20:
2130:, described the metre as having 15 syllables (8 + 7); the 7th syllable had to be long, and the 14th short. Various styles are found, some conforming to classical Latin metre, others scanned accentually, some with neither of these, except for the essential features described by Alberic. In this period the number of syllables in the line remains constant, without any resolved elements. Since in the
1737:
used a variety of metres in his book on sounds and metre, among them the trochaic septenarius. The scansion is similar to Seneca's and Florus's but the subject matter is quite different. Here is a sample in which he speaks of the difference between long and short diphthongs. The word accents partly
1564:
In the classical period (1st century BC – 1st century AD), the trochaic septenarius was almost never used in serious poetry. Catullus, Horace, Vergil, Ovid, Petronius, Martial and other poets of the period make no use of it or of any trochaic metre. However, it is found in three short passages (32
2729:
scan as if they had a long vowel. The trochaic rhythm of first metron of the earlier hymn is not maintained, and the style changes to that of Bede with four long syllables in first and third metron. But the word accents match the metre exactly. Another innovation of this hymn is the ABABAB rhyme,
891:
in a passage of otherwise regular trochaics. The second and third lines below do not have the normal dieresis after the 8th element, but have one after the 7th element, so that the last eight elements form a separate unit. In this they are like the iambic tetrameter which precedes them. The final
1437:
Several scholars believe that this popular type of septenarius was indigenous to Italy and developed separately from the septenarii of drama. However, Eduard
Fraenkel has shown that very similar verses existed in Greece also at an earlier date. For example, in his life of Themistocles
988:
The metre in early Latin tragedy and comedy is relatively free, and even the elements which are short in Greek are often represented by long syllables; but when they are long, these are usually unaccented so as to maintain the basic rhythm. The basic shape of the line is therefore:
1173:
The second line above consists mostly of spondees (– –) instead of trochees (– u), but as in most septenarii, the word accents are arranged so that the 2nd, 6th and 10th positions, where in Greek a short syllable would be placed, if they are long, are unaccented (Meyer's law).
1958:
A difference between this poem and the Seneca is that there is frequently a word-break not only at the line centre, but also after each metron. There is therefore a high coincidence between the rhythm of the metre and the word-accent. Resolution is only very sparingly used.
2277:, born in Spain in 348, wrote in a more classical style, similar to that of Ausonius, with short syllables in positions 2, 5, and 7. Despite the classical metre, just as with the 1st style, there is a close match between the word accents and the metrical ictus.
288:(variously dated to between 2nd and 5th century AD), and taken up again as a metre for Christian hymns. The same metre, with stress-rhythm replacing quantitative metre, has continued to be used, especially for hymns and anthems, right up to the present day.
3266:
The metre continues to be used for hymns today. A well known example is the
Servant Song, which was written in 1977 by Richard Gillard. In this version of the metre, the trochees (– u) have entirely become spondees (– –), set to notes of equal length:
2264:
on which he based his description) was his ruling that the second metron should always begin with a trochee, as in the hymn quoted above. Bede's description of the metre was influential in the hymn-writing of various writers who followed him.
3986:
2117:
In this short poem there are no resolutions, and the word accents match the rhythm very closely. The words however scan correctly in the classical manner, except for two places where an unaccented long syllable stands for a short element.
341:) "tetrameters" without the need to add any adjective. This usage is found in Aristophanes, Xenophon, Aristotle, Plutarch, and Diodorus Siculus. Xenophon informs us that tetrameters were accompanied by the double pipe known as the
2213:
In both of these hymns, the metre more or less conforms to the early Latin pattern, but like the popular verse quoted above, the lines are arranged in four sections in such a way that the word accents exactly follow the rhythm.
1183:
above. If so the 12th element had to be long (the
Bentley-Luchs law). In later centuries, as coincidence of word accent and metre became increasingly important, two-syllable words in the final position became increasingly rare.
1569:
in his tragedies. In two of these passages a character invokes the gods of the
Underworld to make a curse; in the third, a messenger speaks of his religious terror when consulting the oracle in Delphi. In these lines from
1302:
A different form of the trochaic septenarius appears to have existed in Rome used in popular sayings and songs. An early example is the following witticism which must have been circulating after the cremation of
2471:, in his book on metre, states that there are two ways of writing hymns, metrical and rhythmical. In the rhythmical kind the word accent was important, not the syllable quantities. He quotes the anonymous hymn
2257:
there is a word break at the end of almost every metron and the word accents match the metre. A curious feature of Bede's description of the metre (which as he realised didn't in fact always apply in the hymn
1634:
in the lines above, and frequently ends the line with a two-syllable word. The word accents only partly follow the rhythm of the metre, coinciding in positions 1, 7, and 9, but elsewhere often falling on an
2150:(died c. 367), who had spent some time in exile in the east. The following hymn, which is divided into stanzas of three lines each, is attributed to Hilary. The opening refers to Christ as the "New Adam":
2865:); but, as with Secundinus's hymn the 7th and 13th syllables are usually accented. Unlike in that hymn, however, there are no instances of hiatus, except occasionally at the central dieresis.
887:
By adding an extra syllable at the beginning, the line can become an iambic tetrameter, as in the first line below. The following lines come from later in the same passage of
Aristophanes'
3628:
1218:
are written in this metre. The fragments have mostly been transmitted one line at a time, which some scholars have attempted to join together into paragraphs. An example is the following:
1140:, the trochaic septenarius is one of the two commonest metres (the other being the iambic senarius); in fact more than a third of the lines in the two poets are trochaic septenarii.
280:
of the early 1st century BC and was also used for the marching songs sung by soldiers at Caesar's victory parade. After a period when it was little used, it is found again in the
291:
The
Ancient Greeks called poems in this metre simply "tetrameters", while the name "trochaic septenarius" (or plural "trochaic septenarii") is used for Latin poems in the metre.
3054:
The trochaic septenarius can be found even in the
Finnish language, as in the Easter hymn written in 1902 by Leonard Typpö to music by Jonas Andersson, which begins as follows:
1371:
The trochaic septenarius was also used in riddles and children's sayings, such as this one, quoted by an ancient commentator on a line of Horace. It has the threefold division:
2548:
it also scans correctly. Unlike Bede, the writer seems to prefer a short syllable at position 2 rather than 6 as Bede recommended. An innovation of this hymn is the assonance (
593:
In the above example, the metre is fairly regular. There are two resolutions in the fragment, one at the beginning of a line, the other at the beginning of a half-line. The
2049:
The 4th century AD poet
Ausonius mostly wrote in dactylic or iambic verse; however, there are two or three short poems in the trochaic metre. One is part of a poem called
2180:
In this style, the line often begins with spondees (– –) instead of a trochee (– u). There is usually a close match between the metrical rhythm and the word accent.
2126:
In the middle ages, from the 4th century onwards, the trochaic septenarius became one of the favourite metres for Latin hymns. The 11th-century monk and scholar,
1721:
The lightness of style and the fascination with love, spring and roses in his short hexameter poems have led some to think that Florus may be the author of the
733:
In this passage, Aeschylus adopts a style which was later imitated by Seneca in his tragedies. A resolved element occurs only once in these five lines. All the
1210:
Although the trochaic septenarius in the early period of Roman literature was mainly used in drama, another use occurs in the 2nd-century BC satirical writer
2878:
Classical
Persian has a large variety of metres, scanned according to syllable quantity. The following metre, used in several odes by the 14th century poet
2566:). The third stanza, with a description of the perpetual spring of Paradise, mentioning roses, lilies, and saffron, recalls Tiberinus's poem quoted above.
294:
The basic metre consists of 15 syllables alternating strong and weak. The Greek version of the metre is as follows (where – = long, u = short, and x = an
2221:
wrote a treatise on metre, in which he included a short section on the trochaic tetrameter, basing his description on the above hymn, which he called
538:
The name septenarius is strictly applied only to Latin poetry, but it has predecessors in Greek. It was first used as early as the 7th century BC by
1275:
elements are often long. There are several resolved elements, and elision is frequent. The word accents frequently match the metre, but not always.
622:, of 472 BC, Xerxes' father King Darius rises from the dead and talks to his wife Atossa in trochaic tetrameters. Part of his speech is as follows:
2134:
used in the
Catholic Church the syllables tend to be of equal length, the metre tended to lose its trochaic character, except for the word accent.
2954:
elements, is a "late innovation". It appears therefore to have been introduced in imitation of Persian poetry rather than being native to Arabic.
1500:
Another example of the popular septenarius was a satirical epigram written about a certain ex-slave called Sarmentus (he plays a part in Horace's
243:
2183:
Another example in the same style is the following, sometimes ascribed to Hilary, but more probably by one of his followers of the 5th century:
2029:
syllables are short. The word accent matches the rhythm almost exactly. The scansion is more or less correct by classical standards, apart from
4029:
2059:", in which each of the seven famous wise men of antiquity is given seven sayings, in various metres. The following are the seven sayings of
3248:
was published in 1848. It consists of trochaic lines of 8, 7, 8, 7, 7, 7 syllables; so that the first four lines consist of two septenarii:
2418:
etc.). There are no resolutions and in a number of places there is a hiatus between words where earlier poets would make an elision (e.g.
1041:. However, these have not survived except for a few lines quoted in other authors. The following example, preserved by Cicero, comes from
3013:
in 1797 for an earlier anthem in honour of the Emperor Francis II. The third stanza of this poem is the current German national anthem:
2618:. In this the scansion does not match classical Latin, but the word-accents match the metre. It was set to music by the Polish composer
1143:
The style in comedy is usually very conversational, often with no break in sense in the centre of the line. An example from Plautus's
3006:
2659:
2349:
3137:
2650:
3326:
449:(4th century AD), referring once to the trochaic and once to the iambic septenarius. Otherwise it seems to have been little used.
3971:
2412:(Sechnall of Dunshaughlin, 5th century AD), In this style, syllable lengths do not correspond to those of classical Latin (e.g.
1618:
Seneca follows the Greek tragic style by using the metron | – u – x |, always with a short syllable in the second position; the
439:." In fact, however, the lines he quotes are not trochaic or iambic septenarii but the very similar iambic octonarii. The term
2474:
1335:("square verse"). Similar verses divided into four are sometimes found in Plautus. Fraenkel gives several examples, such as:
612:
In tragedy the style of the trochaic tetrameter is more regular, and there is always a break in the centre of the line. In
2738:
The trochaic septenarius was also sometimes used in the medieval period for secular writing, such as the Frankish soldier
3748:
3215:
2504:(u – – u) do not scan correctly according to classical prosody, but are correctly trochaic according to the word accent.
236:
3924:
3683:
3658:
604:; but in the extant Greek plays it only occurs occasionally, much less often than in Plautus and Terence's Latin plays.
3182:
2389:
Despite being written in the 6th century AD, the hymn conforms exactly to the scansion and prosody of Classical Latin.
1660:
in the early 2nd century AD. Here is one, comparing Apollo, the god of the sun, with Liber (Bacchus), the god of wine:
1652:
Completely different in atmosphere are eight short poems in trochaic septenarius metre (26 lines in all) attributed to
496:("square") was also used for tetrameters in other metres, for example the iambic septenarius or the iambic octonarius.
3987:"European heritage of the trochaic decapentasyllable and the artistry of Angilbertus’s poem on the Battle of Fontenoy"
4181:
2912:
2281:
3356:
3164:
4060:
The original words were "Brother, let me be your servant"; it also appears as "Brother, sister, let me serve you".
2614:
Another well-known hymn in this metre is the following said to have been written by the 12th-century French monk
2904:
The first line above has a break after eight syllables, but in the second, the break is after the 9th syllable.
2536:. The hymn is almost entirely accentual, but, apart from certain medieval Latin licences such as long vowels on
2518:
did not stop scholars continuing to write metrical hymns. Written in a similar style to Bede's poem is the hymn
2227:"that most beautiful hymn". It is thought that he may have been the author of the hymn which begins as follows:
755:, shows a very different style of the metre. There is a word-division at the end of almost every metron and the
4186:
229:
2314:
Another hymn, also still sung today (see External links below), commemorates the death of two Spanish martyrs
4171:
3360:
3241:
3163:
However, mostly commonly the metre is found in hymn-writing. One famous hymn in this metre is John Wesley's
3040:
In both of the above examples, the word stress defines the metre, rather than the lengths of the syllables.
2943:
1353:
In some examples, the line is broken after the first and second metron only, making a three-part division:
1329:
Lines of this kind divided into four sections, with word accent matching the metre, are sometimes known as
3629:"The Resurrection and Afterlife of an Archaic Metre: Bede, the Carolingians, and the Trochaic Septenarius"
2799:, the word accents here follow the metre. However, in some cases, the short vowels of some words such as
1322:
850:
Occasionally in comedy there is no central dieresis, as in the following line from Aristophanes' comedy
3480:
2847:
This can be scanned according to traditional metrics only by pronouncing certain short vowels as long (
2808:
Very similar in metrical style and also from the 9th century is a 375-line poem written by the Italian
2619:
2529:
1653:
3049:
24:
737:
syllables are long. There is a break in the centre of the line but not after the 1st or 3rd metron.
4166:
2743:
2533:
2315:
2127:
510:
257:
72:
1187:
Sometimes in early Latin there was no break after element 8, as in the following line of Terence:
3245:
1428:
The word accents here mostly coincide with the metrical ictus, except in the first metron, where
1304:
3451:
3287:
1349:"The tongue demands it, the body requires it, the mind begs for it, the situation demands it."
1127:
277:
87:
2962:
Some famous examples of the catalectic trochaic tetrameter are found in German poetry. One is
4176:
2056:
481:
33:
1267:
so it's better to cultivate this than those things, and to spend all your enthusiasm here."
3447:
2356:
1446:
became inspired at a sacrifice and cried out the following verse, divided into three cola:
1050:
446:
321:
There is usually a dieresis (or break) in the middle of the line after the eighth element.
2479:
as an example of a composition skilfully written in trochaic metre in the rhythmical way:
8:
3297:
1908:
1722:
1504:
1.5, dated 37 BC), who rose to become very rich. The joke depends on the two meanings of
283:
1049:, and is spoken by the prophet Cassandra to her mother Hecuba. It is remarkable for its
318:, that is, replaced by two short syllables, except at the end of the half line or line.
4073:
3219:
2963:
2853:), which might be done more easily if the poem was sung to music. As with Secundinus's
2809:
2805:
would need to be pronounced long to make the poem scan according to classical prosody.
2147:
2143:
1566:
1279:
1002:
837:"Strike, strike the villain, who has spread confusion amongst the ranks of the Knights,
315:
197:
167:
122:
82:
52:
2554:
at the end of each couplet, which is maintained in the other verses of the hymn (e.g.
1201:"Whichever country she is transported off to from here, I shall certainly follow her"
374:) ("dancing (foot)") was also sometimes used. Cicero and Quintilian both use the term
3675:
3499:"Alberic of Monte Cassino and the Hymns and Rhythms attributed to Saint Peter Damian"
1968:
1954:
Let him love tomorrow who has never loved, and let him who has loved love tomorrow."
1916:"), of uncertain date but possibly 4th century AD. Part of the poem goes as follows:
1913:
1622:
element at positions 4, 8, and 12 is usually long. He makes use of resolution, as in
1256:
1026:
453:
2430:). In several places the word accents do not coincide with the metrical ictus (e.g.
1271:
The lines flow smoothly, in a similar way to the lines of Plautus quoted above. The
1167:"Now I shall go back inside, to see if I can find out from these people what I want.
1025:
The trochaic septenarius metre was used in early Latin tragedies by authors such as
19:
2813:
2615:
2398:
1967:
Another poet of the 4th century who wrote on springtime in trochaic septenarii was
1572:
852:
261:
212:
192:
147:
2657:
in the 13th century. It is imitated and adapted from Venantius's 6th-century hymn
1404:
positions; but it has a strong break in sense between the two halves of the line:
1263:
Moreover, that hobby of yours is something you like because you think it's useful,
1236:
quār(e) hoc colere (e)st / satius qu(am) illa, // studi(um) omn(e) hīc cōn/sūmere.
490:
is an alternative name for the trochaic tetrameter catalectic metre. But the word
3292:
3208:
3002:
1603:
1389:
Another example of popular usage is the ribald verse sung by the soldiers at the
1092:
528:
276:
first used in 7th century BC Greek literature. It was one of the two most common
207:
202:
182:
177:
97:
77:
62:
57:
3106:
An equivalent form is also sometimes found in English verse, as for instance in
1872:
but the syllable-time will still be double; the shortening doesn't prevent that.
1169:
Where are those people I ordered to be brought out here in front of the house?"
4105:
2927:
2908:
2654:
2280:
The first of these hymns is often sung in English at Christmas with the words "
1211:
1079:
nor does Apollo, by speaking the fates, make me lose my mind against my will."
1030:
726:
and he tried to change its passage, and chaining it with hammer-forged shackles
152:
127:
4150:
4142:
4132:
4121:
4111:
4097:
4083:
3911:
4160:
3671:
3112:
2817:
1614:
seize the impious one, swallow me up and oppress me with everlasting evils!"
1434:, with a long stressed syllable on the second element, violates Meyer's law.
1397:
1393:
172:
132:
47:
42:
846:
for he is a villain a thousand times a day." (tr. Eugene O'Neill, Jr., 1938)
3956:
3204:
3128:
3010:
3009:
in 1841, with the intention that it should be sung to the tune composed by
2711:
By the 13th century the pronunciation of Latin had changed, and words like
2525:
1599:
1547:
If people got what they deserve, Sarmentus would be wearing heavy shackles!
1472:
840:
this public robber, this yawning gulf of plunder, this devouring Charybdis,
746:
618:
386:
to refer to the tribrach (u u u); but Quintilian adds that some people use
273:
142:
107:
67:
3925:"Histoire d'un vers: le septénaire trochaïque de l'antiquité au moyen age"
3897:
2nd or 3rd person singular future passive imperative; cf. Gildersleeve's,
3203:
One of the two tunes used with this hymn is "Austria", written in 1797 by
2408:("Hear ye, All Lovers"), believed to have been written by the Irish Saint
1948:
Her son is going as companion to the girls; but it will be hard to believe
843:
this villain, this villain, this villain! I cannot say the word too often,
425:
comments "I don't know why he is afraid, when he is pouring out such fine
3515:
3302:
3186:
2209:
You are the Word from the heart of God; You are the Way, You the Truth."
2205:"Let the crowd of brothers sing a hymn; let the song resound with a hymn.
1870:
It's necessary to pronounce the first syllables (of these words) rapidly;
1734:
1467:"At night give voice, at night give council, at night give the victory."
1390:
1001:
element (except immediately before the end of the verse or hemistich) is
751:
539:
137:
3842:
The Pervigilium Veneris: A New Critical Text, Translation and Commentary
3498:
1946:"The goddess herself has ordered the nymphs to go into the myrtle grove;
1177:
In Plautus the line quite often ended with a two-syllable word, such as
3699:
2967:
2409:
2274:
2103:
A husband should be married to an equal; whatever is unequal, quarrels.
1496:"For I'm delighted and I'm thrilled and I've farted and I'm laughing!"
1117:
It lay hidden for many years. Citizens, bring help and extinguish it!"
601:
3505:
vol. 12, pp. 87–148; for Alberic's discussion of the metre see p. 101.
2900:
My heart is dying of loneliness, for God's sake, (send) a companion!"
2306:"Born from the heart of the Father, before the beginning of the world,
1906:
A famous example of the metre, but with a very different mood, is the
1265:
and something which carries you from fierce storms into a quiet place,
1232:
tibi porr(ō) istaec / rēs idcircō (e)st // cordī, quod rē/r(e) ūtilem.
306:
The Latin form of the metre, as used in Roman comedy, was as follows:
4091:
3741:
3674:
was defeated by the Numantines in Spain in 138 BC. Publius Cornelius
2971:
2779:"Wars!" they shout, and from here and there a terrible battle arises;
2739:
2385:
how the Redeemer of the World, by being sacrificed, was victorious."
2310:
of all the things which are, have been, or which will be in future."
2176:
though which for the first time Satan was defeated in the New Adam."
2131:
1485:
1456:
1443:
1234:
quodque t(ē) in tran/quill(um) ex saevīs // transfert tempes/tātibus.
976:
Are they threatening us two? Oh no! They're gaping at us, I tell you,
947:
940:
933:
926:
869:
814:
807:
800:
793:
691:
684:
677:
670:
663:
613:
569:
562:
519:, referring to the fact that in his day it had exactly 15 syllables.
369:
357:
336:
314:
In Roman comedy it is very common for a long or anceps element to be
217:
162:
2494:
Like a thief in the dark night attacking those who are unprepared."
2107:
You should criticise a neighbour privately, but praise him publicly.
1155:
i(am) ĕgŏ revertār / intrō, s(ī) ex hīs // quae vol(ō) exquī/sīverō.
3120:
Comrades, leave me here a little, // while as yet 't is early morn:
3107:
2353:
2009:"A stream was going through the fields, flowing down a cool valley,
1439:
1038:
717:"My son, in his ignorance, did these things with youthful audacity:
418:
157:
117:
112:
102:
3123:
Leave me here, and when you want me, // sound upon the bugle-horn.
2843:
who, after washing themselves in the Jordan, ran to the banquet."
2772:"When Dawn early in the morning divided the darkness of the night,
2436:). However, there is usually a word accent on positions 7 and 13:
2109:
It is much finer thing to be born noble, than to be created noble.
2011:
laughing with the gleam of pebbles, decorated with grassy flowers;
1738:
follow the metre, but in the first metron there is often a clash:
1422:"City folk, guard your wives; we're bringing you a bald adulterer.
1253:"You should take up a work which will bring you praise and reward:
973:
Look at them cheeping and running around squawking at one another!
417:, who after quoting some lines of a speech of Hector's ghost from
2816:
in 875. It is a reworking of a 4th-century prose-work called the
2273:
A second style of septenarius can be seen in the following hymn.
2113:
Or if everything is uncertain, what is the use of being afraid?"
2041:, which normally has a short i. There are almost no resolutions.
1896:
since alpha is known to have two lengths, just as A does for us."
1657:
1510:('the office of scribe' and 'a slave's brand') and the fact that
1400:. Like the early Latin septenarius it uses long syllables in the
1291:
1287:
1137:
1133:
959:| – u – – | – u – / u | – u uu u | – u – | (iambic-like trochaic)
589:
Bear up, hold out, meet front-on the many foes that rush on you."
362:) (lit. "running (foot)") by Plato and Aristotle; later the name
16:
A poetic metre used in Greek and Latin especially in Roman comedy
4080:
Full text and translation by H. J. Thomson of Prudentius's hymn.
3588:
2344:
Likewise, written in marks of blood, he gave them to the earth.
2247:
Enoch the Great and Elijah, who was once taken up into heaven."
1725:(see below), although others date that work to the 4th century.
1424:
You (sg.) fucked away your gold in Gaul; here you borrowed it."
1157:ŭbĭ sunt istī / quōs ant(e) aedīs // iuss(ī) hūc prōdū/cī forās?
1105:
multōs annōs / latuit. cīvēs, // fert(e) op(em) et res/tinguite!
1089:
is shortened to two short syllables (u u) by a process known as
2859:, in some words the word accent does not match the metre (e.g.
2459:
And because of his perfect life, he is equal to the Apostles."
2397:
A third, quite different, style of septenarius, is seen in the
2101:"Only then do I call a life happy when the fates are completed.
1717:
one dispels the darkness of the night, the other of the heart."
1367:"You know my love, you know my hard work, you know my poverty."
1283:
1215:
1042:
1034:
970:"Oh! Oh! what a lot of birds! Oh! Oh! What a lot of blackbirds!
414:
295:
187:
2532:
of the 11th century, but which may be by his friend and pupil
2207:
To Christ the King, singing together, let us give praises due;
2111:
If destiny is fixed, what good will it do to take precautions?
1313:
postquam Crassus / carbo factus, // Carbo crassus / factus est
404:
to describe an iambic senarius with a lot of tribrachs in it.
2879:
2774:
That was not the day of the Sabbath, I grieve, but of Saturn;
2060:
2017:
while underfoot, soft grass had grown with beautiful flowers;
2013:
overhead, with soothing whisper, a breeze was gently stirring
1930:
crās amet quī nūnqu(am) amāvit, // quīqu(e) amāvit crās amet.
1816:
1802:
1784:
1774:
1764:
1752:
1742:
1609:
1479:
1450:
1341:
lingua poscit, / corpus quaerit, // animus ōrat, / rēs monēt.
1225:
hunc labōrem / sūmās, laudem // quī tib(i) ac fruc/tum ferāt:
1115:"It is here, it is here, the torch wrapped in blood and fire!
1063:
neque m(ē) Apollō / fātīs fandīs // dēment(em) invī/tam ciēt.
917:
910:
903:
896:
860:
784:
777:
770:
763:
654:
647:
640:
633:
626:
553:
546:
434:
363:
351:
343:
330:
3958:
An introduction to the study of medieval Latin versification
2383:
and over the trophy of the Cross speak of the noble triumph:
2174:
Let us sing again in the heavenly Adam the glorious battles,
2021:
and all the wood was fragrant with the perfume of violets."
1522:
aliud scrīpt(um) habet Sarmentus, // aliud populus vóluerat.
1412:
aur(um) in Galli(a) / effutuistī; // hīc sūmpsistī / mūtuum.
329:
In ancient Greece, lines in this metre were simply known as
4153:
by Richard Gillard and Betty Pulkingham (Sunday 7pm Choir).
2524:("On the Joy of Paradise"), which is usually attributed to
2468:
2457:
How, on account of his good actions, he is like the angels,
2402:
2218:
1952:
Go, nymphs, he has put down his arms, Love is on holiday! –
1586:
impium rapit(e) / atque mersum // premite perpetu/īs malīs.
720:
he dared to hold back from flowing, like a slave in chains,
500:
3678:
subsequently defeated the Numantines. (Warmington (1935),
2934:
is usually either a dimeter or a trimeter with this form:
2930:), which is the closest Arabic metre. However, the Arabic
2776:
Over a broken fraternal peace the impious demon rejoices.
2294:
Omnium quae / sunt, fuērunt, // quaeque post fu/tūra sunt.
2189:
Hymnum dīcat / turba frātrum, // hymnum cantus / personet,
2019:
the earth was red with saffron and was bright with lilies;
1193:
quōqu(ō) hīnc aspor/tābitur ter/rārum, certumst / persequī
1103:
adĕst adest fax / obvolūta // sanguin(e) atqu(e) in/cendiō
965:| – u – u | – u – – || – u – – | – u – | (normal trochaic)
809:
kaì panoûrgon / kaì panoûrgon: // pollákis gàr / aút᾽ erô.
3653:
For the original fragments see Warmington, E. H. (1935),
3207:, and currently used for the German national anthem (see
1836:| – u – u | uu u – – || – u – – | – u – |
1711:"both were created from flames and engendered from fires;
956:| u – u – | – – u – || u – u – | – – u – | (iambic)
586:"My Soul, my Soul, all disturbed by sorrows inconsolable,
2077:
Pulchrius mul/tō (e)st parārī, // quam creārī / nōbilem.
2071:
Pār parī iu/gātor coniux: // quidquid inpār, / dissidet.
1894:
Nor should we think that such an alternation is strange,
1680:
ambo dē dō/nīs calōrem, // vīt(e) et radiō, / cōnferunt;
1584:
unda miserīs / grāta Lēthēs // vōsque, torpen/tēs lacūs,
1410:
Urbānī, servāt(e) uxōrēs: // moechum calv(um) addūcimus.
1083:
In another quotation from the same play, the first word
816:
kaì gàr hoûtos / ên panoûrgos // pollákis tês / hēméras.
600:
According to Aristotle this metre was used in the early
2841:
deigned to invite many guests to join the dinner crowd;
2763:
Bella! clamant / hinc et inde // pugna gravis / oritur,
2512:
The introduction of accentual or rhythmical verse like
2160:
Per quae prīmum / Satanās est // Ādam victus / in novō.
2002:| – u – – | – u – – || – u – – | – u – |
1687:
noctis hic rum/pit tenebrās,// hic tenebrās / pectoris.
1673:
ambo sunt flam/mīs creātī // prōsatīqu(e) ex / ignibus;
1524:
digna dignīs: sīc Sarmentus // habeat crassās compedēs.
1471:
Similar verses divided into four sections are found in
1458:
nuktì phōnḗn, / nuktì boulḗn, // nuktì tḕn ník/ēn dídou
979:
and they're looking at you and me!" – "I think so too!"
723:
the sacred Hellespont, the Bosporus, the stream of God;
350:
The trochaic foot (or trochee) itself (– u) was called
2492:"There will suddenly appear the Great Day of the Lord,
2079:
Certa sī dē/crēta sors est, // quid cavēre / prōderit?
1985:
subtus autem / molle grāmen // flōre pulcrō / crēverat
1847:, says the poet, and in the same way he also shortens
1526:
rūsticī, nē nihil agātis, aliquis Sarment(um) alliget!
1452:νυκτὶ φωνήν, / νυκτὶ βουλήν, // νυκτὶ τὴν νί/κην δίδου
1377:
habeat scabiem / quisquis ad mē // vēnerit novissimus!
779:καὶ πανοῦργον καὶ πανοῦργον: // πολλάκις γὰρ αὔτ᾽ ἐρῶ.
542:. An example is the fragment which begins as follows:
513:, an 11th-century scholar and monk, who called it the
3970:
Bede, ed. Keil 7.258; cf. Schlicher, John J. (1900).
2783:
Nor does son show his father the duty that he owes."
2781:
Brother prepares death for brother, uncle for nephew;
2367:
et super cru/cis trophaeo // dic triumphum / nobilem,
2326:
aureīs quae / Christus illīc // adnotāvit / litterīs:
2235:Ēnoch magnus / et Helīas // quondam raptus / in polum
2191:
Christō rēgī / concinentēs // laudēs dēmus / dēbitās.
2081:
Sīve sunt in/certa cūncta, // quid timēre / convenit?
2069:
Tunc beātum / dīco vītam, // cum perācta / fāta sunt.
949:
kaì blépousin es sè kamé. – // toûto mèn kamoì dokeî.
919:καὶ βλέπουσιν ἐς σὲ κἀμέ. – // τοῦτο μὲν κἀμοὶ δοκεῖ.
802:
kaì telṓnēn / kaì pháranga // kaì Khárubdin harpagês,
665:
paîs d᾽ emòs tád᾽ ou kateidṑs // ḗnusen néōi thrásei:
509:. Another medieval writer who discussed the metre is
2922:
The Persian metre above is known by the Arabic name
2882:, is similar to the trochaic tetrameter catalectic:
2868:
2448:
Perfectamque / propter vítam // aequatur A/póstolis.
2328:
sanguinis no/tīs eādem // scrīpta terrīs / trādidit.
1979:
lūce rīdēns / calculōrum, // flōre pictus / herbidō.
1793:
syllabās prīmās necesse (e)st // ōre raptim prōmere;
1714:
both from their gifts, wine and rays, confer warmth;
1708:"Both Apollo and Liber seem equally bearing of fire:
1666:
Sīc Apollo, / deinde Līber // sīc vidētur / ignifer:
1359:
scīs amōrem, / scīs labōrem, // scīs egestātem meam.
1059:
mātēr, opti/mārum multō // mulier meliōr / mulierum,
693:
peribalṑn pollḕn kéleuthon // ḗnusen pollôi stratôi,
686:
kaì póron meterrhúthmize, // kaì pédais sphurēlátois
2830:
invitans ad / cenae plures // dignatus fre/quentiam
2765:
frater fratri / mortem parat, // nepoti a/vunculus;
2604:
For the bars of the flesh to be broken open at once
2290:
Corde nātus / ex parentis // ante mund(ī) ex/ordium
2075:
Clam coargu/ās propinquum, // prōpalam lau/dāverīs.
1795:
tempus at duplum manēbit, // nihil obest correptio.
1582:
Pallidī fau/cēs Avernī // vōsque, Taenari/ī specūs,
1487:
hḗdomai gàr / kaì gégētha // kaì péporda / kaì gelô
628:παῖς δ᾽ ἐμὸς τάδ᾽ οὐ κατειδὼς // ἤνυσεν νέῳ θράσει:
4004:Studien zur "Cena Cypriani" und zu deren Rezeption
3527:Archilochus fr. 128, quoted by Stobaeus (3.20.28).
2832:qui Iordane / se lavantes // currunt ad con/vivia.
2756:de fraterna / rupta pace // gaudet demon / impius.
2752:Aurora cum / primo mane // tetra noctis / dividet,
2381:"Tell, tongue, of the battle of the glorious fight
2333:| – u – – | – u – – || – u – u | – u – |
2308:surnamed Alpha and Omega, He is the source and end
2158:In caelestī / rursum Ādam // concināmus / proelia,
1950:that Love is on holiday if he carries his weapons!
1928:īte, nymphae; posuit arma, // fēriātus est Amor! –
1533:| – u – – | – – – – || uu – – – | – u – |
786:καὶ γὰρ οὗτος ἦν πανοῦργος // πολλάκις τῆς ἡμέρας.
745:The following example, from the opening chorus of
672:hóstis Hellḗsponton hiròn // doûlon hṑs desmṓmasin
4002:For the full text see Modesto, Christine (1992).
2812:on the occasion of the coronation of the emperor
2754:Sabbati non / illud fuit, // sed Saturni / doleo,
2455:Of the man in Christ, the blessed bishop Patrick:
2369:qualiter re/demptor orbis // immolatus / vicerit.
2365:Pange, lingua, / gloriosi // proelium cer/taminis
2324:Scrīpta sunt Cae/lō duōrum // martyrum vo/cābula,
2245:"Before the Highest Judge of the Ages will appear
2193:Tū Deī dē / corde Verbum, // Tū Via, Tū / Vēritās
1977:amnis ībat / inter arva // valle fūsus / frīgidā,
1811:mīra nec putanda nōbīs // tālis alternātiō (e)st,
1799:"auspicēs" cum dīc(o) et "aurum", // sīve Graecus
1797:AU tamen capére vidētur // saepe prōductum sonum,
1612:, welcome to the wretched, and you, torpid lakes,
1481:ἥδομαι γὰρ / καὶ γέγηθα // καὶ πέπορδα / καὶ γελῶ
1227:percrepā pug/nam Popīlī,// facta Cornē/lī cane...
942:âr᾽ apeiloûsín ge nôin? oímoi, kekhḗnasín gé toi,
883:"and the female ones also pluck out its feathers"
795:paîe paîe / tòn panoûrgon // kaì taraxippóstraton
679:ḗlpise skhḗsein rhéonta, // Bósporon rhóon theoû:
656:περιβαλὼν πολλὴν κέλευθον // ἤνυσεν πολλῷ στρατῷ,
649:καὶ πόρον μετερρύθμιζε, // καὶ πέδαις σφυρηλάτοις
571:ána dé, dusmenéōn d᾽ aléxeu // prosbalṑn enantíon
555:ἄνα δέ, δυσμενέων δ᾽ ἀλέξευ // προσβαλὼν ἐναντίον
4158:
3135:, which was published in 1990 in her collection
2767:filius nec / patri suo // exhibet quod / meruit.
2340:"Written in heaven are the names of two martyrs,
2292:A et O cog/nōminātus, // ipse fōns et / clausula
2233:Appārēbunt / ante summum // saeculōrum / iūdicem
2073:Non erunt ho/nōrēs umquam // fortuīti / mūneris.
1989:tum nemus frā/grābat omne // vīolārum / spīritū.
1971:. One of his surviving poems begins as follows:
1924:it puer comes puellīs: // nec tamen crēdī potest
1549:Country folk, don't be idle, someone tie up the
1255:shout out Popillius's battle, sing the deeds of
1250:| – – uu – | uu – – – || uu – – – | – u – |
1075:"Mother, best woman by far of the best of women,
772:καὶ τελώνην καὶ φάραγγα // καὶ Χάρυβδιν ἁρπαγῆς,
398:for the tribrach. Quintilian uses the adjective
2950:, identical to the Persian metre above with no
2826:Quidam nomi/ne Iohel rex // Orientis, / maximas
2446:Quomodo bo/num ob áctum // simulatur / ángelis,
2442:Audite, om/nes amántes // Deum, sancta / mérita
1981:caerulās su/perne laurūs // et virecta / myrtea
1248:| – u – – | – – – – || – – – – | – u – |
1246:| uu – – – | – – – – || – – – – | – u – |
1244:| – u – – | – u – – || – u – – | – u – |
1242:| – u – – | – – – – || – u – – | – u – |
1164:| uu – – – | – – – – || – – – – | – u – |
1077:I have been sent by superstitious premonitions;
912:ἆρ᾽ ἀπειλοῦσίν γε νῷν; οἴμοι, κεχήνασίν γέ τοι,
871:haí te thḗleiai prosektíllousin autoû tà pterá.
765:παῖε παῖε τὸν πανοῦργον // καὶ ταραξιππόστρατον
2898:"My breast is brimful of pain; alas, a remedy!
2888:sīne mālāmāl-e dard ast; / ey deriqā, marham-ī
2828:In Chana qui / Galileae // faciebat / nuptias,
2453:"Listen, all you who love God, the holy merits
2156:Ādae carnis / glōriōsa // et cadūci / corporis
1987:et crocō so/lum rubēbat // et lūcēbat / līliīs
1926:ess(e) Amōrem fēriātum // sī sagittās vexerit.
1364:| – u – – | – u – – || – u – – | – u – |
1346:| – u – – | – u – – || – u – – | – u – |
1061:missa sum su/perstitiōsīs // hariolāti/ōnibus.
635:ὅστις Ἑλλήσποντον ἱρὸν // δοῦλον ὣς δεσμώμασιν
413:, meaning "of seven (feet)", is first used by
3079:
3072:
3065:
3058:
2970:, written in 1785, which was set to music by
2890:del ze tanhā'ī be jān āmad, Xodā-rā, hamdam-ī
2886:
2733:
2444:Viri in Chris/to beáti // Patricii E/píscopi:
2335:| – u – – | – u – – || – u – – | – u – |
2240:| – – – – | – u – – || – u – – | – u – |
2137:
2015:the dark-green laurels and the myrtle leaves;
1983:lēniter mō/tābat aura // blandiente / sībilō;
1874:However, AU often seems to have a long sound,
1697:| – u – – | – u – – || – u – – | – u – |
1535:| – u – – | uu u – – || uu – – – | – u – |
1531:| uu – – u | – – – – || uu – uu – | uu u – |
1198:| – – – – | – u – – | – – – – | – u – |
935:hoîa pippízousi kaì tré/khousi diakekragótes.
928:ioù ioù tôn ornéōn, // ioù ioù tôn kopsíkhōn;
862:αἵ τε θήλειαι προσεκτίλλουσιν αὐτοῦ τὰ πτερά.
642:ἤλπισε σχήσειν ῥέοντα, // Βόσπορον ῥόον θεοῦ:
564:thumé, thúm᾽ amēkhánoisi // kḗdesin kukṓmene,
237:
4133:
3973:The origin of rhythmical verse in late Latin
3017:
2978:
2839:who was making a wedding in Cana of Galilee,
2487:fur obscura velut nocte improvisos occupans.
1922:Ipsa nymphās dīva lūcō // iussit īre myrteō.
1595:| – u – uu | – u – – || uu u – uu | – u – |
1385:"May whoever reaches me last have scabies!"
729:created a great causeway for his huge army."
4122:
4112:
4098:
4094:performance of Prudentius's hymn (YouTube).
4084:
4074:
3941:
3034:When we always, for protection and defence,
2860:
2854:
2848:
2824:
2800:
2794:
2788:
2761:
2750:
2724:
2718:
2712:
2667:
2626:
2570:
2561:
2555:
2549:
2543:
2537:
2519:
2513:
2499:
2483:
2472:
2440:
2431:
2425:
2419:
2413:
2363:
2342:which Christ noted there in golden letters;
2322:
2288:
2259:
2252:
2231:
2222:
2187:
2154:
2067:
2050:
2036:
2030:
1975:
1920:
1883:
1877:
1840:| – u – – | – u – – || – u – – | – u – |
1821:
1809:
1791:
1779:
1769:
1757:
1747:
1685:
1678:
1671:
1664:
1629:
1623:
1593:| – u uu – | – u – – || – u – – | – u – |
1591:| – u – – | – u – – || – u – uu | – u – |
1580:
1550:
1545:but the people had wanted a different kind.
1540:
1520:
1511:
1505:
1429:
1408:
1382:| uu – uu – | – u – – || – u – u | – u – |
1375:
1357:
1339:
1330:
1311:
1191:
1178:
1153:
1144:
1101:
1090:
1084:
1068:| – – – u | – – – – || uu – uu – | uu u – |
1057:
1012:
1006:
898:ἰοὺ ἰοὺ τῶν ὀρνέων, // ἰοὺ ἰοὺ τῶν κοψίχων·
514:
504:
491:
485:
475:
469:
463:
457:
440:
432:
426:
408:
399:
393:
387:
381:
375:
281:
2974:in the last movement of his 9th symphony:
2025:In this style of septenarius, many of the
1943:| – u – – | – u – – || – u – – | – u – |
1838:| – u – u | – u – – || – u – – | – u – |
1834:| – u – – | – u – – || – u – – | – u – |
1832:| – u – – | – u – – || – u – – | – u – |
1830:| – u – – | – u – – || – u – – | – u – |
1828:| – u uu – | – u – u || – u – – | – u – |
1419:| – – – u | – uu – – || – – – – | – u – |
1221:
1112:| – – – – | uu – – – || – u – – | – u – |
1097:, commonly found in early Latin comedies:
1072:| uu u – – | – – – – || – – – – | – u – |
1070:| – u – u | – uu – – || uu u – u | – u – |
905:οἷα πιππίζουσι καὶ τρέχουσι διακεκραγότες.
548:θυμέ, θύμ᾽ ἀμηχάνοισι // κήδεσιν κυκώμενε,
244:
230:
3694:
3692:
3549:Denniston, J.D., article "Metre, Greek",
3471:
3469:
3007:August Heinrich Hoffmann von Fallersleben
2660:Pange lingua gloriosi proelium certaminis
2378:| – u – u | – u – – || – u – – | – u – |
2350:Pange lingua gloriosi proelium certaminis
2337:| – u – u | – u – – || – u – – | – u – |
2303:| – u – – | – u – – || – u – u | – u – |
2301:| – u – – | – u – – || – u – – | – u – |
2242:| – – – u | – u – – || – – – – | – u – |
2202:| – u – – | – u – – || – u – – | – u – |
2169:| – – – – | u u – – || – – – u | – u – |
2098:| – u – – | – u – – || – u – u | – u – |
2006:| – u – – | – u – u || – u – – | – u – |
1941:| – u – – | uu u – u || – u – u | – u – |
1939:| – u – – | – u – – || – u – – | – u – |
1937:| – u – u | – u – – || – u – – | – u – |
1935:| – u – – | – u – – || – u – u | – u – |
1700:| – u – – | – u – – || – u uu – | – u – |
1576:King Theseus invokes a curse on himself:
1493:| – u – – | – u – u || – u – u | – u – |
1464:| – u – – | – u – – || – u – – | – u – |
1318:| – – – – | – – – – || – – – – | – u – |
1162:| uu u – – | – – – – || – u – – | – u – |
1110:| uu u – – | – u – – || – u – – | – u – |
993:| – x – x | – x – x || – x – x | – u – |
962:| – u – – | – u – / – | – u – – | – u – |
712:| uu u – – | – u – – || – u – – | – u – |
581:| uu u – u | – u – – || – u – u | – u – |
310:| – x – x | – x – x || – x – x | – u – |
302:| – u – x | – u – x || – u – x | – u – |
4100:Pange lingua gloriosi corporis mysterium
3700:"Die Vorgeschichte des versus Quadratus"
3230:Ransomed, healed, restored, forgiven, //
2895:| – u – – | – u – – | – u – – | – u – |
2651:Pange lingua gloriosi corporis mysterium
2463:
2392:
2376:| – u – u | – u – – || – u – – | – u – |
2374:| – u – u | – u – – || – u – – | – u – |
2299:| – u – u | – u – – || – u – – | – u – |
2268:
2200:| – – – – | – u – – || – – – – | – u – |
2198:| – – – – | – u – – || – – – – | – u – |
2167:| – – – – | – u – – || – u – – | – u – |
2165:| – – – – | – u – – || – u – – | – u – |
2146:, the first to write hymns in Latin was
2096:| – u – – | – u – – || – u – u | – u – |
2094:| – u – – | – u – – || – u – – | – u – |
2092:| – u – u | – u – – || – u – – | – u – |
2090:| – u – u | – – – – || – u – – | – u – |
2088:| – u – u | – – – – || – u – – | – u – |
2086:| – u – – | – u – – || – u – u | – u – |
2004:| – u – u | – u – u || – – – – | – u – |
2000:| – u – – | – u – u || – u – u | – u – |
1998:| – u – u | – u – – || – u – u | – u – |
1996:| – u – – | – u – – || – u – u | – u – |
1994:| – u – u | – u – u || – u – – | – u – |
1703:| – u – – | – u – – || – u – – | – u – |
1694:| – u – u | – u – – || – u – u | – u – |
1417:| – – – – | – – – – || – – – – | – u – |
1053:, as well as the four-word second line:
832:| – u – u | – u – – || – u – – | – u – |
829:| – u – – | – u – – || – u – u | – u – |
826:| – u – – | – u – u || – u – u | – u – |
823:| – u – u | – u – – || – u – – | – u – |
709:| – u – – | – u – – || – u – – | – u – |
706:| – u – – | – u – – || – u – – | – u – |
703:| – u – – | – u – – || – u – – | – u – |
700:| – u – – | – u – – || – u – – | – u – |
578:| – u – u | – u – u || – u – u | – u – |
18:
4006:. Tübingen. (Google books); pp. 180 ff.
3623:
3621:
3619:
3617:
3615:
3613:
3493:
3491:
3489:
3226:Praise, my soul, the King of heaven; //
3019:Deutschland, Deutschland über alles //,
2707:the King of the Nations poured forth."
2105:A chance gift will never bring honours.
1656:, who lived in the time of the Emperor
1642:
878:| – u – – | – u – – | – u – – | – u – |
4159:
3689:
3466:
3193:Glorious Things of thee are spoken, //
2837:"A certain king of the East named Joel
2485:Apparebit repentina dies magna Domini,
2359:in the 6th century in the same style:
1901:
3148:through a glass which will not shine,
3023:Wenn es stets zu Schutz und Trutze //
2938:| x u – – | x u – – | x u – (–) | x2
2802:gravis, parat, nepoti, oritur, meruit
2217:In the 8th century, the English monk
2121:
1559:
465:tetrametrus archilochius catalecticus
445:is also used twice by the grammarian
3610:
3486:
3275:pray that I may have the grace to //
3171:Love Divine, all Loves excelling, //
3151:though I stand before you boldly, //
3036:stand together in a brotherly way".
3030:"Germany, Germany, above everything,
2850:nominē, ōrientis, Gālileae, fāciebat
2730:which is absent from earlier hymns.
2352:", was written by another Bishop of
1823:nōtum (e)st, // sīcut Ā nostrātibus.
1516:can also mean a bundle of firewood:
3271:Will you let me be your servant? //
3232:Who like me his praise should sing?
3216:Praise, my soul, the King of heaven
3197:He, whose word cannot be broken, //
2608:It yearns, it strives, it struggles
2602:the parched soul has grown thirsty.
2576:Claustra carnis / praesto frangi //
1297:
1132:In early Latin, in the comedies of
380:to refer to the trochee (– u), and
13:
3594:Washington University in St Louis.
3183:Glorious Things of Thee Are Spoken
2703:which, for the price of the world,
2610:in exile, to enjoy its homeland."
1005:into two short syllables, as with
14:
4198:
4067:
3985:Text from Tomasz Jasiński (2018)
3376:63, 212, 217; Quintilian, 9.4.82.
3173:Joy of Heaven to Earth come down.
3101:
2869:Similar metres in other languages
983:
533:
3853:"they pulled them back"; Homer,
3589:Database by Timothy J. Moore of
3262:Jesus Christ her little Child.
3177:All thy faithful Mercies crown;
3175:Fix in us thy humble Dwelling,//
3158:
2980:Freude, schöner Götterfunken, //
2595:| – u – – | – – – – ||
2172:"Of Adam's flesh and mortal body
1321:"After Crassus became charcoal,
459:trochaici tetrametri catalectici
4054:
4037:
4022:
4009:
3996:
3991:Pamiętnik Biblioteki Kórnickiej
3979:
3964:
3949:
3934:
3917:
3910:Encyclopaedia Britannica 1911,
3904:
3891:
3878:
3869:
3860:
3847:
3834:
3821:
3801:
3788:
3775:
3762:
3735:
3722:
3709:
3664:
3647:
3634:
3597:
3582:
3569:
3556:
3543:
3530:
3521:
3508:
3457:
3441:
3432:
3418:La Metrica di Plauto e Terenzio
3416:Keil VI.52; cf. Questa (2007).
3256:Where a mother laid her baby //
3211:), which is in the same metre.
3199:Form'd thee for his own abode.
3145:You declare you see me dimly //
3094:A warm light shines from there;
2991:"Joy, lovely spark of the gods,
2639:"Every day say praises to Mary,
2600:"For the source of eternal life
1282:, a practice later followed by
1020:
484:(also 4th century) agrees that
456:(4th century) called the metre
4031:Grammar of the Arabic Language
3423:
3410:
3401:
3388:
3379:
3366:
3345:
3332:
3315:
3228:To His feet thy tribute bring.
3154:trim in rank and marking time.
3127:Another poem in this metre is
3097:griefs and sorrows dissipate."
3091:it shines on victory mountain.
3032:Above everything in the world,
2997:heavenly one, thy sanctuary".
2580:Gliscit, ambit, / eluctatur //
2507:
2282:Of the Father's Heart Begotten
1728:
1278:Lucilius also wrote satire in
1121:
1017:in the first quotation below.
503:referred to this metre as the
324:
270:trochaic tetrameter catalectic
23:Tragic and Comic Masks of the
1:
3976:. PhD thesis. Chicago; p. 74.
3463:Terentianus Maurus line 2278.
3407:Diomedes (Keil pp. 507, 515).
3252:Once in royal David's city //
3236:Praise the everlasting King.
2984:Wir betreten feuertrunken, //
2677:Fructus ventris / generósi //
2572:Ad perennis / vitae fontem //
2563:perpetuum, balsamum, aromatum
1962:
997:As in Greek, often a long or
607:
506:metrum trochaicum tetrametrum
4015:L. P. Elwell-Sutton (1976).
3796:Latin Metre: An Introduction
2669:Pange, lingua, / gloriósi //
2649:Another late medieval hymn,
2052:Septem Sapientium Sententiae
1205:
740:
7:
3551:Oxford Classical Dictionary
3281:
3277:let you be my servant too.
3273:Let me be as Christ to you;
3167:, first published in 1747:
3074:Lämmin valo sieltä loistaa,
2986:Himmlische, dein Heiligtum!
2887:
2692:| – – – – | – u – – ||
2673:Sanguinísque / pretiósi, //
2632:ejus festa, / ejus gesta //
2622:(c. 1667-1734). It begins:
2557:obnoxiam, gloriam, memoriam
2044:
1733:The 2nd-century grammarian
1539:"Sarmentus has one kind of
759:positions are often short:
597:syllables are often short.
522:
10:
4203:
3840:William M. Barton (2018),
3591:The Meters of Roman Comedy
3260:Mary was that Mother mild,
3254:Stood a lowly cattle shed,
3242:Once in Royal David's City
3047:
3043:
2995:We enter, drunk with fire,
2906:
2873:
2734:Other Medieval Latin poems
2705:the fruit of a noble Womb,
2701:and of the precious Blood,
2697:"Tell, tongue, the mystery
2643:her feasts and her actions
2620:Grzegorz Gerwazy Gorczycki
2606:the imprisoned soul seeks.
2415:audītē, Dēum, mērita, vīrī
2138:1st style: Hilary and Bede
1817:
1803:
1785:
1775:
1765:
1753:
1743:
1654:Works attributed to Florus
1480:
1451:
1125:
918:
911:
904:
897:
861:
785:
778:
771:
764:
655:
648:
641:
634:
627:
554:
547:
526:
471:quem nos quadratum dicimus
364:
352:
331:
4086:Scripta sunt caelo duorum
4076:Scripta sunt caelo duorum
3698:Fraenkel, Eduard (1927).
2957:
2917:
2820:, and begins as follows:
2597:| – – – – | – u – |
1647:
25:Theatre of Ancient Greece
4182:Christian hymns in Latin
4118:(plainsong performance).
4114:Ad Perennis Vitae fontem
4108:(plainsong performance).
3844:. Bloomsbury. pp. 10-18.
3308:
3258:In a manger for his bed:
3214:Another popular hymn is
3081:surut, murheet hajottaa.
3025:Brüderlich zusammenhält.
2645:honour most devotedly."
2628:Omni die / dic Mariae //
2534:Alberic of Monte Cassino
2433:Chrísto, bónum, aequátur
2316:Emeterius and Celedonius
2224:hymnus ille pulcherrimus
2128:Alberic of Monte Cassino
1222:
511:Alberic of Monte Cassino
73:Latin rhythmic hexameter
4128:. Setting by Gorczycki.
3923:Bastiensen, A. (1998).
3246:Cecil Frances Alexander
3222:and published in 1834:
3189:and published in 1779:
3067:paistaa voittovuorella.
3050:fi:Aurinkomme ylösnousi
3021:Über alles in der Welt,
3005:, which was written by
2913:Sīne mālāmāl-e dard ast
2675:Quem in mundi / prétium
2578:clausa quaerit / anima.
1888:, or when a Greek says
1305:Lucius Licinius Crassus
272:) is a form of ancient
4134:
4123:
4113:
4099:
4085:
4075:
3942:
3627:Heikkinen, S. (2015).
3497:Blum, Owen J. (1956).
3351:Liddell, Scott, Jones
3321:Liddle, Scott, Jones,
3288:Metres of Roman comedy
3279:
3264:
3238:
3234:Alleluia, alleluia, //
3201:
3195:Zion, city of our God.
3179:
3080:
3073:
3066:
3059:
3038:
3018:
2999:
2993:Daughter from Elysium,
2979:
2940:
2902:
2861:
2855:
2849:
2845:
2825:
2801:
2795:
2789:
2785:
2762:
2751:
2746:in 841, which begins:
2725:
2719:
2713:
2709:
2688:| – u – u | – u – – ||
2684:| – u – u | – u – – ||
2679:Rex effúdit / géntium.
2668:
2647:
2627:
2612:
2591:| – u – – | – – – – ||
2587:| – u – – | – – – – ||
2571:
2562:
2556:
2550:
2544:
2538:
2520:
2514:
2500:
2496:
2484:
2473:
2461:
2441:
2432:
2426:
2420:
2414:
2387:
2364:
2346:
2323:
2312:
2289:
2260:
2253:
2249:
2232:
2223:
2211:
2188:
2178:
2155:
2115:
2068:
2051:
2037:
2031:
2023:
1976:
1956:
1921:
1899:
1884:
1878:
1822:
1810:
1792:
1780:
1770:
1758:
1749:inquit poēta,// sīc et
1748:
1686:
1679:
1672:
1665:
1630:
1624:
1616:
1581:
1557:
1551:
1541:
1521:
1512:
1506:
1498:
1469:
1442:records how a certain
1430:
1426:
1409:
1387:
1376:
1369:
1358:
1351:
1340:
1331:
1327:
1312:
1269:
1203:
1192:
1179:
1171:
1154:
1145:
1128:Metres of Roman comedy
1119:
1102:
1091:
1085:
1081:
1058:
1013:
1007:
995:
515:
505:
492:
486:
476:
470:
464:
458:
441:
433:
427:
409:
400:
394:
388:
382:
376:
312:
304:
282:
278:metres of Roman comedy
88:Metres of Roman comedy
27:
4187:Late Latin literature
3783:The Satires of Horace
3269:
3250:
3224:
3191:
3169:
3060:Aurinkomme ylösnousi,
3048:Further information:
3015:
2976:
2936:
2907:Further information:
2884:
2822:
2748:
2665:
2624:
2574:mens sitivit / arida.
2568:
2528:, who was an Italian
2481:
2464:4th style: Rhythmical
2438:
2393:3rd style: Secundinus
2361:
2348:The following hymn, "
2320:
2286:
2269:2nd style: Prudentius
2229:
2185:
2152:
2065:
1973:
1918:
1740:
1578:
1518:
1477:
1448:
1406:
1373:
1355:
1337:
1309:
1220:
1189:
1151:
1126:Further information:
1099:
1055:
991:
527:Further information:
482:Atilius Fortunatianus
308:
300:
34:Greek and Latin metre
22:
4172:Ancient Greek poetry
4144:Aurinkomme ylösnousi
3955:Dag Norberg (2004).
3794:D. S. Raven (1965),
3680:Remains of Old Latin
3655:Remains of Old Latin
3575:D. S. Raven (1965),
3385:Quintilian, 9.4.140.
3240:The Christmas carol
3138:I Shall Not Be Moved
3001:Another poem is the
2856:Audite omnes amantes
2699:of the glorious Body
2694:| – – – – | – u – |
2671:Córporis mys/térium,
2551:arida, anima, patria
2406:Audite Omnes Amantes
2357:Venantius Fortunatus
2142:According to Bishop
1643:Post-classical Latin
516:decapentecus rithmus
499:In the 8th century,
474:("which we call the
431:to the sound of the
392:for the trochee and
266:trochaic septenarius
93:Trochaic septenarius
4124:Omni die dic Mariae
3781:Palmer, A. (1883).
3298:Trochaic tetrameter
3116:, written in 1835.
3088:"Our sun has risen;
2982:Tochter aus Elysium
2690:| – – – – | – u – |
2686:| – u – – | – u – |
2653:, is attributed to
2630:mea laudes / anima:
2593:| – u – u | – u – |
2589:| – u – u | – u – |
2582:exul frui / patria.
2515:Apparebit repentina
2498:Here words such as
2475:Apparebit repentina
1909:Pervigilium Veneris
1902:Pervigilium Veneris
1723:Pervigilium Veneris
1280:dactylic hexameters
284:Pervigilium Veneris
268:(also known as the
4028:W. Wright (1862).
4017:The Persian Metres
3946:"and he likewise".
3706:61/3, pp. 357–370.
3553:, 2nd ed., p. 681.
3220:Henry Francis Lyte
2964:Friedrich Schiller
2862:invītans, dignātus
2810:Johannes Hymonides
2744:Battle of Fontenoy
2742:'s account of the
2634:cole devo/tissima.
2521:De Gaudio Paradisi
2148:Hilary of Poitiers
2144:Isidore of Seville
2122:In Christian hymns
1735:Terentianus Maurus
1567:Seneca the Younger
1560:In classical Latin
1149:is the following:
198:Resolution (meter)
168:Anaclasis (poetry)
123:Asclepiad (poetry)
83:Saturnian (poetry)
53:Dactylic hexameter
28:
3676:Scipio Aemilianus
3657:, vol 3. (Loeb),
2946:, the tetrameter
2663:mentioned above.
1565:lines in all) by
1325:became fat/dull"
454:Marius Victorinus
254:
253:
4194:
4151:The Servant Song
4137:
4126:
4116:
4104:, attributed to
4102:
4088:
4078:
4061:
4058:
4052:
4041:
4035:
4026:
4020:
4013:
4007:
4000:
3994:
3983:
3977:
3968:
3962:
3953:
3947:
3945:
3940:Some texts have
3938:
3932:
3921:
3915:
3908:
3902:
3895:
3889:
3884:Another is Aus.
3882:
3876:
3873:
3867:
3864:
3858:
3851:
3845:
3838:
3832:
3825:
3819:
3805:
3799:
3792:
3786:
3779:
3773:
3766:
3760:
3739:
3733:
3726:
3720:
3713:
3707:
3696:
3687:
3668:
3662:
3651:
3645:
3638:
3632:
3625:
3608:
3601:
3595:
3586:
3580:
3573:
3567:
3560:
3554:
3547:
3541:
3534:
3528:
3525:
3519:
3514:See the article
3512:
3506:
3495:
3484:
3473:
3464:
3461:
3455:
3445:
3439:
3436:
3430:
3427:
3421:
3414:
3408:
3405:
3399:
3392:
3386:
3383:
3377:
3370:
3364:
3349:
3343:
3336:
3330:
3319:
3083:
3076:
3069:
3062:
3027:
2988:
2892:
2864:
2858:
2852:
2834:
2814:Charles the Bald
2804:
2798:
2792:
2769:
2758:
2728:
2722:
2716:
2681:
2636:
2616:Bernard of Cluny
2584:
2565:
2559:
2553:
2547:
2541:
2523:
2517:
2503:
2489:
2478:
2450:
2435:
2429:
2423:
2417:
2371:
2330:
2296:
2263:
2256:
2237:
2226:
2195:
2162:
2083:
2055:"Sayings of the
2054:
2040:
2034:
1991:
1932:
1887:
1881:
1825:
1820:
1819:
1815:
1806:
1805:
1801:
1788:
1787:
1783:
1778:
1777:
1773:
1768:
1767:
1761:
1756:
1755:
1751:
1746:
1745:
1689:
1682:
1675:
1668:
1633:
1627:
1598:"O jaws of pale
1588:
1554:
1544:
1528:
1515:
1509:
1489:
1483:
1482:
1460:
1454:
1453:
1433:
1414:
1379:
1361:
1343:
1334:
1332:versus quadrātus
1315:
1298:In popular usage
1214:, some of whose
1195:
1182:
1159:
1148:
1107:
1096:
1088:
1065:
1016:
1010:
951:
944:
937:
930:
921:
920:
914:
913:
907:
906:
900:
899:
892:line is normal:
873:
864:
863:
818:
811:
804:
797:
788:
787:
781:
780:
774:
773:
767:
766:
695:
688:
681:
674:
667:
658:
657:
651:
650:
644:
643:
637:
636:
630:
629:
573:
566:
557:
556:
550:
549:
518:
508:
495:
489:
479:
473:
467:
461:
444:
438:
430:
412:
403:
397:
391:
385:
379:
373:
367:
366:
361:
355:
354:
340:
334:
333:
287:
262:Latin literature
246:
239:
232:
213:Arsis and thesis
193:Biceps (prosody)
148:Galliambic verse
30:
29:
4202:
4201:
4197:
4196:
4195:
4193:
4192:
4191:
4167:Types of verses
4157:
4156:
4135:Deutschlandlied
4070:
4065:
4064:
4059:
4055:
4042:
4038:
4034:vol. 2, p. 367.
4027:
4023:
4014:
4010:
4001:
3997:
3984:
3980:
3969:
3965:
3954:
3950:
3939:
3935:
3931:vol 50; p. 181.
3922:
3918:
3909:
3905:
3896:
3892:
3883:
3879:
3874:
3870:
3865:
3861:
3852:
3848:
3839:
3835:
3826:
3822:
3806:
3802:
3793:
3789:
3780:
3776:
3767:
3763:
3740:
3736:
3727:
3723:
3714:
3710:
3697:
3690:
3669:
3665:
3652:
3648:
3639:
3635:
3626:
3611:
3602:
3598:
3587:
3583:
3574:
3570:
3561:
3557:
3548:
3544:
3535:
3531:
3526:
3522:
3513:
3509:
3496:
3487:
3477:de Arte metrica
3474:
3467:
3462:
3458:
3446:
3442:
3437:
3433:
3428:
3424:
3415:
3411:
3406:
3402:
3393:
3389:
3384:
3380:
3371:
3367:
3350:
3346:
3337:
3333:
3320:
3316:
3311:
3293:Prosody (Greek)
3284:
3276:
3274:
3272:
3261:
3259:
3257:
3255:
3253:
3235:
3233:
3231:
3229:
3227:
3209:Deutschlandlied
3198:
3196:
3194:
3176:
3174:
3172:
3161:
3104:
3052:
3046:
3035:
3033:
3031:
3024:
3022:
3020:
3003:Deutschlandlied
2996:
2994:
2992:
2985:
2983:
2981:
2960:
2920:
2915:
2899:
2889:
2876:
2871:
2842:
2840:
2838:
2831:
2829:
2827:
2782:
2780:
2775:
2773:
2766:
2764:
2755:
2753:
2736:
2706:
2704:
2702:
2700:
2698:
2693:
2691:
2689:
2687:
2685:
2678:
2676:
2674:
2672:
2670:
2644:
2642:
2640:
2633:
2631:
2629:
2609:
2607:
2605:
2603:
2601:
2596:
2594:
2592:
2590:
2588:
2581:
2579:
2577:
2575:
2573:
2510:
2493:
2486:
2466:
2458:
2456:
2454:
2447:
2445:
2443:
2395:
2384:
2382:
2377:
2375:
2368:
2366:
2343:
2341:
2336:
2334:
2327:
2325:
2309:
2307:
2302:
2300:
2293:
2291:
2271:
2246:
2241:
2234:
2208:
2206:
2201:
2199:
2192:
2190:
2175:
2173:
2168:
2166:
2159:
2157:
2140:
2124:
2112:
2110:
2108:
2106:
2104:
2102:
2097:
2095:
2093:
2091:
2089:
2087:
2080:
2078:
2076:
2074:
2072:
2070:
2047:
2020:
2018:
2016:
2014:
2012:
2010:
2005:
2003:
2001:
1999:
1997:
1995:
1988:
1986:
1984:
1982:
1980:
1978:
1965:
1953:
1951:
1949:
1947:
1942:
1940:
1938:
1936:
1929:
1927:
1925:
1923:
1904:
1897:
1895:
1893:
1875:
1873:
1871:
1869:
1852:
1839:
1837:
1835:
1833:
1831:
1829:
1812:
1808:
1798:
1796:
1794:
1790:
1781:// aut poēt(am)
1766:Εὔπολιν, πεύκην
1763:
1731:
1650:
1645:
1613:
1607:
1594:
1592:
1585:
1583:
1562:
1548:
1546:
1536:
1534:
1532:
1525:
1523:
1490:
1484:
1475:, for example:
1461:
1455:
1423:
1418:
1411:
1300:
1266:
1264:
1260:
1254:
1249:
1247:
1245:
1243:
1240:
1239:
1235:
1233:
1226:
1208:
1168:
1163:
1156:
1130:
1124:
1116:
1111:
1104:
1093:brevis brevians
1078:
1076:
1071:
1069:
1062:
1060:
1023:
986:
743:
610:
536:
531:
529:Prosody (Greek)
525:
468:; but he added
452:The grammarian
327:
250:
203:Brevis brevians
183:Brevis in longo
178:Metron (poetry)
98:Hendecasyllable
78:Iambic trimeter
63:Alcmanian verse
58:Elegiac couplet
17:
12:
11:
5:
4200:
4190:
4189:
4184:
4179:
4174:
4169:
4155:
4154:
4148:
4147:(Finnish hymn)
4140:
4129:
4119:
4109:
4106:Thomas Aquinas
4095:
4081:
4069:
4068:External links
4066:
4063:
4062:
4053:
4036:
4021:
4008:
3995:
3978:
3963:
3948:
3933:
3916:
3903:
3901:(1903), p. 75.
3890:
3877:
3868:
3859:
3846:
3833:
3820:
3800:
3798:, pp. 177–181.
3787:
3774:
3768:Aristophanes,
3761:
3734:
3721:
3708:
3688:
3663:
3646:
3633:
3609:
3596:
3581:
3568:
3562:Aristophanes,
3555:
3542:
3529:
3520:
3507:
3485:
3465:
3456:
3440:
3431:
3422:
3420:, p. 328 note.
3409:
3400:
3387:
3378:
3365:
3344:
3331:
3313:
3312:
3310:
3307:
3306:
3305:
3300:
3295:
3290:
3283:
3280:
3160:
3157:
3156:
3155:
3152:
3149:
3146:
3125:
3124:
3121:
3103:
3102:English poetry
3100:
3099:
3098:
3095:
3092:
3089:
3085:
3084:
3077:
3070:
3063:
3045:
3042:
2959:
2956:
2928:Arabic prosody
2919:
2916:
2909:Persian metres
2875:
2872:
2870:
2867:
2735:
2732:
2655:Thomas Aquinas
2509:
2506:
2465:
2462:
2394:
2391:
2270:
2267:
2139:
2136:
2123:
2120:
2046:
2043:
1964:
1961:
1903:
1900:
1864:, or the poet
1813:dichronon quod
1730:
1727:
1719:
1718:
1715:
1712:
1709:
1705:
1704:
1701:
1698:
1695:
1691:
1690:
1683:
1676:
1669:
1649:
1646:
1644:
1641:
1561:
1558:
1299:
1296:
1207:
1204:
1123:
1120:
1022:
1019:
985:
984:In early Latin
982:
981:
980:
977:
974:
971:
967:
966:
963:
960:
957:
953:
952:
945:
938:
931:
923:
922:
915:
908:
901:
885:
884:
880:
879:
875:
874:
866:
865:
848:
847:
844:
841:
838:
834:
833:
830:
827:
824:
820:
819:
812:
805:
798:
790:
789:
782:
775:
768:
742:
739:
731:
730:
727:
724:
721:
718:
714:
713:
710:
707:
704:
701:
697:
696:
689:
682:
675:
668:
660:
659:
652:
645:
638:
631:
609:
606:
591:
590:
587:
583:
582:
579:
575:
574:
567:
559:
558:
551:
535:
534:In Archilochus
532:
524:
521:
326:
323:
252:
251:
249:
248:
241:
234:
226:
223:
222:
221:
220:
215:
210:
205:
200:
195:
190:
185:
180:
175:
170:
165:
160:
155:
153:Sotadean metre
150:
145:
140:
135:
130:
128:Sapphic stanza
125:
120:
115:
110:
105:
100:
95:
90:
85:
80:
75:
70:
65:
60:
55:
50:
45:
37:
36:
15:
9:
6:
4:
3:
2:
4199:
4188:
4185:
4183:
4180:
4178:
4175:
4173:
4170:
4168:
4165:
4164:
4162:
4152:
4149:
4146:
4145:
4141:
4138:
4136:
4130:
4127:
4125:
4120:
4117:
4115:
4110:
4107:
4103:
4101:
4096:
4093:
4089:
4087:
4082:
4079:
4077:
4072:
4071:
4057:
4050:
4046:
4040:
4033:
4032:
4025:
4018:
4012:
4005:
3999:
3992:
3988:
3982:
3975:
3974:
3967:
3960:
3959:
3952:
3944:
3937:
3930:
3926:
3920:
3913:
3907:
3900:
3899:Latin Grammar
3894:
3887:
3881:
3872:
3863:
3856:
3850:
3843:
3837:
3830:
3824:
3817:
3813:
3809:
3804:
3797:
3791:
3784:
3778:
3771:
3765:
3758:
3754:
3750:
3747:
3743:
3738:
3731:
3725:
3718:
3712:
3705:
3701:
3695:
3693:
3685:
3681:
3677:
3673:
3667:
3660:
3656:
3650:
3643:
3637:
3630:
3624:
3622:
3620:
3618:
3616:
3614:
3606:
3600:
3593:
3592:
3585:
3578:
3572:
3565:
3559:
3552:
3546:
3539:
3533:
3524:
3518:for the rest.
3517:
3511:
3504:
3500:
3494:
3492:
3490:
3482:
3481:Keil, VII.258
3478:
3472:
3470:
3460:
3454:, Keil I.507.
3453:
3449:
3444:
3435:
3426:
3419:
3413:
3404:
3397:
3391:
3382:
3375:
3369:
3362:
3358:
3354:
3353:Greek Lexicon
3348:
3341:
3335:
3328:
3324:
3323:Greek Lexicon
3318:
3314:
3304:
3301:
3299:
3296:
3294:
3291:
3289:
3286:
3285:
3278:
3268:
3263:
3249:
3247:
3243:
3237:
3223:
3221:
3218:, written by
3217:
3212:
3210:
3206:
3200:
3190:
3188:
3185:, written by
3184:
3178:
3168:
3166:
3159:English hymns
3153:
3150:
3147:
3144:
3143:
3142:
3141:. It begins:
3140:
3139:
3134:
3130:
3122:
3119:
3118:
3117:
3115:
3114:
3113:Locksley Hall
3109:
3096:
3093:
3090:
3087:
3086:
3082:
3078:
3075:
3071:
3068:
3064:
3061:
3057:
3056:
3055:
3051:
3041:
3037:
3028:
3026:
3014:
3012:
3008:
3004:
2998:
2989:
2987:
2975:
2973:
2969:
2965:
2955:
2953:
2949:
2945:
2942:According to
2939:
2935:
2933:
2929:
2925:
2914:
2910:
2905:
2901:
2896:
2893:
2891:
2883:
2881:
2866:
2863:
2857:
2851:
2844:
2835:
2833:
2821:
2819:
2818:Cena Cypriani
2815:
2811:
2806:
2803:
2797:
2791:
2784:
2777:
2770:
2768:
2759:
2757:
2747:
2745:
2741:
2731:
2727:
2721:
2715:
2708:
2695:
2682:
2680:
2664:
2662:
2661:
2656:
2652:
2646:
2637:
2635:
2623:
2621:
2617:
2611:
2598:
2585:
2583:
2567:
2564:
2558:
2552:
2546:
2540:
2535:
2531:
2527:
2522:
2516:
2505:
2502:
2495:
2490:
2488:
2480:
2477:
2476:
2470:
2460:
2451:
2449:
2437:
2434:
2428:
2422:
2416:
2411:
2407:
2404:
2400:
2390:
2386:
2379:
2372:
2370:
2360:
2358:
2355:
2351:
2345:
2338:
2331:
2329:
2319:
2317:
2311:
2304:
2297:
2295:
2285:
2283:
2278:
2276:
2266:
2262:
2255:
2248:
2243:
2238:
2236:
2228:
2225:
2220:
2215:
2210:
2203:
2196:
2194:
2184:
2181:
2177:
2170:
2163:
2161:
2151:
2149:
2145:
2135:
2133:
2129:
2119:
2114:
2099:
2084:
2082:
2064:
2062:
2058:
2053:
2042:
2039:
2033:
2028:
2022:
2007:
1992:
1990:
1972:
1970:
1960:
1955:
1944:
1933:
1931:
1917:
1915:
1911:
1910:
1898:
1892:("tomorrow").
1891:
1886:
1880:
1867:
1863:
1859:
1855:
1850:
1846:
1841:
1826:
1824:
1814:
1800:
1782:
1772:
1760:
1750:
1739:
1736:
1726:
1724:
1716:
1713:
1710:
1707:
1706:
1702:
1699:
1696:
1693:
1692:
1688:
1684:
1681:
1677:
1674:
1670:
1667:
1663:
1662:
1661:
1659:
1655:
1640:
1638:
1632:
1626:
1621:
1615:
1611:
1605:
1601:
1596:
1589:
1587:
1577:
1575:
1574:
1568:
1556:
1553:
1543:
1537:
1529:
1527:
1517:
1514:
1508:
1503:
1497:
1494:
1491:
1488:
1476:
1474:
1468:
1465:
1462:
1459:
1447:
1445:
1441:
1435:
1432:
1425:
1420:
1415:
1413:
1405:
1403:
1399:
1398:Julius Caesar
1395:
1392:
1386:
1383:
1380:
1378:
1372:
1368:
1365:
1362:
1360:
1354:
1350:
1347:
1344:
1342:
1336:
1333:
1326:
1324:
1319:
1316:
1314:
1308:
1306:
1295:
1293:
1289:
1285:
1281:
1276:
1274:
1268:
1261:
1258:
1251:
1238:
1237:
1229:
1228:
1219:
1217:
1213:
1202:
1199:
1196:
1194:
1188:
1185:
1181:
1175:
1170:
1165:
1160:
1158:
1150:
1147:
1141:
1139:
1135:
1129:
1118:
1113:
1108:
1106:
1098:
1095:
1094:
1087:
1080:
1073:
1066:
1064:
1054:
1052:
1048:
1044:
1040:
1036:
1032:
1028:
1018:
1015:
1009:
1004:
1000:
994:
990:
978:
975:
972:
969:
968:
964:
961:
958:
955:
954:
950:
946:
943:
939:
936:
932:
929:
925:
924:
916:
909:
902:
895:
894:
893:
890:
882:
881:
877:
876:
872:
868:
867:
859:
858:
857:
855:
854:
845:
842:
839:
836:
835:
831:
828:
825:
822:
821:
817:
813:
810:
806:
803:
799:
796:
792:
791:
783:
776:
769:
762:
761:
760:
758:
754:
753:
748:
738:
736:
728:
725:
722:
719:
716:
715:
711:
708:
705:
702:
699:
698:
694:
690:
687:
683:
680:
676:
673:
669:
666:
662:
661:
653:
646:
639:
632:
625:
624:
623:
621:
620:
615:
605:
603:
598:
596:
588:
585:
584:
580:
577:
576:
572:
568:
565:
561:
560:
552:
545:
544:
543:
541:
530:
520:
517:
512:
507:
502:
497:
494:
488:
483:
478:
472:
466:
460:
455:
450:
448:
443:
437:
436:
429:
424:
420:
416:
411:
405:
402:
396:
390:
384:
378:
372:
360:
348:
346:
345:
339:
322:
319:
317:
311:
307:
303:
299:
297:
292:
289:
286:
285:
279:
275:
271:
267:
263:
259:
258:ancient Greek
247:
242:
240:
235:
233:
228:
227:
225:
224:
219:
216:
214:
211:
209:
206:
204:
201:
199:
196:
194:
191:
189:
186:
184:
181:
179:
176:
174:
173:Metrical foot
171:
169:
166:
164:
161:
159:
156:
154:
151:
149:
146:
144:
141:
139:
136:
134:
133:Alcaic stanza
131:
129:
126:
124:
121:
119:
116:
114:
111:
109:
106:
104:
101:
99:
96:
94:
91:
89:
86:
84:
81:
79:
76:
74:
71:
69:
66:
64:
61:
59:
56:
54:
51:
49:
48:Latin prosody
46:
44:
43:Greek prosody
41:
40:
39:
38:
35:
32:
31:
26:
21:
4177:Latin poetry
4143:
4056:
4048:
4044:
4039:
4030:
4024:
4016:
4011:
4003:
3998:
3990:
3981:
3972:
3966:
3957:
3951:
3936:
3928:
3919:
3906:
3898:
3893:
3885:
3880:
3871:
3862:
3854:
3849:
3841:
3836:
3828:
3823:
3815:
3811:
3807:
3803:
3795:
3790:
3782:
3777:
3769:
3764:
3756:
3752:
3746:Divus Julius
3745:
3737:
3729:
3724:
3716:
3711:
3703:
3679:
3666:
3654:
3649:
3641:
3636:
3604:
3599:
3590:
3584:
3576:
3571:
3563:
3558:
3550:
3545:
3537:
3532:
3523:
3510:
3502:
3476:
3459:
3443:
3438:Keil VI.288.
3434:
3429:Keil VI.134.
3425:
3417:
3412:
3403:
3395:
3390:
3381:
3373:
3368:
3352:
3347:
3339:
3334:
3322:
3317:
3270:
3265:
3251:
3239:
3225:
3213:
3205:Joseph Haydn
3202:
3192:
3180:
3170:
3162:
3136:
3132:
3129:Maya Angelou
3126:
3111:
3105:
3053:
3039:
3029:
3016:
3011:Joseph Haydn
3000:
2990:
2977:
2961:
2951:
2947:
2941:
2937:
2931:
2923:
2921:
2903:
2897:
2894:
2885:
2877:
2846:
2836:
2823:
2807:
2786:
2778:
2771:
2760:
2749:
2737:
2710:
2696:
2683:
2666:
2658:
2648:
2638:
2625:
2613:
2599:
2586:
2569:
2526:Peter Damien
2511:
2497:
2491:
2482:
2467:
2452:
2439:
2405:
2396:
2388:
2380:
2373:
2362:
2347:
2339:
2332:
2321:
2313:
2305:
2298:
2287:
2279:
2272:
2261:Hymnum dicat
2254:Hymnum dicat
2250:
2244:
2239:
2230:
2216:
2212:
2204:
2197:
2186:
2182:
2179:
2171:
2164:
2153:
2141:
2125:
2116:
2100:
2085:
2066:
2048:
2026:
2024:
2008:
1993:
1974:
1966:
1957:
1945:
1934:
1919:
1907:
1905:
1889:
1865:
1861:
1857:
1853:
1848:
1844:
1842:
1827:
1741:
1732:
1720:
1651:
1636:
1619:
1617:
1597:
1590:
1579:
1571:
1563:
1538:
1530:
1519:
1501:
1499:
1495:
1492:
1486:
1478:
1473:Aristophanes
1470:
1466:
1463:
1457:
1449:
1436:
1427:
1421:
1416:
1407:
1401:
1388:
1384:
1381:
1374:
1370:
1366:
1363:
1356:
1352:
1348:
1345:
1338:
1328:
1320:
1317:
1310:
1301:
1277:
1272:
1270:
1262:
1252:
1241:
1231:
1230:
1224:
1223:
1209:
1200:
1197:
1190:
1186:
1176:
1172:
1166:
1161:
1152:
1142:
1131:
1114:
1109:
1100:
1082:
1074:
1067:
1056:
1051:alliteration
1046:
1024:
998:
996:
992:
987:
948:
941:
934:
927:
888:
886:
870:
851:
849:
815:
808:
801:
794:
756:
750:
747:Aristophanes
744:
734:
732:
692:
685:
678:
671:
664:
619:the Persians
617:
616:'s tragedy,
611:
599:
594:
592:
570:
563:
537:
498:
451:
422:
406:
370:
358:
349:
342:
337:
328:
320:
313:
309:
305:
301:
293:
290:
274:poetic metre
269:
265:
255:
208:Porson's Law
143:Anacreontics
108:Aeolic verse
92:
68:Archilochian
3866:"pine tree"
3659:pp. 224–231
3577:Latin Metre
3536:Aristotle,
3516:Archilochus
3396:Tusc. Disp.
3327:τετράμετρος
3303:Archilochus
3187:John Newton
3181:Another is
3165:Love Divine
2787:Apart from
2508:Later hymns
2399:abecedarian
2063:of Athens:
2057:Seven Sages
1912:("Vigil of
1876:when I say
1729:Terentianus
1602:, and you,
1045:'s tragedy
752:The Knights
602:satyr plays
540:Archilochus
442:septenarius
421:'s tragedy
410:septenarius
325:Terminology
298:syllable):
138:Ionic metre
4161:Categories
3818:1201–1212.
3751:; Halporn
3540:. 1449a21.
3450:, quoting
3338:Xenophon,
2968:Ode to Joy
2410:Secundinus
2275:Prudentius
1969:Tiberianus
1963:Tiberianus
1444:paidagogos
1307:in 91 BC:
1021:In tragedy
608:In tragedy
428:septenarii
401:trochaicus
395:tribrachys
338:tetrámetra
332:τετράμετρα
4092:Plainsong
4019:, p. 162.
3993:, vol 35.
3929:Humanitas
3814:223–232,
3810:740–751,
3785:, p. 181.
3742:Suetonius
3728:Plautus,
3715:Plautus,
3672:Popillius
3640:Terence,
3603:Plautus,
2972:Beethoven
2740:Angelbert
2714:prētiōsum
2501:repentina
2132:plainsong
1866:Eurīpidēs
1786:Εὐριπίδην
1639:element.
1608:water of
1604:Taenarian
1552:sarmentum
1513:sarmentum
1257:Cornelius
1206:In satire
1122:In comedy
1047:Alexander
853:The Birds
749:' comedy
741:In comedy
614:Aeschylus
493:quadratus
487:quadratus
477:quadratus
407:The name
389:trochaeus
383:trochaeus
359:trokhaîos
218:Catalexis
163:Lekythion
4051:, p. 75.
4043:Halporn
3875:"kindly"
3827:Seneca,
3759:, p. 78.
3579:, p. 47.
3503:Traditio
3448:Diomedes
3394:Cicero,
3372:Cicero,
3357:τροχαῖος
3282:See also
3133:Equality
3108:Tennyson
2641:my soul;
2530:cardinal
2354:Poitiers
2045:Ausonius
2038:violarum
1879:āuspices
1851:("but"),
1845:ăuerusan
1759:corripit
1744:αὐέρυσαν
1542:scriptum
1507:scrīptum
1440:Plutarch
1212:Lucilius
1039:Pacuvius
1003:resolved
523:In Greek
447:Diomedes
419:Pacuvius
371:khoreîos
353:τροχαῖος
316:resolved
158:Dochmiac
118:Glyconic
113:Choriamb
103:Choliamb
3943:et īdem
3831:1201–3.
3829:Phaedr.
3816:Phaedra
3812:Oedipus
3670:Marcus
3642:Phormio
3605:Captivi
3361:χορεῖος
3044:Finnish
2874:Persian
2720:prētium
2032:lucebat
1854:Eupolis
1658:Hadrian
1625:miserīs
1600:Avernus
1573:Phaedra
1502:Satires
1394:triumph
1292:Juvenal
1288:Persius
1216:satires
1146:Captivi
1138:Terence
1134:Plautus
1031:Naevius
856:(286):
377:choreus
365:χορεῖος
4049:Meters
4045:et al.
3912:p. 184
3888:13.17.
3857:1.455.
3757:Meters
3753:et al.
3730:Pseud.
3704:Hermes
3684:p. 229
3607:251–2.
3566:305–7.
3475:Bede,
3398:1.106.
2958:German
2952:anceps
2944:Wright
2918:Arabic
2796:nepóti
2790:Auróra
2421:audite
2401:Latin
2251:As in
2027:anceps
1890:āurion
1862:eunous
1860:, and
1804:αὔριον
1776:εὔνουν
1648:Florus
1637:anceps
1631:rapite
1620:anceps
1606:caves,
1431:urbáni
1402:anceps
1391:Gallic
1290:, and
1284:Horace
1273:anceps
1259:! ...
1043:Ennius
1035:Ennius
1027:Livius
1014:melior
1008:mulier
999:anceps
757:anceps
735:anceps
595:anceps
435:tibiae
423:Iliona
415:Cicero
296:anceps
264:, the
188:Anceps
3855:Iliad
3808:Medea
3770:Peace
3717:Asin.
3564:Birds
3452:Varro
3374:Orat.
3355:s.v.
3340:Symp.
3325:s.v.
3309:Notes
2948:ramal
2932:ramal
2926:(see
2924:ramal
2880:Hafez
2726:cibum
2539:ānima
2427:omnes
2061:Solon
1914:Venus
1885:āurum
1858:peukē
1849:autar
1754:αὐτάρ
1610:Lethe
1323:Carbo
1180:forās
1086:adest
889:Birds
480:").
344:aulos
4131:The
3886:Ecl.
3772:335.
3732:695.
3719:512.
3644:551.
3538:Poet
3342:6.3.
2911:and
2793:and
2723:and
2560:and
2545:frūī
2542:and
2469:Bede
2403:hymn
2219:Bede
2035:and
1882:and
1818:ἄλφα
1136:and
1037:and
1011:and
501:Bede
260:and
3244:by
3131:'s
3110:'s
2966:'s
2284:":
1628:or
1555:!"
1396:of
462:or
256:In
4163::
4090:.
4047:,
3989:.
3927:.
3755:,
3749:51
3744:,
3702:.
3691:^
3686:).
3682:,
3612:^
3501:.
3488:^
3479:,
3468:^
3359:,
2717:,
2424:|
2318::
1856:,
1771:et
1294:.
1286:,
1033:,
1029:,
347:.
4139:.
3961:.
3914:.
3661:.
3631:.
3483:.
3363:.
3329:.
1868:.
1843:"
1807:.
1789:;
1762::
368:(
356:(
335:(
245:e
238:t
231:v
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