is rendered less exceptional by the fact that enthymema is a Greek word. d. Bucolic diaeresis, especially with a spondee in the fourth foot, is common to the point of monotony in Catullus and Lucretius. Avoidance of it is noticeable in Vergil, and it was used less and less by the more careful among later poets, owing to the fact that it made conflict in the fourth foot all but impossible. Compare: VIII. Martis et Aeoliis vicinum | rupibus antrum. Juvenal in 1, 5 and 7 shows the only way in which this diaeresis could be combined with conflict in the fourth foot. The frequency of this diaeresis, especially with the more objectionable spondee in the fourth foot, is a notable characteristic of Juvenal's verse. The succession of them in 10, 153 f. seems to have been for a special purpose. 148. Juvenal's use of caesura, speaking in general, may be best appreciated by reading a long passage aloud. It will be seen that the variety and freedom of satire have been adapted with great skill to the purposes of declamation. 149. Dactyls and spondees. The Latin language was naturally rich in spondees. In the hexameter of epic and elegy there was a long struggle to avoid them, which culminated in the light and graceful verse of Ovid. The conversational tone of satire admitted them more freely. But even here the effect of chronology is visible. Juvenal's 44% of dactyls in the first four feet is slightly larger than that of Vergil. Persius and Lucan belong in the same class. 150. Schemata.' The possible combinations of dactyls and spondees in the hexameter (particularly, of course, in the first four feet) were known as the schemata. All the schemata are found in the Latin poets, but the favorites for the literature are dsss, about 15%; dsds, about 12%; ddss, about 11%; sdss, about 10%. The least desired are sddd, about 2%, 1 Drobisch, Neue Jahrb., CIX, 1874, p. 747. and ssdd, a little less. 1 The same schemata in Juvenal's first satire are dsss, 16%; dsds, 12%; ddss, 8%; sdss, 13%; sddd, 3%; ssdd, 2%. The figures vary somewhat for the different satires, but the general average is very near to that of Vergil, with a slight increase in the heavier and less desirable combinations, as befits the greater freedom of satire. 151. The first foot.' The Roman poets preferred a dactyl in the first foot. The highest average was reached (over 90%) by Ovid in his elegy. Juvenal's 60% is exactly that of Vergil's Aeneid, but certain harsher combinations are less carefully avoided. If, for example, a dactylic (or a spondaic) word at the beginning of the verse is followed by a monosyllable, the desired effect of a 'trithemimeral' caesura is lost, thus: Telephus aut | summi plena iam margine libri, or with a spondaic word, Nullus iam parasitus erit, sed quis ferat istas, Only eight cases of the liberty illustrated by these two examples occur in the epigrams of Martial. Over three hundred occur in Juvenal (fewer in the later satires). A spondaic word in this foot, with elision before a following vowel, thus, Plena ipso, post hunc magni delator amici, was avoided after Lucretius. It is not uncommon in Juvenal, and increases to a marked extent in the last two satires. 152. Versus spondiaci.3 This is the name given to those hexameters which contain a spondee in the fifth foot instead of the regular dactyl. The Homeric use of the versus spondiacus is about one in eighteen to twenty lines. It was not intended for effect and ends in a long word, frequently a quadrisyllable, 2 Drobisch und Hultgren, Neue Jahrb., CIX, 1874, pp. 747 f. Müller, l. 7. pp. 154 f.; A. Viertel, Neue Jahrb., 1862, pp. 801-11. 1 Bornecque, l. 1. Ennius follows in his foot- which is oftener a proper name. steps, and the same is true for number has been very much reduced. The versus spondiacus, however, was a special affectation of the school of Catullus, and they finally fixed the law that it must end in a proper name of four syllables, i.e. a dispondee. Moreover, with a few notable exceptions, such as Appenninus, the name must be Greek. This law remained for the rest of the literature, but, after Catullus, the line itself lingered chiefly in Vergil and Ovid. It is not found in the satires of Horace, and in the first-century epic is very rare. Persius in 1, 92 ridicules it as an affectation. He has more The one notable exception is Juvenal.' than thirty cases, a larger proportion than is found in any poet after Catullus himself. Moreover, he not only does not bind himself to the Catullian law of the final word, but also disregards the tendency of the earlier Homeric type as exhibited in Ennius and Lucretius. In all of this he stands alone, and both the frequency and the freedom of this line seem to indicate a purpose in its use. Juvenal appears to have felt that the versus spondiacus, in spite of its affectation by those later poets whom he despised, really belonged to high epic. The one purpose which a majority of his examples have in common is emphasis. His mood may be serious, sardonic, mock-heroic, or what not, and the purpose of the emphasis will vary accordingly, but the residuum is emphasis. Moreover, the freedom of cadence reflects the variation of mood and seems to have been suggested by it. For example: 1,52 (parody of conventional epic); 2, 145 (the heroes of old Rome); 3, 17 (sneering ?); 3, 120 (these most worshipful rascals); 3, 273 (a trifle and yet so vital. Satiric exaggeration. Note the freedom of the form as reflecting all 1 Examples given by Eskuche, l. l. this, and compare the form of Horace's famous line, Parturiunt montes, nascetur ridiculus mus, as suggestive of much ado about nothing); 4, 53 (mock-heroic); 4, 87 (cf. 3, 273) ; 5, 38 (the speaker lingers on the beauty and value of those cups); 6, 80 (sardonic); 6, 246 (mock-heroic ? ); 6, 429 (disgust); 6, 462 (cf. 6, 429); 8, 218 (the old play'); 9,.111 (mock-heroic); 10, 88 (serious emphasis); 10, 151 (epic); 10, 304 and 332 (declamatory); 13, 191 (emphasis), etc. 153. Agreement. It is an universal rule of artistic poetry that whatever liberties we may take with a verse, the end of it should be well marked and clearly reflect the type. Conflict has a certain tendency to obscure the rhythm; moreover, the hexameter should be brought to a restful close. The law of conflict, therefore, ceases with the fourth foot, and for the last two feet agreement of verse-ictus and wordaccent is sought. From this point of view the favorite types are : A dissyllable preceded by a trisyllable at least, or, at most, a word which shall not go back of the fourth arsis : I. Aeacus, unde alius furtivae | devehat aurum Hos animos? neque enim loculis comistantibus itur. A trisyllable preceded by a dissyllable at least, or, at most, a word which shall not go back of the fourth arsis : II. Quidquid agunt homines, votum timor | ira voluptas A frequent sub-variety of II is illustrated by Consilium dedimus Sullae privatus ut altum, i.e. replacement of the trisyllable by a dissyllable preceded by a proclitic monosyllable. Over 90% of all Latin hexameters end in these two forms. Other cadences are exceptional. They involve some conflict, III. Nota magis nulli domus est sua | quam mihi lucus. The rule of the monosyllable here-which softens the conflict as much as possible-is never broken by Martial, and by Juvenal only in 3, 135 and 7, 160 (cf., however, 10, 140). IV. Dormiret, stulta est clementia | cum tot ubique is very rare. 13, 65. The only cases in Juvenal are 1, 17, 30; 3, 54 ; To end the hexameter with a monosyllable was always bad. It involved conflict, as do all other exceptional cadences, and was not sonorous. But if the monosyllable was preceded by another monosyllable, the cadence was endurable, though always exceptional. The most frequent, therefore, of the monosyllabic cadences are: V. Et nos ergo manum ferulae subduximus et nos, (rarest in the second satire, most frequent in the eighth) and its sub-varieties (of which Juvenal furnishes an occasional example) : and Argillam atque rotam citius properate, sed ex hoc Quantum grammaticus meruit labor? et tamen ex hoc. The habitat of v and its sub-varieties is Horace (about 5 %), VI. Tam patiens urbis, tam ferreus, ut teneat se, VII. Quid tamen exspectant, Phrygio quos tempus erat iam, J |