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Trăhünt|quě sic|| cas machinae || cărilnas.

Nonnulllă quēr||cū sünt|căvā||ta ět ülsmo. Terentianus Maurus, without any good reason, prefers scanning it as follows:

Trăhünt|quě sic|cas || māchisnae că|rinăs. This species of verse is likewise called Archilochian, froin the poet Archilochus.


The lambic Dimeter consists of two measures, or four feet, properly all iambi; as,

Pěrūnsxit hoc || iässõnēm. It admits, however, the same variations as the trimeter, though Horace much more frequently employs a spondee than any other foot in the third place. The scale of this measure is as follows:

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This species of verse is also called Archilochian dimeter. The following lines from the Epodes will illustrate the scale.

Epod. 2. line 62. Vidē[rè propě|| rantēs|domūm.

3. 8. Canidīja trāc||tavit | dăpēs.
5 48. Cānidījă rõ|| dēns põl|līcēm.



This measure, also called Archilochian, is the lambic Di neter (No. 7.) with an additional syllable at the end; as,

Rēdēgit ad || vēros | timo|lrēs. Horace frequently uses this species of verse in conjunc tion with the Alcaic, and always has the third foot a spon dee: for the line, which in the common editions runs thus,

Disjēc non || lēvi rüi||nā,

is more correctly read with lēni in place of lëvi.


This is the lambic Dimeter (No. 7.) wanting the first syllable : ; as,

Non ébur || něque au reum.

It may, however, be also regarded as a Trochaic Dimeter Catalectic, and scanned as follows:

Non ēsbür něllque aurējūm; though, if we follow the authority of Terentianus (De Metr. 738), we must consider the first appellation as the more correct one of the two, since he expressly calls it by this name.


This verse takes its name from the poetess Sappho, who invented it, and consists of five feet, viz. a trochee, a spon. dee, a dactyl, and two more trocheos; as,

Dēflūlīt saxlis ágistatus | humör.
But in the Greek stanza, Sappho sometimes makes the

second foot a trochee, in which she is imitated by Catullus; as,

Παί Διός δολοπλόκε, λίσσομαι σε.

Pauca | nuntisate meae puellae. Horace, however, uniformly has the spondee in the second place, which renders the verse much more melodious and flowing. The Sapphic stanza, both in Greek and Latin, is composed of three Sapphics and one Adonic. (No. 4.) As the Adonic sometimes was irregularly subjoined to any indefinite number of Sapphics (vid. Remarks on Adonic verse), so, on other occasions, the Sapphics were continued in uninterrupted succession, terminating as they had begun, without the addition of an Adonic even at the end, as in Boëthi us, lib. 2. metr. 6.-Seneca, Troades, act 4.

The most pleasing verses, are those in which the caesural pause occurs at the fifth half-foot; as,

intěsgēr vistae || scělěsrisquě | pūrūs
Non è gēt Maülri || jăcūslīs něc | arcă
Nēc vēlnēnāstīs || grăvildā sälgittis

Fusce phă[rētrū, The following lines, on the contrary, in which the pause falls differently, are far less melodious.

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Qui sedens adversus, || identidem te.
Quindecim Diana || preces virorum.
Liberum munivit iter || daturus.
Haec Jovem sentire, || Deosque cunctos.

With regard to the caesura of the foot, it is worth noticing, that in the Greek Sapphics there is no necessity for any conjunction of the component feet by caesura, but every foot may be terminated by an entire word. This freedom forms the characteristic feature of the Greek Sapphic, and is what chiefly distinguishes it from the Latin Sapphic, as exhibited by Horace.

In Sapphics, the division of a word between two lines frequently occurs; and, what is remarkable, not compound but simple words, separately void of all meaning; as,

Labitur ripa, Jove non probante, ur

orius amnis.

This circumstance, together with the fact of such a division taking place only between the third Sapphic and the concluding Adonic,' has induced an eminent prosodian (Dr. Carey) to entertain the opinion, that neither Sappho nor Catullus, nor Horace, ever intended the stanza to consist of four separate verses, but wrote it as three, viz. two five-foot Sapphics and one of seven feet (including the Adonic); the fifth foot of the long verse being indiscriminately either a spondee or a trochee.


The Choriambic Pentameter consists of a spondee, three choriambi, and an iambus : as,

Tú në quaesiëris, scirě něfās, quem mihi, quem tibi.

12. ALTERED CHORIAMBIC TETRAMETER. The proper Choriambic Tetrameter consists of three chorambi and a bacchius (i. e. an iambus and a long syllable); as,

(1) The divisions which take place between the other lines of the Sapphic stanza, when they are not common cases of Synapheia, (as in Horace, Carm. 2. 218.) will be found to regard compound words only, and not simple ones. The ode of Horace (4. 2.) which begins

Pindarum quisquis studet aemulari

furnishes no exception to this remark. A Synaeresis operates in hule, which must be read as if written Yule.

Janë pătēr, 1 Jāně tủēns, I divë bicēps, | biformis.

(Sept. Serenus.)

Horace, however, made an alteration, though not an in provement, by substituting a spondee instead of an iambus, in the first measure, viz.

Te děős ösrő Sýbărin | cür properēs ămândo. The Choriambic Tetrameter, in its original state, was called Phalaecian, from the poet Phalaecius, who used it in some of his compositions.


This verse, so called from the poet Asclepiădes, consists of a spondee, two choriambi, and an iambus ; as,

Maecēsnās ălăvis 11 ēdítě rē gibüs. The caesural pause takes place at the end of the first choriambus ; on which account some are accustomed to scan the line as a Dactylic Pentameter Catalectic; as,

Maecēlnās átăļvis || ēdītě | rēgibus. But this mode of scanning the verse is condemned by Terentianus. Horace uniformly adheres to the arrangement given above. Other poets, however, sometimes, though very rarely, make the first foot a dactyl.



The Glyconic verse (so called from the poet Glyco) consists of a spondee, a choriambus, and an iambus ; as,

Sic të || dīvă, potēns | Cõpri. But the first foot was sometimes varied to an iambus or a trochee; as,

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