Page:The New International Encyclopædia 1st ed. v. 20.djvu/125

VERSIFICATION. 91 VERSIFICATION. B-X(i7XS'j ^1 xci Tpo( I j;5 II le ptii/ vroXi e$pov ^ I TTipiJiV Odys. 1, 1-2. conticu I er(e) om | nes, || in j teiiti | qu(e) ora te I nebant. — *^rf|— ^.>_.|~ I— 11 I— ^f li_ inde to | ro pater | ^ne | as || sic | orsus ab | alto. Vergil .En. 2, 1-2. The dactylic pentameter consists of two cata- lectic dactylic tripodies, scpaiatcd by dia;resis. .Spondees as substitutes for the dactyls are per- mitted only in the first half of the verse, and syllaba anceps is allowed onlj' at the end of the second tripody. Tliis verse is never used by itself, but always follows a dactylic hexameter, the two making an elcr/iac distich. This couplet is found in elegiac poetry (hence the name), and was frequently em])lo3'ed for amatory verse and epigrams. t3 ^eiv I d77A | Knp ]| Aokc | Saifiovt | ois6rt | r^5< Kiifxida I Toh Ket I vojv l>i)iiaai weiddfie ! vo( Tityrus | et sege | tes || .(E | neia | qu(e) arma le I gentur Roma tri | umpha | ti || dum caput | orbis e j rit Ovid Am. 1, 15, 25-26. The tetrameter aeatalectic was used by Alcman and other Greek lyricists in dactylic strophes. A tetrameter catalectic with an hexameter forms the Archiloehian strophe, and the trimeter catalectic is known as the lesser Archiloehian. verse; both are employed by Plorace. Anap.^stic Rhythms. Anapspstic verses are much more numerous in Greek than in Latin, as the latter language does not lend itself readily to this measure. The most common metrical equivalents for the anapsest ( w w — ) are the spondee ( — -^) . dactyl ( — c^), and rarely the proccleusmatie („, ^ i „). The verses are meas- ured in dipodies. The common forms in Greek are: (a) the manometer; (b) the dimeter aeata- lectic; (c) the dimeter catalectic or parcemiac, e.g.: (a) ffi^t^ui I vo% 6p.ov Arist. Av. 221. (6) TTcp&ywv ip€T^i ffiv ipetrijbp.€V0L .Esch. Ag. 52. (c) (7^ ix^v ef' Trpd.dGOVT [ itrixalpio Soph. Aj. 136. Both tragedy and comedy frequently employ a series of anaptestic dimeters, aeatalectic, with an occasional monometer, closing always with a paroemiac. the whole forming an anapa-stie si/s- tem. Such systems are very common as march movements, e.g. (d) Sixarov piv iros t65' (Trel Ilpidpov p4yas dvTidfKot MevAaos &va^ ^5' ^ Ayati^pvuv, Vol. XX.— 7. ii.6pbvoi Ai66ev Kal SKTKiJTTTpoti Ti(U'/s dxvpbv I {«C7os 'ATpeiJa» ffT6ot> ^Apyeiwv xiXtovaJh-av T^(r5' dtrb x^P^^ 9]pav, (TTpaTiC) I Tiv dpwyqv. .Eseh. Ag. 40-47. By the union of an acatelectic with a catalectic dimeter the anapwstic tetrameter catalectic is formed, which was employed by Tyrta-us and Epicharmus, and which in Attic comedy is the regular measure for the entrance and departure of a chorus or an actor, for the parabasis, and for the chief part of the agon. (f) S7eT', i5 STrdpras | imirXoi, Koupoi, {| Tor I - - ^ -1 j _ i »A rdv "Apeoy | Klvaatv Tytr. frg. 16. vp.€is 5' i}/j.ii/ 1 7rp6(rx€re rbv vovv || ;^afpoj'T€S .1 I ^ w i _A Arist. Eg. 69. In Latin, anapnestic measures are found in Plantus, where their measurement is often doubt- ful ; Terence avoided them; but Varro, Seneca, Prudentius, and .other late writers employed them, conforming, however, more strictly to their Greek models than Plautus did. Of the forms enumerated above, 6, c, d. and e are found. {!>) hie homost onini(um) homi ] num prsecipuos voluptatibus gau | diisqu(e) antepotens. Plaut. Trin. 1115-16. (c) iiimis tand(em) eg(o) abs te | contemner Plaut. Ps. 916. ^ ^, i I ^, s^ i • (rf) sed quis hie est qu(i) in j plate(am) ingreditur cum nov(o) ornatu | specieque simul ? I)oI quamquam domi ] cupi(o) op | periar : qu{am) hie rem gerat, anim(um) | advortam Plaut. Trin. 840-842. ((') hunc hominemdecet|aur(o) expend(i): huio|| decet statuam statu(i) ' ex auro • Plaut. Bac. 640. Further in Latin two anapasstie dimeters aeat- alectic are combined to form a tetrameter aeat- alectic or oetonnrins. Diaeresis regularly occurs after the second dipody, and both liiatus and .11/llaha anceps are allowed before the diteresis. quidmihimeliustlquidmagis inremst || qu(am)a corpore vi | tam secludam Plaut. Rud. 220. Cretic and Bacchiac Rhythms. Rhythms of this class are all employed to express great emotion. For the cretic (jl :_) may be sub- stituted the following forms: ^~.~:,^, ^ ^.fL>JL, .£,^>^, ^>o,^. The bacehius ( w -^ -:- ) may have the forma