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This line includes a masculine caesura after θεὰ, a natural break that separates the line into two logical parts. Homeric lines more commonly employ feminine caesurae; this preference is observed to an even higher degree among the Alexandrian poets. [3] An example of a feminine caesura is the opening line of the Odyssey:
In modern terms, a caesura is a natural break which occurs in the middle of a foot, at the end of a word. This is contrasted with diaeresis, which is a break between two feet. In dactylic hexameter, there must be a caesura in each line, and such caesuras almost always occur in the 3rd or 4th foot. There are two kinds of caesura:
Dactylic hexameter (also known as heroic hexameter and the meter of epic) is a form of meter or rhythmic scheme frequently used in Ancient Greek and Latin poetry. The scheme of the hexameter is usually as follows (writing – for a long syllable, u for a short, and u u for a position that may be a long or two shorts):
Dactylic hexameter. Golden line; Iambic meter: any meter based on the iamb as its primary rhythmic unit. Alexandrine (iambic hexameter): a 12-syllable iambic line adapted from French heroic verse. Example: the last line of each stanza in “The Convergence of the Twain” by Thomas Hardy. [1] Czech alexandrine; French alexandrine; Polish ...
Although the rules seem simple, it is hard to use classical hexameter in English, because English is a stress-timed language that condenses vowels and consonants between stressed syllables, while hexameter relies on the regular timing of the phonetic sounds. Languages having the latter properties (i.e., languages that are not stress-timed ...
The Latin rhythmic hexameter [1] or accentual hexameter [2] is a kind of Latin dactylic hexameter which arose in the Middle Ages alongside the metrical kind. The rhythmic hexameter did not scan correctly according to the rules of classical prosody; instead it imitated the approximate sound of a typical metrical hexameter by having roughly the same number of syllables and putting word accents ...
There is usually a caesura or word-break after either the 5th or the 7th syllable. In later poets, such as Persius , Martial , and Ausonius , resolution was used more freely, in any of the first four longa , and sometimes the first foot might be an anapaest (u u –).
Greek poetry is based on syllable length, not on syllable stress, as in English.The two syllable lengths in Greek poetry are long and short.It is probable that in the natural spoken language there were also syllables of intermediate length, as in the first syllable of words such as τέκνα /tékna/ 'children', where a short vowel is followed by a plosive + liquid combination; but for poetic ...