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In ancient Greek and Latin literature, the trochaic septenarius (also known as the trochaic tetrameter catalectic) is a form of ancient poetic metre first used in 7th century BC Greek literature. It was one of the two most common metres of Roman comedy of the early 1st century BC and was also used for the marching songs sung by soldiers at ...
The metre is a version of the trochaic septenarius rhythm, often used for hymns in the medieval period (see Trochaic septenarius#In Christian hymns).In the 17th century, under Pope Urban VIII, a group of correctors revised the hymn, replacing the unquantitative, accentual, trochaic rhythm with quantitative, iambic metre, and the stanza appeared in the Breviary with divided lines:
If one counted all syllables, not just stressed syllables, such hymns follow what is called an 86.86 pattern, with lines of eight syllables alternating with lines of six syllables. This form is also known as common metre. By contrast most hymns in an 87.87 pattern are trochaic, with strong-weak syllable pairs: Love divine, all loves excelling,
Just as the type b iambic octonarius resembles a trochaic septenarius in having a break 7 elements before the end instead of 8, so there is also a trochaic septenarius which resembles a type a iambic octonarius by putting a break 8 elements before the end. In other words it is the same as an iambic octonarius without the first element:
Trochaic tetrameter in Macbeth. In poetic metre, a trochee (/ ˈ t r oʊ k iː /) is a metrical foot consisting of a stressed syllable followed by an unstressed one, in qualitative meter, as found in English, and in modern linguistics; or in quantitative meter, as found in Latin and Ancient Greek, a heavy syllable followed by a light one (also described as a long syllable followed by a short ...
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It was translated into English by John Mason Neale as "That great Day of wrath and terror" in his collection Mediaeval Hymns and Sequences (3rd ed. 1867). The hymn is composed in an accentual version of the trochaic septenarius metre, and is praised by Bede as a good example of a trochaic hymn in the rhythmic (accentual) style. [1]
Resolution is quite frequent in the iambic and trochaic metres commonly used in Roman comedy and can be found both in strong (long) elements and in weak (anceps) elements. In comedy there is no restriction on the number of resolutions that can occur in a line; there can even be two in the same foot, e.g. ego fate or or quia tibi and so on. [ 3 ]