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A masculine caesura follows a stressed syllable while a feminine caesura follows an unstressed syllable. A caesura is also described by its position in a line of poetry: a caesura close to the beginning of a line is called an initial caesura, one in the middle of a line is medial , and one near the end of a line is terminal.
A line may have more than one caesura, or none at all. If near the beginning of the line, it is called the initial caesura; near the middle, medial; near the end, terminal. An accented or masculine caesura follows an accented syllable, an unaccented or feminine caesura an unaccented syllable. The caesura is used in two essentially contrary ways ...
A hemistich (/ ˈ h ɛ m ɪ s t ɪ k /; via Latin from Greek ἡμιστίχιον, from ἡμι-"half" and στίχος "verse") [1] is a half-line of verse, followed and preceded by a caesura, that makes up a single overall prosodic or verse unit.
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Vers libre is the source of the English term free verse, and is effectively identical in meaning. It can be seen as a radical extension of the tendencies of both vers libres (various and unpredictable line lengths) and vers libéré (weakening of strictures for caesura and rhymes, as well as experimentation with unusual line lengths).
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The latter is a free translation of Sappho 31. [5] Horace wrote 25 of his Odes as well as the Carmen Saeculare in Sapphics. Two tendencies of Catullus became normative practice with Horace: the occurrence of a caesura after the fifth syllable; and the fourth syllable (formerly anceps) becoming habitually long.