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Hexameters also form part of elegiac poetry in both languages, the elegiac couplet being a dactylic hexameter line paired with a dactylic pentameter line. This form of verse was used for love poetry by Propertius , Tibullus , and Ovid , for Ovid's letters from exile, and for many of the epigrams of Martial .
There are numerous examples from the 16th century and a few from the 17th; the most prominent of these is Michael Drayton's Poly-Olbion (1612) in couplets of iambic hexameter. An example from Drayton (marking the six feet on each line): Nor a/ny o/ther wold / like Cot/swold e/ver sped, So rich / and fair / a vale / in for/tuning / to wed.
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 ...
In the dactylic hexameters of Classical Latin and Classical Greek, for example, each of the six feet making up the line was either a dactyl (long-short-short) or a spondee (long-long): a "long syllable" was literally one that took longer to pronounce than a short syllable: specifically, a syllable consisting of a long vowel or diphthong or ...
The source of Clarke's first example line is unknown, but the same line is also one of Burles's examples of the golden line. Burles's discussion of the golden line is clearly based upon this tradition concerning the position of epithets. Burles's golden line is a narrow application of the principles outlined by Bede almost a millennium earlier.
The elegiac couplet is presumed to be the oldest Greek form of epodic poetry (a form where a later verse is sung in response or comment to a previous one). Scholars, who even in the past did not know who created it, [3] theorize the form was originally used in Ionian dirges, with the name "elegy" derived from the Greek ε, λεγε ε, λεγε—"Woe, cry woe, cry!"
Here, for example, is a line in dactylic hexameter from Virgil's Georgics when the words are given their natural stress: quíd fáciat laétas ségetes, quó sídere térram, and here is the same verse when the metrical pattern is allowed to determine the stress: quíd faciát laetás segetés, quo sídere térram.
It is the only poem in the Tibullan corpus to be in hexameters rather than elegiac couplets. 1–17 The poet expresses how impossible it is to praise Messalla sufficiently, and how inadequate he is for the task. He gives the examples of Bacchus and Hercules, who deigned to be entertained by humble people.