Allen and Greenough's New Latin Grammar for Schools and Colleges
J. B. Greenough, G. L. Kittredge, A. A. Howard, Benj. L. D'Ooge, Ed.

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FORMS OF VERSE

[*] 613. A verse receives its name from its dominant or fundamental foot: as, Dactylic, Iambic, Trochaic, Anapœstic; and from the number of measures (single or double) which it contains: as, Hexameter, Tetrameter, Trimeter, Dimeter.

[*] Note.--Trochaic, Iambic, and Anapæstic verses are measured not by single feet, but by pairs (dipodia), so that six Iambi make a Trimeter.

[*] 614. A Stanza, or Strophe, consists of a definite number of verses ranged in a fixed order.

Many stanzas are named after some eminent poet: as, Sapphic (from Sappho), Alcaic (from Alcæus), Archilochian (from Archilochus), Horatian (from Horace), and so on.

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DACTYLIC VERSE

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Dactylic Hexameter

[*] 615. The Dactylic Hexameter, or Heroic Verse, consists theoretically of six dactyls. It may be represented thus:—

[*] Note.--The last foot is usually said to be a spondee, but is in reality a trochee standing for a dactyl, since the final syllable is not measured.

[*] a. For any foot, except the fifth, a spondee may be substituted.

[*] b. Rarely a spondee is found in the fifth foot; the verse is then called spondaic and usually ends with a word of four syllables.

Thus in Ecl. 4.49the verse ends with incrēmentum .

[*] c. The hexameter has regularly one principal cæsura—sometimes two— almost always accompanied by a pause in the sense.

1. The principal cæsura is usually after the thesis (less commonly in the arsis) of the third foot, dividing the verse into two parts in sense and rhythm. See examples in d.
It may also be after the thesis(less commonly in the arsis) of the fourth foot. In this case there is often another cæsura in the second foot, so that the verse is divided into three parts:—
pártĕ fĕ|rō´x || ār|dē´nsqueŏcŭ|lī´s || et | síbĭlă | cóllă.—Aen. 5.277.

[*] Note.--Often the only indication of the principal among a number of cæsuras is the break in the sense.

A cæsura occurring after the first syllable of a foot is called masculine. A cæsura occurring after the second syllable of a foot is called feminine (as in the fifth foot of the third and fourth verses in d). A cæsura may also be found in any foot of the verse, but a proper cæsural pause could hardly occur in the first or sixth.

When the fourth foot ends a word, the break (properly a diæresis) is sometimes improperly called bucolic cæsura, from its frequency in pastoral poetry.

[*] d. The first seven verses of the Æneid, divided according to the foregoing rules, will appear as follows. The principal cæsura in each verse is marked by double lines:—

1. Armă vĭ|rumquĕ că|nō || Trō|iae quī | prīmŭs ăb | ōrīs
2. Ītălĭ|am fā|tō prŏfŭ|gus || Lā|vīniăquĕ | vēnĭt
3. lītŏră, | multum il|le et ter|rīs || iac|tātŭs ĕt | altō
4. vī sŭpĕ|rum || sae|vae mĕmŏ|rem Iū|nōnĭs ŏb | īrăm;
5. multă quŏ|que et bel|lō pas|sus || dum | condĕrĕt | urbĕm,
6. īnfer|retquĕ dĕ|ōs Lătĭ|ō, || gĕnŭs | undĕ Lă|tīnum,
7. Albā|nīquĕ pă|trēs, || at|que altae | moenĭă | Rōmae.

1. The feminine cæsurais seen in the following:—

Dīs gĕnĭ|tī pŏtŭ|ērĕ: || tĕ|nent mĕdĭ|a omnĭă| silvae.—Aen. 6.131.

[*] Note.--The Hexameter is thus illustrated in English verse:—

1. Over the sea, past Crete, on the Syrian shore to the southward,
2. Dwells in the well-tilled lowland a dark-haired Æthiop people,
3. Skilful with needle and loom, and the arts of the dyer and carver,
4. Skilful, but feeble of heart; for they know not the lords of Olympus,
5. Lovers of men; neither broad-browed Zeus, nor Pallas Athené,
6. Teacher of wisdom to heroes, bestower of might in the battle;
7. Share not the cunning of Hermes, nor list to the songs of Apollo,
8. Fearing the stars of the sky, and the roll of the blue salt water.
9. —Kingsley's Andromeda.

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Elegiac Stanza

[*] 616. The Elegiac Stanza consists of two verses,—a Hexameter followed by a Pentameter.¹

The Pentameter verse is the same as the Hexameter, except that it omits the last half of the third foot and of the sixth foot:—

[*] a. The Pentameter verse is therefore to be scanned as two half-verses, the second of which always consists of two dactyls followed by a single syllable.

[*] b. The Pentameter has no regular Cæsura; but the first half-verse must always end with a word (diœresis, § 611. c), which is followed by a pause to complete the measure.²

[*] c. The following verses will illustrate the forms of the Elegiac Stanza:—

1. cum sŭbĭt | illī|us || trīs|tissĭmă | noctĭs ĭ|māgō quā mìní | suprē|mum [macrcirc] || tempŭs ĭn | urbĕ fŭ|ĭt, [macrcirc]
2. cum rĕpĕ|tō noc|tem || quā | tot mĭhĭ | cāră rĕ|līquī, lābĭtŭr | ex ŏcŭ|līs [macrcirc] || nunc quŏquĕ | guttă mĕ|īs. [macrcirc]
3. iam prŏpĕ | lūx ădĕ|rat || quā | mē dis|cēdĕrĕ | Caesar fīnĭbŭs | extrē|mae [macrcirc] || iussĕrăt | Ausŏnĭ|ae. [macrcirc]
—Ov. Trist. 1.3.

[*] Note.--The Elegiac Stanza differs widely in character from hexameter verse (of which it is a mere modification) by its division into Distichs, each of which must have its own sense complete. It is employed in a great variety of compositions,—epistolary, amatory, and mournful,—and was especially a favorite of the poet Ovid. It has been illustrated in English verse, imitated from the German:—

1. In the Hex|ameter | rises || the | fountain's | silvery | column;
2. In the Pen|tameter | aye || falling in | melody | back.

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Other Dactylic Verses

[*] 617. Other dactylic verses or half-verses are occasionally used by the lyric poets.

[*] a. The Dactylic Tetrameter alternates with the hexameter, forming the Alcmanian Strophe, as follows:—

1. ō for|tēs pê|iōrăquĕ | passī
2. mēcum | saepĕ vĭ|rī, || nunc | vīnō | pellĭtĕ | cūrās;
3. crās in|gēns ĭtĕ|rābĭmŭs | aequŏr.
—Hor. Od. 1.7(so 28; Ep. 12).

[*] b. The Dactylic Penthemim (five half-feet) consists of half a pentameter verse. It is used in combination with the Hexameter to form the First Archilochian Strophe:—

1. diffū|gērĕ nĭ|vēs, || rĕdĕ|unt iam | grāmĭnă | campīs,
2. arbŏrĭ|busquĕ cŏ|mae;
3. mūtat | terră vĭ|cēs || et | dēcrēs|centĭă | rīpās
flūmĭnă | praetĕrĕ|unt.—Hor. Od. 4.7.

For the Fourth Archilochian Strophe (Archilochian heptameter, alternating with iambic trimeter catalectic), see § 626. 11.

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IAMBIC VERSE

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Iambic Trimeter

[*] 618. The Iambic Trimeter is the ordinary verse of dramatic dialogue. It consists of three measures, each containing a double Iambus (iambic dipody). The cæsura is usually in the third foot.

[*] Note.--The sign [gtbreve] [acutemacr] denotes possible substitution of an irrational spondee (>[acutemacr]) for an iambus (˘[acutemacr]).

[*] a. The Iambic Trimeter is often used in lyric poetry (1) as an independent system, or (2) alternating with the Dimeter to form the Iambic Strophe, as follows:—

1. (1) iam iam éffĭcā´|cī || dō´ mănū´s | scĭéntĭaé
2. suppléx ĕt ō´|rō || rē´gnă pér | Prŏsérpĭnaé,
3. pĕr ét Dĭā´|nae || nō´n mŏvén|dă nū´mĭnă´,
4. pĕr átquĕ líb|rōs || cármĭnúm | văléntĭŭ´m
5. dēfī´xă caé|lō || dē´vŏcā´|rĕ sī´dĕră´,
6. Cănī´diă, pár|cĕ || vō´cĭbús | tandém săcrī´s,
cĭtúmquĕ rét|rŏ || rétrŏ sól|vĕ túrbĭnĕ´m.—Hor. Epod. 17.

The last two lines may be thus translated, to show the movement in English:—

1. Oh! stay, Canidia, stay thy rites of sorcery,
2. Thy charm unbinding backward let thy swift wheel fly!
3. (2) bĕā´tŭs íl|lĕ || quī´ prŏcúl | nĕgō´tĭī´s,
4. ut prī´scă gē´ns | mortā´lĭŭ´m,
5. pătérnă rū´|ră || bū´bŭs éx|ercét sŭī´s,
6. sŏlū´tŭs óm|nī fē´nŏrĕ´;
7. nĕque éxcĭtā´|tur || clássĭcō´ | mīlés trŭcī`,
nĕque hórrĕt ī´|rātúm mărĕ´.—Hor. Epod. 2.

[*] b. In the stricter form of Iambic Trimeter an irrational spondee (> [acutemacr]) or its equivalent (a cyclic anapæst ˘ ˘[acutemacr] or an apparent dactyl > [acutebreve] ˘ § 609. e) may be regularly substituted for the first iambus of any dipody A tribrach (˘ [acutebreve] ˘) may stand for an iambus anywhere except in the last place. In the comic poets any of these forms or the proceleusmatic (˘˘ [acutebreve] ˘） may be substituted in any foot except the last:—³

1. ō lū´cĭs ál|mĕ rē´ctŏr || ét | caelī´ dĕcŭ´s!
2. quī altérnă cúr|rū spă´tĭă || flám|mĭfĕrō ámbĭēns,
3. illū´strĕ laé|tīs || éxsĕrís | terrī´s căpŭ´t.
—Sen. Herc. Fur. 592-94.
4. quid quaérĭs? án|nōs || séxāgín|tā nā´tŭs ĕ´s.
—Ter. Haut. 62.
5. hŏmō´ sum: hūmā´|nī || nī´l ā mē ă´lĭ|ēnúm pŭtō´.
6. vel mē´ mŏnē´|re hōc || vél percón|tārī´ pŭtā´.
7. id. 77, 78.

[*] c. The Choliambic (lame Iambic) substitutes a trochee for the last iambus:—

1. aequē ést bĕā´|tŭs || ác pŏē´|mă cúm scrī´bĭt:
2. tam gaúdĕt ín | sē, || támquĕ sē íp|sĕ mī´rā´tŭr.
—Catul. 23.15, 16.

[*] Note.--The verse may also be regarded as trochaic with anacrusis: as,—

[*] d. The Iambic Trimeter Catalectic is represented as follows:—

It is used in combination with other measures (see § 626. 11), and is shown in the following:—

Vulcā´nŭs ā´r|dēns || ū´rĭt óf|fĭcī´nā´s.—Hor. Od. 1.4.

or in English:—

1. On purple peaks a deeper shade descending.—Scott.

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Other Iambic Measures

[*] 619. Other forms of Iambic verse are the following:—

[*] a. The Iambic Tetrameter Catalectic ( Septēnārius ). This consists of seven and a half iambic feet, with diæresis after the fourth and with the same substitutions as in Iambic Trimeter:—

1. nam idcírcō arcés|sor, nū´ptĭā´s || quod mī ádpărā´|rī sē´nsĭt.
2. quĭbus quĭ´dĕm quam fă´cĭ|lĕ pŏ´tŭĕrát || quĭē´scī sī hī´c |quĭē´ssĕt !
—Ter. And. 690, 691.

The metrical scheme of these two verses may be represented as follows:—

Its movement is like the following:—

In góod king Chárles's gólden daýs, when lóyaltý no hárm meant.

1. —Vicar of Bray.

[*] b. The Iambic Tetrameter Acatalectic ( Octōnārius ). This consists of right full iambic feet with the same substitutions as in Iambic Trimeter. Like the Septenarius it is used in lively dialogue:—

1. dīcă´t ĕam dă´rĕ | nōs Phórmĭō´|nī || nū´ptum nē´ | suscē´nsĕă´t;
2. et mă´gĭs esse íl|lum ĭdō´nĕúm, || quī ipsī´ sitfă´mĭ|lĭā´rĭō´r.
—Ter. Ph. 720, 721.

The metrical scheme of these two verses may be represented as follows:—

[*] c. The Iambic Dimeter. This may be either acatalectic or catalectic.

1. The Iambic Dimeter Acatalectic consists of four iambic feet. It is used in combination with some longer verse (see § 618. a).
The Iambic Dimeter Catalectic consists of three and a half iambic feet. It is used only in choruses:—
1. quōnám crŭén|tă Maénās,
2. praecéps ămō´|rĕ saévō,
3. răpĭtúr quŏd ím|pŏténtī
făcĭnús părát | fŭrō´rĕ?—Sen. Med. 850-853.

[*] Note.--Owing to the fact that in modern music each measure begins with a downward beat, some scholars regard all these forms of Iambic verse as Trochaic verse with anacrusis (§ 618. c. N.).

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TROCHAIC VERSE

[*] 620. The most common form of Trochaic verse is the Tetrameter Catalectic ( Septēnārius ), consisting of four dipodies, the last of which lacks a syllable. There is regularly diæresis after the fourth foot:—

In musical notation:— ád tē advĕ´nĭō, spém, sălū´tem, || consĭlĭum, aúxĭlĭum éxpĕtē´ns.

—Ter. And. 319.

In English verse:—

Téll me nót in moúrnful númbers || lífe is bút an émpty dreám.

1. —Longfellow.

[*] a. In the stricter form of the Septenarius substitutions are allowed only in the even feet, but in comedy the tribrach [acutebreve] ˘ ˘, or an irrational spondee [acutemacr] >, cyclic dactyl [acutemacr] ˘˘, or apparent anapæst [acutebreve] ˘ >, may be substituted for any of the first six feet; a tribrach for the seventh:—

1. <*>tĭdem hăbét pĕtă|sum ác vestī´tum: || támcōnsĭ´mĭlist | átque ĕgŏ´.
2. sū´ră, pē´s, stă|tū´ră, tō´nsŭs, || ŏ´cŭlī, nā´sum, | vél lăbră´,
3. mā´lae, méntum, | bárbă, cóllus; || tō´tus! quíd ver|bī´s ŏpúst?
4. sī´ tergúm cĭ|cā´trīcō´sum, || nihíl hōc sĭ´mĭlist | sĭ´mĭlĭŭ´s.
—Pl. Am. 443-446.

The metrical scheme of these four verses is as follows:—

[*] b. The Trochaic Tetrameter Acatalectic ( Octōnārius ), consisting of four complete dipodies, occurs in the lyrical parts of comedy.

Substitutions as in the Septenarius are allowed except in the last foot.

[*] c. Some other forms of trochaic verse are found in the lyric poets, in eombination with other feet, either as whole lines or parts of lines:—

1. nō´n ĕbúr nè|que aúrĕŭ´m. [Dimeter Catalectic.]
2. mĕā´ rĕnī´|dĕt ín dŏmō´ | lăcū´nă´r. [Iambic Trimeter Catalectic.]
3. —Hor Od. 2.18.

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MIXED MEASURES

[*] 621. Different measures may be combined in the same verse in two different ways. Either (1) a series of one kind is simply joined to a series of another kind (compare the changes of rhythm not uncommon in modern music); or (2) single feet of other measures are combined with the prevailing measures, in which case these odd feet are adapted by changing their quantity so that they become irrational (see § 609.e).

When enough measures of one kind occur to form a series, we may suppose a change of rhythm; when they are isolated, we must suppose adaptation. Of the indefinite number of possible combinations but few are found in Latin poetry.

[*] 622. The following verses, combining different rhythmical series, are found in Latin lyrical poetry:—

Greater Archilochian (Dactylic Tetrameter; Trochaic Tripody):— sólvĭtŭr | ā´crĭs hĭ|éms grā|tā´ vĭcĕ || vē´rĭs | étFă|vō´nī.—Hor. Od. 1.4.

[*] Note.--It is possible that the dactyls were cyclic; but the change of measure seems more probable.

Verse consisting of Dactylic Trimeter catalectic (Dactylic Penthemim); Iambic Dimeter:— scríbĕrĕ | vérsĭcŭ|lō´s || ămō´rĕ pér|culsúm grăvī´.—Hor. Epod. 11.2.

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LOGAŒDIC VERSE

[*] 623. Trochaic verses, containing in regular prescribed positions irrational measures or irrational feet (cf. § 609. e), are called Logaœdic. The principal logaœdic forms are—

1. Logaœdic Tetrapody (four feet): GLYCONIC.
2. Logaœdic Tripody (three feet): PHERECRATIC (often treated as a syncopated Tetrapody Catalectic).
3. Logaœdic Dipody (two feet): this may be regarded as a short Pherecratic.

[*] Note.--This mixture of irrational measures gives an effect approaching that of prose: hence the name Logaœdic (λόγος, ἀοιδή). These measures originated in the Greek lyric poetry, and were adopted by the Romans. All the Roman lyric metres not belonging to the regular iambic, trochaic, dactylic, or Ionic systems, were constructed on the basis of the three forms given above: viz., Logaœdic systems consisting respectively of four, three, and two feet. The so-called Logaœdic Pentapody consists of five feet but is to be regarded as composed of two of the others.

[*] 624. Each logaœdic form contains a single dactyl,⁴ which may be either in the first, second, or third place. The verse may be catalectic or acatalectic:—

[*] Note.--The shorter Pherecratic (dipody） ([acutemacr]˘˘ | [acutemacr]˘), if catalectic, appears t<*> be a simple Choriambus (¯˘˘ | ¯^); and, in general, the effect of the logaœdi<*> forms is Choriambic. In fact, they were so regarded by the later Greek and Latin metricians, and these metres have obtained the general name of Choriambic. But they are not true choriambic, though they may very likely have been felt to be such by the composer, who imitated the forms without much thought of their origin. They may be read (scanned), therefore, on that principle. But it is better to read them as logaœdic measures; and that course is followed here.

Glyconic

Pherecratic

[*] 625. The verses constructed upon the several Logaœdic form or models are the following:—

1. Glyconic (Second Glyconic, catalectic):— Rō´mae | prī´ncĭpĭs | úrbĭ|ù´m. In English:—
   1. Fórms more réal than líving mán.—Shelley.

   [*] Note.--In this and most of the succeeding forms the foot preceding the dactyl is always irrational in Horace, consisting of an irrational spondee (¯>).

Aristophanic (First Pherecratic):— témpĕrăt |ō´ră | frē´nīs.—Hor. Od. 1.8.

[*] Note.--It is very likely that this was made equal in time to the preceding <*> protracting the last two syllables:—

2. Adonic (First Pherecratic, shortened):— Térrŭĭt | úrbĕm.—Hor. Or perhaps:—

3. Pherecratic (Second Pherecratic):— crā´s dōnā´bĕrĭs haédō´.—Hor. Often scanned as follows:—

4. Lesser Asclepiadic (Second Pherecratic with syncope and First Pherecraticcatalectic):— Maécēnā´s ătăvī´s ē´dĭtĕ rē´gĭbŭ´s.—Hor.
5. Greater Asclepiadic (the same as 5, with a syncopated Logaœdic Dipodyinterposed):— tū´ nē quaésĭĕrís—scī´rĕ nĕfā´s—quém mĭhĭ, quém tĭbī´.—Hor.
6. Lesser Sapphic (Logaœdic Pentapody, with dactyl in the third place):— íntĕgér vītaé scĕlĕrísquĕ pū´rŭ´s.—Hor. Or in English:—
   1. Brílliant hópes, all wóven in górgeous tíssùes.—Longfellow.

7. Greater Sapphic (Third Glyconic; First Pherecratic):— tē´ dĕō´s ōrō´ Sybărín || cū´r prŏpĕrā´s ămándō´.—Hor.
8. Lesser Alcaic (Logaœdic Tetrapody, two irrational dactyls, two trochees):— vírgĭnĭbús pŭĕrī´squĕ cántō.—Hor.
9. Greater Alcaic (Logaœdic Pentapody, catalectic, with anacrusis, and dactyl in the third place,—compare Lesser Sapphic):— iūstum ét tĕnā´cem || prō´pŏsĭtī´ vĭrŭ´m.—Hor.

   [*] Note.--Only the above logaœdic forms are employed by Horace.

10. Phalæcean (Logaœdic Pentapody, with dactyl in the second place):— quaénam tē´ mălă mē´ns, mĭséllī Rā´ ui dī, ă´git praécĭpĭtem ín mĕō´s ĭámbōs?—Catull. xl. In English:—
    1. Górgeous flo[wacute]erets ín the súnlight shíning.—Longfellow.

11. Glyconic Pherecratic (Second Glyconic with syncope, and Second Pherecratic):— ō´ Cŏlō´nĭă quaé cŭpís || póntĕ lū´dĕrĕ lóngō´.—Catull. xvii.

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METRES OF HORACE

[*] 626. The Odes of Horace include nineteen varieties of stanza. These are:—

Alcaic, consisting of two Greater Alcaics (10), one Trochaic Dimeter with anacrusis, and one Lesser Alcaic (9)⁵:—

1. iūstum ét tenā´cem || prō´positī´ virúm
2. nōn cī´viumā´rdor || prā´va iubéntiúm,
3. nōn vúltus ī´nstantís tyránnī
4. ménte quatít solidā´, nequeAúster.—Od. 3.3.

(Found in Od. i. 9, 16, 17, 26, 27, 29, 31, 34, 35, 37; ii. 1, 3, 5, 7, 9, 11, 13, 14, 15, 17, 19, 20; iii. 1, 2, 3, 4, 5, 6, 17, 21, 23, 26, 29; iv. 4, 9, 14, 15.)

[*] Note.--The Alcaic Strophe is named after the Greek poet Alcæus of Lesbos, and was a special favorite with Horace, of whose Odes thirty-seven are in this form. It is sometimes called the Horatian Stanza.

Sapphic (minor), consisting of three Lesser Sapphics (7) and one Adonic (3):—

1. iám satís terrī´s || nivis átque dī´rae
2. grándinís mīsít || pater ét rubénte
3. déxterā´ sacrā´s || iaculā´tus árcīs
4. térruit úrbem.—Od. 1.2.

(Found in Od. i. 2, 10, 12, 20, 22, 25, 30, 32, 38; ii. 2, 4, 6, 8, 10, 16; iii. 8, 11, 141820, 22, 27; iv. 2, 6, 11; Carm. Saec.)

[*] Note 2.--The Sapphic Stanza is named after the poetess Sappho of Lesbos, and was a great favorite with the ancients. It is used by Horace in twenty-five Odes— more frequently than any other except the Alcaic.

Sapphic (major), consisting of one Aristophanic (2) and one Greater Sapphic (8):—
1. Lȳ´dia dī´c, per ómnī´s
2. tē´ deō´s ōrō´, Sybarín || cū´r properā´s amándō´.—Od. 1.8.
Asclepiadean I (minor), consisting of Lesser Asclepiadics (5):—
1. éxēgī´ monuméntum|| aére perénniús
2. rē´gālī´que sitū´ || pȳ´ramidumáltiús.—Od. 3.30.
3. (Found in Od. i. 1; 3.30; 4.8.)
Asclepiadean II, consisting of one Glyconic (1) and one Lesser Asclepiadic (5):—
1. nā´vis quaé tibi crē´ditúm
2. dē´bēs Vérgiliúm, || fī´nibus Átticī´s
3. réddās íncolumém, precór,
4. ét servē´s animaé || dī´midiúm meaé.—Od. 1.3.
5. (Found in Od. i. 3, 13, 19, 36; iii. 9, 15, 19, 24, 25, 28; iv. i, 3.)
Asclepiadean III, consisting of three Lesser Asclepiadics (5) and one Glyconic (1):—
1. quís dēsī´deriō´ || sít pudor aút modús
2. tám cārī´ capitís? || praécipe lū´gubrī´s
3. cántūs, Mélpomenē´, || cuí liquidám patér
4. vō´cem cúm citharā´ dedít.—Od. 1.24.
5. (Found in Od. i. 6, 15, 24, 33; 2.12; 3.10, 16; iv. 5, 12.)
Asclepiadean IV, consisting of two Lesser Asclepiadics (5), one Pherecratic (4), and one Glyconic (1):—
1. ō´ fōns Bándusiaé || spléndidiór vitrō´,
2. dúlcī dī´gne merō´, || nō´n sine flō´ribús,
3. crā´s dōnā´beris haédō´
4. cuí frōns túrgida córnibús.—Od. 3.13.
5. (Found in Od. i. 5, 14, 21, 23; iii. 7, 13; 4.13.)
Asclepiadean V (major), consisting of Greater Asclepiadics (6):—
1. tū´ nē quaésierís, || scī´re nefā´s! || quém mihi, quém tibī´
2. fī´nem dī´ dederínt, || Leúconoē´, || néc Babylō´niō´s
3. téntārís numerō´s.—Od. 1.11.
4. (Found in Od. 1.11, 18; 4.10.)
1. Alcmanian, consisting of Dactylic Hexameter (§ 615) alternating with Tetrameter (§ 617. a). (Od. i. 7, 28; Epod. 12.)
2. Archilochian I, consisting of a Dactylic Hexameter alternating with a Dactylic Penthemim (see § 617. b). (Od. 4.7.)
Archilochian IV, consisting of a Greater Archilochian (heptameter, § 622. 1), followed by Iambic Trimeter Catalectic (§ 618. d). The stanza consists of two pairs of verses:—
1. sólvitur ā´cris hiéms grātā´ vice || Vē´ris ét Favō´nī,
2. trahúntque síccās || mā´chinaé carī´nā´s;
3. ác neque iám stabulī´s gaudét pecus, || aút arā´tor ī´gnī,
4. nec prā´ta cā´nīs || álbicánt pruī´nī´s.—Od. 1.4.
3. Iambic Trimeter alone (see § 618). (Epod. 17.)
4. Iambic Strophe (see § 618. a). (Epod. 1-10.)
Dactylic Hexameter alternating with Iambic Dimeter:—
1. nóx erat, ét caelō´ || fulgē´bat lū´na serē´nō
2. intér minō´ra sī´derá,
3. cúm tū, mā´gnōrúm || nūmén laesū´ra deō´rum,
4. in vérba iū´rābā´s meá.—Epod. 15. (So in Epod. 14.)
Dactylic Hexameter with Iambic Trimeter (§ 618):—
1. áltera iám teritúr || bellī´s cīvī´libus aétās,
2. suī´s et ípsa Rō´ma || vī´ribús ruít.—Epod. 16.
Verse of Four Lesser Ionics (§ 609. c.2):—
1. miserārumest | nequeamōrī | dare lūdum | neque dulcī
2. mala vīnō | laver eaut ex|animārī | metuentīs.—Od. 3.12.
Iambic Trimeter (§ 618); Dactylic Penthemim (§ 617. b); Iambic Dimeter:—
1. Pettī´, nihíl mē || sī´cut ánteā´ iuvát
2. scrī´bere vérsiculō´s || amō´re pérculsúm gravī´.—Epod. 11.
Dactylic Hexameter; Iambic Dimeter; Dactylic Penthemim (§ 617. b):
1. hórrida témpestā´s || caelúm contrā´xit, et ímbrēs
2. nivē´sque dē´dūcúnt Iovém; || núnc mare, núnc silüaé ...
3. —Epod. 13.
5. Trochaic Dimeter, Iambic Trimeter, each catalectic (see § 620. c).

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INDEX TO THE METRES OF HORACE

LIB. I

1. Maecēnās atavīs: 4.
2. Iam satis terrīs: 2.
3. Sīc tē dīva: 5.
4. Solvitur ācris hiems: 11.
5. Quis multā: 7.
6. Scrībēris Variō: 6.
7. Laudābunt aliī: 9.
8. Lȳdia dīc: 3.
9. Vidēs ut altā: 1.
10. Mercurī fācunde nepōs: 2.
11. Tū nē quaesieris: 8.
12. Quem virum: 2.
13. Cum tū Lȳdia: 5.
14. Ō nāvis: 7.
15. Pāstor cum traheret: 6.
16. Ō mātre pulchrā: 1.
17. Vēlōx amoenum: 1.
18. Nūllam Vāre: 8.
19. Māter saeva: 5.
20. Vīle pōtābis: 2.
21. Dīānam tenerae: 7.
22. Integer vītae: 2.
23. Vītās īnuleō: 7.
24. Quis dēsīderiō: 6.
25. Parcius iūnctās: 2.
26. Mūsīs amīcus: 1.
27. Nātīs in ūsum: 1.
28. Tē maris: 9.
29. Iccī beātīs: 1.
30. Ō Venus: 2.
31. Quid dēdicātum: 1.
32. Poscimur: 2.
33. Albī nē doleās: 6.
34. Parcus deōrum: 1.
35. Ō dīva: 1.
36. Et tūre: 5.
37. Nunc est bibendum: 1.
38. Persicōs ōdī: 2.

LIB. II

1. Mōtum ex Metellō: 1.
2. Nūllus argentō: 2.
3. Aequam mementō: 1.
4. Nē sit ancillae: 2.
5. Nōndum subāctā: 1.
6. Septimī Gādēs: 2.
7. Ō saepe mēcum: 1.
8. Ūlla sī iūris: 2.
9. Nōn semper imbrēs: 1.
10. Rēctius vīvēs: 2.
11. Quid bellicōsus: 1.
12. Nōlīs longa: 6.
13. Ille et nefāstō: 1.
14. Ēheu fugācēs: 1.
15. Iam pauca: 1.
16. Ōtium dīvōs: 2.
17. Cūr mē querellīs: 1.
18. Nōn ebur: 19.
19. Bacchum in remōtīs: 1.
20. Nōn ūsitātā: 1.

LIB. III

1. Ōdī profānum: 1.
2. Angustam amīcē: 1.
3. Iūstum et tenācem: 1.
4. Dēscende caelō: 1.
5. Caelō tonantem: 1.
6. Dēlicta mâiōrum: 1.
7. Quid flēs: 7.
8. Mārtiīs caelebs: 2.
9. Dōnec grātus: 5.
10. Extrēmum Tanain: 6.
11. Mercurī nam tē: 2.
12. Miserārum est: 16.
13. Ō fōns Bandusiae: 7.
14. Herculis rītū: 2.
15. Uxor pauperis: 5.
16. Inclūsam Danaēn: 6.
17. Aelī vetustō: 1.
18. Faune nymphārum: 2.
19. Quantum dīstet: 5.
20. Nōn vidēs: 2.
21. Ō nāta mēcum: 1.
22. Montium cūstōs: 2.
23. Caelō supīnās: 1.
24. Intāctīs opulentior: 5.
25. Quō mē Bacche: 5.
26. Vīxī puellīs: 1.
27. Impiōs parrae: 2.
28. Fēstō quid: 5.
29. Tyrrhēna rēgum: 1.
30. Exēgī monumentum: 4.

LIB. IV

1. Intermissa Venus: 5.
2. Pindarum quisquis: 2.
3. Quem tū Melpomenē: 5
4. Quālem ministrum: 1.
5. Dīvīs orte bonīs: 6.
6. Dīve quem prōlēs: 2.
7. Diffūgēre nivēs: 10.
8. Dōnārem paterās: 4.
9. Nē forte crēdās: 1.
10. Ō crūdēlis adhūc: 8.
11. Est mihī nōnum: 2.
12. Iam vēris comitēs: 6.
13. Audīvēre Lycē: 7.
14. Quae cūra patrum: 1.
15. Phoebus volentem: 1.
16. Carmen Saeculāre : 2.

EPODES

1. Ībis Liburnīs: 13.
2. Beātus ille: 13.
3. Parentis ōlim: 13.
4. Lupīs et āgnīs: 13.
5. At ō deōrum: 13.
6. Quid immerentīs: 13.
7. Quō quō scelestī: 13.
8. Rogāre longō: 13.
9. Quandō repostum: 13.
10. Malā solūta: 13.
11. Pettī nihil: 17.
12. Quid tibi vīs: 9.
13. Horrida tempestās: 18.
14. Mollis inertia: 14.
15. Nox erat: 14.
16. Altera iam: 15.
17. Iam iam efficācī: 12.

[*] 627. Other lyric poets use other combinations of the abovementioned verses:—

a. Glyconics with one Pherecratic (both imperfect):—

1. Dī´ā|naé sŭmŭs | ín fĭdē´
2. pū´el|l ae ét pŭĕ|rī íntĕgrī´:
3. Dī´ā|nám, pŭĕ|rī íntĕgrī´
4. pŭ´el|laéquĕ că|nā´|mŭ´s.—Catull. xxxiv.

b. Sapphics, in a series of single lines, closing with an Adonic:—

1. Án mă|gís dī|rī´ trĕmŭ|ē´rĕ |Mā´nēs
2. Hércŭ|lem? ét vī|súm cănĭs | ī´nfĕ|rō´rŭm
3. fū´gĭt | ábrup|tī´s trĕpĭ|dús că|tē´nīs?
4. fállĭ|múr: lae|tē´ vĕnĭt | éccĕ | vúltū,
5. quém tŭ|lít Poe|ā´s; hŭmĕ|rísquĕ | tē´lă
6. géstăt | ét nō|tā´s pŏpŭ|lī´s phă|rétrās
Hércŭlĭs | hē´rēs.—Sen. Herc. Oet. 1600-1606.

c. Sapphics followed by Glyconics, of indefinite number (id. Herc. Fur. 830-874, 875-894).

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MISCELLANEOUS

[*] 628. Other measures occur in various styles of poetry.

[*] a. Anapæstic (§ 609. b. 2) verses of various lengths are found in dramatic poetry. The spondee, dactyl, or proceleusmatic may be substituted for the anapæst:—

1. hĭc hŏmō´st | omnĭum hŏ´mĭ|num praé|cĭpŭō´s
2. vŏlŭptā´|tĭbŭs gaú|diīsque án|tĕpŏtē´ns.
3. ĭtă cóm|mŏdă quaé | cŭpĭō ē´|vĕnĭúnt,
4. quŏd ăgō´ | sŭbĭt, ád|sĕcŭē´ | sĕquĭtŭ´r:
ĭtă gaú|dium súp|pĕdĭtă´t.—Pl. Trin. 1115-1119.

[*] b. Bacchiac (§ 609. d. 4) verses (five-timed) occur in the dramatic poets,— very rarely in Terence, more commonly in Plautus,—either in verses of two feet (Dimeter) or of four (Tetrameter). They are treated very freely, as are

all measures in early Latin. The long syllables may be resolved, or the molossus (three longs) substituted:—

1. multā´s rēs | sĭmī´tū in | mĕó cor|dĕ vórsō,
2. multum ín cō|gĭtándō | dŏlō´rem in|dĭpī´scŏr.
3. ĕgŏmét mē | cōgō ét mā|cĕrō ét dē|fătī´gō;
4. măgíster | mĭhi éxer|cĭtō´r ănĭ|mŭs núnc est.
—Pl. Trin. 223-226.

[*] c. Cretic measures (§ 609. d. 1) occur in the same manner as the Bacchiac, with the same substitutions. The last foot is usually incomplete:—

1. ă´mŏr ămī|cús mĭhī | nē´ fŭās | úmquăm.
2. hī´s ĕgō | dē ártĭbus | grā´tĭam | fă´cĭō.
3. nī´l ĕgo is|tō´s mŏror | faécĕōs | mō´rēs.id. 267, 293, 297.

[*] d. Saturnian Verse. In early Latin is found a rude form of verse, not borrowed from the Greek like the others, but as to the precise nature of which scholars are not agreed.⁶

According to one view the verse is based on quantity, is composed of six feet, and is divided into two parts by a cæsura before the fourth thesis. Each thesis may consist of a long syllable or of two short ones, each arsis of a short syllable, a long syllable, or two short syllables; but the arsis, except at the beginning of the verse and before the cæsura, is often entirely suppressed, though rarely more than once in the same verse:—
1. dăbúnt mălúm Mĕtéllī || Naévĭō´ pŏē´tae.
According to another theory the Saturnian is made up, without regard to quantity, of alternating accented and unaccented syllables; but for any unaccented syllable two may be substituted, and regularly are so substituted in the second foot of the verse:—
1. dábunt málum Metéllī || Naéviō´ poē´tae.

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EARLY PROSODY

[*] 629. The prosody of the earlier poets differs in several respects from that of the later.⁷

[*] a. At the end of words s, being only feebly sounded, does not make position with a following consonant; it sometimes disappeared altogether. This usage continued in all poets till Cicero's time (§ 15. 7).

[*] b. A long syllable immediately preceded or followed by the ictus may be shortened (iambic shortening):—

In a word of two syllables of which the first is short (this effect remained in a few words like pută , cavĕ,valĕ, vidĕ , egŏ , modŏ , duŏ ⁸):—
ă´bĭ (Ter. Ph. 59); bŏ´nĭ (id. 516); hŏmŏ suā´vis (id. 411).
If it is either a monosyllable or the first syllable of a word which is preceded by a short monosyllable:—
sĕ´d hăs “tabellās” (Pl. Per. 195) ; quĭ´d hĭc nunc (id. Epid. 157); pĕr ĭnplū´vium (Ter. Ph. 707); ĕgoŏsténderem (id. 793).
When preceded by a short initial syllable in a word of more than three syllables:—
vĕnŭstā´tis (Ter. Hec. 848); sĕnĕctū´tem (id. Ph. 434); Syrăcū´sās (Pl. Merc. 37); ămĭcĭ´tia (id. Ps. 1263).

[*] c. In a few isolated words position is often disregarded.⁹ Such are ĭlle, ĭmmo, ĭnde, ĭste, ŏmnis , nĕmpe , quĭppe, ŭnde .

[*] d. The original long quantity of some final syllables is retained.

The ending -or is retained long in nouns with long stem-vowel (original r- stems or original s-stems):—
módo quom dícta in mēíngerē´bās ódium nō´nuxō´r erám (Pl. Asin. 927).
1. íta mī in péctoreátque córde fácitamō´rincéndiúm (id. Merc. 500).
2. átque quántō nóx fuístīlóngiō´rhāc próxumā´; (id. Am. 548).
1. The termination -es (-ĭtis) is sometimes retained long, as in mīlēs, superstēs .
All verb-endings in -r, -s, and -t may be retained long where the vowel is elsewhere long in inflection:—
régrediō´r audī´sse mē´; (Pl. Capt. 1023); átqueut quī´ fuerīs et quī´ nunc (id. 248); mē nō´minā´t haec (id. Epid. 4.1.8); faciā´t ut sémper (id. Poen. 2.42); īnfuscābāt, amābō (cretics, id. Cist. 1.21); quī amēt (id. Merc. 1021); utfī´t in béllō cápitur álter fī´liús (id. Capt. 25); tibisī´tad mē´ revī´sā´s (id. Truc. 2.4.79).

[*] e. Hiatus (§ 612. g) is allowed somewhat freely, especially at a pause in the sense, or when there is a change of speaker.

¹⁰