1936:. ("Lame trochaics" exist as well, being a trochaic tetrameter catalectic with the same ending as the iambic.) It is intended to be graceless and awkward "...in order to mirror in symbolically appropriate fashion the vices and crippled perversions of mankind." It was taken up by the neoteric poets Catullus and his friend Calvus but with fewer variations than Hipponax had employed. It is basically an iambic trimeter but with a surprise ending in the third metron, with an iamb + spondee replacing the usual spondee + iamb, thus crippling the iambic rhythm. As used by Catullus, the variations are as follows:
886:(one long replaced by two short). In the anapestic family short syllables come in pairs, and both contraction and resolution are allowed. In the Aeolic family there are both paired and single short syllables, and neither contraction nor resolution is allowed. Other important metres are hendecasyllabics and the Asclepiads, and Catullus composed important poetry in Glyconics. There are individual Knowledge entries on various metres. A would-be composer in any metre, however, would need a more detailed knowledge than can be found here.
639:. In Greek, these terms were applied to the movement of human feet in dancing and/or marching, Arsis signifying the lifting of a foot, and Thesis its placement. In the Greek scheme Thesis was the dominant part of the meter, but the Romans applied the terms to the voice rather than to the feet, so that Arsis came to signify the lifting of the voice and thus the dominant part of the meter (William W. Goodwin,
1117:- u u| - u u| -|| -| - -| - u u |- - Ărmă vĭ-rŭmquĕ că-nō, Trō-iae quī prīmŭs ăb ōrīs - u u|- -| - || u u| - -| - u u| - - Ītălĭ-ǎm fā-tō prŏfŭ-gŭs Lā-vīniăquĕ vēnĭt - u u | - - | - - | - || - | - u u |- - lītŏră, mŭlt(um) ĭl-l(e) ĕt tĕr-rīs iăc-tātŭs ĕt ăltō - u u| - || - | - u u| - -| - u u |- - vī sŭpĕ-rŭm, sae-vae mĕmŏ-rĕm Iū-nōnĭs ŏb īrăm;
1741:| u– u – |u – u – | u – u– | beatus ille quī procul negōtiīs, |– – u – | – – u– | ut prīsca gēns mortālium, | u – u –|u – u –|– – u – | paterna rūra būbus exercet suīs | u – u – |– – u ῡ | solūtus omnī faenore "Happy is he who far from business deals, like the original race of humans, ploughs his ancestral farm with his own oxen, free of all money-lending."
1705:| – – u – |u u u u –| – – u – | nunc, nunc adeste sceleris ultrīcēs deae, | – – u –|– – u – | – – u – | crīnem solūtīs squālidae serpentibus, |– – u – |– u u u –| – – u – | ātram cruentīs manibus amplexae facem, "Now, now, be present, crime-avenging goddesses! Your hair unkempt with waving serpents, grasping a black torch in your bloodstained hands."
1134:, despite their naturally short second syllables. The 'i' in 'Troiae' and 'iactatus', the first 'i' in 'Iunonis' and the second 'i' in 'Laviniaque' are all treated as consonants. Bucolic diaeresis has this name because it is common in bucolic or pastoral verse. (NB, however, that this term is sometimes, or even usually, reserved for lines where the fourth foot is a dactyl, as in
1271:- - | - - | - ||- | - u u | - u u| - - Mŭltās pĕr gĕn-tēs ĕt mŭltă pĕr aequŏră vĕctŭs - u u | - u u |- || - u u |- u u|- ădvĕnĭ(o) hās mĭsĕr-ās, frātĕr, ăd īnfĕrĭ-ās - -| - -| -||- |- - | - u u| - - ŭt tē pŏstrē-mō dōn-ārĕm mūnĕrĕ mŏrtĭs - -| - -| - || - u u| - u u| - ĕt mū-tăm nē-quīqu-(am) adlŏquĕ-rĕr cĭnĕ-rĕm,
1158:
not. By Ovid's time there was a rule, with very few exceptions, that the last word should be of two syllables, and it was almost always a noun, verb, personal pronoun (mihi, tibi or sibi) or pronominal adjective (meus etc.). The last syllable would either be closed, or a long open vowel or a diphthong: very seldom an open short vowel.
807:.' The names of the metrical families come from the names of the cola or feet in use, such as iambic, trochaic, dactylic and anapaestic meters. Sometimes meter is named after the subject matter (as in epic or heroic meter), sometimes after the musical instrument that accompanied the poetry (such as lyric meter, accompanied by the
1605:| – – u u u|– – – u u |– – u ῡ | noster quid agerēt nescīr(e); et illam dūcere | u u– – – | u u– – – |– – u – | cupiēbāt et metuēbāt absentem patrem "Our master was at a loss what to do; he both desired to marry her and at the same time he was afraid of his absent father."
2228:
After the classical period, the pronunciation of Latin changed and the distinction between long and short vowels was lost in the popular language. Some authors continued writing verse in the classical meters, but this way of pronouncing long and short vowels was not natural to them; they used it only
1521:
iambus ipse sex enim locīs manet et inde nōmen inditum est sēnāriō: sed ter ferītur, hīnc trimetrus dīcitur scandendo quod bīnōs pedēs coniungimus "For the iambus itself remains in six places, and for that reason the name ''senarius'' is given; But there are three beats, hence it is called
988:
with the last one either catalectic or necessarily contracted. Roman poets rarely contract the fifth foot. Since Latin was richer in long syllables than was Greek, contraction of biceps elements (producing the so-called spondee) was more common among Roman poets. Neoteric poets of the late republic,
2161:
Here an iambic trimeter forms the first line of the couplet, and the positions of the iambic dimeter and hemiepes are reversed to form the second line, the hemiepes now coming before the iambic dimeter. The hemiepes still functions as if it were independent, retaining the pause of a line-end through
1900:
Other lengths of iambic lines are found in Roman comedy, such as iambic octonarius (16 elements) and the iambic quaternarius (8 elements); and there is also the "colon reizianum" (5 elements), which is used sometimes independently, and sometimes tacked on to the end of a quaternarius to make what is
1157:
The name "pentameter" comes from the fact that it consists of two separate parts, with a word-break between them, with each part, or hemiepes, having two and a half feet, summing to five (thus giving Ovid his count of eleven feet in a couplet). The first hemiepes may have contraction, the second may
431:
In
English poetry the alternation of stressed and unstressed syllables produces an "accentual rhythm." In Classical Greek meter the alternation of long and short syllables (also called heavy and light syllables) produces a "quantitative rhythm." Classical Latin meter obeyed rules of syllable length,
2485:
For the contrast between stress-based and quantitative verse, and for developments after the classical period, see especially
Gasparov. For Saturnians, Halporn et al. say "most Saturnians make some kind of sense if we assume that the natural word accent alone carries the rhythm" (p. 60-61). See
2219:
Poems in hendecasyllables all run on in the same meter, namely spondee (but see below), dactyl, trochee, trochee, spondee. Catullus is rather freer than
Martial, in that he will occasionally start a line with a trochee or iambus, as in lines 2 and 4 respectively of the opening poem of his book,
705:
The division into feet is a tradition that produces arbitrary metrical rules, because it does not follow the actual metrical structure of the verse (see for example the listed variations in the tables below). In particular, though a long syllable and two short ones have the same number of morae,
634:
Verses were divided into "feet" by ancient grammarians and poets, such as Ovid, who called the elegiac couplet "eleven-footed poetry" (Amores 1.30). This practice is followed by traditionalists among modern scholars, especially, perhaps, those who compose Latin verses. In foot-based analysis, the
2336:
theory of Latin prosody, there is a strong tendency to harmonize word-stress and verse-ictus in the final two feet of a hexameter. The fifth foot, therefore, is almost always a dactyl whereas the sixth foot always consists of a spondee; this line ending is perhaps the most notable feature of the
464:
Possibly the rhythm was held in suspense until stress and meter happened to coincide, as it generally does towards the end of a dactylic hexameter (as in "sídere térram" above). English-speaking, as opposed to e.g. German-speaking, readers of Latin tend to observe the natural word stress, whose
2179:
Another couplet is formed when a line of dactylic hexameter is followed by a line of iambic dimeter, and this is called the First
Pythiambic. The Greek poet Archilochus composed in this form but only fragments remain. Two of Horace's epodes (14 and 15) provide complete examples in Latin. The
592:
in the following word remains short, save very rarely, as in Virgil's licentious "lappaeque tribolique", where the first -que is scanned as long. A short open final vowel may not stand before other double consonants in the same line, again with rare licentious exceptions such as Ovid's "alta
1237:
There is a strong danger of monotony in this rigid structure, which poets were able to alleviate, up to a point, by keeping the first half of a line out of conformity with the stricter rules governing the second half, and by varying as much as possible the word-pattern of the second half.
673:
According to the laws of quantity, 1 long = 2 shorts. Thus a
Tribrach, Iamb and Trochee all equate to the same durations or morae: each of them comprises 3 morae. Similarly a Dactyl, an Anapaest and a Spondee are quantitatively equal, each being 4 morae. These equivalences allow for easy
1883:| u - u -| u - u- || u - u - |u - - cinaede Thalle, mollior / cunīculī capillō | u - u - | u - u -|| u - u -|u - - | vel ānseris medullulā / vel īmul(ā) ōricillā "Sodomite Thallus, softer than the fur of a rabbit or the marrow of a goose or the lobe of an ear."
2129:- - |- - |- u u |- u u| - -|- - perfundī nārdō iuvat et fide Cyllēnaeā u - u -|- - u ῡ|| - u u|- u u|- levāre dīrīs pectora sollicitūdinibus "it is delightful to be anointed with perfume and to relieve one's heart from dreadful anxieties with the Cyllenean lyre"
2229:
in poetry. Popular poetry, including the bulk of
Christian Latin poetry, continued to be written in accentual meters (sometimes incorporating rhyme, which was never systematically used in classical verse) just like modern European languages. This accentual Latin verse was called
625:
Vowel length is thus vitally important for scansion. Apart from those given above, there are some rules to determine it, especially in the inflected parts of words. However, rules do not cover all vowels by any means, and, outside the rules, vowel lengths just have to be learnt.
443:
was characterized by pitch, which rose and fell independently of the mora-timed rhythm.) Latin readers probably gave words their natural stress, so that the quantitative metrical pattern acted as an undercurrent to the stresses of natural speech. Here, for example, is a line in
2115:
An iambic dimeter may be followed by a hemiepes to form the second line of a couplet, in which the first line is dactylic hexameter. Thus it resembles an elegiac couplet except that the first half of the pentameter is replaced by an iambic dimeter. This combination is called
643:, MacMillan Education (1894), page 348). This caused confusion, as some authors followed the Greek custom and others the Latin; thus these terms are no longer generally used. Sometimes the dominant part of the foot, in either quantitative or stressed verse, is called the
2171:- - u- | u - u - | - - u - hic tertius December, ex quō dēstitī - u u|- u u|ῡ || - - u -|- - u - Īnachiā furere, silvīs honōrem dēcutit. "This is the third winter to have shaken the honour from the woods since I ceased to be mad for Inachia."
2069:|– – u –|– – u – | u – – –| uxor Menēnī, saepe qu(am) in sepulcrētīs | – – u – |– u u u – |u – – – | vīdistis ipsō rapere dē rogō cēnam "The wife of Menenius, whom you all have often seen in cemeteries snatching dinner from the pyre itself."
2132:
The 5th foot in this example is a spondee—this is rare for Horace and it is meant to evoke the affectation of
Neoteric poets like Catullus, thus complementing the sense of being suffused with perfume while listening to the lyre at a drinking party (the Greek word
1256:, but a pentameter comparatively seldom runs on into a following hexameter. The pentameter came into Latin usage later than the hexameter and therefore it was not always handled with rigour by Catullus, compared for example with the later poets, especially
615:
n hanc? ("do you see this woman?"), which is scanned u u –. By another exception found in early poetry, including
Lucretius, a final -is or -us with short vowels, coming before a word with initial consonant, can sometimes still count as short, as in
1641:| u – u – |u – u –|u – u – | phasēlus ille quem vidētis, hospitēs, |u– u– |u – u– | u – u ῡ | ait fuisse nāvium celerrimus "That sailing-boat which you see, strangers, claims to have once been the fastest of boats."
1091:
Variations are common, and are used to avoid monotony. Their absence would be a definite fault of versification. Various positions for caesura (in the foot-based analysis) have traditional names: the caesura "in the third foot" is called
323:. The principles of scansion observed by Plautus and Terence (i.e. the rules for identifying short and long syllables, the basis of Greek and Latin meter) are mostly the same as for classical Latin verse. Livius also translated Homer's
2091:
Choliambics are used by
Catullus in eight poems: 8, 22, 31, 37, 39, 44, 59, 60. All of these are attacks on contemporaries (including himself, in poem 8), with the exception of 31, which is a poem in praise of the poet's home town of
1774:
There is always a dieresis (break) in the middle of the line. The stage allowed many variations of the meter but later poets were quite strict in their use of it. Catullus allowed variations only in the first and fifth feet:
396:, whose career spanned both republic and empire, followed Catullus' lead in employing Greek lyrical forms, though he calls himself the first to bring Aeolic verse to Rome. He identified with, among others, Sappho and
1274:
Note: the diaeresis after the first hemiepes is marked here like a caesura (a conventional practice.) Observe the elisions in line 2 (o) and line 4 (am). The latter elision spans the diaeresis in the last line.
1071:
There will be a caesura in the third or fourth foot (or in both). If there is a weak caesura, or none, in the third foot, there will usually be a strong one in the fourth, as in these two examples from Virgil:
2183:|- u u |- - |- - |- -| - u u|- - | Nox erat et caelō fulgēbat lūna serēnō |- - u -|u - u ῡ | inter minōra sīdera "It was night, and the moon was shining in a clear sky amidst the lesser stars."
2341:
readily audible metrical feature, and Romans unfamiliar with Greek literature and versification often heard no sound pattern at all save in the stress-pattern of the last two feet (William Sidney Allen,
2363:
In some schemes, the final syllable in the 6th foot is marked either long or short to reflect the natural syllable length, but it is always long by position and it is therefore only marked long in this
270:, "song sung to music, pronunciation of syllable") is the study of Latin poetry and its laws of meter. The following article provides an overview of those laws as practised by Latin poets in the late
898:," as a foot, is — u u; the name comes from the Greek for "finger," because it looks like the three bones of a finger, going outward from the palm. The principal colon of dactylic verse is the "
1446:
elements could be "resolved", that is, replaced by two short syllables, for example | – uu u – | or | uu – u – | or | u – u uu |. Iambic lines could be made of 2, 3, or 4 metra, and could also be
1402:(some scholars however refer to the Alcmanian Strophe as the First Archilochian, as indeed there is a strong likeness between the two forms). Examples of the form are found in Horace's Odes (
1771:– – u –|– uu u ῡ|| u u – – –| – u u– Contempl(a), amabo, mea Scapha, satin haec me vestis deceāt. "Just look, I beg you, my dear Scapha, if this dress suits me well"
1724:
elements sometimes long, sometimes short. As with Seneca, a caesura after the 5th element ensures a regular word-accent on the 4th and 6th element. Resolved elements are used sparingly.
435:
Modern scholars have differed about how these different influences affect the way Latin verse was sounded out. Accentual rhythm in Latin may have been observed in pre-classical verse (in
710:
considered to be the actual building blocks of the verse. A colon (from the Greek for "limb") is a unit of (typically) 5 to 10 syllables that can be re-used in various metrical forms.
2205:- -|- uu| - u |- u|- - vīvāmus mea Lesbi(a) atqu(e) amēmus - -|- u u|- u|- u|- - rūmōrēsque senum sevēriōrum - - |- uu | - u|- u |- - omnēs ūnius aestimēmus assis!
581:-tris), at the poet's choice. This choice is not permitted, as a rule, in compound words, e.g. abrumpo, whose first syllable must remain long, or for all plosive-liquid combinations.
1731:, in which the poet abuses and censures individuals or even communities, whether real or imaginary. Iambic rhythms were felt to be especially suited to this role. The Greek poet
1892:) contemptuously in a description of the 'soft' Thallus. Doubling of the consonant l lengthens several syllables that are naturally short, thus enabling a strict iambic rhythm.
878:
There are four basic families of verse: dactylic, iambic (and trochaic), Aeolic, and anapestic. In the dactylic family short syllables come in pairs, and these pairs may be
420:, his contemporary, used dactylic hexameters for both light and serious themes, and his verses are generally regarded as "the supreme metrical system of Latin literature".
706:
they are not always interchangeable: some metres permit substitutions where others do not. Thus a more straightforward analysis, favoured by recent scholarship, is by
1415:- u u | - - |- || - | - u u |- u u | - - Ō ĕgŏ | nōn fēl-īx, quăm tū fŭgĭs ŭt păvĕt ācrīs - u u| - u u| - u u|- - ăgnă lŭ-pōs căprĕ-aēquĕ lĕ-ōnēs
674:
substitutions of one foot by another e.g. a spondee can be substituted for a dactyl. In certain circumstances, however, unequal substitutions are also permitted.
1252:
An elegiac couplet is a dactylic hexameter followed by a dactylic pentameter. The sense of the hexameter frequently runs into the pentameter, an effect known as
1749:
Usually associated with the comic theatre, it consists of seven feet with an extra syllable at the end instead of a full iambic foot. In that case it is called
3032:
1283:
If only one hemiepes is employed, instead of a full pentameter, the elegiac couplet takes the form known as the First
Archilochian, named after the Greek poet
290:
poetry, which may have been accentual, Latin poets borrowed all their verse forms from the Greeks, despite significant differences between the two languages.
2235:, especially when used for a Christian sacred subject. Two Christian Latin poems which can be found on Knowledge, both dating from the 13th century, are the
908:
element) may generally be contracted, but never in the second half of a pentameter, and only rarely in the fifth foot of a hexameter. The long syllable (the
356:
poets. They were rich young men from the Italian provinces, conscious of metropolitan sophistication. They, and especially Catullus, looked to the scholarly
565:(r, l) can count as either one consonant or two. Thus syllables with a short vowel preceding certain such combinations, as in agrum or patris, can be long (
989:
such as Catullus, sometimes employed a spondee in the fifth foot, a practice Greek poets generally avoided and which became rare among later Roman poets.
364:
for inspiration. The Alexandrians' preference for short poems influenced Catullus to experiment with a variety of meters borrowed from Greece, including
1386:
Note: the final syllable in the 4th foot is marked long or short in some schemes to indicate natural syllable length but it is always long by position.
780:
is a natural break which occurs in the middle of a foot, at the end of a word. This is contrasted with diaeresis, which is a break between two feet. In
1904:
u u – – –| u – u – || – – – u u– Homo núllust té sceléstiór // qui vívat hódie "there is no man alive today who is more wicked than you!"
1108:(a diaeresis between the fourth and fifth feet of a line), as in the first of the following lines from the introduction to Virgil's epic poem, the
341:, into Latin verse. Ennius employed a poetic diction and style well suited to the Greek model, thus providing a foundation for later poets such as
931:
epics, it was considered the best meter for weighty and important matters, and long narrative or discursive poems generally. Thus it was used in
232:
315:, but also adapted meters from Greek drama to meet the needs of Latin. He set a precedent followed by all later writers of the genre, notably
677:
It is often more convenient to consider iambics, trochaics and anapaests in terms of metra rather than feet; for each of these families, a
1304:- -| - u u| - || uu| - - | - u u | - - Dīffū-gērĕ nĭ-vēs, rĕdĕ-ŭnt iăm grāmĭnă cămpīs - u u| - u u | - ărbŏrĭ-bŭsquĕ cŏm-ae;
1608:
Some differences in prosody can be seen from later Latin. For example, the long vowel was usually preserved in the 3rd person singular (
635:"metrically dominant" part of the foot is sometimes called the "rise" and the other is called the "fall," the Greek terms for which are
1499:
The most popular type of iambic meter was the trimeter, also (especially with respect to the form used in comedy) called the iambic
882:(two short replaced by one long). In the iambic/trochaic family short syllables come one at a time, and some long elements may be
2186:
The Second Pythiambic features an iambic trimeter instead of iambic dimeter in the second line. Horace's Epode 16 is an example.
1583:
are long (or two shorts) 80% of the time, the 5th 90%, and the 2nd and 4th 60% of the time. When they are long, the 3rd and 5th
2062:
Caesuras are found after the first syllable either in the third or fourth feet, sometimes in both. Lines 2 and 3 of Catullus'
3013:
803:
The dividing of verse into long and short syllables and analysis of the metrical family or pattern is called 'scanning' or '
2319:
may not be counted as making a long syllable, and mute-plus-liquid combinations never make a syllable long. R. H. Martin,
593:
Zacynthus", where the final a remains short. (Note that Zacynthus cannot be mentioned in hexameter verse without licence.)
741:. This is called elision. At the (rare) discretion of the poet, however, the vowel can be retained, and is said to be in
225:
423:
Modern scholars have different theories about how Latin prosody was influenced by these adaptations from Greek models.
3041:
2950:
2931:
2912:
2856:
2520:
2351:
2712:
2654:
1634:'s 4th poem, which is written entirely in iambics throughout its 27 lines, with no resolved elements and with every
1575:
positions are filled by a long syllable more often than a short, but they are not all equal, since the 3rd and 5th
1260:. Catullus used elisions very freely, and sometimes he even allowed an elision to span the central diaeresis (e.g.
2120:. The iambic dimeter keeps the elements of a line-end, i.e. it is marked off from the hemiepes by a pause through
1638:
short. Except occasionally at the end of a line, the word-accents correspond entirely to the rhythm of the meter:
984:, a second hemiepes, and a final long element, so DuuD—. This is conventionally re-analyzed into six "feet," all
2297:
1534:
This meter is found extensively in the comedies of Plautus and Terence, and it was also used in the tragedies of
1656:
elements are nearly always long, the 2nd, 4th and 6th invariably short. Resolved elements, such as in the words
1104:
These names refer to the number of half-feet before the position of the caesura. Dactylic hexameter often has a
3077:
1678:(word-break) after the 5th element, which ensures that the word-accent comes on the long 4th and 6th elements (
733:
A vowel at the end of a word does not count as a syllable if the following word begins with a vowel or h: thus
218:
1438:
Iambic meters are made of "metra" or "dipodies" of which the basic shape is | x – u – | (here x represents an
1142:
Dactylic hexameters regularly end with a disyllabic or a trisyllabic word. Exceptions tend to be Greek words.
1720:
combines a trimeter with an iambic dimeter. His style is intermediate between Catullus and Seneca, with the
1394:
A dactylic tetrameter catalectic is sometimes joined to the dactylic hexameter to form a couplet termed the
912:
element) may never be resolved. Roman poets use two dactylic forms, the hexameter and the elegiac couplet.
439:
meter) and in some medieval verse, but otherwise the rhythm of Latin verse appears ambivalent and complex. (
1764:
Iambic septenarii are often associated with women in Roman comedy, as in the following line from Plautus's
1621:
above) could be scanned as two short syllables, especially when a pronoun was involved, a process known as
902:" or "half-epic" colon, — u u — u u — (sometimes abbreviated D). The two short syllables (called a
644:
1395:
784:, there must be a caesura in each line, and such caesuras almost always occur in the 3rd or 4th foot.
2463:"Princeps Aeolium carmen ad Italum," Odes 3.30.13; for his engagement with Catullus see Putnam (2006).
3072:
1301:
once described as "the most beautiful poem in ancient literature", introduced with these two lines:
1146:
61:
1579:
elements tend to be short more often than the other three. According to Gratwick, the 1st and 3rd
416:
or "iambic distich"). He also wrote dactylic hexameters in conversational and epistolary style.
2252:
2082:"to snatch", as she greedily reaches for food from the funeral pyre without regard for taboos.
1490:
868:
are marked with - and u directly above them e.g. Ā, ă, ĭ, ī, ō, ŏ, ŭ, ū (these don't indicate
76:
3067:
369:
22:
2126:, or through a hiatus. An example of this system is found in Horace's Epode 13, lines 9–10:
2508:
2262:
2139:, which creates the double spondee, adds to the exotic aura). The iambic dimeter ends with
742:
81:
2088:
used more variations, such as an anapaest in the fourth foot and a tribrach in the third.
1264:
77.4). The following is from one of his most famous elegies, mourning for a lost brother (
650:
Long and short syllables are marked (-) and (u) respectively. The main feet in Latin are:
8:
2287:
1543:
458:
and here is the same verse when the metrical pattern is allowed to determine the stress:
397:
1465:
elements in each metron, except at the end of the verse, making the metron | x – x – |.
3002:
2282:
2257:
2073:
1649:
1595:
1559:
1515:
1474:
920:
781:
445:
436:
377:
357:
338:
287:
186:
156:
111:
71:
41:
2441:, J.Boardman, J.Griffin and O.Murray (eds), Oxford University Press (1995) page 487-90
2425:, J.Boardman, J.Griffin and O.Murray (eds), Oxford University Press (1995) page 450-52
389:
3037:
3009:
2946:
2927:
2908:
2901:
2852:
2516:
2347:
2231:
973:
385:
304:
303:
The start of Latin literature is usually dated to the first performance of a play by
1120:
There are two elisions in line 3 and a bucolic diaeresis in line 1 (quī | prīmus ).
2277:
1453:
Different authors had different styles of writing iambic verse. In the comedies of
981:
967:
904:
636:
605:
some other exceptions to these rules are found, most notably the phenomenon called
589:
562:
545:
the digraphs ch, th, ph, representing single Greek letters, count as one consonant;
504:
it ends in a consonant and is followed by a syllable that begins with a consonant (
201:
181:
136:
611:, in which an unstressed long syllable can be shortened after a short one, e.g. vi
2267:
2164:
2141:
2122:
1539:
1494:
1408:
1247:
1130:
985:
895:
607:
535:
516:
330:
312:
196:
191:
171:
166:
86:
66:
51:
46:
2536:, Books I-VI, MacMillan (1972), Introduction page xxvii; W. F. Jackson Knight,
1753:('septenarius' means grouped in sevens). Used outside the theatre, it is called
2168:
or hiatus. An example has survived in Horace's Epode 11, as in lines 5-6 here:
1913:
1728:
1442:
element which can be short or long). Except at the end of a verse, the long or
1321:
928:
812:
585:
409:
373:
271:
141:
116:
3061:
2805:
2135:
1522:
a ''trimeter''; because when scanning we join together the feet in pairs."
1423:
1298:
1289:
953:
816:
538:
and short ones light. Consonants preceding the vowel do not affect quantity.
465:
interplay with the quantitative rhythm can be a source of aesthetic effects.
440:
401:
263:
249:
161:
121:
31:
2682:
2434:
2333:
2236:
2105:
1505:(meaning "in groups of six"), because it was considered to have six beats (
1418:
Note that the plosive + liquid combination pr in 'capreaeque', syllabified
1313:
365:
337:(239–169 BC), who introduced the traditional meter of Greek epic, the
275:
131:
96:
56:
2940:
2724:
2292:
1732:
1284:
1253:
405:
361:
126:
2994:
Oxford University Working Papers in Linguistics, Philology and Phonetics
2813:
2789:
1598:
into two short syllables. The example below comes from Terence's comedy
527:
1447:
308:
1674:
are allowed, though less frequently than in comedy. There is always a
2240:
1587:
tend to be unaccented, and thus give the impression of being short.
1555:
1481:
element was usually long, thus his preferred metron was | – – u – |.
939:
791:
strong (or masculine), when the caesura occurs after a long syllable;
722:
342:
206:
151:
2202:, for example in Catullus's famous poem (Catullus 5), which begins:
1886:
Catullus uses no variations at all here and he employs diminutives (
1744:
413:
2886:
Freeman, Philip (1998). "Saturnian Verse and Early Latin Poetics".
2195:
1917:
1631:
1547:
1546:(1st century AD) are both in this metre, and a few of the poems of
1466:
899:
804:
794:
weak (or feminine), when the caesura occurs after a short syllable.
718:
714:
381:
353:
279:
146:
106:
101:
91:
2849:
Vox Latina — a Guide to the Pronunciation of Classical Latin
2066:
59 about the grave-robbing wife of Menenius offer a good example:
1727:
The iambic distich is the basis of many poems of a genre known as
1083:
but here is a line from Virgil with only one caesura, a weak one:
2941:
Halporn, James W.; Martin Ostwald; Thomas G. Rosenmeyer (1994) .
2199:
2085:
1565:
The comedies of Plautus and Terence have a line of this pattern:
1458:
1454:
958:
857:
words are hyphenated wherever they include the end of a foot e.g
777:
602:
598:
558:
325:
320:
316:
2790:"Metre matters: some higher-level metrical play in Latin poetry"
307:
in Rome in 240 BC. Livius, a Greek slave, translated Greek
2809:
2272:
2194:
The hendecasyllable is an 11-syllable line used extensively by
2093:
2076:
in the third foot of the second line reinforces the meaning of
1713:
1551:
1535:
1399:
1110:
962:
947:
932:
417:
393:
346:
334:
283:
176:
2992:
Probert, Philomen. 2002. "On the Prosody of Latin Enclitics."
2882:
Edited by James Clackson, 92–104. Malden, MA: Wiley-Blackwell
924:
820:
256:
2980:
Parsons, J (1999). "A New Approach to the Saturnian Verse".
2812:, who is said to have invented the lyre: see Mankin, David,
1644:
Another style again is seen in the tragedies of the emperor
1630:
A completely different style of iambic trimeter is found in
2878:
Fortson, Benjamin W. 2011. "Latin Prosody and Metrics." In
2651:
The facts on File Companion to British Poetry, 19th Century
2513:
Vox Latina: a Guide to the Pronunciation of Classical Latin
2344:
Vox Latina: a Guide to the Pronunciation of Classical Latin
1645:
1257:
808:
1531:("thumb or big toe") or their foot to help their pupils.
1525:
He also says that teachers of metre beat time with their
923:
was used for the most serious Latin verse. Influenced by
432:
like Greek meter, even though Latin words bore stress.
412:
tradition (in which he adopted the metrical form of the
311:
for Roman audiences. He not only established the genre
3033:
How to Kill a Dragon: Aspects of Indo-European Poetics
811:), and sometimes according to the verse form (such as
700:
2982:
Transactions of the American Philological Association
1735:
was one of the main exponents of the iambic distich.
1612:
etc.); and occasionally a short-long sequence (as in
1287:. An example is found in the fourth book of Horace's
2960:
Mahoney, Anne (2001). "Alliteration in Saturnians".
1484:
2749:, University of California Press (2005), pages 34-5
2627:, University of California Press (2005), pages 40-1
2454:, University of California Press (2005), pages 32-7
1562:'s tragedies are also written in iambic trimeters.
1538:(of which only fragments survive). The proverbs of
1145:For the rhythmic hexameter of the Middle Ages, see
493:
it ends in two consonants or a compound consonant (
3001:
2900:
2833:, Cambridge University Press (1995), pages 219–20.
2476:Vol. I, Cambridge University Press (1988), page 28
1738:The following is the opening of Horace's Epode 2:
1128:at the ends of lines 2 and 4 count as spondees by
1076:sī nescīs, meus ille caper fuit, et mihi Dāmōn ...
561:(p, b, t, d, c, g) followed in the same word by a
286:, Virgil and Ovid as models. Except for the early
2974:Musa Pedestris: Metre and Meaning in Roman Verse.
2779:, University of California Press (2005), pages 33
2601:, University of California Press (2005), pages 40
2515:, 2nd edition, Cambridge University Press (2003)
2346:, 2nd edition, Cambridge University Press (2003)
1745:Iambic tetrameter catalectic (iambic septenarius)
1307:
515:it is the final syllable in a line of verse i.e.
478:Generally a syllable in Latin verse is long when
3059:
2669:, Cambridge University Press (1995), pages 20-22
2640:, University of California Press (2005), page 40
2315:Two significant differences are that word-final
2212:and as for the mutterings of over-strict old men
1312:Most extant examples of this meter are found in
2421:P. G. McBrown, 'The First Roman Literature' in
980:A dactylic hexameter consists of a hemiepes, a
461:quíd faciát laetás segetés, quo sídere térram.
455:quíd fáciat laétas ségetes, quó sídere térram,
452:when the words are given their natural stress:
756:is similarly elided (sometimes this is called
2924:Constructing Literature in the Roman Republic
2220:whereas Martial keeps to a spondaic opening.
622:, Lucretius 4.1035, scanned – u u – u u – –.
530:, and those ending in a consonant are called
226:
2866:Cole, Thomas (1972). "The Saturnian Verse".
2851:(2nd ed.). Cambridge University Press.
2323:, Cambridge University Press (1976), page 32
1901:known as a "versus reizianus", for example:
1087:frangeret indēprēnsus et irremeābilis error.
1079:et nōbīs īdem Alcimedōn duo pōcula fēcit ...
293:
2564:Titi Lucreti Cari De Rerum Natura Libri Sex
2412:, Cambridge University Press (1976), page 1
2180:following couplet introduces his Epode 15:
2077:
1887:
1693:
1679:
1666:
1657:
1622:
1613:
1526:
1518:has this to say about the iambic trimeter:
1506:
1500:
1138:forte sub argūtā cōnsīdĕrăt īlice Daphnis.)
617:
584:A final short open vowel standing before a
523:Otherwise syllables are counted as short.
2820:Vol. 102 (1989), pp. 133-140; pages 137–8.
2153:becoming long by the addition of a pause.
233:
219:
2677:
2675:
2439:The Oxford History of the Classical World
2423:The Oxford History of the Classical World
2215:let us count them all as worth one dime!"
2209:"Let us live, my Lesbia, and let us love,
2921:
2898:
2575:See Halporn, Ostwald, Rosenmeyer (1994).
2223:
2099:
826:
681:is two feet. Thus the iambic metron is
548:h at the beginning of a word is ignored;
3029:
2979:
2959:
2885:
2653:, Facts on File, Inc. (2010), page 98;
1912:This meter was originated by the Greek
1473:was always short, thus | u – u – |. In
526:Syllables ending in a vowel are called
380:, as well as iambic verses such as the
352:The late republic saw the emergence of
3060:
2999:
2672:
2437:, 'The Poets of the Late Republic' in
2337:meter. In classical times, it was the
2110:
1761:means that the meter is incomplete).
1152:
654:Iamb: 1 short + 1 long syllable (cărō)
3054:Cambridge, UK: Cambridge Univ. Press.
3004:Poetic Interplay: Catullus and Horace
2846:
2711:Terentianus Maurus, 2191–2194 in the
2486:also Parsons, Freeman, Cole, Mahoney.
2156:
1698:. The lines below come from Seneca's
1477:'s tragedies, on the other hand, the
1278:
915:
835:u for short syllable or short element
663:Anapaest: 2 shorts + 1 long (pătŭlaē)
554:x and z each count as two consonants;
408:, composing poetic invectives in the
2943:The Meters of Greek and Latin Poetry
2865:
1889:cunīculī, medullulā, īmulā, ōricillā
1880:25, beginning with these two lines:
1542:(1st century BC), and the fables of
1389:
534:Long syllables are sometimes called
482:it has a long vowel or a diphthong (
333:, but it was his near contemporary,
329:into a rugged native meter known as
2903:A History of European Versification
2610:B. H. Kennedy and James Mountford,
2584:B. H. Kennedy and James Mountford,
2386:B. H. Kennedy and James Mountford,
2189:
1895:
832:— for long syllable or long element
701:Cola: a different way to look at it
16:Study of Latin poetic laws of metre
13:
2880:A Companion to the Latin Language.
1928:and sometimes the meter is called
1594:elements except the last could be
1469:experimented with poems where the
1241:
889:
745:. An example of this, in Virgil's
660:Dactyl: 1 long + 2 shorts (lītŏră)
298:
14:
3089:
2814:"Achilles in Horace's 13th Epode"
1876:An example is found in Catullus'
1708:
1485:Iambic trimeter (iambic senarius)
1450:(i.e. missing the last element).
657:Trochee: 1 long + 1 short (mēnsă)
2888:Journal of Indo-European Studies
2796:, 46, 99–120; see pages 101–104.
2723:There is a similar statement in
1568:| x – x – | x – x – | x – u – |
1558:. The dialogues and speeches of
1433:
787:There are two kinds of caesura:
388:(a dialogue meter borrowed from
2840:
2823:
2799:
2794:The Cambridge Classical Journal
2782:
2769:
2762:, line 419; cf. W. M. Lindsay,
2752:
2739:
2730:
2717:
2705:
2692:
2659:
2643:
2630:
2617:
2604:
2591:
2578:
2569:
2556:
2543:
2526:
2502:
2489:
2479:
2357:
2326:
2298:Latin phonology and orthography
3008:. Princeton University Press.
3000:Putnam, Michael C. J. (2006).
2926:. Cambridge University Press.
2847:Allen, William Sidney (2003).
2713:Bibliotheca Augustana edition.
2614:, Longman (1962), pages 204-5)
2466:
2457:
2444:
2428:
2415:
2402:
2393:
2380:
2309:
2174:
1907:
1308:Dactylic tetrameter catalectic
541:For the above rules to apply
426:
1:
3050:Wilkinson, L. Patrick. 1963.
3024:Latin Metre: An Introduction.
2962:New England Classical Journal
2636:see for example Peter Green,
2538:Accentual Symmetry in Virgil,
2373:
1652:. Here, the 1st, 3rd and 5th
1398:, named after the lyric poet
2808:was associated with the god
1755:iambic tetrameter catalectic
1692:). There are no examples of
1648:'s tutor and prime minister
619:omnibu(s) rēbu(s) profundant
386:iambic tetrameter catalectic
7:
3036:. Oxford University Press.
2976:Oxford: Oxford Univ. Press.
2907:. Oxford University Press.
2551:Oxford Classical Dictionary
2549:Article "Brevis Brevians",
2499:, Cambridge (1963), page 94
2246:
1412:, as here in his Epode 12.
762:nec durum in pectore ferrum
669:Tribrach: 3 shorts (tĕmĕrĕ)
551:qu counts as one consonant;
473:
10:
3094:
2972:Morgan, Llewelyn. (2010).
2390:, Longman (1962), page 201
2103:
1488:
1320:1.7 and 1.28, but also in
1245:
1144:
771:
766:nec dur' in pectore ferrum
728:
713:Standard cola include the
685:– u –, the trochaic – u –
468:
3030:Watkins, Calvert (1995).
2922:Goldberg, Sander (2005).
2586:The Revised Latin Primer,
2399:See Goldberg for details.
798:
752:A word ending in vowel +
618:
294:Latin verse: a Greek gift
3026:London: Faber and Faber.
3022:Raven, David S. (1965).
2899:Gasparov, M. L. (1996).
2612:The Revised Latin Primer
2588:Longman (1962), page 203
2388:The Revised Latin Primer
2303:
1147:Latin rhythmic hexameter
519:, under that hypothesis.
400:, composing Sapphic and
62:Latin rhythmic hexameter
2118:the second Archilochian
1100:and that in the second
961:'s caustic satires and
943:On The Nature of Things
749:the "o" is not elided.
739:Phyllid' am' ant' alias
735:Phyllida amo ante alias
666:Spondee: 2 longs (fātō)
629:
3052:Golden Latin Artistry.
2868:Yale Classical Studies
2566:, vol. 1. pp. 123-126.
2540:Basil Blackwell (1950)
2253:Metres of Roman comedy
2078:
1888:
1694:
1680:
1667:
1658:
1623:
1614:
1527:
1507:
1501:
1491:Metres of Roman comedy
77:Metres of Roman comedy
3078:Prosodies by language
2777:The Poems of Catullus
2747:The Poems of Catullus
2638:The Poems of Catullus
2625:The Poems of Catullus
2599:The Poems of Catullus
2497:Golden Latin Artistry
2452:The Poems of Catullus
2224:Post-classical poetry
2145:, the short syllable
2104:Further information:
2100:Mixed dactylic/iambic
1489:Further information:
1246:Further information:
827:Guide to symbols used
370:hendecasyllabic verse
23:Greek and Latin metre
2687:The Classical Review
2534:The Aeneid of Virgil
2509:William Sidney Allen
2263:Trochaic septenarius
1430:) metrically short.
82:Trochaic septenarius
2788:Morgan, L. (2001).
2472:Richard F. Thomas,
2288:Clausula (rhetoric)
2111:Second Archilochian
1590:Any of the long or
1422:, leaves the first
1316:, such as Horace's
1153:Dactylic pentameter
1096:that in the fourth
841:for brevis in longo
776:In modern terms, a
597:In the comedies of
398:Alcaeus of Mytilene
2736:Terentianus, 2254.
2655:see Google preview
2562:Bailey, C. (1947)
2283:Resolution (meter)
2258:Dactylic hexameter
2157:Third Archilochian
1751:iambic septenarius
1650:Seneca the Younger
1516:Terentianus Maurus
1279:First Archilochian
921:Dactylic hexameter
916:Dactylic hexameter
782:dactylic hexameter
689:and the anapestic
446:dactylic hexameter
339:dactylic hexameter
187:Resolution (meter)
157:Anaclasis (poetry)
112:Asclepiad (poetry)
72:Saturnian (poetry)
42:Dactylic hexameter
3015:978-0-691-12537-4
2681:Gratwick (1991).
2410:Terence: Adelphoe
2354:, pages 86, 127).
2332:According to the
2321:Terence: Adelphoe
2056:
2055:
1870:
1869:
1396:Alcmanian Strophe
1390:Alcmanian strophe
1380:
1379:
1231:
1230:
1106:bucolic diaeresis
1065:
1064:
844:| for end of foot
532:closed syllables.
378:Greater Asclepiad
305:Livius Andronicus
278:, with verses by
243:
242:
3085:
3073:Poetry movements
3047:
3019:
3007:
2989:
2969:
2956:
2937:
2918:
2906:
2895:
2875:
2862:
2834:
2827:
2821:
2803:
2797:
2786:
2780:
2773:
2767:
2764:Plautus: Captivi
2756:
2750:
2743:
2737:
2734:
2728:
2721:
2715:
2709:
2703:
2696:
2690:
2689:41.2; pp. 381–4.
2679:
2670:
2663:
2657:
2649:William Flesch,
2647:
2641:
2634:
2628:
2621:
2615:
2608:
2602:
2595:
2589:
2582:
2576:
2573:
2567:
2560:
2554:
2547:
2541:
2532:R. D. Williams,
2530:
2524:
2506:
2500:
2495:L.P. Wilkinson,
2493:
2487:
2483:
2477:
2474:Virgil: Georgics
2470:
2464:
2461:
2455:
2448:
2442:
2432:
2426:
2419:
2413:
2406:
2400:
2397:
2391:
2384:
2365:
2361:
2355:
2330:
2324:
2313:
2278:Biceps (prosody)
2190:Hendecasyllables
2081:
1943:
1942:
1896:Versus reizianus
1891:
1782:
1781:
1697:
1691:
1673:
1664:
1626:
1620:
1530:
1511:) in each line.
1510:
1504:
1461:, there are two
1331:
1330:
1165:
1164:
996:
995:
840:
637:arsis and thesis
621:
620:
573:-ris) or short (
235:
228:
221:
202:Arsis and thesis
182:Biceps (prosody)
137:Galliambic verse
19:
18:
3093:
3092:
3088:
3087:
3086:
3084:
3083:
3082:
3058:
3057:
3044:
3016:
2953:
2934:
2915:
2859:
2843:
2838:
2837:
2828:
2824:
2804:
2800:
2787:
2783:
2774:
2770:
2757:
2753:
2744:
2740:
2735:
2731:
2722:
2718:
2710:
2706:
2697:
2693:
2680:
2673:
2664:
2660:
2648:
2644:
2635:
2631:
2622:
2618:
2609:
2605:
2596:
2592:
2583:
2579:
2574:
2570:
2561:
2557:
2548:
2544:
2531:
2527:
2507:
2503:
2494:
2490:
2484:
2480:
2471:
2467:
2462:
2458:
2449:
2445:
2433:
2429:
2420:
2416:
2407:
2403:
2398:
2394:
2385:
2381:
2376:
2370:
2368:
2362:
2358:
2331:
2327:
2314:
2310:
2306:
2268:Brevis in longo
2249:
2226:
2206:
2192:
2184:
2177:
2172:
2165:brevis in longo
2159:
2142:brevis in longo
2130:
2123:brevis in longo
2113:
2108:
2102:
2070:
1910:
1905:
1898:
1884:
1772:
1766:Miles Gloriosus
1747:
1742:
1716:in some of his
1711:
1706:
1695:brevis breviāns
1642:
1624:brevis breviāns
1606:
1569:
1540:Publilius Syrus
1523:
1514:The grammarian
1497:
1495:Iambic trimeter
1487:
1436:
1416:
1392:
1310:
1305:
1281:
1272:
1250:
1248:Elegiac couplet
1244:
1242:Elegiac couplet
1155:
1150:
1131:brevis in longo
1118:
1098:hephthemimeral,
918:
892:
890:Dactylic meters
864:long and short
838:
829:
801:
774:
747:fémineó ululátú
731:
703:
632:
608:brevis brevians
517:brevis in longo
476:
471:
462:
456:
429:
313:fabula palliata
301:
299:A brief history
296:
239:
192:Brevis brevians
172:Brevis in longo
167:Metron (poetry)
87:Hendecasyllable
67:Iambic trimeter
52:Alcmanian verse
47:Elegiac couplet
17:
12:
11:
5:
3091:
3081:
3080:
3075:
3070:
3056:
3055:
3048:
3042:
3027:
3020:
3014:
2997:
2990:
2977:
2970:
2957:
2951:
2938:
2932:
2919:
2913:
2896:
2883:
2876:
2863:
2857:
2842:
2839:
2836:
2835:
2831:Horace: Epodes
2829:David Mankin,
2822:
2818:Wiener Studien
2798:
2781:
2768:
2751:
2738:
2729:
2716:
2704:
2691:
2671:
2667:Horace: Epodes
2665:David Mankin,
2658:
2642:
2629:
2616:
2603:
2590:
2577:
2568:
2555:
2553:, 2nd edition.
2542:
2525:
2501:
2488:
2478:
2465:
2456:
2443:
2427:
2414:
2408:R. H. Martin,
2401:
2392:
2378:
2377:
2375:
2372:
2367:
2366:
2356:
2325:
2307:
2305:
2302:
2301:
2300:
2295:
2290:
2285:
2280:
2275:
2270:
2265:
2260:
2255:
2248:
2245:
2225:
2222:
2217:
2216:
2213:
2210:
2204:
2191:
2188:
2182:
2176:
2173:
2170:
2158:
2155:
2128:
2112:
2109:
2101:
2098:
2068:
2060:
2059:
2058:
2057:
2054:
2053:
2051:
2049:
2047:
2044:
2042:
2039:
2035:
2034:
2032:
2030:
2028:
2026:
2023:
2021:
2017:
2016:
2014:
2012:
2009:
2006:
2004:
2001:
1997:
1996:
1993:
1990:
1984:
1978:
1975:
1969:
1966:
1965:
1962:
1959:
1956:
1953:
1950:
1947:
1909:
1906:
1903:
1897:
1894:
1882:
1874:
1873:
1872:
1871:
1868:
1867:
1865:
1863:
1861:
1858:
1856:
1854:
1852:
1849:
1845:
1844:
1841:
1838:
1835:
1829:
1826:
1823:
1820:
1814:
1811:
1810:
1807:
1804:
1801:
1798:
1795:
1792:
1789:
1786:
1770:
1746:
1743:
1740:
1710:
1709:Iambic distich
1707:
1704:
1640:
1604:
1567:
1520:
1486:
1483:
1435:
1432:
1414:
1391:
1388:
1384:
1383:
1382:
1381:
1378:
1377:
1375:
1373:
1370:
1368:
1364:
1363:
1360:
1357:
1354:
1351:
1348:
1347:
1344:
1341:
1338:
1335:
1309:
1306:
1303:
1280:
1277:
1270:
1243:
1240:
1235:
1234:
1233:
1232:
1229:
1228:
1226:
1224:
1222:
1220:
1217:
1214:
1210:
1209:
1206:
1203:
1200:
1197:
1194:
1191:
1188:
1187:
1184:
1181:
1178:
1175:
1172:
1169:
1154:
1151:
1140:
1139:
1116:
1094:penthemimeral,
1089:
1088:
1081:
1080:
1077:
1069:
1068:
1067:
1066:
1063:
1062:
1060:
1058:
1055:
1052:
1049:
1046:
1042:
1041:
1038:
1035:
1032:
1029:
1026:
1023:
1019:
1018:
1015:
1012:
1009:
1006:
1003:
1000:
917:
914:
891:
888:
876:
875:
874:
873:
862:
849:
848:
847:‖ main caesura
845:
842:
836:
833:
828:
825:
800:
797:
796:
795:
792:
773:
770:
730:
727:
702:
699:
671:
670:
667:
664:
661:
658:
655:
631:
628:
595:
594:
588:followed by a
582:
555:
552:
549:
546:
528:open syllables
521:
520:
513:
502:
491:
475:
472:
470:
467:
460:
454:
448:from Virgil's
428:
425:
402:Alcaic stanzas
374:Sapphic stanza
368:forms such as
300:
297:
295:
292:
272:Roman Republic
241:
240:
238:
237:
230:
223:
215:
212:
211:
210:
209:
204:
199:
194:
189:
184:
179:
174:
169:
164:
159:
154:
149:
144:
142:Sotadean metre
139:
134:
129:
124:
119:
117:Sapphic stanza
114:
109:
104:
99:
94:
89:
84:
79:
74:
69:
64:
59:
54:
49:
44:
39:
34:
26:
25:
15:
9:
6:
4:
3:
2:
3090:
3079:
3076:
3074:
3071:
3069:
3066:
3065:
3063:
3053:
3049:
3045:
3043:0-19-508595-7
3039:
3035:
3034:
3028:
3025:
3021:
3017:
3011:
3006:
3005:
2998:
2995:
2991:
2987:
2983:
2978:
2975:
2971:
2967:
2963:
2958:
2954:
2952:0-87220-244-5
2948:
2944:
2939:
2935:
2933:0-521-85461-X
2929:
2925:
2920:
2916:
2914:0-19-815879-3
2910:
2905:
2904:
2897:
2893:
2889:
2884:
2881:
2877:
2873:
2869:
2864:
2860:
2858:0-521-37936-9
2854:
2850:
2845:
2844:
2832:
2826:
2819:
2815:
2811:
2807:
2806:Mount Cyllene
2802:
2795:
2791:
2785:
2778:
2775:Peter Green,
2772:
2765:
2761:
2755:
2748:
2745:Peter Green,
2742:
2733:
2726:
2720:
2714:
2708:
2701:
2695:
2688:
2684:
2683:"Meyer's Law"
2678:
2676:
2668:
2662:
2656:
2652:
2646:
2639:
2633:
2626:
2623:Peter Green,
2620:
2613:
2607:
2600:
2597:Peter Green,
2594:
2587:
2581:
2572:
2565:
2559:
2552:
2546:
2539:
2535:
2529:
2523:, pages 83-88
2522:
2521:0-521-37936-9
2518:
2514:
2510:
2505:
2498:
2492:
2482:
2475:
2469:
2460:
2453:
2450:Peter Green,
2447:
2440:
2436:
2431:
2424:
2418:
2411:
2405:
2396:
2389:
2383:
2379:
2371:
2360:
2353:
2352:0-521-37936-9
2349:
2345:
2340:
2335:
2329:
2322:
2318:
2312:
2308:
2299:
2296:
2294:
2291:
2289:
2286:
2284:
2281:
2279:
2276:
2274:
2271:
2269:
2266:
2264:
2261:
2259:
2256:
2254:
2251:
2250:
2244:
2242:
2238:
2234:
2233:
2221:
2214:
2211:
2208:
2207:
2203:
2201:
2197:
2187:
2181:
2169:
2167:
2166:
2154:
2152:
2148:
2144:
2143:
2138:
2137:
2127:
2125:
2124:
2119:
2107:
2097:
2095:
2089:
2087:
2083:
2080:
2075:
2067:
2065:
2052:
2050:
2048:
2045:
2043:
2040:
2037:
2036:
2033:
2031:
2029:
2027:
2024:
2022:
2019:
2018:
2015:
2013:
2010:
2007:
2005:
2002:
1999:
1998:
1994:
1991:
1988:
1985:
1982:
1979:
1976:
1973:
1970:
1968:
1967:
1963:
1960:
1957:
1954:
1951:
1948:
1945:
1944:
1941:
1940:
1939:
1938:
1937:
1935:
1931:
1927:
1923:
1919:
1915:
1902:
1893:
1890:
1881:
1879:
1866:
1864:
1862:
1859:
1857:
1855:
1853:
1850:
1847:
1846:
1842:
1839:
1836:
1833:
1830:
1827:
1824:
1821:
1818:
1815:
1813:
1812:
1808:
1805:
1802:
1799:
1796:
1793:
1790:
1787:
1784:
1783:
1780:
1779:
1778:
1777:
1776:
1769:
1767:
1762:
1760:
1756:
1752:
1739:
1736:
1734:
1730:
1725:
1723:
1719:
1715:
1703:
1701:
1696:
1690:
1688:
1684:
1677:
1672:
1670:
1663:
1661:
1655:
1651:
1647:
1639:
1637:
1633:
1628:
1625:
1619:
1617:
1611:
1603:
1601:
1597:
1593:
1588:
1586:
1582:
1578:
1574:
1566:
1563:
1561:
1557:
1553:
1549:
1545:
1541:
1537:
1532:
1529:
1519:
1517:
1512:
1509:
1503:
1496:
1492:
1482:
1480:
1476:
1472:
1468:
1464:
1460:
1456:
1451:
1449:
1445:
1441:
1434:Iambic meters
1431:
1429:
1425:
1424:open syllable
1421:
1420:ca.pre.ae.que
1413:
1411:
1410:
1405:
1401:
1397:
1387:
1376:
1374:
1371:
1369:
1366:
1365:
1361:
1358:
1355:
1352:
1350:
1349:
1345:
1342:
1339:
1336:
1333:
1332:
1329:
1328:
1327:
1326:
1325:
1323:
1319:
1315:
1302:
1300:
1299:A. E. Housman
1296:
1292:
1291:
1286:
1276:
1269:
1267:
1263:
1259:
1255:
1249:
1239:
1227:
1225:
1223:
1221:
1218:
1215:
1212:
1211:
1207:
1204:
1201:
1198:
1195:
1192:
1190:
1189:
1185:
1182:
1179:
1176:
1173:
1170:
1167:
1166:
1163:
1162:
1161:
1160:
1159:
1148:
1143:
1137:
1136:
1135:
1133:
1132:
1127:
1123:
1115:
1113:
1112:
1107:
1103:
1102:trihemimeral.
1099:
1095:
1086:
1085:
1084:
1078:
1075:
1074:
1073:
1061:
1059:
1056:
1053:
1050:
1047:
1044:
1043:
1039:
1036:
1033:
1030:
1027:
1024:
1021:
1020:
1016:
1013:
1010:
1007:
1004:
1001:
998:
997:
994:
993:
992:
991:
990:
987:
983:
978:
976:
975:
970:
969:
964:
960:
956:
955:
954:Metamorphoses
950:
949:
944:
941:
937:
934:
930:
926:
922:
913:
911:
907:
906:
901:
897:
887:
885:
881:
871:
867:
863:
860:
856:
855:
854:
853:
852:
846:
843:
837:
834:
831:
830:
824:
822:
818:
814:
810:
806:
793:
790:
789:
788:
785:
783:
779:
769:
767:
763:
759:
755:
750:
748:
744:
740:
736:
726:
724:
720:
716:
711:
709:
698:
696:
692:
688:
684:
680:
675:
668:
665:
662:
659:
656:
653:
652:
651:
648:
646:
642:
641:Greek Grammar
638:
627:
623:
614:
610:
609:
604:
600:
591:
587:
583:
580:
576:
572:
568:
564:
560:
556:
553:
550:
547:
544:
543:
542:
539:
537:
533:
529:
524:
518:
514:
511:
507:
503:
500:
496:
492:
489:
485:
481:
480:
479:
466:
459:
453:
451:
447:
442:
441:Ancient Greek
438:
433:
424:
421:
419:
415:
411:
407:
403:
399:
395:
391:
387:
383:
379:
375:
371:
367:
363:
359:
355:
350:
349:to build on.
348:
344:
340:
336:
332:
328:
327:
322:
318:
314:
310:
306:
291:
289:
285:
281:
277:
273:
269:
265:
264:Ancient Greek
261:
258:
254:
251:
250:Middle French
247:
246:Latin prosody
236:
231:
229:
224:
222:
217:
216:
214:
213:
208:
205:
203:
200:
198:
195:
193:
190:
188:
185:
183:
180:
178:
175:
173:
170:
168:
165:
163:
162:Metrical foot
160:
158:
155:
153:
150:
148:
145:
143:
140:
138:
135:
133:
130:
128:
125:
123:
122:Alcaic stanza
120:
118:
115:
113:
110:
108:
105:
103:
100:
98:
95:
93:
90:
88:
85:
83:
80:
78:
75:
73:
70:
68:
65:
63:
60:
58:
55:
53:
50:
48:
45:
43:
40:
38:
37:Latin prosody
35:
33:
32:Greek prosody
30:
29:
28:
27:
24:
21:
20:
3068:Latin poetry
3051:
3031:
3023:
3003:
2993:
2985:
2981:
2973:
2965:
2961:
2942:
2923:
2902:
2891:
2887:
2879:
2871:
2867:
2848:
2841:Bibliography
2830:
2825:
2817:
2801:
2793:
2784:
2776:
2771:
2763:
2759:
2754:
2746:
2741:
2732:
2719:
2707:
2699:
2694:
2686:
2666:
2661:
2650:
2645:
2637:
2632:
2624:
2619:
2611:
2606:
2598:
2593:
2585:
2580:
2571:
2563:
2558:
2550:
2545:
2537:
2533:
2528:
2512:
2504:
2496:
2491:
2481:
2473:
2468:
2459:
2451:
2446:
2438:
2435:Robin Nisbet
2430:
2422:
2417:
2409:
2404:
2395:
2387:
2382:
2369:
2359:
2343:
2338:
2334:stress-timed
2328:
2320:
2316:
2311:
2237:Stabat Mater
2230:
2227:
2218:
2193:
2185:
2178:
2163:
2160:
2150:
2146:
2140:
2134:
2131:
2121:
2117:
2114:
2106:Archilochian
2090:
2084:
2071:
2063:
2061:
1986:
1980:
1971:
1933:
1929:
1926:lame iambics
1925:
1921:
1911:
1899:
1885:
1877:
1875:
1831:
1816:
1773:
1765:
1763:
1758:
1754:
1750:
1748:
1737:
1726:
1721:
1717:
1712:
1699:
1686:
1682:
1675:
1668:
1659:
1653:
1643:
1635:
1629:
1615:
1609:
1607:
1599:
1591:
1589:
1584:
1580:
1576:
1572:
1570:
1564:
1533:
1524:
1513:
1498:
1478:
1470:
1462:
1452:
1443:
1439:
1437:
1427:
1419:
1417:
1407:
1403:
1393:
1385:
1317:
1314:Lyric poetry
1311:
1297:4.7), which
1294:
1288:
1282:
1273:
1265:
1261:
1251:
1236:
1156:
1141:
1129:
1125:
1121:
1119:
1109:
1105:
1101:
1097:
1093:
1090:
1082:
1070:
979:
972:
966:
952:
946:
942:
935:
919:
909:
903:
893:
883:
879:
877:
869:
865:
858:
850:
802:
786:
775:
765:
761:
757:
753:
751:
746:
738:
734:
732:
712:
707:
704:
694:
690:
686:
682:
678:
676:
672:
649:
640:
633:
624:
612:
606:
596:
578:
574:
570:
566:
540:
531:
525:
522:
509:
505:
498:
494:
487:
483:
477:
463:
457:
449:
434:
430:
422:
351:
324:
302:
276:Roman Empire
267:
259:
252:
245:
244:
197:Porson's Law
132:Anacreontics
97:Aeolic verse
57:Archilochian
36:
2945:. Hackett.
2725:Quintillian
2700:Ars Poetica
2293:Golden line
2175:Pythiambics
1946:Variations
1922:choliambics
1920:. The name
1914:iambic poet
1908:Choliambics
1785:Variations
1733:Archilochus
1508:sēnõs ictūs
1334:Variations
1285:Archilochus
1254:enjambement
1168:Variations
999:Variations
951:and Ovid's
945:, Virgil's
940:Lucretius's
512:sonitum) or
427:Two rhythms
406:Archilochus
404:, and with
362:Callimachus
358:Alexandrian
127:Ionic metre
3062:Categories
2996:7:181–206.
2988:: 117–137.
2374:References
2074:resolution
2020:tribrachs
1759:catalectic
1448:catalectic
965:'s genial
957:; also in
880:contracted
758:Ecthlipsis
721:, and the
390:Old Comedy
309:New Comedy
274:and early
2766:, p. 100.
2760:Aulularia
2758:Plautus,
2241:Dies Irae
2232:sequentia
2136:Cyllēnaeā
2000:spondees
1848:spondees
1571:The five
1556:Petronius
1367:spondees
1213:spondees
1045:spondees
764:reads as
737:reads as
723:lekythion
437:Saturnian
343:Lucretius
331:Saturnian
288:Saturnian
268:prosōidía
266:προσῳδία
207:Catalexis
152:Lekythion
2968:: 78–82.
2894:: 61–90.
2698:Horace,
2247:See also
2196:Catullus
2038:dactyls
1918:Hipponax
1632:Catullus
1596:resolved
1548:Catullus
1544:Phaedrus
1502:sēnārius
1467:Catullus
1359:— u u
1356:— u u
1353:— u u
1205:— u u
1202:— u u
1196:— u u
1193:— u u
1037:— u u
1034:— u u
1031:— u u
1028:— u u
1025:— u u
1022:dactyls
933:Ennius's
910:princeps
900:hemiepes
884:resolved
872:lengths)
870:syllable
823:meter).
805:scansion
760:): thus
719:glyconic
715:hemiepes
474:Quantity
450:Georgics
384:and the
382:choliamb
354:Neoteric
280:Catullus
260:prosōdia
253:prosodie
147:Dochmiac
107:Glyconic
102:Choriamb
92:Choliamb
2874:: 3–73.
2727:9.4.75.
2200:Martial
2151:pectora
2086:Martial
2064:Carmina
1934:limpers
1930:scazons
1878:Carmina
1702:13–15:
1676:caesura
1602:117–8:
1600:Phormio
1459:Terence
1455:Plautus
1404:carmina
1318:Carmina
1295:Carmina
1266:Carmina
1262:Carmina
986:dactyls
974:Letters
959:Juvenal
859:Trō-iae
851:Notes:
821:elegiac
813:Sapphic
778:caesura
772:Caesura
729:Elision
603:Terence
599:Plautus
586:plosive
577:-grum,
559:plosive
469:Prosody
366:Aeolian
326:Odyssey
321:Terence
317:Plautus
262:, from
255:, from
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2079:rapere
2011:— —
2008:— —
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1729:Iambus
1722:anceps
1718:Epodes
1714:Horace
1654:anceps
1636:anceps
1592:anceps
1585:anceps
1581:anceps
1577:anceps
1573:anceps
1560:Seneca
1554:, and
1552:Horace
1536:Ennius
1528:pollex
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1475:Seneca
1471:anceps
1463:anceps
1444:anceps
1440:anceps
1409:Epodes
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963:Horace
948:Aeneid
936:Annals
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866:vowels
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817:Alcaic
799:Meters
743:Hiatus
717:, the
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394:Horace
372:, the
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177:Anceps
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1122:Venit
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929:Greek
925:Homer
894:The "
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645:ictus
536:heavy
414:epode
360:poet
257:Latin
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