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An example of a feminine caesura is the opening line of ... In dactylic hexameter, a caesura occurs any time the ending of a word does not coincide with the ...
Almost every hexameter has a word break, known as a caesura / s ɪ ˈ z j ʊ ə r ə /, in the middle of the 3rd foot, sometimes (but not always) coinciding with a break in sense. In most cases (85% [ 6 ] of lines in Virgil) this comes after the first syllable of the 3rd foot, as in ca/no in the above example.
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:
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 ...
Hexameter is a metrical line of ... as well as the use of caesura ... English poems have frequently been written in iambic hexameter. There are numerous examples from ...
An example is the Anuṣṭubh metre found in the great epics, the Mahabharata and the Ramayana, which has exactly eight syllables in each line, of which only some are specified as to length. Syllabo-quantitative ( varṇavṛtta ) metres depend on syllable count, but the light-heavy patterns are fixed.
Often there is a slight pause in the line, known as a caesura, in the middle of the third foot, as in lines 1, 5, and 6 above. However, for variety the position of the caesura can change, for example to the middle of the 2nd foot, as in lines 2 and 4, or the middle of the 4th foot, as in lines 3 and 7.
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!"