Page:The New International Encyclopædia 1st ed. v. 20.djvu/126

VERSIFICATION. 92 VERSIFICATION. „.iw-:-, w-i-o-— , >-^-^ (or for the antibac- pody catalectic. Xo resolutions are allowed in chius these reversed). The tetrameter acatalcc- the first colon, or substitutions in the second. tic is the most common measure. ^I"^^ — ^1 ~ ^1~ — I— A _=-— — I „ _! I— -= 1"^^ I ^ - *^l ^'°^ I Torqua | to mo 1 ve |{ consule | rts dx^tJ, I rts dPfia ] irpoa^TTTa ^' dtpeyy7)s; — ^ ^-' | — A -Esch. /'/-om. 115. pressa me | o ^^-l^--"^ >_^.^_ Hor. Ep. 13, 6. ut malis I gaudeant II atqu(e) ex in ! commodis (3) The elegiambus, which is the same as the Ter. And. G2i. iambelegus with the cola reversed. In the lyric portions of Greek tragedy, where jl„^|^__|_!./ „i .'_^|-=- >| ^ great excitement is expressed, a peculiar foot, scribere | versicu | los || a ] more | percus | sum called dochmiac, is found, made up of an iambus „ j _=_ A and a eretic ( — — , — — — ), or of a bacchius and gra | vi an iambus ( , ~- — ). Since all possible sub- Hor. Ep. 11, 2. stitutes for the constituent parts are allowed, the Consult: Eossbach and Westphal, iletrik der foot appears m a great variety of forms. griechischen Dramatiker und Lyriker (3d ed., Choriambic and Ionic Rhtthms. Many Leipzig, 1886) ; Muller, De Re Metrica (ib., verses once called chonambic are now regarded iggi). Schmidt, Die Kunstformen der griech- as logaoedic: genuine chonambics are exceedingly if^chen Poesie (ib., 1868-69) : Christ, iletrik der rare, there being not over SIX cases m Latm. Oriecheii und ROmer (2d ed., ib., 1879); Gle- — ^ -' -:--^^-.'— -^w — -:-N^v.,w-:_ ditsch, iletrik der Griechen und Rimer, in Von Seivli ^v oJiv, I S€Lvb. Tapi<r «t ffo06s oi | '■>m0^as Miiller's Handbuch (3d ed., Munich, 1901) . ^oph. O. T. 484. . I^^__^| / _ „^ KOMANCE TEBSIFICATION. utnequequid me faciam j nee quid agam|l Like the Romance languages, versification in > i ^ A the various Romance countries can be treated certum sit. under one head, for they all have a common Ter. Adel. 611. foundation and undergo various influences. The close of the second example is apparently The influence of classic Latin, Oriental, and an iambic dipody catalectic. German versifications is very slight as compared . Ionic rhj-thnis appear chiefly in tripodies and with the influence in the Middle Ages of Proven- tetrapodies. tal. and in the Renaissance of Italian versifica- „„-f-_^| „^ — — ~^ -^ — ~ tion on those of other countries. -rtiripaKiti /liv o irtpffi xToXis tjSti The long or short quantity of vowels plays no ■" [ w — I WW I — — part in Romance versification, except in some ^aaL€tos crpaTos et's av rtiropov yei | rova x^pa" scattered and fruitless attempts at imitations of xEsch. Pcrs. G.5-66. antique A'erse, as in the vers mesurcs of Baif -^-^ w_| -^ - — ^~i~ — — —I— — A in the sixteenth century and even more recently. molles, vete | res Delia i ci manu re 1 cisi. There are, also, more accented remodelings of the" Petron. 23. old measured verse which show an inclination to The iojii'c a minore tetrameter catalectic or replace syllable length by word accent. Exam- GalUambic verse admits of the greatest variety pics of this are to be found all the way from of resolutions and substitutions, which can only the 'Eulalia-sequence' down to the 'Odi barbare' be seen by a study of Catullus, 63. of the Italian Carducci in our own day. DACTrLO-EpiTRiTic Rhytiims. About one-half The principle of fixed syllable count is funda- the extant poems of Pindar are written in the dac- mental in all Romance verse. The rh;s-thm is tylo-epitritic measure, which consists of dac- marked by one or more fixed accented syllables, tyls, spondees, prolonged syllables ^j, and epi- These are the final syllables of the verse and of trites. The epitrite is a dipody of the form the syllabic series when there is more than one l:.^-:-— , which may also be catalectic, u- — — a. accented .syllable in the verse. The counting of An unaccented syllable at the beginning of the syllables in each syllabic series or verse includes verse (anacrusis) is also permitted. this last accented syllable; the one or two _^ww| _ WW ).^_l 1-^. ■_ _ |( ^ww I -!- optional additional syllables at the end of the TwSapi I 5ois re 0i I Xo|e/ I mis aSeTv Ka XiTrXoitti | /lifi syllabic series or verse cannot alter the rhythm, ~— I —A fur these syllables are unaccented. In the earlier fl' 'EX^ j i/f Romance verse we find ver.ses with three or even _l -^w _| ^__| i._|L:.w-!-A four fixed accents, as in the trocliaic elcven-syl- k(i ] rav AKpa 7a>Ta 7e | paiaiv ] et'xoiJ.ai. lalile and fourteon-syllablo verse ; also the twelve- I'iiid. 01. 3, 1-2. syllalile verse with accented fourth, eighth, and Dactyi/1-Trociiaic Rhythms. These verses twelftli, long used in the French folk-songs. consist of two separate cola, one dactylic, the A second principle of Romance versification other trochaic. The following combinations are is the vocalic or consonaiitvocalic likeness in distinguished: (1) the f/rco/cr .l/r/ii/or/iiV/H, eon- sound of the last accented syllable at the end sisting of a dactylic tetrameter acataleetic, and of two or more verses. Assonance (likeness of a trochaic tripody. vowels) :ind rhyme (likeness of vowels and con- • I -^ w — I -^ ■" I ~ ■""" ~~l~ sonants) emphasize the verse-ending and make solvitur I acris hi ! ems II gra I ta vice II veris I et the rhythm of the verse fall more sharply on ^ — > the ear, thus compensating in some measure for Favoni tlie decrease, as time went on, in the number Hor. 0. 1, 4, 1. of fixed accented syllables. (2) The iambelegus, a trochaic dimeter cata- Very few Romance verses are found entirely lectio with anacrusis followed by a dactylic tri- without rhyme or assonance; yet even more scl-