; as Non ĕbūr nè que aúrĕ|ūm|| Mè|á rè|nidět || în dõ|mō lă|cūnār||. 249 (c) Tetrameter Catalectic. If the dimeter catalectic is added to a complete dimeter, the verse becomes tetrameter catalectic, -a form which was much used by the dramatists. A tribrach may stand everywhere for the trochee, and in the even places a spondee; the older poets, who follow the colloquial pronunciation, put a spondee, a dactyl, or an anapæst in any place; as Émõ|ri nõ||lõ sed | éssẽ ||| mõrtŭ|ūm nīl || áesti|mō|||. Égō quūm | génũi || tūm mōri|tūrūm ||| scīvī et | ei rei || sūstŭ|li|||Nām sāpīlēns virtute ho|nōrēm ||| praemijum haud prāt||dām pětit|||. Écquid | viděò? || férrō | sēptūs ||| pōssì|dēt sē|dēs săcrās|||. B. Iambic Verse. 250 The iambus always appears in dipodiae, the second mem ber of which received the ictus. A tribrach may be substituted for the iambus in any place of the longer verses, or a spondee in the odd places. 251 (a) Dimeter Acatalectic. This verse consists of four feet; the first and third may be spondees; the first a dactyl, and the second a tribrach; as in the following examples: Inār|sit áes||tūō|siūs||. Vēl hae|dūs ē||rēptūs | lūpō||. Vidē|rě propĕ||rāntēs | dõmūm||. 252 (b) Trimeter Acatalectic. This verse, which is also called the Senarius, may consist of six iambi, which is the case in Horace's XVIth Epode, and admits tribrachs any where but in the last foot, spondees in the odd places, dactyls in the first and third, and an anapæst in the first foot; as Suis | et ip||să Rō|mă vi||rībus rūít||. Alitibus át||que căni|bus homi||cīdam Hēc|tōrēm||. Põsitōs|que vēr||nās diftis éx||āmēn | dõműs||. Optāt | quie||tēm Pelõ|pis in||fidi pătēr||. If the last word in the line is a trisyllable, the fifth foot ought to be an iambus or a tribrachys. The second of the above examples is one of some twenty exceptions to the rule. There ought to be a penthemimeral or hephthemimeral cæsura; if possible, the former, as in the above examples. Obs. If trimeters follow a dactylic hexameter, or dimeters follow trimeters, the poem is called an Epōdos. Horace has a book of such poems. 253 (c) The Scazon. If the last foot of the spondee, the line is called a scazon, or 'halting line.' fourth, and fifth feet must then be iambi; as Nic fonte lao ra protic || cabino ||. senarius is a The second, 254 (d) Tetrameter Catalectic. If we add a catalectic metre to the senarius, we have a tetrameter catalectic; as Sed in | diem is||tūc Pār|měno ēst || fōrtās|se quōd || minār|e||. § 4. Asynartete Rhythms. 255 If rhythms of different kinds are put together, the verse is called asynartete (dovváρтnтos), or unconnected.' The most common of these combinations are dactyls mixed with trochaic dipodiæ; and if the trochees follow the dactyls, the verse is termed logaoedic. 256 (a) Sapphic Verse. The ordinary Sapphic stanza consists of three asynartete lines followed by an Adonius (242). The first three lines are made up of a dactyl flanked by two trochaic dipodiæ, in each of which the second foot is a spondee; the metre therefore stands thus: Šām sā|tīs tēr||rīs nivis || átque | dīrāe||| Dexte|rā sā|crās jācū||lātūs | ārcēs||| Obs. 1 We must always have either a strong cæsura after the fifth syllable, as in the specimen just given, or at least a weak cæsura after the sixth syllable, as in the line Quem virum aut he rod lyra vel acri. The former is much the most usual. Obs. 2 The last word of the third line sometimes makes a false cæsura with the Adonius, as in the following examples from Horace : Obs. 3 line; as Labitur ripa Jove non probante u xorius amnis. There may be an hypermeter at the end of a Sapphic Dissidens plebi numero beator-um Eximit virtus. |