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Versus Galliambicus (Latin), or the Galliambic Verse (English), is a verse built from two anacreontic cola, the second one catalectic (i.e., lacking its final syllable). [1] The metre typically has resolution in the last metron, and often elsewhere, leading to a run of short syllables at the end. An example is the first line of Catullus's poem 63:
u u - u | - u - - || u u - u u | u u u sŭpĕr āltă vēctŭs Āttĭs || cĕlĕrī rătĕ mărĭă
This metre was used for songs sung by galli (or gallae), eunuch devotees of the goddess Cybele, the ancient nature goddess of Anatolia, who was also known as the Mother of the Gods. [2]
The most famous poem in this metre is Catullus's Attis (poem 63), a poem of 93 lines describing the self-emasculation of a certain Attis, who later regretted his action, but was driven again to a frenzy by the goddess. Apart from this poem only a few isolated lines in the metre exist in Greek and Latin.
The galliambic metre in its most basic form (as shown in the first of the two Greek lines quoted below) consists of a catalectic ionic tetrameter:
u u – – | u u – – || u u – – | u u –
However, especially as used by Latin writers, the lines usually show anaclasis (syncopation), i.e. the reversal of the 4th and 5th element in each half, almost [3] always in the first half and usually also in the second. Thus in five lines of Catullus 63 (lines 14, 35, 73, 76, 91) where the 13th element is long there is anaclasis in both halves:
u u – u | uu u – – || u u uu u | – u –
But in most lines (in fact in 88 out of the 93 lines of Catullus 63) the 13th element is resolved into two short syllables, leading to a run of short syllables at the end of the verse. When this happens it is unclear whether anaclasis has taken place in the second half or not; the word accents suggest that there is often no anaclasis in the second half, but this is uncertain. [4] [5]
u u – u | – u – – || u u – u u u u x
Sometimes other elements are resolved as well; and occasionally there is also contraction of two short elements into one long syllable. Thus the complete scheme is as follows:
uuuu u | uu u – – || uuuu u | uu u ×
Only two lines of galliambic poetry have survived from ancient Greek, quoted by the metrical writer Hephaestion. The first line is pure ionic, without anaclasis. The second line has anaclasis (according to Hephaestion), but of a different type to that used by Catullus: [6] [7]
– – – u u – – || u u – – u u – Gallaì, mētròs oreíēs || philóthursoi dromádes, – – uu u u – – || – – uu u u u haîs éntea patageîtai || kaì khálkea krótala
The Galliambic Verse is found in Catullus 63:
u u - u - u - - || u u - u u u u u sŭpĕr āltă vēctŭs Āttĭs || cĕlĕrī rătĕ mărĭă u u - u - u - - || u u - u u u u u Phrygĭ(um) ŭt nĕmŭs cĭtātō || cŭpĭdē pĕdĕ tĕtĭgĭt
- Catullus 63, lines 1-2
Varro and Maecenas also wrote Latin poems in Galliambic verse, of which only fragments survive. [9]
As the Galliambic meter admits substitutions of two short syllables for a long one, there are variations on how this verse is structured on different sentences.
u u - u u u u - - || u u- u u u u - stĭmŭlātŭs ĭbĭ fŭrentī || răbĭē, văgŭs ănĭmī,
-Catullus 63, Line 4
u u u u u u u u - - || u u - u u u uu ĕgŏ mŭlĭĕr, ĕg(o) ădŏlēscēns,|| ĕg(o) ĕphēbŭs, ĕgŏ pŭĕr
- Catullus 63, Line 63
u u u u u - u - - || u u - u u u u u ĕgŏ vĭrĭdĭs ălgĭ(da) Īdǣ || nĕv(e) ămĭctă lŏcă cŏlăm.
- Catullus 63, Line 70
Occasionally, however, there is no resolution, and there can be contraction of the first two short syllables in each half:
– – u – u – – || – – u – u – iam iam dolet quod ēgī || iam iamque paenitet.
- Catullus 63, Line 73
Alfred, Lord Tennyson imitated the Galliambic metre for his poem, Boadicea. It begins as follows: [10]
Although Catullus 63 is not typically translated directly into Galliambics, as they present more of a challenge in English, Peter Green did so for his 2005 edition of the complete poems of Catullus. [11]
The elegiac couplet is a poetic form used by Greek lyric poets for a variety of themes usually of smaller scale than the epic. Roman poets, particularly Catullus, Propertius, Tibullus, and Ovid, adopted the same form in Latin many years later. As with the English heroic couplet, each pair of lines usually makes sense on its own, while forming part of a larger work.
In languages with quantitative poetic metres, such as Ancient Greek, Latin, Arabic, Sanskrit, and classical Persian, an anceps is a position in a metrical pattern which can be filled by either a long or a short syllable.
A catalectic line is a metrically incomplete line of verse, lacking a syllable at the end or ending with an incomplete foot. One form of catalexis is headlessness, where the unstressed syllable is dropped from the beginning of the line.
A tribrach is a metrical foot used in formal poetry and Greek and Latin verse. In quantitative meter, it consists of three short syllables occupying a foot, replacing either an iamb or a trochee. In accentual-syllabic verse, the tribrach consists of a run of three short syllables substituted for a trochee.
Glyconic is a form of meter in classical Greek and Latin poetry. The glyconic line is the most basic and most commonly used form of Aeolic verse, and it is often combined with others.
Iambic tetrameter is a poetic meter in ancient Greek and Latin poetry; as the name of a rhythm, iambic tetrameter consists of four metra, each metron being of the form | x – u – |, consisting of a spondee and an iamb, or two iambs. There usually is a break in the centre of the line, thus the whole line is:
| x – u – | x – u – || x – u – || x – u – |
The poetry of Gaius Valerius Catullus was written towards the end of the Roman Republic in the period between 62 and 54 BC.
In Greek and Latin metre, brevis in longo is a short syllable at the end of a line that is counted as long. The term is short for (syllaba) brevis in (elemento) longo, meaning "a short [syllable] in a long [element]". Although the phenomenon itself has been known since ancient times, the phrase is said to have been invented by the classical scholar Paul Maas.
Resolution is the metrical phenomenon in poetry of replacing a normally long syllable in the meter with two short syllables. It is often found in iambic and trochaic meters, and also in anapestic, dochmiac and sometimes in cretic, bacchiac, and ionic meters. In iambic and trochaic meters, either the first or the second half of the metrical foot can be resolved, or sometimes both.
Greek and Latin metre is an overall term used for the various rhythms in which Greek and Latin poems were composed. The individual rhythmical patterns used in Greek and Latin poetry are also known as "metres".
In ancient Greek and Latin literature, the trochaic septenarius 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 Caesar's victory parade. After a period when it was little used, it is found again in the Pervigilium Veneris, and taken up again as a metre for Christian hymns. The same metre, with stress-rhythm replacing quantitative metre, has continued to be used, especially for hymns and anthems, right up to the present day.
The ionic is a four-syllable metrical unit (metron) of light-light-heavy-heavy that occurs in ancient Greek and Latin poetry. According to Hephaestion it was known as the Ionicos because it was used by the Ionians of Asia Minor; and it was also known as the Persicos and was associated with Persian poetry. Like the choriamb, in Greek quantitative verse the ionic never appears in passages meant to be spoken rather than sung. "Ionics" may refer inclusively to poetry composed of the various metrical units of the same total quantitative length that may be used in combination with ionics proper: ionics, choriambs, and anaclasis. Equivalent forms exist in English poetry and in classical Persian poetry.
Latin prosody is the study of Latin poetry and its laws of meter. The following article provides an overview of those laws as practised by Latin poets in the late Roman Republic and early Roman Empire, with verses by Catullus, Horace, Virgil and Ovid as models. Except for the early Saturnian poetry, which may have been accentual, Latin poets borrowed all their verse forms from the Greeks, despite significant differences between the two languages.
A lekythion or lecythion, in classical Greek and Latin poetry, is a metric pattern (colon) defined by a sequence of seven alternating long and short syllables at the end of a verse. In classical grammatical terminology it can be described as a trochaic dimeter catalectic, i.e. a combination of two groups of two trochees each, with the second of these groups lacking its final syllable; or as a trochaic hepthemimer, i.e. a trochaic sequence of seven half-feet. A lekythion can appear in several different metric contexts in different types of poetry, either alone as a verse or as the second of two cola following a caesura. A frequent type of occurrence in Greek drama is in lines of iambic trimeter, the most frequent metre used in spoken dialogue, i.e. lines of the type x — u — | x — u — | x — u —. These lines may have a metric caesura after the first five syllables, with the remaining line thus resulting in a lekythion group.
Prosody is the theory and practice of versification.
Roman comedy is mainly represented by two playwrights, Plautus and Terence. The works of other Latin playwrights such as Livius Andronicus, Naevius, Ennius, and Caecilius Statius are now lost except for a few lines quoted in other authors. 20 plays of Plautus survive complete, and 6 of Terence.
Brevis brevians, also known as iambic shortening or correptio iambica, is a metrical feature of early Latin verse, especially Plautus and Terence, in which a pair of syllables which are theoretically short + long can be scanned as a pair of short syllables. The plural is breves breviantes.
Anaclasis is a feature of poetic metre, in which a long and a short syllable exchange places in a metrical pattern.
A metron, , plural metra, is a repeating section, 3 to 6 syllables long, of a poetic metre. The word is particularly used in reference to ancient Greek. According to a definition by Paul Maas, usually a metron consists of two long elements and up to two other elements which can be short, anceps or biceps.
The sotadean metre was a rhythmic pattern used by and named after the 3rd-century BC Greek poet Sotades. It is generally classified as a type of ionic metre, though in fact it is half ionic and half trochaic. It has several variations, but the usual pattern is this:
Someone bet me I couldn't do a version of 63... into English galliambics ... I took the bet... my version was accepted.