1947:. ("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:
897:(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.
650:. 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,
1128:- 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;
1752:| 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."
1716:| – – 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."
1145:, 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
1282:- - | - - | - ||- | - 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,
1169:
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.
818:.' 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
1616:| – – 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."
2239:
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
1532:
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
999:
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,
2172:
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
1911:
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
1168:
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
442:
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,
2496:
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
2230:
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,
716:
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,
645:
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
2347:
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
475:
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
2190:
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
603:
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
1248:
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.
684:
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
1894:| 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."
2140:- - |- - |- 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"
2240:
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
636:
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.
454:
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
2126:
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
654:, 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
2182:- - 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."
2080:|– – 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."
2143:
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
1267:, 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
626:
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
1652:| 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."
1102:
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
334:. 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
2102:
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
1785:
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:
407:, 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
1285:
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.
1082:
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:
2194:|- 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."
2352:
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,
2374:
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
281:, "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
909:," 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 "
1457:
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
1413:(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 (
1782:– – 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"
1735:
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.
446:
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
721:
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.
2216:- -|- uu| - u |- u|- - vīvāmus mea Lesbi(a) atqu(e) amēmus - -|- u u|- u|- u|- - rūmōrēsque senum sevēriōrum - - |- uu | - u|- u |- - omnēs ūnius aestimēmus assis!
592:-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.
1742:, 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
1903:) 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.
889:
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
431:, 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".
717:
they are not always interchangeable: some metres permit substitutions where others do not. Thus a more straightforward analysis, favoured by recent scholarship, is by
1426:- 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
685:
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.
1263:
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
1760:
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
3043:
1294:
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
301:
poetry, which may have been accentual, Latin poets borrowed all their verse forms from the Greeks, despite significant differences between the two languages.
2246:, 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
919:
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
367:
poets. They were rich young men from the Italian provinces, conscious of metropolitan sophistication. They, and especially Catullus, looked to the scholarly
576:(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 (
1000:
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.
375:
for inspiration. The Alexandrians' preference for short poems influenced Catullus to experiment with a variety of meters borrowed from Greece, including
1397:
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.
791:
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
1915:
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!"
1119:(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
352:, 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
942:
epics, it was considered the best meter for weighty and important matters, and long narrative or discursive poems generally. Thus it was used in
243:
326:, 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
688:
It is often more convenient to consider iambics, trochaics and anapaests in terms of metra rather than feet; for each of these families, a
1315:- -| - u u| - || uu| - - | - u u | - - Dīffū-gērĕ nĭ-vēs, rĕdĕ-ŭnt iăm grāmĭnă cămpīs - u u| - u u | - ărbŏrĭ-bŭsquĕ cŏm-ae;
1619:
Some differences in prosody can be seen from later Latin. For example, the long vowel was usually preserved in the 3rd person singular (
646:"metrically dominant" part of the foot is sometimes called the "rise" and the other is called the "fall," the Greek terms for which are
1510:
The most popular type of iambic meter was the trimeter, also (especially with respect to the form used in comedy) called the iambic
893:(two short replaced by one long). In the iambic/trochaic family short syllables come one at a time, and some long elements may be
2197:
The Second Pythiambic features an iambic trimeter instead of iambic dimeter in the second line. Horace's Epode 16 is an example.
1594:
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
2073:
Caesuras are found after the first syllable either in the third or fourth feet, sometimes in both. Lines 2 and 3 of Catullus'
3024:
814:
The dividing of verse into long and short syllables and analysis of the metrical family or pattern is called 'scanning' or '
2330:
may not be counted as making a long syllable, and mute-plus-liquid combinations never make a syllable long. R. H. Martin,
604:
Zacynthus", where the final a remains short. (Note that Zacynthus cannot be mentioned in hexameter verse without licence.)
752:. This is called elision. At the (rare) discretion of the poet, however, the vowel can be retained, and is said to be in
236:
434:
Modern scholars have different theories about how Latin prosody was influenced by these adaptations from Greek models.
3052:
2961:
2942:
2923:
2867:
2531:
2362:
2723:
2665:
1645:'s 4th poem, which is written entirely in iambics throughout its 27 lines, with no resolved elements and with every
1586:
positions are filled by a long syllable more often than a short, but they are not all equal, since the 3rd and 5th
1271:. Catullus used elisions very freely, and sometimes he even allowed an elision to span the central diaeresis (e.g.
2131:. The iambic dimeter keeps the elements of a line-end, i.e. it is marked off from the hemiepes by a pause through
1649:
short. Except occasionally at the end of a line, the word-accents correspond entirely to the rhythm of the meter:
995:, a second hemiepes, and a final long element, so DuuD—. This is conventionally re-analyzed into six "feet," all
2308:
1545:
This meter is found extensively in the comedies of Plautus and Terence, and it was also used in the tragedies of
17:
1667:
elements are nearly always long, the 2nd, 4th and 6th invariably short. Resolved elements, such as in the words
1115:
These names refer to the number of half-feet before the position of the caesura. Dactylic hexameter often has a
3088:
1689:(word-break) after the 5th element, which ensures that the word-accent comes on the long 4th and 6th elements (
744:
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
229:
1449:
Iambic meters are made of "metra" or "dipodies" of which the basic shape is | x – u – | (here x represents an
1153:
Dactylic hexameters regularly end with a disyllabic or a trisyllabic word. Exceptions tend to be Greek words.
1731:
combines a trimeter with an iambic dimeter. His style is intermediate between Catullus and Seneca, with the
1405:
A dactylic tetrameter catalectic is sometimes joined to the dactylic hexameter to form a couplet termed the
923:
element) may never be resolved. Roman poets use two dactylic forms, the hexameter and the elegiac couplet.
450:
meter) and in some medieval verse, but otherwise the rhythm of Latin verse appears ambivalent and complex. (
1775:
Iambic septenarii are often associated with women in Roman comedy, as in the following line from Plautus's
1632:
above) could be scanned as two short syllables, especially when a pronoun was involved, a process known as
913:" or "half-epic" colon, — u u — u u — (sometimes abbreviated D). The two short syllables (called a
655:
1406:
795:, there must be a caesura in each line, and such caesuras almost always occur in the 3rd or 4th foot.
2474:"Princeps Aeolium carmen ad Italum," Odes 3.30.13; for his engagement with Catullus see Putnam (2006).
3083:
1312:
once described as "the most beautiful poem in ancient literature", introduced with these two lines:
1157:
72:
1590:
elements tend to be short more often than the other three. According to Gratwick, the 1st and 3rd
427:
or "iambic distich"). He also wrote dactylic hexameters in conversational and epistolary style.
2263:
2093:"to snatch", as she greedily reaches for food from the funeral pyre without regard for taboos.
1501:
879:
are marked with - and u directly above them e.g. Ā, ă, ĭ, ī, ō, ŏ, ŭ, ū (these don't indicate
87:
3078:
380:
33:
2137:, or through a hiatus. An example of this system is found in Horace's Epode 13, lines 9–10:
2519:
2273:
2150:, which creates the double spondee, adds to the exotic aura). The iambic dimeter ends with
753:
92:
2099:
used more variations, such as an anapaest in the fourth foot and a tribrach in the third.
1275:
77.4). The following is from one of his most famous elegies, mourning for a lost brother (
661:
Long and short syllables are marked (-) and (u) respectively. The main feet in Latin are:
8:
2298:
1554:
469:
and here is the same verse when the metrical pattern is allowed to determine the stress:
408:
1476:
elements in each metron, except at the end of the verse, making the metron | x – x – |.
3013:
2293:
2268:
2084:
1660:
1606:
1570:
1526:
1485:
931:
792:
456:
447:
388:
368:
349:
298:
197:
167:
122:
82:
52:
2452:, J.Boardman, J.Griffin and O.Murray (eds), Oxford University Press (1995) page 487-90
2436:, J.Boardman, J.Griffin and O.Murray (eds), Oxford University Press (1995) page 450-52
400:
3048:
3020:
2957:
2938:
2919:
2912:
2863:
2527:
2358:
2242:
984:
396:
315:
314:
The start of Latin literature is usually dated to the first performance of a play by
1131:
There are two elisions in line 3 and a bucolic diaeresis in line 1 (quī | prīmus ).
2288:
1464:
Different authors had different styles of writing iambic verse. In the comedies of
992:
978:
915:
647:
616:
some other exceptions to these rules are found, most notably the phenomenon called
600:
573:
556:
the digraphs ch, th, ph, representing single Greek letters, count as one consonant;
515:
it ends in a consonant and is followed by a syllable that begins with a consonant (
212:
192:
147:
622:, in which an unstressed long syllable can be shortened after a short one, e.g. vi
2278:
2175:
2152:
2133:
1550:
1505:
1419:
1258:
1141:
996:
906:
618:
546:
527:
341:
323:
207:
202:
182:
177:
97:
77:
62:
57:
2547:, Books I-VI, MacMillan (1972), Introduction page xxvii; W. F. Jackson Knight,
1764:('septenarius' means grouped in sevens). Used outside the theatre, it is called
2179:
or hiatus. An example has survived in Horace's Epode 11, as in lines 5-6 here:
1924:
1739:
1453:
element which can be short or long). Except at the end of a verse, the long or
1332:
939:
823:
596:
420:
384:
282:
152:
127:
3072:
2816:
2146:
1533:
a ''trimeter''; because when scanning we join together the feet in pairs."
1434:
1309:
1300:
964:
827:
549:
and short ones light. Consonants preceding the vowel do not affect quantity.
476:
interplay with the quantitative rhythm can be a source of aesthetic effects.
451:
412:
274:
260:
172:
132:
42:
2693:
2445:
2344:
2247:
2116:
1516:(meaning "in groups of six"), because it was considered to have six beats (
1429:
Note that the plosive + liquid combination pr in 'capreaeque', syllabified
1324:
376:
348:(239–169 BC), who introduced the traditional meter of Greek epic, the
286:
142:
107:
67:
2951:
2735:
2303:
1743:
1295:
1264:
416:
372:
137:
3005:
Oxford University Working Papers in Linguistics, Philology and Phonetics
2824:
2800:
1609:
into two short syllables. The example below comes from Terence's comedy
538:
1458:
319:
1685:
are allowed, though less frequently than in comedy. There is always a
2251:
1598:
tend to be unaccented, and thus give the impression of being short.
1566:
1492:
element was usually long, thus his preferred metron was | – – u – |.
950:
802:
strong (or masculine), when the caesura occurs after a long syllable;
733:
353:
217:
162:
2213:, for example in Catullus's famous poem (Catullus 5), which begins:
1897:
Catullus uses no variations at all here and he employs diminutives (
1755:
424:
2897:
Freeman, Philip (1998). "Saturnian Verse and Early Latin Poetics".
2206:
1928:
1642:
1558:
1557:(1st century AD) are both in this metre, and a few of the poems of
1477:
910:
815:
805:
weak (or feminine), when the caesura occurs after a short syllable.
729:
725:
392:
364:
290:
157:
117:
112:
102:
2860:
Vox Latina — a Guide to the Pronunciation of Classical Latin
2077:
59 about the grave-robbing wife of Menenius offer a good example:
1738:
The iambic distich is the basis of many poems of a genre known as
1094:
but here is a line from Virgil with only one caesura, a weak one:
2952:
Halporn, James W.; Martin Ostwald; Thomas G. Rosenmeyer (1994) .
2210:
2096:
1576:
The comedies of Plautus and Terence have a line of this pattern:
1469:
1465:
969:
868:
words are hyphenated wherever they include the end of a foot e.g
788:
613:
609:
569:
336:
331:
327:
2801:"Metre matters: some higher-level metrical play in Latin poetry"
318:
in Rome in 240 BC. Livius, a Greek slave, translated Greek
2820:
2283:
2205:
The hendecasyllable is an 11-syllable line used extensively by
2104:
2087:
in the third foot of the second line reinforces the meaning of
1724:
1562:
1546:
1410:
1121:
973:
958:
943:
428:
404:
357:
345:
294:
187:
3003:
Probert, Philomen. 2002. "On the Prosody of Latin Enclitics."
2893:
Edited by James Clackson, 92–104. Malden, MA: Wiley-Blackwell
935:
831:
267:
2991:
Parsons, J (1999). "A New Approach to the Saturnian Verse".
2823:, who is said to have invented the lyre: see Mankin, David,
1655:
Another style again is seen in the tragedies of the emperor
1641:
A completely different style of iambic trimeter is found in
2889:
Fortson, Benjamin W. 2011. "Latin Prosody and Metrics." In
2662:
The facts on File Companion to British Poetry, 19th Century
2524:
Vox Latina: a Guide to the Pronunciation of Classical Latin
2355:
Vox Latina: a Guide to the Pronunciation of Classical Latin
1656:
1268:
819:
1542:("thumb or big toe") or their foot to help their pupils.
1536:
He also says that teachers of metre beat time with their
934:
was used for the most serious Latin verse. Influenced by
443:
like Greek meter, even though Latin words bore stress.
423:
tradition (in which he adopted the metrical form of the
322:
for Roman audiences. He not only established the genre
3044:
How to Kill a Dragon: Aspects of Indo-European Poetics
822:), and sometimes according to the verse form (such as
711:
2993:
Transactions of the American Philological Association
1746:
was one of the main exponents of the iambic distich.
1623:
etc.); and occasionally a short-long sequence (as in
1298:. An example is found in the fourth book of Horace's
2971:
Mahoney, Anne (2001). "Alliteration in Saturnians".
1495:
2760:, University of California Press (2005), pages 34-5
2638:, University of California Press (2005), pages 40-1
2465:, University of California Press (2005), pages 32-7
1573:'s tragedies are also written in iambic trimeters.
1549:(of which only fragments survive). The proverbs of
1156:For the rhythmic hexameter of the Middle Ages, see
504:
it ends in two consonants or a compound consonant (
3012:
2911:
2844:, Cambridge University Press (1995), pages 219–20.
2487:Vol. I, Cambridge University Press (1988), page 28
1749:The following is the opening of Horace's Epode 2:
1139:at the ends of lines 2 and 4 count as spondees by
1087:sī nescīs, meus ille caper fuit, et mihi Dāmōn ...
572:(p, b, t, d, c, g) followed in the same word by a
297:, Virgil and Ovid as models. Except for the early
2985:Musa Pedestris: Metre and Meaning in Roman Verse.
2790:, University of California Press (2005), pages 33
2612:, University of California Press (2005), pages 40
2526:, 2nd edition, Cambridge University Press (2003)
2357:, 2nd edition, Cambridge University Press (2003)
1756:Iambic tetrameter catalectic (iambic septenarius)
1318:
526:it is the final syllable in a line of verse i.e.
489:Generally a syllable in Latin verse is long when
3070:
2680:, Cambridge University Press (1995), pages 20-22
2651:, University of California Press (2005), page 40
2326:Two significant differences are that word-final
2223:and as for the mutterings of over-strict old men
1323:Most extant examples of this meter are found in
2432:P. G. McBrown, 'The First Roman Literature' in
991:A dactylic hexameter consists of a hemiepes, a
472:quíd faciát laetás segetés, quo sídere térram.
466:quíd fáciat laétas ségetes, quó sídere térram,
463:when the words are given their natural stress:
767:is similarly elided (sometimes this is called
2935:Constructing Literature in the Roman Republic
2231:whereas Martial keeps to a spondaic opening.
633:, Lucretius 4.1035, scanned – u u – u u – –.
541:, and those ending in a consonant are called
237:
2877:Cole, Thomas (1972). "The Saturnian Verse".
2862:(2nd ed.). Cambridge University Press.
2334:, Cambridge University Press (1976), page 32
1912:known as a "versus reizianus", for example:
1098:frangeret indēprēnsus et irremeābilis error.
1090:et nōbīs īdem Alcimedōn duo pōcula fēcit ...
304:
2575:Titi Lucreti Cari De Rerum Natura Libri Sex
2423:, Cambridge University Press (1976), page 1
2191:following couplet introduces his Epode 15:
2088:
1898:
1704:
1690:
1677:
1668:
1633:
1624:
1537:
1529:has this to say about the iambic trimeter:
1517:
1511:
1149:forte sub argūtā cōnsīdĕrăt īlice Daphnis.)
628:
595:A final short open vowel standing before a
534:Otherwise syllables are counted as short.
2831:Vol. 102 (1989), pp. 133-140; pages 137–8.
2164:becoming long by the addition of a pause.
244:
230:
2688:
2686:
2450:The Oxford History of the Classical World
2434:The Oxford History of the Classical World
2226:let us count them all as worth one dime!"
2220:"Let us live, my Lesbia, and let us love,
2932:
2909:
2586:See Halporn, Ostwald, Rosenmeyer (1994).
2234:
2110:
837:
692:is two feet. Thus the iambic metron is
559:h at the beginning of a word is ignored;
3040:
2990:
2970:
2896:
2664:, Facts on File, Inc. (2010), page 98;
1923:This meter was originated by the Greek
1484:was always short, thus | u – u – |. In
537:Syllables ending in a vowel are called
391:, as well as iambic verses such as the
363:The late republic saw the emergence of
14:
3071:
3010:
2683:
2448:, 'The Poets of the Late Republic' in
2348:meter. In classical times, it was the
2121:
1772:means that the meter is incomplete).
1163:
665:Iamb: 1 short + 1 long syllable (cărō)
3065:Cambridge, UK: Cambridge Univ. Press.
3015:Poetic Interplay: Catullus and Horace
2857:
2722:Terentianus Maurus, 2191–2194 in the
2497:also Parsons, Freeman, Cole, Mahoney.
2167:
1709:. The lines below come from Seneca's
1488:'s tragedies, on the other hand, the
1289:
926:
846:u for short syllable or short element
674:Anapaest: 2 shorts + 1 long (pătŭlaē)
565:x and z each count as two consonants;
419:, composing poetic invectives in the
2954:The Meters of Greek and Latin Poetry
2876:
1900:cunīculī, medullulā, īmulā, ōricillā
1891:25, beginning with these two lines:
1553:(1st century BC), and the fables of
1400:
545:Long syllables are sometimes called
493:it has a long vowel or a diphthong (
344:, but it was his near contemporary,
340:into a rugged native meter known as
2914:A History of European Versification
2621:B. H. Kennedy and James Mountford,
2595:B. H. Kennedy and James Mountford,
2397:B. H. Kennedy and James Mountford,
2200:
1906:
843:— for long syllable or long element
712:Cola: a different way to look at it
27:Study of Latin poetic laws of metre
24:
2891:A Companion to the Latin Language.
1939:and sometimes the meter is called
1605:elements except the last could be
1480:experimented with poems where the
1252:
900:
756:. An example of this, in Virgil's
671:Dactyl: 1 long + 2 shorts (lītŏră)
309:
25:
3100:
2825:"Achilles in Horace's 13th Epode"
1887:An example is found in Catullus'
1719:
1496:Iambic trimeter (iambic senarius)
1461:(i.e. missing the last element).
668:Trochee: 1 long + 1 short (mēnsă)
2899:Journal of Indo-European Studies
2807:, 46, 99–120; see pages 101–104.
2734:There is a similar statement in
1579:| x – x – | x – x – | x – u – |
1569:. The dialogues and speeches of
1444:
798:There are two kinds of caesura:
399:(a dialogue meter borrowed from
2851:
2834:
2810:
2805:The Cambridge Classical Journal
2793:
2780:
2773:, line 419; cf. W. M. Lindsay,
2763:
2750:
2741:
2728:
2716:
2703:
2670:
2654:
2641:
2628:
2615:
2602:
2589:
2580:
2567:
2554:
2537:
2513:
2500:
2490:
2368:
2337:
2309:Latin phonology and orthography
3019:. Princeton University Press.
3011:Putnam, Michael C. J. (2006).
2937:. Cambridge University Press.
2858:Allen, William Sidney (2003).
2724:Bibliotheca Augustana edition.
2625:, Longman (1962), pages 204-5)
2477:
2468:
2455:
2439:
2426:
2413:
2404:
2391:
2320:
2185:
1918:
1319:Dactylic tetrameter catalectic
552:For the above rules to apply
437:
13:
1:
3061:Wilkinson, L. Patrick. 1963.
3035:Latin Metre: An Introduction.
2973:New England Classical Journal
2647:see for example Peter Green,
2549:Accentual Symmetry in Virgil,
2384:
1663:. Here, the 1st, 3rd and 5th
1409:, named after the lyric poet
2819:was associated with the god
1766:iambic tetrameter catalectic
1703:). There are no examples of
1659:'s tutor and prime minister
630:omnibu(s) rēbu(s) profundant
397:iambic tetrameter catalectic
7:
3047:. Oxford University Press.
2987:Oxford: Oxford Univ. Press.
2918:. Oxford University Press.
2562:Oxford Classical Dictionary
2560:Article "Brevis Brevians",
2510:, Cambridge (1963), page 94
2257:
1423:, as here in his Epode 12.
773:nec durum in pectore ferrum
680:Tribrach: 3 shorts (tĕmĕrĕ)
562:qu counts as one consonant;
484:
10:
3105:
2983:Morgan, Llewelyn. (2010).
2401:, Longman (1962), page 201
2114:
1499:
1331:1.7 and 1.28, but also in
1256:
1155:
782:
777:nec dur' in pectore ferrum
739:
724:Standard cola include the
696:– u –, the trochaic – u –
479:
3041:Watkins, Calvert (1995).
2933:Goldberg, Sander (2005).
2597:The Revised Latin Primer,
2410:See Goldberg for details.
809:
763:A word ending in vowel +
629:
305:Latin verse: a Greek gift
3037:London: Faber and Faber.
3033:Raven, David S. (1965).
2910:Gasparov, M. L. (1996).
2623:The Revised Latin Primer
2599:Longman (1962), page 203
2399:The Revised Latin Primer
2314:
1158:Latin rhythmic hexameter
530:, under that hypothesis.
411:, composing Sapphic and
73:Latin rhythmic hexameter
2129:the second Archilochian
1111:and that in the second
972:'s caustic satires and
954:On The Nature of Things
760:the "o" is not elided.
750:Phyllid' am' ant' alias
746:Phyllida amo ante alias
677:Spondee: 2 longs (fātō)
640:
3063:Golden Latin Artistry.
2879:Yale Classical Studies
2577:, vol. 1. pp. 123-126.
2551:Basil Blackwell (1950)
2264:Metres of Roman comedy
2089:
1899:
1705:
1691:
1678:
1669:
1634:
1625:
1538:
1518:
1512:
1502:Metres of Roman comedy
88:Metres of Roman comedy
3089:Prosodies by language
2788:The Poems of Catullus
2758:The Poems of Catullus
2649:The Poems of Catullus
2636:The Poems of Catullus
2610:The Poems of Catullus
2508:Golden Latin Artistry
2463:The Poems of Catullus
2235:Post-classical poetry
2156:, the short syllable
2115:Further information:
2111:Mixed dactylic/iambic
1500:Further information:
1257:Further information:
838:Guide to symbols used
381:hendecasyllabic verse
34:Greek and Latin metre
2698:The Classical Review
2545:The Aeneid of Virgil
2520:William Sidney Allen
2274:Trochaic septenarius
1441:) metrically short.
93:Trochaic septenarius
2799:Morgan, L. (2001).
2483:Richard F. Thomas,
2299:Clausula (rhetoric)
2122:Second Archilochian
1601:Any of the long or
1433:, leaves the first
1327:, such as Horace's
1164:Dactylic pentameter
1107:that in the fourth
852:for brevis in longo
787:In modern terms, a
608:In the comedies of
409:Alcaeus of Mytilene
2747:Terentianus, 2254.
2666:see Google preview
2573:Bailey, C. (1947)
2294:Resolution (meter)
2269:Dactylic hexameter
2168:Third Archilochian
1762:iambic septenarius
1661:Seneca the Younger
1527:Terentianus Maurus
1290:First Archilochian
932:Dactylic hexameter
927:Dactylic hexameter
793:dactylic hexameter
700:and the anapestic
457:dactylic hexameter
350:dactylic hexameter
198:Resolution (meter)
168:Anaclasis (poetry)
123:Asclepiad (poetry)
83:Saturnian (poetry)
53:Dactylic hexameter
3026:978-0-691-12537-4
2692:Gratwick (1991).
2421:Terence: Adelphoe
2365:, pages 86, 127).
2343:According to the
2332:Terence: Adelphoe
2067:
2066:
1881:
1880:
1407:Alcmanian Strophe
1401:Alcmanian strophe
1391:
1390:
1242:
1241:
1117:bucolic diaeresis
1076:
1075:
855:| for end of foot
543:closed syllables.
389:Greater Asclepiad
316:Livius Andronicus
289:, with verses by
254:
253:
16:(Redirected from
3096:
3084:Poetry movements
3058:
3030:
3018:
3000:
2980:
2967:
2948:
2929:
2917:
2906:
2886:
2873:
2845:
2838:
2832:
2814:
2808:
2797:
2791:
2784:
2778:
2775:Plautus: Captivi
2767:
2761:
2754:
2748:
2745:
2739:
2732:
2726:
2720:
2714:
2707:
2701:
2700:41.2; pp. 381–4.
2690:
2681:
2674:
2668:
2660:William Flesch,
2658:
2652:
2645:
2639:
2632:
2626:
2619:
2613:
2606:
2600:
2593:
2587:
2584:
2578:
2571:
2565:
2558:
2552:
2543:R. D. Williams,
2541:
2535:
2517:
2511:
2506:L.P. Wilkinson,
2504:
2498:
2494:
2488:
2485:Virgil: Georgics
2481:
2475:
2472:
2466:
2459:
2453:
2443:
2437:
2430:
2424:
2417:
2411:
2408:
2402:
2395:
2376:
2372:
2366:
2341:
2335:
2324:
2289:Biceps (prosody)
2201:Hendecasyllables
2092:
1954:
1953:
1907:Versus reizianus
1902:
1793:
1792:
1708:
1702:
1684:
1675:
1637:
1631:
1541:
1522:) in each line.
1521:
1515:
1472:, there are two
1342:
1341:
1176:
1175:
1007:
1006:
851:
648:arsis and thesis
632:
631:
584:-ris) or short (
246:
239:
232:
213:Arsis and thesis
193:Biceps (prosody)
148:Galliambic verse
30:
29:
21:
3104:
3103:
3099:
3098:
3097:
3095:
3094:
3093:
3069:
3068:
3055:
3027:
2964:
2945:
2926:
2870:
2854:
2849:
2848:
2839:
2835:
2815:
2811:
2798:
2794:
2785:
2781:
2768:
2764:
2755:
2751:
2746:
2742:
2733:
2729:
2721:
2717:
2708:
2704:
2691:
2684:
2675:
2671:
2659:
2655:
2646:
2642:
2633:
2629:
2620:
2616:
2607:
2603:
2594:
2590:
2585:
2581:
2572:
2568:
2559:
2555:
2542:
2538:
2518:
2514:
2505:
2501:
2495:
2491:
2482:
2478:
2473:
2469:
2460:
2456:
2444:
2440:
2431:
2427:
2418:
2414:
2409:
2405:
2396:
2392:
2387:
2381:
2379:
2373:
2369:
2342:
2338:
2325:
2321:
2317:
2279:Brevis in longo
2260:
2237:
2217:
2203:
2195:
2188:
2183:
2176:brevis in longo
2170:
2153:brevis in longo
2141:
2134:brevis in longo
2124:
2119:
2113:
2081:
1921:
1916:
1909:
1895:
1783:
1777:Miles Gloriosus
1758:
1753:
1727:in some of his
1722:
1717:
1706:brevis breviāns
1653:
1635:brevis breviāns
1617:
1580:
1551:Publilius Syrus
1534:
1525:The grammarian
1508:
1506:Iambic trimeter
1498:
1447:
1427:
1403:
1321:
1316:
1292:
1283:
1261:
1259:Elegiac couplet
1255:
1253:Elegiac couplet
1166:
1161:
1142:brevis in longo
1129:
1109:hephthemimeral,
929:
903:
901:Dactylic meters
875:long and short
849:
840:
812:
785:
758:fémineó ululátú
742:
714:
643:
619:brevis brevians
528:brevis in longo
487:
482:
473:
467:
440:
324:fabula palliata
312:
310:A brief history
307:
250:
203:Brevis brevians
183:Brevis in longo
178:Metron (poetry)
98:Hendecasyllable
78:Iambic trimeter
63:Alcmanian verse
58:Elegiac couplet
28:
23:
22:
18:Prosody (Latin)
15:
12:
11:
5:
3102:
3092:
3091:
3086:
3081:
3067:
3066:
3059:
3053:
3038:
3031:
3025:
3008:
3001:
2988:
2981:
2968:
2962:
2949:
2943:
2930:
2924:
2907:
2894:
2887:
2874:
2868:
2853:
2850:
2847:
2846:
2842:Horace: Epodes
2840:David Mankin,
2833:
2829:Wiener Studien
2809:
2792:
2779:
2762:
2749:
2740:
2727:
2715:
2702:
2682:
2678:Horace: Epodes
2676:David Mankin,
2669:
2653:
2640:
2627:
2614:
2601:
2588:
2579:
2566:
2564:, 2nd edition.
2553:
2536:
2512:
2499:
2489:
2476:
2467:
2454:
2438:
2425:
2419:R. H. Martin,
2412:
2403:
2389:
2388:
2386:
2383:
2378:
2377:
2367:
2336:
2318:
2316:
2313:
2312:
2311:
2306:
2301:
2296:
2291:
2286:
2281:
2276:
2271:
2266:
2259:
2256:
2236:
2233:
2228:
2227:
2224:
2221:
2215:
2202:
2199:
2193:
2187:
2184:
2181:
2169:
2166:
2139:
2123:
2120:
2112:
2109:
2079:
2071:
2070:
2069:
2068:
2065:
2064:
2062:
2060:
2058:
2055:
2053:
2050:
2046:
2045:
2043:
2041:
2039:
2037:
2034:
2032:
2028:
2027:
2025:
2023:
2020:
2017:
2015:
2012:
2008:
2007:
2004:
2001:
1995:
1989:
1986:
1980:
1977:
1976:
1973:
1970:
1967:
1964:
1961:
1958:
1920:
1917:
1914:
1908:
1905:
1893:
1885:
1884:
1883:
1882:
1879:
1878:
1876:
1874:
1872:
1869:
1867:
1865:
1863:
1860:
1856:
1855:
1852:
1849:
1846:
1840:
1837:
1834:
1831:
1825:
1822:
1821:
1818:
1815:
1812:
1809:
1806:
1803:
1800:
1797:
1781:
1757:
1754:
1751:
1721:
1720:Iambic distich
1718:
1715:
1651:
1615:
1578:
1531:
1497:
1494:
1446:
1443:
1425:
1402:
1399:
1395:
1394:
1393:
1392:
1389:
1388:
1386:
1384:
1381:
1379:
1375:
1374:
1371:
1368:
1365:
1362:
1359:
1358:
1355:
1352:
1349:
1346:
1320:
1317:
1314:
1291:
1288:
1281:
1254:
1251:
1246:
1245:
1244:
1243:
1240:
1239:
1237:
1235:
1233:
1231:
1228:
1225:
1221:
1220:
1217:
1214:
1211:
1208:
1205:
1202:
1199:
1198:
1195:
1192:
1189:
1186:
1183:
1180:
1165:
1162:
1151:
1150:
1127:
1105:penthemimeral,
1100:
1099:
1092:
1091:
1088:
1080:
1079:
1078:
1077:
1074:
1073:
1071:
1069:
1066:
1063:
1060:
1057:
1053:
1052:
1049:
1046:
1043:
1040:
1037:
1034:
1030:
1029:
1026:
1023:
1020:
1017:
1014:
1011:
928:
925:
902:
899:
887:
886:
885:
884:
873:
860:
859:
858:‖ main caesura
856:
853:
847:
844:
839:
836:
811:
808:
807:
806:
803:
784:
781:
741:
738:
713:
710:
682:
681:
678:
675:
672:
669:
666:
642:
639:
606:
605:
599:followed by a
593:
566:
563:
560:
557:
539:open syllables
532:
531:
524:
513:
502:
486:
483:
481:
478:
471:
465:
459:from Virgil's
439:
436:
413:Alcaic stanzas
385:Sapphic stanza
379:forms such as
311:
308:
306:
303:
283:Roman Republic
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:
26:
9:
6:
4:
3:
2:
3101:
3090:
3087:
3085:
3082:
3080:
3077:
3076:
3074:
3064:
3060:
3056:
3054:0-19-508595-7
3050:
3046:
3045:
3039:
3036:
3032:
3028:
3022:
3017:
3016:
3009:
3006:
3002:
2998:
2994:
2989:
2986:
2982:
2978:
2974:
2969:
2965:
2963:0-87220-244-5
2959:
2955:
2950:
2946:
2944:0-521-85461-X
2940:
2936:
2931:
2927:
2925:0-19-815879-3
2921:
2916:
2915:
2908:
2904:
2900:
2895:
2892:
2888:
2884:
2880:
2875:
2871:
2869:0-521-37936-9
2865:
2861:
2856:
2855:
2843:
2837:
2830:
2826:
2822:
2818:
2817:Mount Cyllene
2813:
2806:
2802:
2796:
2789:
2786:Peter Green,
2783:
2776:
2772:
2766:
2759:
2756:Peter Green,
2753:
2744:
2737:
2731:
2725:
2719:
2712:
2706:
2699:
2695:
2694:"Meyer's Law"
2689:
2687:
2679:
2673:
2667:
2663:
2657:
2650:
2644:
2637:
2634:Peter Green,
2631:
2624:
2618:
2611:
2608:Peter Green,
2605:
2598:
2592:
2583:
2576:
2570:
2563:
2557:
2550:
2546:
2540:
2534:, pages 83-88
2533:
2532:0-521-37936-9
2529:
2525:
2521:
2516:
2509:
2503:
2493:
2486:
2480:
2471:
2464:
2461:Peter Green,
2458:
2451:
2447:
2442:
2435:
2429:
2422:
2416:
2407:
2400:
2394:
2390:
2382:
2371:
2364:
2363:0-521-37936-9
2360:
2356:
2351:
2346:
2340:
2333:
2329:
2323:
2319:
2310:
2307:
2305:
2302:
2300:
2297:
2295:
2292:
2290:
2287:
2285:
2282:
2280:
2277:
2275:
2272:
2270:
2267:
2265:
2262:
2261:
2255:
2253:
2249:
2245:
2244:
2232:
2225:
2222:
2219:
2218:
2214:
2212:
2208:
2198:
2192:
2180:
2178:
2177:
2165:
2163:
2159:
2155:
2154:
2149:
2148:
2138:
2136:
2135:
2130:
2118:
2108:
2106:
2100:
2098:
2094:
2091:
2086:
2078:
2076:
2063:
2061:
2059:
2056:
2054:
2051:
2048:
2047:
2044:
2042:
2040:
2038:
2035:
2033:
2030:
2029:
2026:
2024:
2021:
2018:
2016:
2013:
2010:
2009:
2005:
2002:
1999:
1996:
1993:
1990:
1987:
1984:
1981:
1979:
1978:
1974:
1971:
1968:
1965:
1962:
1959:
1956:
1955:
1952:
1951:
1950:
1949:
1948:
1946:
1942:
1938:
1934:
1930:
1926:
1913:
1904:
1901:
1892:
1890:
1877:
1875:
1873:
1870:
1868:
1866:
1864:
1861:
1858:
1857:
1853:
1850:
1847:
1844:
1841:
1838:
1835:
1832:
1829:
1826:
1824:
1823:
1819:
1816:
1813:
1810:
1807:
1804:
1801:
1798:
1795:
1794:
1791:
1790:
1789:
1788:
1787:
1780:
1778:
1773:
1771:
1767:
1763:
1750:
1747:
1745:
1741:
1736:
1734:
1730:
1726:
1714:
1712:
1707:
1701:
1699:
1695:
1688:
1683:
1681:
1674:
1672:
1666:
1662:
1658:
1650:
1648:
1644:
1639:
1636:
1630:
1628:
1622:
1614:
1612:
1608:
1604:
1599:
1597:
1593:
1589:
1585:
1577:
1574:
1572:
1568:
1564:
1560:
1556:
1552:
1548:
1543:
1540:
1530:
1528:
1523:
1520:
1514:
1507:
1503:
1493:
1491:
1487:
1483:
1479:
1475:
1471:
1467:
1462:
1460:
1456:
1452:
1445:Iambic meters
1442:
1440:
1436:
1435:open syllable
1432:
1431:ca.pre.ae.que
1424:
1422:
1421:
1416:
1412:
1408:
1398:
1387:
1385:
1382:
1380:
1377:
1376:
1372:
1369:
1366:
1363:
1361:
1360:
1356:
1353:
1350:
1347:
1344:
1343:
1340:
1339:
1338:
1337:
1336:
1334:
1330:
1326:
1313:
1311:
1310:A. E. Housman
1307:
1303:
1302:
1297:
1287:
1280:
1278:
1274:
1270:
1266:
1260:
1250:
1238:
1236:
1234:
1232:
1229:
1226:
1223:
1222:
1218:
1215:
1212:
1209:
1206:
1203:
1201:
1200:
1196:
1193:
1190:
1187:
1184:
1181:
1178:
1177:
1174:
1173:
1172:
1171:
1170:
1159:
1154:
1148:
1147:
1146:
1144:
1143:
1138:
1134:
1126:
1124:
1123:
1118:
1114:
1113:trihemimeral.
1110:
1106:
1097:
1096:
1095:
1089:
1086:
1085:
1084:
1072:
1070:
1067:
1064:
1061:
1058:
1055:
1054:
1050:
1047:
1044:
1041:
1038:
1035:
1032:
1031:
1027:
1024:
1021:
1018:
1015:
1012:
1009:
1008:
1005:
1004:
1003:
1002:
1001:
998:
994:
989:
987:
986:
981:
980:
975:
971:
967:
966:
965:Metamorphoses
961:
960:
955:
952:
948:
945:
941:
937:
933:
924:
922:
918:
917:
912:
908:
898:
896:
892:
882:
878:
874:
871:
867:
866:
865:
864:
863:
857:
854:
848:
845:
842:
841:
835:
833:
829:
825:
821:
817:
804:
801:
800:
799:
796:
794:
790:
780:
778:
774:
770:
766:
761:
759:
755:
751:
747:
737:
735:
731:
727:
722:
720:
709:
707:
703:
699:
695:
691:
686:
679:
676:
673:
670:
667:
664:
663:
662:
659:
657:
653:
652:Greek Grammar
649:
638:
634:
625:
621:
620:
615:
611:
602:
598:
594:
591:
587:
583:
579:
575:
571:
567:
564:
561:
558:
555:
554:
553:
550:
548:
544:
540:
535:
529:
525:
522:
518:
514:
511:
507:
503:
500:
496:
492:
491:
490:
477:
470:
464:
462:
458:
453:
452:Ancient Greek
449:
444:
435:
432:
430:
426:
422:
418:
414:
410:
406:
402:
398:
394:
390:
386:
382:
378:
374:
370:
366:
361:
360:to build on.
359:
355:
351:
347:
343:
339:
338:
333:
329:
325:
321:
317:
302:
300:
296:
292:
288:
284:
280:
276:
275:Ancient Greek
272:
269:
265:
262:
261:Middle French
258:
257:Latin prosody
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:
19:
3079:Latin poetry
3062:
3042:
3034:
3014:
3004:
2996:
2992:
2984:
2976:
2972:
2953:
2934:
2913:
2902:
2898:
2890:
2882:
2878:
2859:
2852:Bibliography
2841:
2836:
2828:
2812:
2804:
2795:
2787:
2782:
2774:
2770:
2765:
2757:
2752:
2743:
2730:
2718:
2710:
2705:
2697:
2677:
2672:
2661:
2656:
2648:
2643:
2635:
2630:
2622:
2617:
2609:
2604:
2596:
2591:
2582:
2574:
2569:
2561:
2556:
2548:
2544:
2539:
2523:
2515:
2507:
2502:
2492:
2484:
2479:
2470:
2462:
2457:
2449:
2446:Robin Nisbet
2441:
2433:
2428:
2420:
2415:
2406:
2398:
2393:
2380:
2370:
2354:
2349:
2345:stress-timed
2339:
2331:
2327:
2322:
2248:Stabat Mater
2241:
2238:
2229:
2204:
2196:
2189:
2174:
2171:
2161:
2157:
2151:
2145:
2142:
2132:
2128:
2125:
2117:Archilochian
2101:
2095:
2082:
2074:
2072:
1997:
1991:
1982:
1944:
1940:
1937:lame iambics
1936:
1932:
1922:
1910:
1896:
1888:
1886:
1842:
1827:
1784:
1776:
1774:
1769:
1765:
1761:
1759:
1748:
1737:
1732:
1728:
1723:
1710:
1697:
1693:
1686:
1679:
1670:
1664:
1654:
1646:
1640:
1626:
1620:
1618:
1610:
1602:
1600:
1595:
1591:
1587:
1583:
1581:
1575:
1544:
1535:
1524:
1509:
1489:
1481:
1473:
1463:
1454:
1450:
1448:
1438:
1430:
1428:
1418:
1414:
1404:
1396:
1328:
1325:Lyric poetry
1322:
1308:4.7), which
1305:
1299:
1293:
1284:
1276:
1272:
1262:
1247:
1167:
1152:
1140:
1136:
1132:
1130:
1120:
1116:
1112:
1108:
1104:
1101:
1093:
1081:
990:
983:
977:
963:
957:
953:
946:
930:
920:
914:
904:
894:
890:
888:
880:
876:
869:
861:
813:
797:
786:
776:
772:
768:
764:
762:
757:
749:
745:
743:
723:
718:
715:
705:
701:
697:
693:
689:
687:
683:
660:
651:
644:
635:
623:
617:
607:
589:
585:
581:
577:
551:
542:
536:
533:
520:
516:
509:
505:
498:
494:
488:
474:
468:
460:
445:
441:
433:
362:
335:
313:
287:Roman Empire
278:
270:
263:
256:
255:
208:Porson's Law
143:Anacreontics
108:Aeolic verse
68:Archilochian
47:
2956:. Hackett.
2736:Quintillian
2711:Ars Poetica
2304:Golden line
2186:Pythiambics
1957:Variations
1933:choliambics
1931:. The name
1925:iambic poet
1919:Choliambics
1796:Variations
1744:Archilochus
1519:sēnõs ictūs
1345:Variations
1296:Archilochus
1265:enjambement
1179:Variations
1010:Variations
962:and Ovid's
956:, Virgil's
951:Lucretius's
523:sonitum) or
438:Two rhythms
417:Archilochus
415:, and with
373:Callimachus
369:Alexandrian
138:Ionic metre
3073:Categories
3007:7:181–206.
2999:: 117–137.
2385:References
2085:resolution
2031:tribrachs
1770:catalectic
1459:catalectic
976:'s genial
968:; also in
891:contracted
769:Ecthlipsis
732:, and the
401:Old Comedy
320:New Comedy
285:and early
2777:, p. 100.
2771:Aulularia
2769:Plautus,
2252:Dies Irae
2243:sequentia
2147:Cyllēnaeā
2011:spondees
1859:spondees
1582:The five
1567:Petronius
1378:spondees
1224:spondees
1056:spondees
775:reads as
748:reads as
734:lekythion
448:Saturnian
354:Lucretius
342:Saturnian
299:Saturnian
279:prosōidía
277:προσῳδία
218:Catalexis
163:Lekythion
2979:: 78–82.
2905:: 61–90.
2709:Horace,
2258:See also
2207:Catullus
2049:dactyls
1929:Hipponax
1643:Catullus
1607:resolved
1559:Catullus
1555:Phaedrus
1513:sēnārius
1478:Catullus
1370:— u u
1367:— u u
1364:— u u
1216:— u u
1213:— u u
1207:— u u
1204:— u u
1048:— u u
1045:— u u
1042:— u u
1039:— u u
1036:— u u
1033:dactyls
944:Ennius's
921:princeps
911:hemiepes
895:resolved
883:lengths)
881:syllable
834:meter).
816:scansion
771:): thus
730:glyconic
726:hemiepes
485:Quantity
461:Georgics
395:and the
393:choliamb
365:Neoteric
291:Catullus
271:prosōdia
264:prosodie
158:Dochmiac
118:Glyconic
113:Choriamb
103:Choliamb
2885:: 3–73.
2738:9.4.75.
2211:Martial
2162:pectora
2097:Martial
2075:Carmina
1945:limpers
1941:scazons
1889:Carmina
1713:13–15:
1687:caesura
1613:117–8:
1611:Phormio
1470:Terence
1466:Plautus
1415:carmina
1329:Carmina
1306:Carmina
1277:Carmina
1273:Carmina
997:dactyls
985:Letters
970:Juvenal
870:Trō-iae
862:Notes:
832:elegiac
824:Sapphic
789:caesura
783:Caesura
740:Elision
614:Terence
610:Plautus
597:plosive
588:-grum,
570:plosive
480:Prosody
377:Aeolian
337:Odyssey
332:Terence
328:Plautus
273:, from
266:, from
3051:
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2960:
2941:
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2866:
2821:Hermes
2530:
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2361:
2284:Anceps
2105:Sirmio
2090:rapere
2022:— —
2019:— —
2014:— —
1935:means
1740:Iambus
1733:anceps
1729:Epodes
1725:Horace
1665:anceps
1647:anceps
1603:anceps
1596:anceps
1592:anceps
1588:anceps
1584:anceps
1571:Seneca
1565:, and
1563:Horace
1547:Ennius
1539:pollex
1490:anceps
1486:Seneca
1482:anceps
1474:anceps
1455:anceps
1451:anceps
1420:Epodes
1417:) and
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1230:— —
1227:— —
1122:Aeneid
1068:— —
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993:biceps
974:Horace
959:Aeneid
947:Annals
916:biceps
907:dactyl
877:vowels
872:below;
828:Alcaic
810:Meters
754:Hiatus
728:, the
690:metron
601:liquid
580:-rum,
574:liquid
519:-tos;
429:Virgil
421:Iambus
405:Horace
383:, the
358:Virgil
346:Ennius
295:Horace
259:(from
188:Anceps
2315:Notes
2003:u —
1988:u —
1839:u —
1836:u —
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1373:— —
1333:Iambi
1133:Venit
979:Talks
940:Greek
936:Homer
905:The "
719:cola,
656:ictus
547:heavy
425:epode
371:poet
268:Latin
3049:ISBN
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2713:253.
2528:ISBN
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2250:and
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1301:Odes
1269:Ovid
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1191:3rd
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1135:and
1028:6th
1025:5th
1022:4th
1019:3rd
1016:2nd
1013:1st
982:and
830:and
820:lyre
641:Feet
612:and
506:dant
501:) or
495:scrī
387:and
356:and
330:and
2997:129
2160:in
1975:3b
1972:3a
1969:2b
1966:2a
1963:1b
1960:1a
1943:or
1820:4b
1817:4a
1814:3b
1811:3a
1808:2b
1805:2a
1802:1b
1799:1a
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