Examples are:—

The Greater Asclepiadean.

2670. This is a composite verse, consisting of three series. It differs from the preceding (2669) in having a syncopated logaoedic dipody (–́ ⏑ ⏑ | ⏗́) inserted between the two tripodies. The three series are regularly separated by diaeresis. The scheme is therefore:—

Examples are:—

The Greater Sapphic.

2671. This is a composite verse, consisting of a syncopated logaoedic tetrapody + a syncopated logaoedic tetrapody catalectic. There is regularly a diaeresis between the two series, and a caesura after the thesis of the first dactyl. The scheme is:—

An example is:—

2672. (1.) The second series has the same form as the Aristophanic, if the latter be written as a tetrapody (see 2658 ad fin.).

2673. (2.) Horace (1, 8) is the only Latin poet who makes use of the Greater Sapphic. It seems to be an imitation of the Greek Sapphic:—

but if so, the imitation is not exact.

The Priapean.

2674. This verse is employed by Catullus (17) and in the Priāpēa (86). It consists of a syncopated logaoedic tetrapody + a syncopated logaoedic tetrapody catalectic. There is regularly a diaeresis between the two parts, but hiatus and syllaba anceps are not allowed at the end of the first series. The scheme is:—

Examples are:—

The first series has the same form as the Glyconic (2660), and the second series has the same form as the Pherecratean, if the latter be written as a tetrapody (see 2659 ad fin.).

DACTYLO-TROCHAIC RHYTHMS.

2675. Dactylo-Trochaic verse, like logaoedic, is composed of dactyls and trochees; but whereas in logaoedic verse the dactyls and trochees occur within the same metrical series, in dactylo-trochaic they always form separate series. Hence dactylo-trochaic verses are always composite, consisting of two or more series in combination.

2676. It is uncertain whether the dactyls in dactylo-trochaic verse were cyclic (2523) or whether there was a change of time in the middle of the verse.

The Greater Archilochian.

2677. This verse is composed of a dactylic tetrameter acatalectic + a trochaic tripody. There is regularly a diaeresis after the first colon, and a caesura after the third thesis. The fourth foot is always a pure dactyl. The third foot is very often a spondee. The scheme is:—

An example is:—

In Archilochus the verse is said to have been asynartetic (2535); but Horace and Prudentius do not allow hiatus or syllaba anceps in the diaeresis, and Prudentius sometimes neglects the diaeresis altogether.

The Iambelegus.

2678. This verse consists of a trochaic dimeter catalectic with anacrusis + a Lesser Archilochian (2579). No resolutions are allowed in the first colon, and the dactyls in the second colon are never replaced by spondees. There is regularly a diaeresis between the two cola. The scheme is:—

An example is:—

2679. This verse occurs only in the Second Archilochian Strophe (2726) of Horace. Some authorities treat the first colon as an iambic dimeter. The name Iambelegus was given to the verse because the ancient grammarians regarded it as a dactylic pentameter for the first half of which an iambic colon had been substituted.

The Elegiambus.

2680. This verse consists of the same cola as the Iambelegus (2678), but in reverse order. Spondees are not admitted in the first colon, and no resolutions occur in the second colon. There is regularly a diaeresis between the cola. The scheme is:—

An example is:—

2681. This verse occurs only in the Third Archilochian Strophe (2727) of Horace. The name Elegiambus is given to it as being the reverse of the Iambelegus (see 2679).

ANAPAESTIC RHYTHMS.

2682. In these the fundamental foot is the anapaest ⏑ ⏑ –́, for which its metrical equivalents the spondee —́, dactyl – ⏑́ ⏑ and proceleusmatic ⏑ ⏑ ⏑́ ⏑ are sometimes substituted.

2683. The anapaestic verse of the early Latin comedy is extremely irregular, and its limits are often hard to define. Spondees and apparent bacchii (reduced to anapaests by the law of iambic shortening; see 2470) are extremely common, and metrical irregularities of various kinds abound. The Latin language has so few anapaestic words that it does not lend itself readily to this rhythm. Terence wisely abstained altogether from anapaestic verse. Varro, Seneca, and Prudentius and other late writers wrote anapaests conforming more closely to Greek models.

The Anapaestic Tetrameter Acatalectic (or Octonarius).

2684. This consists of four anapaestic dipodies or eight complete anapaestic feet. There is regularly a diaeresis after the fourth foot, and the last thesis of the line is never resolved. Hiatus and syllaba anceps sometimes occur in the diaeresis, the verse being asynartetic (2535). The scheme is:—

⏖ –́	⏖ –̇	⏖ –́	⏖ –̇ # ⏖ –́	⏖ –̇	⏖ –́	⏑ ⏑ –̇
– –́	– –̇	– –́	– –̇ # – –́	– –̇	– –́	– –̇
– ⏑́ ⏑	– ⏑̇ ⏑	– ⏑́ ⏑	– ⏑̇ ⏑ # – ⏑́ ⏑	– ⏑̇ ⏑	– ⏑́ ⏑
⏖ ⏑́ ⏑	⏖ ⏑̇ ⏑	⏖ ⏑́ ⏑	[⏖ ⏑̇ ⏑] # ⏖ ⏑́ ⏑	⏖ ⏑̇ ⏑	⏖ ⏑́ ⏑

Examples are:—

2685. The proceleusmatic is very rare in the fourth foot, but the spondee is very common there. Some editors divide the anapaestic octonarii into dimeters (or quaternarii) and write them as such.

The Anapaestic Tetrameter Catalectic (or Septenarius).

2686. This is like the preceding, except that the last foot is incomplete. The seventh thesis may be resolved. There is regularly a diaeresis after the fourth foot, and hiatus and syllaba anceps sometimes occur in the diaeresis. The scheme is:—

⏑ ⏑ –́	⏑ ⏑ –̇	⏑ ⏑ –́	⏑ ⏑ –̇ # ⏑ ⏑ –́	⏑ ⏑ –̇	⏑ ⏑ –́	⏑ ⌅
– –́	– –̇	– –́	– –̇ # – –́	– –̇	– –́
– ⏑́ ⏑	– ⏑̇ ⏑	– ⏑́ ⏑	– ⏑̇ ⏑ # – ⏑́ ⏑	– ⏑̇ ⏑	– ⏑́ ⏑
⏑ ⏑ ⏑́ ⏑	⏑ ⏑ ⏑̇ ⏑	⏑ ⏑ ⏑́ ⏑	[⏑ ⏑ ⏑̇ ⏑] # ⏑ ⏑ ⏑́ ⏑	⏑ ⏑ ⏑̇ ⏑	⏑ ⏑ ⏑́ ⏑

Examples are:—

The Anapaestic Dimeter Acatalectic (or Quaternarius).

2687. This verse consists of two anapaestic dipodies, or four complete anapaestic feet. There is generally a diaeresis after the second foot, and the fourth thesis is not resolved. The scheme is:—

⏑ ⏑ –́	⏑ ⏑ –̇ # ⏑ ⏑ –́	⏑ ⏑ –̇
– –́	– –̇ # – –́	– –̇
– ⏑́ ⏑	– ⏑̇ ⏑ # – ⏑́ ⏑
⏑ ⏑ ⏑́ ⏑	⏑ ⏑ ⏑̇ ⏑ # ⏑ ⏑ ⏑́ ⏑

Examples are:—

This verse is often used to form systems, which frequently end in a paroemiac (see 2688).

The Anapaestic Dimeter Catalectic (or Paroemiac).

2688. This verse consists of two anapaestic dipodies or four anapaestic feet, the last foot being incomplete. The third thesis is sometimes resolved. There is no fixed caesura. The scheme is:—

⏑ ⏑ –́	⏑ ⏑ –̇	⏑ ⏑ –́	⏑ ⌅
– –́	– –̇	– –́
– ⏑́ ⏑	– ⏑̇ ⏑	– ⏑́ ⏑
⏑ ⏑ ⏑́ ⏑	⏑ ⏑ ⏑̇ ⏑	⏑ ⏑ ⏑́ ⏑

Examples are:—

2689. (1.) The Paroemiac is generally used to close a system of acatalectic anapaestic dimeters; but sometimes several paroemiacs in succession form a system (as in the second example above), especially in Ausonius, Prudentius, and other late poets.

2690. (2.) Other anapaestic verses sometimes occur, especially in the early comedy, but they are rare.

CRETIC RHYTHMS.

2691. These are rhythms of the Hemiolic class (2527), in 5/8 time. The fundamental foot is the Cretic (–́ ⏑ –̇).

Either (but not both) of the two longs of a Cretic is sometimes resolved (giving the First Paeon –́ ⏑ ⏑̇ ⏑ or the Fourth Paeon ⏑́ ⏑ ⏑ –̇); but there is rarely more than one resolution in a single verse. The middle short is sometimes replaced by an irrational long (giving –́ > –̇, or if there is resolution, ⏑́ ⏑ > –̇ or –́ > ⏑̇ ⏑); but this never occurs in the last foot of a verse, and but rarely when the middle syllable is the penult of a spondaic word (e.g. nṓs nostrās).

2692. (1.) The ictus on the first long of the Cretic was probably (at least in most cases) stronger than that on the second. The first long and the short form the thesis, the second long the arsis, –́ ⏑ | –̇

2693. (2.) The impetuous, swinging movement of the Cretic rhythm fits it for the expression of passionate emotion.

The Cretic Tetrameter Acatalectic.

2694. This verse consists of four complete Cretic feet. There is usually a diaeresis after the second foot, but sometimes there is instead a caesura after the first long of the third foot. Resolution is not admitted before the diaeresis or the end of the line. The irrational long middle syllable is admitted in the first and third feet. The scheme is:—

Examples are:—

2695. This verse is common in the cantica of the early drama, and is often repeated to form systems. Hiatus and syllaba anceps sometimes occur in the diaeresis.

The Cretic Tetrameter Catalectic.

2696. This is similar to the preceding, except that the last foot is incomplete. The scheme is:—

Examples are:—

Other Cretic Verses.

2697. The Cretic trimeter acatalectic sometimes occurs, though rarely: e.g.

More frequent is the dimeter acatalectic, which has the scheme:—

This is often compounded with a trochaic tripody catalectic: e.g.

and sometimes with a trochaic tripody acatalectic (e.g. Pl. Ps. 1248), a trochaic dipody acatalectic (e.g. Pl. Cap. 214), or a Thymelicus – ⏑ ⏑ ⏑ – (e.g. Pl. Am. 245). For other kinds of Cretic verses, see special editions of the early dramatists.

BACCHĪAC RHYTHMS.

2698. These are rhythms of the Hemiolic class (2527), in 5/8 time. The fundamental foot is the Bacchīus (⏑ –́ –̇). Either (or both) of the two longs of a bacchīus is sometimes resolved. For the initial short syllable an irrational long is sometimes substituted. Occasionally two shorts are so substituted, especially in the first foot of a verse.

2699. (1.) The ictus on the first long of the bacchīus was probably stronger than that on the second long.

2700. (2.) The bacchiac rhythm, like the Cretic, has an impetuous and passionate character.

The Bacchiac Tetrameter Acatalectic.

2701. This verse consists of four complete bacchiac feet. There is generally a caesura after the first long of the second or third foot, or (more rarely) a diaeresis after the second foot. An irrational long (or two shorts) may be substituted for the initial short only in the first and third feet. Resolution is not allowed before the caesura or the end of the verse. The scheme is:—

Examples are:—

2702. (1.) There are seldom more than two resolutions in the same verse, and never more than three. Bacchiac tetrameters are often repeated to form systems.

2703. (2.) According to some authorities, bacchiac tetrameters catalectic sometimes occur, e.g. Pl. Cas. 656, 867, Men. 969, 971, Most. 313, Poen. 244.

Other Bacchiac Verses.

2704. (1.) Bacchiac dimeters are occasionally found, especially as clausulae to bacchiac systems. An example is:—

An acatalectic dimeter is not seldom compounded with a catalectic iambic tripody: e.g.

2705. (2.) Bacchiac hexameters occur in a few instances, as:—

2706. (3.) Hypermetrical combination of bacchii into a system appears to occur in Varro, Sat. Men. fr. 405 Buech.

CHORIAMBIC RHYTHMS.

2707. In these, the fundamental foot is the choriambus (–́ ⏑ ⏑ –̇). True choriambic verse is very rare in Latin poetry, though apparent choriambi of the form –́ ⏖ | – or –́ ⏖ | ⏗́ are common in logaoedic verse (2652).

Apparently, however, in Terence, Ad. 611-13,

there are three choriambic trimeters, the first two with iambic close, the third with trochaic. In the second line there is syllaba anceps at the end of the second choriambus. In Plautus, Casina 629, Menaechmi 110, and perhaps Asinaria 133, we have a choriambic dimeter + an acatalectic trochaic dipody.

Owing to the frequent occurrence of the apparent choriambus in certain kinds of logaoedic verse, the metricians of Horace’s day regarded them as really choriambic. Hence the rule mentioned in 2652, a rule unknown to Greek writers of logaoedic verse.

IONIC RHYTHMS.

2708. In these, the fundamental foot is the Ionic, of which there are two forms, the Ionic ā māiōre –́ –̇ ⏑ ⏑, so called because it begins with the greater part (i.e. the thesis) of the foot, and the Ionic ā minōre ⏑ ⏑ –́ –̇, which receives its name from the fact that it begins with the less important part of the foot (i.e. the arsis).

2709. (1.) Ionics ā minōre are often treated as Ionics ā māiōre with anacrusis, ⏖ | –́ –̇ ⏖, &c. See 2529 ad fin.

2710. (2.) Ionic verse shows numerous resolutions and irrational longs, especially in early Latin. The accumulation of short syllables imparts to the verse a wild and passionate character.

2711. (3.) Anaclăsis (Gr. ανακλασις, “a bending back”) is an exchange of place between a short syllable and the preceding long (e.g. –́ ⏑ –̇ ⏑ for –́ –̇ ⏑ ⏑ or ⏑ ⏑ –́ ⏑ | –̇ ⏑ –́ –̇ for ⏑ ⏑ –́ –̇ | ⏑ ⏑ –́ –̇), and is very frequent in Ionic verse.

The Ionic ā māiōre Tetrameter Catalectic (or Sotadean).

2712. This verse consists of four Ionic ā māiōre feet, the last foot being incomplete. In the early Latin poets, beginning with Ennius, the Sotadean is treated with much freedom: resolution, contraction (2518), anaclasis (2711), and irrational longs are freely admitted. Examples are:—

–́ – ⏑ ⏑ ⏑	–́ ⏑ ⏑ ⏑ ⏑	–́ ⏑ – >	–́ – ⌅
–́ ⏑ – >	–́ – ⏑ ⏑	⏑́ ⏑ ⏑ – >	–́ – ⌅

Compare in Greek:—

2713. Later poets (Petronius, Martial, Terentianus Maurus) are more strict in their usage, admitting (with very few exceptions) only the forms ⏑́ ⏑ – ⏑ ⏑, –́ ⏑ ⏑ ⏑ ⏑, –́ ⏑ – ⏑ besides the normal –́ – ⏑ ⏑. Hence their scheme is:—

–́ – ⏑ ⏑	–́ – ⏑ ⏑	–́ – ⏑ ⏑	–́ – ⌅
⏑́ ⏑ – ⏑ ⏑	⏑́ ⏑ – ⏑ ⏑	⏑́ ⏑ – ⏑ ⏑
–́ ⏑ ⏑ ⏑ ⏑	–́ ⏑ ⏑ ⏑ ⏑	–́ ⏑ ⏑ ⏑ ⏑
–́ ⏑ – ⏑	–́ ⏑ – ⏑	–́ ⏑ – ⏑

Examples are:—

Laevius and Varro employ Ionic ā māiōre systems of considerable length.

The Ionic ā minōre Tetrameter Catalectic (or Galliambic.)

2714. This consists of four Ionic ā minōre feet, the last one incomplete. Anaclasis, resolution, and contraction are extremely common, and the multiplication of short syllables gives the verse a peculiarly wild and frenzied movement. Catullus very rarely admits Ionics that are not anaclastic (never in the first half of the verse, except the doubtful cases 63, 18; 54; 75); but Varro is less strict in this regard. The penultimate long is nearly always resolved. There is rarely more than one resolution in the same half-verse. A diaeresis regularly occurs after the second foot. The scheme is:—

Examples are:—

2715. It has been suggested that Catullus probably felt the rhythm not as Ionic, but as trochaic or logaoedic:—

or the like.

This view has much in its favour; but the true nature of the rhythm is still matter of dispute.

2716. Compare the Greek:—

and in English:—

2717. Horace (3, 12) employs a system of ten pure Ionics ā minōre, e.g.:—

There is generally a diaeresis after each foot.

Lyric Metres of Horace.

2718. The following is a list of the Horatian lyric metres:—

2719. (1.) The Iambic Trimeter (see 2592 ff.). Epode 17.

2720. (II.) The Iambic Strophe, an iambic trimeter (2592) followed by an iambic dimeter acatalectic (2617):—