Νυνὶ δ ̓ ὁρᾶς, πράττει τὰ μέγιστ' ἐν τῇ πόλει. (2) If an apostrophe occurs after the first syllable of the anapaest, as Arist. Nub. 70. Ὥσπερ Μεγακλέης, ξυστίδ ̓ ἔχων· ἐγὼ δ ̓ ἔφην. (3) If a caesura, usually the πενθημιμερής, precedes, as Arist. Ran. 658. Τί τὸ πρᾶγμα τουτί; δεῦρο πάλιν βαδιστέον. (4) At a change of persons, as Arist. Vesp. 1369. Τῶν ξυμποτῶν κλέψαντα; Φ. ποίαν αὐλητρίδα ; (5) If the anapaest is preceded by another anapaest, as Arist. Pac. 415. Καὶ τοῦ κύκλου παρέτρωγον ὑφ ̓ ἁρματωλίας. As an example of the comic trimeter take Arist. Nub. 1 sqq. Ὦ Ζεῦ βασιλεῦ, τὸ χρῆμα τῶν νυκτῶν ὅσον (δ) The Trimeter of the Roman Dramatists. The older Roman dramatists and the fable-writer Phaedrus treated the trimeter, which they called senarius after the number of its feet, with as great freedom as the trochaic rhythms, mentioned above. They allowed the licenses, permitted by the Greeks in the odd places only, in the even places also, with the exception of the sixth. They have also, though seldom, the proceleusmatic, and so indeed that it was concealed by the pronunciation, as Terent. Eun. I. 2. 27. V. 2. 32. Samia mihi mater füit, ea habitabat Rhodi. Ut sólidum parerem hoc mi beneficium, Chaérea. The pure iamb, the tribrach and dactyl are rare in the fifth foot. The caesuras are frequently neglected. The hiatus occurs frequently in Plautus in the πενθημιμεgns, as Mil. IV. 3. 42. Nam quós videre — éxoptabam máxime. It is not rare after the short of the fifth foot, as Asin. IV. 1. 15, 46. In fóribus scribat, óccupatam- -esse se. Tollám. quidni? audi réliqua. loquere - audio. Finally Plautus allows himself the hiatus in other places: when the persons change, as Curc. I. 1. 41. Obloquere. PA. fiat máxime. PH. etiám taces? after a strong punctuation, as Curc. I. 1. 46. Eam vólt meretricem fácere ea me déperit; or in an exclamation, as Aul. II. 8. 22. Merc. II. 2. 13. Perii, hércle! - aurum rápitur, aula quaéritur. Salvé! -o quid agis? quid fit! quod misérrimus; and perhaps in proper names, as Asin. IV. 1. 59. Ancillam ferre Véneri - aut Cupidini. It is to be mentioned as a peculiarity of the older Roman poets that, because they endeavored as far as possible to adapt the verse-accent to the word, they often passed lightly over long syllables of those words which in meaning are subordinate to others, or over syllables long by position, or over syllables naturally long and following a short, as if they were short, and this they did particularly at the beginning of words, as Terent. Andr. I. Ì. 16. Sed hoc mihi molestumst: nam istaec commemoratio. Andr. II. 6. 8. Propter hospitai hujusce consuetudinem. Eun. III. 1. 40. Dolet dictum imprudenti ádulescenti et libero. Plaut. Mil. II. 1. 53. Dedi mércatori, quí ad illum déferat. As an example of the tragic trimeter among the Romans take the beginning of the Medea of Ennius: Utinám ne in nemore Pélio secúribus Argó, qua vecti Argívi delectí viri Colchis, imperio régis Peliae, pér dolum; Nam nunquam hera errans méa domo efferrét pedem As an example of the comic trimeter take Plaut. Mil. I. 1. 1 sqq. Curáte, ut splendor meó sit clupeo clárior, Quam sólis radii esse ólim, quum sudúmst, solent; Quae misere gestit fárctum facere ex hóstibus. The trimeters of Seneca are formed after the model of the Greek; he is fond, however, of the anapaest, especially in the first and fifth places. The lame Trimeter.-Trimeter claudus, scazon, Hipponacteus, Choliambus, Mimiambus. The lame trimeter is a satiric verse, which among the Greeks was used especially by Hipponax, Ananius, Babrius, Theocritus (Epigr. XXI), and by the comic poet Eupolis; among the Romans by Catullus and Martial. It differs from the common trimeter by the inversion of the last foot. Resolutions are rare. The fifth and sixth were probably never resolved, although Prisc. de metr. Comic. p. 1327, quotes a verse of Hipponax, in which the fourth and fifth feet are dactyls. Ἐρέω γὰρ οὕτω, Κυλλήνιε Μαιάδος Ἑρμῆ. The fourth foot was very rarely resolved, as Phoenix Coloph. in Athen. XII. p. 530. E. Οὐ παρὰ μάγοισι πῦρ ἱερὸν ἀνέστησεν. Babrius allowed the anapaest in the first place only, and among the Romans Martial, as I. 67. 2, 13. Fieri poetam posse qui putas tanti. Aliena quisquis recitat et quaerit famam. The spondee is rare in the fifth foot, because it makes the verse awkward: Catullus, who uses this measure eight times in his poems (Carm. VIII, XXII, XXXI, XXXVII, XXXIX, XLIV, LIX, LX.) has it not, Martial sometimes. In Catullus only four resolutions of longs occur XXII, 19. XXXVII, 5, 11. LIX, 3. Quem non in aliqua re videre Suffenum. Vidistis ipso rapere de rogo coenam. As ex The caesuras are those common in the trimeter. amples take Hippon. in Stob. LXVIII. p. 279 ed. Grot. Δύ ̓ ἡμέραι γυναικὸς εἰσὶν ἥδισται· Ὅταν γαμῇ τις, κἀκφέρῃ τεθνηκυῖαν. Hippon. in Stob. p. 519. Gesn. or Anan. in Athen. III. p. 78. F. Εἴ τις καθεῖρξε χρυσὸν ἐν δόμοις πολλὸν, According to Mar. Victor. p. 2528, Boiscus of Cyzicus invented it: Βοΐσκος ὁ ἀπὸ Κυζικοῦ, παντὸς γραφεὺς ποιήματος, Τὸν ὀκτάπουν εὑρὼν στίχον Φοίβῳ τίθησι δώρον. The Romans used it in the drama by the line with the usual liberties. The spondee and the trisyllabic feet are every where allowed; the last iamb alone is preserved pure. The verse has either the diaeresis after the second dipody, and Plautus uses it commonly so, often allowing himself the hiatus and anceps in the diaeresis, as Bacch. IV. 9. 9. Poen. IV. 1. 3. O Trója, o patria, o Pérgamum o Príame periisti senex. Is me autem porro vérberat incúrsat pugnis cálcibus; or the caesura after the first thesis of the third dipody, as usually in Terence, as Andr. III. 4. 22. Nihil est preci locí relictum; jám perturbavi ómnia. If the verse has the diaeresis, the second foot of the second dipody is commonly pure. As an example of this measure take Terent. Eun. II. 3. 2-6. Neque virgo est usquam, neque ego, qui illam e cónspectu amisi meo. Ubi quaéram, ubi investigem, quem percónter, qua insistám via, Incértus sum. una haec spés est, ubi ubi est, diú celari nón potest. O fáciem pulchram: déleo omnis dehinc ex animo múlieres; Taedét cotidiánarum harum fórmarum. — Ecce autem álterum. As the first thesis in the fourth dipody never admits a long, the verse appears to be not so much an iambic tetrameter, as an iambic dimeter with a catalectic tetrapody. As a lyric verse it occurs in the flower-song, preserved by Athenaeus, in which the second iamb appears always as tribrach: từ Που μοι τὰ ἴα; ποῦ μοι τὰ ῥόδα; ποῦ μοι τὰ καλὰ σέλινα ; Ταδὶ τὰ ἴα· ταδὶ τὰ ῥόδα· ταδὶ τὰ καλὰ σέλινα. Catullus among the Romans has used this verse, Carm. XXV. He observes strictly the diaeresis after the dimeter, and admits the spondee in the first and fifth foot only. The comic poets used this verse most frequently. The principal diaeresis is after the dimeter, which, however, is frequently neglected, as Arist. Nub. 1353. Καὶ μὴν ὅθεν γε πρῶτον ἠρξάμεσθα λοιδορεῖσθαι. The tribrach is everywhere allowed except in the seventh foot; it is more rare in the fourth foot, as Arist. Nub. 1063. |