Nam quo tempore praedium dedisti, XI. 18. 13. Epitaph on Little Erotion. Hanc tibi, Fronto pater, genetrix Flaccilla, puellam oscula commendo deliciasque meas, parvula ne nigras horrescat Erotion umbras 5 Impletura fuit sextae modo frigora brumae, V. 34. LOGAOEDIC VERSE. (Only the general principles needed for the poetry in this book are here stated. Exceptional cases are treated, as they occur, in the notes.) 1. Logaoedic is the name of a form of rhythm in which a great body of Greek and Roman lyric poetry was written. Logaoedic verse is made up of trochees (or their metrical equivalents >, see p. 13) and dactyls. But the dactyls had not the same value in this verse as in the Heroic Hexameter; for in that verse each dactyl had the time, equivalent to (=), and the spondee could be substituted for the dactyl. But in logaoedic verse the dactyls must have had the time of the trochee, ~ (=); hence we cannot indicate them by or speak of them as ordinary dactyls. They are called w cyclic dactyls, and are indicated by(), or by In Latin poetry such a dactyl is generally preceded by an irrational spondee, -> 2. Syncope. Sometimes a single syllable serves as an entire foot; i.e., in singing, the syllable was held during three beats (the equivalent of This is called syncope, and is indicated by the sign 3. Pause. Catalexis. Syncope never occurs at the very end of a verse. When a single long syllable seems to stand there for a whole foot, we are to understand that a pause followed equivalent to the time of the omitted. Such a pause is indicated by the sign. The foot at the end of the verse is then incomplete, and the verse is called catalectic. A complete verse is called acatalectic. 4. Syllaba anceps. The last syllable of a logaoedic verse may be long or short indifferently. It is considered and marked long in metrical schemes when the metre requires it to be long; or short when the metre requires it to be short. 5. Anacrūsis. Not every song begins with emphasis or accent on the first word and note. For example, in Fair Harvard we do not reach the swing of the song until we come to the syllable Har-, and there are two unaccented notes for the word Fair. Similarly, not every logaoedic verse begins with a syllable that has the ictus. An unaccented syllable at the beginning of a logaoedic verse is called anacrūsis (áváκpovσis, upward beat). It may be short or irrational (~ or >); that is, it has the time of the arsis of a trochee. It is set off from the rest of the metrical scheme by a perpendicular series of dots, thus: l!u. 6. Rhythmical Sentence. A long verse in any metre or any language is apt to fall into two or more separate groups of feet. Thus, in the trochaic tetrameters or septenarii, 'Once to every man or nation || comes the moment to decide In the strife of Truth with Falsehood || for the good or evil side' each verse drops naturally into two parts. Each part forms a rhythmical sentence or series (in Greek а кŵλov). In English verse a rhythmical sentence ends with the end of a word, not within a word, and this is true, generally, in a Latin verse. 7. Forms of rhythmical sentences. In logaoedic verse the shortest rhythmical sentence consists of two feet, and is called a dipody. We find also tripodies, tetrapodies, pentapodies, and (though not in this volume) hexapodies. The following are the principal logaoedic rhythmical sentences occurring in this book. Most of them contain each a single dactyl. 9. The commonest kind of tripody, and the only kind occurring in this book, is called Pherecratic. It is termed first or second Pherecratic, according as the dactyl stands in the first or second foot, thus: 10. The second and first Pherecratic may be united and thus form a single verse of two rhythmical sentences, called the Lesser Asclepiadean verse, thus: Examples: Quis multa gracilis te puer in rosa perfusus liquidis urget odoribus. Nec quisquam potior bracchia candidae. Observe that in this combination there is syncope (§ 2) at the end of the first sentence, and that the second sentence is catalectic (§ 3). TETRAPODIES. Three forms of tetrapody occur in this book. 11. The commonest kind of logaoedic tetrapody is called Glyconic, and first second, or third Glyconic, according to the foot in which the dactyl is found. In this book we have only the second Glyconic, and it is found catalectic (§ 3), thus: 13| tuul!UILA Examples: Cui flavam religas comam. Donec gratus eram tibi. 12. Another form of tetrapody, containing two dactyls, is called the Lesser Alcaic: Example: flumina constiterint acuto. 13. A third form of tetrapody, trochaic, not logaoedic, since it is without a dactyl, may be mentioned here for convenience. It has anacrusis (§ 5), and is called the Nine-syllable Alcaic (or Enneasyllabic): Example: Silvae laborantes geluque. PENTAPODIES. Three forms of pentapody occur in this book. Each has a single dactyl. 14. The Phalaecean or Hendecasyllabic has the dactyl in the second foot, thus. UILUILU Example: passer, deliciae meae puellae. Observe, however, that in Catullus, as in Greek poets, the first syllable of the verse may be an iambus, giving the scheme : Example: Et acris solet incitare morsus. 15. The Greater Alcaic has the dactyl in the third foot, and the verse begins with anacrusis (§ 5) and is catalectic (§ 3), thus: Examples: ~|-~~ILU ILA Vides ut alta stet nive candidum 16. The Lesser Sapphic or Sapphic hendecasyllabic has the dactyl in the third foot, thus: Example: otium Catulle tibi molestumst. But in Horace we always find an irrational syllable before the dactyl, and generally there is caesura after the first syllable of the dactyl, so that for his poetry the usual scheme is : 17. Ancient poetry was sometimes written, like our blank verse, by the line, as in the Hexameter, when verses in the same metre follow one another throughout the poem. The Phalaecean (§ 14) and the Lesser Asclepiadean (§ 10) were often thus employed. But sometimes a poem was divided, like much of our modern poetry, into stanzas or strophes. An example of the shortest form of strophe is the Elegiac Distich (see p. 12). In this we observe that the two verses are in different metres which repeat in alternation throughout. 18. Another two-lined strophe is obtained by combining a Second Glyconic verse (§ 11) with a Lesser Asclepiadean (§ 10), thus: Donec gratus eram tibi nec quisquam potior bracchia candidae. 19. The famous four-lined stanza called the Sapphic Strophe is composed of three Lesser Sapphics (§ 16) and an Adonic (§ 8), thus: |