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The works of Horace : with English notes, critical and ... - Cristo Raul

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METRES OF HORACE. IXVU<br />

place, which renders the verse much more melodious <strong>and</strong> flowing.<br />

<strong>The</strong> Sapphic stanza, both in Greek <strong>and</strong> Latin, is composed<br />

<strong>of</strong> three Sapphics <strong>and</strong> one Adonic. (No. 4.) As the Adonic<br />

sometimes was irregularly subjoined to any indefinite number<br />

<strong>of</strong> Sapphics {vid. Kemarks on Adonic verse), so, ou other occa-<br />

sions, the Sapphics were continued in uninterrupted succession,<br />

terminating as they had begun, <strong>with</strong>out the' addition <strong>of</strong> an Adon-<br />

ic even at the end, as in Boethius, lib. 2, meti". 6 ;<br />

Seneca, Troa-<br />

des, act 4.<br />

<strong>The</strong> caesura always falls in the third foot, <strong>and</strong> is <strong>of</strong> two kinds,<br />

namely, the strong <strong>and</strong> the weak. <strong>The</strong> strong caesura falls after<br />

the first syllable <strong>of</strong> the dactyl, <strong>and</strong> makes the most melodious<br />

.ines; as,<br />

lnte\ger iM\ta || scSU\r^squS pur&s<br />

|<br />

Non i\get Mau\rl jdcii\lis nee 1| | drcii<br />

Nee vl\nend\tis grdvi\dd sd\gUtis.<br />

\\<br />

<strong>The</strong> weak caesura, on the other h<strong>and</strong>, falls after the second<br />

syllable <strong>of</strong> the dactyl ; as in the following<br />

LaMre\d dd\ndndiis ||<br />

A\pBlli\ndri<br />

Ptniis I out lm\pulsd || cu\pressiis \ EnrS.<br />

<strong>Horace</strong> generally has the strong caesura. If the third foot,<br />

however, has the weak caesura, it must be followed by a word<br />

<strong>of</strong> two or more syllables. Thus, besides the two lines just giv-<br />

en, we may cite the following :<br />

Concines majore || poeta plectro<br />

Caesarem qu<strong>and</strong>oque |{<br />

:<br />

trahet feroces, &c><br />

With regard to the caesura <strong>of</strong> the foot, it is worth noticing, that<br />

in the Greek Sapphics there is no necessity for any conjunction<br />

<strong>of</strong> the component feet by caesura, but every foot may be term-<br />

inated by an entire word. This freedom forms the characteris-<br />

tic feature <strong>of</strong> the Greek Sapphic, <strong>and</strong> is what chiefly distinguish-<br />

es it fi'om the Latin Sapphic, as exhibited by <strong>Horace</strong>.<br />

In Sapphics, the division <strong>of</strong> a word between two lines fre-<br />

quently occurs ; <strong>and</strong>, what is remarkable, not compound, but<br />

simple words, separately void <strong>of</strong> all meaning ;<br />

as,<br />

Lahitur ripa, Jove non probante, ux-<br />

orius amnis.<br />

This circumstance, together <strong>with</strong> the fact <strong>of</strong> such a division

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